Jaws The Revenge Script - Screenplay

Swing on back to Drew's Script-O-Rama afterwards for more free movie scripts!

JAWS: THE REVENGE SCRIPT

by

Michael de Guzman

Prod. #02184
January 23, 1987
REVISED FINAL SHOOTING SCRIPT

							PRODUCER, DIRECTOR:
							JOSEPH SARGENT


		     TITLE SEQUENCE:  UNDER WATER - NIGHT

		     As titles and music play, we move
		     slowly beneath the water off the
		     coast of Amity.

		     We swim beneath a dock, threading
		     our way through pilings...

		     We move through the water, swimming,
		     just swimming, with all the time in
		     the world.

		     We move over some junk -- the 
		     rusting front end of an automobile...
		     We're going somewhere...

		     The water becomes shallow and we
		     stop.  Up through the surface, the
		     images distorted, we see the lights
		     of a town...Amity...

		     We move on, swimming again, just
		     swimming, moving through the water
		     until, suddenly, the water swirls
		     with motion around us.  We experience
		     the sensation of turning and then
		     we see it, THE EYE...And, for a
		     moment, we think we're going to
		     see more...

		     But all we see, as titles end, is
		     THE EYE...


JAWS:
THE REVENGE

	FADE IN

1	AN ENORMOUS BLACK EYE						
	1

	casts its deadly stare straight at us.  Waves of heat, like
	ocean currents, rise up around it.  A sound like that of
	the fires of hell fills our ears.

				   ELLEN (O.S.)
		   Stop that....

				   SEAN (O.S.)
		   Stop what?

				   ELLEN (O.S.)
		   That....

				   SEAN (O.S.)
			   (laughing)
		   I'm not doing anything.

	A hand is heard being slapped lightly.

				   SEAN (O.S.)
			   (feigning
			   pain)
		   That hurt....

				   ELLEN (O.S.)
		   Serves you right.
			   (laughing
			   despite
			   herself)
		   Will you please stop....

				   SEAN (O.S.)
		   Can't help myself....

	The huge eye rises up toward us, then turns away and
	disappears, to be replaced by another just like it.

2	INT. BRODY HOUSE - KITCHEN - NIGHT				
	2

	The eye belongs to a fish and the fish is frying in a pan
	and Ellen has just turned it.  She glances at Sean, her
	son, who's dressed in an Amity police uniform.  He's
	munching a piece of lettuce from the salad, which he's been
	picking at.  It's winter and she's wearing a bit of wool.

				   ELLEN
		   You're almost as fast as your
		   father.  He could snatch a tomato
		   out of a salad faster that a rabbit
		   makes love.

	Sean grins at his mother and slowly tries to take more
	lettuce without being seen.

				   ELLEN
			   (continuing)
		   I see what you're doing....

				   SEAN
		   I'm hungry, Mom....

				   ELLEN
		   Let me finish dinner before you eat
		   it...Chop the peppers....

	He lines up a red and green pepper and eyes them sympatha-
	tically.

				   SEAN
		   Sorry fellas....

	He starts chopping them up and Ellen grabs her glass of wine
	and sits herself on a stool to watch him.  Showing off a
	little, he starts adding some professional panache to his
	chopping.

				   ELLEN
		   Watch your fingers....

	He cuts himself.

				   SEAN
		Shit....

	The phone rings.

				   ELLEN
		   Are you all right?

				   SEAN
		   Adds flavor....

	He sucks at his finger as she answers the phone on its
	second ring.

				   SEAN
			   (continuing)
		   We don't want any....

				   ELLEN
			   (picking up
			   the phone)
		   Hello?
			   (smile
			   broadens as
			   she listens)
		   Thea who?
			   (laughs)
		   I know it's Thea Brody.  How many
		   grandchildren do I have?  I know you
		   can use the phone by yourself.
		   You're a big girl.  I know you're
		   five.

	Sean, still sucking at his finger, eager to talk with his
	niece, moves to the phone and leans in close to the
	mouthpiece.

				   SEAN
		   Hi ya, kiddo.  How you doing down
		   there in the sunshine?

	Ellen shares the mouthpiece with her son.

				   THEA (O.S.)
		   I'm fine, Uncle Sean.  I went swimming
		   today.  I'm taking lessons.

				   MICHAEL (O.S.)
		   She already swims like a fish.

				   SEAN
		   Hey, Michael!

				   MICHAEL (O.S.)
		   Hey, bro....

				   ELLEN
			   (to Sean)
		   The fish.  Check it....

				   SEAN
		   You check it....

				   ELLEN
		   I'm on the phone....

				   MICHAEL (O.S.)
		   I'm paying for the call....

				   SEAN
			   (to Ellen)
		   Not if you let me have it.

				   ELLEN
		   In a minute....

				   THEA (O.S.)
		   What's going on?

				   SEAN
			   (to Thea)
		   Your grandmother's a slave driver.
		   Tell her to be nice to me.

	Sean makes a face at his mother, who smiles at him, then
	continues her conversation with Thea.

				   ELLEN
		   Did you get the book I sent you?
			   (listens)

	Sean studies the fish as it fries in the pan, not sure
	what to do with it.

				   SEAN
		   Ask the big doctor about his work.
			   (yelling so
			   Michael can
			   hear him)
		   Tough life you Bahamian beach bum...
		   Playing in the water all day....

				   ELLEN
		   He heard that.

				   SEAN
			   (smiling)
		   Good.

	He turns to the fish.

3	OMITTED								
	3

4	AMITY - DUSK							
	4

	It's the next day and the main business street of Amity
	is ablaze with Christmas lights and decorations.  The
	streets are busier than usual with traffic.  People move
	about with that extra sense of purpose and good cheer
	which accompanies the holiday season.

	Sean, Ellen and Tiffany, the young woman to whom Sean is
	engaged, are just leaving Ellen's real estate office, a
	storefront on the main street.  They're carrying Christmas
	packages.  Ellen's partner, Agnes Taft, is seen at her desk
	inside.

				   ELLEN
			   (as she leaves)
		   Tomorrow we have to get the ads for
		   the paper straightened out.  And if
		   Mrs. Blodget calls, tell her we'll
		   have the final offer tomorrow....

				   MRS. TAFT
		   How come you get to leave early?

				   ELLEN
			   (smiling)
		   My desk is closer to the door....

	Mrs. Taft grins and goes back to work as Ellen, Sean and
	Tiffany start across the street.  The sign above the door
	behind them reads:  'BRODY AND TAFT, REAL ESTATE.'

				   SEAN
			   (continuing
			   their earlier
			   conversation)
		   A big one....

				   ELLEN
		   A small one...Your brother won't be
		   here....

	The Mayor sees them as he moves along the sidewalk.

				   THE MAYOR
		   Merry Christmas.

		   ELLEN			   SEAN/TIFFANY
	Merry Christmas, Jim....	Merry Christmas, Mayor....

				   THE MAYOR
		   Eggnog time...Thursday night.

				   ELLEN
		   I'll be there....

	The Mayor offers a large grin and hurries on.

				   SEAN
			   (to Ellen)
		   We're having a big tree and we're
		   getting out all the old ornaments
		   and we're going to do it right....

				   TIFFANY
		   We'll put stockings on the mantel....

				   SEAN
		   And we're putting out a sandwich and
		   a bottle of beer for Santa....

				   ELLEN
			   (laughing)
		   All right...We'll do it all...Tiffany,
		   you have no idea what kind of mad man
		   you're marrying....

				   TIFFANY
			   (smiling at
			   Sean)
		   Oh, yes I do....

	They approach the front of the police station.

				   SEAN
		   I've got to check in....

	He kisses his mother on the cheek and plants one on
	Tiffany's lips.

				   ELLEN
		   Don't be late.

				   SEAN
		   I won't....

	Sean heads for the station.  The two women watch him for a
	moment, then move on.

				   ELLEN
			   (with good
			   humor)
		   He has the messiest room in America....

				   TIFFANY
		   I know...but he's all mine....

	Ellen gives her a look, then smiles and the two women
	continue on.

5	INT. POLICE STATION - DUSK					
	5

	Sean moves into the front office, taking off his gloves
	and blowing into his hands.  The secretary, Polly, who is
	close to retirement, is going through a filing cabinet.
	There's a framed picture of Martin Brody on the wall near
	her.  It has a plaque beneath it which reads, MARTIN BRODY,
	POLICE CHIEF, 1973-1985.  She slams the drawer shut in her
	frustration at not being able to find what she's looking
	for.

				   SEAN
		   That bad, huh?

				   POLLY
		   We're out of decaf...We're out of
		   petty cash...And we're out of
		   requisition forms....

	He smiles sympathetically and pours himself a half cup of
	coffee and waits for the rest of it.

				   POLLY
			   (continuing)
		   You have the safety talk at school,
		   one o'clock tomorrow....

				   SEAN
		   Anything to do before I go home?

	He sips at his coffee, eager to be gone.  Polly opens
	another file and searches.

				   POLLY
		   That man keeps calling about his
		   training film.  I can't convince him
		   we don't have a S.W.A.T. team.

				   SEAN
		   Good night, Polly....

	He takes a final sip of coffee and puts the mug down and
	heads for the door.  The phone rings.  Polly moves to her
	desk.

				   POLLY
		   George called about the softball
		   league.  He wants you to organize a
		   team for next summer....

	He disappears as she picks up the phone.

				   POLLY
			   (continuing)
		   Amity Police Department...
			   (listens;
			   then yells 
			   at Sean)
		   Hold it!  There's an old dock piling
		   drifting in the channel.

	Sean reappears in the doorway looking quizzical.

				   POLLY
			   (continuing;
			   on the phone)
		   Maybe it will just keep drifting
		   until it goes away.
			   (to Sean)
		   It's stuck against a channel marker.

	He starts away again, trying to ignore it.

				   POLLY
			   (continuing;
			   listening;
			   then yelling)
		   Hold it again!  Coast Guard's busy
		   and it has to be cleared before the
		   fishermen come back.

	Sean moves back to the doorway.

				   SEAN
		   Where's Lenny?

				   POLLY
			   (hand over
			   the mouthpiece)
		   Gone to Ben Masters' place.  Cow
		   tipping.

				   SEAN
		   Cow tipping?

				   POLLY
		   Claims kids come around at night and
		   tip over his sleeping cows.  They're
		   not giving milk.

				   SEAN
			   (sighing)
		   I'll take care of it.

				   POLLY
			   (on the
			   phone)
		   Deputy Brody will take care of it
		   personally.

	She hangs up and eyes Sean, who's still framed in the doorway.

				   SEAN
		   Call my mother.  Tell her I'll be
		   late.

	He shakes his head and disappears at the door.

				   SEAN
			   (continuing)
		   Cow tipping....

6	THE DOCKS - DUSK TO NIGHT					
	6

	A huge banner is stretched above the docks.  It reads:
	AMITY ANNUAL CHRISTMAS PAGEANT.

	The combined forces of the high school band, chorus and
	dramatic society are in the process of rehearsing their
	musical version of the birth of Christ.  Their director,
	Mr. Tarkanian, is jumping about, trying to organize things.

				   TARKANIAN
		   Come on people.  Come on.  We go on
		   at eight o'clock tomorrow night
		   and...
			   (voice rising
			   to a scream)
		   No one's ready....

	This gets him some attention and his kids begin taking
	their places -- Mary and Joseph, the Three Wisemen, the
	shepherds...the sheep, the camel, which is a horse with an
	artificial hump.

				   TARKANIAN
			   (continuing)
		   You shepherds, find your places.
		   And don't forget the sheep....

	Sean pulls up in the police vehicle, gets out and, grinning
	and shaking his head at the confusion, begins to make his
	way through it.

				   SEAN
			   (yelling at
			   Tarkanian)
		   Good luck.

				   TARKANIAN
		   I'll need it with this bunch....

	Sean pushes on, moving out on the dock.

				   TARKANIAN (O.S.)
		   Where's the Frankincense?  This is
		   supposed to be a dress rehearsal....

7	THE POLICE BOAT - NIGHT						
	7

	Sean gets the engine started and casts off and the small
	boat makes its way from the dock.

				   TARKANIAN (O.S.)
			   (shouting)
		   You're supposed to be in costume,
		   Joseph.  Where's your robe?  Jesus!

				   A KID (O.S.)
		   Here I am....

8	THE BAY - NIGHT							
	8

	The boat moves slowly toward the channel.  Sean looks
	back and sees the lights and activity on the dock and
	smiles a little, then turns his attention to the job at
	hand, switching on the boat's spotlight, using it to cut
	through the accumulating darkness.

9	THE CHANNEL - NIGHT						
	9

	Sean brings the boat to the channel marker, with its small
	blinking red light, and kills the engine and examines the
	huge piece of dock piling, most of which is beneath the sur-
	face.  It's lodged against the marker, so heavy in the water
	that it's not moving an inch.  Hardly more than a shadow,
	his face just barely illuminated by the occasional dull red
	light, Sean gathers the towline and begins trying to secure
	it to the piling, a difficult job in the cold, which
	requires him to lean out over the side as far as he can.

	The band is heard starting up on the dock, gradually col-
	lecting itself until it sounds like one, playing "The First
	Noel."  A few moments later, the choir begins singing it.

	Suddenly the water explodes up around him violently and the
	boat rocks in the shock of it and a dark form is seen, for
	an instant, and Sean disappears from our view.  The boat's
	spotlight rocks crazily.  Then the turmoil of the water dies
	and all is calm and the singing from the dock is heard
	clearly again.

	Sean, holding onto his shredded sleeve and coat, bleeding
	profusely, has fallen  to a corner of the stern.  He looks
	off toward the dock and opens his mouth to call for help,
	but nothing comes out.  The music grows louder as the band
	and chorus find their confidence.

	Then a tremendous surge of water explodes upward and the
	dark form is seen again, for an instant, and our view of
	Sean is lost.  When we can see again, Sean and a corner
	of the stern are gone.

	For a moment, Sean is seen holding onto the piece of dock
	piling with his remaining arm.  He cries out for help but
	it's lost in the swelling sound of the Christmas Carol
	coming from the dock.  Then Sean and the pole disappear
	beneath the surface.  He's just gone.  A few moments later,
	the pole pops back to the surface.  In the rocking
	spotlight from the boat, the clear outline of the shark's
	jaws can be seen where it's taken a chunk of it.  In the
	stillness of the night, the band and chorus suddenly stop.

				   TARKANIAN (O.S.)
			   (yelling; his
			   patience
			   exhausted)
		   Get the star higher.  Higher!  And
		   where the hell are the Wisemen?

10	INT. POLICE STATION - DAY					
	10

	Ellen in shock, moves down a corridor with Lenny, Sean's
	boss, the Chief.  He holds her arm as they move to a back
	room of the station.  Polly and a handful of townspeople
	watch sadly from the other end.

				   LENNY
		   If I didn't have to, I wouldn't.
			   (hates this
			   conversation)
		   There's not enough...Law requires a
		   positive identification and there's
		   not...
			   (can't finish)

	He holds the door open and Ellen goes inside.

11	THE BACK ROOM - DAY						
	11

	A sheet covers the table in the center of the room.
	There's a slight bulge beneath it.  Ellen moves to the
	table.  Lenny moves to get ahead of her.

				   LENNY
		   I wish there was some way to make it
		   easy....

	Ellen, still in shock, watches as Lenny pulls back the sheet.
	She goes rigid, staring at Sean's remains without expression.
	He glances at her, then puts the sheet back.  She doesn't 
	move.  He moves to an old desk which sits in a corner and
	takes up a package.  Sean's service revolver, in his holster,
	and his badge are on top of it.  He brings them to her.

				   LENNY
			   (continuing)
		   His things....

	She looks dully at Lenny, then at the package, staring at
	the service revolver.

				   LENNY
			   (continuing)
		   I thought you'd want them....

	She takes what he offers and leaves.

12	THE CORRIDOR							
	12

	Ellen stops and uses all her strength to compose herself.
	Her expression is etched with controlled rage.

13									
	13
and	OMITTED								
	and
14									
	14

15	EXT. BRODY HOUSE - DAY						
	15

	A taxi pulls up in front and Michael Brody, in his late
	twenties.  Carla, his wife, mid-twenties, and Thea, their
	five-year-old daughter, get out.  As the driver gathers their
	luggage, they look sadly at the house, then start for it.
	Thea doesn't really understand what's going on.

16	INT. HOUSE - DAY						
	16

	Michael and his family move into the house.

				   MICHAEL
		   Mom?

	There's no answer and he looks in the living room.  It's
	empty.

				   MICHAEL
			   (continuing)
		   Anybody home?

	Polly moves into the hall, followed by Mrs. Kintner, Agnes
	Taft, and another woman.  They all look as though they've
	been working in the kitchen.

				   POLLY
		   Michael....

	He moves to her and they embrace.  Polly looks at Carla and
	the two women exchange sad smiles.

				   MICHAEL
		   Where's Mom?

	Polly points out toward the beach.

				   POLLY
		   She's been out there for hours....

				   MICHAEL
		   How's she doing?

	Polly gives him a look, as if to say, not very well.

				   MRS. KINTNER
		   We just came from Tiffany's house....

				   MRS. TAFT
		   Poor girl...The doctor's had to sedate
		   her....

	Michael nods and leaves.  Polly smiles at Thea.

				   POLLY
		   I hardly recognize you, Thea.  You're
		   so grown up....

				   THEA
		   Uncle Sean is dead, you know.
			   (to Carla)
		   Will he ever come back?

		   POLLY			   CARLA
	   (to Thea)			   (to Thea)
	You want something to eat?	We'll talk about it some
					more later.

				   THEA
			   (to Polly)
		   I had a hamburger on the plane.

				   POLLY
		   We can do better than that.....

	Polly offers her hand and Thea takes it and they head for
	the kitchen.  Polly and Carla exchanging the knowledge of how
	difficult this all is for a child.

				   POLLY
		   How about a funny bone sandwich?

	Thea giggles and they disappear into the kitchen.

17	THE BEACH - DAY							
	17

	Ellen stands at the shoreline, looking out toward the bay,
	her expression empty of feeling;  stoic suppression of her
	feelings.  Michael moves down the beach toward her.

				   MICHAEL
		   Mom....

	She turns and, for a long moment they look at each other,
	then he moves to her and takes her in his arms.  They hold
	onto each other for a long time.  Tears begin to well up in
	his eyes.  She looks at him, then kisses him gently, then
	looks back out at the water.

				   ELLEN
			   (with deadly calm)
		   It came for him.  It waited all this
		   time and it came for him....

				   MICHAEL
		   Mother....

	But she doesn't hear him.  Her mind and heart are somewhere
	else.

18	INT. BRODY HOUSE - KITCHEN - NIGHT				
	18

	Carla is organizing the evening meal.  Michael moves into
	the room.

				   MICHAEL
		   She's putting Thea to sleep.

	He gets a can of beer from the refrigerator and pops the
	top, then looks at it.  She studies him.

				   MICHAEL
			   (continuing)
		   I bought him his first legal drink.
		   He got so pissed that night....

				   CARLA
		   He told me you both did....

	They look at each other, sharing their grief.

				   CARLA
			   (continuing)
		   He told me a lot about you two....

	Carla catches Ellen entering from the corner of her eye.
	Michael follows her gaze.

				   MICHAEL
		   Sit down, Ma....

				   ELLEN
		   You guys must be starving....

	Ellen moves to the counter and starts pulling out pots and
	pans, as though she's lost control of herself.  Carla moves
	to calm her down.

				   CARLA
		   I'm making dinner.  You should....

	Ellen pulls herself free from Carla's hand and continues
	pulling out the pots.  She stops suddenly, holding one in
	her hand.  She lets it drop and turns to look at Michael.

				   ELLEN
		   I want you to get out of the water....

				   MICHAEL
		   What?

				   ELLEN
		   I want you to give up that terrible job.

				   MICHAEL
		   Come on, Mom, you can't be serious....

				   ELLEN
			   (her voice
			   rising)
		   You're damn right I'm serious....

				   MICHAEL
		   I'm just getting started....

				   ELLEN
		   I don't want you in the water anymore....

	She stops suddenly, aware that Michael and Carla are
	staring at her.

				   MICHAEL
		   Mom, you're upset.  Sit down...Please....

				   ELLEN
		   I won't have anyone in my family any-
		   where near the water....
			   (coming
			   unglued)
		   Never again...Never....

	Michael moves to her, trying to take her in his arms,
	trying to comfort her.

				   MICHAEL
		   Hey, come on, you can't believe that
		   voodoo.  Sharks don't commit murder.
		   They don't pick out a person....

				   ELLEN
			   (pulling away
			   from her son)
		   It picked Sean...It killed your
		   father....

				   MICHAEL
		   Dad died from a heart attack....

				   ELLEN
		   He died from fear...From having to
		   go out there after it....

	She starts from the room unable to control herself, not
	wanting to unravel completely in front of Michael and Carla.

				   MICHAEL
			   (a last attempt
			   to reason with
			   her)
		   There's never been a great white
		   where we live.  It's warm water...
		   They don't like it....

				   ELLEN (O.S.)
			   (as she moves
			   away)
		   Your brother's dead...Your father's
		   dead....

	Michael and Carla look at each other with grave concern.

19	THE BEACH - DAY							
	19

	The sand is hard from the cold and it's empty of people.
	The water is calm.  The day is sunny and peaceful.

				   MICHAEL (O.S.)
		   He was such a good-natured kid...
		   Always going out of his way....

				   CARLA (O.S.)
		   He was doing his job....

				   MICHAEL (O.S.)
		   It was a piece of wood.  A shitty
		   piece of wood.  It's not fair....

	Michael and Carla move into view, their backs to us,
	bundled against the cold.

				   CARLA
		   He was just doing his job, Michael.

	They walk on in silence for a moment and we see them coming
	toward us.  Michael is deeply troubled.  Carla is concerned
	about him.

				   MICHAEL
		   God, he could make me laugh sometimes.
			   (pauses)
		   He was always tagging after me when
		   we were kids.  He wanted so much to
		   do what I was doing....

	Suddenly Michael starts running.  Carla watches him for a
	moment, then starts running after him.

				   CARLA
		   Where are you going?

				   MICHAEL
		   Nowhere....

	He starts running flat out and Carla runs with him, stopping
	finally because he's too fast and she can't keep pace.  She
	watches as he works every muscle in his body, trying to
	exhaust himself, trying to rid himself of what he feels.

20	OMITTED								
	20

21	INT. BRODY HOUSE - DINING ROOM - NIGHT (FROM JAWS)		
	21

	Sean, a small boy, and Martin are at the table.  Martin is
	lost in thought, reflecting on his dilemma about the
	appearance of a great white shark in Amity and the refusal
	of the town fathers to shut down the beaches.  Sean imitates
	his father's every move, mimicking him in every way.

				   MINISTER (V.O.)
		   To everything there is a season
		   And a time to every purpose under
		     the heaven;
		   A time to be born, and a time to
		     die....

22	THE CEMETERY - DAY						
	22

	Ellen is smiling, her expression reflecting her memory of
	her son and her husband.  Sean is being buried.  The Minister
	is conducting the gravesite service.  Thea stands next to
	Ellen, holding her hand.  Carla is next to her.  Michael
	stands on the other side of his mother.  Tiffany stands next
	to him.  She's crying.  Hundreds of townspeople have come
	to pay their last respects, Polly, Lenny, Mrs. Kintner,
	Mrs. Taft, Tarkanian, the Mayor and several Selectmen among
	them.

				   MINISTER
		   A time to plant, and a time to
		     pluck up that which is planted;
		   A time to kill, and a time to
		     heal;
		   A time to break down, and a time
		     to build up;
		   A time to weep, and a time to
		     laugh....

23	INT. BRODY HOUSE - DINING ROOM - NIGHT (FROM JAWS)		
	23

	Martin and Sean are still at the table.  Martin finally
	catches his son and makes a funny face at him and Sean
	makes one back.  Martin opens his arms and Sean comes to
	him and the boy kisses his father.  Ellen watches from
	the doorway.

				   MINISTER (V.O.)
		   A time to mourn, and a time to
		     dance;
		   A time to cast away stones, and
		     a time to gather stones together....
		   A time to embrace, and a time to
		     refrain from embracing....
		   A time to seek, and a time to lose;
		   A time to keep, and a time to cast
		     away;
		   A time to rend, and a time to sew....

23-A	OMITTED								
	23-A

24	THE CEMETERY - DAY						
	24

	Ellen is still smiling.  Thea is looking up at her, smiling
	to herself, trying to figure out what's amusing her grand-
	mother.  Michael and Carla look at Ellen with concern.

				   MINISTER
		   A time to keep silence, and a
		     time to speak;
		   A time to love and a time to
		     hate;
		   A time for war, and a time for
		     peace.

25	AVRIL BAY - NIGHT						
	25

	The water laps gently against the shore.  A person's legs
	are seen walking into it.  Ellen is revealed walking slowly,
	deliberate out into the cold water of the bay.  Her
	expression is set with sad determination as though she's
	going to keep on walking, until the water swallows her up.
	Finally she stops, and slowly raises her right hand.  It
	holds Sean's service revolver.  She points it toward the
	water in front of her and one by one, coldly, methodically,
	fires all six rounds into the bay.

26	EXT. DRUGSTORE - DAY						
	26

	Ellen, Michael, Carla and Thea leave the store and move off.
	Thea is unwrapping a lollipop.

				   CARLA
		   You'll spoil her.

				   THEA
		   That's what grandmas are for.

	Ellen, constantly surprised by her granddaughter, laughs.
	It pleases Michael and Carla.

				   MICHAEL
		   I want you to come back with us.

	Ellen looks at him with a raised eyebrow.  Michael's
	concern for her is evident.

				   MICHAEL
			   (continuing)
		   Change of scenery...Spend more time
		   with Thea....

				   THEA
		   Yes!

	Ellen looks at Carla, silently asking for her response.

				   CARLA
			   (smiling;
			   taking Ellen's
			   arm)
		   What do I think?  I think it's a
		   lovely idea....

				   MICHAEL
		   Please, Mom.  At least consider it.
		   You should get away.  You shouldn't
		   be alone now....

				   ELLEN
			   (mimicking
			   Thea)
		   Yes!

				   THEA
		   You can stay in my room.

				   ELLEN
			   (to Thea)
		   I'd like that.
			   (to Michael)
		   I need to be away from here.

	Michael, surprised, pleased by how quickly his mother
	agreed, smiles and she returns it, the first smile she's
	had for anyone but Thea and the memory of her son and
	husband since Sean was killed.  Carla looks at Michael,
	her expression etched with love and concern.

27									
	27
thru	OMITTED								
	thru
28									
	28

29	THE FERRY - DAY							
	29

	Michael with Thea in his arms, Ellen and Carla stand
	together near their taxi as the ferry leaves Amity and
	heads for the mainland, the first leg of their journey to
	the Bahamas.  Thea is playing a game with Ellen, pretending
	to whisper a secret.  Ellen does it back and Thea giggles
	hysterically.

				   THEA
		   Grandma said, buzz, buzz, buzz....

	Ellen laughs at her granddaughter's delight.  Michael and
	Carla grin.

				   THEA
			   (continuing)
		   Swing me...Swing me....

	Michael and Carla start swinging Thea between them.  As
	Thea laughs, Ellen, suddenly, without warning, moves away
	and starts crying, unseen by the others.  She looks back
	toward the island, sobbing now, finally letting it out,
	taking a last look at her home.  Carla, Thea and Michael
	are heard laughing as they continue their game.

30	AVRIL BAY - DAY							
	30

	From the surface of the water, the ferry is seen becoming
	smaller and smaller as it moves away.  The old dock piling
	that Sean tried to dislodge from the channel marker, that
	cost him his life, has washed up on the beach.

	It's in several pieces and bears the distinct outline of
	the great white shark's jaws.  Several of its teeth are
	lodged in the wood.

30-A	OMITTED								
	30-A

30-B	NASSAU AIRPORT							
	30-B

	A large Eastern airline jet descends to the airport,
	finally touching down and braking as it brings the Brody
	family to the Bahamas.  The plane flashes past....

31	NASSAU BAY - DAY						
	31

	A blur of red flashes past.  A Parachutist is being pulled
	by a speedboat.  Several others are revealed, then a crowd
	of swimmers, and banana boats, and sailfish.  The busy bay,
	it's "high season," is seen from the point of view of a low
	flying aircraft.

				   CARLA (O.S.)
		   I've always wanted to ride one of
		   those....

				   MICHAEL (O.S.)
		   No way....

				   CARLA (O.S.)
			   (laughing)
		   Chicken....

32	INT. PLANE - DAY						
	32

	Ellen stares down at the water, carrying her mood from
	Amity.  Michael and Carla ride next to and just behind her
	and eye Ellen with concern.  Michael is dealing with his
	own grief, forcing himself to put on a "strong" face for
	his mother.  Thea looks back from the front seat.  She's
	riding next to Hoagie Newcombe, the pilot, a man of Ellen's
	age who looks the "free spirit" he is.

				   THEA
		   Can I ride one sometime...?

				   ELLEN
			   (breaking
			   free from 
			   her trance)
		   It's too dangerous....

				   CARLA
			   (teasing)
		   Like mother, like son....

				   MICHAEL
		   My mother always told me, if God had
		   intended us to ride parachutes for
		   fun, we'd have been born with free
		   tickets....

				   ELLEN
			   (laughing)
		   I never....

				   THEA
			   (to Hoagie)
		   Where's the lady who brings the soda?

	Hoagie laughs.

				   THEA
			   (continuing)
		   They had them on the big one....

				   HOAGIE
		   I have coffee in the thermos.

				   THEA
		   I'm too young for coffee.  Can I
		   drive the plane?

				   CARLA
		   Thea....

				   THEA
		   Sometimes my father puts me in his
		   lap and lets me steer the Jeep.

				   CARLA
		   Don't bother Hoagie....

				   HOAGIE
		   Sometimes I let special people sit
		   on my lap and steer the plane....

	He helps Thea undo her seat belt and she climbs into his
	lap and he puts her little hands on the wheel, then puts 
	his over them.

				   MICHAEL
		   Jake tells me you're going to have
		   to fly for the rest of your life to
		   pay off what you lost at the crap
		   table....

				   HOAGIE
		   Good news travels fast....

	He throws a smile back at Michael, who smiles back, just a
	little.

				   HOAGIE
			   (continuing)
		   I'll get it back next time.

				   THEA
		   How come it bumps up and down when
		   there's no road?

				   HOAGIE
		   The wind does that.
			   (to Ellen)
		   Ever been to the Bahamas before?

				   ELLEN
		   No....

				   HOAGIE
		   First time for everything is the
		   best.  After that you know too much
		   and it's never quite the same.

				   ELLEN
		   You must get bored easily.

		   MICHAEL				   HOAGIE
	Not from what I've heard....		Only on Tuesdays...The
						rest of the week is
						interesting as hell.

				   MICHAEL
		   Hoagie likes adventure....

	Michael glances at Carla, who's smiling at Thea, as Hoagie
	gives Ellen his most charming smile.  Ellen is looking from
	Michael to Hoagie, not sure what to make of it all.

				   THEA
		   What's that?

	She's pointing to a gauge with a horizontal white line
	across it.

		   HOAGIE			   CARLA
	It tells me if I'm flying	    (to Michael)
	level.  Sometimes it's hard	You okay?
	to tell without a road.
						   MICHAEL
		   THEA			Yeah.
	How do you make the plane
	go up and down?				   CARLA
					    (looking at
		    HOAGIE		    Ellen; then
	Like this....			    Michael)
					She'll be okay too....

	Carla takes Michael's hand and holds it as Hoagie puts the
	plane into a steep dive.  Everyone holds on.

				   HOAGIE
			   (continuing)
		   Want to go for a little ride?

				   THEA
		   I do....

				   ELLEN
		   Can you just go off...?

				   HOAGIE
		   I'm the captain of this majestic
		   ship.  It goes where I take it....

	He gestures to Ellen to look below and she looks out her
	window.

33	OMITTED								
	33

34	THE AIRPORT - DAY						
	34

	Palm trees stir in the gentle breeze.  The terminal is
	decorated for Christmas.  A half-dozen islanders eye the
	air taxi as its wheels touch down.

35	VACATION HOUSE - DAY						
	35

	We move past large, expensive houses off a narrow road.
	They're landscaped beautifully.  The sound of "The Christmas
	Song" being sung by "someone" is heard.

35-A	A CAR - DAY							
	35-A

	Ellen stares at the houses from an early model white
	Cadillac as it makes its way toward Michael's house.  "The
	Christmas Song" is coming from its stereo speakers.

36	INT. CAR (MICHAEL'S NEIGHBORHOOD) - DAY				
	36

	Carla is in back with Ellen.  Thea is between them, resting
	her head against her mother's arms.  Michael is in front,
	next to Romeo, the driver, an Islander, black.  His car has
	glitter stars attached to the roof.  The stereo speakers
	are in back.

				   CARLA
			   (to Ellen)
		   No cooking while you're here...No
		   washing dishes...No cleaning....

				   ELLEN
		   I'm not on vacation....

				   THEA
		   I like Grandma's cooking....

				   ELLEN
		   Thank you....

				   MICHAEL
			   (pointing)
		   Neptune's Folly...Our boat....

	Ellen sees, from her point of view, an old, patchwork forty-
	five-foot sailboat with a long bowsprit tied to a dock.

				   ELLEN (O.S.)
		   Oh, it looks like my uncle's.  He
		   taught me how to sail when I was a
		   kid....

				   MICHAEL (O.S.)
			   (continuing)
		   It's Jake's actually...Our floating
		   lab....

	Ellen looks back at her son and offers a tentative smile.

				   MICHAEL
			   (continuing)
		   Beats going to the office....

	He turns and points to the small neighborhood of houses
	they're entering.

				   MICHAEL
			   (continuing)
		   Jake lives over there....

	Ellen looks at several small, rundown houses with Christmas
	decorations.

	Romeo, who's been eyeing Ellen in his rearview mirror,
	picks up his "tour guide" microphone and lowers the stereo
	player and starts singing, doing a perfect imitation of Nat
	King Cole, singing the same song.  Michael and Carla grin
	and Thea pulls herself forward to watch.  Ellen catches on
	and laughs.

				   MICHAEL
			   (continuing)
		   Romeo does Tony Bennet and Johnny
		   Mathis too.  But they all sound
		   like Nat King Cole....

	Romeo grins and keeps on singing.

37	OMITTED								
	37

38	MICHAEL'S HOUSE - DAY						
	38

	The Cadillac makes its way to a house like the others and
	stops.  A Jeep is parked in the drive.  An outbuilding,
	Carla's studio, is nearby.  A small dock is in front.
	Despite its condition, the house is charming and is
	situated right on the beach.  Romeo is still singing.

	The family piles out.  Thea heads for the dock.

				   MICHAEL
		   I'll help you with the bags, Romeo....

				   ROMEO
		   You can take the big one....

	Michael laughs.

				   CARLA
		   It sure is good to be home....

				   MICHAEL
		   It sure is....

	Romeo hums as he and Michael start unloading luggage.
	Carla checks the backseat.  Ellen stretches and looks at
	the house, trying to hide her mother's concern about the way
	her son is living.  Carla sees her and smiles and puts her
	arm around her.

				   CARLA
		   It'll grow on you.

				   ELLEN
		   I like it.  Really....

	She looks at Carla and finds herself smiling back.

				   CARLA
		   It has its virtues.  It hasn't
		   fallen down yet....

				   THEA (O.S.)
		   Watch me, Grandma....

	Ellen turns and sees Thea just grabbing an old automobile
	tire which is suspended by a rope from a beam on the dock.

				   ELLEN
		   Stop!

	Thea swings out over the water and Ellen runs toward her.
	Carla and Michael follow.

				   ELLEN
			   (continuing)
		   Thea!  Get down from there...Thea!

	Thea swings back to the dock and lets go of the tire,
	looking from  her mother to her grandmother, not sure what
	she's supposed to do.

				   ELLEN
			   (continuing;
			   as she
			   approaches)
		   No, no...It's too dangerous....

				   THEA
		   Mommy lets me....

				   CARLA
			   (holding out
			   her hand)
		   Come on, sweetheart....

				   THEA
			   (upset)
		   But you always let me....

				   CARLA
		   Not today.  Come on, Thea....

	She moves to her daughter to pick her up and Thea balks.
	Her exhaustion from the trip is too much.  She starts to
	cry.

				   THEA
		   Daddy, why can't I...?

				   CARLA
			   (becoming
			   angry)
		   Did you hear what I said?  Come
		   inside....

				   THEA
		   I don't want to.  I want to swing....

	Thea grabs the tire and Carla grabs her and Thea starts
	screaming through her tears.

				   CARLA
		   You can swing later.  We have to
		   unpack now....

	Thea struggles in Carla's arms as they start for the house.

				   ELLEN
		   Oh, I didn't mean....
			   (trying to
			   lighten
			   the moment)
		   I'm being such a Grandma....

				   MICHAEL
		   Come on, I'll show you around.

	Michael takes her arm and they start for the studio.

				   ELLEN
		   I didn't mean to start that....

				   MICHAEL
			   (smiling)
		   Don't be such a Grandma...I was
		   always climbing something....

				   ELLEN
		   You were a monkey....

	Thea is heard crying as Carla takes her into the house and
	they move on to the studio.

39	INT. STUDIO - DAY						
	39

	An enormous abstract metal sculpture sits center room.  It
	has a huge gaping crevice near its top, not unlike a mouth.

				   MICHAEL (O.S.)
			   (as they
			   approach)
		   All you all right?

				   ELLEN (O.S.)
		   I'm fine....

	Ellen finds a smile for her son as they enter the studio.

				   ELLEN
			   (continuing)
		   How are you doing?

				   MICHAEL
			   (shrugging)
		   Okay.

				   ELLEN
			   (continuing)
		   We haven't had a real talk, have we?
		   We'll do that before I go.

	He nods.  She studies his concern.

				   ELLEN
			   (continuing)
		   I'll be all right, Michael.

				   MICHAEL
			   (finding
			   his smile)
		   Good.  So will I....

	They look at each other for a moment, then his gaze shifts
	to the piece of sculpture.

				   MICHAEL
			   (continuing)
		   She calls it, 'Tourist On The Loose.'
		   Local government commissioned it.
		   For the public beach....

				   CARLA (O.S.)
			   (yelling from
			   the house)
		   We forgot to stop at the store.

	Ellen studies the piece of sculpture.  The studio is filled
	with other metal pieces and Carla's tools, which include
	tanks of gas and welder's gear.  Ellen doesn't quite know
	what to make of it.

				   MICHAEL
			   (yelling back)
		   Make a list.

				   CARLA (O.S.)
		   We need milk....

				   MICHAEL
		   Big unveiling ceremony in a couple
		   of weeks....

				   CARLA (O.S.)
		   We need beer....

				   MICHAEL
		   I'll be right there.

	She looks at him, not quite sure what to say.

				   MICHAEL
			   (continuing)
		   Incredible, isn't it?

	His grin is contagious and she smiles and they start out
	together.

	The huge abstract sculpture, with its gaping crevice of a
	mouth, fills our vision.

40									
	40
thru	OMITTED								
	thru
43									
	43

44	THE WATER - DAY							
	44

	Ellen swims off the beach by Michael's house.  She is the
	only person in sight.

44-A	BENEATH THE WATER - DAY						
	44-A

	Ellen is seen from the point of view of something watching
	her, stalking her, as she swims.  We move closer until
	we're beneath her.  She stops swimming and treads water.
	We move closer and closer.

	Ellen sees what's coming toward her and her expression
	floods with terror.  She starts swimming as fast as she can.
	The water becomes violent as she's attacked.  She struggles
	and the water begins to fill with blood.  Her blood.

45	THEA'S ROOM - NIGHT						
	45

	Ellen's eyes pop open, wide.  Her face is still filled 
	with fear.

46	BENEATH THE WATER - DAY						
	46

	From the point of view of someone, something, we move slowly
	through the water, exploring the seascape, which is filled
	with exotic plants and fish and, nearby, the old wreck of
	a rusting freighter.

				   JAKE (O.S.)
			   (through a
			   small underwater
			   speaker; an
			   unhappy voice)
		   Stop farting around....

				   MICHAEL (O.S.)
			   (voice somewhat
			   garbled)
		   Stop busting my hump....

				   JAKE (O.S.)
		   Try the area around the wreck....

	A small wet submersible comes into view, working its way
	slowly over the flat sea bottom.  Michael, in wet suit and
	scuba gear is inside.  He's spotted a group of conch and
	parks the sub.

				   MICHAEL (O.S.)
		   Bingo....

	He lifts the bubble and leans out and starts checking the
	conch to separate males from females.  A single conch is seen
	shooting out the appendage which it uses to move, sinking it
	into the sea bottom and pulling itself forward.

				   JAKE (O.S.)
		   How many...?

				   MICHAEL (O.S.)
		   Will you leave me alone...?

				   JAKE (O.S.)
		   You tagging them...?

				   MICHAEL
		   I'm separating the ladies from the
		   gentlemen....

				   JAKE (O.S.)
		   You moved any slower, you'd grow
		   roots...We've got a schedule...shake
		   it, man....

				   MICHAEL (O.S.)
		   The females have eggs....

				   JAKE (O.S.)
		   We'll pass around cigars....

	Michael starts putting small round electronic tags on the
	conch, which he secures with epoxy.

				   MICHAEL (O.S.)
		   We're being paid to see where they
		   go...How they propagate....

				   JAKE (O.S.)
		   If we had some decent money, I'd be
		   able to read their temperatures...
		   Study their motor systems....

				   MICHAEL
		   If you'd leave me alone, I'd be able
		   to get my work done....

	Michael swims free of the sub, to get free from the range
	of the speaker which carries Jake's voice.

				   JAKE (O.S.)
		   Once a grunt, always a grunt.  You
		   got no vision, Michael.  I'm getting
		   a signal from the first one.  You
		   tag it right?  It's buzzing.  Sounds
		   like a hornet trying to get out of a
		   closet....

	Michael ignores him.

47	THE BARGE - DAY							
	47

	Jake, an Islander, black, is listening to his headset.
	He's agitated.  Clarence and William, the surface crew,
	both Islanders, watch Jake carefully.  The barge is low
	in the water and broad of beam and is permanently moored
	to this site.  A dinghy, with an outboard, is tied to the
	barge.

				   JAKE
			   (through 
			   the phone)
		   Michael!
			   (to Clarence)
		   This thing working?

				   CLARENCE
		   You rigged it...You spent all that
		   money on an education and you come
		   back looking like this....

				   JAKE
			   (yelling; on
			   the phone)
		   Michael!

	Clarence shakes his head sadly, having fun.  Jake looks
	at him, annoyed.

48	BENEATH THE WATER - DAY						
	48

	Michael continues to tag conch.

				   JAKE (O.S.)
		   Michael...I know you can hear me....

	Michael looks toward the sub and the sound of Jake's voice,
	then continues his work.

48-A									
	48-A
and	OMITTED								
	and
48-B									
	48-B

48-C	INT. STUDIO - DAY						
	48-C

	A flame, almost too bright to look at, welds metal to
	metal.

	Carla works on her sculpture, adding yet another appendage
	to its trunk.  She looks off a something, then lowers the
	flame of the torch and lifts her mask and studies what she
	sees, her expression reflecting both a sadness and 
	understanding.

	From her point of view, Ellen is seen washing windows
	outside the house.  Her back is to Carla.

	Carla watches Ellen for a long moment, a sad smile finally
	working the corners of her mouth.

				   CARLA
		   I was afraid to ask if you did
		   windows....

	Ellen turns and sees Carla and, for just a moment, is
	troubled at being caught.  Then she offers a smile and a
	shrug.

				   ELLEN
		   I don't usually...Not at these rates.

	Ellen, her hair tied back, her expression showing fatigue,
	and Carla, looking more like an auto-body worker than an
	artist, look at each other, neither sure what to say next.

				   CARLA
		   I could use a half-dozen more arms
		   ...I've only got two weeks to get this
		   thing finished....

				   ELLEN
		   Do you and Michael ever talk about
		   his work...?  About spending so much
		   time working in the water?

				   CARLA
		   Usually it's all he talks about...You
		   mustn't worry....

				   ELLEN
		   I can't help it....

				   CARLA
		   I used to worry...But you know what
		   happens, you find out that scuba
		   diving's safer than climbing into
		   the bathtub....

				   ELLEN
		   I shouldn't interfere...
			   (smiles)
		   My mother-in-law is so neat she puts
		   paper under the cuckoo clock....

				   CARLA
		   Henny Youngman....

				   ELLEN
		   You caught me....

				   CARLA
		   You're not interfering, Ellen....

	The two women look at each other for another moment, then
	Ellen goes back to work.  Carla watches her, then flips
	down her mask and turns the flame back up and returns to
	her welding.

49	THE BARGE - DAY							
	49

	The sub is being secured by Clarence and William.  Michael
	is peeling out of his wet suit.  Jake is studying Michael's
	clipboard.

				   MICHAEL
			   (yelling)
		   I know how to tag a damn conch....

				   JAKE
		   The readings suck....

				   MICHAEL
		   Maybe it's the tags that suck....

				   JAKE
		   I made them, man....

				   MICHAEL
		   I stuck them on, man....

				   JAKE
		   You didn't stick them on right....

				   MICHAEL
		   If you made them right, it wouldn't
		   happen...They leak....

				   JAKE
			   (yelling)
		   A blind man could find more conch on
		   a mountainside....

				   MICHAEL
		   You couldn't find your ass with both
		   hands....

				   JAKE
		   You leave me high and dry...You come
		   back looking like a zombie....

				   MICHAEL
			   (squaring
			   off)
		   Hey!

				   JAKE
		   Shouldn't pick on that.  Sorry.  I'm
		   sorry about your brother....

				   MICHAEL
		   Yeah, well, just stop yelling.

	Jake approaches, a big grin plastered on his face, and
	Michael backs off, shaking his head.

				   MICHAEL
			   (continuing)
		   Come on, Jake....

	Jake wraps his arms around Michael and lifts him off the
	deck.

				   JAKE
		   I missed you, is all.  It's dull
		   around here working alone...Smelling
		   all that sweet cologne....

				   MICHAEL
		   Put me down....

				   JAKE
			   (looking at
			   Clarence and
			   William)
		   They won't fight with me....

				   MICHAEL
		   Put me down, damnit....

	Jake puts him down and laughs and Michael grins.

				   MICHAEL
			   (continuing)
		   Maybe I missed you too....

				   JAKE
			   (still grinning;
			   to Clarence)
		   Where the hell's the beer...?

				   CLARENCE
		   Thought you'd never ask...Coming up....

				   WILLIAM
		   Goes good with conch stew...King
		   Conch....

	Clarence opens a cooler and pulls out four bottles of beer.

				   JAKE
			   (to William)
		   Conch...conch...conch research isn't
		   sexy, William.  Doesn't attract the
		   big bucks.

				   WILLIAM
		   Conch is very important to our
		   economy.  It's a good thing to study
		   ...So we'll always have them.

				   CLARENCE
		   Conch is an aphrodisiac....
			   (as he throws
			   them bottles
			   of beer)
		   Besides, no one respectable would
		   hire you gents anyway...not with hair
		   like that...a while ago he couldn't
		   get into a restaurant.  Sign said, no
		   hats...no platts...dreads, man, dreads.

	They screw the tops off the beer bottles and Jake holds his
	up.

				   JAKE
		   To anything but an honest job....

	They laugh and drink.

49-A									
	49-A
thru	OMITTED								
	thru
51									
	51

52	INT. HOUSE - DAY						
	52

	The Christmas tree, a shiny green fake job, glitters with
	decorations.  Thea is opening the last of her presents.  Ellen,
	Michael and Carla, who's been playing Santa Claus, Jake and
	Louisa, a very attractive Islander, black, in her midtwenties,
	sit on the floor.  They've all got drinks, and they're all 
	into Thea.

				   ELLEN (O.S.)
		   Your father was six then.  Just like
		   you....

				   THEA
			   (looking up)
		   I'm still five....

	Jake makes a face and Louisa smiles at Ellen, who's sitting
	in a chair, taking her only pleasure from the day, her first
	Christmas since Martin's death, from Thea's joy.

				   ELLEN
		   He was always getting into some sort
		   of mischief....

				   JAKE
		   I have no doubt....

				   MICHAEL
		   Nothing out of the ordinary....

				   ELLEN
		   Once he locked himself in the
		   bathroom and your grandfather had to
		   get the ladder and climb in through
		   the window....

				   JAKE
		   Bad boy....

				   MICHAEL
		   I didn't do it on purpose....

				   ELLEN
			   (smiling)
		   He didn't spank you very hard.

	Thea pulls new sneakers from a box.

				   THEA
		   Mommy spanked me once.
			   (to her
			   parents)
		   Oh, these are good.  Thank you.

	She puts them down and starts unwrapping her last present,
	a big box.  Michael takes an outrageous Hawaiian shirt from
	his box.

				   CARLA
		   You're welcome.  I was the one who
		   cried.

				   THEA
		   Was Uncle Sean ever bad?  Did you
		   ever spank him?

	Ellen reacts.  Michael covers quickly.

				   MICHAEL
		   Sharp shirt, Jake....

				   JAKE
		   May your sex life be as busy as your
		   shirt....

				   CARLA
		   Thank you....

				   JAKE
		   Every tropo needs one....
			   (to Louisa)
		   Don't you want to see what Santa got
		   you...?

				   LOUISA
			   (eyeing him
			   mischievously)
		   I'm not sure....

				   CARLA
		   Marry the man and put him out of his
		   misery....

				   JAKE
			   (to Louisa)
		   Listen to Carla...Marry me...I'm
		   tall, dark and handsome...two out of
		   three ain't bad....

				   LOUISA
		   Don't flatter yourself....
			   (laughing)

	Thea rips the paper off the box and Michael, Carla, Jake
	and Louisa turn their attention to her excitement.  Ellen
	watches them, her smile fading as Thea moves to Jake and
	Louisa with the box.  Ellen's thoughts turn to Sean and she
	glances out the window toward the ocean.

				   THEA (O.S.)
		   If I had a baby brother, I'd be the
		   oldest.  I could be in charge....

	Ellen leaves the room, unobserved by the others.

				   CARLA
		   Only children are my favorites.
		   That means you, MaGee....

				   THEA
		   My tea set.  I got my tea set.
			   (to Jake
			   and Louisa)
		   Thank you....

				   LOUISA
		   Everyone should have a tea set....

	Michael glances over at his mother and sees that she's
	going and moves to a window.

				   THEA (O.S.)
		   It has a teapot and cups and
		   saucers....

				   LOUISA (O.S.)
		   And a sugar bowl and creamer....

				   THEA (O.S.)
		   Can I put real tea in it?

				   LOUISA (O.S.)
		   Yes, you can put real tea in it....

	Michael sees his mother staring sadly at the sea.

				   THEA (O.S.)
		   Can I make sandwiches...?

				   CARLA (O.S.)
		   Yes, you can make sandwiches....

	The phone rings.

				   THEA (O.S.)
			   (yelling as
			   she goes)
		   I've got it.  I've got it....

				   JAKE (O.S.)
		   If it's National Geographic, tell
		   them we only do covers....

	Michael continues to watch his mother as the phone rings
	twice more, then is answered.

				   THEA (O.S.)
		   Hello?

53	THE KITCHEN - DAY						
	53

	Thea is on a chair, holding the phone.

				   HOOPER (O.S.)
		   Ho-ho-ho....

				   THEA
		   Who's this?

				   HOOPER (O.S.)
		   Santa Claus....

				   THEA
		   Come on, Uncle Sean, I know it's
		   you....

	There's stunned silence at the other end.  Thea can't
	figure it out.

				   THEA
			   (continuing)
		   Uncle Sean...?

	Michael moves quickly into the room, his expression etched
	with confusion and concern.  He grabs the phone.

				   MICHAEL
		   Who is this?

54	INT. APARTMENT - DAY						
	54

	Matt Hooper is standing at a window, looking out over a
	city.  He feels terrible.

				   HOOPER
		   Michael...Jesus, I'm sorry.  I...Thea
		   thought...I'm sorry about Sean...I
		   was away...A project at the Antarctic
		   ...I just heard....


54-A	INT. HOUSE - KITCHEN - DAY					
	54-A

	Michael has his arm around Thea, who is still on the chair.

				   MICHAEL
		   Matt?

				   HOOPER (O.S.)
		   Tell Thea I'm sorry....

	Michael gives Thea a squeeze and lifts her off the chair.
	She looks at her father with concern, then is attracted to
	the noise and laughter in the other room and heads for it.

				   HOOPER (O.S.)
			   (continuing)
		   I don't know what the hell to say....

				   MICHAEL
		   You don't have to say anything, Matt
		   ...I know how you feel....

54-B	INT. APARTMENT - DAY						
	54-B

	Matt is still staring out the window.

				   HOOPER
		   Yeah....

				   MICHAEL (O.S.)
		   Still chasing fish?

				   HOOPER
		   Still tagging conch?

				   MICHAEL (O.S.)
		   We'll be done pretty soon....

				   HOOPER
		   Tricky little devils, aren't they?
		   How's the degree doing?

				   MICHAEL (O.S.)
		   Inch by inch....

				   HOOPER
		   How's Ellen?

55	THE BEACH - DAY							
	55

	Ellen stands perfectly still, as though hearing something
	no one else can hear, staring with a fixed expression at
	the ocean.  She seems terribly sad.

				   MICHAEL (O.S.)
		   She has good days and bad...I don't
		   know....

				   HOOPER (O.S.)
		   She's a tough lady....

				   MICHAEL (O.S.)
		   I wish there was something I could
		   do....

				   HOOPER (O.S.)
		   She's had a lot to deal with...She
		   needs time....

				   MICHAEL (O.S.)
		   Would you talk to her?  She's got it
		   in her head that the shark came for
		   him.  She still blames it for my
		   father's death....

				   HOOPER (O.S.)
		   Oh, boy....

56	INT. HOUSE - KITCHEN - DAY					
	56

	Michael is looking out through the door, toward the window
	where he was watching his mother.

				   MICHAEL
		   I miss him, Matt.  I still can't
		   believe he's gone.

				   CARLA (O.S.)
		   Tell Matt he should be here....

57	INT. APARTMENT - DAY						
	57

				   HOOPER
		   I wish I was...Remember the Christmas
		   I spent with you on the island?  You
		   were still kids...Martin put on that
		   stupid Santa Claus suit....

				   MICHAEL (O.S.)
		   The stuffing came out of the pillow
		   he was wearing....

				   HOOPER
		   Feathers all over the place....

				   MICHAEL (O.S.)
		   It was like having snow in the house
		   ...Jesus, I miss them.

				   THEA (O.S.)
			   (heard yelling)
		   Tell Uncle Matt my new Teddy bear
		   can move its arms and legs.

				   HOOPER
			   (beginning
			   to crack)
		   Tell her my Teddy bear snores....

58	INT. HOUSE - KITCHEN - DAY					
	58

	Michael is beginning to cry.  The silence builds as he and
	Matt deal with the memory of Sean and Martin.

				   HOOPER (O.S.)
			   (pulling
			   himself together)
		   Let me speak to Ellen....

				   MICHAEL
		   I'll get her.  Have a good Christmas,
		   Matt....

				   HOOPER (O.S.)
		   You too, Michael....

	Michael puts the phone down and collects himself, then
	leaves.  A moment later Carla moves into the kitchen and
	picks up the phone.

				   CARLA
		   I thought I'd steal a moment with my
		   second favorite marine biologist.

				   HOOPER (O.S.)
		   I was going to bring you back a
		   penguin I couldn't find one that
		   wanted to winter in the Bahamas....

	She smiles, a little.

59									
	59
thru	OMITTED								
	thru
63									
	63

64	EXT. HOUSE - DAY						
	64

	Ellen stares out to sea, her expression unchanged.  Michael
	moves out of the house, working to put on a "face" for her.

				   MICHAEL
		   Matt's on the phone.

	She turns and heads for the house, as though Michael's not
	there.  As she passes, she stops and looks at him.

				   ELLEN
		   I want you to give up your work....

				   MICHAEL
		   Mom, please don't start that
		   again....

				   ELLEN
		   You could teach...You could....

				   MICHAEL
		   I'm not going to quit now....

				   ELLEN
		   You're all I have left...I don't
		   want you going in the water....

	He puts his hands on her shoulders.

				   MICHAEL
		   What I do is perfectly safe.  Jake
		   and I are scientists.  One of these
		   days we'll be PHDs...Perfectly
		   Harmless Derelicts...We know what
		   we're doing.  There's nothing to
		   worry about.  It's warm water here,
		   remember?  Great whites hate it...
		   Wrinkles their skin...Makes them
		   look like prunes....

	He smiles and she manages a small one in return.

				   MICHAEL
			   (continuing)
		   Come on...You can do better than
		   that.  You've got a big one in there
		   somewhere....

	Her smile grows.

				   MICHAEL
			   (continuing)
		   A little better.  But you'll have to
		   do better than that.  Now go talk to
		   Matt.  He misses you.

	He kisses her and she offers a genuine smile, then moves
	into the house.  He watches her go, still concerned.

65	OMITTED								
	65

66	THE BEACH - DAY							
	66

	Thea and Ellen are at the water's edge, building a sand
	castle.  Up the beach, at the point, there's a speedboat
	near the shore.  Hoagie is wading out to it, holding out
	an envelope, which the man in the boat finally is able to
	grab.

				   ELLEN
		   We have to dig it deep so the water
		   will go all the way around...So we
		   can swim to it....

				   THEA
		   You're silly....

	They dig the moat, Thea with her shovel.  Ellen with her
	hands.

				   ELLEN
		   It will be Buckingham Palace and
		   you'll be Princess Di and there'll
		   be a big Parade of Horse Guards
		   and you'll ride in a golden
		   carriage.

	Thea giggles and Ellen smiles her pleasure at being able 
	to do that, even as she begins to shudder, as though her body
	temperature has suddenly dropped thirty degrees, and she
	looks out over the water, feeling something which fills her
	with fear.

				   ELLEN
			   (quietly; with
			   conviction;
			   as though
			   talking to
			   something
			   unseen)
		   You're coming, aren't you...?

				   THEA (O.S.)
		   Who's coming?

	Ellen looks around.  Thea is still digging.

				   ELLEN
		   No one.  Nothing.
			   (starts
			   digging)
		   We've got to get this finished before
		   the tide comes in.

				   THEA
		   It's not nice to be evasive.

	Ellen looks at her, still surprised by what her granddaughter
	is capable of saying.  The man in the boat looks in the
	envelope as Hoagie starts wading back to the beach.

				   THEA
			   (continuing)
		   My mother says that to my father.

	Ellen laughs.

				   MAN IN THE BOAT
		   Next time don't keep me waiting....

				   HOAGIE
			   (shouting;
			   unhappy)
		   Yeah...yeah...yeah....

	Ellen has turned and watches as the speedboat roars off and
	Hoagie grab his fishing gear and starts down the beach
	toward her.  Thea keeps digging.

				   HOAGIE
			   (continuing;
			   as he spots
			   Ellen; a big
			   smile)
		   Hello, Ellen....

	He waves.  She watches as he comes closer.

				   HOAGIE
			   (continuing)
		   I don't know why I fish here...Never
		   catch anything...Must be a sign under
		   the water...'Beware, Hoagie's here....'

				   THEA
		   You're the man who drives the plane.

				   ELLEN
			   (correcting her)
		   Flies the plane....

				   HOAGIE
		   Mostly it feels like driving.  You
		   digging for buried treasure?

				   THEA
		   We're building a sand castle.

	Hoagie sets his gear down and squats to take a closer look.
	He eyes Thea playfully.

				   HOAGIE
		   You the architect?

				   THEA
		   I'm the artist.  Like my mother.

	Hoagie grins at her, then eyes Ellen, who's looking out
	over the water again, her expression set with foreboding.

67	NEPTUNE'S FOLLY - DAY						
	67

	Conch larva are seen under a microscope.

				   JAKE (O.S.)
		   You know why?  That's what happens
		   when you lead one of those Norman
		   Rockwell sheltered lives.  That's
		   what's wrong with you....

	Michael is revealed at the microscope, studying the conch
	larva.  A large fish tank, with is filled with them --
	they can't be seen with the naked eye -- is nearby.

				   MICHAEL
		   You can talk...You weren't exactly a
		   deprived kid.  Next thing you're going
		   to start about going back to your
		   roots and that rock reggae crap.  Cut
		   that hair and you're nothing but a
		   three-piece suit....

	Jake is at the bench which holds lab equipment and tools,
	writing figures in a notebook.  Above him are shelves of
	bottled, preserved specimens.  Clarence is drumming a native
	rhythm against a bulkhead.  It's slowly getting on Jake's
	nerves.

				   JAKE
		   We have three months of work and
		   approximately no money left to
		   support it....

				   CLARENCE
		   Spent it all on beer....

	Jake gives Clarence a dirty look and turns back to Michael.

				   JAKE
		   Bahamian Fisheries Department isn't
		   exactly Fort Knox....

	He slides the notebook to Michael, who studies the figures.

				   JAKE
			   (continuing)
		   Office of Naval Research has some
		   money....

				   MICHAEL
		   Forget it....

				   JAKE
		   Money is money....

				   MICHAEL
		   They put bombs on dolphins....

				   JAKE
		   I know a guy who got money from them
		   to study eels....

				   CLARENCE
		   Tough to put a bomb on an eel....

	Jake gives Clarence another dirty look.

				   JAKE
			   (to Michael)
		   I'm busting my ass to get my degree...
		   I'm tired of all this paradise shit....

	Jake moves for the cabin door, to the deck above.

				   MICHAEL
		   I like it here....

	Michael follows Jake.

67-A	TOPSIDE - DAY							
	67-A

	Jake moves above decks.

				   JAKE
		   A regular tropo...Spend the rest of
		   your life in a bathing suit, living
		   off nickel and dime grants.  You
		   want to be a bum all your life, be
		   my guest.  Not me.  I'm not growing
		   old chasing snails and dying from
		   terminal crotch rot....

				   MICHAEL
		   It's not a bad life, Jake....

				   JAKE
		   You're afraid of the competition out
		   there....

				   CLARENCE
			   (coming topside;
			   doing his drumbeat
			   as he goes)
		   Sweet breezes...Sweet women....

				   JAKE
			   (to Clarence)
		   You have something to say about
		   everything....

	Clarence keeps drumming.

				   MICHAEL
		   He's just trying to keep you
		   from disappearing up your own....

				   JAKE
		   You're nothing but a bunch of
		   goddamn romantics.  You're never
		   going to amount to anything.

	Jake heads for the dinghy which is tied up next to the boat.

				   JAKE
			   (continuing;
			   as he goes)
		   I expect to come back here some day
		   and find you trying to teach conch
		   to talk.  And knock off that stupid
		   drumming....

	Clarence stops in midbeat, creating a pocket of silence for
	William, who's just coming down the dock carrying two six-
	packs of beer.

				   WILLIAM
		   I like conch....

	Jake gives him a dirty look, leaving poor William confused.
	Michael shakes his head, suppressing a grin.

68	THE BEACH - DAY							
	68

	Thea works on her sand castle, shaping the building
	inside the moat.

	Ellen and Hoagie sit at the water's edge, far enough away
	not to be heard.  She stares out at the water.  He studies
	her.  She looks at him finally, trying to rationalize the
	conversation they've already had.

				   ELLEN
		   I don't know why I've told you all
		   this.  I hardly know you.

				   HOAGIE
		   Sometimes talking to a stranger is
		   easier....

				   ELLEN
		   I...I can't explain it.  It's just
		   something I feel.

				   HOAGIE
		   I always listen to my feelings....

	She shifts her gaze back out over the water.

				   ELLEN
		   Sometimes I think I'm going crazy.
		   The nightmares....

				   HOAGIE
		   It could have been an accident....

				   ELLEN
			   (looking at him)
		   It was no accident....

				   HOAGIE
		   I'm not saying you're wrong, just
		   that there are other possibilities....

				   ELLEN
		   When it killed Sean it was like a
		   stab in the heart.  I knew with absolute
		   certainty that it had come for him.
		   I knew that.  I know it's coming....

	She's moving toward the edge, trembling now and he takes
	her hand and holds it between them.

				   ELLEN
			   (suddenly;
			   matter-of-
			   factly)
		   What's it cost to take a ride on
		   that plane...?

				   THEA (O.S.)
		   The water's coming in...The water's
		   coming in....

	Ellen stands and they move together to Thea.

				   HOAGIE
		   Depends on where you want to go....

				   ELLEN
		   Doesn't matter....

				   THEA
		   Hurry!

				   HOAGIE
		   Just like that?

				   ELLEN
			   (laughing)
		   Just like that....

	She turns her attention to Thea, who's helping the water
	fill her moat.

69	INT. PLANE - DAY						
	69

	Hoagie and Ellen are side by side in a private aircraft.

				   HOAGIE
			   (in the midst
			   of it)
		   He was struck by lightning, this
		   man, seven times.  Took his toenail,
		   his shoe, his hat...set his hair on
		   fire.  But it didn't kill him.  No
		   one could explain that....

	She glances at him, amused by his efforts to entertain her.

				   ELLEN
		   How can you just take the plane like
		   this?

				   HOAGIE
		   Boss' day off...Take the wheel....

				   ELLEN
		   I can't....

				   HOAGIE
		   Sure you can....

				   ELLEN
		   I don't know how....

				   HOAGIE
		   No one does till they learn....

	He lets go of the wheel and the plane starts to lose
	altitude.

				   ELLEN
		   What are you doing?

				   HOAGIE
		   If you don't take it, we'll be
		   swimming in a minute.

	She hesitates, then grabs the wheel in front of her and he
	puts a hand on one of hers and guides the wheel back so the
	plane levels off.  She's gripping the wheel so tightly her
	knuckles are turning white.

				   HOAGIE
			   (continuing)
		   Easy does it.  Hold her gently.
		   She'll damn near fly herself.

	She tries to relax, and after a few moments, he takes his
	hand off hers.  She tenses.

				   HOAGIE
			   (continuing)
		   It's just like driving a car....

				   ELLEN
		   Where do I pull off...?

				   HOAGIE
			   (laughing)
		   You're doing fine.  I'll keep you
		   out of trouble.  Relax....

	Ellen stares straight ahead, trying to get the feel of it.

				   ELLEN
		   Where are we going?

	He answers with a mischievous grin.

				   ELLEN
			   (continuing)
		   I'm only doing this to get out of my
		   family's hair....

				   HOAGIE
		   One time I was flying supplies up
		   the Amazon.  Went down in the jungle....

				   ELLEN
		   You're not going to tell me, are you?

				   HOAGIE
		   Got picked up by a tribe of head-
		   hunters....

				   ELLEN
		   You're impossible....

				   HOAGIE
		   They took me to the chief, who took
		   a long look at me, then took me in
		   his hut....

				   ELLEN
		   The plane's turning....

	The plane is indeed starting to slip into a gentle banking
	turn.  It's Hoagie's doing.  He's nudging his wheel
	slightly.

				   HOAGIE
		   In the hut, sitting on a pole was a
		   shrunken head.  My head.  Me.

	She glances at him, then looks ahead, not sure whether she's
	should be nervous about the plane's behavior.

				   HOAGIE
			   (continuing)
		   It was like looking into one of those
		   mirrors which says, objects may be
		   closer than they appear.  Chief
		   said, there are two of everybody in
		   the world and since we already have
		   one of you, the other one can go.

	Ellen laughs.  Hoagie grins.

				   HOAGIE
			   (continuing)
		   How do you like flying?

				   ELLEN
		   It's wonderful....

	She eases the plane into more of a turn and enjoys the
	sensation.  She glances at him and he nods that she's doing
	just fine.

				   HOAGIE
		   You are crazy, Ellen.  No matter
		   what anyone says....

	She laughs and turns her attention to flying.

70	AN ISLAND - NATIVE QUARTER - DAY				
	70

	A native festival, a parade filled with masked and costumed
	dancers and musicians and marchers, blasts its way through
	the ancient, narrow streets of an early Bahamian settlement.

	Hoagie, wearing a windbreaker, and Ellen, who's changed her
	clothes, thread their way through the throng, moving like
	Salmon upstream against the flow of the mass of humanity
	moving the other way.  She's fascinated by the music and
	noise and color of what's around her.

				   HOAGIE
			   (yelling)
		   A few more streets....

	She casts a smile at him, then returns her attention to the 
	parade.  Hoagie navigates them through the crowd.

71	A STREET - DAY							
	71

	Hoagie leads Ellen up a street no wider than an alley.  The
	old houses seem to lean toward each other.  The street is
	empty because its residents are all at the festival, whose
	noise follows them as they move away from it.

				   HOAGIE
		   A few more houses....

	They move on.

72	EXT. HOUSE - DAY						
	72

	Ellen watches from the street as Hoagie and Charles
	Townsend, an islander, black, talk quietly on the porch.
	She sees Hoagie take a small, bulging envelope from his
	pocket and give it to Charles, who looks inside, smiles,
	then puts it in his pocket.  The two men shake hands.

73	THE BARGE - DAY							
	73

	Michael and Clarence are sitting at the edge of it, their
	feet in the water.  William is flanked out near the winch,
	reading.

				   MICHAEL
			   (on the horn)
		   How many?

				   JAKE (O.S.)
		   Stop busting my hump....

				   MICHAEL
		   Oh, it's okay for you, but not for
		   me....

				   JAKE (O.S.)
		   I've struck the mother-lode.  I'm
		   counting... spade work....

74	BENEATH THE SURFACE - DAY					
	74

	Jake maneuvers the sub above an enormous group of conch,
	trying to take measure of what he's come across.

				   MICHAEL (O.S.)
		   I wish you wouldn't say that....

				   JAKE
		   What?

				   MICHAEL (O.S.)
		   Spade's a garden tool....

	Jake looks up from his clipboard and sees staring at him,
	the dead black eye of a fish whose pupil looks to be about
	the size of a bowling ball.  He freezes, staring back at it.

				   MICHAEL (O.S.)
			   (continuing)
		   Trouble with you, Jake, is you have
		   no sense of humor....

				   JAKE
			   (finding
			   his voice)
		   Holy shit!

	The eye disappears and Jake starts looking for it.

				   JAKE
			   (continuing)
		   Got a big fish down here....

75	THE BARGE - DAY							
	75

	Michael stands to scan the water and the shark explodes out
	of the water, over the low side of the barge, passing within
	a few feet of Clarence, who freezes, his mouth open with
	terrified surprise, and goes straight for Michael, who
	throws himself to the deck.  The shark misses him by inches,
	unable to close its great jaws about him because of the
	width of the barge.  As quickly as it appeared, the shark
	is gone.

76	THE STREET - DAY						
	76

	Hoagie and Ellen fight their way across the street, through
	the festival parade.  The noise is deafening.

	Suddenly Ellen stops.  She shudders as she did on the beach.
	Hoagie looks back and sees her and threads his way to her,
	bumping into several dancers as he goes.  She's staring off
	into the distance, seeing something beyond the reach of her
	vision.

				   HOAGIE
		   What's wrong?

				   ELLEN
		   Nothing....

	She looks at him and manufactures a smile.

				   ELLEN
			   (continuing)
		   I'm fine.

				   HOAGIE
		   No, you're not....

				   ELLEN
		   I'm terrific... Come on....

	She grabs his hand and pulls him into a group of dancers,
	picking up their rhythm, trying desperately to get into
	it.  He's forced to dance with her, though every bone in
	his body resists the idea.

				   HOAGIE
			   (yelling above
			   the din)
		   Give it up....

	She ignores him, throwing every ounce of energy she has
	into the dancing.

				   HOAGIE
			   (continuing;
			   yelling)
		   You can't keep doing this....

	Again she ignores him and he's bumped into and they lose
	each other for a moment.  She dances on and he has to run
	to catch her.  He takes her arm and stops her.

				   HOAGIE
			   (continuing)
		   I can't keep doing this....

	The merrymakers pass around them like a river rushes past
	a rock.  A band passes them and they can hardly hear
	themselves think.

				   ELLEN
			   (shouting)
		   You promised me a drink....

				   HOAGIE
			   (shouting back)
		   Sharks come and go, Ellen.  People
		   don't have anything to do with it....

				   ELLEN
			   (shouting)
		   The kind with an umbrella in it....

				   HOAGIE
		   Give it up... Kick it in the ass...
		   Get on with your life....

	The band passes and the noise settles, momentarily, to a
	dull roar as more dancers move around them.

				   HOAGIE
			   (continuing)
		   I know what you're going through.
		   The nightmares will go away...
			   (grins)
		   I ever tell you about the time I flew
		   the pandas from China to a Zoo?  The
		   lady panda fell in love with me....

	Ellen starts to laugh.  She can't stop herself.  The music
	grows louder.  He holds out his hand and she looks at it,
	then takes it and they look at each other for a long moment.

				   HOAGIE
			   (continuing)
		   A drink with an umbrella in it....

				   ELLEN
		   A big one....

				   HOAGIE
		   A big one....

	They push their way through the parade until they disappear
	from view.

77									
	77
and	OMITTED								
	and
78									
	78

79	THE BARGE - DAY							
	79

	Clarence and William, still excited, and not a little
	frightened, glance at the water as they secure the sub.

		   CLARENCE			   WILLIAM
	Never saw anything that		Should have gone for
	big.  Never...			Jake.
	    (to Michael)		    (to Jake;
	I was right next to you.	    explaining
	The bastard went right		    himself)
	past me....			Had you right there.
					Why would it come up...?

	Michael is still shaky, trying to get control of himself.
	Jake's not buying any of it.

				   CLARENCE
		   What the hell's it doing in warm
		   water anyway...?

				   JAKE
		   What difference does it make?  It's
		   here....

	Michael turns from the water and looks at Jake.

				   JAKE
			   (continuing)
		   You guys are making this into some-
		   thing that just isn't so... It's just
		   a shark.  A great big bloody wonderful
		   shark.  Don't say anything to anyone.
		   The locals find out they'll panic.
		   They'll want to kill it.
			   (his excitement
			   growing)
		   We've got us a great white, Michael.
		   We're going to do us some real
		   research....

				   MICHAEL
			   (quietly;
			   matter-of-
			   factly)
		   Don't say anything about this to my
		   mother....

	Michael looks back out over the water.

				   JAKE
		   Oh, shit, man, I'm sorry....

	He moves to Michael.

				   JAKE
			   (continuing)
		   I didn't mean to run off at the mouth
		   like that.  She's going through a lot.
		   I know you re hurting about your
		   brother....

	Michael doesn't answer.  He continues to stare at the sea,
	his expression filled with ambivalence.  Jake puts his arm
	around him.

79-A	EXT. MICHAEL'S HOUSE - NIGHT					
	79-A

	Headlights break the darkness as a car pulls up.  Ellen gets
	out.

				   ELLEN
		   Good night....

	She shakes his hand and starts to take it back and he holds
	it, looking at her in a way that suggests he'd like more.

				   ELLEN
			   (continuing)
		   Please, Hoagie....

	He smiles and lets go of her hand.

				   HOAGIE
		   Good night, Ellen....

	The car pulls away and Ellen starts for the house.

				   CARLA (0.S.)
		   Come to bed....

79-B	INT. HOUSE - NIGHT - BEDROOM					
	79-B

	Michael stands at the window, in the dark, watching his
	mother.  He's seen and heard it all.  Carla is in bed.

				   CARLA
		   He took her sightseeing.  You
		   work.. .I work... She needs someone to
		   help take her mind off things....

	He looks at her, his expression troubled.  She smiles and
	pats the bed next to him.

				   CARLA
			   (continuing)
		   I'll take your mind off things,
		   sailor....

	He finds a small smile and moves to her open arms.
	can be heard moving into the house.

80	INT. CASINO - NIGHT						
	80

	Playing cards settle softly on a felt table. Blackjack
	hands are being dealt to five players.

	Louisa deals, her fast hands expertly distributing the last
	of the "up" cards.  She deals her own, then glances past the
	players as they study their cards.

	Jake, Carla, Ellen and Michael, all dressed for a big
	night out,. stand in back of the players.  Jake points to
	his watch impatiently.

				   JAKE
			   (mouthing the
			   words silently)
		   How much longer?  This is supposed
		   to be your party.

				   LOUISA
			   (mouthing back;
			   smiling)
		   In a few minutes....

	Louisa starts dealing the first "hits."

	Michael glances about.  He seems on edge.

				   MICHAEL
		   I'll check the table....

	Michael leaves, heading for another room.  Ellen watches
	him go, exposing her concern for his troubled mood.

				   CARLA
			   (to Ellen)
		   You want to try your hand at
		   something...?

				   ELLEN
		I'd be afraid of losing....

				   JAKE
		   I'm afraid of winning.  I wouldn't
		   know what to do with the money....

				   CARLA
		   Fat chance, cowboy....

	Jake grins as a groundswell of excitement carries across
	the room, which is filled with gamblers and decorations
	for New Year's Eve.  The joint is jumping.  They look
	for its source and see Hoagie at the crap table, accepting
	the congratulations of those around him.  He smiles as a
	large pile of chips is raked in front of him, adding to
	the pile he already has.  Irma, an Islander, light-skinned
	who's dressed in a low-cut satin gown with sequins, is
	hanging on him.

				   CARLA
			   (continuing)
		   Come on... I want to see....

	Jake, Ellen on one arm, Carla on the other, moves across
	the room as Hoagie rolls again, and wins again.

81	THE CRAP TABLE							
	81

	Hoagie sees them approaching as the pile of chips in front
	of him grows.  He smiles at Ellen, as he's given the dice
	again.  Irma gives Ellen a look.  The excitement at the
	table is high.  Bets are being placed. Everyone is eyeing
	Hoagie, who is slightly "pissed" and has a mischievous glint
	in his eye.

				   HOAGIE
		   Couple of more passes and I'll buy
		   my own airplane.. Hell, maybe my own
		   airline....

				   ELLEN
			   (eyeing the
			   chips)
		   You're not going to bet it all....

				   HOAGIE
		   All or nothing.  You want to roll
		   them for me?

				   ELLEN
		   No!

	Irma doesn't know what to make of Hoagie's interest in
	Ellen.  Hoagie grins, closes his eyes for a moment, making
	his secret incantation, then opens them, smiles once more
	at Ellen and rolls.  The dice skip down the table, bounce
	off the other end and settle.  A soft moan goes up from
	the people around the table.  Hoagie's grin wavers, then
	is restored.  Irma has just seen her big night go up in
	smoke.

				   HOUSE MAN (O.S.)
		   Snake eyes....

				   ELLEN
		   Is that bad?

				   HOAGIE
		   Depends on your point of view....

	He pushes his chips toward the center of the table, accepting
	condolences from a few of the players, then steps away..

				   HOAGIE
			   (continuing)
		   It was theirs anyway.  I 11 buy us
		   all a drink....

				   JAKE
		   We'll buy you one.  We're having a
		   party....

				   CARLA
		   Louisa's birthday....

				   HOAGIE
		   On New Year's Eve?

				   CARLA
		   Beats Halloween....

	They all start for the lounge.  Louisa is seen talking to
	her relief dealer.  Irma takes Hoagie's arm.

				   ELLEN
			   (to Jake)
		   When do you and Louisa get to see
		   each other?  Between your working
		   days and her working nights. ...

				   JAKE
			   (laughing)
		   I get her at two in the morning,
		   when she's at her best.  Besides,
		   how many marine biologists can cut
		   cards with one hand and fan a
		   deck....

	They thread their way through the gaming tables.

				   JAKE (0.S.)
			   (continuing)
		   She's the Albert Einstein of gambling.
		   Quote the odds on every game in the
		   house....

82	THE LOUNGE - NIGHT						
	82

	A trio plays softly.  A dozen couples dance.  The tables
	are full.  Hats, horns and decorations are everywhere.
	Ellen, Hoagie, Irma, Michael, Carla, Jake and Louisa,
	who's had time to make a fast change and looks terrific,
	wait as Shirley, their waitress, sets the last of their
	drinks on the table.

				   SHIRLEY
		   On the house....

	Jake grins at her, then at the others.

				   JAKE
		   I knew there was a reason I could
		   afford this.
			   (toasting
			   Louisa)
		   To the woman of my dreams.. Who
		   grows more beautiful....

				   LOUISA
		   Here it comes....

				   JAKE
		   Who grows more beautiful....

				   LOUISA
		   Here comes the cow ca-ca....

				   JAKE
			   (pressing on)
		   More beautiful with each passing
		   minute...

				   LOUISA
		   I told you....

				   JAKE
		   Now wait a minute... I'm being
		   serious here....

				   LOUISA
		   Oh, Jake...
			   (smiles)

				   JAKE
		   Happy birthday, darling. ...

	They raise their glasses in a chorus of "Happy Birthday,"
	then drinking.  Louisa grins, then eyes Jake.

				   LOUISA
		   Don't go weak in the knees on me
		   tonight....

				   JAKE
		   I just want to make an honest woman
		   of you....

				   LOUISA
		   I'm not going to marry you until you
		   straighten out your life and your hair.

	Irma watches it all, her gaze shifting from face to face as
	though she's watching a tennis match.

				   CARLA
		   At least he doesn't have a beard....

				   ELLEN
			   (to Louisa)
		   Do you enjoy dealing blackjack?

				   JAKE
		   She's in management....

				   LOUISA
		   I'm training to....

				   JAKE
		   Manage the whole damn place some day.
		   I'm looking forward to living in the
		   style to which I would like to become
		   accustomed....

				   LOUISA
		   I'd have to manage a nookie parlor
		   to do that....

	Hoagie roars.  Ellen laughs.  Carla nearly spits out her
	drink.  Irma's  not sure what's going on.

				   HOAGIE
		   I knew a piano player once who....

				   CARLA
		   Never mind.

	Michael eyes Hoagie, none too pleased that he's joined them.
	Hoagie smiles at him and Michael smiles back steadily, a
	kind of challenge.

				   LOUISA
		   You want to marry me, you' re going to
		   have to straighten out your life....

				   ELLEN
			   (getting
			   into it)
		   He looks perfectly responsible to me....

				   LOUISA
		   Jake's idea of responsibility ends with
		   dressing himself in the morning....

				   ELLEN
			   (teasing)
		   Well, I think he's cute....

				   JAKE
		   Woman has taste....

				   LOUISA
		   When he has a pillow over his head....

				   JAKE
		   You want to be careful how you talk
		   to me... I'm about to become
		   famous...You should see....

		   MICHAEL			   LOUISA
	    (almost coming		No shop talk... You
	    out of his			promised....
	    chair)
	Jake!

				   JAKE
			   (catching
			   himself)
		   Sorry....

	Michael starts to breathe again.  Hoagie stands.

				   HOAGIE
			   (to Ellen)
		   Would you suffer through a dance with
		   me?

				   ELLEN
			   (standing)
		   You'll be sorry.

	Michael shifts his gaze from Jake, who he's angry at, to
	Hoagie and his mother, a situation that's creating fresh
	alarm.  They're moving to the dance floor.  Irma is
	abjectly unhappy.

				   HOAGIE
		   I have two right feet.

				   ELLEN
		   Good.  I have two left....

				   CARLA
			   (to Michael)
		   Will you lighten up.  This is
		   supposed to be a party....

				   LOUISA
		   My party....

				   JAKE
		   He's depressed because he's started
		   to count conch when he goes to
		   sleep....

	Michael casts an unhappy look at Jake, then stands.

				   MICHAEL
		   Excuse me....

	He heads for the dance floor.

83	THE DANCE FLOOR							
	83

	Ellen smiles at Hoagie, caught up in the story he's started
	telling her.  He stops when he sees Michael heading for
	them.  She sees her son.

				   MICHAEL
			   (as lightly as
			   he can)
		   Mind if I cut in?  Your date's
		   lonely....

				   HOAGIE
		   The world would be a better place if
		   more sons danced with their mothers.

	Hoagie returns to the table and Michael and Ellen start
	dancing.

				   MICHAEL
			   (finally; a
			   trace of
			   sarcasm)
		   You're having a good time....

				   ELLEN
		   I am.

	Michael eyes Hoagie, who's joining the others, already
	getting caught up in their conversation.

				   ELLEN
			   (continuing)
		   Stop pouting.  You look like you did
		   when you were six and didn't get
		   something you wanted.

	He looks at her.

				   ELLEN
			   (continuing)
		   I enjoy his company....

				   MICHAEL
		   I don't like him chasing around
		   after you...I don't trust him....

				   ELLEN
		   He's not chasing and I'm not running.
		   And that's ridiculous....

	Michael clams up and she studies him.

				   ELLEN
			   (continuing)
		   I've been a pain in the ass and I'm
		   sorry.

	He looks at her quizzically.

				   ELLEN
			   (continuing)
		   I'm not going to bother you anymore
		   about your work....

				   MICHAEL
		   You're not a pain in the ass....

				   ELLEN
		   Will you let me finish.  I've been
		   working on this all day.

	She smiles at him, then becomes serious.

				   ELLEN
			   (continuing)
		   Your brother's death almost killed
		   me.  I m not sure I'll ever get over
		   it.  But I can't allow myself to
		   keep on believing it was intentional.
		   I'm not going to let an obsession
		   run my life.

	Michael stares at his mother uncomfortably.

				   ELLEN
			   (continuing)
		   It's not easy.  None of it is.  I
		   have to find some way to get on with
		   my life and I'm going to try.  I
		   finally figured that out.  I'm going
		   to do my best....

				   MICHAEL
		   Good.

	He doesn't seem all that happy.

				   ELLEN
		   That's it?  Good...I thought you'd
		   break out the champagne....

				   MICHAEL
		   I'm pleased.  I really am.  Really....

				   ELLEN
		   No more sharks.  I'll stay for another
		   week, then....

				   MICHAEL
		   You just got here....

				   ELLEN
			   (laughing)
		   Children are never satisfied.  I have
		   my house, my friends, my job...My
		   life, Michael.  I have to live it.
		   Besides, I'll be back.  Now show
		   your mother what a good dancer you
		   are.

	She rests her head on his shoulder and they dance on.  His
	expression reveals confusion.  He's caught between her effort
	to get rid of an idea and his suspicion that it may be true.

84	THE DOCK - DAY							
	84

	Michael walks from the Jeep to Neptune's Folly.  It's the
	beginning of a new day and he hasn't slept and looks
	terrible.

85	NEPTUNE'S FOLLY - DAY						
	85

	He boards her, looking for Clarence and William.

				   MICHAEL
		   Where is everybody?

				   JAKE (0.S.)
		   Down here....

	Michael heads for the cabin.

86	BELOW DECKS - DAY						
	86

	Jake is at the bench, soldering wires into a small cylin-
	drical device.  Another device like it is nearby on the bench
	along with several small speakers and an Oscilloscope.

				   MICHAEL
		   What happened to Clarence and...?

				   JAKE
		   Gave them the day off....

	Michael moves to the bench, not sure what's going on.  He
	watches Jake work.

				   MICHAEL
		   What for?  We've got a job to finish
		   ...Why are you making the monitor?

				   JAKE
		   As the sun slowly sets in the West,
		   we bid a fond farewell to the family
		   of conch....

	As Jake speaks he presses the barbs from the monitor to
	Michael's chest and the sound of his heart is heard over a
	speaker and its rhythms are seen on the oscilloscope.

				   MICHAEL
			   (pissed off)
		   What the hell are you talking about?

	Jake puts the barbs against his chest and his heart is
	heard and seen.

				   JAKE
		   We're out of money, partner.. We wrap
		   it up, write it up and turn it in...
		   How come your heart sounds stronger
		   than mine?  You got two of them...?

				   MICHAEL
		   We don't write up anything until
		   we're done....

				   JAKE
		   Okay.. .we're done, man....

				   MICHAEL
		   When we got the grant....

				   JAKE
		   When I got the grant.....

				   MICHAEL
		   When I signed on....

				   JAKE
		   When I invited you...

				   MICHAEL
		   We got it together, Jake....

				   JAKE
		   Okay...we got it together....

				   MICHAEL
			   (voice rising)
		   We have at least three months' work
		   left.  We can't write a report...We
		   don't know enough....

				   JAKE
		   We've got a rare bird here, Michael.
		   Great whites don't come to the
		   Bahamas.  There's never been one
		   down here before.  I'm not just
		   going to let it swim away.

				   MICHAEL
		   My name goes on that report.  It's a
		   half-assed job, I don't get my
		   doctorate.  Neither do you....

				   JAKE
		   The shark will get it for us.

	Michael takes a hard look at him, then starts to leave.

				   JAKE
			   (continuing)
		   I thought we were planning a long
		   rosy future together.

				   MICHAEL
		   So did I....

	Jake goes after him.

				   JAKE
		   Hey!

	He grabs Michael and they face each other.

				   JAKE
			   (continuing)
		   Even if it's there, it won't be
		   around forever.  It'll figure out
		   the water's too warm and take off.
		   We'll never get this chance again....
		   It's what we were trained for, for
		   Christ's sake.  It's why you spent
		   all that time on the books....

	He looks at Michael, who's hesitating.

				   JAKE
			   (continuing;
			   grinning)
		   We'll give it a few days, then it's
		   back to the snails.  Indulge me,
		   Michael....

	There's a long moment of silence as the two men stare at
	each other.

				   MICHAEL
			   (finally)
		   I don't know shit about electronics....

				   JAKE
			   (laughing)
		   You don't know shit about anything.
		   Time you learned....

87	EXT. HOUSE - DAY						
	87

				   CARLA (O.S.)
			   (yelling)
		   This is the third time this month
		   you've forgotten to take it out.

	She appears around the corner hauling a large plastic bag
	of garbage, heading for the street.

				   MICHAEL (O.S.)
		   I have a lot on my mind....

	He appears behind her, engaged in the same task.

				   CARLA
		   It doesn't take much to remember what
		   day they come....

				   MICHAEL
		   My brain is shrinking.  There's only so
		   much room.

				   CARLA
		   Don't give me that preoccupied
		   scientist crap.  I'm trying to get
		   ready for....

				   MICHAEL
		   I thought artists worked with their
		   subconscious....

	She gives him a dirty look as they deposit the garbage bags
	in their "pickup" spot.  He tries out a smile on her.  It's
	not working today.

				   MICHAEL
			   (continuing)
		   How come it's my responsibility?

				   CARLA
		   Because....

	She starts for her studio.

				   MICHAEL
		   Oh, okay.  Now I understand.  All
		   you had to do was explain it.

	She ignores him and he watches her, frustrated, until she
	moves inside.  Then he starts after her.

88	INT. STUDIO - DAY						
	88

	She grabs her welder's mask, then fires up her torch.  He
	enters.

				   MICHAEL
			   (before he's
			   seen)
		   I take out the garbage, because...I'm
		   glad we got that straightened out....

				   CARLA
		   We don't have anything straightened
		   out.  You're uptight about something
		   ...what's wrong?

				   MICHAEL
		   Why should there be anything wrong?
		   I'm sitting around the house,
		   enjoying my day off and you start
		   yelling at me about garbage....

	She gives him a hard, steady look which says, there's more
	to it than garbage.

				   MICHAEL
			   (continuing;
			   quietly)
		   What the hell are we arguing about?

				   CARLA
		   I don't know...You...I don't know.

	He moves toward her and she holds the torch toward him.

				   MICHAEL
		   No fair, I'm not armed.

				   CARLA
		   Then don't come any closer.

				   MICHAEL
		   Turn it off....

				   CARLA
		   No....

				   MICHAEL
		   Off....

				   CARLA
		   I have work....

				   MICHAEL
		   I've always wanted to make love to
		   an angry welder.  I've dreamed of
		   nothing else since I was a small boy.

	She can't help smiling.  She turns the torch off and he
	moves the rest of the way to her and kisses her.

				   CARLA
			   (murmuring)
		   Close the door.

				   MICHAEL
		   They're at the beach....

	She kisses him this time.

59	THE BARGE - DAY							
	59

	Jake is secured to the davit with a line.  Michael is tying
	another line around his waist.  Clarence and William are
	chumming the water with meat and blood.  Several large
	chunks of horse meat are on lines, over the side.  Jake
	holds a long pole to which the heart monitoring device,
	with its barbs, is attached.  The big boat, their floating
	lab, is secured to one side of the barge.

				   MICHAEL
		   You sure you've done this before?

				   JAKE 
		   Lots of times....

	Michael tests the knot, then Jake moves to the edge of the
	barge and leans out as far as he can.

				   MICHAEL
		   And it's always worked?

				   JAKE
			   (grinning
			   back at him)
		   So far..

				   CLARENCE
		   It's coming....

	They see the fin making its way toward the barge.  Michael
	tenses, moving back toward the center of the barge until
	the line he's holding goes taut.

	Jake, the pole held high, watches as the shark gets closer,
	his body tensing as he gets ready.

	Michael is rigid, mesmerized with the approaching shark, his
	expression filled with what he's wondering -- will it try to
	get him?

				   JAKE
		   You remember how to pull a rope...?

	Michael looks at Jake blankly, then stares at the oncoming
	shark, which comes closer and closer, then, at the last
	moment rolls to its side and opens its great jaws and goes
	for the horse meat.

	Jake waits until the shark's underside is at its most exposed,
	then rams the pole into it, then pulls it back quickly.

				   JAKE
			   (continuing)
		   Hot damn!  We got it!

	Michael is still transfixed.  Jake looks back at him.

				   JAKE
		   Now would be a good time....

	Michael remembers his job and pulls Jake back to the barge.

	The shark, a thirty-pound piece of horse meat in its mouth,
	rolls away, disappearing beneath the surface.

				   JAKE
			   (continuing)
		   Let's see if the damn thing works....

90	WATERFRONT CAFE - DAY						
	90

	The ocean is like a blue-green lake, its placid surface
	reflecting the early afternoon sun.

				   HOAGIE (0.S.)
		   You don't have to go....

	Ellen stares out at the water, her expression wistful.

				   HOAGIE (O.S.)
			   (continuing)
		   You don't have to do anything you
		   don't want to....

	She turns to Hoagie, who's sitting across the table from
	her.  He sips his coffee and studies her.  She looks past
	him to the others who are still eating lunch.

				   HOAGIE
			   (continuing)
		   Our little island seems to agree
		   with you....

				   ELLEN
		   I have my own little island.

				   HOAGIE
		   But it gets cold in winter....

	She smiles at that and sips her coffee.

				   HOAGIE
			   (continuing)
		   I tried winter once.  Burlington,
		   Vermont.  Flew a run to New York.  I
		   have a bone in my foot that still
		   hasn't thawed.  When I was a small
		   boy....

				   ELLEN
		   That's hard to imagine....

				   HOAGIE
			   (grinning)
		   I dreamed about always being warm...
		   Stay a while....

	His tone of voice causes her to look at him quizzically.

				   HOAGIE
			   (continuing)
		   I could take some time off....

				   ELLEN
		   You're always taking time off....

				   HOAGIE
		   I like to travel....

	She smiles and he returns it.

				   HOAGIE
			   (continuing)
		   I'll nick the boss' plane again....

				   ELLEN
		   What?

				   HOAGIE
			   (grinning)
		   I borrow it without telling him....

				   ELLEN
		   Won't you get in trouble...?

				   HOAGIE
		   Only if he finds out... It's a short
		   hop to the Caribbean.  We could take
		   a few days....

				   ELLEN
		   There must be plenty of women who
		   would be glad to go....

				   HOAGIE
		   There are...I'm tired of one-way
		   conversations....

	They look at each other for a long moment.

				   HOAGIE
			   (continuing)
		   I have this overwhelming desire to
		   kiss you, Ellen Brody.

				   ELLEN
			   (her cheeks
			   flooding with
			   color)
		   Why?

				   HOAGIE
			   (laughing)
		   Because it wouldn't occur to you to
		   know why.  Blushing suits you....

				   ELLEN
		   I'm sorry...I....

				   HOAGIE
		   There's nothing to be sorry about.

				   ELLEN
		   The whole idea is preposterous....

	His expression takes on the color of his feelings.  He
	likes this woman, a lot.

				   HOAGIE
		   I don't think so....

	She's flustered and unsure how to respond.

				   ELLEN
			   (finally;
			   trying to
			   make light
			   of it)
		   You sure you don't need glasses?

				   HOAGIE
		   My vision is perfect....

	He leans across the table and kisses her.

90-A	NEPTUNE'S FOLLY - DAY						
	90-A

	The shark's heartbeat is heard, then seen on the scope.
	Jake glances at it, then at Michael, who's at the wheel.

				   JAKE
		   What are we getting out of this old
		   bucket?

				   MICHAEL
		   What she's got.  Nine knots....

				   JAKE
			   (muttering)
		   Shit....

	He turns his attention back to the scope.  The heartbeat
	line is beginning to flatten.  Jake climbs up on the boom
	and scans the water.  Michael does the same from his position
	at the wheel.  He looks to Jake, who's shielding his eyes
	against the glare, holding the mast with his other hand.

				   MICHAEL
			   (finally)
		   How long have you known Hoagie?

				   JAKE
		   What?

				   MICHAEL
		   How long have you known Hoagie?

				   JAKE
		   What the hell does Hoagie have to do
		   with this?

				   MICHAEL
		   How long?

				   JAKE
		   As long as he's been here....

	Jake turns his attention back to the water.  The sound of
	the heartbeat is growing weaker.

				   JAKE
		   Bring her to starboard.

				   MICHAEL
			   (turning the
			   wheel)
		   How long has he been here...?

				   JAKE
		   Who?

				   MICHAEL
		   Hoagie.

				   JAKE
		   I don't remember.  One day he was
		   just here....

				   MICHAEL
		   What do you know about him?

	Jake checks the EKG scope.  The line is nearly flat.  The
	heartbeats are a whisper.

				   MICHAEL
			   (continuing)
		   He's after my mother....

	Jake laughs, looking at Michael as though he's crazy.

				   MICHAEL
			   (continuing)
		   What's so funny about that?

				   JAKE
		   You think he's not good enough for
		   her?  You're right.  If she was my
		   mother, I'd send her home right now.

	He turns his attention back to the scope, then scans the
	water.

				   JAKE
			   (continuing)
		   Bring her about.  We're headed in
		   the wrong direction....

				   MICHAEL
		   Half the pilots down here fly drugs
		   ...He's always going off....

				   JAKE
		   Half don't...Bring her about....

				   MICHAEL
		   I am...You must know something about
		   him....

				   JAKE
		   He gambles...He likes a good time...I
		   see him around....

				   MICHAEL
		   I hear he flies a lot of private
		   charters....

	The heartbeats have stopped and Jake snaps around to look
	at the scope.  The line is dead flat.  He's stunned.

				   JAKE
		   We lost it....

				   MICHAEL
		   Maybe the gear crapped out....

				   JAKE
		   If you hadn't been gassing about
		   Hoagie....

				   MICHAEL
		   Maybe it's gone....

	Jake gives him an angry look, then starts fiddling with the
	gear.  Finally, in his frustration, he bangs it with his
	hand.  Michael seems quietly relieved.

				   JAKE
		   We'll look for it tomorrow....

	Michael doesn't respond.

90-B	INT. STUDIO - DAY						
	90-B

	Carla works on her sculpture, securing a large piece of
	metal near the top with a wrench, tightening huge chrome
	nuts.

				   ELLEN (0.S.)
		   All he did was kiss me....

				   CARLA
			   (smiling)
		   It's beginning....

	Ellen is at the base of the sculpture, watching Carla, her
	back to the door.

				   ELLEN
		   Beginning of what?

				   CARLA
			   (laughing)
		   Whatever happens next.....

				   ELLEN
		   I always thought when I grew up I'd
		   know what to do about things like
		   this...I don't even know if he's
		   serious....

	Neither of them sees Thea, who's moved into the studio and
	has decided not to announce herself.

				   CARLA
		   Give it some time, Ellen...See what
		   happens.

				   ELLEN
		   Part of me wanted to go off with
		   him, the rest of me couldn't...I
		   don't know why he wants me....

				   CARLA
		   Maybe he's got good taste...I don't
		   think he's spent much time with a
		   woman like you....

				   ELLEN
		   I don't know what he thinks...I don't
		   know what I think...I don't even know
		   why I'm talking about it...
			   (laughing)
		   It's silly...I'm getting too old for
		   this sort of thing....

	She spots Thea and stops suddenly.  Carla follows her gaze.

				   THEA
		   You said it wasn't polite to interrupt
		   people....

				   CARLA
		   Yes, I did.

				   THEA
		   It's time for tea, Grandma.

				   ELLEN
		   I almost forgot....

				   THEA
		   I didn't.

	Thea moves to Ellen, offering her hand, which Ellen takes.

				   THEA
			   (continuing)
		   I put everything in my room.  My
		   Teddy bear is joining us.

				   ELLEN
			   (to Carla)
		   Thanks for the consultation....

				   CARLA
		   Office hours, nine to five.  Rates
		   go up after cocktails....

	The two women smile at each other, then Ellen leaves with
	Thea and Carla returns to her work.

90-C	INT. HOUSE - KITCHEN - NIGHT					
	90-C

	Michael stands at the window, looking out at the night.
	He's troubled.  He clasps his hands behind his back,
	unaware that Thea is standing behind him, her troubled
	expression a mirror of his, her hands behind her back, her
	tiny feet spread apart exactly like his.  He scratches his
	cheek unconsciously and she does the same.  She checks his
	facial expression and resets hers.

	He sighs and she sighs and he hears and looks down,
	surprised to see her, then noticing that she's assumed his
	body posture in every way.  He makes a funny face and she
	makes one back and he smiles and she returns it.

				   THEA
		   Uncle Sean could make funny faces....

	He snatches her up off the floor and hugs her, holding onto
	her tightly.

	Ellen watches from the doorway, unobserved, her concern for
	her son etched into her expression.  He sees her and she
	offers a quick smile.

				   ELLEN
			   (to Thea)
		   Time for bed, peanut....

	Michael gives his daughter a kiss and puts her down and she
	moves to her grandmother.

				   ELLEN
			   (continuing)
		   I'll be in to read you a story.

				   THEA
		   Good night, Daddy....

				   MICHAEL
		   Good night, dear heart....

	Thea leaves and Michael takes a beer from the refrigerator
	and moves to the table where three empty cans are lined up
	neatly.  He pops the top of the new one and takes a long
	drink, then sits and returns to the writing of his report
	on their conch project.  There are several open textbooks
	and several notebooks in front of them.

				   ELLEN
			   (finally)
		   It's late....

				   MICHAEL
		   Trying to write our report....

				   ELLEN
		   You look tired....

				   MICHAEL
		   I'm fine....

	She studies him as he tries to write.

				   ELLEN
		   I saw you and Thea....

	He looks up, making it clear that he doesn't want to talk.
	She sees it but presses on.

				   ELLEN
			   (continuing)
		   You and Sean used to make....

				   MICHAEL
		   I have to get this finished.

				   ELLEN
		   I'm leaving in a few days.  I don't
		   want to do that with you unhappy....

				   MICHAEL
		   I m not unhappy.  Frustrated maybe...
		   Discouraged a little.  It'll work
		   out....

				   ELLEN
		   I'm worried.. We haven't had our....

				   MICHAEL
		   There's nothing to worry about....

				   ELLEN
			   (smiling)
		   I'm your mother.  It's my job....

	He offers a small smile, then goes back to work.

				   ELLEN
			   (continuing)
		   You looked just like your father...
		   The first time the shark came to
		   Amity....

				   MICHAEL
		   I don't want to talk about that.

				   ELLEN
		   It's a terrible thing to know some-
		   thing no one else wants to believe.

				   MICHAEL
			   (angry)
		   I'm tired of hearing about it.
		   There's no shark.  Sean wasn't
		   killed by the same shark.. Dad didn't
		   die because of it...It's all wrong...
		   Some fantasy you've concocted...You
		   keep bringing it up.

	He goes back to work, ignoring her.  She wants to say more
	but stops herself.  Instead she starts looking through the
	refrigerator.

				   ELLEN
			   (finally;
			   quietly)
		   You hungry?

				   MICHAEL
		   No.

	She watches him, her expression sad and filled with concern.

90-D	THE WATER - NIGHT						
	90-D

	The surface is searched, as though something is being
	looked for.  The shark is seen, swimming, just swimming,
	its fin slicing through the water as though it's hearing
	its own music.  Then, without warning, it attacks, coming
	straight at us, its great jaws opening wide, rolling to one
	side as it comes for the kill -- its great rows of teeth
	enveloping us, closing down on us, consuming us, until it
	goes dark.

90-E	INT. HOUSE - BEDROOM - NIGHT					
	90-E

	Michael wakes with a fearful start, his eyes open wide.

90-F	THEA'S ROOM - NIGHT						
	90-F

	Ellen lunges upright, her expression set with terror.

90-G	MICHAEL'S ROOM - NIGHT						
	90-G

	Michael trembles.  He can't stop it.

90-H	THEA'S ROOM - NIGHT						
	90-H

	Ellen struggles to control her breathing.  She's close to
	hyperventilating.

91	BENEATH THE WATER - DAY						
	91

	Michael searches for conch, moving slowly through the water.

92	NEPTUNE'S FOLLY/THE BARGE - DAY					
	92

	Jake watches the scope, which is dead flat.  There's no
	sound coming from the speaker next to it.

	Clarence and William, on the barge, search the surface of
	the water with binoculars.

92-A	BENEATH THE WATER - DAY						
	92-A

	Michael continues to search for conch.  From his point of
	view, the water is clear, filled only with colorful fish
	and streaks of sunlight from above.  Then he spots a small
	group of conch.

				   MICHAEL
		   I've got about a half dozen...I'm
		   going to tag them.  You hearing
		   anything?

				   JAKE (0.S.)
		   Nothing.. But stay within a quarter
		   mile...I've got a three-mile radius
		   on the monitor.  If he comes back
		   I'll hear him.  You'll have time to
		   get up.

92-B	NEPTUNE'S FOLLY/THE BARGE - DAY					
	92-B

	Jake glances at Clarence and William, who continue to
	search visually for signs of the shark.

				   JAKE
			   (into the
			   phone)
		   Looks like....

	The sound of the shark's heartbeat suddenly pounds out of
	the speaker, stopping Jake in midsentence.

				   JAKE
			   (continuing)
		   I've got him...Bring it in....

92-C	BENEATH THE WATER - DAY						
	92-C

	Michael is turning the sub as quickly as he can, looking
	around frantically for the shark.  There's nothing to be
	seen.

92-D	NEPTUNE'S FOLLY - DAY						
	92-D

	The heartbeats are coming stronger.  The line on the scope
	is fluctuating wildly.

				   JAKE
		   Michael, get your ass up here...Now!

93	BENEATH THE WATER - DAY						
	93

	The sub moves toward the barge, making its way slowly -- to
	the eye almost leisurely, even though it's going full out.

				   MICHAEL
		   I'm coming...How close is it?

				   JAKE (0.S.)
		   Close...I don't know...Just get the
		   hell....

93-A	THE BARGE - DAY							
	93-A

	Clarence suddenly goes rigid.

				   CLARENCE 
		   There it is....

	From his point of view, seen through binoculars, the fin
	slices through the water.

93-B	BENEATH THE WATER - DAY						
	93-B

	Michael pushes the sub to its limit, when suddenly it's hit
	and Michael's teeth are rattled as the sub is knocked
	through the water.

				   MICHAEL
			   (yelling)
		   Jake!  Jake!

	The shark hits the sub again, his great jaws tearing into the
	canopy and prop, damaging the sub badly.  It turns then and
	almost leisurely swims away, its mouth bleeding, its head
	raked with cuts.  Michael eyes it, then the nearby wreck
	and pushes himself free of the sub, swimming as fast as he
	can toward the freighter.  The shark turns and starts after
	him, closing the distance rapidly as Michael makes for an
	opening in the wreck's hull.

				   JAKE (0.S.)
			   (yelling)
		   Michael!  Can you hear me....

94	NEPTUNE'S FOLLY - DAY						
	94

	Jake is watching the scope.  The line indicates a heart
	that's gone crazy.  The heartbeat from the speaker is
	booming.

				   JAKE
		   Are you all right, Michael?  What's
		   going on?

95	BENEATH THE WATER - DAY						
	95

	Michael swims the last few feet to the wreck, moving through
	a hole in its hull just as the shark is about to get him.

96	INT. WRECK - DAY						
	96

	Michael swims into a corridor which is filled with light
	coming from one end.  He turns and looks back at the hole.
	The shark is gone.  He looks up and down the corridor, then
	starts swimming away from the light.

	The corridor begins to turn dark as a huge black shadow
	fills the other end.

	Michael senses something and looks back and sees the shadow
	of the shark against the wall.  He freezes as the shadow
	moves toward him, finally covering his face.

	The shark comes closer and Michael starts backing up.  The
	shark moves closer, almost lazily opening its jaws as it
	prepares to devour him.  Michael keeps backing up, then
	trips and falls backwards through a door, his arms coming
	up as he tries to stop himself.

	His fall takes him down into a room.  Light floods into it
	from above.  He gathers himself and looks up.

	There's no sign of the shark.  He looks about quickly, taking
	measure of his situation, then the light above is blacked out
	as the shark swims slowly over the room.  Michael watches,
	barely breathing, until the light returns.  He listens and
	looks and waits.  The silence builds.  Where the hell is it?

96-A									
	96-A
thru	OMITTED								
	thru
98									
	98

99	THE BARGE - DAY							
	99

	The submersible pops to the surface, its ballast tank
	destroyed by the shark.  Water pours from the space Michael
	occupied.  The heartbeats continue to be heard.  Jake,
	Clarence and William stare at the sub.

				   JAKE
		   Get the bang sticks.  We're going
		   down.

				   CLARENCE
		   Bang sticks are like yelling at it....

				   JAKE
		   We're going down.  All of us....

	Clarence starts moving quickly to the boat.

				   CLARENCE
			   (as he goes)
		   They won't kill it....

				   JAKE
		   We'll divert it...We'll do something....

	William is breaking out wet suits.  He throws one to Jake.

				   JAKE
			   (continuing)
		   Screw the wet suits.  No time....

	Jake gets out the air tanks and regulators.

				   JAKE
			   (continuing)
		   We'll do something...Michael's down
		   there.  Get the lead out....

100	INT. WRECK - DAY						
	100

	Michael eyes the opening above him.  That, and the door he
	fell through, are the only way in or out.  His breathing
	has returned to normal.  He takes off his air tank, handling
	it with care.

	There's an explosion of wood and metal next to him and the
	shark bursts through the bulkhead.  Quickly Michael pulls
	the regulator, blows the air from the tank, and rides
	upward on the force of air coming from the bottle, just
	barely escaping the great jaws.  He shoots up through the
	opening above him, ripping his arm against the side of the
	opening as he passes through and the water starts to fill
	with blood.

101	THE WATER/THE BARGE - DAY					
	101

	Jake, Clarence and William have their air tanks strapped on.
	They each hold bang sticks and are getting ready to go in,
	when Michael explodes up above the surface right in front of
	them, gasping for air.

	Jake jumps in the water and grabs Michael and Clarence and
	William pull Michael aboard and Jake climbs up after him.

	Michael crawls away from the edge of the barge.  He's shaking.
	Jake moves to him.  Clarence and William gather around.

				   JAKE
		   Are you all right?

	Michael doesn't answer and Jake looks at him with concern.

102	OMITTED								
	102

103	INT. HOUSE - BEDROOM - NIGHT					
	103

	Michael sits bolt upright, as though he's been discharged
	from a gun.  He's sweating.  Carla sleeps peacefully next
	to him.  He gets himself under control and leaves the bed.

104	THE BATHROOM - NIGHT						
	104

	The light comes on and Michael looks at himself in the
	mirror, not sure he recognizes the image staring back at
	him   His arm is bandaged where he cut himself escaping
	from the shark.  He can hear his own heart beating.

104-A	THE SUBMERSIBLE/THE BARGE/NEPTUNE'S FOLLY - DAY			
	104-A

	Michael is in the sub.  Jake, Clarence and William stand at
	the side of the barge.  The sub is taped together and has
	no canopy.

				   JAKE
		   It's my turn in the barrel, man....

				   MICHAEL
		   You fall off a horse, you get right
		   back on or you don't ride again....

				   JAKE
		   I don't like it....

				   MICHAEL
		   I didn't ask you to....

				   JAKE
		   What about Carla's gig?

				   MICHAEL
		   I'm going down, Jake....

				   JAKE
		   She's not going to like it....

	Michael puts his regulator in his mouth and starts slowly
	to move away and down beneath the surface.  Jake watches
	for a moment, an unhappy man, then moves quickly to the
	monitor and scope on the boat.  Clarence and William take
	up their stations with binoculars.

				   CLARENCE
		   I hope the man knows what he's doing....

				   JAKE
		   He knows what he has to do....

	Jake's expression belies his words.  He's deeply concerned.

105									
	105
thru	OMITTED								
	thru
115									
	115

116	BENEATH THE WATER - DAY						
	116

	Michael has already spotted a group of conch.  He parks the
	sub and quickly gets to work tagging them.  He looks about
	quickly as though something is coming up behind him.
	There's nothing there.  He finishes and returns to the sub
	and maneuvers it up off the ground and continues his search
	for more conch.

				   MICHAEL
		   You getting a reading on them?

				   JAKE (O.S.)
		   I live to hear the sound...You all
		   right?

				   MICHAEL
		   What about the monitor...?  You
		   getting anything on the shark?

				   JAKE (O.S.)
		   Nothing...Hey Michael...You know I was
		   thinking about yesterday.  Maybe all
		   that was wrong was he was hungry....

				   MICHAEL
		   How come only me?

				   JAKE (O.S.)
		   Maybe he only likes white meat....

				   MICHAEL
		   Funny, Jake...Funny.

				   JAKE (O.S.)
		   Just trying to be helpful....

	As Jake speaks, the head of a Moray eel explodes out of a
	rock crevice right in front of Michael and his heart nearly
	stops.

118	THE PUBLIC BEACH - DAY						
	118

	The beach and water are crowded with sunbathers and
	swimmers, with several banana boats and sailfish.

	Up from the beach, a short distance away, a crowd has
	gathered to witness the unveiling of Carla's statue.  The
	Mayor of the island, Mr. Witherspoon, a dignified black
	man, is in the midst of his dedication speech.  The statue
	looms behind him, shrouded beneath its cloth.  Carla, Ellen,
	Thea and Louisa, who totes a camera, along with several
	local "big-wigs" stand next to him.

		   LOUISA			   WITHERSPOON
	Where the hell are they?	Something we look at every
					day, something we think
		    CARLA		beautiful...Something that
	They'll be here....		makes us stop and ponder...
					Something that makes us
	Carla searches the water for	question the wonder of life
	a moment, then turns her	Even that becomes unique 
	attention back to the speech.	when it falls to the
	She's very unhappy about	artist's eye....
	Michael's absence.

	Thea, who's bored stiff, eyes a group of friends getting
	ready to go out on a banana boat, a long "hotdog" which
	five riders straddle, holding onto grips in front of them.

		   THEA				   WITHERSPOON (0.S.)
	    (tugging			    (continuing)
	    at Carla)			Art transforms the ordinary
	Can I go on the banana boat?	into the unique...A sunset
	Margaret's going.  She's	for example....
	with her mother.

	Carla sees what Thea's talking about, and she sees how
	bored she is.

		   CARLA			   WITHERSPOON (0.S.)
	Okay...Be careful....		    (continuing)
					We see a sunset in all its
		   THEA			glory, yet the artist sees
	I will....			something that isn't there
					for the rest of us....

	Thea runs to join her friends, yelling at them to wait as
	she tears across the beach.  Ellen watches with concern.
	Carla sees it.

		   CARLA			   WITHERSPOON (0.S.)
	Banana boats are fun....	    (continuing)
					Something from the inner
		   LOUISA		eye...
	I'd go with her if I could....	    (Pauses)
					Today we are privileged
		   CARLA		to dedicate a work of art
	Thanks....			that reflects the true
					spirit, the free expression
		   LOUISA		of life here in the
	What are friends for...?	Bahamas....

	Carla looks at Mr. Witherspoon cross-eyed and Louisa
	stifles a laugh and the two women exchange smiles.  Then
	Carla looks at Ellen, who manages a small smile, then turns
	her attention back to Thea, who's taking the last empty
	seat, one from the back, just in front of Margaret's mother.

				   WITHERSPOON (O.S.)
		   Carla Brody, a grand addition to our
		   community, an artist of growing
		   reputation, was commissioned to
		   express our way of life in permanent
		   form....

	The boat takes off behind its speedboat and the kids in it
	begin to shriek, Thea loudest of all.

				   WITHERSPOON (O.S.)
			   (continuing)
		   So that whoever visits our public beach
		   will be able to share in that spirit.

	Ellen continues to watch Thea, Mr. Witherspoon signals to
	Carla and she moves forward to join him.

				   WITHERSPOON
			   (continuing)
		   Ladies and gentlemen, Carla Brody....

	Applause greets her introduction and she nods and smiles
	her thanks, then she and Mr. Witherspoon both take hold of
	the cord which will pull the cloth from the statue.  Louisa
	begins to video tape the proceedings.  Someone gets in her
	way and she says something, then jostles for better position.

	Ellen eyes Thea as the banana boat makes a sweeping turn
	and heads back across the water in front of them.

	As Mr. Witherspoon and Carla pull the cord, Ellen sees the
	fin pop up out of the water behind the banana boat.  As the
	cloth comes free of the statue, the crowd breaks into loud,
	anticipatory applause.  It covers Ellen's scream.  She
	starts running for the beach, yelling as she goes.   The fin
	moves closer to the boat.  The applause begins to trickle
	away as the crowd begins to realize the nature of the huge
	abstract work of art.  They don't understand it.
	Mr. Witherspoon looks at it quizzically.

	Ellen's screams are heard now and Carla sees her running
	along the beach, waving her arms.  Then she sees what Ellen
	sees, the fin, and she and Louisa and the others start
	running.

119	THE BANANA BOAT - DAY						
	119

	Margaret's mother sees what's going on on the beach and
	finally looks in back of her and sees the fin and then the
	shark as it comes up out of the water for Thea.  She
	grabs the child, pushing her forward, putting herself in
	the way.  The shark rips into her and she's pulled into the
	water, then beneath it.  Thea screams, but nothing comes
	out.  Air starts leaking from the inflatable boat.  The
	water around it starts filling with blood.

	Ellen watches her granddaughter, horrified.

	Dozens of people line the water's edge around her, yelling,
	crowding around as the speedboat brings what's left of
	the banana boat to shore.  Thea and the other two kids
	and remaining adult are holding on for dear life as they're
	dragged through the water.

	Carla, with Louisa at her heels, wades out toward them,
	frantic, yelling....

				   CARLA
		   Thea...I'm here, Thea...Mommy's
		   here....

	Ellen stares at the sea, then at her granddaughter, who
	Carla has reached.  When she sees that Thea is in one
	piece, unseen by anyone, she moves back through the crowd
	and starts away.  She walks deliberately, then begins to
	march.  Finally she breaks into a run and disappears from
	view.

121	THE BIG BOAT/THE DOCK - DAY					
	121

	As a hand fumbles with a key and finally gets it into the
	engine, the distant sound of singing is heard.

	The key is turned and the		MICHAEL AND JAKE (O.S.)
	engine cranks over a few 	    (singing)
	times, then starts,		'I found my thrill on
	drowning out the singing.	Blueberry Hill -- on
					Blueberry Hill -- when
					I found you.  The moon
					stood still on Blueberry
					Hill....'

	Ellen moves to the bow and casts off, throwing the lines to
	the dock.  She does the same at the stern, then experiments
	with the clutch and the boat starts pulling away.

122	THE WATER/THE BOAT - DAY					
	122

	From another point of view, a point of land at the end of
	the beach where Michael and Jake live, the boat is seen
	heading out into the Atlantic.

123	EXT. JAKE'S HOUSE - BACK PORCH   DAY				
	123

	A dozen beer bottles are lined up on the rail of the
	porch.  Michael and Jake's feet are seen resting on the
	rail near them.

				   MICHAEL AND JAKE (0.S.)
			   (singing)
		   '...I found my thrill on Blueberry Hill....

				   MICHAEL (0.S.)
		   I don't like that song....

				   JAKE (0.S.)
		   You don't know the words....

	They're sitting side by side, both holding bottles of beer,
	both half in the bag.  They both take long swallows at the
	same time.

				   JAKE
			   (continuing;
			   grinning;
			   singing)
		   A Moray eel...A Moray eel....

				   MICHAEL
			   (singing)
		   'It was so ugly...It was so big....'

				   JAKE
			   (singing)
		   'A Moray eel....'

				   MICHAEL
			   (singing)
		   'Snuck up on me....'

				   JAKE
			   (singing)
		   'It got us in hot water...We should
		   have been there for Carla....'

	The mention of it, the memory of what caused him to miss
	the ceremony, his need to confront his fear, all make him
	suddenly unhappy.

				   MICHAEL
		   Shit....

				   JAKE
		   Don't be so down, man.  Money's
		   gone...Shark's gone...We're back to
		   conch...We've got it made....

				   MICHAEL
		   Shove it....

				   JAKE
		   You'll be the eternal tropo...The
		   old man and the sea...Know the words
		   to this one?
			   (singing;
			   "Mack The
			   Knife")
		   'Oh, the shark has pretty teeth, dear,
		   and he shows them pearly white...'

				   MICHAEL
		   Stop that!

				   JAKE
		   You don't like my voice...?

				   MICHAEL
		   I don't like the song.

				   JAKE
		   Tough shit.
			   (singing)
		   'When the shark bites with his
		   teeth, dear...'

	Michael stands and grabs Jake in a single motion.

				   MICHAEL
		   I told you....

	Jake grabs Michael's shirt.  He's still sitting.

				   JAKE
		   You told me what?

				   MICHAEL
		   Screw you, Jake....

	Michael pulls away and starts off.

				   MICHAEL
			   (continuing)
		   Screw you....

	Jake laughs as Michael storms off.

				   JAKE
			   (singing)
		   'Oh, the shark has pretty teeth,
		   dear....'

	His grin fades as Michael disappears from view.  He takes a
	swallow of beer, then mutters, "sorry..."   Alone he seems
	as unhappy as Michael.

124	THE BOAT/THE WATER - DAY					
	124

	The boat is well out into the ocean now   There's no land
	in sight.  Ellen is a tiny figure at the wheel.  She stands
	straight and tall.

125	EXT. MICHAEL'S HOUSE - DAY					
	125

	He completes the short walk from Jake's and enters his
	house.

				   MICHAEL
			   (as he enters)
		   Carla?

126	INT. HOUSE - DAY						
	126

	He moves inside, looking for people.

				   MICHAEL
		   Carla!  Mom?

	He looks in a room, then moves on.

				   MICHAEL
			   (continuing)
		   Thea?

	He moves toward his daughter's room.

127	THEA'S ROOM - DAY						
	127

	Michael looks in and comes up short.  He sees Carla on
	Thea's bed, rocking their daughter gently in her arms.
	Thea's eyes are wide open, her expression blank.  Louisa
	sits in a chair next to them.

				   CARLA
			   (hissing a
			   whisper)
		   Where have you been...?

				   MICHAEL
		   What's wrong?  What happened?

				   CARLA
		   Thea was attacked by a shark....

	Michael is stunned.  He can't believe it.

				   CARLA
		   The doctor said she should be all
		   right...She's in shock....

				   MICHAEL
		   But it went away...We would have
		   known....

				   LOUISA
		   What went away?

				   MICHAEL
		   We were doing research.  It disappeared.
		   We thought....

				   CARLA
		   You knew...?

				   MICHAEL
		   It went away....

	He moves to the bed, to look at his daughter, who stares
	past him, as though he's not there.  It breaks his heart.

				   MICHAEL
			   (continuing;
			   softly)
		   Sweetheart....

				   CARLA
			   (furious)
		   She could have been killed...You
		   knew and you didn't tell us...You
		   let your mother think....

				   MICHAEL
		   Where is she?

				   CARLA
		   How could you do that?  Your own
		   daughter....

				   MICHAEL
		   Where's my mother?

				   CARLA
		   I don't know....

	He starts from the room.

				   CARLA
			   (continuing)
		   Why didn't you tell us?
			   (breaking;
			   enraged)
		   Why didn't you tell us?

				   MICHAEL 
			   (looking back)
		   I'm sorry.  Please, Carla.  I didn't
		   think there was any danger.  I'm sorry.
		   I love you.  Both of you.

	It suddenly strikes him.  He knows where his mother has
	gone.  He goes to the window.

128	THE DOCK - DAY							
	128

	From the window, from Michael's point of view, he sees
	that the boat is gone.  He runs from the room, passing
	Louisa, who looks at him angrily.

				   LOUISA
		   Where's Jake?

	He doesn't answer.

129	EXT. HOUSE - DAY						
	129

	He runs from the house and heads for the dock.

				   MICHAEL
			   (yelling as
			   he goes)
		   Jake!  Jake!

130	OMITTED								
	130

131	THE BIG BOAT - DAY						
	131

	Ellen steers the boat at full throttle, out farther into
	the Atlantic, scanning the water for the shark, determina-
	tion set deeply into her expression.

132	THE POINT - DAY							
	132

	Hoagie is setting up to fish from the point at the end of the
	beach where Michael and Jake live.  He checks his bait and
	hook, then casts, then sees the dinghy heading toward him.

133	THE DINGHY/THE POINT - DAY					
	133

	Jake rides in the bow.  Michael steers.  They see Hoagie,
	and Jake starts waving at him.

				   JAKE
			   (yelling)
		   You see our boat?

		   HOAGIE			   MICHAEL
	    (yelling)			    (yelling)
	I just got here....		My mother took it....

				   HOAGIE
			   (yelling)
		   I hope she's a good sailor....

				   JAKE
			   (yelling)
		   A shark attacked Thea and some
		   kids...She's going after it....

		   HOAGIE			   MICHAEL
	    (yelling)			    (yelling)
	She's going after it...?	We've got to stop her....

Hoagie understands what's going on and starts reeling in.

				   HOAGIE
			   (yelling)
		   You're going after her in that?
		   You're crazy...It'll take all day
		   in that bathtub....

				   JAKE
			   (yelling)
		   You got a better idea...?

134	THE AIRPORT - DAY						
	134

	A small, low-wing aircraft takes off.

135	INT. PLANE - DAY						
	135

	Hoagie is already turning to head out over the water.
	Michael is straining to see the ocean.  They have to yell
	to be heard over the din of the engines.  Jake rides next
	to Hoagie.

				   HOAGIE
		   When we find her we'll radio her
		   position...The Coast Guard will pick
		   her up.  Don't worry....

				   JAKE
		   She'll be all right, partner.. She'll
		   never find it.  We couldn't....

				   MICHAEL
		   It will find her....

	Jake looks at him like he's crazy.  This is something he
	hasn't heard.

				   JAKE
		   What do you mean, it'll find her?

				   HOAGIE
		   She said it was coming....

		   JAKE				   MICHAEL
	What do you mean, it's		What the hell are you...?
	coming...?

				   HOAGIE
		   She has it in her head that the
		   shark that killed Martin and Sean
		   is....

		   JAKE				   MICHAEL
	    (to Michael)		    (to Hoagie)
	He's not talking about our	What do you do when you're
	shark....			not flying people?

				   HOAGIE
		   I deliver laundry...We're going to
		   circle northeast....

	Hoagie changes directions....

		   JAKE				   MICHAEL
	You saying she thinks the	Everything's a joke to
	shark is after her...?		you....

				   HOAGIE
		   Not Ellen.... 

				   MICHAEL
		   She doesn't need a drug dealer
		   for....

	Hoagie starts laughing.  Jake is looking at them both with
	disbelief.

		   MICHAEL			   JAKE
	What the hell's so funny...?	That's a lot of crap...
					Sharks don't....

				   HOAGIE
		   I want to find her as much as you do,
		   Michael....

				   MICHAEL
		   I want you to leave her alone.  I
		   don't want you involving her in....

				   HOAGIE
			   (spotting
			   something)
		   What's that....?

	He points and they see a tiny dot of a boat in the
	distance.  Hoagie starts for it and they watch as he drops
	altitude.  There's a long silence as they strain to see the
	boat.  When they get closer they see that it's a pleasure
	sailor.  The people aboard wave at them.

				   MICHAEL
			   (not ready
			   to give it up)
		   What do you deliver on all those
		   charters you...?

				   HOAGIE
		   I fly elephants for smugglers....

136	THE BOAT - DAY							
	136

	Ellen searches the water for the shark.  She puts the boat
	into a long slow turn.  All she can see is the endless
	expanse of ocean around her.

137	THE WATER - DAY							
	137

	The boat is seen from the surface, from the point of view
	of something following her, keeping pace with her.

	The shark is stalking her.

138	INT. PLANE - DAY						
	138

	Hoagie, Michael and Jake fly on in search of Ellen.
	Michael is raw nerve ends.

				   MICHAEL
		   Can't this thing go any faster?

				   HOAGIE
		   Any faster and it'll turn into a flying
		   Cuisinart and dice us into oblivion....

	Hoagie banks the plane, changing direction to search
	another area.

139	THE BOAT/THE WATER - DAY					
	139

	Ellen turns the wheel, beginning another sweep, searching
	for the shark.  At first she doesn't see anything, then she
	goes rigid.

	A hundred yards away she sees the fin.

	She shuts off the engine and, in the quiet, moves to the
	stern and looks at the shark, which is keeping its distance.

				   ELLEN
			   (quietly; with
			   deadly calm)
		   Come and get me, you son-of-a-bitch.
		   Take me and leave my family alone....

	The silence builds as only the water lapping up against the
	side of the becalmed boat is heard.

	The fin disappears beneath the surface and Ellen, still at
	the stern, her body trembling, looks for it.  She can't
	see anything.  The silence builds.  She waits.

	Then, in the intense calm, the distant sound of an airplane
	engine droning is heard.

140	INT. PLANE - DAY						
	140

	Jake sees the boat and points.

				   JAKE
		   There she is....

	They see the boat and the tiny figure of Ellen at the stern.
	Hoagie alters course, dropping altitude as he goes.  He
	starts fishing for a chart so he can radio her exact loca-
	tion.  Michael rises in his seat to get a better view.  He
	sees something in the water and strains to make out what
	it is.

141	THE WATER - DAY							
	141

	The dark form of the shark is visible beneath the surface
	as it moves rapidly toward the boat.

142	INT. PLANE - DAY						
	142

	They strain to see the form in the water as the plane moves
	rapidly closer to the boat.

				   HOAGIE
		   Is that what I think it is...?

	No answer is necessary as they watch the shark close the
	distance to the boat.  It's going for Ellen.

				   JAKE
		   Holy Christ....

				   MICHAEL
			   (a whisper)
		   Mom....

143	THE BOAT - DAY							
	143

	The shark comes exploding up out of the water for Ellen,
	missing her by only a few feet, taking a piece of the stern
	off the boat, then disappearing beneath the surface.

	Then she hears the plane and looks but doesn't seem to see
	it.  She's in shock from the shark's attack, but is still
	dedicated to her mission.

	The plane flies in low, buzzing the boat, the great roar
	of its engine causing Ellen to duck out of the way.

144	INT. PLANE - DAY						
	144

	Hoagie makes a tight circle and starts back.

				   MICHAEL
		   Slow it down....

	He starts to open a door.  Jake stops him.

				   JAKE
		   What the hell are you doing?

				   MICHAEL
		   I've got to get to her....

				   JAKE
		   You jump, you'll kill yourself....

				   HOAGIE
		   What are you worried about...?  You
		   make it, the shark will kill you
		   anyway...I'm going in....

	Hoagie grabs his microphone and switches it on.

				   HOAGIE
			   (continuing;
			   on the horn)
		   Thomas, my boy, you there?  This is
		   PBN 17452....

				   THOMAS (0.S.)
			   (laughing;
			   from the
			   speaker)
		   Boss is going to be pissed at you
		   for taking his plane, Hoagie....

				   HOAGIE
			   (grinning)
		   Wait till he finds out what I'm
		   going to do with it....

145	THE BOAT - DAY							
	145

	Ellen watches the plane with horror as it comes in on a
	line parallel to the boat, coming closer and closer to the
	water.

146	INT. PLANE - DAY						
	146

				   HOAGIE
			   (still on
			   the horn)
		   A couple of boats, fast, and someone
		   who knows how to kill a shark.  A
		   big one....

	He puts the microphone back and starts preparing to bring
	the plane into the water.

				   HOAGIE
			   (continuing)
		   Grab your socks....

				   JAKE
		   You sure you know how to do this.

				   HOAGIE
		   Hell, no.  What kind of pilot do you
		   think I am...?

147	THE BOAT/THE PLANE/THE WATER - DAY				
	147

	Ellen backs away from the stern as the plane nears the
	surface and its engine sputters, then quits.  It hits the
	water and its nose rocks forward, then it settles forward
	and skips some seventy-five feet, plowing through the water
	violently, finally coming to a stop near the boat.

	Hoagie pushes the door open and water starts coming in.

				   HOAGIE
		   Hell, that wasn't half bad.. Get
		   going...I'll keep it busy....

				   JAKE
		   It'll come for the plane.  It's
		   attracted to metal.  The electro-
		   magnetic impulse....

				   HOAGIE
		   Will you get the bloody hell out of
		   here....

	Jake jumps into the water and starts swimming for the boat.

				   MICHAEL
		   Come on, Hoagie....

				   HOAGIE
		   All you passengers are the same....
		   Complain...Complain....

	He pushes Michael out.

149	THE BOAT/THE PLANE - DAY					
	149

	Ellen sees Jake, then Michael swimming frantically for the
	boat.

				   ELLEN
			   (screaming)
		   Michael!  No, goddamnit!  No!

	Then she sees the shark heading for the plane and Hoagie
	and she stares at it and the image of Hoagie, who backs up to
	the door behind him.

				   ELLEN
			   (continuing;
			   barely
			   audible)
		   Hoagie...No....

150	THE PLANE - DAY							
	150

	The shark attacks the plane, going straight for the cockpit,
	rising up out of the water, blocking Hoagie from view,
	taking a mouthful of door, then rolling off and disappearing
	beneath the surface.  Hoagie is gone.

	Michael and Jake scramble aboard.  They move quickly to
	Ellen and Michael puts his arm around her, trying to offer
	comfort.  She's in shock.  They stare at the plane as it
	starts to sink, scanning the water, looking for Hoagie.

				   MICHAEL
			   (quietly)
		   It got him....

				   ELLEN
			   (angry;
			   passionately)
		   Why'd you come out here?

				   MICHAEL
		   Why'd you take the boat?

		   ELLEN			   MICHAEL
	Why'd you bring them...?	    (his voice
					    rising)
					Didn't you realize what
					you were doing...?
	It kept coming...There was	You shouldn't have done
	no other way to stop it....	it....

				   ELLEN
		   I had to.  It was all I could do....

	Suddenly her anger explodes.  Michael tries to hold her but
	she pulls away.

				   ELLEN
			   (continuing)
		   I tried to tell you...I tried....

				   HOAGIE (O.S.)
			   (yelling from
			   the other side)
		   Give me a hand here for Christ's
		   sake....

	They turn and see Hoagie struggling to climb aboard and
	move quickly to help him.

				   HOAGIE
			   (continuing;
			   grinning)
		   That thing has terrible breath....

	They pull him aboard and he smiles at Ellen, who is very
	happy indeed to see him.

				   HOAGIE
			   (continuing)
		   What say we get the hell out of
		   here, Ellen Brody. ...

				   JAKE
		   Get her started....

	Hoagie and Michael start for the engine.  Ellen watches
	them, then looks out over the water for the shark.  Jake
	turns on the heart monitor and EKG scope and a moment later
	the sound of the shark's heartbeat, which is faint, starts
	coming through the speaker, and the sight of its rhythmic
	beating is seen on the scope.

				   JAKE
		   It's working....

	Hoagie watches as Michael tries to get the engine started.
	It won't turn over.

				   HOAGIE
		   Not the engine, pal....

	Jake heads for the cabin.

				   JAKE
			   (as he goes)
		   Get it going, Hoagie.  Michael....

	Michael follows Jake below.  Hoagie jumps down into the
	engine pit and starts checking the fuel line.

	Ellen stares out to sea, waiting for what she knows will
	happen.

				   HOAGIE
		   Maybe the plane gave it indigestion....

				   JAKE (O.S.)
			   (from below;
			   yelling)
		   They spend half their lives looking
		   for food and the other half eating
		   it   They don't care what it is....

				   ELLEN
			   (softly)
		   It's not food it's after....

	The distant sounds of the shark's heart continue to be heard.

152	BELOW DECKS - DAY						
	152

	Jake takes the top off an underwater strobe light and
	begins rewiring rapidly, changing connections.  Michael
	watches.

				   JAKE
			   (in the
			   midst of it)
		   If it works, if we can get it inside
		   the bastard and set it off, it'll
		   shock the hell out of it.  We'll
		   need a slave switch to set it off.
		   Pull the dry cell out of the radio.

				   MICHAEL
		   Anybody ever tell you you're nuts....

	Michael starts pulling the battery.

				   JAKE
			   (grinning)
		   All the time....

				   MICHAEL
		   It'll work....

				   JAKE
		   Theory, partner...If it responds to
		   external electrical impulse, it
		   might respond to one coming from
		   inside it...Confuse it...Drive it
		   away....

				   MICHAEL
		   If we're real lucky, it'll eat
		   itself....

153	ABOVE DECKS - DAY						
	153

	Hoagie hands Ellen sparkplugs, which she dries with a rag.
	She continues to glance at the sea, her expression set with
	the inevitable.  The shark's faint heartbeats are heard.

154	BELOW DECKS - DAY						
	154

	Jake is taping a cover over the strobe base.  Michael is
	wiring another strobe light to the battery.

				   JAKE
		   Wait for the sucker to charge, then
		   hit the switch.  Just like taking a
		   picture.

				   MICHAEL
		   The big picture...If we can't get
		   him to swallow it, we'll shove it
		   up his....

				   JAKE
			   (laughing)
		   I forgot my rubber gloves.  Let's do
		   it.

	They head for the deck

155	ABOVE DECKS - DAY						
	155

	As Michael and Jake move topside, they see Hoagie and Ellen
	staring at the speaker and EKG scope.  The heartbeats have
	stopped.  The line on the scope is flat.

				   MICHAEL
		   Your equipment has crapped out
		   again....

				   JAKE
		   My equipment doesn't crap out....

	Jake grabs a pole from the deck and throws it to Michael,
	then starts tying the device to the end of it.  His hands
	are trembling.

				   HOAGIE
		   Maybe it had a heart attack.  Too
		   much fatty food.  Humans are full of
		   cholesterol.

	Hoagie gets the last sparkplug screwed back in and tries
	the engine and it kicks to life.

				   HOAGIE
			   (continuing)
		   Son-of-a-bitch!

	Jake starts for the bow.

				   JAKE
			   (to Michael)
		   Get a line....

	Michael grabs a coiled line from the deck and follows Jake
	forward.

				   HOAGIE
			   (to Ellen)
		   We're going to make it....

	She just stares at him, not believing it for a moment.

	Jake is standing at the bow, looking out over the water.
	Michael reaches him with the line.

				   MICHAEL
		   I'll do it, Jake.

				   JAKE
		   No way....

				   MICHAEL
		   It's my fault...I have to....

				   JAKE
		   We need it to eat electronics, man
		   ...Not you.  Get it on me....

				   MICHAEL
			   (a plea)
		   Jake.

				   JAKE
			   (grinning)
		   I'm the one who wanted to study
		   it....

	Michael relents and quickly ties the line around Jake's
	waist.  Jake makes his way out to the end of the bowsprit,
	using the guy wire from the mast for support.  Michael
	passes him the pole with the device at the end of it.

	Ellen and Hoagie watch from the stern.  He's underway.

				   JAKE
			   (continuing;
			   yelling back)
		   Keep it steady....

				   HOAGIE
		   Aye, aye, Captain....

	The shark explodes up completely out of the water, clearing
	the surface, opening its jaws as it comes directly for
	Michael, who leaps back.

				   ELLEN
		   Michael!

	Jake moves back on the bowsprit, getting in the shark's
	way, and as the shark flies up toward Jake, he rams the
	pole down its throat.  The pole snaps and the shark takes
	the device, Jake and a piece of the bowsprit.

	Ellen screams.

	The guy wire flies loose and the already weakened mast
	begins to fall.

	Michael pulls at the line, which goes limp in his hands.

	Jake, in the shark's mouth, goes crashing into the water.

	The mast crashes into the boat and water.

	Ellen and Hoagie are running forward.

	Michael watches as Jake and the shark disappear beneath the
	surface.

	In the distance, the three of them see the shark rise up
	out of the water.  Part of Jake is seen in its jaws.  Then
	they're gone.

	The heartbeats are heard again.

	Michael opens his mouth and a great wail of anguish comes
	out and carries out over the water.

	Hoagie dashes back toward the controls.  Ellen, taking
	strength from her son's need, grabs his arm, hard.

				   ELLEN
		   Michael!

	There are tears in his eyes.

				   HOAGIE
			   (yelling)
		   Get that goddamn gizmo of Jake's
		   working....

	Michael stares at the sea.  Ellen looks at her son
	compassionately, then Michael starts for the cabin and
	Ellen follows to the deck near Hoagie, where she watches
	the water.

	The shark's heartbeats are getting louder and closer
	together.  Hoagie eyes the speaker as he opens the throttle,
	giving it everything its got.

156	BELOW DECKS - DAY						
	156

	Michael grabs the slave switch and turns it on and it
	begins to whine as the strobe unit in the shark's stomach
	begins to charge.

				   HOAGIE (O.S.)
			   (yelling)
		   It's coming....

	He hits the switch too soon.   Nothing happens.  He can hear
	the heartbeats thumping a frenzy as the shark begins its
	attack.

				   MICHAEL
			   (yelling)
		   What happened?

				   HOAGIE (0.S.)
		   Nothing!  What the hell are you doing
		   down there?

	The whine begins to build again.

157	ABOVE DECKS - DAY						
	157

	The heartbeats sound like an invitation to hell.  Hoagie
	grabs Ellen's arm.

				   HOAGIE
		   Take the wheel....

	He leaves it before she does and runs to the cabin.  She
	takes his place, glancing at the water, seeing the fin.
	Her expression floods with rage and she turns the wheel
	toward the shark, trying to meet it head on.

158	BELOW DECKS - DAY						
	158

	Hoagie sticks his head in the door.

				   HOAGIE
		   The damn thing is going to have our
		   asses....

				   MICHAEL
		   It needs more time to charge.

	They start topside.  Michael brings the slave switch with
	him.

159	ABOVE DECKS/THE WATER - DAY					
	159

	Ellen is bringing the boat directly toward the shark, which
	is coming straight for them.  The heartbeats are deafening.

	As Hoagie and Michael move topside, the boat and the shark
	collide head on, sending shock waves from stem to stern.
	Ellen holds onto the wheel with both hands and keeps her
	feet.  Michael and Hoagie are knocked on their asses.

	The heartbeats retreat, then start growing louder and
	stronger again.  The whine of the strobe has stopped.
	Michael hits the switch several times and it starts again.

	Ellen sees the fin and steers toward it.  The shark is
	coming again, like an old boxer looking for the knockout
	punch in the fifteenth round.

	The boat and the shark are heading for each other, the
	distance between them closing fast.

	Ellen drives the boat toward it.

	The slave switch makes a popping sound, and Michael hits the
	switch and the flash in his hand goes off.

	The water explodes as the shark receives an enormous jolt
	of electricity.  It thrashes about wildly then, in slow
	motion, some twenty-five feet from the boat, right in front
	of it, the shark rises up out of the water, exposing half
	its body.  It seems suspended there, its great head pointed
	right at Ellen, its dead black eyes seeming to stare
	straight at her.

	Holding fast to the wheel, her expression set hard, Ellen
	drives the boat straight at the shark.  She pushes the
	throttle forward, hard, getting the last bit of speed from
	the engine, driving straight into the beast, impaling it in
	the throat with what's left of the sharp jagged end of the
	bowsprit.

	The shark goes crazy, its weight pulling the bow down into
	the water as it tries to free itself, thrashing about so
	violently that it turns the bow into splinters.

	Ellen, Michael and Hoagie are thrown into the water.

160	THE WATER - DAY							
	160

	They watch as the shark dies its violent death, taking what
	remains of the boat beneath the surface with it.

161	BENEATH THE SURFACE - DAY					      
161

	The shark and the boat sink slowly to the bottom.

162	THE SURFACE - DAY						
	162

	Ellen, exhausted, emptied of everything, begins to sob.
	Everything she feels, everything she's suppressed about
	Sean's death pours out of her.  She begins to slip beneath
	the surface.  Hoagie grabs her.

				   ELLEN
		   I can't....

				   HOAGIE
		   Yes you can....

	Michael reaches them and together, helping Ellen, they swim
	to a large piece of the boat which is floating nearby.

	Holding it, catching their breath, Ellen still crying, they
	look out across the water, silently remembering Jake.

				   MICHAEL
			   (quietly)
		   It's over....

	Ellen stares at the sea, her expression etched with
	uncertainty.  Is it over?  Will it ever be?

	Our vision shifts from Ellen to her point of view of the
	endless expanse of ocean.  In the distance the clouds seem
	to be reaching for its surface.  Slowly, almost
	indiscernibly at first, the closing music begins.  Another
	sound, that of airplane engines is heard.

163	OMITTED								
	163

164	THE AIRPORT - DAY						
	164

	The noise of the air taxi's engines, as they're warmed up,
	is loud.  The music, which builds slowly, relentlessly,
	continues.  Closing credits begin, like punctuation marks.
	Hoagie is in the cockpit.

	Ellen, who's dressed for travel, Michael, who carries Thea,
	and Carla approach the plane.

				   ELLEN
			   (yelling
			   to be heard
			   above the
			   noise)
		   I want you all to come to Amity this
		   summer.

				   MICHAEL
		   There's a lot...I want to talk about
		   it....

	He's having trouble.

				   ELLEN
		   We will...We'll have a lot of time
		   together.
			   (pauses)
		   What are you going to do now?

				   CARLA
			   (yelling)
		   We'll be there....

				   ELLEN
			   (to Thea)
		   You make sure they come?

				   THEA
			   (yelling;
			   liking the
			   excitement)
		   I will.  I'll miss you, Grandma.

				   ELLEN
			   (laughing)
		   I'll miss you....

	They've reached the plane and Hoagie and Ellen make eye
	contact.

				   MICHAEL
			   (eyeing
			   his mother
			   and Hoagie)
		   Promise me you'll be all right....

				   ELLEN
			   (turning
			   to him;
			   yelling)
		   Promise me....

				   MICHAEL
			   (yelling)
		   I'll wear my rubbers...I'll be careful
		   ...I'll be....

				   HOAGIE
			   (yelling;
			   grinning)
		   Mothers and sons...Mine used to tell
		   me to wear clean shorts.... 

				   ELLEN/HOAGIE 
			   (both yelling;
			   both enjoying
			   the moment)
		   In case you got hit by a car....

	They laugh above the noise.  Michael and Hoagie eye each
	other.

				   MICHAEL
			   (yelling
			   at Hoagie)
		   You know, you try harder not to give
		   a damn than anyone I've ever met?

	Hoagie, straining to hear, grins.

				   HOAGIE
			   (yelling)
		   What?

	Michael moves closer, Thea still in his arms.

				   THEA
			   (before
			   Michael
			   can repeat
			   himself;
			   yelling).
		   Can I fly the plane again...?

	The music dips now, as Hoagie takes a long 1ook at Thea,
	his smile building warmly.

				   HOAGIE
		   Absolutely...Any time....

	He beckons her with his finger and Michael holds her closer.

				   HOAGIE
			   (continuing)
		   Can you keep a secret?  Something no
		   one else knows?

				   THEA
			   (still
			   yelling at
			   the top of
			   her lungs)
		   Yes I can....

				   HOAGIE
			   (yelling
			   back)
		   I own the airplane.  I can do
		   whatever I want.  I'm the boss.

	Michael, Ellen and Carla react.

				   HOAGIE
			   (continuing)
		   Which means I have to go a lot of
		   places to pay my debts and borrow
		   money to keep it going....

	He looks at Michael with mischief in his eye.  The music
	begins to build again, toward its climax.  Credits continue.

				   HOAGIE
			   (continuing;
			   yelling louder)
		   Remind me when I get back to tell
		   you about the time I flew a hundred
		   nuns to Nairobi....

	Michael and others laugh, but it's lost in the sound of the
	engines and the music.  The family moves to the plane's
	door.  Ellen kisses Carla and Thea good-bye, then turns to
	Michael.

				   ELLEN
			   (above the
			   noise)
		   We never had that talk, did we?

	He looks at her, troubled, and she smiles at him.

				   ELLEN
			   (continuing)
		   We will...We'll have a lot of time
		   together, Michael....

				   MICHAEL
			   (shouting)
		   I'm going to finish what Jake and I
		   started.  I owe him that.  Hell, I
		   owe him everything....
			   (shouting;
			   hardly heard)
		   I'll get something important done
		   for both of us....

	Ellen and Michael embrace, then kiss each other good-bye.

				   HOAGIE
			   (yelling)
		   There they were, all hundred of
		   them....

	His last words are drowned out by engines and music and he
	shrugs as he and Ellen smile at each other.  She takes a
	last look at her family, then boards the plane and the door
	closes behind her.

165	THE AIRPORT/THE PLANE - DAY					
	165

	As music and credits continue, the plane takes off and
	starts out over the ocean, heading for Nassau.

	Michael, holding Thea, and Carla, her arm through his,
	watch as the plane becomes smaller and smaller, until it is
	lost in the vastness of the sky and the sky is transformed
	into ocean and music and credits end.

							FADE OUT

					THE END