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Gottlieb, Carl
Jaws 2 (1978)
Ya know when that shark bites with his teeth, babe, scarlet billows start to spread. … Just as the island resort town of Amity begins to rebound from a spate of deadly shark attacks, a pair of missing divers and a boating accident lead police chief Martin Brody (Roy Scheider) to suspect the worst. Sure enough, another great white lurks in the local waters, this time with its sights set on a group of sailing teens -- including Brody's two sons.
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This moviescript available in following formats:
Gottlieb, Carl. Jaws 2
Jaws 2 Script
JAWS 2
FADE IN
1 UNDERWATER - DAY 1
Dramatically lit by sunlight filtering down from the surface.
A dim shape, massive, threatening, swims towards us from the
distance. Then it divides -- what was one is two, and the
shape becomes reality; two divers in Scuba gear swimming
side by side. They are wearing minimal rubber, considering
the cool New England waters: "Farmer John" wetsuits with
cut-off legs, assorted sport-diving paraphernalia, including
an expensive camera with a flash attachment.
One motions "Down there," the other signals "OK, I see it,"
and they dive deeper, into darker waters, where the shafts
of sunlight pour into the depths, broken up by seaweed and
floating vegetation into cathedral-like columns of
illumination.
2 SEA BOTTOM - DAY 2
The wreck of the working fisherman’s boat "ORCA," formerly
under the command of the late Captain Quint, deceased these
four years.
Buried in the sand near it, still connected by rusting
strands of cable, the mangled remains of a shark cage,
glimmering with stainless steel highlights. A fitful flash
of yellow from under a mossy beard -- a battered barrel,
similarly tangled.
The divers, Bert and Ernie, appear. They’re fascinated
by the find, and Bert, with the camera, snaps a few flash
shots. The rapid sequence of flashes signals the presence
of a motor drive camera.
2-A ANOTHER POINT OF VIEW 2-A
Distant flashes, obscured by vegetation in the foreground.
3 SEA BOTTOM, THE ORCA 3
Ernie is exploring the abandoned cabin; doors open and shut,
moved by invisible currents stirred by his passage.
An occasional "Flash!" lights up the bottom as Bert continues
snapping away souvenir shots of this local landmark.
3-A BERT’S POINT OF VIEW - CAMERA VIEWFINDER (PROCESS) 3-A
Ernie floats up out of a hatch, sees the camera, and strikes
a pose, clowning for the photographer’s benefit. A big hand,
f.g., motions him up into clear water for a formal portrait.
He obliges. Now he floats in front of us, gently paddling
his flippers to maintain vertical stability. One flash.
Another. Then a large, dim movement in the b.g.
Something’s out there, moving towards us.
Flash. It’s bigger, bearing down like a train in a tunnel.
Flash! It’s on us. Flash! Teeth? Blood? Flash! Blackness,
Death.
3-B OCEAN BOTTOM, INSERT 3-B
The camera floats gently down and settles in the sand. A
dark red mist eddies by. A last weak flash.
MATCH DISSOLVE TO
4 EXT. OCEAN - SUNDOWN 4
Flash! An expensive cabin cruiser, the "Diver Working" flag
fluttering limply in the breeze, is riding alone at anchor.
Flash! A distant lighthouse beacon winks at us. The boat
rocks in the ceaseless swell.
On the stern, "Elizabeth T. - Newport, R.I." A long way
from home....
DISSOLVE TO
5 EXT. AMITY BEACH - DAY 5
A blue-and-white police jeep is bouncing over the sand. A
figure in civilian clothes driving alone on some urgent
mission. It’s Martin Brody, Chief of Police on Amity.
The jeep slows to a stop, and he takes a flight of stairs
leading to a concrete patio two at a time. A classical
trumpet solo is playing in the background. Brody charges
through a door, then abruptly slows and starts moving warily
through a hotel interior: The Holidome, a three-story
extravaganza of a motel, where some sort of formal ceremony
is already in progress. A banner announces: "Grand Opening
Ball -- Amity Scholarship Fund Benefit." Brody crosses under
a High School band, arranged dance-band style on a balcony;
the trumpet player, Polo, is finishing his solo, the assembled
crowd applauds politely. Brody is taking his place with
some dignitaries on the dais, as the presiding authority,
Amity Mayor Larry Vaughn, begins speaking.
VAUGHN
Thank you, Paul Lohman, for that
eloquent solo. Now, for that point
in the ceremonies where we for-
mally dedicate this magnificent
resort-hotel complex, a worthwhile
addition to the recreational
paradise we call Amity.
6 ANGLE ON THE DAIS 6
Seated on folding chairs, wearing their good suits, several
of Amity’s Selectmen, Real Estate Developer Len Peterson,
and Ellen Brody, very chic. Brody slips into the vacant
chair next to her. The following is conducted in urgent
whispers, sotto voce, while Vaughn drones on.
ELLEN
Where the hell were you?
BRODY
Late.
ELLEN
I can see that. Don’t you know
this is a big deal?
BRODY VAUGHN
Couldn’t help it. (droning
Hendricks over along)
there... Holiday Inn joins the
(he indicates Amity Shores development
his deputy) condominium complex In a
...still has the welcome expression of
keys to the jeep renewed interest in Amity
in his pocket, Island as the hub of the
and I couldn’t Northeast Recreational
find the spares. Vacation Wonderland.
We’re happy once again
ELLEN to be in the center of
Terrific. Act things, where the action
as if you’ve is.. We’ve had our share
been here all of hard times and long
along. winters and the past few
years have not been easy.
BRODY But today, the sun is
How’m I supposed rising on a new Amity,
to do that? a new island filled with
promise.
ELLEN (applause)
Look bored. Len Peterson’s Amity Shores
Development is an exciting addi-
tion to our island. The Holiday
Inn we stand in is likewise a new
friend who we welcome as family.
Amity means ’friendship’ and our
community extends its friendship
to all who seek her shores in
peace and harmony.
(applause)
Brody settles into polite attentiveness, acknowledging a
wave from Hendricks, a politely bland young town cop in his
idea of civilian finery. Hendricks is fussing with the
banner on an attractive young lady in a bathing suit....
7 ANGLE ON VAUGHN 7
VAUGHN
...And now, Tina Wilcox, this
year’s Miss Amity, will cut the
ribbon that officially opens
this luxurious new hotel...
Tina (the girl in the bathing suit) escapes Hendricks’
attentions, and teeters on high heels towards the ribbon,
while Phil Fogarty, the local photographer, snaps away.
VAUGHN
Tina was selected from more than
20 of this island’s lovely young
ladies in the Miss Amity competi-
tion held every spring, and she’ll
represent Amity Island in the
Miss Massachusetts Competition
in Worcester next month. When
she cuts this ribbon, she will
be opening our island to growth,
to development, to planned
expansion with full employment
for our thriving community.
8 ANGLE ON THE BAND 8
Paul Lohman ("Polo" to his friends) is exchanging whispers
with Lucy, a flute player.nearby.
LUCY
I don’t think she’s such hot
stuff.
POLO
When are we going out? You and
me?
LUCY
Not tonight.
POLO
You going with Patrick?
Lucy nods, Polo shrugs, and turns to Jane, a girl nearby.
POLO
Listen, Jane -- you want to dance
as soon as we get out of these
monkey suits?
She nods happily, they whisper together, while we:
CUT TO
9 ANGLE ON DAIS 9
Martin and Ellen have been joined by their youngest son,
Sean.
SEAN
Mom, Michael won’t talk to me.
BRODY
(to Ellen)
Shouldn’t he be at home?
ELLEN
Mrs. Silvera couldn’t come.
VAUGHN
This money tree, you may have no-
ticed, is made entirely of twenty-
dollar bills, donated by Len
Peterson, the builder of Amity
Shores Condominiums, as a gesture
of goodwill towards the community.
$500 as a special gift to the Amity
township scholarship fund....
Applause from the crowd, Len takes a bow.
VAUGHN
(prompting)
Go ahead, Tina.
10 ANGLE ON TINA 10
as she reaches out with the scissors. Something catches her
eye, and she winks at her boyfriend, Ed Marchand, smirking in
the crowd. He winks back, and makes "Cut it" motions with
his fingers.
11 ANGLE ON THE CEREMONY 11
Tina cuts the ribbon, and Tom Andrews, a local diver, pushes
a decorated float out into the pool; sparklers sputter, bal-
loons drop from the ceiling.
VAUGHN
Thanks to Tom Andrews, of Amity
Aqua-Sports, for contributing the
special decorations. And now, the
Amity High School band. Refresh-
ments on the patio, everyone....
The band swings into "Downtown," and the crowd gets up to
dance, to eat, and to break into small groups to talk.
DISSOLVE TO
11-A INT. HOLIDOME - LATER 11-A
Ellen is dragging Brody over to where Len Peterson and Larry
Vaughn, the mayor, are in conversation. They pass vignettes:
Tina and Ed, Tom Andrews and Jane, Marge, other interesting
Amity townspeople.
BRODY
(seeing Peterson
and Vaughn)
Do I have to talk to those two?
ELLEN
My boss and your boss. Sure.
VAUGHN
Hello, hello. It went well, I
thought.
BRODY
Very impressive ceremony. Good
speech.
VAUGHN
Thank you, thank you. You know
my son, don’t you?
He beckons over their heads to Larry Vaughn, Jr., a young
man uncomfortable in his correct tie and blazer. They ex-
change perfunctory greetings.
PETERSON
The speech was right on the money.
(to Ellen)
Be a love and make sure the bar’s
open, will you?
He puts his arm around her, a little too familiarly for Brody’s
liking.
PETERSON
(to Brody)
Fantastic lady. Don’t know what
I’d do without her.
BRODY
Me neither.
PETERSON
(looking around)
Y’know, Brody -- for the first time
in years it’s worth putting money
into this town.
BRODY
All of us thank you, okay?
ELLEN
Watch Sean for a minute?
And she hands Sean off to Brody, leaving him with an over-
active 10 year old, while she’s gone.
SEAN
Can I go swimming?
BRODY
No. Find your brother, okay?
Sean nods and runs off, happy to have a mission.
CUT TO
12 ANGLE ON MICHAEL BRODY - NEAR THE BAND 12
He is talking to Brooke Peters, a mop-maned teen-ager with a
pleasant face.
Timmy Weldon, a grade behind, lurks nearby. A plumpish,
curly-haired buddy, Andy Nicholas, is enjoying a cup of punch.
MIKE
How old is your cousin?
BROOKE
Seventeen. She’s a senior.
MIKE
I’m not crazy about blind dates.
ANDY
They’re okay, if they got little
white canes and tin cups.
BROOKE
That’s awful.
ANDY
What the hell.
(to Mike)
Did your mom put all this together?
MIKE
Yeah, it’s her job.
ANDY
Is she responsible for the punch?
MIKE
No.
ANDY
Good. It’s terrible.
BROOKE
My cousin will be here tomorrow.
MIKE
Great.
Sean finds them, and bursts into their group.
SEAN
Michael, Michael, Dad said to find
you.
ANDY
Okay, you did that.
SEAN
Come on, Mikey, come on....
He tugs at Mike’s sleeve; Mike allows himself to be dragged
off.
MIKE
Okay, okay. Got to go.
Andy and Brooke are left standing together, Tim moves in.
TIM
(to Brooke)
Want to dance?
(she shakes her
head "no")
Okay. Later?
On her shrug, as she turns to Andy:
CUT TO
13 INT./EXT. HOLIDOME PATIO/TERRACE - NIGHT 13
It’s later; night has fallen, the band is playing its version
of "When I Fall in Love." Many teen-agers are dancing out on
the patio, some adults are dancing inside, the buffet is rav-
aged, Timmy is watching Brooke, who’s dancing with Polo.
Douglas Fetterman ("Doug") joins him, after asking Marge for
a dance and striking out.
DOUG
Get a dance yet?
TIMMY
Nope.
DOUG
Me neither.
TIMMY
Who’d you ask?
DOUG
Tina Wilcox.
TIMMY
You’re crazy. She’s Ed’s girl
friend.
DOUG
Doesn’t hurt to ask. Sometimes
the most beautiful girls are the
loneliest.
TIMMY
That’s a crock of shit.
DOUG
I know.
Bob Burnside, a tall pal of Larry Vaughn Jr.’s, turns up
by their side.
BOB
Same tired old faces. You see
Vaughn?
DOUG
The mayor?
BOB
Larry Vaughn Junior?
(Doug shrugs)
If you see him, tell him I got a
six-pack, a blanket, and the Brebner
twins.
He exits, on the prowl.
TIMMY
No class.
DOUG
None at all.
(pause)
I wonder what the Brebner twins
are doing tomorrow night.
14 ANGLE ON BRODY AND ELLEN 14
BRODY
Can you take a little time out from
your busy schedule to dance with the
old man?
ELLEN
Why?
BRODY
Because they’re playing our song.
And sure enough, they are -- the band has turned to a Fifties
slow-dance standard: "I Wish You Love." Peterson approaches.
PETERSON
May I have this dance?
BRODY
Sorry, I’m all booked up...
(taking Ellen)
Come, m’dear.
They slowly fox trot out onto the terrace. Both of them
nodding greetings to townspeople and kids -- everyone knows
the chief.
BRODY
Remember 1959, the Jersey shore?
ELLEN
And how. I thought you wouldn’t
respect me.
BRODY
I did, I did.
The music and the summer moon are working their magic.
BRODY
Listen -- what are you doing
later?
ELLEN
Fooling around?
BRODY
Right.
He dips with her; they look up and notice Sean, sound asleep
on a bench.
ELLEN
Let’s get the kid home.
BRODY
Home it is.
He crosses to the sleepy Sean and hoists him with a grunt.
BRODY
(to the kid)
You’re getting a little big for
this.
Sean murmurs sleepily and hugs his dad. Mike, dancing with
Marge, waves good-bye. The Brodys start to leave, passing
a bucket with a bottle of champagne still in it. They ex-
change a look, nod agreement, and Brody boosts the bottle,
sneaking it out of the building while Ellen giggles.
DISSOLVE TO
15 INT. BRODY BEDROOM - DAY 15
Brody and Ellen are snuggling under the covers while early-
morning light streams under the blinds. It’s The Morning
After, and the clothes from the night before are scattered
all over the room. Brody rolls against Ellen, spoon-fashion,
morning-horny.
BRODY
Mmmm.
ELLEN
MMMmmmorning....
They start to move a little, then turn face to face. Outside
their door, the sounds of little feet; Sean padding downstairs.
BRODY
Sean’s awake.
ELLEN
Door’s locked.
BRODY
(kissing)
Good.
Their bodies move under the blankets. There’s a crash
from the kitchen. They stop for a beat. As they resume,
little feet return.
SEAN’S VOICE
The milk fell out of the
’frigerator.
ELLEN
(whispering)
Put a towel down. And shh --
Daddy’s sleeping.
SEAN’S VOICE
Okay.
His feet paddle off. Brody and Ellen start to slide
together, passion resumes.
ELLEN
C’mere....
Bigger feet go downstairs; Michael’s up. The Brodys kiss,
trying to ignore the sounds of spirited discussion between
brothers over who’s responsible for spilled milk. Then
the sound of a car pulling into the driveway, and a horn
beep.
BRODY
Mrs. Silvera?
ELLEN
Mrs. Silvera.
They try to kiss again, there’s a door slam downstairs,
and talk between the boys and Mrs. Silvera. The Brodys
look at each other and break up laughing at the morning,
and themselves.
16 ANGLE ON THE BED 16
As Ellen and Brody, with the practice of 18 years of
marriage, swing back-to-back, and put their feet on the
floor, each on their side of the bed, still chuckling,
up for the day.
BRODY
Need a ride?
ELLEN
As far as the office.
CUT TO
17 EXT. AMITY STREET DAY 17
The police jeep is driving through the picturesque streets,
Brody behind the wheel, Ellen and Sean passengers. It slows
near the foot of the street, dockside, where a real estate
office marked "Amity Shores Development, Leonard Peterson,
Pres." sits. Peterson’s big Cadillac is parked illegally at
the curb. It has the Amity Shores logo on its side.
BRODY
Some people.
SEAN
What’s daddy doing?
ELLEN
Writing a ticket.
Brody is out of the car, his pad in his hand.
ELLEN
Hey! That’s my boss!
BRODY
Better yet.
Peterson, in shirt-sleeves and a tie, hustles out of the office
PETERSON
Wait a minute....
BRODY
Too late, it’s written.
PETERSON
Heck of a way to treat a taxpayer.
(to Ellen)
Don’t you have any pull with the
chief, here?
ELLEN
Do I have to?
PETERSON
(taking the ticket)
Better get a sales kit together for
after lunch. I’m taking some prospects
out.
Ellen kisses Brody, and starts in for her day’s work.
ELLEN
See you later.
PETERSON
(to Brody)
Can’t we fix it up to get this
made into a green zone or something?
BRODY
Len, pay the two dollars.
Peterson shrugs and goes inside his office. Brody’s
attention is drawn by some noise by the dock.
18 EXT. DOCKSIDE, AMITY - DAY 18
Hendricks and an old codger, Red, are working on Amity’s
newest bit of police equipment; a blue power launch for
patrolling local waters. The boat is Hendricks’ personal
pride and joy.
HENDRICKS
(to Red)
Tie it off on your left. Your
other left!
As Red complies, Hendricks spots his boss.
HENDRICKS
Good morning!
BRODY
(walking onto the
dock, Sean tagging
along)
Aren’t you off-duty?
HENDRICKS
Till noon. This is on my own
time.
(to Sean)
Hi, Shorty.
SEAN
I’m not short. I’m eleven.
There’s a hoot from a passing boat horn. Sean waves happily.
19 ANGLE ON THE BOAT 19
It has slowed to a halt in front of the police berth; it’s
a scruffy working fisherman, back from the banks with a
full load. The Skipper hails Brody.
SKIPPER
Yo! Chief!
BRODY
What?
SKIPPER
You got a gold-plater drifting in
the main channel. Big cruiser.
HENDRICKS
Whereabouts?
SKIPPER
Off the Point. No running lights,
just a diver’s flag.
HENDRICKS
(aside to Brody)
Want me to run out there?
BRODY
On your own time?
HENDRICKS
Happy to do it.
BRODY
Then check it out. I’ll be in
the office.
Hendricks nods, and starts the engine importantly.
HENDRICKS
Cast off your bow line. And your
stern line. Spring line....
While Red grumbles Brody and Sean are walking up to the street.
Michael and some teen-agers are headed down to the dock.
20 ANGLE ON BRODY AND THE KIDS 20
It’s Mike, Polo, Patrick, Lucy, Brooke, Ed and Tina.
BRODY
Where to?
MIKE
No place special. Just hanging
out.
BRODY
Sailing?
Mike nods.
BRODY
Watch your kid brother, huh?
He gets into his jeep, leaving Sean with the teen-agers.
BROOKE
Bye, Mr. Brody.
The others ad lib appropriate greetings/good-byes, as Brody
drives off in his jeep.
21 EXT. DOCKSIDE - DAY 21
The Kids busy themselves with their boats while Sean hovers
around Mike, who’s not happy at baby-sitting his kid brother.
POLO (Simultaneously) SEAN
Anyone want to sail Can I go too?
to the Lighthouse?
PATRICK MIKE
Machs nix to me. No.
LUCY SEAN
Anyone got a spare Please?
mooring line? Mine’s
shot.
TINA MIKE
I’ve got one.... I said, ’No.’
Tina’s in her boat, "Tina’s Joy," a neat sloop. Mike is
going over his "Green Machine," a sleek catamaran.
BROOKE
You’re not going out right away,
are you?
MIKE
Waiting for Andy.
BROOKE
I want you to meet my cousin.
MIKE
I will, I will.
SEAN
I want to go out with you.
You need a crew, don’t you?
Before Sean can protest further, Mike spots his crew: Andy
Nicholas, a round-faced, frizzy-haired pal, wearing a bathing
suit, and carrying some scuba gear from an early-morning
diving class. Marge and Denise, two other divers, are with
him, with their gear. They ad-lib "good-byes."
MIKE
I don’t need you. Andy’s here.
SEAN
You always go with Andy.
MIKE
(to Andy)
How was dive class?
ANDY
Same as always -- glub-glub,
bubble-bubble, stroke-stroke.
There sure is some weird shit on
the bottom of the ocean.
BROOKE
Shells and lobsters and stuff?
ANDY
Mostly old garbage. Today we found
a ’48 Hudson.
SEAN
Do I have to play with the little
kids?
MIKE
Yeah. Go on, beat it.
Sean mopes away while Andy and Mike get their boat ready
for sea.
21-A FOLLOW SEAN OFF THE DOCK 21-A
Up on the street, where a pretty girl with a sexy face and
a provocative post-pubescent walk is asking him directions.
He points down at the dock. The Girl, Jackie Peters, waves
at her cousin, Brooke.
JACKIE
Brooke! Hey!
One of the boats has a portable radio going. It’s playing
some medium-hot salsa. Jackie does a couple of dance steps
on her way down the dock.
21-B CLOSE ON ANDY AND MIKE 21-B
ANDY
Who’s that? Quick -- I’m in love.
MIKE
I hope that’s the cousin.
BROOKE
Over here. I want you to meet
somebody.
ANDY
Lucky. Lucky, lucky, lucky.
As the four teen-agers come together in a tight quartet, the
music rocks up and we:
CUT TO
22 EXT. HARBOR - DAY 22
Later in the day, sailboats with bright colored sails and
ornately painted hulls tack back and forth. Lots of chatter
between boats, horseplay, splashing, and general good times.
It’s cruising, on water.
23 EXT. HARBOR, ABOARD MIKE’S BOAT - DAY 23
with Mike, Andy, Jackie and Brooke.
JACKIE
How fast does this go?
ANDY
With the right wind, 15-20 knots.
JACKIE
What?
MIKE
Real fast.
He sheets in, heeling the boat over in the stiff breeze.
BROOKE
Far out!
Jackie screams in excitement; for a city girl, this is more
fun than a roller coaster.
24 ANGLE ON A RED CATAMARAN, "SIZZLER" 24
overtaking Mike’s boat. It’s piloted by Larry Vaughn, Jr.,
the Mayor’s Son; with him is his good friend, Bob Burnside.
LARRY
Coming up!
BOB
Gangway, Turkies!
It’s immediately a race between the red boat -- "Sizzler,"
and Mike’s "Green Machine." The Kids ad-lib -- "Faster,"
"Lookout," "Gybe, gybe."
ANDY
We’re carrying weight.
LARRY
We’ll take your supercargo.
JACKIE
Is that me?
BROOKE
That’s you.
JACKIE
I’ve never been supercargo.
Donny and Denise’s boat cuts in, stealing the Sizzler’s air.
LARRY
Hey, get out of our air!
DONNY
Want a passenger?
24-A ANGLE ON THE SIZZLER AND FELIX 24-A
Denise hops nimbly from one boat to the other as Danny sails
tight as a tick to the red cat.
BOB
Way to go!
25 QUICK CUTS: FUN AT SEA 25
The sailboats cutting up, cruising the harbor, the local
teen-agers partying with each other:
-- Patrick and Lucy’s Sol Cat, flying its hull.
-- Susie’s Laser heeled ’way over’ in a stiff breeze.
-- Polo and a pretty girl in his sloop, "Sea Witch."
-- Timmy Weldon and Doug Fetterman playing catch-up
in their respective boats, the Doughdish and the
inflatable.
-- Marge in her Lightening, sailing close to Ed and
Tina in Tina’s Joy.
CUT TO
26 UNDERWATER NEAR THE ORCA - DAY 26
Silent, green-blue depths. A diver, Crosby, working the bottom.,
running a search pattern. Another diver, Tom Andrews, running
close. They signal to each other, and make another pass.
Follow Tom Andrews as he skims the bottom, near the wreck of
the Orca, half-buried in the silt. A diver’s line runs up and
out of the frame, to:
27 EXT. OCEAN - DAY 27
Bobbing on the surface are three boats: the Amity Police
launch, the deserted Elizabeth T., from Newport, flying
a diver’s flag, and the ScubaVue, a local diveboat operated
by Tom Andrews and his partner, Crosby; it has "Amity Aqua
Sports" lettered on it somewhere. Hendricks and Red are on
the deck of the police boat, peering at the cruiser.
HENDRICKS
Rich or poor, it’s nice to have
money.
RED
Figure they split?
HENDRICKS
Happens every season -- someone
takes off. Once we had a schooner
for a month while the owners went
fox hunting.
A sudden eruption in the water nearby startles them -- it’s
Andrews, surfacing, holding up the underwater flash camera.
ANDREWS
This is all there is.
Crosby pops up next to him, shows empty hands.
HENDRICKS
If that’s it, that’s it.
The divers head for their boat, Hendricks fires up his
engine, and we:
CUT TO
28 INT. BRODY’S OFFICE - DAY 28
Brody is trying to reason with an indignant fat man.
INDIGNANT MAN
I can’t watch the news, I can’t
watch a ball game, I can’t watch
movies -- all I hear is that
rotten kid with his rotten radio
... "Breaker, Breaker...."
BRODY
I’ll do what I can, but you’re talk-
ing about a federal jurisdiction....
INDIGNANT MAN
(leaving in
a huff)
So call the FBI!
POLLY
Black, two sugars.
BRODY
Thanks. What else is out there?
POLLY
One petty theft, one domestic dis-
turbance, and an exhibitionist.
BRODY
I’ll take the exhibitionist, you
handle the others.
WOMAN
Chief Brody? I want you to do
something about my first husband.
Brody is caught in the open.
WHITE-HAIRED MAN
Martin, you have got to demand that
Grace Kinney keep her shades down.
2ND MAN
What about enforcing the "No Park-
ing" ordinance on Beach Road?
BRODY
In a minute, in a minute -- talk
to Mrs. Prendergast, please....
WOMAN 2ND MAN
(continuing) (eager to
Albert keeps coming be heard)
around when I’m with Every time there’s an
gentlemen friends and out-of-state car in my
he throws mud on their driveway, I lose another
cars.... mailbox. Those little
iron sailboats cost thirty-
two dollars each!
BRODY
(to White
Haired Man)
Talk to me about Mrs. Kinney.
WHITE-HAIRED MAN
Her bedroom window faces my oldest
boy’s bedroom, and she’s teasing
him, dancing around in a towel,
or less....
BRODY
Dancing?
Hendricks has entered, carrying the camera brought up from
the bottom by the divers.
HENDRICKS
Chief....
BRODY
Hendricks. I want to go over
your reports and your Form 908.
They go into Brody’s inner office; the uproar continues be-
hind the door, but it’s calm in here.
HENDRICKS
I never heard of a 908.
BRODY
I just made it up. It means, "Get
me out of there."
(notices the
camera)
What the hell’s that?
HENDRICKS
Diver’s camera. Tom Andrews
brought it up from under that
abandoned cruiser.
BRODY
Abandoned? It’s a little early in
the season for that.
HENDRICKS
Rich people. Home port is Newport,
Rhode Island.
BRODY
If I had a $100,000 boat, I sure as
hell wouldn’t leave it anchored
alone in the channel.
HENDRICKS
If you had a $100,000 boat there’d
be an investigation.
Hendricks puts the camera in an informal "Lost & Found" box
sitting in the office. Brody makes the mistake of opening
the door, revealing the White-Haired Man.
WHITE-HAIRED MAN
Grace Kinney is driving my boy to
distraction.
BRODY
Hendricks, get a description of
that dance.
LARGE MAN
(to Brody)
Chief Brody? I want to talk to
you about my daughter...she’s 15,
but mature for her age....
WOMAN 2ND MAN
Chief, I’ve been telling Look -- the township is
Mrs. Prendergast that it’s responsible for protecting
no good just talking about life and property, and my
Albert, she’s got to do property is unprotected....
something....
As Brody turns to deal with the mess, we:
CUT TO
29 29
thru OMITTED thru
32 32
33 UNDERWATER 33
Looking up at the surface, where a hull floats in silhouette
against the daylight. There’s a commotion, and a water ski
drops into view. Then another one. Pale legs churn the water.
CUT TO
34 EXT. OCEAN - DAY 34
Off Amity Beach, a bilious green lap-straked boat is bobbing
in the water, the engine idling. Two girls are fooling around;
the one in the water is Terry, the one driving the boat is
Diane.
TERRY
Did you ever see a dolphin?
DIANE
Sure. They like to play. We may
see some today.
TERRY
Great!
She fumbles with her skis.
TERRY
Whoops, almost lost one. Can’t
play with the dolphins without skis....
DIANE
Ready?
TERRY
Hang on, hang on...Okay, go.
Diane goes to the controls, and puts the engine into gear,
starting forward. Terry waves "okay," Diane opens up the
throttle, the boat surges forward, pulling Terry upright.
A wake boils out from under her skis.
35 ANGLE ON THE BEACH 35
Ed and Tina are camped on a blanket, necking in the shelter of
the dunes. There’s a portable radio, a cooler with some beer,
and some sandwiches -- a perfect afternoon alone. Above the
dune, behind them lies the ocean, where the girls’ ski boat
can be seen, raising a big wake. Tina disengages, and sits
up, brushing sand out of her hair.
TINA
Take a break for a minute, okay?
ED
Huh?
Tina stands, and looks out to the sea, where the boat is
towing Terry on the water.
TINA
Eddie, can we do that?
(no reaction)
Can we go skiing? We can use my
Uncle’s boat. Eddie?
ED
Next week.
TINA
With you, everything’s next week.
I want to go skiing soon. Tomorrow?
Ed grunts non-comittally. Tina takes a beer from the cooler,
and goes up on the dune to watch Terry and Diane. She waves
to them, and to someone down the beach.
36 EXT. BEACH HOUSE - DAY 36
An old lady, Grace Witherspoon, is rocking on her porch, also
enjoying the view of young people enjoying themselves. She
acknowledges Tina’s distant wave, and turns her attention
back to the skiers.
37 ANGLE ON THE SKIERS 37
having a wonderful time. Terry is good, criss-crossing the
wake, showing off.
38 CLOSE ON TERRY 38
rushing through the water, waving, stunting.
TERRY
Faster! Faster!
She waves at Diane, who leans over the controls, to coax
more speed out of the old engine.
39 UNDERWATER 39
following the skis effortlessly, closing in on the
turbulent wake.
39-A ON THE SURFACE 39-A
Terry whipping along; a fin raises near her. She glances
at it, waves, thinking it’s a porpoise.
TERRY
Porpoise! Look! A dolphin!
The fin slides low in the water, heading towards her. She
puts the rope around her waist, leaving both hands free.
39-B UNDERWATER 39-B
closing in on the wake, crossing it.
39-C TERRY - ON THE SURFACE 39-C
The fin cuts across her path. Too late to maneuver, Terry
hits the looming gray back of the Shark. The skis bump,
leave the water, Terry takes a spectacular spill. The rope
around her waist tows her helpless through the water, gagging
her, preventing her from shouting. She flounders as Diane
slows the boat to see what’s happened.
39-D ANGLE ON THE BOAT 39-D
turning back to see if her friend hit a submerged log or
hurt herself.
DIANE
Terry! You okay?
TERRY
Help! Help!
DIANE
Okay, okay, coming....
She still doesn’t realize the gravity of the situation --
she hasn’t seen the fin.
39-E ANGLE ON TERRY 39-E
hysterical, pulling herself hand-over-hand up the rope,
trying to get to the boat.
39-F UNDERWATER 39-F
Closing in on the thrashing figure.
39-G TERRY 39-G
screaming, as the Shark rises from the deep and takes her.
Suddenly she’s gone, a swirl of pink froth marking the
water where she went under.
40 IN THE BOAT - DIANE 40
Looking around for her friend, suddenly panicky. She pulls
the rope hard, and tumbles backward as it comes up with
nothing on it -- just a cleanly bitten end.
DIANE
(screaming)
Terry!
Then the Shark appears, blood on its mouth, lunging up and
butting the stern, jarring the engine loose. Fuel spills
from a ruptured line.
DIANE
Help! God, help!
She throws things at the Shark, which slides back under
the water.
40-A DISTANT ANGLE ON THE BOAT - FROM THE BEACH 40-A
Diane can be seen flailing in the boat, very distant screams
floating across the water; at this range they sound like
the normal shrieks of teen-age girls having fun....
40-B ANGLE ON THE BOAT - CLOSE 40-B
as the Shark hits from a fresh angle, this time taking a
chunk out of the boat, biting down with powerful jaws. Diane
hurls seat-cushions, oars, anything she can lay hands on.
She fumbles desperately in a compartment, produces a flare-
pistol. She cocks it and fires point-blank at the shark.
40-C CLOSE ON THE SHARK 40-C
The flare hits, wet fuel glistening on the water and skin
of the Shark explodes in a sheet of flame.
40-D DIANE 40-D
A last flash before the gasoline explodes.
DIANE
No-o-o-o-o-o...!
A sheet of fire, she’s in the middle, screaming, aflame,
the Shark forgotten. She falls into the water as the
ruined boat overturns and there’s an oily explosion.
41 EXT. BEACH - DAY - ED AND TINA 41
Ed and Tina look up as they hear the distant "crump" of
the boat blowing up.
42 EXT. PORCH - DAY 42
Mrs. Witherspoon looks up, startled by the sudden tragedy.
She gets up to go to the phone, indoors, and we:
CUT TO
43 EXT. OCEAN - DAY - AMITY POLICE BOAT 43
The launch is anchored at the site of the explosion, offshore.
Red is fishing up bits of flotsam with a boathook. Hendricks
is on the radio, talking to the shore.
HENDRICKS
I can’t find anyone out here.
They must’ve gone to the bottom,
or drifted with the current.
44 BRODY ON SHORE 44
He’s on the porch of tile Witherspoon house, using his portable
walkie-talkie. Mrs. Witherspoon is waiting in the b.g.
Nearby, we can see a sign: "BURIED CABLE: Call New England
Light and Power Before Digging." The cable itself surfaces
in a chain-link fenced enclosure, and climbs a power pole for
distribution to the island. Ed and Tina are also there,
having given statements.
BRODY
There should be bodies. Witnesses
say two people; one in the boat,
one skiing.
HENDRICKS (o.s.)
(filtered)
I told you -- nothing here.
BRODY
Try dragging.
HENDRICKS (o.s.)
For how long? Current’s moving
everything around, and it’s getting
dark.
BRODY
Stay on it. I don’t care how
long it takes.
HENDRICKS (o.s.)
10-4.
Brody turns to Ed and Tina, and takes out his notebook.
TINA
We heard this noise, like a ’boomp’
out there, and when we looked,
there was just this cloud of
smoke.
GRACE
That was the explosion. One minute
they were having a wonderful time,
the next, bang!
BRODY
GRACE
I don’t know what could’ve done
that.
Brody stares out at the quiet sea -- what’s lurking under
that calm surface?
TINA
Can we go now?
Brody’s still looking past them, towards the ocean.
TINA
Chief Brody -- can we go? Please?
BRODY
Oh, yeah. Sure.
As he gazes at the ocean, we hear the sound of a distant
siren, and
CUT TO
44-A EXT. AMITY - DAY 44-A
An ambulance, siren wailing and red light flashing, drives
on its melancholy way through the picturesque town.
DISSOLVE TO
45 ABROAD THE POLICE BOAT - NIGHT 45
Hendricks has the winch in operation, the cable in his hand,
with big grappling hooks attached. The boat is lit by its
powerful worklights. Hendricks heaves them out, watches as
the current takes them, then puts the winch in gear,
hauling back.
RED
How much longer?
HENDRICKS
Until we find something.
RED
I don’t care about the overtime,
I’m hungry. And cold. And most
of all, bored.
46 INSERT - THE WINCH CABLE 46
It goes taut with a sudden strain.
47 ANGLE ON HENDRICKS 47
He sees it, too.
HENDRICKS
I think we got something.
Red moves to the winch, watching warily as it slows to a
near stall with the weight.
RED
About damn time.
HENDRICKS
What the hell is it?
There’s a strain on the cable -- it’s pulling the stern of
the boat down as it struggles with the weight.
HENDRICKS
Here it comes....
48 ANGLE ON THE WATER 48
lit by the harsh worklights on the deck of the launch. The
cable from the winch is taut, pulling something up from the
black depths. What? The coupling appears, then the hook,
and an oily cable.
RED
Oh shit. Drop it.
HENDRICKS
What is it?
RED
Power line.
HENDRICKS
Oh, great.
He hits the release on the winch, and the cable whines as
it spins out and settles back on the bottom. Red jiggles
the line, trying to free it up.
RED
It comes here from Cable Junction.
HENDRICKS
Untangle it and let’s go -- We
don’t need a blackout on the
island.
RED
(at the
winch)
Now you’re talking. Let’s get
out of here before we do find
something.
DISSOLVE TO
49 OMITTED 49
50 INT. BRODY KITCHEN - DAY 50
The next morning, the Brody family is downstairs, each
getting his own special breakfast. Mike gets cereal for
himself and Sean, Ellen is cracking some soft-boiled eggs,
Brody is drinking coffee and smoking.
ELLEN
You have to smoke so early
in the morning?
BRODY
It’s good with coffee.
ELLEN
So’s a donut.
SEAN
I want Fruit Loops!
MIKE
Eat Cheerios.
SEAN
You eat Cheerios. I want Fruit
Loops.
ELLEN
Eat Cheerios.
BRODY
What’re you guys doing today?
MIKE
(indicates Sean)
I don’t know about him -- I’m
going down to the dock, maybe go
sailing.
BRODY
Every day?
MIKE
What else is there to do?
BRODY
You could work out at the beach,
make a few bucks for school.
MIKE
Do I have to?
BRODY
You’ll have to make up your own
mind about that.
ELLEN
Where’s my day book?
BRODY
In the den.
Ellen passes them on the way to the den to look for it.
ELLEN
He doesn’t have to work all the
time, it’s his vacation.
Mrs. Silvera enters from the service porch.
MRS. SILVERA
Good morning -- everyone up early
today?
BRODY
There’s a lot going on.
He follows Ellen into the den.
51 INT. DEN - DAY 51
Ellen is rummaging around the papers on the end table, looking
for her book.
ELLEN
Why don’t you take a half day and
clean this junk up?
BRODY
Because, I’m in the middle of a
boating accident, I got only
four regular cops and one secretary,
and a Chief Deputy who is constantly
fiddling with the police boat He’s
another one.
ELLEN
One what?
(she finds
the book)
Ah-ha!
BRODY
Boat nut. What is it about this
place that makes everyone a freak
for boating?
ELLEN
It’s an island.
(she pecks him
on the cheek)
Got to run.
She heads out the door for the office. Mike approaches.
52 ANGLE ON MIKE AND BRODY 52
MIKE
I’m going.
BRODY
What about tennis? Riding?
fixing up old cars? Bartending?
MIKE
Bartending? I’m 17.
BRODY
Okay, not bartending. Why on
the water every day?
MIKE
Because.
BRODY
Look, humor the old man --
just be careful.
MIKE
(going)
I’ll be careful. I’ll see y’later.
53 INT. KITCHEN 53
Mike passes through on his way out, nodding to Mrs. Silvera
who acknowledges his passage. Brody is close on his heels.
BRODY
Don’t go out if it’s rough or any-
thing, huh? We’ve had a lot of
trouble.
MIKE
Okay, okay.
The back door slams behind him.
SEAN
Can I go with you today?
BRODY
You stay with Mrs. Silvera, Tootsie.
Okay?
Sean nods, resigning himself to the inevitable.
MRS. SILVERA
(to Sean)
You can come with me to the market.
SEAN
All right.
BRODY
I’ll be at the office.
Mrs. Silvera nods, and pours Sean a glass of milk. Brody
sighs, and heads out the door. Sean calls after him.
SEAN
Bye, Daddy. I’m going to be careful,
all day.
CUT TO
54 OMITTED 54
55 EXT. OCEAN - DAY 55
Sitting snug and ship-shape on Mike’s Green Machine are Mike,
Andy, Brooke, and Jackie. They are heeled over in a brisk wind,
making good headway; sailing nearby in the b.g. are Patrick and
Lucy and Donny and Denise, in their boats.
LUCY
(from her boat)
Where’re we going?
ANDY
Oh, out a ways. Maybe the lighthouse.
BROOKE
The lighthouse?
ANDY
No big thing, we’ll see who’s out
there, maybe picnic.
MIKE
We got some stuff at the store. Ed
and Tina are going to be there.
BROOkE
Oh, sure, they would be.
JACKIE
What’s the lighthouse?
MIKE
It’s an island, near here, with a
lighthouse. We sometimes hang out
there, you know....
JACKIE
Great. I got some wine.
She opens her big floppy bag, revealing the top half of a
jug of Mountain Red. Brooke slides over to her.
56 ANGLE ON BROOKE AND JACKIE 56
BROOKE
(aside)
The lighthouse is a make-out spot.
JACKIE
Now I really want to see it.
BROOKE
You going to fool around with Mike?
(Jackie shrugs)
Well, I’m not doing anything with him.
She indicates Andy, who pretends great indifference.
JACKIE
Well, maybe I will, then.
Andy does about a triple take before he regains his cool.
Mike concentrates on his sailing, Jackie grins an impish,
vixen grin, Brooke shrugs.
CUT TO
57 57
thru OMITTED thru
62 62
63 EXT. LIGHTHOUSE - DAY 63
A spectacular view from the top of the old lighthouse, show-
ing ocean, sandy beach, some of the Kids’ catamarans pulled
up on the sand, other pleasure boats cruising in the b.g.
Ed and Tina are running down the stairs, laughing.
ED
Come on back up here!
TINA
Nope.
ED
Give me back my hat!
TINA
Double nope!
64 ANGLE ON THE SAND 64
where Andy, Mike, Jackie, and Brooke are camped around a
blanket listening to a portable radio. Ed and Tina run by.
ANDY
Why’d they decide to move?
BROOKE
Too hot in the lighthouse?
MIKE
Too hot tor those two? I can’t
believe it.
JACKIE
Is there something I don’t know
about?
BROOKE
I told you, remember?
JACKIE
Oh, yeah. So why aren’t they
doing it now?
There’s a little round of giggling.
ANDY
Maybe by now they are.
MIKE
They’re moving pretty fast.
JACKIE
He’s cute....
65 ANGLE ON ED & TINA 65
running towards a dune and over it.
66 ANGLE ON MASSIVE SHAPE 66
in f.g., covered with birds. Ed and Tina appear over the crest
of a dune, and the frame explodes in a flurry of seagulls,
suddenly disturbed. The whir and drumbeat of wings, and the
shrieking of the gulls is a jarring shock.
67 CLOSEUP - TINA 67
reacting.
TINA
Yech!
68 HER POINT OF VIEW 68
The huge hulk of a beached, decomposing dead whale, a few
birds still pecking at scraps of blubber and entrails. Big
festering red holes mark its sides.
DISSOLVE TO
69 LONG SHOT - SAND AND WHALE 69
From the top of the lighthouse, we can see a group of
interested spectators, clustered around the whale like ants
at a picnic. A few more boats are beached and riding at
anchor just off the shore, including the Amity police boat.
Three Ants are walking towards the crowd, one of them
gesturing.
CUT TO
70 ANGLE ON BRODY, HENDRICKS AND A WOMAN 70
She’s Lureen Elkins, a marine biologist from the Oceanographic
Institute, and she’s skeptical. Brody is the ant whose
antennae were waving in the long shot.
BRODY
As soon as I heard about it, I
called you. This thing is big!
His arms indicate big.
ELKINS
After we’ve looked, we’ll talk.
HENDRICKS
This is it.
He moves forward to clear the crowd. Some kids are poking
the massive hulk with sticks. A tourist couple is snapping
away with a Polaroid SX-70. The whole mess stinks, too.
HENDRICKS
Move back, please...back off...
open it up a little....
The crowd edges back, giving way to Brody and Elkins.
BRODY
See? What’d I tell you?
71 ANGLE ON THE WHALE 71
Brody is holding a handkerchief to his nose as he approaches
the dead thing, indicating a huge open wound on the side.
BRODY
Look at that:
ELKINS
First things first.
She produces a tape measure and gives one end to Brody.
ELKINS
From the tip of the snout, please.
Elkins is measuring the length of the creature. She calls
off numbers to Hendricks, who is officiously writing it all
down, repeating numbers as he hears them.
ELKINS
Length, 22 feet, 8 inches.
BRODY
Come on, let’s check the bite
radius.
ELKINS
(cold)
The what?
BRODY
Bite radius. You know, the size of
the mouth?
ELKINS
The whale’s mouth?
BRODY
The Shark’s mouth.
ELKINS
What shark?
Brody pitches his voice low, so that the crowd won’t listen.
BRODY
The shark that did this. It was a
shark, wasn’t it?
ELKINS
We don’t know that, do we?
BRODY
But that’s what we’re here to find
out, right?
ELKINS
You don’t tell me my job, and I
won’t tell you about yours, okay?
HENDRICKS
I can’t hear you if you’re going
to whisper.
MIKE
Can we go now?
He turns to join the kids as they slip through the crowd to
return to their blanket, ad-libbing good-byes.
BRODY
(to Mike)
You stay here a minute.
MIKE
Oh, c’mon.
BRODY
You heard me.
JACKIE
We’ll be over by the lighthouse.
MIKE
I’ll be right there. Wait up.
They hang around, waiting for him. Elkins has reclaimed
Brody’s attention.
ELKINS
Could be a shark. But maybe not.
BRODY
Look, I know a little bit about
sharks.
ELKINS
Do you?
BRODY
I know that this was probably a
Great White Shark. Car-cadon...
Caradan....
He fumbles for the correct Latin.
ELKINS
(helping out)
Carcharadon Carcharias.
BRODY
That’s it.
ELKINS
Okay, so that’s it.
BRODY
Is there one in these waters?
ELKINS
What makes you think there might
be?
BRODY
Because this big fish has been
bitten by some other big fish....
ELKINS
This is a mammal, not a fish.
BRODY
Jesus, don’t quibble with me. I
want to know if a Great White
Shark did this.
ELKINS
Probably.
BRODY
That’s it? Probably? Look,
sharks are attracted by blood,
and thrashing around....
ELKINS
And sound.
BRODY
(this is a new one)
Sound?
ELKINS
Sound. Like sonar, or radar.
They home in on irregular sounds,
unusual sounds, any rhythmic low-
frequency vibration.
BRODY
So there’s one around here.
ELKINS
Not necessarily. These wounds
could’ve been inflicted 30 miles
out to sea, or more. None of them
are immediately fatal. Currents
could’ve carried the body 10 miles
further.
HENDRICKS
(chiming in)
We got a helluva tide this month.
BRODY
Could you just keep that crowd
back, please?
MIKE
(fidgeting)
Pop....
BRODY
You stay right here. You’re going
in with me.
72 ANGLE ON BRODY AND MIKE 72
As Elkins examines the whale, calling her observations to
Hendricks.
MIKE (simultaneous) ELKINS
We came out in my boat. Lower jaw displaced and lacer-
ated by predator attempt to
BRODY seize the tongue. Additional
Andy can sail it in. large tissue loss in the dorsal
and sub-dorsal areas, as well
MIKE as the caudal. Oriamal bite
I got a date! radius 37 inches, allowing for
salt-water erosion and subse-
BRODY quent small predator and
She’ ll understand. scavenger tissue attacks....
MIKE
She won’t.
The Kids have moved a little closer to hear what’s going on
between father and son.
BRODY
I don’t want to discuss it.
Elkins crosses to Brody.
ELKINS
It’s either a Great White, or
another killer whale.
BRODY
Can’t you tell?
ELKINS
Not when it’s like this. This
animal has been ashore for 10,
12 hours, and drifting for a day,
at least. Every little nibbler in
the sea’s taken a bite.
BRODY
Look -- can Great White Sharks
communicate? Send out signals,
or something? You know, take
revenge, sense an enemy....
ELKINS
Don’t be ridiculous -- Sharks don’t
take things personally.
MIKE
Dad, please....
Brody turns on him. This at least, is something he can do
something about.
BRODY
No more sailing. You come back
with me, and that’s it.
MIKE
Why me?
BRODY
Because I say so.
ANDY
I’ll tie up at the town dock, don’t
worry, man.
JACKIE
See you later, Mikey....
ED AND TINA
Later, bye... (Ad lib).
73 OMITTED 73
DISSOLVE TO
74 INT. AMITY TOWN HALL - DAY 74
Vaughn and Brody enter, walking through the spare, empty town
meeting hall, towards the conference table. They are alone.
VAUGHN
I’m showing summer rentals. We
got a helluva season going.
BRODY
We have got to talk, and we have
got to talk alone.
VAUGHN
We’re alone.
BRODY
Larry, I don’t know how to say this,
but I think we got a shark problem.
A real one.
Vaughn stares at him, then unlocks the door to his private
office -- "Mayor" -- and leads Brody in.
75 INT. VAUGHN’S OFFICE - DAY 75
Small, expensively furnished in antiques, with a few symbols
of Amity boosterism cluttering one wall: a photo of the beach,
featuring a shark tower; an architect’s rendering of the new
Holiday Inn, some charts and graphs showing upward progress,
a few stills of businessmen’s luncheons, plaques, awards, etc.
VAUGHN
Are you serious?
BRODY
Of course. Look -- I’ve got some
missing persons, fatalities,
evidence of a large predator....
VAUGHN
No one has seen a shark -- no fin,
no bites, nothing. Be realistic.
BRODY
I got a feeling. I have to act on
it -- you can understand that,
can’t you?
VAUGHN
Of course I can, but can’t it wait?
These things cost money, and this
town doesn’t have much money.
BRODY
We have to do something.
VAUGHN
We have done something -- hell, we
damn near went broke putting up a
shark watch tower on the beach --
it’s the only one in 2000 miles,
y’know.
BRODY
I know, I know....
VAUGHN
And I stood by while you told the
people from Ramada and Marriott
that if they put up a hotel they’d
need $800,000 worth of steel net
around their beaches! In New England?
We all lost on that one.
BRODY
It’s still a good idea.
VAUGHN
Martin, when we build up our tax
base a little, you can have every-
thing you want; right now, the
town’s broke.
BRODY
Please, Larry -- there’s good reason.
Those water skiers....
VAUGHN
(interrupting)
A tragedy. But that was a boating
accident; no bites, no sharks,
nothing but a boating accident.
BRODY
Two of them are still missing!
VAUGHN
There’s always deaths in these
waters that never turn up. Are
they all shark victims?
BRODY
Maybe they are!
Brody’s overstated his case, and he realizes it.
VAUGHN
Bullshit.
BRODY
(shouting)
Bullshit? I’ll give you bullshit
-- there’s a dead whale out there
with bites all over it!
VAUGHN
(shouting back)
What am I, an ass? When you called
me, I called Elkins, and her bosses.
Nothing she saw is proof of anything.
BRODY
Someone has to do something.
VAUGHN
(back in control)
Don’t push it this time. If you
do, it won’t turn out the way you
want, I guarantee you that.
The two men study each other for a long moment. Then,
VAUGHN
I’ve got to get back to work.
He holds the door for Brody, who walks out as Vaughn lags be-
hind, locking up his sanctum.
CUT TO
76 EXT. AMITY BEACH ROAD - DAY (DUSK) 76
Brody is alone in the jeep, headed for the safety of home and
family. He drives past the town’s billboard: it’s covered
with an architect’s rendering of the Amity Holiday Inn . The
sign reads: "WHEN IN AMITY, ENJOY THE HOLIDAY INN."
Plastered across it is an added streamer: "NOW OPEN." Barely
visible underneath are older notices: "UNDER CONSTRUCTION,"
and "OPENING IN JUNE."
As Brody passes the sign, he impulsively swings off the main
road and heads down towards the beach.
77 EXT. BEACH - DUSK 77
Brody is on restless patrol, checking the water’s edge as he
continues on home. As he drives along, he sees: a clambake;
some teen-agers in a group, necking and dancing; and a few
solitary surfcasters and fishermen.
The beach is deserted, the sun is setting, and Brody and his
jeep have the sand to themselves. It’s then that he sees
something:
78 BRODY’S POINT OF VIEW 78
A big bow section of a ruined, burnt boat is bobbing in the
surf just off the beach ahead. It’s a piece of the water-
skiers’ boat; Brody heads towards it.
79 ANGLE ON THE SURF 79
As Brody slows his jeep just short of the water, and gets out
to look at the flotsam. His shoes get wet. He backs up onto
dry sand, then tries to edge closer to examine this object.
It bobs up and down in the surf; Brody makes "Get in here"
motions. The junk resists.
BRODY
Come on, give a guy a break.
No response. He takes off his shoes and socks, and rolls up
his trouser legs. A silly sight. He wades into the water
after it.
BRODY
Come on. Here boy. Come to
Poppa....
It eludes him, and he flounders after it. A big wave breaks
across his crotch.
BRODY
Hoo! Cold!
He’s almost there, it’s just beyond his reach, he’s got it,
he’s lost it, he has it again, it’s slippery....
BRODY
(ad lib)
Come here. Come on, Sweetheart.
You bastard. A little closer...
Here y’go....
Then, he’s got it ---
BRODY
(exultant)
Gotcha!
80 CLOSE ON BRODY IN THE WATER 80
As he grabs the ruined wood, and pulls it towards him. Sud-
denly, the mass of wreckage breaks apart, and something
lunges out of the mess and into Brody.
81 SHOCK CUT CLOSEUP - "THE THING" 81
Brody is suddenly pinned under a soggy charred horror; the
gory remains of Diane, burnt beyond recognition,: flesh peeled
away, discolored, charred, ruined by days in salt water. He
screams, and scrabbles in the wet sand, trying to get out
of the dreadful clutches of the half-human thing he’s dredged
from the water.
82 ANGLE ON BRODY 82
Extricating himself, puking, retching, splashing water on his
face, washing his hands frantically, just behind him, The
Thing lying on the sand, a gruesome joke played by the sea.
DISSOLVE TO
83 INT. BRODY’S OFFICE - NIGHT - EXTREME CLOSEUP - CYANIDE BOTTLE 83
Macro close on a pharmaceutical bottle of Sodium Cyanide,
from which a syringe is withdrawing a healthy dose. Follow
the syringe and reveal Brody, working at his desk in the
deserted office. He is injecting the deadly chemical into
some jacketed .38 hollow-point ammunition; a dozen cartridges
are lined up in neat array, he is filling the last of them,
sealing the points with wax from a burning red candle. The
radio scanner is monitoring the local police band: routine
reports faintly in the b.g. -- a slow night in pre-season Amity.
84 ANGLE ON BRODY 84
As a sound at the door makes him look up. He hides the odd
gear as Hendricks enters, starched and crisp in his uniform.
HENDRICKS
Chief?
BRODY
In here.
HENDRICKS
I missed you at the funeral home.
Santos said you were here.
BRODY
You didn’t miss much. Christ, what
a mess.
HENDRICKS
Positive I.D.?
BRODY
The woman passenger on the boat
that blew up.
HENDRICKS
Oh.
There’s an awkward pause. Brody sees the box with the divers’
stuff sitting where it was left earlier.
BRODY
What about that camera?
HENDRICKS
What camera?
BRODY
That one -- from the wreck. You
brought it up, did you look inside
it?
Hendricks’ guilty look confirms he didn’t.
BRODY
Well, what the hell -- might be
something worth seeing. Take it
somewhere and see if there’s film
in it....
HENDRICKS
(catching on)
If there is, develop it!
BRODY
You got it.
The Deputy rummages in the locker, happy to be on the trail.
HENDRICKS
I know just where to go.
BRODY
Not the drugstore!
HENDRICKS
Of course not, They’re closed.
Phil Fogarty’s place. He’ll do it
for me.
BRODY
The drugstore’s closed? What the
hell time is it?
HENDRICKS
Nine-thirty, ten maybe.
BRODY
Shit -- I’m late for dinner...
Close up, okay?
And he runs for the door, the speed-loaders with the Cyanide
bullets safely in his pocket.
BRODY
(at the door)
Oh yeah -- I’m expecting a long
distance call, very important.
Give them my home phone.
HENDRICKS
Right.
Brody pats his pockets to make sure the speed-loaders are
safe inside, then exits. As Hendricks watches him go,
85 OMITTED 85
CUT TO
86 EXT. BRODY HOUSE - NIGHT 86
Brody’s jeep pulls up, and he gets out, beat. He is slouching
towards the door when he hears the phone ring inside. He
perks up, and starts to move faster.
CUT TO
87 INT. BRODY HOUSE - NIGHT 87
Ellen is on the phone in the den as Brody enters the house.
The Kids are on the floor in front of the TV, playing an
electronic video game that pings and beeps softly under the
following.
ELLEN
(into the phone)
Thank you. I’ll tell him.
BRODY
For me?
ELLEN
(hanging up)
Sort of -- Mathew Hooper is aboard
the research vessel Aurora, presently
in the Antarctic Ocean, and won’t be
in radio range until half-past next
spring.
BRODY
Damn.
He starts upstairs, casually concealing the towel-wrapped
package of gun and ammunition.
MIKE
Is Hooper coming to dinner?
BRODY
Not till next year.
He goes upstairs, Ellen waits a few beats, then follows him.
CUT TO
88 INT. BRODY HOUSE - UPSTAIRS - NIGHT 88
Brody comes up the stairs and goes into the bedroom, where
he carefully puts the gun in the bed table. Ellen finds him.
BRODY
Oh, hi -- How was dinner?
ELLEN
Oh, perfect -- a 75 per cent family
affair. Where were you?
BRODY
(getting up)
Santos’ place.
They both know what that means -- the morgue. Brody goes
into the bathroom and starts scrubbing his hands compulsively.
89 INT. BRODY HOUSE - BATHROOM AND HALLWAY - NIGHT 89
Ellen follows Brody, watches as he washes under too-hot
water.
BRODY
Oww!
ELLEN
Careful. What’s wrong?
BRODY
Nothing.
ELLEN
Nothing, huh?
BRODY
That’s what I said. Is there any
of that hand cleaner stuff?
ELLEN
Use the little brush there. Why
were you at Santos’?
BRODY
Found one of the missing victims
from that boat deal.
ELLEN
Oh. Want to talk about it?
BRODY
No.
ELLEN
Terrific.
Mike comes up the stairs, and is starting into his room when
Brody spots him; Sean is just behind him.
BRODY
Michael.
MIKE
Yeah?
BRODY
You want to come here a minute?
Mike shrugs and crosses to his father; Sean whizzes past on
into his room.
SEAN
Hi Dad.
BRODY
Hiya yourself.
MIKE
What is it?
He expects something: this is a formal audience with the
Head of The House.
BRODY
I got something for you to do
tomorrow.
MIKE
I kind of had plans....
BRODY
Sailing?
(Mike nods)
Forget it. You’re beached.
Grounded. No more boats.
MIKE
Hey, come on....
BRODY
No backtalk! I spoke to Upton, at
the beach, and he’s got a job for
you there. You can work until
school starts.
ELLEN
All summer?
BRODY
He wanted a job, he’s got one. I
want to see that boat out of the
water by tomorrow night.
We see Sean’s door opening as he peeps into the hall to see
what the fuss is about.
89-A ANGLE ON SEAN’S DOOR 89-A
It opens a few inches, he looks out at the grownups and his
brother, decides he wants no part of this, and quietly
closes the door.
MIKE (o.s.)
Dad, please....
BRODY (o.s.)
Tomorrow night. Out of the water.
89-B ANGLE ON THE HALLWAY 89-B
Mike silently storms into his room, not-so-silently slamming
the door as he exits. From inside the room, loud rock music
muffled behind the door -- an expression of teen-age rebel-
lion.
ELLEN
Not so loud!
The music lowers its volume. Brody turns to go into the
bedroom, to take his shoes off, to go to bed....
BRODY
I know what you’re going to say.
ELLEN
Do you?
BRODY
(on the bed)
In the city, it happened all the
time -- some Kid o.d.’s on a rooftop,
top, a drunk gets cut in pieces
under the Brooklyn local, old
people die alone in shitty
apartments and three weeks later
someone calls the cops because of
the smell and the flies. Call the
cops. What are we, immune?
ELLEN
It was bad, wasn’t it.
BRODY
The goddamn smell is always the
same.
(he shudders at
the recollection)
ELLEN
Are you going to be able to sleep?
BRODY
Yeah. I think so.
(he raises
his voice)
Mike! Keep it down, for chrissake!
Ellen gets up, and quietly closes the door. The upstairs
hallway is empty, the doors closed. The Brody household
compartmented and closed for the night.
DISSOLVE TO
90 EXT. AMITY BEACH - DAY 90
The familiar striped cabanas flank the white sands; there’s
a crowd of midweek seasonal tourists and locals oblivious to
the tall steel tower that dominates the beach.
A classy van outfitted for passengers pulls into the parking
area, followed by Vaughn’s Cadillac; the parking attendant
waves them into a preferential area, where they disembark:
Vaughn, Peterson, Ellen, and some more prospects, including a
woman named Bryant and her daughter, Renee.
PETERSON
This is the town beach; the devel-
opment naturally has its own
private access, but I wanted you
to see the concession area. Look
at that sand -- like sugar!
He scoops up a handful of the fine powder. Ellen directs the
attention of the photographers.
ELLEN
During the summer, the sun sets
right there...
(she points)
Over the water. Beautiful.
VAUGHN
(to Ellen)
I’ll say hello for you.
Ellen nods, preoccupied. Vaughn strolls away, headed in the
direction of the cabanas. Mary Nichols, a local Selectwoman,
emerges from behind the counter of one of the concessions.
NICHOLS
Hello -- selling some more of the
good life?
ELLEN
A piece here, a piece there, it
all adds up.
NICHOLS
Your husband’s been here all morn-
ing. What’s he doing?
ELLEN
(good-naturedly)
His job.
Michael Brody, dressed in township workman’s coveralls, is
repainting some flaking woodwork. Sean is happily mixing
paint. Vaughn joins them.
VAUGHN
Your dad got you working?
MIKE
Yeah.
He continues his chore, without enthusiasm.
SEAN
I’m helping.
VAUGHN
You know where your dad is?
MIKE
Up there.
He points at the tower.
VAUGHN
Oh, for Christ’s sake.
He crosses briskly to where Peterson is finishing.
PETERSON
And if you have any questions
about recreational possibilities,
Ellen Brody here will be happy to
answer them.
VAUGHN
Len, can I see you a minute?
Peterson excuses himself and joins the Mayor.
PETERSON
I think we got a couple of live ones.
VAUGHN
Brody’s riding his tower.
PETERSON
(looking up)
Oh, shit.
91 BRODY IN THE TOWER 91
sweeping the water with binoculars, restless eyes trying to
scan everything, a grim watchman high over the heads of the
unseeing crowd.
92 ON THE WATER 92
Larry Vaughn, Jr. comes skimming in close to the surf. Bob
is handling the sheets, Larry is giving young Jackie sailing
lessons -- at the moment he’s showing her how the tiller
works. He’s on her like glue.
JACKIE
This is fun! Can we go faster?
LARRY
(to Bob)
Trim.
Bob does, Larry trims the main, and the hull lifts.
JACKIE
Yay!
She snuggles in Larry’s arms. He waves to someone.
LARRY
That’s my dad!
Jackie waves without seeing.
93 ON THE BEACH 93
Vaughn waves back, preoccupied. Near him, Mike Brody looks
up, his face grim, jealous, and now a little nuts. He
splashes paint onto the wood with angry abandon.
VAUGHN
(to Peterson)
Wave to my son.
PETERSON
(waving)
How the hell do we get him down.
from there?
VAUGHN
Maybe nobody will notice. Let’s
get them back in the bus.
Mrs. Bryant approaches them, tugging her daughter.
MRS. BRYANT
Renee wants to know what that man
is doing way up there?
PETERSON
He’s, ah, watching. A lookout.
MRS. BRYANT
For what?
RENEE
(a precocious
little girl)
It’s a shark tower. I saw one in
Florida. He’s looking for sharks.
VAUGHN
It’s an observation platform.
That’s our Chief of Police. He’s
just checking it.
PETERSON
Normally, it’s used for, ah, bird-
watching. Nature observation.
Weather measurements, that sort
of thing.
(a little
desperate)
Ellen, we’re running late!
ELLEN
Okay. Folks, if we could get back
on, we’ll show you the country club,
and stop for lunch....
At the mention of lunch, the prospects, all hungry, begin
flocking back into the van. Peterson herds them along.
PETERSON
The country club has an 18-hole
course, putting greens, and twelve
tennis courts....
CUT TO
94 BRODY iN THE TOWER 94
still scanning. His body suddenly tenses. There’s something
out there. He mashes his binoculars to his eyes, trying to
get a better look.
95 HIS POINT OF VIEW (PROCESS) 95
Through the binoculars, something big and black, moving
under the buoys and into the swimming area.
96 BRODY AGAIN 96
He can’t believe it. But looking past him, we can see it with
the unaided eye: a seething dark mass, moving through the
water towards the unprotected bathers.
BRODY
(screaming)
Out of the water! Everyone out
of the water!
No one can hear him. A few little faces look up, unable to
catch what he’s saying. He starts climbing down the ladder
shouting.
BRODY
Get out of the water! Tell every-
one to get out: Now: Out of the
water!
97 ANGLE ON PETERSON, VAUGHN, AND NICHOLS 97
reacting.
VAUGHN
(recalling
another panic)
Oh, my God....
PETERSON
What the hell is he doing?
NICHOLS
Oh, no!
97-A ELLEN, MIKE, AND SEAN 97-A
looking up, startled at Brody’s sudden panic.
98 THE WATER 98
The dark mass almost on top of the swimmers, who are starting
to look around. Most of them are oblivious to what’s happen-
ing on shore.
99 FOLLOW BRODY 99
as his feet hit the sand and he starts running for the water,
fumbling for his gun and the speed-loader with the cyanide
bullets. He is bumping into people, knocking little kids
over, stepping on blankets and umbrellas, a madman.
BRODY
Out of the water! Now! Everyone!
99-A VAUGHN 99-A
running too, half-stumbling, half-believing, remembering....
99-B ELLEN 99-B
moving after her husband, while Mike steadies Sean, holding
the impulsive kid back.
ELLEN
(seeing
something)
Martin! No!
99-C ANGLE ON BRODY AGAIN 99-C
The gun is out now, he’s trying draw a bead on the shape
in the water; chest heaving, he tries to steady his shaky
grip. People see the gun and scream, throwing themselves
flat on the sand, running, some of them going into the water.
BRODY
No! Don’t go in! Stay out!
Stay clear!
He fires. Again. Bullets ricochet off the water, howling
towards the horizon. Real panic now. Four more shots.
Reloading, ejected rounds falling bright into the sand, Brody
on his knees, fumbling with bullets.
99-D ANGLE ON A LIFEGUARD 99-D
standing on his platform, shocked, watching the Chief of
Police fumbling with his gun.
LIFEGUARD
It’s bluefish! It’s a school of
bluefish! Chief! It’s bluefish!
100 ANGLE ON THE WATER 100
It is bluefish -- a tight mass of them, churning up the water
in a dark, dense group. The swimmers look around, confused
by the shots and excitement.
A SWIMMER
What’s going on?
ANOTHER SWIMMER
Fish! Anyone got a net?
3RD SWIMMER
Someone get me a rod and reel!
Laughter defuses the tension in the water; bathers move
around, some getting closer to see the fish, others leaving
the water to join friends and families on the sand.
101 ANGLE ON THE BEACH 101
where Brody is now standing, panting, coming down as a crowd
collects at a safe distance around him: Ellen emerges from
a group that includes Vaughn, Peterson, and Nichols.
BRODY
Sorry. I’m sorry. False alarm....
Curious crowd murmurs as they watch this lunacy. Brody
realizes he’s fired his weapon, that spent shells litter
the sand at his feet.
BRODY
Okay, it’s all over, go on, it’s
over. No trouble....
Ellen joins him.
ELLEN
It’s okay. It’s over....
Brody drops to his knees, fumbling for the cyanide bullets
in his gun, trying to put things in order, scrabbling in
the sand for the empty shells.
The crowd is curious and embarrassed. Some turn away, others
drift back to their blankets, talking about what’s just hap-
pened, others stare rudely. Brody is coming apart.
BRODY
It’s all right, everything’s all
right....
Sean emerges from the crowd, and helps his daddy pick up the
bullets, Ellen moves to disperse the rudely curious.
ELLEN (o.s.)
Let’s go, everyone...Mrs. Bryant,
Len, please....
101-A CLOSE ON BRODY AND SEAN 101-A
He sees Sean, his eyes fill with tears, and he grabs the kid
in a fierce hug.
DISSOLVE TO
102 INT. TOWN HALL - DAY 102
A hurriedly called meeting of the town’s Selectmen is in
session: Vaughn, Peterson, and three others: Kaiser, an
old man still in his grocery clerk’s apron; Sansom; and
Nichols, the woman on the beach.
VAUGHN
Brody’s a good man.
KAISER
Nobody says he isn’t.
PETERSON
You should’ve been out there. You
should’ve seen him waving that gun,
like a maniac. There were shots
fired!
VAUGHN
He thought he had a good reason.
MS. NICHOLS
But that’s not rational behavior!
PETERSON
That’s what I’m saying!
VAUGHN
How many people were there?
MS. NICHOLS
Hundred! Literally hundreds.
What are they going to say about us?
PETERSON
(to Vaughn)
Larry, I’m a businessman, trying
to make a buck like anybody else.
VAUGHN
So? So?
PETERSON
So it can’t be done like that. The
man’s a menace, plain and simple.
VAUGHN
Look, what am I supposed to do?
It’s done, it’s over. We have to
deal with the consequences.
SANSOM
That’s what we’re here to do.
VAUGHN
All right. Let’s go into my
office, where we can have a little
privacy.
103 ANGLE FROM INSIDE VAUGHN’S OFFICE 103
as the selectmen troop into the cramped quarters. Vaughn
deliberately closes the door as they find seats around
the room.
VAUGHN
I believe we have a quorum, and
informally, I suggest we call this
meeting an executive session and
dispense with minutes....
CUT TO
103-A INT. BRODY’S OFFICE - DAY 103-A
Brody, alone, is sitting at his desk, morosely studying a
little gold statuette of a pistol marksman. What’s done
is done, and Brody is trying to figure out how to live with
it. The phone rings, is answered in the other room. The
buzzer sounds. Brody picks up his end.
BRODY
Polly, no calls, please...
(she insists)
Okay, okay.
(he punches
a button)
Hello...Phil? Fogarty?. . .What
pictures.. I’ll be right down....
He slams down the phone and gets up to go, suddenly possessed
with a purpose.
CUT TO
104 INT. DARKROOM - DAY 104
Amid the equipment, clutter and proofs, some shots of the
holidome opening, drying on wires. Phil Fogarty, the indig-
nant fat man and town photographer, is locking the door
behind an impatient Brody.
PHIL
I don’t know what you did, but that
kid stopped. I haven’t heard one
peep, not one ’breaker breaker’
for days. Believe me, it’s a
pleasure....
BRODY
You said something about a camera.
PHIL
Sure, sure -- Jeff Hendricks
brought in this camera, see, from
underwater, and I didn’t know how
to get it open, but my brother-in-
law, in Montauk, he works at a hi-
fi store, and they sell cameras,
so he....
BRODY
(interrupting)
Did you get any pictures?
PHIL
Well, yeah, I did, that’s the
funny thing. You can’t tell much
from the negatives, I was going
to blow ’em up. Here’s a test
I did....
He holds out an 8 x 10 proof, Brody snatches it from him.
104-A INSERT - PHOTOGRAPH 104-A
Brody stares down at it. Sure enough, the ghostly outlines
of the Orca, underwater, a diver on the deck making a
gesture at the camera.
BRODY (O.S.)
Oh, Jesus. That boat....
105 ANGLE ON BRODY AND PHIL 105
PHIL
Not bad -- that’s a real fast
lens, probably 1.4. Look at the
diffusion, though....
BRODY
What else you got?
PHIL
Let’s see -- you got a minute?
BRODY
Come on, Phil, don’t jerk me around.
PHIL
Okay, okay -- stand over there....
He gestures, Brody steps to one side of a table with some
big enamel pans for washing and developing prints. Phil
switches to a red light, and takes some printing paper,
putting it under the enlarger.
105-A QUICK CUTS: 105-A
-- Enlarger light going on.
-- Timer ticking, the hand turning.
-- Quick negative images: water, boat, diver, hand, boat
again, tantalizing fragments of the opening sequence
projected on the enlarger’s flat base.
-- Hypo and Developer sloshing in a pan under Phil’s hands.
-- Brody staring down.
106 INSERT (PROCESS) 106
Quietly gaining contrast in a pan of developer, a print of
what at first looks like seaweed, then is unmistakably the
grinning jaws of the Great White.
106 SUBLIMINAL FLASH CUT - SHARK 106
A quick nightmare vision of Brody, alone in a sinking Orca,
trapped in a battered cabin interior; a Great White crashes
through the glass, its head huge as it lunges.
106-A INSERT PHOTOGRAPH IN DEVELOPER (PROCESS) 106-A
The close-up detail of this otherwise blurred and unreadable
photo is unmistakably a detail from a very close view of the
snapping jaws of a Great White; if you hadn’t seen it as a
memory, it would make no sense at all. For Brody, the meaning
is all too clear; for anyone who’s never seen the monster
face-to-face, it’s nothing.
BRODY (o.s.)
(shaken)
That one there. That one....
Phil’s hands, holding plastic tongs, gently slosh the print
in the bath. The shark’s features are indistinguishable from
the surrounding detail.
CUT TO
107 EXT. TOWN HALL - NIGHT 107
Brody walks into view, and starts up the steps into the town
hall, already lit from within. He’s carrying a large envelope.
108 108
and OMITTED and
109 109
110 INT. TOWN HALL - NIGHT 110
The Selectmen (Kaiser, Sansom, Nichols), Len Peterson, and
Vaughn are seated informally around the big table.
PETERSON
(looking up)
Speak of the devil.
Brody enters, carrying the envelope with the photo.
BRODY
Thank God you guys were all together.
I got something for you. Proof!
VAUGHN
Martin, this is kind of an official
meeting
BRODY
Perfect. Look at this ---
He fumbles with the envelope.
VAUGHN
Chief -- the Board of Selectmen
has a question only you can answer.
BRODY
(preoccupied)
What?
PETERSON
Is Jeff Hendricks qualified to fill
in as an interim Chief of Police
in your absence?
BRODY
Temporarily? Uh...sure....
The question’s out of left field. Why are they asking?
NICHOLS
So Jeff could handle things? He
knows the routine, he has the
authority?
BRODY
Yeah. Why?
PETERSON
It came up during the meeting.
BRODY
Look -- I just got this from Phil
Fogarty. It was in the camera
belonging to the missing divers.
It proves I was right, all along.
He throws the picture down in front of them. They bend over
to study it, pass it around, look at it.
KAISER (simultaneous) NICHOLS
Seaweed? It’s underwater, isn’t it?
That’s why it’s so dark.
SANSOM
I don’t know -- what is it?
BRODY
It’s a shark! A Great White!
Jesus, it’s right there!
He snatches up the photo.
111 INSERT PHOTO 111
Just as before, an ambiguous pattern of light and dark; not
proof of anything without Brody’s inner vision.
VAUGHN (o.s.)
It’s nothing I can see.
112 ANGLE ON BRODY 112
waving the picture.
BRODY
What are you all, blind? It’s a
shark. Look -- teeth, jaw, gills.
PETERSON
Is that what it is?
BRODY
You’re damn right that’s what it is.
NICHOLS
I’m sorry, I just don’t see it.
Sansom and Kaiser agree, ad lib, "That’s nothing...."
VAUGHN
Martin, it could be anything.
BRODY
(exploding)
What the hell does it take to make
sense to you numbskulls? Jesus,
it’s right there in front of you.
I know what a goddamn shark looks
like, I’ve been through it, don’t
you understand? I’ve seen this
sonofabitch before!
The Selectmen look at each other in the face of Brody’s
agitation. Tempers are running high.
PETERSON
What have you seen before? This
is nothing. Seaweed. Mud. Some-
thing in the lens.
BRODY
My ass!
VAUGHN
Be reasonable, please....
PETERSON
(to Vaughn)
Forget it, he won’t listen.
BRODY
There is nothing to discuss.
PETERSON
(blowing up)
Will you listen to this man?
Will you just listen to him?
(to Brody)
You really caused a panic on a
public beach, you shoot up the
place, God knows who could’ve been
injured -- what if somebody de-
cides to sue us? That could ruin
us.
& |
