STILLNESS IN THE WATER
AKA:
JAWS
BY
CARL GOTTLIEB
AND
PETER BENCHLEY
FROM THE NOVEL
BY
PETER BENCHLEY
JAWS
1 OVER BLACK 1
Sounds of the innerspaces rushing forward.
Then a splinter of blue light in the center of the picture.
It breaks wide, showing the top and bottom a silhouetted cur-
tain of razor sharp teeth suggesting that we are inside of a
tremendous gullet, looking out at the onrushing undersea
world at night. HEAR a symphony of underwater sounds: land-
slide, metabolic sounds, the rare and secret noises that cer-
tain undersea species share with each other. Also, the hint
of familiar music, twisted and distorted by the depths.
CUT TO
2 2
and OMITTED and
3 3
4 EXT. BEACH – NIGHT – SHARK’S POINT OF VIEW – RISING OUT OF 4
THE WATER, LOOKING AT
It is a pleasant, moonlit, windless night in mid-June. We see
a long straight stretch of white beach. Behind the low dunes
are the dark shapes of large expensive houses. Hear a number
of voices singing. It sounds like an eastern university's
alma mater, no longer distorted.
5 EXT. BEACH – NIGHT – ANOTHER ANGLE 5
Around a blazing bonfire, a group of young men and women, beer
cans (or maybe a keg) in evidence, as well as the bota Spanish
leather wine-bag much in favor by beach and ski-bum types.
The group is swapping sentimental alma maters, weepily singing
eastern Ivy League anthems – Dartmouth, Cornell, Harvard,
Penn, etc. Two young people break away from the others. They
are Tom Cassidy and Chrissie. Behind them, there is consider-
able necking activity; Tom and Chrissie are more serious.
6 TOM 6
Makes a clumsy attempt at snaring Chrissie, cups her from
behind. She squirms playfully out of his grasp. We dis-
cover he’s not especially sober.
TOM
Hey! Hey hey! I’m with you,
right?
7 EXT. ANOTHER PART OF THE BEACH – NIGHT 7
Tom and Chrissie are separated from the others, silhouetted
against the fire, she pauses and looks at the ocean, he is
plodding along in the sand, winded.
Chrissie runs down the slope of the dune towards the water,
leaving Tom reeling atop the dune. As she runs, she is
shedding her clothes. Tom is trying to trail her by her
clothes, like Hansel following bread crumbs through the
woods.
But Chrissie is way ahead of him.
CHRISSIE
C'mon!
She runs headlong into the inviting sea, plunges cleanly into
the water with a light "Whoops!" as the cold water sweeps over
her.
Behind all this, we continue to hear the sentimental, beery
chorus of alma maters.
Then we see it -- a gentle bulge in the water, a ripple that
passes her a dozen feet away. A pressure wave lifts her up,
then eases her down again, like a smooth, sudden swell.
CHRISSIE
Tommy? Don't dunk me....
She looks around for him, finds him still on the beach, his
feet tangled in his pants, which have dropped around his
ankles. She starts to swim back in to him.
8 EXT CHRISSIE IN THE WATER 8
Her expression freezes. The water-bulge is racing towards
her. The first bump jolts her upright, out of the water to
her hips. She reaches under water to touch her leg. Whatever
she feels makes her open her mouth to scream, but she is
slammed again, hard, whipped into an arc of about eight feet,
up and down, submerging her down to her open mouth, choking
off any scream she might try to make. Another jolt to her
body, driving her under so that only her hair swirls on the
surface. Then it too is sucked below in a final and terrible
jerking motion. HOLD on the eddies and swirls until we're
sure it's all over.
9 EXT. CLOSE ON TOM ON BEACH 9
In his shorts, laughing to himself, turning in slow stoned
circles, held prisoner by his windbreaker which seems to have
him in an armlock, as he struggles to free his arm from a
tight sleeve. As he turns, we hear the alma maters in the
background, from the fire.
10 INT. BRODY HOUSE - BEDROOM - EARLY MORNING 10
A shaft of morning sun blasts through the crack between the
bottom of the shade and the windowsill, falling across the
heads of the sleeping couple on the bed. It catches Martin
Brody right across the eyes, bringing him up from sleep. The
job is completed by the clock radio, which clicks on with
local fisherman's report and weather.
RADIO ANNCR (v.o.)
Hayes Landing reports conditions
good, with stripers and jacks.
The Coast Guard has no storm warn-
ing from Block Island to Cape
Hatteras; a light chop with
freshening winds, continued clear
and mild....(etc.)
Ellen Brody burrows her head under the covers, avoiding morn-
ing for a few precious minutes more.
BRODY
How come the sun didn't used to
shine in here?
ELLEN
'cause when we bought the house it
was Autumn. This is summer. Feed
the dogs.
We hear the scampering toenails of two cocker spaniels scrab-
bling around the foot of the bed. Brody swings out of bed,
wearing shorts, socks, and tee shirt.
BRODY
Right.
ELLEN
Do you see the kids?
BRODY
Probably out in the back yard.
ELLEN
In Amity, you say 'Yahd.'
(she gives it
the Boston sound)
BRODY
The kids are in the yahd, playing
near the cah. How's that sound?
ELLEN
Like you're from N'Yawk.
(gives it
Brooklyn sound)
BRODY
Give me 30 years, I'll get it.
He leads the dogs out of the bedroom and down to the kitchen.
11 INT. BRODY KITCHEN - MORNING 11
Brody enters, sets down some dog food, goes to make coffee,
starts to fill kettle to boil water, the cold water rushes
through and out the burnt-out bottom of the kettle.
BRODY
Did you burn another kettle?
Y'know you're a fire hazard?
This is the third one!
ELLEN (o.s.)
I never hear the whistle.
BRODY
Feed the dogs.
Ellen Brody, a tall, attractive blonde woman, enters from up-
stairs. She's still slightly sleepy, not what you'd call an
"Instant-On" person. Mornings are not her best time.
ELLEN
You want to go through those?
(she indicates
bag of clothes)
I'm taking them to the Thrift
Shop. It's Marcia Vaughn's pet
charity. Pick out what you want
to keep -- it's mostly your city
clothes.
BRODY
(looking through
bag, remembering)
I used to wear this to the Garden.
Garbage strikes. Dog shit. Mug-
gers.
(he puts it all
behind.)
Ship it.
ELLEN
Don’t be silly – You’re going to
make summer better for them....
Before Brody can answer, Michael, his oldest boy, enters,
holding his hand. There is bright new blood on it, but he
is sensibly unconcerned. It’s a normal childhood scrape.
MICHAEL
Cut my hand. Hit by a vampire.
BRODY
On the swing? I told you not to
play near there until I sanded
it down.
(to Ellen)
See what your son did?
ELLEN
Go upstairs and bring Mommy a
band-aid.
Michael goes on out and upstairs. Ellen fumbles in her pocket
and produces Brody’s new glasses, which she holds out to him.
ELLEN
Don’t forget these.
BRODY
Oh, yeah.
(he puts them on)
How do I look? Older, huh?
ELLEN
I think they make you look sexy.
Brody reacts to this, and bends to kiss her lightly. Then
more seriously.
BRODY
Sexy, hm? What was I before?
ELLEN
Older, sillier.
BRODY
(as he goes to make
coffee, he fumbles
with the new glasses)
I don’t want to depend on these
things, y’know – sometimes you
can weaken your eyes.
He looks out the window to the view beyond, discovering some
new wonder in the fresh sunlit morning.
12 BRODY’S POINT OF VIEW – OUTSIDE THE HOUSE 12
Sean, the younger child, is happily romping in the summer
air, enjoying the very air he breathes.
BRODY
Let’s see....
The phone rings.
13 INT. BRODY KITCHEN – DAY 13
Brody answers one of two phones on the wall.
BRODY
Brody...yeah, what’s up...mmm...
Well, what do they usually do,
float or wash up? Really?...okay,
I’ll meet both of you at the
beach in
(checks watch)
...20 minutes, okay? Okay.
(hangs up)
First goddam weekend of the summer.
Michael reenters in bathing trunks, with a towel on his
shoulder, his hand washed, holding a band-aid ready for
application. Ellen takes it, and bandages the finger with
care and affection.
ELLEN
There.
(to Brody)
What was that?
Michael heads toward the beach.
BRODY
(struggling to get
his shirt on over
his glasses)
The office.
He gets his shirt on with Ellen’s help. She flicks imaginary
dust from the badge on his chest.
ELLEN
Be careful.
BRODY
Here? You gotta be kiddin’.
He gives her a light kiss, starts to go, with his cup.
BRODY
Love ya.
ELLEN
(kissing him back)
Hey Chief. Bring my cup back.
At the door, he takes a windbreaker off a peg and goes on out.
We can see the Amity Police shoulder patch as he goes to a
van parked outside.
14 OMITTED 14
15 EXT. ISLAND HIGHWAY - MORNING 15
Martin Brody's Country Squire police wagon rushes past, taking
the view to an enormous billboard depicting a typical summer
day in Amity. A beautiful model splashes in the gold surf,
languishing in a Solarcaine sun. AMITY WELCOMES YOU is
written above her flailing arms.
16 EXT. AMITY BEACH - DAY 16
Three small figures in the landscape, walking the beach. The
surf is rough and there is sea-floor debris strewn about from
the receding tide.
17 CLOSER ANGLE 17
Deputy Hendricks is searching the shore about one hundred
yards down wind. Meanwhile, Brody, in his casual police attire,
and Tom Cassidy, still in the clothing we saw him in last
night, walk down the beach. Brody fingers the missing girl's
shoes, purse and clothes. In the daylight, Cassidy misconducts
himself, wavering between inflated maturity and tear-blown
adolescence.
BRODY
Christine what?
CASSIDY
Worthingsly...Worthington -- no one
ever died on me before.
BRODY
You picked her up on the ferry.
CASSIDY
I didn't know her.
BRODY
And nobody else saw her in the
water?
CASSIDY
Somebody could've -- I was sort
of passed out.
BRODY
Think she might’ve run out on you?
on you.
CASSIDY
Oh, no, sir. I've never had a
woman do that. I'm sure she
drowned.
BRODY
You from around here?
CASSIDY
No. Cambridge. Harvard. My
family’s in Tuxedo, New York,
though.
BRODY
You here for the summer?
CASSIDY
Some friends and me took a house.
BRODY
(genuinely curious)
What d’you pay for a place just for
the summer?
CASSIDY
A thousand apiece, something like
that. There’s five of us. And
we each kick in a hundred a week
for beer and cleaning, stuff like
that.
BRODY
Pretty stiff.
A shrill whistle makes them turn. Hendricks is fifty yards
away, on his knees. He blows again, a feeble report this
time.
BRODY
Maybe that’s your girl.
Brody runs toward Hendricks, Cassidy hesitates, then follows
with:
CASSIDY
(pathetically)
You can't make me look -- !
18 MASTER ANGLE - THE SAND DUNE 18
A skein of seaweed garnishes the base of this isolated dune.
The booming waves and fizzing surf make dialogue inaudible.
Deputy Hendricks on hands and knees, looking white as a
sheet. Brody tells Cassidy to wait at the foot of the dune,
and ventures up. Hendricks stops him with a wave-off, saying
something at the same time. Brody nods understanding and
steps up cautiously and looks down. He adjusts his glasses,
trying to make sense of what he is looking at.
Whatever he sees has a marked effect on his entire physique.
Kicking out with his foot, Brody sends dozens of angry horse-
shoe crabs into an escape frenzy and they boil over the top
of the dune and down its slopes.
Cassidy takes a few uneasy steps backwards when Brody waves
him over. He shakes his head. An awkward moment. Then
Cassidy shuffles forward and up the few remaining feet, his
eyes looking everywhere but down. Brody says something else
and Cassidy shakes his head again, eyes out at sea. Brody
puts his hand gently around the quaking man's shoulder.
Nodding, he starts to look down, an inch at a time. He looks.
He, too, can’t make out what it is at first. Then he under-
stands.
The jolt that assaults Cassidy is not unexpected. He falls
backward in a sitting position as though shot. Nods yes --
it's her. Brody turns and slides off the dune, stumbling
close. Hear his breathing. He looks around, envisioning
the week ahead of him....
18-A QUICK SHARP CUT 18-A
Chrissie’s remains, incomplete from the chest down, horribly
bitten. (NOTE: See Hooper’s dialog in Sc. 91 for complete
description of corpse.)
19 INT. BRODY'S OFFICE - DAY 19
Brody walks through the door and enters his office, holding
a fizzing glass of Alka-Seltzer. Polly, his sixty-one year
old secretary follows close on his heels with her shorthand
pad of messages and reminders.
In the outer office, Hendricks and Cassidy slump into chairs,
sipping from fizzing dixie cups.
Brody dips into file drawers for the appropriate forms. He
gently turns on Polly, who is behind him.
BRODY
If this is going to work, you’ve
got to keep current stuff out
here, and put ‘closed’ files in
there. The ‘Pendings’ stay on my
desk, okay?
Brody slips behind his typewriter, putting paper in the machine
with the effortless ease of years of practice. He’s obviously
no stranger to paperwork. He touch types, hardly ever looking
down, checking his notes and listening with one ear to Polly.
He is affected by what he’s seen, but there’s work to be done.
POLLY
This is in no order of importance,
Chief: There's a meeting on the
Amity Town Council on Aging this
Monday night, Bentoncourt Hall.
The Fire Inspector wants you to
go over the fireworks site with
him before he catches the one
o’clock ferry. Mainly, you have
a batch of calls about that new
Karate school.
20 CLOSE - ACCIDENT REPORT 20
Brody has just typed the girl's name. He skips the space for
Cause-of-Death, and just under it types the Next-of-Kin in-
formation he has collected from her wallet.
POLLY
Searle's Rent-a-Bike, the Rainy
Ale, Tisberry's Hardware...they
say it's those nine-year-olds from
the school practicing karate on
all those nice picket fences.
The phone rings and Polly picks it up.
POLLY
It's the Coroner. Somebody pass
away in the night?
Brody nestles the phone between ear and collar, listening,
as he turns to the typewriter.
BRODY
Jesus, Santos.
21 INSERT - ACCIDENT REPORT 21
Cause-of-Death line rolls into place. The hammers punch out:
SHARK ATTACK.
22 BRODY 22
leans forward, staring at what he just wrote. Polly cocks
her head and removes the phone from his ear.
POLLY
What's the matter?
Brody takes a breath. A new resolve comes over him.
BRODY
Polly, I want to know what water
recreation is on for today.
POLLY
Right this minute?
Brody gets up and moves hastily toward the door.
23 BRODY'S OUTER OFFICE 23
Cassidy and Hendricks look up as Brody enters.
BRODY
(To Hendricks)
Where'd you hide the 'Beach Closed'
signs?
HENDRICKS
We never had any. What's the problem?
A local merchant comes through the door.
LOCAL MERCHANT
Glad I caught you. There's a city
truck with New Hampshire plates
parked right in front of my....
Brody pushes past him and out the door.
24 EXT. AMITY MAIN STREET – DAY 24
In the busy center of a town preparing for the big Fourth of
July weekend, Brody wends his way around sidewalk activity,
purpose and haste in each stride. As he turns a corner a
little man in a white smock emerges from the Funeral Parlor.
This is Carl Santos, Amity's part-time coroner. Santos
looks both ways before crossing Colonial Drive.
Brody passes Keisel's Bicycle Rental, navigating an awkward
course through an odd assortment of Schwinns that line the
sidewalk in front of a demolished white picket fence. Keisel
intercepts Brody on the run.
KEISEL
(he stares at
Brody’s face)
Wait-a-minute.
(stares some more)
Glasses, right?
Brody nods yes, and starts to move away, but Keisel holds on to
him.
KEISEL
Look at those fences! Little guys
about eight to ten years old. And
look at this!
He holds up bicycle. The bicycle’s spokes are bent and broken
from some sort of blows.
KEISEL
They did that with their bare hands.
BRODY
Call me later in the day, okay, Harry?
25 ANGLE - AMITY GAZETTE NEWSPAPER OFFICE - PORCH 25
Santos emerges with Ben Meadows, the stylish, late-thirties
editor of the Amity Gazette. Together they cut a beeline for
the other side of the street.
25-A ANGLE - AMITY STREET 25-A
Past taverns and chowder shacks, past bleacher construction and
July Fourth posters, Brody enters Hardware and Sporting Goods
...so overstocked that beach umbrellas, aluminum deck chairs,
and rainbow beach towels splash a surplus of color from the
display window to the sidewalk.
26 INT. HARDWARE STORE – DAY 26
The store proprietor is busy at work on an inventory list with
a mainland delivery man.
LYNWOOD
Stuff's no good to me in August when
the Pilgrims come in June...
(to Brody)
Go on and help yourself to whatever
you need, Chief. Can you work the
register?
27 EXT. HARDWARE STORE AND STREET - DAY 27
Brody emerges with enough poster-board, wooden stakes, nails,
paint, and brushes to close every beach on the island. He
starts back the way he came when Hendricks shoots up the
street in the patrol jeep. He stops fast enough to call
attention, leans out the window.
HENDRICKS
Polly told me to tell you there's
a scout troop in Avril Bay doing
the mile swim for their Merit
Badges. I couldn't call them in,
there's no phone out there.
BRODY
(hands him the
sign material)
Get out of there – take these back
to the office and make up some
‘Beach Closed’ signs, and let Polly
do the printing.
HENDRICKS
What’s the matter with my printing?
28 EXT. VAUGHN'S REALTY – DAY 28
Revealing Larry Vaughn, the Mayor of Amity, exchanging anxieties
with Ben Meadows and Coroner Santos and two other city Select-
men. They come out in a group, reach the sunlight, and squint
down the street as Brody careens around the corner and out of
sight. Deputy Hendricks, laden with his arts and crafts,
passes them on the street front.
VAUGHN
What have you got there, Lenny?
HENDRICKS
We had a shark attack at South Chop
this morning, Mayor. Fatal. Gotta
batten down the beach.
Vaughn and group exchange horrified looks, but we get the
impression it is not in response to the shark-attack news.
VAUGHN
Who've you told this to, Lenny?
HENDRICKS
I just found out about it -- but
there's a bunch of Boy Scouts in
the water a coupla miles down the
coast from where we found the girl.
Avril Bay, thereabouts. Chief went
to dry them off.
VAUGHN
(to Meadows)
Take my car, okay?
(to Hendricks)
You come with us, Lenny.
HENDRICKS
I've got all these signs here....
VAUGHN
C'mon, it'll give us time to think
about what they're going to say.
They all crowd into a Cadillac El Dorado with Vaughn Realty
signs on the doors.
29 EXT. AVRIL BAY - DAY 29
A flotilla of twenty exhausted Boy Scouts round a buoy that
marks the official course. A rowboat with Scoutmaster using
a bullhorn keeps pace, and urges the boys on.
SCOUTMASTER
(bullhorn effect)
Let’s go, Robbie. You too, Hofner.
Boyle, keep your head up. Alberts,
keep kicking...
(etc., ad lib)
30 EXT. ON THE BEACH AT AVRIL BAY - DAY 30
Two older Seascouts look on with stop watches and clipboards,
while some Parents shade their eyes from the sun, watching
their offspring. Brody pulls up in the Amity Police jeep,
and starts toward the people. Behind him, Vaughn's Cadillac
pulls up and skids to a stop. In it are Vaughn, Meadows, the
Doctor, maybe a Selectman, and Hendricks, with his arms still
full of sign material. Vaughn intercepts Brody, the others
circle around him, effectively slowing his progress through the
sand to the scouts.
VAUGHN
Martin!
(he catches up with
him)
Are you going to shut down the beach
on your own authority?
BRODY
Do I need any more authority?
MEADOWS
Technically, you need the instruction
of a civic ordinance, or a special
meeting of the town selectmen....
VAUGHN
(the good guy)
That's just going by the book.
We're just a little anxious that
you're rushing into something
serious here. This is your first
summer.
BRODY
Now tell me something I don't know.
VAUGHN
All I'm saying is that Amity is a
summer town -- we need summer
dollars, and if they can't swim
here, they'll use the beaches at
Cape Cod, or Long Island.
BRODY
So we should set out a smorgasbord?
MEADOWS
We're not even sure what it was.
BRODY
What else could've done that?
VAUGHN
(to Doctor)
Boat propeller?
DOCTOR
I think, possibly...sure. A
boating accident.
VAUGHN
Some weekend tramp accidentally
goes swimming too far, she's a
little drunk, a fishing boat comes
along ---
MEADOWS
Remember when Fred Ganz went
scalloping in his BVD's? He was
going to swim to New Bedford, he
said.
The men all laugh, ad lib their remembrances of this
foolishness.
MEADOWS
...and Bill Mayhew almost caught him
in his net....?
BRODY
(interrupting
the merriment)
Doctor, you're the one who told me
what it was!
DOCTOR
I was wrong. We'll have to amend
the report.
MEADOWS
We never had that kind of trouble
here.
VAUGHN
I don't think you can appreciate the
gut reaction people have to these
things.
BRODY
I was only reacting to what I was
told.
Brody looks out to the water where the scouts are rounding
another buoy on the home stretch.
VAUGHN
(taking Brody aside)
It's all psychological, anyway. You
yell 'Barracuda' and everyone says
'huh'. You yell 'Shark' and we've
got a panic on our hands. I think
we all agree we don't need a panic
this close to the 4th of July.
Vaughn indicates the beach where the Scouts are flopping out
onto the sand, exhausted, glad to be finished.
BRODY
I can't work in a vacuum. Why
don't you make Hendricks Chief?
His family's been here since the
Puritans -- half this island are
his cousins.
VAUGHN
Martin, we hired the best man we
could find.
All ad lib agreement.
VAUGHN
We need someone who isn't prejudiced
by old feuds or family ties, some-
one who can referee things.
MEADOWS
You have our complete support.
VAUGHN
Now then. We've got a vandalism
problem we ought to talk about....
The others surround Brody as Vaughn leads the way back to the
cars, ad libbing their problem with the little karate choppers.
Hendricks puts the signs back into the trunk of Vaughn's
Cadillac. Vaughn waves casually to the Scouts and swimmers
who are vigorously towelling off in the background.
31 EXT. AMITY STREET - DAY 31
In front of Amity's only Music Store, a battered old pick-up
truck pulls in to the curb. Quint and his mate cross silently
heading into the music store.
32 INT. AMITY MUSIC STORE - DAY 32
A gently tinkling bell tolls Quint's entrance. Inside the
store, a ten-year-old boy is being shown a clarinet. He is
playing a mellow low tone, and running "Ode to Joy." Quint
looms past him like Neptune rising from the deep, and lets
his hand drop on the counter with a slap that sounds like a
club on flesh. The Shopkeeper abandons the little boy and
meets Quint.
SHOPKEEPER
Hello, Mr. Quint.
QUINT
Four spools of Number 12 piano wire,
Okay? I ordered them.
SHOPKEEPER
(finding them under
the counter)
Yessir, right here. What do those
fish do, eat this stuff?
QUINT
They choke on it.
Without waiting for it to be wrapped, he picks up the gleaming
wire in his gnarled fist, and drops a bill on the counter.
SHOPKEEPER
Bye now.
No answer from Quint, who stops and sings along with the boy.
The little kid's music degenerates into a series of awkward
squeaks and blurps, as Quint stares at him. Quint continues
out the door, threading his way through the people in the
street like some great fish. As he gets up into the cab of his
pick-up, its door swings open so we can see a crude stylized
shark decorating its side. It slams behind him as Quint gets
in and drives away.
33 EXT. AMITY BEACH - DAY 33
A plump jelly-bowl of a woman plunges into the ocean. There's
enough there to satisfy the most gluttonous shark. Buoyant,
joyful, she splashes away in abandon. From her, we pan off to
reveal other cheerful bathers enjoying that last uncluttered
weekend before the season starts in earnest.
34 ANGLE ON THE WATERLINE 34
A Man and his dog are romping at the water's edge. The Man is
throwing a stick out into the surf, the dog, a happy retriever,
is bounding into the waves after it.
35 TWO YOUNG PEOPLE ON THE BEACH 35
A Girl and her Boyfriend leave their blanket and run for the
water, playing tag, chasing each other, having a wonderful time.
36 ANGLE ON BIRTHDAY PARTY ON THE SAND - MARTIN AND ELLEN BRODY 36
He is sitting stiffly in a beach chair, scanning the beach with
careful, cautious looks, eyeballing everything that's going on.
Around their particular blanket and umbrella are a number of
adults and their kids, the youngsters gathered to celebrate
Michael's birthday. Ellen is dishing out ice cream and cake
from a cooler chest to the raucous 10-year-olds. Michael's
hand is still bandaged.
MAX TAFT
(an adult)
Looks like another big season. Gets
worse every year.
MRS. TAFT
And none of them from the Island.
Just a lot of bother.
Brody (and we) hear a shrill scream from the water. He stretches
to look past the group, to see what's happening out there.
37 BRODY'S POINT OF VIEW - THE WATER 37
The young lady is disappearing under the water, pulled under
the waves by some force. She is shrieking. She pops right up
again riding the shoulders of her boyfriend, who pulled her
under. She's laughing hysterically. Brody is unamused.
38 THE ADULTS 38
BRODY
(to Taft)
What?
TAFT
Present company excepted, but off-
islanders are a pain in the butt.
Pardon my French.
Ellen captures Sean, and holds him playfully, an example.
ELLEN
What about this kid? What if he
were born here. That make him an
islander?
TAFT
Just 'cause a cat has kittens in an
oven, it don't make them muffins.
SEAN
I'm not a muffin! I'm a boy!
Brody rumples his hair and sets him off to play.
39 ANGLE ON ANOTHER SMALL BOY, PLAYING ALONE 39
It's Alex Kintner, and his mother, nearby, reading a novel.
Alex is towing a funny rubber raft, and headed for the water.
MRS. KINTNER
Alex! Alex Kintner! Where do you
think you're going?
ALEX
Water. Just once more, please?
MRS. KINTNER
Let me see your fingers ---
He holds out his hands.
MRS. KINTNER
They're beginning to prune. 10
minutes more.
Alex starts for the ocean. Behind him, Michael and his gang are
also heading for the inviting waves. Brody is watching them go,
his spine rigid with tension.
40 MAN AND HIS DOG 40
As Alex and the boys hit the water, we see the man throwing
his stick into the waves, his dog swimming strongly after it.
41 BRODY'S POINT OF VIEW 41
Out beyond the kids and the dog, the Fat Lady is bobbing around,
out way too far, isolated from the other swimmers.
42 UNDERWATER VIEW - EXT. - DAY 42
A fish's-eye view of the bathers: lots of little kicking legs,
rafts with tasty arms dangling in the blue, slowing circling,
favoring one raft (little Alex's). The Kintner boy's legs and
arms are kicking and paddling, producing bizarre underwater
vibrations of more than passing interest. Dog goes by, dog-
paddling along.
43 ON THE BEACH 43
Brody is half-rising, looking out over the water. The Fat Lady
is not where he remembered her. He scans the water anxiously.
ELLEN
Do you want the boys to come in?
Honey, if you're worried....
A Black Object swims across the water. It's the dog, breasting
against the surf.
44 ANGLE ON THE WATER - BRODY'S POINT OF VIEW 44
It's the Fat Lady, floating, relaxing. A black object swims
up to her. It's not the dog. It rears up out of the water.
It's a man in a black bathing cap. They exchange distant
pleasantries, he strokes away.
45 ANOTHER ANGLE - WATER 45
Alex Kintner, paddling around, making boat sounds, tooting,
going "vroom, vroom."
46 ANGLE ON THE BOY AND GIRL 46
They kiss, embrace, kiss again. Strong stuff. They sink
beneath the waves, knotted in an embrace.
47 ANGLE ON MICHAEL BRODY AND HIS FRIENDS 47
He's trying to salvage a soggy piece of birthday cake, holding
it above the water, paddling with his other hand. The bandage
has come part way loose, and his cut is trailing in the water.
48 BRODY AND ELLEN ON THE BEACH 48
Ellen is rubbing suntan oil on his back, and he is allowing
himself to relax part way. His eyes still nervously scan the
beach in a constant surveillance. Mr. Keisel is coming out of
the water, towelling off vigorously, exclaiming to himself.
BRODY
(to Keisel)
How's the water?
KEISEL
Too cold. I'm going in again
Labor Day. Hope we get this
weather next weekend.
ELLEN
You're very tight, y'know?
(digs in)
Right there.
BRODY
Ow.
(he sees something)
He's gotta be more careful in the
water....
49 ANGLE ON THE GANG PLAYING IN THE WATER 49
Michael has just been drenched. He splashes back. A big
waterfight ensues, the boys splashing and chopping at the
water, shouting battle cries and karate whoops. Alex is
paddling around near them, but not involved with them.
50 ALONG THE WATERLINE ON THE BEACH 50
The Man with the Dog is whistling into the ocean, looking
for his dog.
DOG MAN
Buster! Hey, Buster! Here boy!
(whistles)
He continues to ad lib calling his dog, but there's no answer,
no dog in the water.
51 THE WATERFRONT 51
A huge splash explodes in the water near the gang, an eruption
of foam and spray that stops everyone cold for a moment. They
stop to see who was responsible.
A KID (MATHEW)
Hey, no fair splashing in the eyes!
Before anyone can answer, another kid (P.J.) renews the battle,
whooping a karate cry, and slashing at the water with his hand
like a little kung-fu warrior, advancing through the waves.
52 CLOSE ON MATHEW, SPLASHING BACK 52
He hits the water, which sprays up suspiciously pink. He
stares at it, surprised.
53 CLOSE ON P.J. 53
His hands are dripping deep pink, the red matting his hair,
running into his eyes. He looks down. The boys are surrounded
with a deep pink slick, their little bodies ringed by a
spreading stain of blood.
53-A ANGLE ON SHORE, A TOURIST AND HIS WIFE 53-A
He's pointing frantically out to sea.
TOURIST
Something in the water. Right
there! Didn't anyone see it?
WOMAN
There's blood in the water.
53-B ANGLE ON BRODY 53-B
He leaps to his feet, nearly knocking Ellen over, and starts
for the water.
ELLEN
What is it....?
Brody is pelting towards the water. He kicks sand over an
annoyed Mrs. Kintner, who looks up, just in time to hear
Brody's bellow.
BRODY
Michael! Sean! Out of the water.
Everybody out of the water! Michael!
Get out!
His urgency communicates itself to the others. Ellen snatches
Sean up from where he's been playing in the sand. Other
parents are calling their kids, hysteria mounting. People
rush into the water, dragging their children and families
bodily out of the ocean. The first kids coming out of the
surf are frantically trying to wash the sticky blood off their
bodies. The sight of the red sends the beach into a full
panic.
53-C CLOSE ON BRODY 53-C
He rushes into the water, up to his ankles, and suddenly stops,
unable to move into deeper water. He is urging Michael out,
holding his hands out to his son, who is slogging through the
surf towards his dad. He stands there immobilized by the
water, nervously helping people out of it onto the beach.
53-D ANGLE ON MICHAEL 53-D
As he emerges from the water, Alex Kintner's raft washes in
behind him, ripped in half, the water pink, the foam spreading
the stain onto the sand as the wave breaks.
54 ANGLE ON MRS. KINTNER 54
Her voice rising into panic and hysteria with each unanswered
cry.
MRS. KINTNER
Alex! Alex? Alex...!
55 EXT - THE COUNTY COURTHOUSE AND COUNTY OFFICES - DAY 55
We are looking at the closed double white front doors of the
building, through which we can hear a rolling boil of agitated
conversation. After a beat, they open to reveal Mrs. Kintner,
looking as though she has been visited by the wrath of God;
in effect, she has. Her eyes are puffy and swollen from
weeping, her clothing is put on and fastened awkwardly, her
gait is not normal. As she walks toward us, Quint enters
with his back to us, they pass without notice; Mrs. Kintner
moving out of sight, Quint leading us through the doors into
the town hall.
55-A INT. COUNTY COURTHOUSE - DAY 55-A
A crowd of angry men and women throng the central hallway,
their voices a babble of confusion. Many of them are
gathered around a roughly lettered notice that has been posted
on the town's official bulletin board. It reads.
"A $3000 BOUNTY TO THE MAN OR MEN
WHO CATCH AND KILL THE SHARK THAT
KILLED ALEX M. KINTNER ON SUNDAY,
JUNE 29, ON THE AMITY TOWN BEACH."
Vaughn and Brody are on the outskirts of the crowd, which
includes Meadows, some selectmen, and others.
BRODY
Look, I've got to talk to her.
This isn't a contest we want the
whole country entering.
MEADOWS
I agree. If she's going to advertise,
I wouldn't recommend out-of-town
papers. Amity people could take
care of this.
BRODY
I'm responsible for public safety
around here....
VAUGHN
Then go out tomorrow and make sure
no one gets hurt.
(addressing the
crowd)
Everybody, could I have your attention?
Since this affects all of us, I suggest
we move into council chambers, where
there's more room....
There is a flurry and a bustle as everyone rearranges themselves
and makes their way into the Amity Selectmen's Council Chambers.
55-B INT. COUNCIL CHAMBER - DAY 55-B
The crowd is thronging into the large room. Already in the
room is a solitary figure, standing all the way in the rear,
watching everyone as they enter. Against the back wall is
a large blackboard used for town business during meetings.
VAUGHN
Well, here we all are; anyone
have any special questions?
DENHERDER
Is that $3000 bounty on the shark
in cash or check?
(laughter from all)
VAUGHN
That's private business between
you brave fishermen and Mrs. Kintner.
(to Brody)
--- Chief ---
BRODY
(stepping in)
I'd like to tell you what we're
doing so far. These are some of
the steps I've taken as Chief of
Police....
MEADOWS
(leading the direction
of the discussion)
What's going on with the beaches,
Chief?
All react.
BRODY
I'll get to that in a minute.
First, I plan to start our seasonal
summer help early, and to use shark
spotters on beaches open to the sea.
I'd like cooperation from local
fishermen, and I've also contacted
the Oceanographic Institute over on
the mainland.
VAUGHN
(interrupting -
sotto voice to Brody)
No need to involve outsiders in our
business, Martin.
WOMAN
Are you going to close the beaches?
BRODY
Larry and I have also decided to
close the beaches for a short time.
Pandemonium. A collective nerve has been touched.
VAUGHN
Only 24 hours!
BRODY
I didn't agree to that!
MRS. TAFT
That official business could take
all summer!
MR. KEISEL
Maybe it's better to close.
Two opinions have been expressed, and the crowd takes sides
vociferously, ad libbing assent or dissent depending on the
point of view held forth.
THOSE IN FAVOR THOSE OPPOSED
MRS. TAFT
The motel is all I own --
you pull the plug on this
town and I go down the
MR. WISEMAN drain with it.
We should make sure
there is no danger. MR. POSNER
Nobody's seen a shark.
MR. HASSETT
I didn't raise my kids MR. POLK
to be some fish's lunch! We'll lose business, we
lose taxes, we lose our
shirts!
56 ANGLE ON QUINT, THE MAN IN THE BACK OF THE ROOM 56
He has just run his large, coarse fingernails over the black-
board. He is a large, rough man, a professional fisherman
marked by daily physical toil, About 45 or 50, it's hard to
tell where the scars leave off and the wrinkles begin. There
is a bit of the showman in him, as well as a bit of killer-
whale.
QUINT
(after taking
a deep breath)
You all know me. You know what I
do for a living. I'll go out and
get this bird for you. He's a bad
one and it's not like goin' down
the pond chasing blue-gills and
tommy-cods. This is a fish that
can swallow a man whole. A little
shakin', a little tenderizing and
down ya' go.
(a look to Vaughn)
You gotta get this fellow and get
him quick. If you do, it'll bring
a lot of tourist business just to
see him and you've got your busi-
ness back on a paying basis.
(beat)
A shark of that size is no pleasure
and I value my neck at a hell of a
lot more'n 3,000 bucks.
(a deadly look)
I'll find him for three. But I'll
kill him for ten.
Crowd reaction.
(he rises up)
The bastard is costing you more'n
that every day. Do you wanna stay
alive and annee up the ten or play
it cheap and be on welfare next
winter.
(a final moment)
I'm gonna kill this thing...just a
matter of whether I do it now -- or
at the end of summer.
VAUGHN
Thank you very much, Mr. Quint,
the Selectmen will take your offer
under advisement
57 INT. BRODY'S STUDY AT HOME - SUNSET 57
A riffly blur, color alternating with black and white. The
dizziness stops on a book page showing a black and white
rendering of eight species of shark. The banner at the top
of the page reads: THE KNOWN AND REPUTED MANEATERS.
The riffling begins again, stops on a grizzly photograph of
scar tissue on six former shark victims. Riffling -- stop.
Photograph of five Ichthyologists posing on wooden stools,
framed by the enormous jaws of a prehistoric shark from the
family Carcharodon charcharias.
58 BRODY 58
his reading glasses reflecting a stack of twelve library
books, all on the subject of sharks and shark attacks. The
door opens and Ellen enters, quietly, in respect for Brody's
mood.
ELLEN
Can you stand something to eat?
BRODY
Love a cup of tea. With lemon.
Ellen walks past Brody to the window and looks out the
window which overlooks the south bay. It is the hour of
dusk.
ELLEN
Mikey loves his birthday present.
BRODY
Where is he?
ELLEN
(with a slight laugh)
He's sitting in it.
Brody gets up, concerned, and joins her at the window.
ELLEN
Honey. He has it tied up to the
jetty with a double-knot.
59 BRODY'S POINT OF VIEW 59
Michael is sitting in the boat, but two of his young school
chums are in the water, swimming around it. Brody opens the
window and calls down:
BRODY
Son! -- Out of the water now!
MICHAEL
My boat's neat, dad!
BRODY
(turning to Ellen)
I want him out of the ocean.
ELLEN
It's three feet deep, Martin
BRODY
(angry now)
Michael! Come inside!
ELLEN
It's his birthday present, and you
closed the beach, Honey. I told
him not to go in the water after
what happened yesterday. I don't
believe he'll ever do it again.
BRODY
I told him not to go out until he
memorized the handbook and the safety
safety regulations, until he was
sure of himself....
Ellen's eyes drift down to the open book, which is displaying
a reproduction of the famous painting "The Gulf Stream,"
showing a black fisherman in a small dinghy similar to
Michael's being assaulted by the jaws of three man-eating
sharks, circling his boat.
ELLEN
You heard your father! Out right
now!
59-A SUNSET ON THE BEACH 59-A
Hendricks and another deputy are assisting Brody. Silhouettes
of townspeople look on like mourners at a funeral.
In the background some workmen are taking down the shutters
from a quaint summer cottage. They pause to watch the de-
clining moments of the day.
Three Selectmen also stand watching. One of them seems to be
whispering bounty news to three youngish men on a nearby dune.
Sounds: Surf and hammering.
CUT TO
60 EXT. OCEAN AND PIER - NIGHT 60
Selectman Denherder and his buddy, Charlie, a professional
angler, row towards a tumble-down jetty that leads fifty feet
out into the black water.
DENHERDER
You wanna call it a night after
here?
CHARLIE
It's only two-thirty. What, are
you tired?
DENHERDER
Yeah, Charlie, I got my second wind
three nibbles back.
Denherder hefts a bloodstained laundry bag from the wheel-
barrow, revealing about a hundred feet of coiled dog chain
and a large patched inner tube. Charlie takes out a monster
hook and together they push the wheelbarrow onto the rickety
pier that is only about five feet across.
DENHERDER
(reaching into
the bag)
Leg of lamb this time?
CHARLIE
Screw lamb -- let's shoot the sirloin!
DENHERDER
(a hyena laugh)
We're blowin' half the bounty on
bait ---
The splintered pier sways to and fro as the men reach the end
and start to work. Charlie baits the hook with a massive
chunk of sirloin while Denherder secures the loose end of
chain to a skinny piling. Charlie then fastens the inner
tube to the chain five feet from the end of the hook.
DENHERDER
One more after this, then I'm going
home.
CHARLIE
Set?
Denherder tugs the chain against the piling to prove that it
is. Charlie heaves the bait. Splash! The inner tube follows
and both men eagerly watch as it floats seaward, the chain
playing out from the wheelbarrow.
CHARLIE
Tide's taking it right out.
Charlie lights his pipe and sits back against a piling. He
turns on his transistor radio and loops one end around a
fractured board. Denherder paces, bored to death.
DENHERDER
You do this all the time, right,
Charlie?
CHARLIE
Twenty years.
DENHERDER
I can't believe that people pay
money to go fishing. This is really
dumb. This isn't even relaxing...
it's just boring.
61 CLOSE - CHAIN IN WHEELBARROW 61
Suddenly zipping out, faster and faster, as both men straighten.
Denherder is goggle-eyed.
DENHERDER
Hey! What's this?
The chain is coming out so fast that it begins to drag the
wheelbarrow to the end of the jetty. A section of chain
tangles around the handle and flips the entire machine into
the air. Both men watch dumbfounded as the inner tube, racing
out to sea in a wake of white water, suddenly dips under.
CHARLIE
Look at him take it!
DENHERDER
Do I set the goddam hook?
CHARLIE
Let him do it! Go-go-go-go-go!
It is then that the chain whips taut against the narrow
pilings.
62 CLOSE - PILING 62
A lineup of five decrepit 2 x 4 inch pilings SNAP with a
resounding CRACK.
63 ANGLE - JETTY 63
The end of the jetty is yanked loose. Denherder is flipped
like a chip over the side and into the cold night water, where
he manages to snag hold of a splintered timber.
64 DENHERDER'S POINT OF VIEW 64
The severed section of jetty, a joined platform of footboards,
is being dragged seaward with Charlie sitting dazed on top of
it, his lit pipe still going.
DENHERDER
CHARLIE! JUMP!
Charlie rolls into the water, sputters, turns to watch the
flotilla of wood draw away.
65 CLOSE - CHARLIE 65
looking seaward.
66 CHARLIE'S POINT OF VIEW 66
The end of the jetty makes a 180-degree turn and heads back
in his direction.
CHARLIE
Holy Jesus Christ!
Denherder steps up on the broken-off piling just to be out of
the water.
DENHERDER
Get the hell out! Charlie! Swim!
Charlie, inhaling terror, trying to slog to shore. The jetty
is getting closer. Suddenly, an enormous black fin breaks water
like a periscope, making course corrections as it comes for
Charlie.
Denherder jumps from piling to piling, almost losing his balance
on his way to help Charlie. Charlie has reached the last pylon
toward open sea, and his hands clamber for a hold. But ---
67 INSERT - CHARLIE'S HANDS 67
The algae is too slippery, and his fingers keep sliding back.
That's when the fin behind him seems to reach up to the sky
and Charlie manages, with Denherder's desperate help, to make
it safely to shore. The remains of the pier float belly-up
in the inlet.
68 CLOSE ON THE HARBORMASTER OF AMITY - DAY 68
He is sitting on a little canvas folding chair, eating a bowl
of Cheerios with milk and sugar, watching a panorama of inep-
titude and greed unfold before his old seaman's eyes.
The Amity Pier area is a minor madhouse: out-of-state cars
elbow local vehicles for parking space at the foot of the dock,
and a parade of bounty-hunting townspeople, islanders, off-
islanders, tourist, and others shout and push their way onto
the crowded pier, each carrying some bizarre or appropriate
tool for the real or imagined capture of an unarmed shark of
indeterminate size.
Rods and reels, drop lines, crossbows, slingshots, harpoons,
shotguns, rifles, nets and tridents; every fishing supply
store and sporting goods house within a hundred miles has
been cannibalized to equip this weird array.
69 ANGLE ON BRODY AND HENDRICKS ARRIVING ON THE SCENE 69
Not having room to bring their police vehicle anywhere near
this mess, they are proceeding on foot into the confusion.
HENDRICKS
...So then Denherder and Charlie
sat there trying to catch their
breath, and figuring out how to
explain to Charlie's wife what
happened to her freezer full of
meat.
BRODY
That wasn't funny.
Some of the locals greet Hendricks with occasional nods of
recognition, or an ad libbed "Hi, Lenny," or "Hey, Lenny."
HENDRICKS
Mrs. Kintner must've put her ad in
Field and Stream.
BRODY
Looks more like the readers of the
National Enquirer.
70 ANGLE ON BOAT RENTAL - PIER 70
An argument is in progress between and Out-of-Towner and the
Boat Rental Man.
OUT-OF-TOWNER
You're charging me double the usual
rent! I didn't come up here all
the way from New Rochelle to be
gouged by some Yankee Cracker!
BOAT RENTAL MAN
Prices go up June First every year.
You want a nice cheap, leaky boat,
you go down to the Hamptons.
(he sees Brody)
Right, Chief?
71 ANGLE LOOKING OUT TO SEA 71
Making its way through the channel towards the dock is a
sleek, expensive runabout with the name Fascinatin Rhythm"
on the stern. It's professionally handled, and rumbles in as
it coasts in towards the dock area. Some other boats clear
the way for it, zig-zagging in the harbor, causing an annoy-
ing chop.
72 CLOSE ON BOAT 72
Matt Hooper, a bearded, bespectacled young man with an intent
look, is maneuvering the vessel peering through his windscreen
at the ragtag collection of seafaring loonies all around him.
73 BACK TO DOCKSIDE 73
Hendricks is mediating the argument between the two men, and
we can hear a plaintive "But Lenny," from the local as Brody
sees something that makes him move towards the other side of
the dock. We see him cross to a little boat built for two or
three that is settling low in the water as a seventh man climbs
in with his gear.
BRODY
Hey! You know how many men that's
supposed to hold?
MAN IN BOAT (WALTER)
Whatever's safe, right?
BRODY
What you got ain't safe. You take
some guys off or you don't go out.
74 OMITTED 74
75 BEN GARDNER AND HIS BOAT, FLICKA 75
Matt Hooper is gliding into the dockside, and Ben throws him a
line to help make fast as he moors. It's a small island of
courtesy in an otherwise discourteous mob. Hooper nods politely
as he ties his boat up and steps onto the dock.
HOOPER
Hello.
GARDNER
Hello, back.
He's standing near where Brody is finishing after his encounter
with the chummers.
Brody approaches Ben Gardner.
BRODY
You going out too, Ben?
GARDNER
Might give it a try. That three
thousand bounty beats working for
a living.
(yells to his Mate)
We ready?
The Mate nods "Yes" and starts to prepare to get under way.
Ben and his Mate move away from the dock, headed towards the
channel and the open sea leaving Felix and Pratt to scamper
around the dock looking for another ride.
76 ANOTHER DOCK AREA, CLOSE BY 76
A particularly awkward moment between a small sailboat and a
couple of powerboats. The sailboat is trying to hoist sail
to make it away from the pier under sail, a real yachtsman's
conceit, since Hornblower himself probably couldn't navigate
through this mess. Brody, a landlubber for sure, is trying
to direct traffic to untangle this new mess.
BRODY
Just back up! No, the other way!
Cut it to your left! Your other
left! The big boat, your front end
is out way too far. Little boat,
stay still!
Amidst all this, we can hear the angry shouts of the entangled
crews.
SKIPPER 1 (THE SAILBOAT)
Dammit, a vessel under sail has the
right of way!
SKIPPER 2 (MOTORBOAT)
You schmuck, you ain't under sail,
you're goddam drifting!
HOOPER
(stepping in to help)
Ahoy, sail! You got an oar? Well,
scull it out!
SAILBOAT SKIPPER
Tell that stinkpotter to belay!
MOTORBOAT SKIPPER
Tell that ragsetter I'm going to
poke him in the snoot!
HOOPER
Just cast off in turn and make for
the channel, OK?
BRODY
Thanks.
Brody starts back towards the shore, Hooper is by his side.
HOOPER
Excuse me, I wonder if you could
tell me....
Before he can finish, Brody spots something on shore that
moves him to shout to his deputy.
HOOPER
(noticing something)
Is that dynamite?
Brody looks, and stops by a boat that's about to cast off.
He holds out his hand.
BRODY
If that's dynamite, give it here,
or don't leave port.
MAN
Aw, c'mon, it's just fireworks.
Sharks like fireworks, it attracts
them.
BRODY
Hand it over.
The man passes Brody a cigar box filled with dynamite sticks.
Brody tucks the dynamite under his arm, and continues down
the pier. Hooper is still with him.
All around them are two distinctly different breeds; the
quiet pros, like Ben Gardner, in well-worn, comfortable
clothes, with efficient, sensible gear, and the amateur
crazies, with all manner of weapons and impractical, silly
tourist clothing.
76-A INT. DOCK SHED - DAY 76-A
Brody is on the phone, talking to his office, trying to get
Hendricks' attention. He throws a handful of washers at the
window.
HOOPER
There's a fantail launch out there
that won't make it beyond the break-
water.
BRODY
You're tellin' me. I swear, this
town has gone crazy.
HOOPER
Officer, I wonder if you could tell
me where I could find Chief Brody?
BRODY
Who are you?
HOOPER
Hooper, Matt Hooper. From the
Oceanographic Institute.
(holds out his
hand)
77 EXTERIOR - OCEAN - DAY 77
Ben Gardner's boat is in the lead with Gardner's shouting
derisive comments at the crowd headed out from land. The armada
is spread out and moving in a ragged circle, fifteen boats in
all. One man heaves cherry bombs into the water. A smaller
boat going in the opposite direction offers us Barwood, forking
spaghetti leftovers into the ocean while his friend pours out
a bottle of ketchup.
A speedboat chugs by, one of the occupants reading instructions
aloud from a book entitled "Sharks - East Coast, Vol. I."
A boatload of impoverished scallop fishermen throw a net over-
board, full of gaps and split ends. The professionals look
professional, but the landlubbers out for the $3000 make it
impossible for everybody. Collisions are barely averted.
78 THE RUBE GOLDBERG ERROR 78
thru thru
84 The Out-of-Towner in a small boat is bent over in a life and 84
death struggle, his rod in a tight arc. His buddy leaps across
to lend a hand.
Twenty yards away in another boat the same struggle ensues.
This time it's the overloaded boat with the poor scallop fisher-
men. Shouts of I'M ON! DIG IN! STRIKE! Then a tangle of
tackle springs from the water. They have hooked each other.
Joy turns to swearing. Arnold Felix stands up to applaud the
mishap, while his buddy Pratt takes careful aim with his
Remington 1100 12-gauge and blasts at the tackle as if it were
a clay pigeon. The tangle explodes ---
Both the Out-of-Towners and the Scallop Fisherman falls over
backward ---
85 ANGLE - HARRY'S BOAT 85
Three men are aboard, one holding a rod which holds a fast
arc. A few yards off stern we see a triangular dorsal fin
crossing back and forth, struggling, jerking, the mighty tail
threshing. One man is screaming success, the other two slapping
the angler on the back.
86 CLOSE - PRATT AND FELIX 86
They spot it and sour.
PRATT
Well, get over there! He ain't
caught it yet!
The owner of Pratt's boat throws it forward and Pratt removes
a .45 automatic from the holster of his belt. He tests it,
firing once in the air. As they near the scene of the struggle,
eleven other boats begin converging, until ---
87 HARRY'S BOAT 87
Everyone wants to get into the act. They are attacking the
threshing beast with all they've got. Pratt uses his auto-
matic, another blasts point blank with a shotgun. There are
occasional water ricochets and the bounty hunters duck from
time to time as bullets skip by. Finally, the shark stops
threshing.
88 FELIX AND PRATT 88
Their boat has moved close to the shark, closer than Harry's.
PRATT
(exultant)
Hand me that pole! Quick!
One of his party in the over-filled boat grabs a gaff and
leans out to grab the moribund shark. But Harry won't give
up the line, still reeling in.
HARRY
Beat it! I hooked him!
PRATT
How's the family, Harry?
(to the man with gaff)
Go on and do it!
MAN WITH GAFF
We split down the middle?
Pratt nods reluctantly. The man swings, lodges the gaff and
hauls the shark up onto the gunwale. A paroxysm of cheers
from the surrounding boats. Smoke flares are fired into the
air.
HARRY
(a tug-of-war)
Let go my shark!
It is a ten-foot tiger, and what a mess -- splattered with bullet
punctures, gashes, bleeding from several orifices. But it is
not dead -- it kicks back to life and threatens to capsize the
boat. Pratt panics and fires six times with his .45. The
bullets pierce the shark's head, pass through, and split the
fiberglass hull through which a flood of water rises. Every-
body stands up as the boat slips beneath them.
89 OMITTED 89
90 INT. - MORGUE - DAY 90
The Amity Morgue is also the Amity Funeral Home, a Victorian
house that normally serves as the community's mortuary. The
Coroner, a professional small-town GP, is standing by as
Hooper is speaking into a sophisticated cassette recorder
with a headpiece that leaves his hands free for measurement
with a calibrator or calipers.
BRODY
Let's show Mr. Hooper our accident.
With a shrug, the Coroner slides open the drawer.
91 CLOSE ON HOOPER 91
He is looking down as the drawer slides past him, still
matter-of-fact, turning on his recorder.
HOOPER
Victim One, identified as Christine
Watkins, female caucasian....
The sheet has just been lifted, and Hooper stares down at the
lump on the slab. He stops, turns off his recorder as
emotions wage war with his senses. Rationality wins, and
he turns on the recorder again.
HOOPER
...height and weight may only be
estimated from partial remains.
Torso severed in mid-thorax,
eviscerated with no major organs
remaining. May I have a drink of
water? Right arm severed above
the elbow with massive tissue loss
from upper musculature. Portions
of denuded bone remaining.
(tense, to Brody)
-- did you notify the coast guard?
BRODY
No, it was local jurisdiction.
HOOPER
Left arm, head, shoulders, sternum
and portions of ribcage intact.
(to Brody)
Please don't smoke. With minor
post-mortem lacerations and abrasions.
Bite marks indicate typical non-
frenzy feeding pattern of large
squali, possibly carchaninus lonimanus,
or isurus glaucas. Gross tissue
loss and post-mortem erosion of bite
surfaces prevent detailed analysis;
however, teeth and jaws of the
attacking squali must be considered
above average for these waters.
(to Brody again)
-- Did you go out in a boat and
look around?
BRODY
No, we just checked the beach....
HOOPER
(turns off the recorder)
It wasn't an 'accident,' it wasn't
a boat propeller, or a coral reef,
or Jack the Ripper. It was a shark.
It was a shark.
92 92
thru OMITTED thru
94 94
95 EXT. DOCK AREA - DAY 95
We open close on ugly, open shark's jaws, still oozing blood
and gore. As the shark is hoisted up into the air on a
gin-pole hoist dockside, Meadows is seen passing with his
secretary and a photographer from the Amity Gazette. A crowd
of returning fishermen from the Armada and townspeople are
gathering around the fish as it is hoisted tail-up into the
classic sports fisherman's trophy shot.
MEADOWS
Ginny, get this out on the state
wire to AP and UPI in Boston and
New York. Have one of them pick
it up for the national and call
Dave Axelrod in New York and tell
him this is from me and he owes
me one...let's get a picture.
As he and the photographer turn to mob, we see Hooper and
Brody arriving from the morgue. Hooper immediately heads
towards the shark, while Brody pauses and we see a look of
relief and delight cross his features.
HOOPER
Well, if one man can catch a fish
in 50 days, then I guess 50 of
these bozos can catch a fish in
one day -- beginner's luck.
BRODY
(crossing to men
around shark)
You did it! Did Ben Gardner
catch this?
Men ad lib "No, I caught it..." "I hooked him," etc.
MEADOWS
Okay, everybody, I want to get a
picture for the paper -- could
everyone clear out of the way?
He continues to call directions and move people out of the way
to set up his shot. Hooper is measuring the shark.
MEADOWS
Could you get out of the shot,
young man?
HOOPER
Who, me? Okay....
(he drifts off)
The men (Felix, Pratt, et al) get Brody to join them in the
shot. The whole town and the Armada fishermen all line up
in a classic "high school" graduating class shot with the
victorious fishermen kneeling in front, and the rest of
the Armada and Townspeople arranged behind them. Hendricks
hold up the "Beach Closed" sign in ironic victory.
96 ANGLE SHOWING VAUGHN APPROACHING THE DOCK 96
Brody spots the Mayor coming towards the dock, and detaches
himself from the group to join him.
BRODY
Larry, if you'd see these clowns
leave, you'd never believe they'd
come back with anything. But they
got him!
VAUGHN
That's good. That's real good.
Ben Meadows getting pictures for
the paper.
BRODY
Sure he is.
97 HOOPER AND THE FISHERMEN 97
The men who landed the monster are in a tight cluster, de-
bating something with Hooper, who is dwarfed by the big beer
bellies and ham-fisted hands all around him. It's probable
we don't even see him.
The Men ad lib "What kind of shark is this?" "It's a shark
like in the movies they got sharks." "It's a man-eater,
for sure." "I bet it's a record-breaker," etc.
HOOPER (o.s.)
It's a tiger shark. Very rare in
these waters, and definitely a
maneater.
Hooper enters the circle, and picks up where he left off,
measuring the shark's teeth. Others watch him. Charlie
and Denherder walk over to the shark. Charlie punches it.
98 BRODY AND VAUGHN 98
They are walking down to the shark together.
VAUGHN
Who's that young man?
BRODY
Matt Hooper, the specialist they
send down from the Oceanographic
Institute.
VAUGHN
(speaking to
everyone)
I think we all owe a debt of
gratitude to these men for catch-
ing this monster.
Brody and Vaughn are by now near the circle of fishermen, who
are surrounding Hooper, raising their voices at him.
PRATT
Whadya mean, 'Bite Radius?'
What's that?
GAFFER
Teeth are teeth, right?
HOOPER
I didn't say this wasn't the shark,
I just said I wasn't sure this was
the one....
BRODY
What d'ya mean?
HOOPER
There are hundreds of different
kinds of sharks; makos, blues,
hammerheads, white-tips...any one
of them could've attacked. Look --
shark digestion is slow. We could
open this one up, and find whatever
he's been eating is still inside.
VAUGHN
That's disgusting! This is the
largest, meanest, most vicious shark
ever landed off Amity Island, and
a known maneater!
HOOPER
Let's just cut him open and see
what's inside....
BRODY
Why not, Larry? We could get a
positive confirmation that way.
VAUGHN
Be reasonable, boys -- this isn't
the time or the place to do some
kind of half-assed autopsy on a
fish. Ben....
(to Meadows)
do you have all the pictures you
need?
MEADOWS
Plenty.
HOOPER
Wait a minute....
Felix, Pratt and the others ad lib disagreement. "You're
not gonna cut up my trophy," etc.
VAUGHN
(seeing something
offstage, with low
intensity)
I am not going to stand here and
watch this fish cut open and see
some kid fall out on the dock.
Besides....
(he indicates off)
We see Mrs. Kintner approaching, dressed in black.
VAUGHN
(to Brody)
Chief, I'll take responsibility
for this. Boys, cut this ugly
sonofabitch down before he stinks
up the whole island. Harve, tomorrow
you and Carl take him out and dump
him right in the drink.
99 MRS. KINTNER JOINS THE GROUP 99
She seeks out Brody, and stops in front of him.
MRS. KINTNER
Chief Brody?
He nods, she slaps him full across the face. There is an
embarrassed silence. Some people leave, following a trend
that began with the first mention of cutting open the shark.
MRS. KINTNER
My Alex was a beautiful little boy
and you killed him. Did you know
that? You knew there was a shark
out there. You knew a girl got
killed here last week. I just found
that out. But you knew. You knew
it was dangerous, but you let people
go swimming anyway. You knew all
those things, and still my boy is
dead now and there's nothing you can
do about that. My boy is dead. I
wanted you to know that.
She stops, unable to continue. Her father takes her arm and
leads her away. Pratt, Harry and the others trail off after
her. During the rest of the scene, the camera tightens in
on Brody to the exclusion of the others.
VAUGHN
I'm sorry, Martin. She's in a
sick, terrible state.
HOOPER
Look, maybe this is the wrong time
to pursue this, but I'm not sure....
Before Hooper can finish, Brody's shoulders slump and he
goes slack.
BRODY
(almost to himself)
She's right.
VAUGHN
Let's all get out of here, this
place stinks.
BRODY
I'm going home.
He turns and leaves abruptly, surrendering the dock to Vaughn
and Hooper, who eye each other with mutual disadmiration.
100 100
thru OMITTED thru
104 104
105 INT. BRODY HOUSE - NIGHT - DINING ROOM 105
Brody and Ellen, Sean and Michael, have all finished dinner.
Brody's plate is untouched, a virgin meatloaf. His glass,
on the other hand, is well used, with the remnants of a stiff
scotch and ice. He is staring across the table at the young-
est, Sean, who makes a face at him. He makes a face back.
They play this game together for a few minutes.
BRODY
C'mere and give Daddy a kiss.
SEAN
Why?
BRODY
Because he needs it.
Sean gives Daddy the kiss. Brody shoos him and Michael
off to bed. Ellen, who is feeling progressively more left
out with each passing moment, gets up abruptly and clears a
few dishes. Brody is not letting her into his world for the
moment, and it shows. There's a knock at the door.
HOOPER (o.s.)
Martin Brody residence?
Ellen opens the door for him.
HOOPER
Hi. I'm Matt Hooper. If your
husband is here, I'd like to talk
to him.
ELLEN
So would I. Come on in.
Hooper enters. He's carrying a couple of bottles of wine
which he picked up in town. He sits down near Brody.
ELLEN
Would you like something? Some
coffee?
HOOPER
(seeing Brody's plate)
Is anyone having this....?
He starts in on it, as soon as someone has indicated "go ahead."
HOOPER
Dynamite!
(to Brody)
How was your day....?
BRODY
Swell.
They exchange a long look that evolves into a slightly
desperate, but shared laughter.
HOOPER
(producing wine)
Here...one red, one white.
They laugh some more. Ellen is again left out of it.
HOOPER
(boning his fish)
Ummm. Really good.
Brody begins stripping the foil off the wine, screwing in
a corkscrew, etc.
ELLEN
My husband tells me you're in sharks.
HOOPER
I wouldn't put it that way. But
I love sharks.
ELLEN
You love sharks?
HOOPER
I do
(he tells a story
about his boyhood
and a shark)
But you've still got a problem
here, there's a shark just off
the island somewhere.
BRODY
How come you have to tell them that?
ELLEN
Excuse me, but what are you talk-
ing about? Didn't they catch the
shark this afternoon? It was on
the Cape station news.
HOOPER
They caught a shark, not the
shark. Big difference. I could've
proved it this afternoon, by cutting
that one open and examining his
stomach contents. Also, his bite
was too small.
Brody has the cork out of the wine. Pop.
HOOPER
I was lucky to find that in town --
it's an estate bottled vintage year....
Brody takes the fine wine, and pours it into his drink glass
filling the tumbler to the top with ice cubes, diluted scotch,
and the wine.
HOOPER
(as Brody pours)
We ought to let it breathe...
Whatever.
BRODY
Let's all have a drink.
He extends the bottle to Hooper, who politely accepts a token
sip. He takes some for himself, and offers some to Ellen.
BRODY
You too, sweetheart....
ELLEN
Thank you.
HOOPER
(toasting)
Here's to your husband, the only
other rational man on the island.
Day after tomorrow, I'll be gone,
and he'll be the only one.
ELLEN
You're leaving?
HOOPER
Going out on the 'Aurora.'
ELLEN
Is that a boat?
HOOPER
Is it! The best-funded research
expedition to ever study the shark...
around the world in 18 months.
ELLEN
Like those Cousteau specials on
television? I think it's for the
kids, but I love them.
HOOPER
Better than Cousteau, or Compagno
with computers, telemetry, Defense
Department funding....
ELLEN
I saw a show with sea otters, and
a big turtle... Mikey loved it.
Made me promise to get him one.
Will you live on the boat?
HOOPER
Yep.
ELLEN
Martin hates boats. Hates the water.
On the ferry to the mainland, he
sits in the car the whole way over.
He's got this childhood thing,
there's a clinical word for it.
BRODY
Drowning. Lemme ask you something.
Is it true most attacks take place
in three feet of water, around 10
feet from the beach?
HOOPER
Yeah. Like the kid on your beach.
I wish I could've examined that
shark they caught....
BRODY
Something else. Do most attacks
go unreported?
HOOPER
About half of them. A lot of
'missing swimmers' are really
shark victims.
BRODY
There's a kind of a lone shark,
called, uh....
HOOPER
Rogue?
BRODY
Yeah. Rogue. Picks out an area
where there's food and hangs out
there as long as the food supply
lasts?
HOOPER
It's called Territoriality. It's
a theory.
BRODY
And before 1900, when people first
starting swimming for recreation,
before public bathing and resorts,
there were very few shark attacks,
cause sharks didn't know what they
were missing?
HOOPER
You could say that.
Brody digests all this; confirmation of facts he has gleaned
in his newly acquired knowledge of the shark species.
There is a long pause.
BRODY
Why don't we have one more drink,
you and I, and then we go down and
cut open that old shark and see
for sure what's inside him, or not.
ELLEN
Can you do that?
BRODY
I am Chief of Police. I can do any-
thing I want.
(to Hooper)
You want to come?
HOOPER
I'm flattered you should ask.
He gets up and they both start out. Ellen watches them go.
106 OMITTED 106
107 INT. BOAT SHED - NIGHT 107
A dark, spooky shed, with shadows of boats and strange silhou-
ettes of boat parts and scaffolding. At one end, the large,
symmetrical bulk of the shark's carcass lies on a tarp. A
single dark figure is bending over the dead shark.
The large double doors at one end of the shed squeak open,
and the Shadowy Figure move abruptly away from the shark.
The new entrants move into the shed. It is Hooper and Brody
and they are continuing the conversation begun in the car on
the way over.
As the Shadowy Figure moves silently into a vantage point
against one wall, he passes through the light from a window;
it is Quint, and we only see him long enough to recognize
him as he backs against the wall.
HOOPER
...And it was Dartmouth Winter
weekend, and she was Homecoming
Queen, and I was her date; then
she got into the fact that her
family had more money than my fam-
ily, and she was right -- her great-
grandfather was in mining, and my
ancestors were Yankee shipbuilders.
So we broke up and I went home with
some beatnik from Sarah Lawrence.
BRODY
What stinks so bad?
HOOPER
Our friend, the shark.
They bend over the shape like 18th century graverobbers.
HOOPER
We always had a summer place on the
water -- Newport, the Vineyard, so
I figured I'd major in something I
knew about. Oceanography, marine
biology. It was that, or design
racing yachts like my older brother.
Hmmm. He we go. Up the old ali-
mentary canal. Hold the light.
We hear a slurp and a squish as Hooper produces a big knife
and dips into the shark with a major incision.
HOOPER
We open the abdominal cavity and
check the digestive tract. Simple.
(he attends to
his work)
From his vantage point, Quint watches, unseen by the two men.
Brody is holding the light, fighting the gag reflex, fascin-
ated by the bizarre ritual.
BRODY
What's that?
HOOPER
Half a flounder. Hmmm...a burlap
bag...a paint can...aha!
BRODY
What? What?!
HOOPER
Just as I thought. He drifted up
here with the Gulf Stream, from
southern waters.
BRODY
How can you tell?
HOOPER
(showing it)
Florida license plate.
BRODY
He ate a car?
HOOPER
(laughs)
No, but Tiger sharks are the gar-
bage cans of the ocean. They eat
anything. But this one didn't eat
any people. There's nothing here....
He kicks the remains around below camera.
HOOPER
...Nothing.
BRODY
What do we do?
HOOPER
If you're looking for a shark, you
don't look on land. You go out and
chum for him.
BRODY
Chum?
HOOPER
Only one sure way to find him --
offer him a little something to
eat. Chum -- blood, waste meat,
fish, anything. They can sense it
miles away. If he's out there, we
might be able to get a closer look
at him.
(checks his watch)
It's a good time, too. They're
night feeders....
108 EXT. - ABOARD HOOPER'S BOAT - NIGHT (TANK) 108
We see Brody, looking sick and nervous, holding on anxiously
as the "Fascinatin' Rhythm" moves slowly ahead trolling at
night. His glasses are already flecked with the white salt
of dried seawater. He is wearing a life-preserver.
Hooper is at the wheel, a chart spread in front of him, his
eyes scanning the sea restlessly, checking the dials and
gauges in front of him as well as the electronic depth-
finding and "fish-finder" gear mounted in the cockpit. A
green glow shines from the instruments on his face. Two
closed-circuit TV cameras mounted below the hull flash their
pictures onto monitors in the dash.
In the aisle between the seats is a large container filled
with unpleasant-looking bait; Hooper is long-lining for
signs of shark, and chumming.
HOOPER
(indicating distant
flashing beacon)
That's the Cape Light -- we're on
the stretch where he's feeding, if
he's still here.
Brody, bored, tired, and slightly queasy, is trying to concen-
trate on anything but the motion of the boat. He stares at the
sophisticated electronics displays.
BRODY
What is all this stuff?
HOOPER
(ticking them off)
Depth-finder, fathometer, sonar,
closed-circuit TV -- fore and aft --
RDF, single side band...
(points to them-
selves)
and two loose nuts behind the wheel.
BRODY
Can you tell from that if a big
man-eater is around?
HOOPER
Sometimes.
(indicates display)
Look here -- something big, prob-
ably a school of mackerel clumped
together. And staying right
with us.
109 INSERT - ELECTRONICS SCREEN 109
It's blipping and peeping.
110 CLOSE ON THE TWO MEN 110
BRODY
Where'd you get all this?
HOOPER
Bought it. Both sets of grand-
parents set up trust funds for me;
stocks went up, so I don't have to
touch my principal.
BRODY
You're at the Institute full time?
Or do you have a job?
HOOPER
(a nerve has
been touched)
It is a job. I'm not fooling around
like some amateur. It's my life!
BRODY
We gotta get back soon....
111 WIDE ON THE "FASCINATIN' RHYTHM" AS IT SWINGS AROUND 111
The two men looking very small and vulnerable in the open
sea, the low-hanging mist obscuring their visibility in the
night.
112 CLOSE ON BRODY 112
He hears something, his eyes widen. It is the "bump-thump"
of something scraping the hull.
BRODY
Hey!
Hooper looks up and cuts the wheel hard, as the same time
dropping the engines into neutral, and then reverse. The
sudden change throws Brody to his knees.
BRODY
What the hell?
113 ANGLE FROM HOOPER'S BOAT: GARDNER'S BOAT "FLICKA" AWASH AND 113
FLOATING DEAD IN THE SEA
It's what they've just run into -- flooded to the gunwales,
loose debris floating around, a tangle of lines and gear
looking like floating garbage in the cockpit. Hooper's light
sweeps across it.
BRODY
That's Ben Gardner's boat! It's
the Flicka! Ben? Ben!
Hooper cuts his engines and drifts in; he scampers out to the
bow of his boat and makes a line fast to the Flicka.
114 INSIDE THE COCKPIT OF HOOPER'S BOAT 114
The electronic display is showing increased activity, but
only Brody, who is clinging to a support for dear life, can
see the blips and hear the chatter. Hooper is leaning out
to look at the Flicka.
115 THE TWO BOATS 115
Hooper is examining the Flicka, tying a towline to it.
116 INSERT HIS POINT OF VIEW 116
The light picks its way across the ruined boat. The rail
where a cleat once was is broadly scarred down to the raw
timber, and the heady cleat has been torn bodily out of the
hull, ripped out screws and all.
116-A HOOPER'S BOAT 116-A
Something he has seen moves Hooper.
BRODY
What happened?
HOOPER
I want to check something. Hold my
feet.
He sticks his head over the side, into the black water.
BRODY
Don't they have lifejackets or
something? An extra boat?
HOOPER
(surfacing)
They must've hit something.
116-B INSERT, ELECTRONICS DISPLAY 116-B
Blip, chatter, blip, chatter.
116-C BRODY AND HOOPER 116-C
Hooper moves to get a better look, the boat rocks in the swell
and from his movement, Brody clutches the rail in a death-grip.
Hooper goes below decks, getting into his wet suit, buckling
on a weighted belt, holding a mask and hot flashlight.
HOOPER
He didn't have a dinghy aboard. I'm
going down to take a look at his hull.
BRODY
Why don't we just tow it in?
HOOPER
(hyperven-
tilating)
We will. There's something I've
got to find out.
BRODY
Be careful, for chrissake.
Hooper takes a last few breaths, orients himself, takes a long,
hard look at the quiet, open ocean, and falls into the sea.
117 CLOSE ON BRODY 117
He is studying the surface, trying to follow Hooper's move-
ments. Brody is forcing himself to stay at the edge of the
boat by sheer willpower and grim determination. Brody is
fascinated by the sea like a bird facing a cobra. He is very
much alone. He grasps a flashlight or boathook as a fragile
defense against the unknown.
117-A PAST BRODY'S BACK TO THE ELECTRONICS 117-A
Beep, chatter, blip.
118 UNDERWATER SEQUENCE - HOOPER 118
Hooper descends in a froth of bubbles. Warily he turns a full
circle with his hotlight. At first we see nothing out of
place about the Flicka except that it is lying so low in the
water. But as Hooper travels the bottom looking for damage,
he comes across a jagged hole two-thirds of the way forward.
The hole is about the size of a basketball, and the wood
around it has been bashed and splintered. Hooper explores
the hole with his hands, then takes the knife from its
sheath and begins to dig at something. Whatever it is comes
free in his hand. As he studies his find, his light wanders
upward, pointing directly into the dark hole. Hooper looks
up....
119 CLOSE - HOLE 119
Ben Gardner's dead face stares out through the hole in the
Flicka, eyes and mouth gaping in frozen horror, his skin
pinched like a prune.
120 CLOSE - HOOPER 120
bumps his head in trying to get away, seems to yell through
escaping bubbles. We hear the gasping shout as a bubbling
roar in the ears. His mask fills with water as he flails for
the surface. Miscalculating, he bumps into the hull of his
own boat, shocked, dismayed, his system jangling with adren-
alin shock, his hands open, and the object he pried loose
from the hull drifts down and out, falling into the eternity
of the ocean bottom. He finally bursts through the surface.
END OF UNDERWATER SEQUENCE
120-A THE BOAT, HOOPER EMERGING FROM THE WATER 120-A
He is gasping for breath, his whole body vibrating with
urgency. The salt water in his lungs combines with the
adrenalin in his blood to deprive him of speech.
BRODY
You all right?
HOOPER
A White! A Great White, I found
a tooth buried in the hull. He
must've attacked...I knew it...
Gardner's dead in there. I didn't
see the mate....
BRODY
No shark did that to a boat!
Hooper, despite his shock and surprise, is strangely elated,
almost giddy with the wonder of his discovery.
HOOPER
Jesus Christ! A Great White!
Who'd believe it! We're not talk-
ing about a shark, we're talking
about a Shark!
Brody sinks weakly into a chair. Brody huddles in the stern,
Hooper kicks the engine in with a roar, and still a-shiver
with excitement, turns the boat and its grim tow back to port.
121 OMITTED 121
122 EXT. ISLAND HIGHWAY - THE BILLBOARD - DAY 122
Next to the "Amity Welcomes You" billboard is a group of
selectmen, Vaughn, Meadows, Hendricks, and another deputy
standing by with paint and brushes. Brody's wagon is there,
along with a few other cars. Busy late afternoon traffic is
starting to pile up as early weekenders and curiosity seekers
slow down to see what's happening.
Behind the billboard, Brody and Hooper have gotten Vaughn to
one side. They are making a closely reasoned presentation to
him.
BRODY
There is a kind of shark called a
Great White Shark that every expert
in the world agrees is a maneater.
HOOPER
You're situation here suggests that
a Great White has staked out a claim
in the waters around Amity Island,
and that he will continue to feed
here as long as there is food in
the water.
BRODY
There's no limits to where he can
strike, and we've had three attacks
and two deaths in the past few days.
It happened like this before, in
1916, when a Great White killed five
swimmers at Jones Beach, in Long
Island.
HOOPER
A shark's attack is stimulated by
the kind of splashing and activity
that occurs whenever humans go
swimming -- you can't avoid it!
BRODY
A 4th of July beach is like ringing
a dinner bell, for Chrissake!
HOOPER
I just pulled a shark tooth the
size of a shot glass out of the
hull of a wrecked boat out there.
BRODY
We towed Ben Gardner's boat in,
Larry; he was dead and his boat
was all chewed up.
VAUGHN
Is that tooth here? Did anyone see
it?
HOOPER BRODY
I don't have it. He lost it on the way up.
VAUGHN
What kind of a shark did you say it
was?
HOOPER
Carcaradon carcharias. A Great
White.
VAUGHN
Well, I'm not going to commit econ-
omic suicide on that flimsy evidence.
We depend on the summer people for our
lives, and if our beaches are closed,
then we're all finished.
BRODY
We have got to close the beaches.
We have got to get someone to kill
the shark, we need non-corrosive
mesh netting, we need scientific
support...It's gonna cost money
just to keep the nuts out and save
what we have.
VAUGHN
I don't thing either of you is
familiar with our problems....
HOOPER
I'm familiar with the fact that
you are going to ignore this thing
until it swims up and bites you on
the ass! There are only two ways
to solve this thing: you can kill
it, or you can cut off its food supply....
BRODY
That means closing the beaches.
VAUGHN
Come here, I want to show you
something.
He leads Brody around to the front of the billboard, on which
we see that some pranksters have painted a huge shark fin in
the water behind the swimmer, so she looks now like a frantic
bather fleeing a pursuing monster.
VAUGHN
Sick vandalism! Brody, that's a
deliberate mutilation of a public
service message! I want those little
paint-happy bastards caught and hung
up by their baby Buster Browns!
HOOPER
(who has followed
them around)
That's it! I'm standing here arguing
with a guy who can't wait to be a
hot lunch. Goodbye.
BRODY
Wait a minute! I need you.
HOOPER
Out there is a Perfect Engine, an
Eating Machine that is a miracle of
evolution -- it swims and eats and
that's all. Look at that! Those
proportions are correct.
(indicates fin)
I know sharks.
VAUGHN
You’d love to prove that. Getting
your name in the National Geographic.
BRODY
Larry, we can re-open the beaches in
August.
VAUGHN
August! Tomorrow is the 4th of July,
and we are going to open for
business. It's going to be our best
summer in years. If you're so con-
cerned about the beaches, you two,
you do whatever you have to to keep
them safe, but with you or without
you, the beaches stay open this
weekend.
123 123
thru OMITTED thru
130 130
131 INT. FERRY BOAT - DAY 131
Two cavernous iron doors. Then a crack of vertical light as
six burly crewmen muscle them apart. The Amity ferry landing
is approaching, people in colorful outfits waiting dockside
for the first filled-to-capacity shuttle of the summer season
and ---
Bach's Little Fugue is the musical accompaniment to this
wholly visual montage of disembarkation. The next two minutes
should be treated like a "short film" taking into account all
of the colors, episodes, faces and behavior of a variety of
Americans who colonize Eastern resort communities for the
ninety-day season.
Intercut with this montage is Brody's home, where Ellen,
Hooper and Brody are in sweaty, gritty all-out effort to
enlist some support. Elements in this montage include:
A. A train of cars trundling down the ramp, bumper to bumper.
B. Young Beautiful People from Princeton, Yale, NYU, wearing
knapsacks, toting luggage, babies riding in papoose rigs,
energized children, senior citizens holding hands on the
pedestrian ramp, a few wheelchairs.
C. Hooper, bent over the phone: "I know it's a long weekend,
could you get me his home phone number?
D. Sidewalk vendors hawking "Shark Killed" souvenirs, big
photo "Personality Posters" of the dead tiger shark
hung on the dock.
E. Brody: "You're acting senior officer? Where's Chief.
Petty Officer Feldman? Where's the Coast Guard Executive
Officer?"
F. Souvenir stands selling Genuine Sharks Teeth from The
Amity Killer Shark, Captured This Week.
G. Amity Cab Company, small blue Toyotas lined up with
their college student drivers like a bomber wing.
H. Hooper: "Well then, operator, could you try him in
the dining room?"
I. Brody: "All I get is a recording. Is there some other
number I could try....?"
J. Station wagons with pale winter faces pressed anxiously
to the window. Cadillacs with Rear Admirals at the
helm, their wives with blue hair remembering the way
from years before.
K. Hooper: "When did he check out? Did he leave another
phone number?"
L. Brody: "How can I reach him in Chambers if he's not
in Chambers?"
M. Little Karate Hands breaking picket fences.
N. Some local delinquents about 10 or 12 years old, towing
behind their bicycles a little dead sand shark with signs:
"Amity Monster Shark." "Killed Here." 5 Cents a Hit." Etc.
Then six blonde and tanned Coney Island meatballs descend the
ramp. They all wear Men's Club Lifeguard patches and matching
collegiate windbreakers. They scour the landing, looking for
someone to save.
The boat is empty. Everybody heading inland, anticipating the
best Fourth of July ever. Already there is debris on the
docks and the cleaning crew works away at it.
132 INSIDE THE FERRY 132
As Bach's Little Fugue ends, the six burly crewmen lean their
combined weight against the Cathedral doors, closing out the
light and locking in the trade. The doors latch shut with
a resounding clang!
133 133
thru OMITTED thru
136 136
137 ANGLE ON BRODY, NERVOUSLY WATCHING THE BEACH 137
He is studying everything, trying to make sure he has it
covered as well as possible. He almost doesn't hear the
approaching roar of a small helicopter until it settles down
behind him, and a Flying Officer gets out, starched, pressed
fatigues, a flawless fatigue baseball cap, and slick dark
aviator's sunglasses. The Steve Canyon of Amity. He presents
Brody with a clipboard.
OFFICER
Martin Brody?
(Brody nods)
I'll need your signature here...
here...and here.
BRODY
What is this?
OFFICER
Authorization for direct payment
of flight expenses not directly
connected to a normal mission of
this command.
(Brody doesn't understand)
You pay for the gas.
Brody signs. The Officer shakes his head as Brody makes an
error.
BRODY
I signed on the wrong line....
OFFICER
Just erase your signature and
initial your erasure.
Brody complies, shaking his head. The Officer snaps him a
salute, jogs lightly back to his idling copter, buckles in,
and gives Brody a "thumbs up" as he lifts off in a flurry
of sand and ice-cream wrappers.
138 EXT. BEACH PARKING LOT - EARLY MORNING 138
And this is it -- the Dawn Patrol, the only forces that the
frantic phone calling produced. Hendricks, and the regular
summer extra deputies. The lifeguards. Half a dozen state
troopers. Some deputies from neighboring towns, and a Coast
Guard ensign with a handful of regulars in work dungarees.
Some of Hooper's friends from the institute.
Brody and Hooper, badly in need of sleep, are watching the
crew straggle in. Already the first of the holiday beach-
goers are piling out of their cars in a brightly colored
cascade of beach balls, umbrellas, blankets, portable
bar-b-ques, radios, sun visors, reflectors, rafts, balls, tubes,
and newspapers.
Hooper watches one such group: A Family of Ten getting out of
a camper-van. He watches in dismay as the family bumbles onto
the beach for a day of fun in the sun.
Brody addresses his troops, such as they are.
BRODY
I want to thank you guys from local
agencies for cooperating, and I
hope we won't actually be needing
your services. But I'm glad to
have you here.
The Men ad lib responses: "Happy to do it," "Any time,"
"When's lunch?" "I hate holidays," etc.
ENSIGN
I want to get our lines and re-
pellent out, so we better shove off.
He nods to his men, who head for some Boston Whalers (or
similar boat with surf-riding capability) and push off into
the surf to patrol the swimming areas.
BRODY
(a last caution)
We're all on one channel, so let's
keep radio traffic to a minimum,
okay?
Everyone kind of nods acknowledgement.
HOOPER
I hope we get some more help.
BRODY
I wish it would rain....
139 EXT. BEACH - AMUSEMENT AREA - CLOSE OF SHARK MACHINE 139
In a shed near the bandstand, a half-dozen pinball and arcade
machines sucking quarters from holiday beach-goers. A mechani-
cal shark traverses the screen, is hit with an electric harpoon
and red "blood" blossoms from its side, indicating a hit.
Sounds of electronic gadgetry, people having fun. Meadows is
there writing it all up for the paper. A move away from the
screen of this particular machine reveals the arcade, the
parking lot, and, finally, the beginnings of the panorama of
the beach that July 4th has created.
140 EXT. SOUTH BEACH - THE FOURTH OF JULY 140
A four foot surfer's swell curls and crashes on shore, rider-
less. The broad sandy beach is a mosaic of summer color as
one thousand vacationers practice fun in the sun, but not in
the water. Hot dog stands and ice cream vendors are everywhere.
141 ANGLE - LIFEGUARD STATIONS 141
A half-dozen lookout lofts. As many handsome lifeguards with
Walkie-Talkies strapped to their trunks and loud-hailers at
arm's reach. Bored, two of the hot dogs train their bino-
culars on some local color.
141-A ANGLE ON TV MOBILE UNIT 141-A
A TV Mobile Unit Van is setting up: cables snaking to
cameras, a camera with a big sports zoom sitting on the
platform atop the truck, a spiffy announcer-type in a blazer
with his station's call letters on the pocket. Inside the
darkened control room, we can see the pale blue squares of
monitors in a mosaic against one wall, facing the switcher.
142 AT SEA 142
Hooper is methodically patrolling in his boat. Tactically
flanking a three-hundred-yard apron of black repellent are
four small watch-boats. A tiny pleasure boat darts around
the repellent line. Farther out, crossing back and forth,
are patrol boats. To top it all off, a Coast Guard helicopter
hovers and patrols three hundred feet above.
143 INT. TELEVISION MOBILE UNIT 143
At least eight monitors, reflecting the outputs of three
cameras and two tape machines, as well as line, preview, and
effects monitors.
MONITOR: CAMERA 1: Holding on a group of happy citizen-bathers
as they unpack their gear, wave to camera, run into the water.
MONITOR: CAMERA 2: The Repellent Line, set in place by Coast
Guardsmen in small boats, setting out floats, dumping re-
pollen into the ocean.
MONITOR: CAMERA 3: Close on the Bandstand, where Amity's band
is playing lilting patriotic airs.
After we've seen this activity, we can take a look at what's
going on: the preparation of the tape segment for the six
o'clock news.
TV DIRECTOR
Put 1 on the line. In five. 4. 3.
2. 1. Roll.
On the "Tape 1" and "Line" monitors, we see Vaughn being interviewed
by the Announcer in the blazer.
ANNOUNCER
...and with me is the Mayor of Amity,
Lawrence Vaughn. Mr. Vaughn, how
about those rumors?
VAUGHN
How about them indeed. I'm pleased
and happy to repeat the news that
we have, in fact, caught and killed
a large predator that supposedly
injured some bathers here. As you
can see, it's a beautiful day, the
beaches are open, and the folks
here are having a wonderful time.
Amity, y'know, means 'Friendship.'
MONITOR: CAMERA 1: As Vaughn speaks to us on the monitors, the
monitor for Camera 1 pans over to show a Sightseeing Bus pull
up in the parking area, and a horde of media vultures spilling
out, carrying cameras with long lenses and tripods, telescopes,
sunshades and parasols, all the equipment of the curious and
none of the equipment of the holiday bather or swimmer.
TAPE 1 AND LINE MONITORS: Close on the Announcer, Vaughn out
of the picture.
ANNOUNCER
Also here today is a Marine Biologist
and Research Fellow from the Ocean-
ographic Institute, Matthew Hooper.
Mr. Hooper, what've you heard?
HOOPER
What I've heard and what I've seen
are two different things. I believe
there is a large Great White Shark --
Carcharodon Cacharias - in the waters
off this very beach, that he has
killed and that he will kill again....
Hooper's voice fades off as someone at the mixer panel dials
his mike off, and brings up the Announcer's lavalier.
ANNOUNCER
(moving into center
frame)
And there you have it -- two different
opinions, by men of good will. The
holiday crowd here at Amity seems to
be making up its own mind....
The camera pans off him to a happy family headed for the beach.
MONITOR: CAMERA 3: Zooms in on the puffing face of the tuba
player.
MONITOR: CAMERA 2: Brody and the Announcer.
MONITOR: TAPE 1 and LINE: Back on the Announcer, his lips
moving, but his sound turned off. We hear, instead, the
sound from Monitor Camera 2, Brody and the same Announcer.
BRODY
I'm sorry, I just don't have the
time.
TV DIRECTOR
Recue the machines. 2, pan off the
Chief and show me some tits and ass.
1, get me some cute kids. 3...see if
you got a shot at the water.
MONITORS: CAMERAS 1, 2 and 3: The cameras seek out the
appropriate activity as the Director calls for it.
ASSISTANT DIRECTOR
(holds up stopwatch)
Mayor, 43 seconds, Biologist 45
seconds. That's equal time, right?
DIRECTOR
Right.
(he presses "Talkback"
button to his announcer)
Jerry, come on in and look at this.
(to his headset)
Roll 2. In five, 4. 3. 2. 1.
TAPE 2 - MONITOR:
Starts showing us the assembled interview segment we've just
seen, starting with the Announcer's opening remarks.
ANNOUNCER (v.o. monitor)
Amity Island is famed for its clear
air and white sand beaches. But a
cloud appeared....
His voice is dialed under as the Announcer himself appears in
the control room to watch himself on the monitors.
ANNOUNCER (live)
Look at that shine on my nose. It's
a beacon.
DIRECTOR
Close enough for remote.
As Vaughn begins his spiel again, the other monitors show us
the action on the beach.
VAUGHN (v.o.)
...I'm pleased and happy....
DIRECTOR
Think we ought to stick around?
ANNOUNCER
What else you got?
ASSISTANT DIRECTOR
Teachers' strike downtown.
CAMERAMAN'S VOICE (o.s.)
Christenson, this is Al. Union says
time for Engineering Five.
DIRECTOR
That's five minutes, guys. Coffee.
143-A ANGLE ON THE BEACH 143-A
Vaughn is in his shirtsleeves, having slipped out of his jacket.
He mops his brow, and surveys the beachfront. At this moment,
there's nobody swimming. He approaches a familiar Selectman,
nods hello, and squats beside him on the sand.
VAUGHN
Why don't you get in the water?
SELECTMAN
I don't want to wash off my suntan
lotion. I'll get a burn....
VAUGHN
(some urgency)
Nobody's going in!
On an adjoining blanket, a spirited Ruth Gordon type is sitting,
watching brightly as her manservant, a polished Eric Harrison
type, prepares some tea from a thermos.
WOMAN
Is there nobody going in? What a
shame. Arthur, should I be going
in?
ARTHUR (The Butler)
(pouring tea)
If you'd like.
He puts down the tea service, and leads her towards the water.
At the edge of the sea, she stops, and he walks in.
ARTHUR
(as he enters the
waves)
It's very nice. Not too cold...
Quite refreshing... Very pleasant....
He ducks his head under for a final look around. His dripping
head rises triumphantly from the surf.
ARTHUR
No sharks, m'lady.
She starts into the water, he takes her parasol, escorting her
the rest of the way into the ocean.
WOMAN
This is marvelous! Arthur, I want
to come back to this very spot.
Will you make a note of where we
are?
144 WIDE - ON THE BEACH 144
Encouraged by the sight of the Woman and Arthur, and Vaughn's
quiet urgings, people begin to wander into the surf, a few at
first, and then a rush, as people plunge in and begin enjoying
the pleasures of ocean bathing. The Selectman goes in, his
family follows, Vaughn watches it all, beaming.
145 145
and OMITTED and
146 146
147 BOAT #7 147
Hendricks is on the radio while a Coast Guard spotter works
the sonar.
HENDRICKS
Anything? Thought I saw a shadow.
Over.
Pan to the water.
147-A UNDERWATER 147-A
As before, 400 pairs of enticing, yummy swimmers' legs, kick-
ing like animated hors d'oeuvres.
148 INT. HELICOPTER - AERIAL VIEW 148
A breathtaking view. The copter spotter looks down with naked
eye and binoculars.
COPTER SPOTTER
Nothing from up here, Daisy. Over.
149 CLOSE - HENDRICKS 149
HENDRICKS
(into walkie-
talkie)
False alarm. Must be this glare.
150 ANGLE - BEACH - CLOSE ON BRODY 150
He is walking down the beach, threading his way through the
happy hordes. Meadows nods "hello."
VOICES
Who's scared to go in! I was in!
Up to your knees, yeah -- So come
with me -- I'll go again.
MEADOWS
Beautiful day, Chief!
A group of youngsters playing with Michael Brody's dinghy.
They are hauling it toward the surf.
BRODY
Hey Mikey --- !
Michael turns as Brody trots toward him.
BRODY
You're not going to the ocean
with that, are you son?
MICHAEL
I'm all checked out for light surf
and look at it.
BRODY
Do me this favor just once. Use
the ponds.
MICHAEL
Dad, the ponds are for old ladies.
BRODY
Just a favor for your old man.
MICHAEL
(confused)
Sure, Dad.
151 OMITTED 151
152 TV CREW - NEAR WATER 152
TV cameramen are packing up their gear. For them it's a wrap
153 REPELLENT LINE -COUNTY POLICEMAN 153
Suddenly his Walkie-Talkie fizzes, and the Copter Spotter's
voice overloads the speaker.
COPTER SPOTTER
Copter to Daisy! Red Four, Red
Four!
154 BOAT #7 - HENDRICKS 154
Guns are up, heads turning everywhere.
HENDRICKS
(into walkie-
talkie)
Where --- ?
COPTER SPOTTER
Went under your -- There!
The Coast Guard sonar operator spots it and pales. A slick
black dorsal fin is slicing a wake toward the swimming area.
SONAR OPERATOR
Jesus Christ -- Shark!
155 BEACH - BRODY 155
Rigid and choked, he almost breaks the "send" button trying
to transmit.
BRODY
Everybody out! Out of the water,
please -- leave the water, please ---
A lifeguard in a loft behind him begins blowing on his whistle.
156 CLOSE - BRODY 156
shouting hysterically.
BRODY
No whistles! No whistles!
157 THE BEACH 157
Dozens of bathers halfway out of the water, turn to see. More
whistles, and they start toward shore. We hear panicky
voices ad-libbing; "Shark," "Look Out," etc. The loudhailers
sounding more urgent now, and a contagious dread seizes one
person after another. Entire groups of people begin pulling
toward shore, some of them obviously trying to control a growing
hysteria in others.
158 BOATS #6 AND #7 158
are converging, heading toward the repellent line as if tracking
an underwater shadow. The fin is beyond the repellent cordons
and heading into the crowds.
158-A HOOPER'S BOAT 158-A
Caught on the other end of the line, he is wheeling in a broad,
hot-dogger's circle turn, headed back.
159 THE WATER - BATHERS 159
People begin screaming. Kids are suddenly separated from their
parents. Others seem to forget how to swim. One myopic
little girl has her glasses bumped off and she begins to cry in
blinded panic. Ellen Brody looks around frantic.
160 BOATS #2, #3, #4 160
The riflemen in the boats are trying to get a bead, but too
many civilians create a hazard. The Coast Guardsmen attempt
to sever the repellent cord to gain access to the bathing area
and the heaving fin.
161 THE WATER - BATHERS 161
This is a confirmation of our worst dread -- a full-blown
headlong water panic. Screaming vacationers claw their way
over the bodies of the less able. Some literally attempt to
walk over the bobbing heads and glistening backs of others
pulling for dry land.
162 CLOSEUPS - PANIC 162
Horrified faces. Some are stunned and wandering in slow,
tentative circles, while others are helped out by friends.
Five people try to mount a rubber raft.
Ugly reminders that each of us is Number One.
Brody enters shot, yelling into his walkie-talkie, someone
charges past him to help an old man out of the water.
163 EXT. - THE BEACH 163
Dragging the helpless from the surf. Tears well in Brody's
eyes. The screaming is deafening. The TV unit is hopping up
and down in rage and frustration.
TV DIRECTOR
Why did we wrap? Get that! Some-
body get that!
One thousand survivors pack the beach, standing absolutely
still. A numbing cold sets in, and people shiver against
each other.
Muted sobs, whimpering, coughing.
The six burly lifeguards huddle together like Cub Scouts.
164 ANGLE - BATHING AREA 164
The monstrous black fin turns a slow circle as two Coast Guards-
men manage to cut their own repellent line. All boats con-
verge on the dynamic fin. Men raise their guns to fire. Others
adlib nautical commands in a uniquely calculated fashion.
165 CLOSE - FIN 165
It slips sideways, revealing for the first time a tiny blue
snorkel. Then appears the faces of two youngsters whom we will
recall from the coven behind the dune. The fin bobs back, a
beaverboard replica attached to a partially submerged surf-
board. One youngster looks up and is greeted by:
166 YOUNGSTER'S POINT OF VIEW 166
Twenty rifles and shotguns pointed directly at him. Surrounding
him on three sides. Some of the policemen start to lower their
guns -- struck dumb.
166-A HOOPER IN HIS BOAT 166-A
He throttles back suddenly, subsiding into his own wake, his
eyes still restlessly searching.
167 CLOSE - YOUNGSTER 167
his only defense, he begins to cry -- and feebly raises his
hands in unconditional surrender.
168 ANGLE - ESTUARY 168
The narrow estuary leading into the half-mile is rough today.
Two children digging in the sand and unaware of the beach
panic one hundred yards away look up, and the little girl points.
169 A BLACK DORSAL FIN 169
is cruising through the narrows and toward the busy pond.
169-A HOOPER IN HIS BOAT AGAIN 169-A
He sees it, and jams his throttle forward. He steers with
one hand, fumbling urgently for his walkie-talkie with the
other.
169-B AERIAL VIEW 169-B
The circle of boats around the little pranksters, the crowds
huddled on the beach, Hooper's boat suddenly arrowing towards
the estuary, leaving a huge boiling wake.
169-C CLOSE ON VAUGHN 169-C
He catches Hooper's boat out of the corner of his eye. Curious,
he follows its progress. It's urgency finally communicates
itself to Vaughn, who begins a shambling trot across the dunes
towards a rise overlooking the estuary.
169-D OVERLOOKING THE ESTUARY 169-D
Vaughn gets there just in time to see the disaster. He
watches, helpless, trying to shout, out of breath. Stunned.
170 ANGLE - POND 170
Michael is tacking full-sail in his boat with a friend, Kit.
Kit is admiring the shark's tooth necklace around his own neck
while Michael rubs some water on the scratches left by it.
The fin, huge, black and real, crosses behind them. They are
not yet aware. The fin seems to circle and return. It heads
toward Michael's boat when another small dinghy gets in its
way -- a weekend novice just finishing a thermos of coffee
when he is "bumped." The entire boat is overturned. Michael
sees the fin now as it collides with him, the entire bow
lifting out of the water and rolling over on the port side.
Michael and Kit are thrown head first.
Three heads in the water come up sputtering, the fin between
them crossing back. Michael freezes. The fin comes directly
at him, growing into the sky, passing him so close he could
touch it, but ignoring him as it follows the flailing and
panicked weekend novice. Catches him. Michael watches. That
all too familiar explosion of water -- a choked off scream --
the head and upper torso of the novice passing Michael swiftly
as though being carried off -- a current of blood trailing
behind.
THE VICTIM
(passing a horrified
Michael, who half
extends one hand,
as if to help)
It's no good. I'm dead....
(and he is)
A renewed cry of shark!
171 CLOSE - BRODY 171
He turns. Oh God! Running through the slogging sand.
171-A CLOSE - ELLEN 171-A
A sudden turn. She runs.
172 CLOSE - HOOPER IN BOAT 172
He's got the walkie-talkie to his mouth.
HOOPER
Block the estuary! The estuary!
Three boats racing to carry out the orders. The black fin
repassing the two children, racing to get out. Hooper reaches
the mouth before the others. The fin won't veer off. It
smacks into the little vessel, bumping it aside. The fin is
left racing into open water. Blood leavings. Hooper leaping
over the side, slogging towards Michael.
172-A WIDE ON WATER 172-A
Copter roars in buzzing the shark, but too late.
172-AA CLOSE - BRODY AND ELLEN 172-AA
They are pulling Michael out of the water as Hooper splashes
up. Michael is conscious but in shock -- his eyes staring at
nothing.
BRODY
(feeling his
face)
He's in shock. Get blankets!
People gather and Brody snatches beach towels out of their
hands. They cover Michael and carry him off the beach, feet
raised above his head.
173 OMITTED 173
174 INT. HOSPITAL - DAY 174
Michael is wheeled out in the bed. Brody and Ellen are there.
Sean is sleepy in Brody's arms. Vaughn is waiting in the hall.
NURSE
The doctor said it's okay -- mild
shock. He can come home in the
morning.
ELLEN
(to Michael)
Hey, big guy -- you want anything
from home?
MICHAEL
My cars. And a comic book.
BRODY
(sees Vaughn)
Here --
(gives baby to
Ellen)
Take him home.
ELLEN
Home...New York?
BRODY
No. Home here.
Ellen exits.
BRODY
(crossing to Vaughn)
Got a pen on you?
VAUGHN
Why?
BRODY
There's only one thing you're good
for anymore -- signing a damn voucher.
Here. It's an authorization to
employ a contractor.
VAUGHN
I don't know if I can do that without
a....
BRODY
(interrupting)
I'm going to hire Quint to kill the
fish. I want to see that shark dead.
VAUGHN
Maybe we can save August....
BRODY
Forget it. This summer's had it.
Next summer's had it. You're the
mayor of Shark City. You wanted to
keep the beaches open. What happens
when the town finds out about that?
VAUGHN
I was acting in the town's best
interests....
BRODY
The best interest in this town would
be to see that fish belly-up in the
water with a hole in his head. You
do the right thing. You authorize
me.
(indicates paper)
Right there. Whatever it costs.
VAUGHN
My kids were on that beach....
BRODY
Just sign it, Larry.
Vaughn signs, and Brody takes the paper and exits.
175 QUINT'S HOUSE - DAY 175
Brody and Hooper are approaching Quint's house. They enter
through the big wooden doors, into another circle of Hell.
Smoke and steam from two big oil drums sitting over fires
fills the air. Quint and his mate, Herschel, are grinding
pieces of pilot whale into chum. The whale lies bloody on
the floor, its ruined carcass adding to the stench of other
sharks being boiled in the drums, their tails suspended in
the air.
Diesel fumes and decay fill the air, and tools, ropes, broken
bits of iron and engine parts litter the floor. Wall hangings
of rope and floats, and buoys, barrels, tackle and gear all
conspire to frame the killing floor.
Brody and Hooper navigate the obstacle course.
BRODY
This has got to be one big violation....
HOOPER
(handling some gear)
This is quite a place.
QUINT'S VOICE
Keep your hands off my stuff.
He emerges from the steam and smoke.
QUINT
Did you bring a check?
BRODY
What?
QUINT
Cash? Or do we do this on a hand-
shake and a promise?
BRODY
I'm authorized by the township of
Amity to hire you as an independent
contractor. We'll meet your price.
$10,000.
QUINT
And my regular daily rate -- $200,
whether we catch him or not.
BRODY
You got it.
QUINT
And incidental damages, if any....
BRODY
You got it.
QUINT
And you get the Mayor off my back
with this zoning crap. Nobody tells
me how to run my property.
BRODY
You got it.
QUINT
And, uh, a case of apricot brandy
and you buy the lunch.
BRODY
Two cases. And dinner when you land.
QUINT
(pours drink)
Try some of this. I made it myself.
Brody tastes.
QUINT
Here's to swimmin' with bowlegged
women.
Herschel interrupts. He's stopped working, and is wiping his
hands on a bloody rag.
HERSCHEL
Mr. Quint...
Quint wheels to face him.
HERSCHEL
I'm not goin'. No sir.
QUINT
You want to get paid, you go.
HERSCHEL
Forget the money. You can't pay me
enough. I ain't crazy. I worked some
big mean fish with you, but I ain't
goin' on this one.
QUINT
This is the last time I hear from
you. I don't want anyone with piss
for blood on my vessel. Put that
blackfish on board, pump the bilges,
and top off the fuel tanks, and
finish up in the morning. Then you're
on the beach.
HOOPER
You're going to need an extra
hand....
Quint turns to see this new voice, and starts walking towards
him.
BRODY
This is Matt Hooper....
QUINT
I know who he is....
BRODY
He's from the Oceanographic Institute.
HOOPER
I've been to sea since I was 12.
I've crewed three Trans-pacs ---
QUINT
Transplants?
HOOPER
-- and an America's Cup Trials....
QUINT
I'm not talking about day sailing
or pleasure boating. I'm talking
about working for a living. Sharking.
HOOPER
And I'm not talking about hooking
some poor dogfish or sand shark.
I'm talking about a Great White.
QUINT
Are you now. I know about porkers
in the water --
(throws him some
rope)
Here. Tie me a sheepshank.
Hooper ties the knot effortlessly.
HOOPER
I don't need to pass basic seaman-
ship.
QUINT
Let me see your hands....
He takes Hooper's hands in his own big bloody fists, and feels
them as he talks.
QUINT
Ha. City hands. You been counting
money. If you had a $5000 net and
$2000 worth of fish in it, and along
comes Mr. White, and makes it look
like a kiddy scissors class has gone
to work on it and made paper dolls.
If you'd ever worked for a living,
you'd know what that means.
HOOPER
Look, I don't need to hear any of
this working class hero crap. Some
party boat skipper who's killed a
few sharks....
BRODY
(interrupting)
Hey. Knock it off. I don't want to
have to listen to this while we're
out there....
QUINT
What do you mean 'We....?'
BRODY
It's my charter. My party.
QUINT
All right, Commissioner. But when
we're on my ship, I am Master, Mate
and Pilot. And I want him...
(indicates Hooper)
...along for ballast.
BRODY
You got it.
176 EXT. QUINT'S DOCK - MORNING 176
The Mate is loading. He hands Quint the items on his check
list as Quint takes them aboard.
QUINT
5 lengths of ½-inch, 20 number 14's,
straight gaff, flying gaffs, tail
rope, eye splice, M-1, 20 clips,
pliers, irons....
As he talks, we see Hooper coming down to the dock. Wheeling
a wagon behind him are two long-haired Research Assistants from
the Institute. On the wagon, among other things, is a big
shark cage. At dockside, Hooper checks his list, as he signs
for his issue.
HOOPER
Powerhead, CO2 darts, hypo, regulator,
tanks, depth gauge, camera, extra
magazines, cage....
176-A CLOSE - ON HOOPER AND RESEARCH ASSISTANT 176-A
ASSISTANT
You got everything you asked for?
HOOPER
All of it. And thank Dr. Miro for me.
And tell Borack I'll catch up with
them in New Zealand.
ASSISTANT
This is actually a killing expedition?
HOOPER
An eye for an eye, you know.
QUINT
Hey, Squirt! You want to stow this
gear or you want me to use it for
ballast? It ain't good for much but
bait.
HOOPER
(to Assistant)
I'll see ya. Tell Dorothy hello.
Hooper sees his gear approaching.
176-AA ANGLE ON DOCK AND ORCA 176-AA
Quint sees Hooper approaching with the large cage.
QUINT
Hello, Junior. What are you? Some
kind of half-assed astronaut?
(to himself)
Jesus Christ, when I was a kid, every
little squirt wanted to be a harpooner
or a sword fisherman. What d'ya have
there -- a portable shower?
HOOPER
Anti-Shark cage.
QUINT
Who's inside, you or the shark?
Hooper indicates "me."
QUINT
You're in the cage?
(Hooper nods)
The cage is in the water?
(Hooper nods)
The shark is in the water too?
(Hooper nods)
You're in the water with the shark.
Hooper nods. Quint sings "Spanish Ladies" half to himself.
HOOPER
Comin' aboard....
176-B ANGLE ON DOCK, BRODY AND ELLEN APPROACHING 176-B
She's carrying a little plastic shopping bag, he's wearing
shiny new foul weather gear, bundled up, sweaty, uncomfortable.
She gives him as good a hug as she can manage under the circum-
stances.
ELLEN
Did you take your dramamine?
(Brody nods)
Here.
She straightens his coat, and gives him a shaving kit to carry
aboard with his toiletries. From the deck, Quint whistles
derisively.
QUINT
Hurry up, Chief, daylight's a wastin'.
ELLEN
Is that him?
BRODY
(to Ellen)
Colorful, isn't he?
ELLEN
You going to be all right?
BRODY
Nothing to worry about -- I'll
survive this.
ELLEN
I'll see you back soon. There's an
extra pair of glasses in your black
socks, and there's some suntan lotion
and blistex in your kit.
Brody nods, and holds her hand for a wordless moment.
QUINT (o.s.)
(sings)
'Here is the body of Mary Lee.
For 15 years she kept her virginity.
Not a bad record for this vicinity.'
There is a sputter and roar as the Orca's diesels kick on.
BRODY
Yo-ho-ho and a bottle of rum.
ELLEN
(hugging him)
What'll I tell the kids?
BRODY
Tell 'em I went fishin'!
They laugh together, and exchange a short, fierce kiss.
QUINT
Cast off the bow line!
Now your stern!
Its diesels chugging, the Orca pulls away from the pier.
Ellen has already resolutely turned her back on it, and is
walking off the dock back onto dry land.
176-C ABOARD THE ORCA 176-C
Quint has set a course out towards the open sea. He lashes
the wheel, and jumps down to address Hooper and Brody, who
are standing together in the stern.
QUINT
(to Brody)
Front-Bow, Back-Stern, Port,
Starboard. Aloft, Below. It's
not a staircase, it's a ladder,
it's not a rope, it's a line, and
if you don't get it right...
(indicates porthole)
I'll throw your ass through
that little round window.
He laughs at his joke. This is probably something he tells
all his charters.
QUINT
Now hear this. You're aboard the
fishing vessel 'Orca,' and I'm her
Captain, Master, Mate, and Owner.
You'll jump when I holler. We're
doin' a job here, and Christ, I
ain't got time to watch you birds
get hooks in your ass and fall
overboard. Ship with me, and
you'll do all right. Cross me, and
I'll slap you upside your heads.
Now -- if you boys are ready --
let's go fishin'.
He starts moving gear around, preparing chum barrels, setting
hooks, Hooper gives him a hand, Brody stays out of the way.
DISSOLVE TO
176-D EXT. THE OCEAN - NOON 176-D
It is quiet as the Orca drifts along in the current, a wide
chum slick spreading behind it. A couple of flag buoys spread
along our perspective show us the miles the boat has gone.
Quint spots something in the water -- a small blue shark
attracted by the chum. He rigs a small pole with a piece of
bait, and throws it over the side.
QUINT
Here's something for you....
The shark takes the bait, Quint brutally and efficiently sets
the hook, and reels the shark alongside. He hauls it part
way out of the water, and sticks it with a gaff. Hooper and
Brody watch.
176-E INSERT - SHARK WRIGGLING ON HOOK 176-E
Tailrope dropping on him. Gaffed and bleeding, the shark is
immobilized by Quint's practiced hands. He takes one of his
big knives and poses for a moment beside the struggling fish.
QUINT
These greedy sons-a-bitches will
eat their own guts.
He slices into the shark's underbelly. We hear the sound
of entrails plopping into the water. Brody is almost retching,
and Hooper is just displeased.
176-F ANGLE ON THE WATER 176-F
The gutted shark swimming in circles biting at its own entrails.
176-G ANOTHER ANGLE 176-G
Fins closing in on the wounded shark.
QUINT
Go ahead, you cannibals. Tell 'em
where you got it!
177-H SHARK FRENZY 176-H
A boil of water and the flash of fins and teeth as the local
sharks erupt in a feeding frenzy, jaws snapping, blood spewing,
a sudden display of the fury and blind predatory drive of the
fearsome species.
HOOPER
What's that supposed to prove?
QUINT
Just a little appetizer. I want our
porker to know we're serving. I want
to put some iron into that big yap....
Hooper and Brody react as we
DISSOLVE TO
177 EXT. THE OCEAN - AFTERNOON 177
The Orca is drifting in neutral. The ocean is like gelatin,
the sun sucking heat waves from its surface. Brody at the
stern, handkerchief on his head to protect from further sun-
burn, has been handed the slimiest job on a shark hunt: the
ladling out of chum. There are several empty chum barrels. A
flag buoy bobs in the wake of the boat, another waits to be
tossed over the side. Brody is reeling with nausea. He opens
his overnight kit and takes out a handkerchief and some Old
Spice after-shave. He pours the after-shave into the cloth,
presses it to his nose. Hooper is also in the stern.
QUINT
Keep that chum line going -- we've
got five good miles. Don't break
it.
BRODY
Who's driving the boat?
QUINT
Nobody. We're drifting with the
current.
HOOPER
(using the
fish finder)
Nothing. Nothing, nothing,
nothing.
QUINT
(to Hooper)
Hell, in the old days we went out
with good charts, good sounding
lead, and a damn good compass.
Nowadays, these kids are afraid to
go out without depth finders, radar,
radio, electric toothbrush, every
stupid thing....
Quint opens a can of beer and drains it in one long pull,
crushing the empty and throwing it over the side. Hooper
drains his coffee from a styrofoam cup, and cracks it in his
hand with a silly "plup." He stows the pieces in an empty
chum barrel.
QUINT
(to Brody)
Get a fresh barrel.
Brody goes to unlash a fresh barrel, but can't figure out the
knots. He finally tugs on a piece of rope, and it all comes
loose...barrel, shark cage, and, most important, Hooper's
tanks, clattering and rolling on the deck.
HOOPER
(jumping up)
Watch it! Compressed air -- you
screw around with one of those and
Boom! Careful, huh?
QUINT
(mutters)
Real fine stuff but it won't mean
a thing to Mr. Whitey, of course...
he didn't go to schools in elec-
tronics. He was born with what he
does best. Eat. He's a swimming
appetite. 'Course he might eat this
stuff, but then I've seen him eat a
rocking chair, too.
(to Brody)
Next time, ask me.
DISSOLVE TO
177-A LATER 177-A
The men are in different positions on the boat. Hooper on
the flying bridge. Quint in the stern, Brody hanging over
the rail, puking.
Quint takes a wide red strip of whale meat and a gnarled
squid from the garbage pail, and searches for a No. 2 hook
rig. He holds up a strip of whale.
HOOPER
(eyeing bait)
That's pilot whale, isn't it?
QUINT
It ain't a Big Mac.
(to Brody)
The expert don't approve. What do
you thing? You're closer to the
situation.
(laughs)
Brody shades his eyes from the white sun as Quint baits up.
BRODY
(croaky)
Why are we way out here, when the
shark's back there?
QUINT
(snapping bait to
his leader)
...'cause this is where he lives.
You gotta think like they do.
HOOPER
(to himself)
Easy for you -- they got a brain
the size of a radish.
Quint sits in the fighting chair. He casts off, murmuring
as the line feeds out.
QUINT
(to Brody)
Now if he weren't around, we'd of
hooked something else by now,
wouldn't we? But he scared 'em
all away. Big lonesome son of a
bitch....
DISSOLVE TO
177-B LATER 177-B
Quint at ease in his chair, Brody near him, practicing tying
knots. The line starts to move, a few feet at a time; both
men watch. Then the line whizzes off the reel. Brody jumps
up. Hooper springs to the deck. Quint puts his hand on the
drag and addresses the situation softly.
QUINT
-- he'll gulp it down now...
(making gulping
noises)
Hooooooo!
Quint tightens drag and strikes. The line goes whizzing out.
Brody runs to Quint's side. Hooper springs up to the flying
bridge.
BRODY
You got it?
QUINT
(turning with
the pull)
Get behind me, dummy!
(shouts to Hooper)
Reverse her and turn -- he's taking
too much line!
(to Brody)
Wet my reel, quick!
Brody goes to get water, the boat surges, he staggers. Brody
pours water on the screaming reel, nearly unspooled now.
Hooper is turning the boat around and the line changes direc-
tion.
QUINT
(straining, muscles popping
Starboard, for Chris'sake ---
Hooper steers it sharply.
QUINT
(to Hooper)
Hey, you! Farmer! Half-speed
there....
HOOPER
(almost to himself)
Aye, Aye SIR. Stand by to repel
boarders. Poop the mainsail.
Argh, Jim Boy.
Again the line changes direction, down this time.
QUINT
(to Hooper)
Neutral!
(to himself)
Where the hell is he going?
Quint reeling in like mad.
QUINT
Oh, this ain't foolin' me --
(rod arcs down
with a surge)
Sure -- try it!
He ad libs brief instructions to Brody as the line rushes
out and there is less tension. Quint is horsing up and down,
reeling in.
QUINT
Makin' believe it's easy now.
The line is almost vertical, and Quint shows a hint of baffle-
ment. He reels in suspiciously.
QUINT
Gettin' ready to run again -- no?
No?
(suspicious)
What's he playin' here?
(reels in furiously,
to Brody)
Put the gloves on!
(to fish)
Let's see who's gonna tease who now!
HOOPER
Let it go, don't waste your time.
QUINT
(to Hooper)
Down here, Hooper!
Hooper is rushing down.
HOOPER
I don't know what it is, but it's
not a shark.
QUINT
(bathed in sweat;
hauling, reeling)
Look -- you may be a big Yahoo in
the lab, but out here you're just
supercargo, and you'll do as I say,
or you can take your gear and
backstroke home. Now get down here!
The leaders show above the water line. Brody is wide-eyed,
waiting for that first look.
BRODY
The wire's showing!
QUINT
(to Brody)
Unbuckle me -- fast!
(to Hooper)
Grab the leader. He ain't normal,
this one...they never --
HOOPER
It's too wild, too erratic. It's
a marlin or a stingray. It's a
gamefish.
Hooper snaps the rope onto the leader and holds on.
QUINT
Watch your hands --
(suddenly to Brody)
Grab onto this!
Before he realizes what's happening, Brody is clumsily clutch-
ing at the big rod, appalled. Quint skips away for a flying
gaff. He picks one, turns....
That's when the leader lashes free, sending Hooper crashing
backward in a serious fall, and the rod whips at Brody's fore-
head, drawing blood. Quint snatches up the rod and reels in.
The wires have been bitten through.
QUINT
(to Hooper)
A marlin, or a stingray. Huh.
Don't ever tell me my business
again. Get back up on the bridge.
HOOPER
(stunned)
I'm okay....
QUINT
(to Brody)
Fasten the pole.
BRODY
What's the point with hooks and
lines? ---
QUINT
Don't tell me my business!
(to Hooper, points)
Quarter-mile, that way. Full
throttle.
Hooper shakes off his dizziness and obeys. Brody watches
Quint rig up a new leader, hook up the same bait.
BRODY
(nursing forehead,
gesturing at rod
and reel)
How -- if they're gonna keep on
breaking?
QUINT
What I do is trick him to the sur-
face, got that? Then I can jab him,
understand?
(goes to flybridge,
muttering)
Think I'm gonna haul it in as if he's
a catfish, like everyone else does?
Brody goes inside to inspect his forehead.
178 ON BRIDGE - HOOPER AND QUINT 178
QUINT
(suddenly, pointing)
Over there!
HOOPER
What do you see?
QUINT
(still looking)
At least you handle the boat all
right. Stop. Here...Cut the engine.
Hooper cuts the engines as Quint swings nimbly down. He stands
stock still on the main deck, motioning Brody to be silent.
Then picking up the newly rigged rod, Quint softshoes it over
to the chair. About to sit down, he freezes.
179 CLOSE - QUINT 179
looking hard at something.
180 CLOSE - BRODY 180
staring, eyes widening.
181 CLOSE - HOOPER 181
moving in, surprised, interested, fascinated.
182 THEIR COMBINED POINT OF VIEW 182
We see the shark. First the fin...then the head and upper jaws,
ten or twenty yards off the side of the boat. It finally sub-
merges, its tail giving a final slap.
183 ANGLE ON QUINT 183
He puts his rod away and stares at it. And stares. And stares.
Hooper is the first to break the silence.
HOOPER
20 feet, if it's an inch....
QUINT
25 feet. And three tons of
him there.
Hooper is nearly beside himself with a strange ecstasy. He
leaps toward his gear.
QUINT
(quietly, to
Brody)
I never saw one that big.
BRODY
What do we do? Get some help?
Radio in?
Quint ignores him and moves off into the pilot house, where he
swiftly takes out his green case, and opens it to begin to
assemble something inside it. Brody is alone on the deck with
Hooper.
BRODY
How're we gonna handle this?
Hooper is contained in his own excitement. He has finally come
up with what he was looking for -- an expensive Nikon through
which he peers intently at the shark alongside. He is talking
half to himself as he fine-tunes the range finder and focus.
He is squeaking and bubbling in an unsuppressed emotional boil.
HOOPER
(very, very high)
There's a formula! Girth, about
150 inches, squared, divide by
800 -- son of a bitch, they are
not going to believe this! --
Divide by 2000...three tons!
(after Quint)
You're right, you old fart! Three
tons!
(ad libs ecstasy)
183-A CLOSE ON QUINT IN THE PILOT HOUSE 183-A
He is assembling the Greener harpoon gun, deftly screwing on
the long wooden stock, the heavy steel barrel, and big shaft
with the wicked barbs, the frame all rigged with line. Past
him, on the deck, we can still see Hooper. As Quint is working
with the gun, the radio suddenly squawks into life.
RADIO VOICE (v.o.)
Amity Point Light Station to Orca.
This is Amity Point Light Station,
to Orca....
Quint snaps the mouthpiece to his lips.
QUINT
Orca here.
RADIO VOICE (v.o.)
I have Mrs. Martin Brody here....
QUINT
Put her on.
ELLEN'S VOICE
...push this? Oh. It's working.
Hello, Martin?
QUINT
This is Quint, Missus.
ELLEN'S VOICE
I just wanted to know if you were
all right...the Coast Guard let me
use their radio. Is Chief Brody
there?
QUINT
He's busy.
ELLEN'S VOICE
Well...is everything all right?
QUINT
Just fine, Missus. We'll be back
soon. Everything's fine. We haven't
seen anything yet. Orca out.
He snaps off the radio, and, for good measure, pulls the plug
from the power source.
183-AA ANGLE FROM DECK 183-AA
The big shark is slicing through the water just below the sur-
face, its fin high, the big gray back glistening, the teeth
gleaming.
183-AAA ANGLE - INCLUDING FOREDECK 183-AAA
HOOPER
(on deck)
Damn it! I need something in the
foreground to give it some scale.
Martin! Stand here! No, to your
left!
He is positioning Martin frantically, trying to include Brody,
the shark, and the Orca in the same frame. Quint finishes with
the gun, and as a final gesture, snaps an explosive cartridge
into the breech. He empties the box of cartridges onto the table,
snatches up a big handful, and drops them into a pocket, and
heads out on deck, bound for the bow pulpit.
183-B ON DECK 183-B
Quint appears with the harpoon gun. He throws one end of the
line to Hooper.
QUINT
Here. Rig this to the forward keg
up there.
He indicates the barrels on the foredeck.
QUINT
(to Brody)
Get up there and steer her. Follow
my hand, and hold 'er steady. I've
got to get a clean shot at that
porker's head.
Quint moves up toward the bow, Brody goes up to the flying
bridge to take the wheel, Hooper starts for the foredeck, but
stops to rummage in his kit, throwing gear around as he desper-
ately hunts for something.
QUINT
Hurry up, rig the line!
183-C ANGLE ON HOOPER 183-C
He finds what he's looking for. A small, powerful strobe unit,
waterproofed, a miniature signal beacon. He triggers it, and
it begins to pulse with a light we can see even in the sun.
Hooper scampers to the foredeck and begins to rig the light to
the first barrel, as the shark begins to surface near the bow.
QUINT
(to Brody)
Come to port. Watch my hand.
Steady now....
He guides Brody with hand signals. Brody tries urgently to
get it right, not to oversteer, to try to hold the big boat
with its throbbing diesels on the course that Quint is indicating.
QUINT
The line, man, the line!
Hooper is rigging like crazy.
183-D FROM THE FLYING BRIDGE 183-D
Brody steering f.g., Hooper on the foredeck with the barrels,
Quint leaning out over the pulpit, the gun at the ready, the
shark crossing inexorably in front of them.
183-E CLOSE ON QUINT 183-E
agonizing over his shot as the shark approaches, glancing back
to see if the line is properly rigged and Hooper is clear of it.
QUINT
Get clear, damn you!
The shark is in position, Hooper shouts, a moment too late.
HOOPER
Clear!
Quint fires. The harpoon slams into the shark behind his head,
half-way along the back in front of the big dorsal fin.
QUINT
Jesus H. Christ On a Crutch!
184 INSERT - COILED ROPE AND BARREL 184
The rope snaps out in a blur of violent motion, Hooper jumps
back, and the barrel leaps out of its rack, pulled by the line
rigged to the harpoon. It bounds forward and into the sea,
past Quint, who is already reloading, mounting another steel
shaft. In the distance, the barrel bobs and skips violently
in the water, dragged by the shark in his merciless moves.
185 THE FOREDECK - QUINT 185
QUINT
Now you've done it, you piss-ant.
Stop and rig a goddam tinker toy
to my gear. Let the bastard fight
the keg for a while. He can't stay
down with that on.
Hooper, furious with himself, runs for the flying bridge to take
the helm from Brody.
186 THE FLYING BRIDGE, BRODY AND HOOPER 186
Hooper has snatched the wheel, and is ramming the throttle
forward as he spins the wheel in a frantic 180 degree turn.
HOOPER
(to Quint)
Rig another keg! I'm bringing her
around!
His eyes dart about the ocean, looking for the barrel, as he
hot-dogs the ship around in a violent expression of his own
disgust with himself.
HOOPER
(to himself)
God damn it! We had him!
(to Quint)
I'm coming about!
He spins the wheel again, trying to make the big boat handle
like a formula speedster. The decks tip and the rigging sways
under the sudden strain. Brody is caught unaware, and tumbles
off his feet, sliding across the deck to fetch up against a wall.
the M1 Rifle is close to his hand. He stares at it.
186-A FROM THE FLYING BRIDGE 186-A
Hooper is anguished, intense, trying to find the shark, spin-
ning the wheel, compounding his error, tipping the boat in
rolling turns as he crosses his own wake. Quint has turned
his back to the sea, and is in the pulpit looking up at Hooper,
staring at him, excluding everything else.
As Quint folds his arms and stares at Hooper, we realize the
sun is going down, and it's getting dark.
BRODY
Why don't we go in? Get another
crack at him tomorrow.
QUINT
We got a barrel on him. We can't
lose him. We stay out here until
we find him.
Hooper throttles back, and the roar of the diesels subsides
and the boat resumes an even keel, slowly circling the ocean.
BRODY
Let's call in -- we can radio and
have a big boat here in an hour....
QUINT
(grim)
You hired me, remember? It's my
$10,000. It's my shark....
187 EXT. ORCA - OPEN SEA - NIGHT 187
Throttled back to slow ahead, the boat circles the water end-
lessly, staying over the shark like an avenging angel. Its run-
ning lights gleam in the night, and a glow lights the interior
of the pilot house. A bright strobe glints on the water wink-
ing once like a firefly.
188 INT. PILOT HOUSE - NIGHT 188
Brody and Hooper at the table, Quint at the wheel, keeping his
eye on the light.
QUINT
He's up again.
He corrects course slightly to keep the barrel buoy in sight.
Hooper is sitting at the table, morose. Brody is staring at
a couple of open cans of beans or beef stew, or some other
crappy rations Quint has on board. Dirty spoons stuck in the
open cans show us this has not been a formal dinner. Quint
fumbles on the chart shelf and produces some of his home brew.
He takes a pull, and hands it to Hooper, who takes a double.
Brody touches the fresh abrasion on his forehead, where the
fishing rod caught him.
Quint bends forward and pulls his hair aside to show something
near the crown.
QUINT
That's not so bad. Look at this:
...St. Paddy's Day in Knocko Nolans,
in Boston, where some sunovabitch
winged me upside the head with a
spittoon.
Brody looks politely. Hooper stirs himself.
HOOPER
Look here.
(extends a forearm)
Steve Kaplan bit me during recess.
Quint is amused. He presents his own formidable forearm.
QUINT
Wire burn. Trying to stop a back-
stay from taking my head off.
HOOPER
(rolling up a sleeve)
Moray Eel. Bit right through a wet
suit.
Brody is fascinated. Quint and Hooper take a long pull from
the bottle.
QUINT
Face and head scars come from amateur
amusements in the bar room. This
love line here...
(he bends an
ear forward)
...that's from some crazy Frenchie
come after me with a knife. I caught
him with a good right hand right in
the snot locker and laid him amongst
the sweetpeas.
HOOPER
Ever see one like this?
He hauls up his pants leg, revealing a wicked white scar.
HOOPER
Bull shark scraped me while I was
taking samples....
QUINT
Nothing! A pleasure scar. Look
here ---
He starts rolling up his own dirty pants leg.
QUINT
Slammed with a thresher's tail.
Look just like somebody caressed
me with a nutmeg grater....
Brody is drawn into their boasting comparisons. He secretly
checks his own appendix scar, decides not to enter the contest.
HOOPER
I'll drink to your leg.
QUINT
And I'll drink to yours.
They toast each other. Brody looks around, sees the strobe
blink once through the darkened window.
QUINT
Wait a minute, young fella. Look.
Just look. Don't touch....
He starts lowering his pants to reveal a place on one hip where
the tissue is scarred and irregular.
QUINT
...Mako. Fell out of the tail rope
and onto the deck. You don't get
bitten by one of those bastards but
twice -- your first and your last.
HOOPER
(considerably drunker)
I think I can top that, Mister....
Hooper is pulling at his shirt, trying to get it off, but it's
tangling its sleeves, and won't come undone.
HOOPER
Gimme a hand, here. I got something
to show you ---
Brody lends a hand. The shirt slips part way off.
HOOPER
(indicating his
chest)
There. Right there. Mary Ellen
Moffit broke my heart. Let's drink
to Mary Ellen.
The two men raise their mugs in a toast.
QUINT
And here's to the ladies.
And here's to their sisters;
I'd rather one Miss
Than a shipload of Misters.
He drinks, Hooper follows.
QUINT
(shows belly)
Look a' that -- Bayonet Iwo Jima.
BRODY
(aside)
C'mon. Middle appendix ---
QUINT
(aside)
I almost had 'im.
Brody is looking at a small white patch on Quint's other
forearm.
BRODY
(pointing)
What's that one, there?
QUINT
(changing)
Tattoo. Had it taken off.
HOOPER
Don’t tell me -- 'Death Before
Dishonor.' 'Mother.' 'Semper Fi.'
Uhhh...'Don't Tread on Me.' C'mon
-- what?
QUINT
'U.S.S Indianapolis.' 1944
BRODY
What's that, a ship?
HOOPER
(incredulous)
You were on the Indianapolis?
In '45? Jesus....
Quint remembering.
189 CLOSE ON QUINT 189
QUINT
Yeah. The U.S.S. Indianapolis.
June 29th, 1945, three and a half
minutes past midnight, two torpedoes
from a Japanese submarine slammed
into our side. Two or three. We
was still under sealed orders after
deliverin' the bomb...the Hiroshima
bomb...we was goin' back across the
Pacific from Tinian to Leyte. Damn
near eleven hundred men went over
the side. The life boats was lashed
down so tight to make the bomb run
we couldn't cut a single one adrift.
Not one. And there was no rafts.
None.
That vessel sank in twelve minutes.
Yes, that's all she took.
We didn't see the first shark till
we'd been in the water about an hour.
A thirteen-footer near enough. A
blue. You measure that by judgin'
the dorsal to the tail. What we
didn't know...of course the Captain
knew...I guess some officers knew
...was the bomb mission had been so
secret, no distress signals was sent.
What the men didn't know was that
they wouldn't even list us as over-
due for a week. Well, I didn't know
that -- I wasn't an officer -- just
as well perhaps.
So some of us were dead already --
in the water -- just hangin' limp
in our lifejackets. And several
already bleedin'. And the three
hundred or so laying on the bottom
of the ocean.
As the light went, the sharks came
crusin'. We formed tight groups --
somewhat like squares in an old
battle -- You know what I mean --
so that when one come close, the man
nearest would yell and shout and
pound the water and sometimes it
worked and the fish turned away, but
other times that shark would seem to
look right at a man -- right into
his eyes -- and in spite of all
shoutin' and poundin' you'd hear
that terrible high screamin' and
the ocean would go red, then churn
up as they ripped him. Then we'd
reform our little squares.
By the first dawn the sharks had
taken more than a hundred. Hard
for me to count but more than a
hundred. I don't know how many
sharks. Maybe a thousand. I do
know they averaged six men an hour.
All kinds -- blues, makos, tigers.
All kinds.
In the middle of the second day, some
of us started to go crazy from the
thirst. One fella cried out he
saw a river, another claimed he saw
a waterfall, some started to drink
the ocean and choked on it, and
some left our little groups --
our little squares -- and swam off
alone lookin' for islands and the
sharks always took them right away.
It was mainly the young fellas that
did that -- the older ones stayed
where they was.
That second day -- my life jacket
rubbed me raw and that was more
blood in the water. Oh my.
On Thursday morning I bumped up
against a friend of mine -- Herbie
Robinson from Cleveland -- a bosun's
mate -- it seemed he was asleep but
when I reached over to waken him,
he bobbed in the water and I saw
his body upend because he'd been
bitten in half beneath the waist.
Well Chief, so it went on -- bombers
high overhead but nobody noticin'
us. Yes -- suicides, sharks, and
all this goin' crazy and dyin' of
thirst.
Noon the fifth day, Mr. Hooper, a
Lockheed Ventura swung around and
came in low. Yes. He did that.
Yes, that pilot saw us.
And early evenin', a big fat PBY
come down out of the sky and began
the pickup. That was when I was
most frightened of all -- while I
was waitin' for my turn. Just two
and a half hours short of five days
and five nights when they got to
me and took me up.
Eleven hundred of us went into that
ocean -- three hundred and sixteen
got out. Yeah. Nineteen hundred
and forty five. June the 29th.
(pause)
Anyway, we delivered the bomb.
190 OMITTED 190
191 EXT. OCEAN - NIGHT 191
Quint has just finished his story, and we are looking across
the quiet night sea to the Orca slowly circling in the night,
the warm light in the pilot house barely revealing the figures
of the three men inside, the red and green running lights
winking along the ship's flanks. We hear the distant boom
and drawn-out hoot of a whale.
192 INT. ORCA PILOT HOUSE - NIGHT 192
BRODY
What the hell?
HOOPER
It’s a whale out there.
There's a brief, eerie pause. Quint breaks the silence by
muttering into song, which he slowly swells.
QUINT
(singing)
Show me the way to go home...
I'm tired and I want to go to bed.
I had a little drink about an hour
ago, and it went right to my head.
(etc.)
Gradually, Hooper and Brody join in, and the pilothouse becomes
a warm cozy place.
193 EXT. OCEAN 193
The Orca and its song in the night. In the foreground, the
barrel and strobe light flash up into view, and behind them,
the big dorsal fin surfaces, and glides ominously towards
the ship.
194 INT. PILOT HOUSE 194
The song is continuing, and we hear the barest hint of a
scraping sound from the hull deep beneath the men. Quint's
eyes abruptly narrow as his sensitive ears are the first to
hear the abrasion of his ship. Things vibrate on the shelves.
Quint stops singing, Hooper and Brody continue a duet. The
scraping repeats, and Hooper now senses it. He drops out
of the song, leaving Brody singing solo.
QUINT
(quietly, to Hooper)
Start the engines.
As Brody hear this and is about to stop singing, the boat is
suddenly bumped from below, and the gentle scraping turns to
a violent assault somewhere on the understructure of the
vessel. Water bubbles up into the hold. Brody starts, and
looks at the radio. He is about to move towards it when
Quint's urgent instructions stop him.
QUINT
He's busting the shaft! Start
the pump!
BRODY
Where....?
QUINT
The bilge pumps. There ---
He leaves Brody in the pilot house, and runs onto the deck,
grabbing his M-1 rifle as he goes. Brody hits a switch and
we hear the pumps starting.
195 ANGLE ON THE ORCA 195
Hooper is on the flybridge , starting the engines, but the
diesels sound wrong.
QUINT
Cut the engines!
Hooper does.
HOOPER
Rudder bearings?
The boat is assaulted again. Quint fires over the stern,
emptying a clip into the water.
QUINT
(to Brody)
Get up forward! Watch for him!
Brody moves cautiously up to the bow.
QUINT
Keep your eyes open, Mr. Hooper!
Hooper stands ready on the bridge, Quint pacing the stern deck.
QUINT
Nobody sleeps! Nobody.
He jams a fresh clip into the M-1. The men scan the seas
around them. Quint resumes their song, louder this time,
more defiant.
QUINT
(sings)
Show me the way to go home...
I'm tired and I want to go
to bed. (Etc.)
Hooper and Brody join in from their respective positions.
196 EXT. OCEAN, WIDE ON THE ORCA 196
The men in place, singing, the water sparkling towards the
horizon, the stars twinkling above. The sound of a distant
whale in distant counterpoint.
197 EXT. THE ORCA - DAWN 197
Brody is at the wheel on the flying bridge, while Hooper and
Quint have a hatch up on the stern, and are working together
to repair the damaged rudder controls torn loose by the
shark. Hooper is bucking the steel rod, while Quint is ham-
mering away at the joint, trying to drive a new pin.
The engine is idling. Bits of iron clutter the deck, along
with a few rough, outsized tools and greasy rags and gaskets.
QUINT
More left rudder! More! Left
hand down now, Chief.
Brody tries to comply.
HOOPER
(shifting his grip)
Lemme get a better angle on it.
Now.
Quint hammers again.
QUINT
He's bent the housing. You can
hear it.
And we can. The Orca's diesels are no longer smooth. Brody
suddenly sees something, and points.
198 BRODY'S POINT OF VIEW - THE WATER 198
The barrel is surfaced directly ahead of them, just off the
port side. They are drifting up to it.
BRODY
The barrel!
The strobe light winks at them. Quint holds up a hand: "Quiet!"
Everything stops as they watch the barrel coming slowly up on
them.
QUINT
It's him.
He takes a killing lance from the rack. Hooper gets a
boathook.
QUINT
He's under the keg. Careful ---
Hooper leans out gingerly, snagging the barrel with the hook.
It bobs lightly in the water, an innocent bystander. Hooper
shifts his pole, takes hold of the rope, poling it in.
QUINT
(suspicious)
Easy -- just want to goose him up.
The minute he runs, drop it or
you'll lose your hands.
Hooper gets the line and starts hauling it up. No resistance.
It comes easily over the transom into a coil on the deck. He
and Quint exchange looks.
QUINT
Here -- gimme. I don't see what
he's been doin'.
199 199
and OMITTED and
200 200
201 WATER - ANGLE 201
Both men are draped over the side, their chins almost touching
the water on the aft side. From the opposite starboard
direction, fully unfastened from the barrel, comes the Great
White. First the fin, then the conical nose and the upper
border of wide, grinning teeth. It knifes through the water
in absolute silence, propelling itself with tremendous speed
toward the unsuspecting men.
202 CLOSE - BRODY 202
His instincts shine -- as does his newly-acquired sense of
direction.
BRODY
(top of his lungs)
Shark! Starboard!
203 CLOSE - HOOPER AND QUINT 203
They turn just in time, and a long spine-stretch saves them from
instant decapitation. The Great White passes the transom,
the harpoon still in its side and trailing five feet of chewed-
off cable. It rolls on its side and looks at them as it passes.
Past the stern the huge tail lashes out, ripping the rope out
of Quint's hands, shearing a huge swath through the paint,
peeling it off like a plane, taking one of the bronze letters
out of "Orca." The shark begins an arc to sea, its fin cutting
the water, and starts circling the boat. Quint notices his
cut hand, palm bleeding, realizing how close he came to losing
it.
QUINT
(to Hooper)
Haul in that rope -- it'll foul
us!
(then to Brody
on the bridge)
Start the engine!
The diesels start with a terrible grinding.
QUINT
Easy! It'll tear right out!
HOOPER
(hauling)
The shaft is giving.
Hooper slams the hatch, kicks the tools to one side, clearing
the deck for action once again.
BRODY
(on bridge)
That's it! Radio in for help!
QUINT
Shut up! Just pump her out!
BRODY
(coming down
off the bridge)
Yeah, Captain, as soon as I make
a call.
Brody heads for the radio in the pilot house.
204 QUINT - CLOSE 204
A perfectly terrible look comes over him. He raises up and
starts after Brody. Brody disappears into the cabin. Quint
pauses outside and sees:
205 INSERT - QUINT'S LEAD-CENTERED BASEBALL BAT 205
his calloused hand grabs it up fiercely.
206 INT. RADIO SHACK 206
Brody picks up the radio, flicking on knobs and lights on the
complex console.
QUINT (o.s.)
Beg your pardon ---
207 ANGLE - DOORWAY 207
Quint appears, silhouetted in the hot light of the door,
raising his bat.
QUINT
Duty first and pleasure after ---
208 CLOSE - BRODY 208
looking up in horror, covering his face.
209 CLOSE - QUINT 209
Quint brings down the bat with all the strength he can summon.
Crash!
Sparks fly, lights blink and go out, plastic and sections of
metal ricochet all over the cabin as Quint demolishes the
ship-to-shore radio.
Quint takes a happy breath, winks at Brody and hands him
the bat.
QUINT
Excuse me!
Brody's adrenalin turns his fear into rage. His glasses are
cracked or broken by flying pieces of radio. He seizes the
bat, and pound the shattered radio for emphasis.
BRODY
Some great idea! Now where are
we? Some goddam skipper you are.
You're certifiable, y'know that?
You're a real treat! Certifiable!
Bananas!
His tirade is interrupted by an urgent bellow from Hooper.
210 CLOSE - HOOPER 210
Pointing at the fin.
HOOPER
Coming right to us!
QUINT
No -- comin' right at us! Slow
ahead, he'll hit us head on --
(the engine clanks)
Slower! Throttle back ---
211 ANGLE - OVER THE BOW 211
QUINT
(raising harpoon)
Hard to port!
Hooper pulls the boat into a tight turn and Quint has a shot
at the upward rolling flank. He sinks it with careful pre-
cision.
QUINT
Try shakin' that out!
Brody emerges from the cabin as the rope zips overboard, and
the barrel, changing over, catapults into the air before
plunging into the ocean in a cloudy splash.
BRODY
(shouting to Quint)
Did you get him in the head?
QUINT
(to Brody)
No! No! No!
(to Hooper)
Swing around! After him!
212 ON THE FLYBRIDGE 212
Hooper can see the fin racing ahead of the barrel. Diving
down. Up again -- Quint prepares another iron. Brody is
digging in his bag. He comes up with his 2" .357 service
revolver.
QUINT
More gas...go to half! Get me
right alongside him ---
The engine thuds and knocks.
HOOPER
(shouting down)
We can't rev it up this high ---
Suddenly the barrel gongs into the side of the Orca.
QUINT
Watch it!
Hooper skillfully avoids the speeding rope.
QUINT
Atta boy!
Quint leans to one side, harpoon over his head. The
Great White breaks water and....
QUINT
Take two, they're small!
He sinks it deep. We hear shots. As the new rope whips
out, Brody can be seen standing on the gunwale, in regulation
police combat pistol stance, holding his .357 in both hands,
firing at the shark's head.
Quint shakes his head in amused disbelief at this, as the
barrel goes over.
HOOPER
(shouting at Brody)
Don't shoot him any more! He's
crazy on his own blood already!
BRODY
I can't stand here doing nothing!
QUINT
Order in the court!
213 WATER LEVEL ANGLE 213
He has seen the two barrels pop to the surface.
QUINT
(racing over)
Three'll do it! He's havin'
trouble with two!
He yells to Hooper and Brody as he swings behind the controls.
QUINT
Grab yourselves a couple of poles!
Quint steers "Slow Ahead," engine protesting, as he maneuvers
toward the moving barrels. Quint peers down, steering closer
and closer.
QUINT
Get ready! Now snag 'em!
Together Brody and Hooper hook a barrel-rope and hold on
for dear life as the shark changes course.
QUINT
Pull in the ropes and tie 'em onto
the transom -- free ride.
Brody and Hooper pull in with all they are worth as Quint
helps out by wheeling in a circle. He laughs to himself,
enjoying the spectacle.
214 CLOSE - HOOPER 214
securing the rope to a cleat but allowing the barrel to hang
overboard. Brody ties his now-perfect bowline adjacent cleat.
215 WIDE ANGLE - ORCA 215
The boat is jarred violently from side to side as the under-
water force of the Great White jerks and heaves them to and
fro, up and down, side to side....
216 ANGLE - HOOPER AND BRODY 216
are both torn off their feet as the boat is thrust forward.
217 FLYBRIDGE - QUINT 217
sees the fin ahead. It is pulling the boat.
QUINT
Get tired! That's the idea!
Here's a little reverse for you!
The shark leaps partially out of the water, and the sight is
both horrifying and awesome. Its jaws break water, snapping
at the ropes that have him snarled and frustrated.
Quint throws the Orca into neutral and shouts down:
QUINT
Haul in -- watch the prop!
With that, Quint slides down to the prow, putting another
shaft onto his gun, finding satisfaction in its heft and
balance. The shark can be seen directly ahead, threshing
closer.
QUINT
Now! Untie 'em! Quick! He'll
tear us to pieces.
He fires the iron, and the shark veers downward in a gushing
shower of spray.
218 HOOPER AND BRODY 218
They are trying to untie from the cleats, but both ropes are
stretched too taut. They jump out of the way, falling flat
on the deck as the ropes sweep over them, knocking over ob-
jects, skeetering across the deck. A tight jerking motion,
and the Orca is dragged through the water -- backwards. And
much too fast. Water is splashing up over the transom in
its backward wake. The engines groan and complain.
QUINT
Damn head is too far away. He's
too big.
Wrenched to one side, Quint is knocked from his feet.
219 CLOSE - THE TWO CLEATS 219
A moment of slackness, and then a great surge of raw strength.
The rope snaps the cleats off, screws and splintered wood
spraying -- and the barrels fly over the water. They dis-
appear beneath the turbulent grey surface.
The three men, breathing heavily, bruised and pouring sweat,
look out at the blank water.
220 ANGLE - OCEAN 220
Pop -- pop -- pop. One, two, three, the barrels surface --
ready for more.
QUINT
(amazed at the
shark's strength)
He can't go so deep. Not with
all those on him.
Brody looks down at his feet. There is salt water up to their
shoe tops.
BRODY
What about us?
QUINT
(mentally assessing
the damage)
Have to pump her steady, s'all.
The barrels start a wide circle, each cuts through the
water, pushing a wave before it and leaving a wake behind.
QUINT
(to Hooper)
Follow him --
(to Brody)
You start pumpin' out here.
Quint tosses Brody the hand pump, then picks up his M-1, and
checks the load.
HOOPER (o.s.)
(on bridge)
He's heading under -- !
QUINT
(incredulously)
No way! He can't!
221 ANGLE - OCEAN 221
The barrels approaching the Orca dip below the surface, one
-- two -- three.
BRODY
Where'd he go?
Brody looks around. Hooper on the flying bridge searching
in all directions. Quint is looking more appalled every
second.
QUINT
(helplessly)
He can't stay down with three
barrels on him! Where is he?!
BRODY
Have you ever had one do this?
QUINT
(and he means this)
No!
Booming thud at the keel. Brody slides on the wet deck and
Quint loses his footing, falling into Brody's arms.
222 WITH HOOPER ON THE FLY BRIDGE 222
It seems the only place out of reach of the shark. Quint
climbs up, Brody following him, reloading his pistol.
Just then, the barrels pop up ahead, veer left, and duck under.
QUINT
Follow him!
HOOPER
He's under!
223 BRODY AND HIS POINT OF VIEW 223
BRODY
There!
(points wildly)
The barrels have surfaced and we see the monster shadow
sliding under the Orca, seemingly endless. Violent scraping
sounds.
BRODY
He's trying to sink us!
QUINT
(to Hooper)
Dead astern! Zig-zag!
Quint is grimly silent. Brody senses that Quint is in the
fight of (and for) his life.
The Orca taking evasive action. But the three barrels
are closing the gap, the engines coughing and missing, des-
troying themselves with every rotation of the damaged shaft.
BRODY QUINT
He's chasing us! I don't Full throttle! To port!
believe it.
224 ANGLE ON THE BRIDGE 224
Hooper is jamming the throttle forward, but the engine is
pounding and knocking wildly. The barrels circle and move
in. Quint has his rifle ready.
HOOPER
(suddenly giving
Quint the wheel)
Hold her.
He leaps to his gear, trying desperately to get his dart gun.
Just then, the shark attacks, breaking water and rising over
the boat like a rocket; snout, jaws, pectoral fins, belly,
falling sideways. A vast spray drenches the men. Quint
fires into the belly, the bullets pocking the smooth whiteness.
HOOPER
(loading)
Keep him there! Keep him!
The Orca shudders from side to side. From Hooper's point of
view we can the shark gripping the transom in his jaws,
shaking the boat as he saws his massive head from side to
side, trying to tear a chunk out of the very hull. Quint
has reloaded and is firing into the fish Brody has a wicked
pointed gaff, and is swinging wildly at the snout, gashing
and gouging it, trying for the eyes. The killing lust is
on all three men.
QUINT
Throttling back!
The boat surges, the shark gives a final unbalances wrench,
and disengages. The dorsal fin circles off, beginning a wide
loop around the boat.
The engine quivers and dies, the boat without power, rolling
half awash, a wounded victim.
The fin dips, the barrels follow, the shark disappears beneath
the waves. There is complete silence.
225 THE THREE MEN ON DECK 225
In the dead quiet, we can hear the lap of waves against the
hull, the hoarse panting breathing of the men, the pings and
pops of the cooling, dying engines.
226 QUINT AND THE TRANSOM 226
He eyes the stern. Huge cracks and broken timber testify to
the fury of the attack.
QUINT
(very quietly,
to Hooper)
What can that gun of yours do?
HOOPER
Power head with 20 ccs of
strychnine nitrate. If I can hit
him. I can kill him. But I
gotta be close. Very close.
BRODY
(the awful
realization)
You gotta go in the water....
CUT TO
227 ON DECK, LATER 227
Quint and Hooper are assembling the shark cage, its shiny
bars the only undamaged things on deck. Brody is working
too, bolting the sections together.
HOOPER
(in command now)
Rig the cable to the roof eyebolts.
The men are speaking in near whispers, quiet in the silence
that surrounds them. Hooper is in his wet suit, adjusting
weights, mask, tanks, etc. The cage is standing in the stern.
Quint runs a line from the gin pole to the roof section.
Hooper climbs in though the top.
HOOPER
Take me up.
Brody cranks the winch, hoisting cage and Hooper into the
air. Quint balances the gin pole lines, Hooper crouching
in the cage, examining it for stresses; satisfied, he holds
out his hand. Quint puts the spear gun into it.
228 CLOSE ON HOOPER IN THE CAGE 228
He examines his weapon, checking the power load, with the
big wicked-looking syringe head uncapped to reveal its razor
point.
HOOPER
Lower away, Chief.
(then, to Quint)
Try and keep him off me till I'm
under.
Hooper inside, looking out the bars of the cage, gives Brody
a reassuring smile, then pops his mouthpiece between his
teeth and checks his regulator. Brody steps back, and with
Quint guiding the cage, begins lowering it off the gin pole
boom arm into the sea alongside the boat.
Brody and Hooper stare at each another as their faces pass, Hooper
sliding down into the cold grey ocean.
As Hooper disappears beneath the surface, Quint and Brody
exchange a long look between them.
229 UNDERWATER - CAGE 229
HOOPER'S POINT OF VIEW
Submerging. The sky, horizon, water line, clean fresh sea
air then...the magnificent innerspaces, with bubbles sparkling
in front of us.
230 ANGLE - HOOPER IN THE CAGE 230
as he floats to twenty feet Hooper never stops looking around
360 degrees. He removes the rubber guard from the needle and
waits.
231 EXT. THE SURFACE - BRODY AND QUINT 231
Their turning heads tell us that the barrels are still circling.
Suddenly, both heads stop turning.
232 THE SEA 232
The barrels have come to a stop. Delicately, they change
course and meander toward the lowered cage.
233 UNDERWATER - HOOPER 233
His back is to us. He is just now completing a visual sweep
and turns, eyes front into closeup and: fixes wildly on
something monstrous...and fascinating.
234 HOOPER'S POINT OF VIEW 234
The water is clear and shafts of sunlight streak downward
in the blue. From the deep gloom -- diving slowly, smoothly
-- comes the shark. It move with no apparent effort, sinuous
beyond comparison. As it nears the cage, it turns, and its
ghastly length passes right in front of him: first the
snout, then the jaw, slack and smiling, then the black eye.
Hooper tentatively reaches out. It is too far for the
strychnine pole. The vinyl flesh is pocked with bullet
holes, iron scars, gaffing hooks and strange open wounds
that tinge the passing currents with pink.
235 SURFACE 235
The trailing barrels gong and scratch the keel of the Orca
above. Brody and Quint leap back.
236 HOOPER - CLOSE 236
The shark has vanished into a cloud of rising silt. Hooper,
expecting the shark to attack out of that same general
direction, braces himself, pole extended through the bars,
breathing faster, straining his eyes into the gloom and...
we see that the shark attacking from behind him.
The cage is sent careening. Hooper grabs the bars for dear
life. The shark has grabbed the steel struts in its brutal
jaws, shaking the cage relentlessly from side to side, bend-
ing the bars like clothes hangers. Hooper can't turn the point-
end of the pole around, his body jammed as far away from the
non-rational attacker as possible.
Hooper is trapped.
The shark withdraws to get some running room then charges
again. The bleeding snout thrust deeper into the yawing
bars, the jaws snapping and twisting, two feet from Hooper's
torso, the tail thrusting it forward. Hooper drops the
strychnine pole between the bars and it tumbles slowly
toward rapture depth.
All the shark needs is one more good thrust before separating
Hooper at the waistline. Through frantic bubbles Hooper
fumbles with the overhead hatch cover, kicking up and out
of the cage. The shark backpedals with its tail, but the
broad head won't shake loose.
Hooper rushes downwards, after the strychnine pole.
238 ANGLE - SHARK 238
The shark twists free of the cage and arrows downward after
Hooper.
Hooper nearly recovers the pole. Again it slips from his
frightened grasp and this time disappears into a narrow
abyss. Hooper turns and looks up.
The Great White is lunging at him, twenty feet above.
239 SURFACE 239
One of the barrel ropes snakes around the cage rope and
pulls taut.
240 HOOPER - DEEP 240
Turning to meet the monster which -- though held back for a
moment by the snarled rope -- now surges forward.
241 SURFACE - BRODY AND QUINT 241
The Orca is listing dangerously aft, the ginpole bent almost
to the breaking point. Brody is in a frenzy trying to haul
up the cage. Quint attaches the end of Brody's rope to a
hand-winch. The ginpole is splitting.
QUINT
Let go of it!
The pole gives way, the rope whipping down on the gunwale...
the pulling of the tonnage below is tipping the Orca, dragging
it, but Quint won't give up the winch. Brody hauls on the
rope barehanded.
242 UNDERWATER - HOOPER 242
maneuvering downward, away from the jaws...Suddenly the crazed
shark veers upward for the surface.
243 SURFACE - QUINT 243
The winch is working faster now, Quint demonically winding
it in. The crushed cage bangs against the hull then breaks
water.
Brody is horrified. The cage is empty!
QUINT BRODY
(a horrible scream) He's taken him!
He's comin' up --- !
244 MASTER ANGLE 244
The shark breaks water right beside the Orca, rising with a
great whooshing noise. It rises vertically, towering over-
head, blocking out the sun. The pectoral fins seem to reach
forward. The shark, in all of its monstrous glory, falls onto
the stern of the boat with a shattering crash, narrowly
missing Quint and Brody. It drives the stern underwater,
the ocean pours in over the transom. The jaws snap from side
to side. Brody flounders backwards away from it.
245 CLOSE - BRODY 245
He is clinging to the mast for dear life, as the ship begins
to tilt to stern, and everything starts to break loose around
him.
246 NIGHTMARE ANGLE - DECK OF THE ORCA 246
The giant jaws are snapping irresistibly at everything:
great chunks of wood torn out of the deck and superstructure.
Deck chair, irons, rope, gear, beercans, bottles, Brody's
bag, all are food for the insatiable maw blindly churning
away.
Quint is clinging next to a rack of lances: he is enraged at
this ultimate violation of his territory. He snatches up a
lance and hurls himself at the shark with a wordless bellow.
The great head weaves side to side, the deck is at a treacherous
incline, slippery with blood and seawater. Quint's footing
falters and slips, he stumbles at the Mouth of Hell, the big
teeth seize him and snap.
Quint's roar of rage and pain is choked off as his body is
clamped between the grinding, sawing teeth, and his head and
legs suddenly contort as the shark's teeth meet across his
torso. Blood gushes onto the deck. The remnants of his
body tumble from the shark's mouth.
Brody sees the horror, hears the screams -- in his despera-
tion, he tears loose one of Hooper's remaining air tanks, and
hurls it at the monster. It tumbles into the bloody well,
wedging across the back of the mouth, the thick steel blocking
the cruel jaws.
The shark's head shakes even more violently, trying to clear
the cold iron, but the tank is in to stay.
246-A DECK OF THE ORCA, LISTING BADLY 246-A
To avoid sliding into the jaws, Brody scrambles on the titling
deck, bracing himself in the cabin door to avoid pitching
down into the bloody mouth. He fights his way into the cabin,
already a shambles.
Below him, on the deck, the shark lunges again, shifting
weight so that the boat in now stern down, and listing to
the side. Water from the sea pours into the cabin.
Another lunge by the shark. The huge snout and jaws slam
up against the doorframe, blocking escape, bloody, gnashing.
More seawater. To stay in the cabin is to go down with the
ship.
Brody clambers as far from the shark as he can, against the
forward wall of the pilothouse. He sees the window Hooper
used before. It's blocked by barrels and debris. He breaks
the side window highest above the water, edges out onto the
battered bridge.
The sharks rolls around, now half in the water. The ship
is sinking, the sea is not a viable alternative. Brody climbs
up into the flying bridge.
The shark is still lunging and snapping. Brody is forced to
climb higher and higher as the ship slowly sinks beneath him.
247 CLOSE - BRODY 247
He scrambles for his life onto the flying bridge, sees the
M-1 stuck there, seizes it.
248 OVER BRODY, LOOKING DOWN AT THE STERN 248
He is bracing himself, aiming the rifle, taking a bead on the
steel tanks, silver gleaming in the bloody shark’s mouth. He
fires. And fires. Bullets shatter the shark’s teeth, punching
holes in the dripping snout.
249 WIDE ON THE ORCA – EXPLOSION 249
With a muffled boom, the perfect symmetry of the shark is
suddenly blown apart in a geyser of steel and blood as
Brody’s shot hits the pressurized tank. A 30-foot cloud of
water, steel, shark and debris covers the sky.
A gigantic convulsion hurls the Great White’s mangled body
into the sea. The Orca slowly begins to turn over in its
death roll.
250 UNDERWATER 250
The shark’s carcass floating down in a cloud of blood and
debris.
A shadow clouds the waters, and the Orca’s mass begins to
slip into the frame.
251 CLOSE - HOOPER 251
Emerging from beneath the surface, he raises his mask, spits
out his mouthpiece and kicks toward Brody.
252 SURFACE - BRODY AND HOOPER 252
Brody is holding onto a cushion, barely afloat, relieved the
shark is dead, yet stunned to see Hooper is still alive. The
two men share weak laughter, which soon trails off.
HOOPER
Quint....?
BRODY
(shakes his head)
No....
(notices something o.s.)
You think we can use those to
get back?
252-A SURFACE - BRODY AND HOOPER - ANOTHER ANGLE 252-A
They swim through the debris, using a plank strapped between
two barrels as a float, as dozens of seagulls feast on shark
remains on the surface.
BRODY
What day is this?
HOOPER
Wednesday...No, it's Tuesday,
I think.
BRODY
Think the tide's with us?
HOOPER
Just keep kicking.
BRODY
Y'know, I used to hate the water....
HOOPER
I can't imagine why.
DISSOLVE TO
253 HIGH SHOT FROM SHORE 253
The two tiny, miserable heroes swim ashore as the credits
roll.
FADE OUT
THE END