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The community for fans of Jaws, Steven Spielberg, sharks and movies :: JAWSmovie.com - Part 14

JAWS 2 FAQ and Trivia

Are there any JAWS 2 alternate versions/lost scenes?

Yes. There’s five scenes added to the television version:

  • Ellen, adding wine to the fruit punch, and tells the waitress to smile and look cute.
  • Brody, given Peterson a parking ticket because, he was parking at a “No Parking” zone.
  • The Council argues about the incident at the beach.
  • The Council goes into Mayor Vaughn’s office to take a vote to fire Brody.
  • The shark attacks the helicopter pilot, after capsizing it underwater.

Was Steven Spielberg involved with JAWS 2?

No, he was approached to do it but he was busy making Close Encounters of the Third Kind (as was Richard Dreyfuss, who was also asked to return).

NEW 5/23/01 — in the JAWS 2 DVD documentary, the producers claim that Spielberg was approached after original directory John Hancock was fired. Spielberg would return to direct JAWS 2 only if Richard Dreyfuss would return and he could scrap everything start from scratch. Needless to say, the producers didn’t want that to happen …

Who ended up directing JAWS 2?

JAWS 2 was originally slated to be directed by John Hancock, with a script written by Dorothy Tristan, who happened to be his wife. The novel, JAWS 2 by Hank Searls, is based more on Tristan’s script, with the major subplot of the Mafia moving in with Mayor Vaughn to sell the seaside property. For whatever reason, producers Richard D. Zanuck and David Brown were unhappy with the way the film was progressing and fired Hancock. Hancock reportedly wanted to make it more of a “people” film, and not concentrate as much on the shark! Of course, Hancock’s wife went with him, and refused to cooperate on any rewrites of the film. Hancock was replaced by Jeannot Szwarc.

Why did Roy Scheider appear in JAWS 2?

According to Michael Smith, president of the Roy Scheider fan club and an extra in JAWS 2:

“Roy Scheider signed a three-picture deal with Universal after JAWS. His first role was to reunite with William Friedkin to do Sorcerer (1977) (which was co-produced by Paramount). His second role was to be ‘Michael’ in The Deer Hunter (1978), a part that was eventually played by Robert DeNiro. Two weeks into production, Roy got the finished script and disagreed with the ending (‘Michael’ goes back to Vietnam to find his buddy Nick, only to watch him kill himself in the final Russian Roulette game). Roy reasoned that this guy would not go half way around the world to find his friend, only to have him kill himself. Well, the good old ‘creative differences’ had reared their ugly head, and Roy walked.”

“Universal offered to forget about his quitting The Deer Hunter if Roy would agree to do JAWS 2. They also offered to count JAWS 2 as two films, so that he would be out of his contract with Universal after the film was completed. Although both Spielberg and Richard Dreyfuss wanted to be part of the JAWS sequel, the delays in Alabama on Close Encounters of the Third Kind (1977) kept them both out of the production. Universal had already promised a June 16, 1978 opening to theatre owners in early 1977! In fact, I remember getting the teaser poster (the shark fin sillouetted against the sunset, with the tag line ‘Just when you thought it was safe to go back into the water …’) a few weeks before JAWS 2 began filming in Florida.”

“Needless to say, Roy took Universal’s offer, got his suntan, and spent Christmas Eve frying the shark. I spoke to him on the phone right before he left for NYC that night, and he was glad the whole experience was over. I have to commend him on the fact that even though the entire focus of the film changed (firing the original director, whose wife had written the script, etc.) Roy gave his all, and still speaks well of his experience.”

(Special thanks to Michael for this information!)

JAWS Trivia

Trivia provided by: The Internet Movie Database:

  • Sterling Hayden was the original choice for the role of Quint. Hayden, however, was in trouble with the Internal Revenue Service for unpaid tax. All Hayden’s income from acting was subject to a levy by the IRS, so there was an attempt to circumvent that: Hayden was also a writer, so one idea was to pay him union scale for his acting, and buy a story from him (his literary income wasn’t subject to levy) for a large sum. It was concluded that the IRS would see through this scheme, so Robert Shaw was cast instead.
  • Quint’s tale of the USS Indianapolis was written by Shaw following a disagreement between screenwriters Peter Benchley and Carl Gottlieb. Shaw presented his text, and Benchley and Gottlieb agreed that this was exactly what was needed.
  • The live shark footage was shot at Seal Rocks, Australia. A real white pointer was cut up and “extended” for the close-up shots.
  • A midget in a miniature cage and a real shark were used to get some shots correct.
  • Susan Backlinie (Chrissie) was experiencing real pain during her attack scene at the beginning of the film. She was attached to straps and divers underneath pulled too hard.
  • Apparently, technicians lost control of one of the mechanical sharks, and it was lost at sea.
  • During the filming of some scenes, Roy Scheider, Richard Dreyfuss, and Shaw had to look in amazement off camera at a non-existant shark.
  • Preview audiences screamed when the head of a shark victim appears in the hole in the bottom of the boat. Director Steven Spielberg re-shot the scene in editor Field, Verna’s swimming pool because he wanted them to “scream louder”.
  • A real shooting star can be seen during a shot of the boat on the water at dusk.
  • Video version is missing some scenes:
  • Hooper describing an obscene phonecall he made, while cutting open the shark.
    Quint humiliating a young clarinet player as he buys piano wire.

  • Author Peter Benchley was thrown off the set after objecting to the climax.
  • Steven Spielberg was the voice on Quint’s marine radio when Mrs. Brody tries to contact her husband on the Orca.

Trivia provided by: Pascal L’ Heureux:

  • The first shark killed on the docks which is supposed to be the “maneater” in the movie is actually a real shark killed in Florida because there wasn’t a big enough one in Martha’s Vineyard.
  • Brody’s dog in the movie was actually Spielberg’s real dog.
  • On the last day of shooting, Spielberg wore nice clothes to make sure he wouldn’t be thrown in the water by the crew.

Trivia provided by: Mitchell L. Boone:

  • The mechanical shark used in JAWS (the original film anyway) was nicknamed “Bruce” by its “handlers” and the “full body” version tours around museums, while “Bruce II” resides at the Universal Theme Parks and “bites at” tourists on the tour ride.
  • Also, the shark spent MOST of the movie broken-down, and was unavailable for certain shots. This led Steven to “use” the camera as the “shark”, and film from the sharks’ perspective. They think this added to the “chilling/haunting” quality in the final release. Many critics/movie-goers/and actors/crew think it would have made it too “cheesy” had they shown the shark as much as originally planned.

Trivia provided by: James Burger:

  • Susan Backlinie (Chrissie) is actually a stunt woman, not an actress, and her underwater scenes in the JAWS opener were actually filmed during the day while she was in the buff.
  • The original scene with Alex Kintner’s death was so scary that it had to be cut due to the fact that it might scare people to death and they would not be able to give JAWS a PG rating but an R instead. The scene called for a doll of Alex to be floating among the bathers, then the shark would jump out of the water.
  • Robert Shaw was also in trouble from the IRS and had to flee the country once his scenes were completed.
  • When Robert Shaw first attempted to do the Indianapolis scene, he was drunk as a skunk and was only able to complete one line; then he started talking about his family and other stuff. He was so embarassed that he asked Spielberg if he would let him do it again the next day. Spielberg said yes and Shaw did it in one take.
  • If you look hard enough when Quint is being eaten, you can notice the rubber teeth bending at Quint’s waist.
  • When Roy Scheider was trapped in the sinking Orca, it took 75 takes to get the shot right. Roy did not trust the special effects team to rescue him in case of an emergency so he hid axes and hatches around the cabin just in case.
  • There were two 300lb weights attached to Susan Backlinie which were being tugged by two sets of crewmen on shore. One set would pull right, and the other set would pull left. It took three days to film that sequence.
  • When the shark was built, it was never water tested therefore when it was put in the water at Martha’s Vineyard, it sunk straight to the ocean floor. It took a team of divers to retrieve it from the floor.
  • The scenes missing from the video were not in the original picture. They were seen in later features of JAWS when the movie was first televised. They needed fillers during editing for TV so they used that footage.
  • Robert Shaw could not stand Richard Dreyfuss and they argued all the time, which resulted in some good tension between Hooperand Quint.
  • If you pay attention to the barrels in the film, you will notice that they are not consistent numerically due to errors in editing.
  • If you pay close attention to one of the windows in the building behind Brody after he leaves the hardware store, you will notice a bystander sticking her head up and taking pictures of Roy Scheider as he is doing his lines.

JAWS Unleashed


CLICK HERE TO VIEW THE GAME TRAILER (52 MB)
JAWS Unleashed is available for PC, XBOX, and Playstation 2

CLICK HERE TO BUY JAWS UNLEASHED

Game Background:

JAWS broke all box office records to become one of the highest grossing films of its time. The movie has had a lasting impact spanning decades and now JAWS Unleashed is poised to recapture the horror of being preyed upon by the most feared creature in the ocean. JAWS Unleashed recreates scenes and character spinoffs from the movie while allowing the player to experience the JAWS universe from a unique perspective—that of the Great White Shark.

Game Storyline:

Amity Island is growing, making corporate connections with prestigious companies like Environplus to improve the Island’s economy. Unfortunately the increased population around the Island and recent industrial activity has also attracted YOU–one of Earth’s most fearsome creatures–a Great White Shark. When the Environplus CEO’s son falls prey to your deadly attacks, the CEO hires renowned shark hunter Cruz Ruddock to track and kill you. Meanwhile, Marine Biologist Michael Brody tries to capture you for research. Can Ruddock and Brody stop you from wreaking havoc before the 4th of July celebration?

Game Features:

Players take control of Jaws the Great White Shark while playing out themes and in locations from the JAWS film universe

More than 10 meticulously detailed, destructible environments, each with unique designs and intense action

Unleash real-time damage on intelligent enemies, vehicles and structures

Perform a variety of stunning underwater, surface and air attacks via a user-friendly combat system

Dismemberment engine provides multiple points of disconnection

Follow story-based missions or choose to freely roam the island and its surroundings wreaking havoc

Encounter multiple side missions/challenges including timed destruction, stealth, chase and others

Face fearsome arena bosses including killer whales, giant squid, powerful boats and more

See your victims before they know you’re coming and target lock on enemies from afar with Shark Vision

Created by Appaloosa Interactive, developer of the award-winning Ecco the Dolphin series.

JAWS Unleashed is rated PG-13 (Parents Strongly Cautioned – Some Material May Be Inappropriate For Children Under 13). Please consult www.filmratings.com or www.parentalguide.org for more information.

JAWS Video Games

In the 80s, video game companies decided to release a lot of games that were based on movies. You could reenact scenes from movies like Star Wars, E.T., Ghostbusters, and believe it or not, Porky’s.

JAWS was one of the many movies that got the video game treatment. Here are screenshots from two JAWS video games. You can play these games today with the help of emulators, which are pretty easy to find on the web. Happy hunting!

UPDATE: Majesco released JAWS Unleashed in 2006, a game in which you get to play as the shark. Check out the trailer and some screens on the JAWS Unleashed page.

The Nintendo Game – by LJN (1987)

The Atari ST Game – by Screen 7 Productions

Thanks to S. Michael Simms (Smikes) for locating this game!

The Atari Arcade Game

Again, thanks to S. Michael Simms (Smikes) for locating info on this game!

JAWS Sounds

Music

JAWS Theme RealAudio jaws_288.ram (Thanks to Brad Chapman)
JAWS Theme Excerpt .WAV (58K) jaws2.wav
JAWS Theme Excerpt .AIFF (58K) jaws2.aiff

Dialogue

JAWS Trailer — RealAudio trailer.ram

Quint’s Indianapolis Monlogue — RealAudio indy.ram

yaad.wav (173K)

Ellen: “In Amity, you say: yahd.”

Brody: “There in the yahd, not too fah from the cah. How’s that?”

awhat.wav (124K)

Fisherman #1: “What kind of shark?”

Hooper: “Tiger shark.”

Fisherman #2: “A what?”

busterbr.wav (111K)

Vaughn: “Now I want those little paint-happy bastards caught and hung up by their Buster Browns!”

bigboat.wav (37K)

Brody: “You’re gonna need a bigger boat”

farewell.wav (97K)

Quint: “Farewell and adieu to you fair Spanish ladies…”

smile.wav (287K)

Brody: “Smile, you son of a bitch!”

swimmin.wav (93K)

Quint: “Here’s to swimmin’ with bow-legged women”

drink.wav (388K)

Quint, Brody, & Hooper (singing): “Show me the way to go home … I’m tired and I wanna go to bed … I’d a had a little drink about an hour ago and it went right to my head”

lies.wav (295K)

Quint: “Here lies the body of Mary Lee … died at the age of 103 … for 15 years she kept her virginity … not a bad record for this vicinity”

barrel.wav (132K)

Hooper: “He’s trying to go under”
Quint: “Hell he can, with three barrels on him … not with three he can’t”

myhus.wav (21K)

Ellen Brody: “My husband tells me you’re in sharks”

ithink.wav (73K)

Hooper: “Uh … I think that I’m familiar with the fact that you are going to ignore this problem until it swims up and bites you in the ass”

hooper.wav (356K)

Hooper: “Didn’t you get on a boat and check out these waters? Well … This is not a boat accident. It wasn’t any propeller, it wasn’t any coral reef, and is wasn’t Jack the Ripper. It was a shark”

badhat.wav (50K)

Brody: “That’s some bad hat, Harry”

headtail.wav (177K)

Quint: “Ten thousand dollars for me by myself. For that you get the head, the tail, the whole damn thing”

cage.wav (232K)

Quint: “You go inside the cage, cage goes in the water, you go in the water, shark’s in the water … our shark”

Other Sounds

The beginning of Dickie Goodman’s song from 1975, Mr. Jaws mrjbeg.wav (227K)

JAWS Lost Scenes

With most movies, a lot more footage is filmed than actually ends up in the final product. JAWS is no exception, with a large number of scenes that were cut, many due to the fact that the mechanical shark rarely worked as planned. Some of these scenes turned up in the ABC television version of JAWS that aired back in the late 1970s-early 1980s. Many more of these “lost” scenes were first available to fans on the 20th Anniversary Laserdisc version of JAWS and now are available on the 30th Anniversary DVD version of JAWS.

Special thanks to Lisa Holliday for capturing and providing the video clips!


Brody and Ellen in the Kitchen

Brody and Ellen talk in the kitchen and Ellen feeds their two cocker spaniels

RealAudio | Windows Media


Cassidy Talks to Brody

Brody and Cassidy walk along the beach and discuss where Cassidy is from and the summer house Cassidy and friends are renting.

Windows Media


Cassidy Identifies Chrissie’s Remains

Brody has Cassidy look at what’s left of Chrissie after the two talk about the summer house Cassidy and friends are renting.

RealAudio | Windows Media


Quint and His Little Buddy #1

The little guy who works for Quint refuses to go with Quint on his quest to kill the shark.

RealAudio | Windows Media


Quint and His Little Buddy #2

The little guy and Quint stroll down the streets of Amity accompanied by a dog.


Ben Gardner’s Commentary

Ben Gardner comments on the people walking by him on the dock and talks to Brody and Hooper

Windows Media


Amateur Shark Hunters

Chaotic scenes of all the amateur shark hunters in their boats.

Windows Media


Vaughn on Parade

Walking through the middle of the parade, Mayor Vaughn discusses putting up signs with Hendricks.

Windows Media


Hooper and Vaughn on the Ferry

Mayor Vaughn and Brody talk about Brody’s hiring and vandalism while on the ferry.

Windows Media


Hooper Tells Brody About His Phone Calls
On the way to cut open the tiger shark, Hooper talks about a woman with whom he apparently had phone sex.

RealAudio | Windows Media


Quint’s Truck

A black truck comes to a stop, camera is on driver side door, door has the name “Quint” and a drawing of a shark on it, door opens and Quint steps out.

Windows Media


Quint Torments Boy in Music Store

Quint enters a music store to buy piano wire. A boy is there playing a song on a clarinet. Quint mimics what the boy is playing, getting louder and louder until the boy loses his composure and stops playing.

RealAudio


Shark Goes After Michael Brody

After the shark attacks the guy in the Estuary, it goes after Michael Brody, with the Estuary guy still in its jaws. The Estuary guy, barely alive, pushes Michael out of the way, saving Michael’s life.

Show Me the Way to Go Home at JAWSFest

Click the link below to watch the video:

Check out JAWSFest Photos, too.

JAWSFest 2005 Photos

1988 Martha’s Vineyard Pics Part 1

1988 Martha’s Vineyard Pics Part 1

by Erik Hollander

Lynn Murphy and myself posing with the fishing pole used by Quint on the Orca. Lynn was so good to us. He gave us an exhaustive tour of his place and all the props used in the film, many of which were in his home. He also shared many pictures from shooting that were in his photo album.

Erik and the surly island original, Craig Kingsbury. What a character! He was incredibly gracious to us and spent a couple of hours talking to us as he worked around his farm. He is JUST like his character, Ben Gardener, in the film, except he still has his head.

Chuck and Jeffrey Voorhees (Alex Kintner) Jeff works as a restaurant manager and graciously took some time off to talk with us. He even gave me one of his original 'Jaws' paycheck stubs from Universal and the envelope it came in. Nice guy.

Lee Fierro (Mrs. Kintner) and Chuck Gramling

Mark and Phil Dube, who played one of the prominent town fathers. He's the one that Mayor Vaughn urged to go in the water on the Fourth of July when nobody else was going in.

Chris Rebello (Michael Brody)

Chuck standing above the "Good Time II" ferry to Chappaquidick, seen early in the film.

JAWS – Darkest Waters Script

JAWS – Darkest Waters Script

by N.

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.

BLACK SCREEN

The SOUND of a WHIPPING WIND, blowing off the sea.

FADE IN:

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.

PRIEST
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).

ELLEN
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.

BRODY
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

‘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.

BRODY
(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.

CUT TO:

BRIEF MAIN TITLES OVER A BLACK SCREEN – The words ‘JAWS: DARKEST WATERS‘ in rich blue on black. Contrary to what we might expect, there is NO MAIN TITLE MUSIC, no Williams coda.

CUT TO:


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:

BOY
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.

CUT TO:

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.

ELLEN (O/S)
Was it the same?

BRODY does not look up.

BRODY
Yeah…

12. WIDE

ELLEN, wearing a dressing gown, walks over to BRODY, sits down next to him, and puts her arm on his shoulder.

ELLEN
Why now…after all these years?

BRODY slowly looks up – ahead, not at ELLEN.

13. MED.CLOSE – BRODY

BRODY
Guilt.

BRODY gives a dark, humourless smile, and takes a shot of whisky.

CUT TO:

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.

SANDERS mid-speech:

SANDERS
– 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)

MENDEZ
(sardonically)
Who was a mere twenty-two years older than
the actual suspect.

15. MEDIUM: SANDERS

SANDERS
(irritated)
And had NYPD provided accurate information doctor,
we wouldn’t be discussing it.

16. ANGLE: MENDEZ

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.

BRODY
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 ‘old fashioned’, whilst friendly, look. She takes the message.

19. O/S of SANDERS – FAVOURING BRODY

BRODY looks towards SANDERS.

BRODY
Thank’s Chief. We’ll take the report and come back
with any questions arising next time.

BRODY looks around the council members.

BRODY (cont.)
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 ‘a bit simple.’)

PETE
Mayor. What about the fish ?

21. ANGLE ON COUNCILLORS – FAVOURING BRODY

BRODY
I’m sorry Pete, the fish?

22. LONG – MOVING TOWARDS PETE

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.

BRODY
Alright Pete, thanks. We’ll take that under-

(BRODY grimaces and checks himself)

We’ll keep that on record.

CUT TO:

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.

28. WIDE

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.

30. INTERCUTS

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.

FADE IN:

36. INSERT

The INSERT is an EDIT of a sequence from ‘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.

PETE (O/S)
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.

BRODY
What d’you say ?

PETE
Them fish’re back.

BRODY snaps back to the present.

BRODY
Oh right. Your catch is better.

PETE
Out at the sound, yeah.

BRODY
That’s your ground?

PETE
Aye. We fished out there since pa was
a young’un.

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:

BRODY
So it was tough going for a while ?

PETE
Tough ?

BRODY
The fishing was poor – bad.

PETE
Bad. ‘Appens though sometime – every cort’un.

BRODY
That’s to do with tides, right ?

PETE
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 !

CUT TO:

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.

NANCE
Yeah !

JIMMY
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

JIMMY (scowling)
D*mn thing, it’s bust.

NANCE turns to look at a torque gauge attached to the net system.

NANCE
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:

JACK
What’s the problem ?

44. ANGLE ON NANCE

NANCE (to JACK)
The gauge is on max.

45. ANGLE – JACK

JACK (dismissively)
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.

JACK (cont.)
There’s more pull.

46. ANGLE ON JIMMY

JIMMY
Might have snagged ?

47. BACK TO JACK

JACK
Nah, there ain’t nothing around here.

(He thinks for a minute, than calls decisively.)

Winch in.

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:

JIMMY
There’s more weight alright.

51. TWO SHOT

NANCE
Must have gone through a shoal.

JIMMY
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

JIMMY
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

JIMMY (shouts)
Shit ! Stop ! Stop !

58. ANGLE ON JACK

JACK is looking stern-wards.

JACK
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

JIMMY
There shouldn’t be any round here !

61. BACK TO JACK

JACK (shouting down, tense)
Unhook for chrissake ! Let it go. Let ‘em all go !

CUT TO:
@@@@@@

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)
Bad night.

BRODY nods.

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

ELLEN
Tell me.

66. FULL – BRODY

He sighs, thinks for a second, then speaks:

BRODY
“Why now “, right ?

67. WIDE

ELLEN (matter of factly)
“Guilt”: except that’s not all of it.

BRODY
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

ELLEN frowns.

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:

BRODY
When these nightmares started, I thought it was, you know,
‘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

ELLEN (nods)
So….what did you miss ?

74. MED.CLOSE – BRODY

BRODY (concentrating)
Something. It’s been sitting here. (He taps his forehead.)

Something I saw…read…some detail that didn’t seem
important then.

But it was.

75. ANGLE – ELLEN

ELLEN
Out of reach.

76. BACK TO BRODY

BRODY
Yes…..

77. MED.CLOSE – ELLEN

ELLEN (rhetorical, properly challenging)
So what would a cop do.

CUT TO:

78. LONG – AMITY POLICE STATION – EXT – DAY

BRODY walks INTO SHOT and up the steps of the police station.

CUT TO:

79. ANGLE ON HENDRICKS – POLICE STATION – INTERIOR

HENDRICKS (a character from ‘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 ‘wanted persons’ sheet about a woman, up on a notice board.

BRODY (O/S)
Have you checked her age ?

80. WIDE

HENDRICKS turns around with a smile.

HENDRICKS
Yeah, well even the police make mistakes apparently !

BRODY
Hmm. Is he in ?

HENDRICKS shakes his head.

CUT TO:
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

HENDRICKS
Larry Vaughan never bothered with these audit things.

BRODY (light)
Yeah well, if I don’t do it I’ll have one of the Governor’s
assistants crawling all over me.

CUT TO:

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.

86. REVERSE

BRODY pulls down the first 1975 box.

DISSOLVE TO:

87. ANOTHER ANGLE (BRIEF)

BRODY stands with an open box file, flicking through the individual files inside.

DISSOLVE TO:

88. ANOTHER ANGLE (BRIEF)

BRODY, now with his jacket off, pulls down another file.

DISSOLVE TO:

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.

BRODY
Yeah thanks.

DISSOLVE TO:

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 ‘ 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 ‘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 ‘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: ‘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)
No………..

CUT TO:
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 ‘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.

RADIO VOICE:
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)
Amity, then.

CUT TO:

102. LONG – PETE’S CABIN – EXT – DUSK

BRODY’s truck pulls up outside Pete’s ‘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.

CUT TO:

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:

BRODY
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..

BRODY (again)
Hey Pete, you here ?

No answer.

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.

DISSOLVE TO:

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.

CUT TO:

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.

114. WIDE

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:

PETE (cont.)
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.

PETE
Shark, aye.

BRODY (exploding)
Christ Pete, why didn’t you tell me !

117. MEDIUM – PETE

PETE turns and gives BRODY a very angry look.

PETE
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.

BRODY (apologetic)
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.

BRODY
You did. I’m sorry.

PETE thinks about it for a moment, then nods.

PETE
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 ‘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.

BRODY
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.)

PETE
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 ?

PETE
Aye, two cort’uns.

BRODY looks relieved to be getting somewhere.

BRODY
What about the one before that ?

PETE gets on with his cooking, but laughs.

PETE
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.

BRODY
What stories ?

PETE (matter of fact, as ever)
‘Bout how the shark ate people.

BRODY (less and less able to hide anxiety)
How many people ?

PETE
Can’t rightly say…some. Then was when folk
don’t swim much like as now, for like, having fun
an’ that.

BRODY
And after that, when did the shark come again ?

PETE
Next cort’un.

BRODY
When was that – what date ?

PETE ponders a moment.

PETE
Can’t say. I was a young ‘un. I were fishin’
with pa then. Shark came then and killed
some folk.

BRODY holds up the paper cutting.

BRODY
1950 – two people were killed here by a shark.

PETE
That’d be right then, 1950.

BRODY
And the next time ?

PETE
Well you knows ‘bout that, don’ you. You
an’ old Sam.

BRODY
Quint ?

PETE
Aye. He were a good man.

121. MED.CLOSE – BRODY

BRODY nods.

BRODY (tense, hesitant)
The fish, your fish that disappeared and came back,
it means the shark’s here……The next quartern.

122. MEDIUM – PETE

PETE
Aye. He’ll be here now ‘til Summer.

123. BACK TO BRODY

He looks ashen

CUT TO:

124. MED.CLOSE: ON SIGN – EXT – DAY

The sign, on a hilltop, reads: ‘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.

CUT TO:

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.

CUT TO:

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 ‘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.

SANDERS
Ole !

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)
Martin.

BRODY
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 ‘oh, very funny’ look. SANDERS grins.

BRODY
This is Chief Sanders.

SANDERS
Chris.

(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)
So ?

HOOPER (casually)
I’m cold. Come on.

CUT TO:

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:

HOOPER
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)

HOOPER (cont.)
Havn’t heard it used about longer periods.

SANDERS
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.

BRODY
The evidence on Amity attacks is.

HOOPER (firmly, to BRODY)
Is it ?

BRODY (tetchy)
What’s that supposed to mean !

HOOPER
There were attacks in 1950 and ‘75, twenty five years apart –
that’s certain. But you had further attacks in ‘77 ?

BRODY
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 !

BRODY (annoyed)
That’s not what I meant. I meant that seems like a possible
explanation for the ‘77 attacks.

HOOPER sits down opposite BRODY and SANDERS.

HOOPER
Except there wern’t any attacks in the years right after 1950,
were there ?

BRODY makes to interrupt, but HOOPER continues with authority.

HOOPER (cont.)
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 ‘20 and ’29. What if was ‘21 say, not ‘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.

BRODY (exploding)
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.

HOOPER
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.

HOOPER
I doubt that’s an argument which’ll have your council jumping up to fund
an expedition. ‘Cos times have changed, Martin. This board don’t let
me do ‘free of charge’.

BRODY (exasperated)
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.

CUT TO:

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 ‘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.

HOOPER
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 !

MILLIE laughs.

143. ANGLE O/S of BILL (a crew member) FROM BRIDGE DECK DOWN TO HOOPER

BILL (calling)
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 ‘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.

HOOPER
Jim.

JIM turns face-on to screen.

JIM
Oh, Matt, hi. We’ve finished section 3. Nothing of note.

HOOPER nods.

HOOPER (a touch wearily)
OK. Let’s join up in section 4.

JIM nods, but with a rather quizzical expression.

JIM
Hey Matt –

HOOPER
Yeah ?

JIM
What the f**k’re we doing out here ?

145. MED. CLOSE – HOOPER

HOOPER (sighing)
A favour……

CUT TO:


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:

ELLEN
You know it’s six years since he’s been over……For your
retirement.

ELLEN walks into the dining room wearing a pinafore, and carrying a bread basket. BRODY is still ‘elsewhere’. She nudges him.

ELLEN
Are you listening ?

BRODY glances up.

BRODY
‘Six years….’

ELLEN (scowling, good humouredly)
Hmm.

O/S HOOPER calls through:

HOOPER (from a distance)
Hi. Ellen ?

ELLEN and BRODY look towards the doorway.

ELLEN
Hey ! Come in.

HOPPER appears in the doorway. He carries two bottles of wine.

HOOPER (deadpan)
I brought red and white: I didn’t know what you’d be
serving.

They all laugh – but BRODY with reserve.

CUT TO:

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.

HOOPER
Wern’t butterfly collars great !

148. WIDE

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.

149. INTERCUTS

HOOPER turns and immediately spots BRODY’s passivity.

HOOPER
Wanna talk about sharks, Martin ?

BRODY glances to HOOER with a less than friendly expression.

HOOPER (cont.)
Because there isn’t one.

BRODY just stares expressionlessly at HOOPER.

ELLEN
Well that’s great, isn’t it, Martin ?

BRODY just continues to stare at HOOPER.

HOOPER
Well I’m with you, Ellen. I don’t know where Martin is.

BRODY smiles and shakes his head.

BRODY (calmly)
Look, Matt. Don’t think I don’t appreciate you and your team
coming down here – having to spin god knows what yarn with
your bosses.

I hoped you’d find it. That’s what I hoped. You havn’t.

HOOPER looks irked.

HOOPER (irritated)
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.

HOOPER
Ellen, thanks for a lovely meal.
Martin, we’re outta here tomorrow.

HOOPER exits.

CUT TO:

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.

WAYNE
Told you this’d be great.

TIM (uncertain)
Yeah…..maybe it’s too cold to catch anything.

WAYNE
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.

CUT TO:

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.

CUT TO:

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.

MENDEZ
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.

SANDERS (dry-mouthed)
Has he said anything ?

157. ANGLE – MENDEZ

MENDEZ
No. He can’t speak.

158. BACK TO TWO SHOT

BRODY eyes stay closed.

BRODY (faltering)

Is he going to die ?

159. MENDEZ

MENDEZ (matter of fact, but sensitive)

Can’t say, Martin…..can’t say.

CUT TO:

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.

SANDERS
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.

BRODY
Hooper ? Christ, he doesn’t give a shit !

161. MEDIUM – ON SANDERS

SANDERS is opening his door. He does not look back.

SANDERS (firmly)
Just get him, Martin !

CUT TO: (Segment 15)

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