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