JAWS – Darkest Waters Script
JAWS: DARKEST WATERS is a sequel, principally, to ‘Jaws’ , but acknowledges de facto the events in ‘Jaws 2′.
In as much as ‘Jaws 3′ and ‘Jaws – The Revenge’ refer to the character of Martin Brody subsequent to the events of the first two movies, and creates ongoing storylines for members of the Brody family subsequent to the events of the first two movies, these subsequent events will be treated as not having occurred for the purposes of the JAWS: DARKEST WATERS storyline.
The SOUND of a WHIPPING WIND, blowing off the sea.
1 HIGH / LONG AMITY CEMETERY EXT. DAY
It is a cold, crisp, brilliantly lit Spring day. Amity Cemetery is situated atop a bluff overlooking the ocean.
We are joining a nearly completed burial service. The HIGH / LONG SHOT is DOWN THROUGH the newly budding branches of a tall tree, TOWARDS a funeral party of fifteen people (MOURNERS), their backs to us, who stand in front of a freshly dug grave. From this distance, A TOUCH OUT OF FOCUS, none of the MOURNERS are recognizable to us.
A PRIEST, an open Bible in his hand, FACES TOWARDS CAMERA from the far side of the grave. Behind him, the crystal blue ocean – filling the BG panorama of the SHOT – twinkles beyond the edge of the high bluff.
Everyone’s clothing and hair is blown by the crisp wind.
As the PRIEST speaks, so the CAMERA begins to MOVE LOWER DOWN (STILL SHOOTING THROUGH THE BRANCHES OF) the tree.
And so we say farewell to Laurence Vaughan:
husband, father, mayor, neighbour, friend.
The long journey is over. Rest in peace.
The PRIEST closes his Bible. The MOURNERS stand in reverential silence for a moment, then they and the PRIEST start to disperse: all except a man and woman, who continue to stand by the grave.
2 START LONG: MOVE IN
CAMERA MOVES IN FROM LONG TOWARDS the backs of the man and the woman who stand by the grave: he stares down into the grave.
The woman puts her arm comfortingly around the man’s shoulder, and turns her face towards him. We see now, that it is ELLEN BRODY (aged in her mid-sixties).
Are you ok?
The man does not turn to ELLEN; he continues to stare downwards. He nods slowly. We recognise Martin BRODY’s voice – now in his late sixties.
BRODY sounds distant, lost in thought.
I’m ok. Look after Eleanor, I won’t be long.
ELLEN continues to look at her husband. She seems sad. She nods, turns, and begins to walk away.
3 HIGH / DOWN – TO GRAVE
FROM THIS ANGLE we now see into the gave in which the coffin lies. ELLEN is walking away OUT OF SHOT. BRODY – seen properly for the first time – continues to stare at the coffin. He looks old and tired.
4 FROM GROUND LEVEL UP ALONG CEMETERY PATH
The ANGLE is from the bottom of a gravestone, up the path. BRODY walks along the path TOWARDS CAMERA. He is looking ahead, but as he nears the (CAMERA POSITION) gravestone, he glances towards it, gives a sad, resigned sort of smile, and stops.
5 BRODY’S P.O.V
The gravestone reads:
Samuel John Quint – Born 1923, Died 1975
â€˜I must down to sea again, to the lonely sea and the sky.’
6 MED.CLOSE – BRODY
He stares down impassively for a moment, then quite unexpectedly a look of real anguish passes over his face. He sighs and shakes his head.
(softly, to himself – he speaks ironically)
The journey’s over…
THE CAMERA MOVES AROUND WITH BRODY (CONTINUING TO FACE HIM), as he turns to face the sea. He has a look of unfathomable intensity, as he stares piercingly towards the ocean.
7 VERY LONG – THE OCEAN
Crystalline blue, wind swept, empty.
BRIEF MAIN TITLES OVER A BLACK SCREEN – The words â€˜JAWS: DARKEST WATERS‘ in rich blue on black. Contrary to what we might expect, there is NO MAIN TITLE MUSIC, no Williams coda.
AFTER MAIN TITLE CREDITS, BLACK SCREEN.
BLACK SCREEN DISSOLVES TO WHITE SCREEN.
SLOWLY FADE IN:
8. BRODY’S P.O.V- BEACH-EXT.-DAY
THROUGHOUT, THE SHOT IS BLEACHED OUT, unworldly, uncomfortable.
SLOWLY FADING IN TO P.O.V, a nine year old boy stands in front of CAMERA / BRODY. The BOY is wearing swimming trunks and is carrying a yellow beach raft. He bears a strong resemblance to Alex Kitner: a character in the first movie.
The BOY is speaking to BRODY. His VOICE SOUNDS echo’y:
Mr. Brody…Mr. Brody…Can I swim now?
FAST CUT TO:
9. LONG – UNDERWATER
The UNDERWATER CAMERA RUSHES TOWARDS something in the murky distance, far ahead: at first, we cannot make out what it is.
The CAMERA RAPIDLY ARRIVES AT the shark. The BOY is clasped in the shark’s jaws. Blood is streaming and billowing from wounds in the BOY’s body. Shards of the yellow beach raft hang from the shark’s mouth.
The BOY is still alive. His underwater screams are hysterical, dreadful.
FAST CUT TO:
10. VERY CLOSE – BRODY’s CLOSED EYE
The closed eye blinks open. BRODY makes an AUDIBLE GASP. The pupil and iris of the eye is all jet black.
11. MEDIUM – BRODY HOUSE (Sitting Room) – INT – DAWN
The Brody’s still live in the same beach-front house as they did in 1975.
The CAMERA MOVES AROUND the orange-hued, dawn lit, sitting room, with its wide bay window giving a panoramic view of the beach and ocean outside.
The MOVING CAMERA FINDS Brody’s desk – still positioned in the bay window overlooking the ocean.
MOVING ON, we catch a glimpse through the window of the jetty where the young Michael Brody once moored his boat.
MOVING ON, we FIND a black and white framed photograph on the wall: taken in 1975, of Matt Hooper (in a suit), and Brody (in uniform), and between them Larry Vaughan – all of them grinning – who is presenting them both with plaques of commendation.
MOVING ON, we FIND BRODY, sitting hunched on the sofa, staring at the floor, dressed in his T shirt and boxers. In his hand, he grasps a large scotch.
Was it the same?
BRODY does not look up.
ELLEN, wearing a dressing gown, walks over to BRODY, sits down next to him, and puts her arm on his shoulder.
Why now…after all these years?
BRODY slowly looks up – ahead, not at ELLEN.
13. MED.CLOSE – BRODY
BRODY gives a dark, humourless smile, and takes a shot of whisky.
14. LOW / TRACKING – TOWN HALL – INT – DAY
LOW CAMERA TRACKS UP the centre aisle of the hall.
Up ahead, at the end of the aisle, a police officer SANDERS (aged 35), stands at a lectern. He is addressing the nine members of the town council, who sit behind a long table on a raised dais before him. SANDERS obscures the view of the chairperson, seated at the centre of the table.
The TRACKING CAMERA PASSES mainly empty chairs in the body of the hall – a few, not many, are taken by members of the public.
- two burglaries last summer, various breaches of civil
ordinance – again, during the season – and the incident
with a suspected felon last month.
14. MEDIUM: Dr Julie MENDEZ (aged 30) (A council member)
Who was a mere twenty-two years older than
the actual suspect.
15. MEDIUM: SANDERS
And had NYPD provided accurate information doctor,
we wouldn’t be discussing it.
16. ANGLE: MENDEZ
Yes, but what this demonstrates -
(She is interrupted.)
17. MEDIUM: BRODY
BRODY is dressed in casual shirt and jacket. He is the chairman of the meeting.
Is that even the police can make mistakes.
18. WIDE – THE COUNCIL MEMBERS
BRODY, at the centre of the council table, turns to MENDEZ who is further along the table. He gives her an â€˜old fashioned’, whilst friendly, look. She takes the message.
19. O/S of SANDERS – FAVOURING BRODY
BRODY looks towards SANDERS.
Thank’s Chief. We’ll take the report and come back
with any questions arising next time.
BRODY looks around the council members.
So, any other business ?
20. BRODY’s P.O.V – INTO THE HALL
SANDERS has sat down beside the lectern.
One of the few members of the public seated inside the hall is PETE, a sixty-year-old fisherman, who stands. (He looks bedraggled, stained. He stammers over his words. He is, what is sometimes euphemistically called â€˜a bit simple.’)
Mayor. What about the fish ?
21. ANGLE ON COUNCILLORS – FAVOURING BRODY
I’m sorry Pete, the fish?
22. LONG – MOVING TOWARDS PETE
Them fish ain’t there – out at the sound.
23. ANGLE – BRODY
Mayor BRODY has no idea what PETE is on about.
24. BACK TO PETE
They ain’t there, that’s all. They may come back.
25. BACK TO COUNCILLORS – FAVOURING BRODY
The councilors all look bemused.
BRODY smiles and nods at PETE.
Alright Pete, thanks. We’ll take that under-
(BRODY grimaces and checks himself)
We’ll keep that on record.
26. INTERCUTS – OCEAN – DUSK
Framed by a beautiful Spring sunset – many miles off Amity – members of a small school of bottle-nosed dolphins slowly swim in circles together on the red-glistening, calm surface. There are seven dolphins in all: five adults, two adolescents.
One of the group, a playful adult, leaps from the surface, arcs gracefully in the air, and dives back down; barely causing a ripple. Underwater, the playful adult dives deep then calmly heads back to the surface. He passes a shoal of slow moving mackerel, and various other languid fish that swim here and there.
27. SHARK’S P.O.V
MUSIC -the Williams coda – BEGINS.
From SHARK’S P.O.V, we are gliding relatively slowly in a straight line near the sandy ocean floor. At present, the underwater view ahead is clear of any other fish.
Underwater, first to react, the mackerel dart off en masse.
29. SHARK’S P.O.V
P.O.V suddenly changes direction and begins to speed up.
On the surface, the hitherto peaceful dolphins suddenly dive. Underwater, they all head off together at speed.
31. SHARK’S P.O.V
P.O.V is getting faster. As yet, the underwater view ahead is still clear.
32. ANGLE ON DOLPHINS
The dolphins are speeding up. The two younger dolphins are starting to lag behind.
SOUND: some of the dolphins are now squeaking: a distressed version of their song. There is also an EVER INTENSIFYING SOUND of rushing water.
33. SHARK’S P.O.V
P.O.V is now very fast. The dolphins are now in view in the underwater distance.
34. ANGLE ON DOLPHINS
The SOUNDS of squeaking and rushing water have FURTHER INTENSIFIED. One of the adolescents has now lagging considerably behind the group.
35. SHARKS P.O.V
The SOUNDS are CACOPHONOUS. The lagging young dolphin is very close ahead. FAST P.O.V moves in until he it is right upon the dolphin’s tail.
FAST CUT TO BLACK SCREEN AND SILENCE: HELD BRIEFLY.
The INSERT is an EDIT of a sequence from â€˜Jaws’: except it is TREATED to be BLEACHED OUT (like SHOT 8), and so that it FLICKERS INTERMITTENTLY FROM BLACK AND WHITE TO COLOUR.
First, the SHOT OF MRS KITNER (on the arm of an OLDER MAN) walking up the dock. In this VERSION it is in VERY SLO-MO. The SOUND of their footsteps are echo’y and exaggerated.
CUT TO the BRODY P.O.V SHOT – IN NORMAL SPEED – of MRS KITNER slapping BRODY.
FAST CUT TO:
37. MED.CLOSE – BRODY – BAR – INT. NIGHT
BRODY, sitting at the near deserted harbour bar, flinches as he comes out of his reverie. He is dressed casually; but differently to the Council meeting when we last saw him.
PETE is JUST OUT OF SHOT.
They ain’t gone.
38. WIDER, THEN INTERCUTS
PETE, looking typically disheveled, stands a few feet away from BRODY at the bar. BRODY is still not quite with it.
What d’you say ?
Them fish’re back.
BRODY snaps back to the present.
Oh right. Your catch is better.
Out at the sound, yeah.
That’s your ground?
Aye. We fished out there since pa was
BRODY smiles and nods. He is being friendly, but the conversation has reached a natural impasse. PETE though, just stands and stares back in his rather vacant way, so BRODY ploughs on:
So it was tough going for a while ?
The fishing was poor – bad.
Bad. â€˜Appens though sometime – every cort’un.
That’s to do with tides, right ?
Aye, cort’un tide.
At this, PETE suddenly nods decisively and, as is his way, just walks off. BRODY can’t help a smile.
BRODY (to himself)
See you then, Pete !
39. LONG – TRAWLER – EXT – DAWN
A crisp, bright, cold dawn.
A small fishing trawler – of the stern ramp and net variety – is cutting gently through the swell. In the distant B.G, land is visible.
Two members of the three person crew, JIMMY (mid 30′s) and his sister NANCE (mid 20′s) are at the stern. NANCE sits on the metal casing where the ramp gearing is housed; JIMMY stands resting against the side of the boat.
40. ANGLE ON JIMMY AND NANCE
They are dressed for the cold weather. Both drink steaming mugs of coffee.
JIMMY (mid-conversation, grinning)
- but he says, “You hit me in the ear !”, right.
Yeah, but – (interrupted)
An alarm bell linked to the net’s pulley and winch system goes off. JIMMY and NANCE both turn stern-wards, looking towards the ocean
41. LONG – NET ROPES
The net ropes, trailing off the stern a 100 metres, angled down into the ocean, look normal enough.
42. ANOTHER ANGLE
D*mn thing, it’s bust.
NANCE turns to look at a torque gauge attached to the net system.
It’s reading maximum ?
JIMMY shakes his head in bemusement.
JIMMY (calling to JACK)
Pa, ease down.
43. ANGLE TO BRIDGE
JACK (aged late 50′s) is at the wheel. The wheelhouse is open to the rear. JACK throttles down to idle, turns and calls down:
What’s the problem ?
44. ANGLE ON NANCE
NANCE (to JACK)
The gauge is on max.
45. ANGLE – JACK
God***n thing. It must be -
JACK goes quiet and takes on a more focussed look: getting more of a sense of the now stationary boat.
There’s more pull.
46. ANGLE ON JIMMY
Might have snagged ?
47. BACK TO JACK
Nah, there ain’t nothing around here.
(He thinks for a minute, than calls decisively.)
48. WIDER ANGLE TO STERN
NANCE throws the net winch lever. The net starts to pull in.
49. ANGLE ON NET ROPE PULLEYS
The ropes are winding in, but are noticeably angled against the edge of the pulley, rather than just winding in straight.
50. ANGLE ON JIMMY
He places his hand against one of the winding-in net ropes. He calls to JACK:
There’s more weight alright.
51. TWO SHOT
Must have gone through a shoal.
Great. We’ll be half a day up on the others.
JIMMY turns the ramp switch. The ramp lowers into the water. TENSION MUSIC COMMENCES.
52. HIGH ANGLE TOWARDS STERN
The net ropes continue to winch in for a few seconds. Then the top of the net, very near the end of the boat comes to the surface. TENSION MUSIC BUILDS.
53. ANGLE ON JIMMY AND NANCE
Reckon we’re in luck.
54. WATER LEVEL ANGLE
ANGLE is from the side of ramp TOWARDS the water area in front of ramp where the top of the net is being pulled in. This area is swathed in shadow.
55. ANOTHER ANGLE – JIMMY
With one hand on the super-structure, JIMMY is half on the ramp, leaning towards the water.
TENSION MUSIC CRESCENDO’S.
56. BACK TO WATER LEVEL ANGLE
In the deeply shadowed area, inside the pulling-in net, the top of a fin breaks the surface.
57. MED.CLOSE – JIMMY
Shit ! Stop ! Stop !
58. ANGLE ON JACK
JACK is looking stern-wards.
Christ ! (Shouting down ) Shut it off, Nance !
59. BACK TO HIGH ANGLE TOWARDS STERN
NANCY throws the break. The net stops coming in. In the net, just having been pulled on to the ramp, threshing about on top of a the netted fish, is one of the adult dolphin’s.
60. BACK TO JIMMY
There shouldn’t be any round here !
61. BACK TO JACK
JACK (shouting down, tense)
Unhook for chrissake ! Let it go. Let â€˜em all go !
62. STEADICAM – BRODY HOUSE – INT – EARLY MORNING
STEADICAM FOLLOWS the dressing-gowned, messy-haired ELLEN, into the kitchen. Still half asleep, she puts the coffee on.
A soft thud comes from behind the closed side door into the kitchen. Surprised, ELLEN moves towards the door and opens it.
63. WIDE – GARAGE
The kitchen side-door opens into the double garage. A step leads down from the doorway to the garage level. One half of the rear of the garage has a workbench, and racked tools. The other has shelves on which cardboard boxes are stacked.
ELLEN opens the door and looks at BRODY. He is sitting on a cardboard box at the rear far side of the garage, opposite her. In front of him are two cardboard boxes which he has gone through, full of books and papers; some of which he has piled on the floor. In his hand, dangling over his knee, is a closed book.
BRODY, hitherto lost in thought, looks up when ELLEN comes in.
ELLEN (as a fact)
64. VERY CLOSE – BRODY’S HAND
In his hand, BRODY holds a closed book on sharks – one he last looked at years ago.
65. MEDIUM – ELLEN
She sits down on the step and gives BRODY a firm look
66. FULL – BRODY
He sighs, thinks for a second, then speaks:
“Why now “, right ?
ELLEN (matter of factly)
“Guilt”: except that’s not all of it.
No…..There’s something else.
ELLEN quietly waits.
68. BACK TO BRODY
BRODY (quiet, reflective)
Forty five years I was a cop……forty five…….
‘Life’s in the details’: somebody said that, didn’t they.
Cop’s are meant not to miss the details.
69. ANGLE ON ELLEN
Are you saying you missed something. About -
(she finds this subject uncomfortable)
- about what happened ?
70. A CLOSER ANGLE ON BRODY
BRODY finds saying this, very, very difficult:
When these nightmares started, I thought it was, you know,
â€˜I’m not getting any younger’. Alex, his mother, they’re still -
(He searches for the right words)
- …….I havn’t forgotten. I know I’ll take that with me.
71. ANGLE – ELLEN
She nods gently – she understands.
72. BACK TO BRODY
BRODY (lighter for a moment)
I walked the beach this morning – sleepless of Amity.
(A smile flits across his face then disappears)
I’m not that old. It’s not my time yet. I know.
73. ANGLE – ELLEN
So….what did you miss ?
74. MED.CLOSE – BRODY
Something. It’s been sitting here. (He taps his forehead.)
Something I saw…read…some detail that didn’t seem
But it was.
75. ANGLE – ELLEN
Out of reach.
76. BACK TO BRODY
77. MED.CLOSE – ELLEN
ELLEN (rhetorical, properly challenging)
So what would a cop do.
78. LONG – AMITY POLICE STATION – EXT – DAY
BRODY walks INTO SHOT and up the steps of the police station.
79. ANGLE ON HENDRICKS – POLICE STATION – INTERIOR
HENDRICKS (a character from â€˜Jaws’ – a police Sergeant now in his mid fifties) is standing in the area behind the public desk – his back to the desk – putting a â€˜wanted persons’ sheet about a woman, up on a notice board.
Have you checked her age ?
HENDRICKS turns around with a smile.
Yeah, well even the police make mistakes apparently !
Hmm. Is he in ?
HENDRICKS shakes his head.
82. STEADICAM – AMITY POLICE STATION (a few minutes later)- INT – DAY
STEADICAM MOVES along an empty corridor in the police station, then TURNS through an open door. CAMERA STOPS. The room is a neon-lit, windowless filing room. There are five double rows of shelved box files.
BRODY and HENDRICKS stand in the open area of the room.
83. TWO SHOT
Larry Vaughan never bothered with these audit things.
Yeah well, if I don’t do it I’ll have one of the Governor’s
assistants crawling all over me.
84. TRACKING – FILING ROOM ( a minute or so later)
TRACKING CAMERA MOVES down one of the shelved aisles. BRODY COMES INTO SHOT at the other end of the aisle. He walks up it scanning the shelves.
85. BRODY’S MOVING P.O.V
MOVING P.O.V FINDS the dated boxes on the shelves. The P.O.V PASSES various boxes dated 1973, 1974, 1975. On the 1975 boxes, MOVING P.O.V STOPS.
BRODY pulls down the first 1975 box.
87. ANOTHER ANGLE (BRIEF)
BRODY stands with an open box file, flicking through the individual files inside.
88. ANOTHER ANGLE (BRIEF)
BRODY, now with his jacket off, pulls down another file.
89. SAME ANGLE
BRODY is now sitting on the floor, his back against the opposite shelf, continuing to flick through a box file.
HENDRICKS (calling O/S)
Hey Martin, you want a coffee.
90. CLOSE ON BOX FILE
BRODY’s hand quickly takes individual files out one by one. Each file has a person’s name and a number written on the front. He removes three files before he gets to the file marked â€˜ Chrissy Wadkins’.
91. FULL – BRODY
He is frozen, staring into the box file. Slowly, hesitantly, he reaches in and removes the file.
92. BACK TO CLOSE ON BOX FILE
The next visible file is headed â€˜Alex Kitner’.
93. BACK TO BRODY
With obvious tension, he takes the file out of the box and opens it. There are only five pages. He turns them, one at a time.
94. BRODY’S P.O.V
P.O.V DOWN to file REVEALS all the pages of the file have now been turned. Stapled to the back inside cover of the file is an envelope marked â€˜Related Cuttings’. BRODY puts his hand in the envelope and draws out a pile of paper cuttings from the local press.
95. ANOTHER ANGLE ON BRODY
He studies the first paper cutting.
96. INSERT – CUTTING
The headline reads: â€˜Boy killed by shark’
97. BACK TO BRODY
He grimaces, then starts to flick through the next six cuttings, increasingly quickly. On the seventh, he stops. He begins to read.
98. CLOSER ON BRODY
Holding the cutting – its contents unseen to us – BRODY’S bodies visibly sags. He closes his eyes.
BRODY (to himself – despairing)
99. LONG – EXT – YACHT – DUSK
A small modern yacht glides by WATER LEVEL CAMERA. Its running and interior lights are on.
The ocean is beginning to get choppy. The sky has a strange candescent hue. From far away, the rumble of thunder.
100. MEDIUM – YACHT INTERIOR
Below, in the living quarters, MARCY (a tall, 60 year old in â€˜all weather’ gear) is sat studying a chart which is spread out on a retractable chart table. She is using a compass (of the measuring, not bearing variety) to calculate distance on the chart. The radio is on.
Repeat, developing storm 38 N 42 W, moving south-west
35 knots. Winds 25 to 35 knots. Seas 8 to14 feet within
150 nautical miles.
101. MED.CLOSE – MARCY
MARCY has completed her calculation.
MARCY (to herself, decisive)
102. LONG – PETE’S CABIN – EXT – DUSK
BRODY’s truck pulls up outside Pete’s â€˜house’ – an isolated wooden cabin, situated overlooking the beach. It is a bizarre abode, made up of an original central cabin with other rooms built on, to no obvious design.
The sky is grey and threatening. It is starting to drizzle.
103. FULL (a few moments later) – EXT
BRODY, his collar pulled up, walks up to PETE’s front door. He knocks on it. No answer.
He tries the handle, it opens. He calls through:
Pete ! You in there ?
104. FROM INSIDE ROOM TO DOOR
BRODY steps in. The cabin is all wood floors and wood walls. The central living area is very bare – just a small table and a few chairs, with a big mat on the floor – but very clean and neat. On the table sits an oil lamp.
On the walls are many oil paintings of various sizes..
Hey Pete, you here ?
BRODY glances about, his attention going to the paintings. CAMERA PANS WITH BRODY as he walks over to one of the walls and looks at the paintings.
105. BRODY’S P.O.V
The wonderful oil paintings – done in a impressionistic style – are of sea-scapes and fishing vessels.
106. LONG. YACHT. EXT. NIGHT
It is raining heavily. The sea is rough. Lightning flashes every few seconds.
107. MEDIUM – MARCY
MARCY sits at the wheel, her hood pulled up, her oils glistening in the driving rain. The wind is screaming.
108. HIGH / LONG – FROM STERN
From HIGH ANGLE BEHIND MARCY, we look up the length of the yacht surrounded by the black, turbulent sea. Lightning flashes. The main sail is billowed to its extreme.
109. CLOSE ON LOW PORTION OF SAIL
The portion of sail, lashed by rain, is stretched to its limit. Suddenly, the lower stitching bursts open, and a small vertical tear appears in the sail. The tear stays small for a brief moment then at great speed starts travelling up the sail.
110. LONG – SIDE VIEW OF YACHT
Accompanied by a terrible tearing SOUND, the tear rapidly travels up the whole height of the sail, leaving half of the sail only securely attached to the top of the mast. The torn sail is immediately caught by the wind.
111. BACK TO HIGH STERN ANGLE
With the torn sail caught by the wind – the sail being blown virtually horizontal from the top of the mast, with its now revealed seam rope still attached to the end of the boom – the yacht immediately is lurched into a precarious starboard sideways list. MARCY is thrown off her seat, and falls against the bulkhead.
112. INTERCUTS – MOVING WITH MARCY
Winded but with no time to spare, MARCY gets herself up. We see now that she is wearing a safety belt with its integral, spring loaded safety line. She immediately hooks herself onto the starboard safety bar which runs along the length of the deck. Battling against the wind, the lashing rain, and the starboard list, she makes for the end of the boom. Facing the boom, she grabs hold of the rope which is attached to both the end of the boom and the bottom of the torn sail flying in the fierce wind high above. She tugs on the rope but the strength of wind against the torn sail makes it impossible for her to pull the rope in.
Still holding the rope, MARCY now turns herself around, so that she is facing out towards the ocean. With both the list, and the rope being blown out at a virtual right angle away from the yacht, the top half of her body is dangling out over the ocean. Putting her other hand on the taught rope she starts to try and pull it in with all her might.
Suddenly the great white shark, jaws open, jerks up from the torrent right below her. In one sudden movement he takes her upper body in its mouth, and the jaws snap shut.
113. ANGLE ALONG DECK
With safety line responding to the sudden jerk, MARCY’S body up to the rib-cage – minus head, arms, and chest – rapidly snaps back inwards then crumples onto the deck.
114. ANGLE TO DOOR – PETE’S CABIN – INT – NIGHT
The interior is lit by oil lamp. The gale howls outside. Lightning flickers through the windows.
The door opens, rain lashes in. PETE, his oils soaked – and with two hooked fish on hung over his shoulder – enters. He kicks the door shut with the back of his foot.
He looks at the O/S BRODY ahead of him.
PETE (all very matter of fact)
Oh, t’is you Mayor. Thought that were your truck. I ain’t
spotted him yet.
BRODY gets up slowly from a chair, tense and speechless for a moment. PETE nonchalantly puts his fish on the sideboard, and starts to take his oilskin off. Whilst he does so, he continues:
I’ll come tell you when I do.
115. MED.CLOSE – BRODY
He does not want to say it:
BRODY (very hesititant)
The shark ?
116. BACK TO WIDE
PETE is as unconcerned as ever.
Christ Pete, why didn’t you tell me !
117. MEDIUM – PETE
PETE turns and gives BRODY a very angry look.
What you saying ! I came an’ told you the fish gone an’
come back !
118. BACK TO WIDE
BRODY realises he’s made a serious faut pas.
I’m sorry Pete, you did. I didn’t understand what
you meant; I don’t know about the ocean like you do.
PETE glowers at BRODY for a moment, then nods.
PETE (rather less hostile)
Reckon I told you.
You did. I’m sorry.
PETE thinks about it for a moment, then nods.
S’alright then. Reckon we’ll have a cup’a tea.
Without further ado, PETE walks off through a doorway.
119. ANGLE ON BRODY
BRODY shakes his head and follows.
120. INTERCUTS – KITCHEN
The â€˜kitchen’ – a section of added cabin – is lit by oil lamp. It to, is very neat and tidy. There are more oil paintings.
PETE places a pan of water on the stove.
BRODY enters. He takes a paper cutting from his pocket.
I got a cutting here from the Amity Star. From 1950.
About a shark attack.
PETE grabs a loaf – which he begins to cut. (As the scene progresses he sets about pan frying some mackerel.)
I ain’t no good with dates. You want bread ?
BRODY (making an effort to be calm)
No. No bread thanks.
(Sighs and bites his lip)
You remember two quarterns, right ?
Aye, two cort’uns.
BRODY looks relieved to be getting somewhere.
What about the one before that ?
PETE gets on with his cooking, but laughs.
I wern’t born ! Don’ know how old you reckon
me, but I ain’t that old. Pa saw it right enough; he were
a young fish’man then, he told me the stories.
What stories ?
PETE (matter of fact, as ever)
â€˜Bout how the shark ate people.
BRODY (less and less able to hide anxiety)
How many people ?
Can’t rightly say…some. Then was when folk
don’t swim much like as now, for like, having fun
And after that, when did the shark come again ?
When was that – what date ?
PETE ponders a moment.
Can’t say. I was a young â€˜un. I were fishin’
with pa then. Shark came then and killed
BRODY holds up the paper cutting.
1950 – two people were killed here by a shark.
That’d be right then, 1950.
And the next time ?
Well you knows â€˜bout that, don’ you. You
an’ old Sam.
Aye. He were a good man.
121. MED.CLOSE – BRODY
BRODY (tense, hesitant)
The fish, your fish that disappeared and came back,
it means the shark’s here……The next quartern.
122. MEDIUM – PETE
Aye. He’ll be here now â€˜til Summer.
123. BACK TO BRODY
He looks ashen
124. MED.CLOSE: ON SIGN – EXT – DAY
The sign, on a hilltop, reads: â€˜Wilson Oceanographic Institute’.
The CAMERA MOVES UP AND OVER the sign, to REVEAL a drive winding down the hillside to the sea bay blow. BRODY’s truck is travelling down the drive.
At the end of the drive, on the shores of the bay, is a large, impressive complex of modernistic wood and glass buildings. Moored on adjoining jetties are two high-tech research vessels.
125. MED.LONG – INSTITUE – INT – DAY
CAMERA TRACKS BRODY and Chief SANDERS (wearing his uniform), as they walk through a warehouse-like, open plan area. It is full of high-tech underwater research equipment – some of which is being worked upon by engineers and oceanographers.
They are accompanied by oceanographer MILLIE (mid-twenties, African-American).
126. PULLING BACK CAMERA
MILLIE ( to BRODY)
We’re doing some pool work. Won’t be long.
127. ANGLE ON UNDERWATER TUNNEL DOOR
The tunnel door, leading into a pool, opens. Out of it comes a young shark, some six feet long.
128. VERY HIGH / STRAIGHT DOWN TO POOL
The circular pool is huge, lit by underwater lights. At the opposite sides of the big pool, are two smaller pools, each joined to the big pool by tunnels. The young shark has just come out of the right hand tunnel into the big pool.
On the left side of the pool, a diver stands underwater.
The top of the pool is ringed by a railed walkway, reached by stairs. BRODY and SANDERS stand on the walkway watching what is going on in the pool.
On the walkway by the left hand tunnel, stand MILLIE, and kneel engineer JIM (mid- thirties).
129. MEDIUM ON UNDERWATER DIVER
The DIVER wears chain mail over his diving suit, as favoured by those who work with sharks. He has a weight belt and breathing apparatus
He stands on the floor of pool, legs slightly apart for balance. In his hand he holds a handgun- like object – which fires compressed air under high pressure.. Pointing the â€˜gun’ down towards the floor, he starts firing it every few seconds. It emits a VERY LOUD THUD, each time it is fired.
130. TOWARDS SHARK
The shark moves rapidly TOWARDS CAMERA. The VERY LOUD THUDS CONTINUE.
131. ANGLE FROM POOL SURFACE UP TO BRODY AND SANDERS
SANDERS is grinning, loving the spectacle. BRODY is shaking his head is disbelief.
132. BACK TO VERY HIGH / DOWN
The shark is moving very quickly straight towards the DIVER.
133. SHARK’S P.O.V
FROM FAST MOVING P.O.V, the DIVER, still firing his LOUD THUDDING gun, is only twenty metres ahead, and closing rapidly. Suddenly there is another LOUD UNDERWATER SOUND of a constant, low pitch, reverberating frequency. THE FAST MOVING P.O.V suddenly changes direction, heading to the right of the DIVER.
134. BACK TO HIGH / DOWN
The shark passes only two metres to the right of the diver, heading towards the left hand tunnel behind him.
135. BACK TO BRODY AND SANDERS
SANDERS is grinning, thrilled: BRODY is still shaking his head, grimacing.
136. ANGLE ON TUNNEL OPENING.
Right next to the tunnel opening, an underwater speaker emits the other LOUD UNDERWATER SOUND. The shark passes it, into the tunnel.
137. ANGLE TO EDGE OF POOL
The DIVER, still balaclava clad, comes to the surface at the edge of the pool, and pulls his mask off. It is HOOPER; without spectacles, and with a close trimmed grey/white beard.
HOOPER (as greeting)
You must be crazy !
HOOPER (as he hoists himself out of the pool)
Swimming with sharks ? That’s rich coming from a Mayor !
BRODY gives HOOPER a good natured â€˜oh, very funny’ look. SANDERS grins.
This is Chief Sanders.
(Shakes hands with HOOPER)
Heard a lot about you.
HOOPER (not missing a beat)
I was young: it was for recreational use.
(That gets a laugh all round.)
BRODY’s smile quickly changes to a nod, then seriousness.
BRODY (laden with meaning)
I’m cold. Come on.
138. INTERCUTS- HOOPER’S OFFICE-INT-DAY
The office is very spacious and well appointed, with one huge window that overlooks the ocean. The walls are covered with large photographs – some of sharks alone, some of HOOPER and other divers underwater with sharks.
BRODY and SANDERS sit next to each other on comfortable chairs around a low coffee table. HOOPER – now dressed in jeans and sweat shirt, and wearing small rectangular fashionable spectacles – strolls back towards them as he reads the newspaper cuttings that BRODY has given him.
HOOPER continues to read, whilst speaking:
Yeah, it’s a common phrase with fishermen, quartern tides
- to do with phases of the moon during the year, y’know.
(BRODY and SANDERS nod)
Havn’t heard it used about longer periods.
So is what Pete says possible ?
HOOPER (looking up from cuttings)
Well, we know that long term planetary movements do influence
tides and migration patterns, but the research on the precise effects
is nowhere near conclusive.
The evidence on Amity attacks is.
HOOPER (firmly, to BRODY)
Is it ?
What’s that supposed to mean !
There were attacks in 1950 and â€˜75, twenty five years apart -
that’s certain. But you had further attacks in â€˜77 ?
Yeah, because of the effects of this quartern thing – these shark’s
carried on migrating up North.
HOOPER (relatively good humoured)
Well shit Martin, I didn’t realise you’d mastered
oceanography AND ichthyology. You should have said -
I’ll stop being so patronising !
That’s not what I meant. I meant that seems like a possible
explanation for the â€˜77 attacks.
HOOPER sits down opposite BRODY and SANDERS.
Except there wern’t any attacks in the years right after 1950,
were there ?
BRODY makes to interrupt, but HOOPER continues with authority.
And what if this fisherman doesn’t have his dates straight. He says
there were attacks in the 1920′s, but he’s not definite which year
between â€˜20 and ’29. What if was â€˜21 say, not â€˜25. What if there
were unreported attacks in other years ? Or attacks in the early part
of the century – not in quartern years – that have got lost in history ?
See, Martin, I don’t think this twenty five year pattern is proved at all.
BRODY glowers at HOOPER
HOOPER (to SANDERS)
And you’ve had no incidents, no sightings, nothing ?
SANDERS shakes his head.
What the hell’s the matter with you !
HOOPER (irritated, but calm)
I’m a scientist, Martin: I’m being scientific. That’s why
you’re here, right ?
(To SANDERS) Would you make an arrest based on
evidence like this ?
SANDERS, glancing at BRODY, feeling awkward, briefly shakes his head.
Look, what you’ve got doesn’t tell me that there is or will be a
shark in Amity waters this year, or any specific year. That’s my
professional opinion, which you’ve trusted before.
BRODY (a bit desperate)
This is different. There’s no certainty this time. I need proof
that it’s not there.
I doubt that’s an argument which’ll have your council jumping up to fund
an expedition. â€˜Cos times have changed, Martin. This board don’t let
me do â€˜free of charge’.
Alright !…..Alright ! I know it’s thin, I know. But Christ, in a couple
of months it’s summer……
BRODY trails off, staring at the floor, shaking his head. It’s an awkward moment for everyone – a touch embarrassing.
BRODY suddenly looks up at HOOPER, their eyes meeting, BRODY fixes him with a stare.
139. MED.CLOSE- BRODY
BRODY (calmly, with strength)
“My boy’s dead now”…… remember that…… I do.
140. LONG – RESEARCH VESSEL – OCEAN – DAY
A beautiful, Spring day.
One of the Wilson Institute’s two high-tech research vessels, Aurora II, slowly ploughs through the calm ocean. Trailing on cable some 500m behind, a sonar barge.
141. ANGLE ON DECK (For’ard)
MILLIE leans over the deck railing, holding a rope over the side, which leads down to something presently unseen. She starts to pull up the rope.
142. MEDIUM – FROM OCEAN TO MILLIE
On the end of the rope that MILLIE is pulling up, is a common â€˜n’ garden bucket.
HOOPER walks along deck INTO SHOT, over to MILLIE.
143. TWO SHOT
MILLIE has her bucket of sea water in her hand.
Don’t ever tell.
MILLIE gives a questioning look.
HOOPER (cont. – nodding towards all the high-tech gizmos scattered around)
That we can do more with that than all this crap !
143. ANGLE O/S of BILL (a crew member) FROM BRIDGE DECK DOWN TO HOOPER
Matt. Jim wants you.
144. WIDE / MOVING – CONTROL ROOM (A few moments later)
A large control room below decks, full of electronic equipment and displays. TWO OCEANOGRAPHERS sit at consoles undertaking data analysis.
CAMERA MOVES WITH HOOPER as he walks through the control room over to a â€˜head up’ TV monitor. On the monitor is JIM’s face – at present he is turned away, talking to someone (we can’t hear the conversation).
HOOPER speaks into a microphone.
JIM turns face-on to screen.
Oh, Matt, hi. We’ve finished section 3. Nothing of note.
HOOPER (a touch wearily)
OK. Let’s join up in section 4.
JIM nods, but with a rather quizzical expression.
Hey Matt -
What the f**k’re we doing out here ?
145. MED. CLOSE – HOOPER
146. WIDE – BRODY’S HOUSE (DINING ROOM) – INT – NIGHT
BRODY, with untouched glass of scotch on the table before him, sits at the table which is laid for dinner. He stares into space, lost in memories of something.
ELLEN is chatting / calling through from the kitchen:
You know it’s six years since he’s been over……For your
ELLEN walks into the dining room wearing a pinafore, and carrying a bread basket. BRODY is still â€˜elsewhere’. She nudges him.
Are you listening ?
BRODY glances up.
ELLEN (scowling, good humouredly)
O/S HOOPER calls through:
HOOPER (from a distance)
Hi. Ellen ?
ELLEN and BRODY look towards the doorway.
Hey ! Come in.
HOPPER appears in the doorway. He carries two bottles of wine.
I brought red and white: I didn’t know what you’d be
They all laugh – but BRODY with reserve.
147. BRODY’S HOUSE (SITTING ROOM) – INT. NIGHT
CLOSE ON THE PHOTOGRAPH of the younger BRODY, HOOPER, and Vaughan.
CAMERA PULLS BACK TO REVEAL HOOPER looking at the photograph.
Wern’t butterfly collars great !
BRODY and ELLEN sit together on the sofa – glasses of wine on the table in front of them.
ELLEN smiles at HOOPER’s comment. BRODY does not react at all.
HOOPER turns and immediately spots BRODY’s passivity.
Wanna talk about sharks, Martin ?
BRODY glances to HOOER with a less than friendly expression.
Because there isn’t one.
BRODY just stares expressionlessly at HOOPER.
Well that’s great, isn’t it, Martin ?
BRODY just continues to stare at HOOPER.
Well I’m with you, Ellen. I don’t know where Martin is.
BRODY smiles and shakes his head.
Look, Matt. Don’t think I don’t appreciate you and your team
coming down here – having to spin god knows what yarn with
I hoped you’d find it. That’s what I hoped. You havn’t.
HOOPER looks irked.
What’s that mean, exactly ?
BRODY (calm, reasonable)
It means what I said.
You’ve become not so nice a person as the years have
gone on, havn’t you. Or is that more senile shit from me.
ELLEN looks overcome with embarrassment. HOOPER shakes his head, turns and starts to walk towards the doorway.
Ellen, thanks for a lovely meal.
Martin, we’re outta here tomorrow.
150. LONG: SMALL BOAT. EXT. NIGHT
On the calm black ocean, backlit by moonlight, the silhouettes of a man and a boy sit fishing with rods, in a small boat.
151. TWO SHOT
WAYNE (mid-thirties) and TIM (aged 10), both wrapped up for the cold, sit quietly fishing. WAYNE looks very content: TIM looks completely pissed off.
Told you this’d be great.
Yeah…..maybe it’s too cold to catch anything.
Nah. Best time of year. When they come, they’re big !
152. CLOSE – TIM
The youngster raises his eyes to heaven, unconvinced.
153. COMMENCING VERY LONG – SHARK’S P.O.V ON SURFACE
The tiny boat is on the horizon. With GREAT SPEED, P.O.V RUSHES TOWARDS the boat. Even when P.O.V /Shark is just upon the boat, TIM and WAYNE do not realise.
The FAST MOVING P.O.V CONTINUES ON (literally) THROUGH THE BOAT, cutting it in half.
154. MED.CLOSE – SANDERS. POLICE STATION. INT. DAWN
Dawn’s early light streams in through the slatted blinds.
Chief SANDERS is on the telephone. Whilst he looks half asleep, his seriousness is evident.
SANDERS (to telephone)
Yeah, critical condition. They spotted him at Sandy Eels Bay a couple of hours ago.
(Pause – listening)
Ok. I’ll meet you there.
155. START MED.CLOSE ON MENDEZ . HER HOSPITAL OFFICE. INT. DAY
MENDEZ, in her white coat, sits on the edge of her desk. Like any good doctor, she speaks calmly, softly.
As the SCENE PROGRESSES, CAMERA PULLS BACK TO REVEAL BRODY and SANDERS sitting in front of her.
The Reeves boy, Timmy, 10 years. Brought in at 05.18 this morning,
found on Sandy Eels beach. He’s suffering from advanced hypothermia.
The family are here. He went night fishing with his Uncle.
156. TWO SHOT – BRODY and SANDERS
BRODY closes his eyes, obviously distressed. SANDERS stays silent for a moment, grim.
Has he said anything ?
157. ANGLE – MENDEZ
No. He can’t speak.
158. BACK TO TWO SHOT
BRODY eyes stay closed.
Is he going to die ?
MENDEZ (matter of fact, but sensitive)
Can’t say, Martin…..can’t say.
160. WIDE – HOSPITAL DOORS (a few minutes later)
BRODY and SANDERS exit the main doors briskly. SANDERS is very urgent and professional. BRODY is half listening, half elsewhere. As they walk across the forecourt, CAMERA MOVES WITH THEM.
I’ll speak to the Coastguard, and have the beaches checked. And I’ll
speak to the fishermen, have them watch out for the body.
BRODY comes out of his reverie and stops walking. SANDERS walks briskly on to his truck.
BRODY (verging on hysterical)
We’ve got to kill the f**king thing !
SANDERS does not even look back, almost at his truck.
SANDERS (calling back)
I want to see Hooper.
Hooper ? Christ, he doesn’t give a shit !
161. MEDIUM – ON SANDERS
SANDERS is opening his door. He does not look back.
Just get him, Martin !
CUT TO: (Segment 15)