НАЗВАНИЕ: Jaws (1975)
ГОД: 1975
СЦЕНАРИСТ: Peter Benchley and Carl Gottlieb
ИСТОЧНИК: ScriptSlug (PDF) — https://www.scriptslug.com/script/jaws-1975
URL: https://assets.scriptslug.com/live/pdf/scripts/jaws-1975.pdf
СКАЧАНО: 2026-10-12 11:49
ПРИМЕЧАНИЕ: текст чужой, для личного изучения. Не распространять. Не исполнять.
======================================================================

             JAWS



          Written by


Peter Benchley & Carl Gottlieb
OVER BLACK

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
curtain 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: landslide, metabolic sounds, the rare and secret
noises that certain undersea species share with each other.
Also, the hint of familiar music, twisted and distorted by
the depths.

                                                   CUT TO:

EXT. BEACH ‚ NIGHT ‚ SHARK'S POINT OF VIEW ‚ RISING OUT OF

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.

EXT. BEACH ‚ NIGHT ‚ ANOTHER ANGLE

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
considerable necking activity; Tom and Chrissie are more
serious.

                       TOM
             Makes a clumsy attempt at snaring
             Chrissie, cups her from behind. She
             squirms playfully out of his grasp.
             We discover he's not especially
             sober.

                       TOM (CONT’D)
             Hey! Hey hey! I'm with you, right?
                                                       2.

EXT. ANOTHER PART OF THE BEACH ‚ NIGHT

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 (CONT’D)
          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.

EXT. CHRISSIE IN THE WATER

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.
                                                          3.

EXT. CLOSE ON TOM ON BEACH

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.

INT. BRODY HOUSE - BEDROOM - EARLY MORNING

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 ANNOUNCER (V.O.)
          Hayes Landing reports conditions
          good, with stripers and jacks. The
          Coast Guard has no storm warning
          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
morning 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
scrabbling 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)
                                                       4.

                    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.

INT. BRODY KITCHEN - MORNING

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
upstairs. 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. Muggers.
              (he puts it all behind)
          Ship it.
                                                       5.

                    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 (CONT’D)
          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.
                                                       6.

He looks out the window to the view beyond, discovering some
new wonder in the fresh sunlit morning.

BRODY'S POINT OF VIEW ‚ OUTSIDE THE HOUSE

Sean, the younger child, is happily romping in the summer
air, enjoying the very air he breathes.

                    BRODY
          Let's see...

The phone rings.

INT. BRODY KITCHEN ‚ DAY

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 goddamn 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.
                                                         7.

                    BRODY
          Here? You gotta be kiddin'.

He gives her a light kiss, starts to go, with his cup.

                     BRODY (CONT’D)
          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.

EXT. ISLAND HIGHWAY - MORNING

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.

EXT. AMITY BEACH - DAY

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.

                    CLOSER ANGLE
          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.
                                                       8.

                    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?

                    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 (CONT’D)
          Maybe that's your girl.
                                                         9.

Brody runs toward Hendricks, Cassidy hesitates, then follows
with:

                    CASSIDY
              (pathetically)
          You can't make me look -- !

MASTER ANGLE - THE SAND DUNE

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
horseshoe 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
understands.

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....

QUICK SHARP CUT

Chrissie's remains, incomplete from the chest down, horribly
bitten. (NOTE: See Hooper's dialog in Sc. 91 for complete
description of corpse.)
                                                        10.

INT. BRODY'S OFFICE - DAY

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.

CLOSE - ACCIDENT REPORT

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
information 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.
                                                      11.

                    POLLY (CONT’D)
          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.

INSERT - ACCIDENT REPORT

Cause-of-Death line rolls into place. The hammers punch out:

SHARK ATTACK.

                    BRODY
          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.

BRODY'S OUTER OFFICE

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...
                                                         12.

Brody pushes past him and out the door.

EXT. AMITY MAIN STREET ‚ DAY

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 (CONT’D)
          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 (CONT’D)
          They did that with their bare
          hands.

                    BRODY
          Call me later in the day, okay,
          Harry?

ANGLE - AMITY GAZETTE NEWSPAPER OFFICE - PORCH

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.

ANGLE - AMITY STREET

Past taverns and chowder shacks, past bleacher construction
and July Fourth posters, Brody enters Hardware and Sporting
Goods...
                                                      13.

so overstocked that beach umbrellas, aluminum deck chairs,
and rainbow beach towels splash a surplus of color from the
display window to the sidewalk.

INT. HARDWARE STORE ‚ DAY

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?

EXT. HARDWARE STORE AND STREET - DAY

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?

EXT. VAUGHN'S REALTY ‚ DAY

Revealing Larry Vaughn, the Mayor of Amity, exchanging
anxieties with Ben Meadows and Coroner Santos and two other
city Selectmen. 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?
                                                      14.

                    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.

EXT. AVRIL BAY - DAY

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)

EXT. ON THE BEACH AT AVRIL BAY - DAY

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.
                                                      15.

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?
                                                       16.

                    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 (CONT’D)
          ...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'.
                    (MORE)
                                                      17.
                    VAUGHN (CONT'D)
          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 (CONT’D)
          We need someone who isn't
          prejudiced by old feuds or family
          ties, someone 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 toweling off in the background.

EXT. AMITY STREET - DAY

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.

INT. AMITY MUSIC STORE - DAY

A gently tinkling bell tolls Quint's entrance. Inside the
store, a ten-year-old boy is being shown a clarinet.
                                                      18.

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.

EXT. AMITY BEACH - DAY

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.

ANGLE ON THE WATERLINE

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.
                                                      19.

TWO YOUNG PEOPLE ON THE BEACH

A Girl and her Boyfriend leave their blanket and run for the
water, playing tag, chasing each other, having a wonderful
time.

ANGLE ON BIRTHDAY PARTY ON THE SAND - MARTIN AND ELLEN BRODY

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.

BRODY'S POINT OF VIEW - THE WATER

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.

THE ADULTS

                       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.
                                                         20.

                    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.

ANGLE ON ANOTHER SMALL BOY, PLAYING ALONE

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 (CONT’D)
          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.

MAN AND HIS DOG

As Alex and the boys hit the water, we see the man throwing
his stick into the waves, his dog swimming strongly after
it.

BRODY'S POINT OF VIEW

Out beyond the kids and the dog, the Fat Lady is bobbing
around, out way too far, isolated from the other swimmers.
                                                       21.

UNDERWATER VIEW - EXT. - DAY

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.

ON THE BEACH

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.

ANGLE ON THE WATER - BRODY'S POINT OF VIEW

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.

ANOTHER ANGLE - WATER

Alex Kintner, paddling around, making boat sounds, tooting,
going "vroom, vroom."

ANGLE ON THE BOY AND GIRL

They kiss, embrace, kiss again. Strong stuff. They sink
beneath the waves, knotted in an embrace.

ANGLE ON MICHAEL BRODY AND HIS FRIENDS

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.

BRODY AND ELLEN ON THE BEACH

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, toweling off vigorously, exclaiming to
himself.
                                                      22.

                    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...

ANGLE ON THE GANG PLAYING IN THE WATER

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.

ALONG THE WATERLINE ON THE BEACH

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.

                    THE WATERFRONT
          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.
                                                      23.

CLOSE ON MATHEW, SPLASHING BACK

He hits the water, which sprays up suspiciously pink. He
stares at it, surprised.

CLOSE ON P.J.

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.

ANGLE ON SHORE, A TOURIST AND HIS WIFE

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.

ANGLE ON BRODY

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.

CLOSE ON BRODY

He rushes into the water, up to his ankles, and suddenly
stops, unable to move into deeper water.
                                                       24.

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.

ANGLE ON MICHAEL

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.

ANGLE ON MRS. KINTNER

Her voice rising into panic and hysteria with each
unanswered cry.

                    MRS. KINTNER
          Alex! Alex? Alex...!

EXT - THE COUNTY COURTHOUSE AND COUNTY OFFICES - DAY

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.

INT. COUNTY COURTHOUSE - DAY

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.
                                                      25.

                    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.

INT. COUNCIL CHAMBER - DAY

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...
                                                      26.

                       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.
                                                      27.

THOSE IN FAVOR

                    MR. WISEMAN
          We should make sure there is no
          danger.

                    MR. HASSETT
          I didn't raise my kids to be some
          fish's lunch!

THOSE OPPOSED

                    MRS. TAFT
          The motel is all I own -- you pull
          the plug on this town and I go down
          the drain with it.

                    MR. POSNER
          Nobody's seen a shark.

                    MR. POLK
          We'll lose business, we lose taxes,
          we lose our shirts!

ANGLE ON QUINT, THE MAN IN THE BACK OF THE ROOM

He has just run his large, coarse fingernails over the
blackboard. 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 business
          back on a paying basis.
              (beat)
                    (MORE)
                                                      28.
                    QUINT (CONT'D)
          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.

                    QUINT (CONT’D)
              (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

INT. BRODY'S STUDY AT HOME - SUNSET

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.

                    BRODY
          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.
                                                         29.

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 (CONT’D)
          Honey. He has it tied up to the
          jetty with a double-knot.

BRODY'S POINT OF VIEW

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.
                                                        30.

                    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!

SUNSET ON THE BEACH

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
declining 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:

EXT. OCEAN AND PIER - NIGHT

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.
                                                      31.

Denherder hefts a bloodstained laundry bag from the
wheelbarrow, 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 (CONT’D)
              (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 (CONT’D)
          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 (CONT’D)
          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.
                    (MORE)
                                                       32.
                    DENHERDER (CONT'D)
          This is really dumb. This isn't
          even relaxing... it's just boring.

CLOSE - CHAIN IN WHEELBARROW

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.

CLOSE - PILING

A lineup of five decrepit 2 x 4 inch pilings SNAP with a
resounding CRACK.

ANGLE - JETTY

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.

DENHERDER'S POINT OF VIEW

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.
                                                      33.

CLOSE - CHARLIE

looking seaward.

CHARLIE'S POINT OF VIEW

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 --

INSERT - CHARLIE'S HANDS

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.

CLOSE ON THE HARBORMASTER OF AMITY - DAY

He is sitting on a little canvas folding chair, eating a
bowl of Cheerios with milk and sugar, watching a panorama of
ineptitude 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;
                                                      34.

every fishing supply store and sporting goods house within a
hundred miles has been cannibalized to equip this weird
array.

ANGLE ON BRODY AND HENDRICKS ARRIVING ON THE SCENE

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.

ANGLE ON BOAT RENTAL - PIER

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?

ANGLE LOOKING OUT TO SEA

Making its way through the channel towards the dock is a
sleek, expensive runabout with the name "Fascinatin' Rhythm"
on the stern.
                                                        35.

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 annoying chop.

CLOSE ON BOAT

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.

                                                 BACK TO
                                                DOCKSIDE

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.

BEN GARDNER AND HIS BOAT, FLICKA

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?
                                                       36.

                    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.

ANOTHER DOCK AREA, CLOSE BY

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!
                                                        37.

                    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 (CONT’D)
              (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.

INT. DOCK SHED - DAY

Brody is on the phone, talking to his office, trying to get
Hendricks' attention. He throws a handful of washers at the
window.
                                                         38.

                    HOOPER
          There's a fantail launch out there
          that won't make it beyond the
          breakwater.

                    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)

EXTERIOR - OCEAN - DAY

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."

boatload of impoverished scallop fishermen throw a net
overboard, 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.

THE RUBE GOLDBERG ERROR

The Out-of-Towner in a small boat is bent over in a life and

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
fishermen. Shouts of I'M ON! DIG IN! STRIKE! Then a tangle
of tackle springs from the water. They have hooked each
other.
                                                       39.

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 --

ANGLE - HARRY'S BOAT

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.

CLOSE - PRATT AND FELIX

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 --

                    HARRY'S BOAT
          Everyone wants to get into the act.
          They are attacking the

threshing beast with all they've got. Pratt uses his
automatic, 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.

FELIX AND PRATT

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!
                                                      40.

                    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. Everybody stands up as the boat slips beneath them.

INT. MORGUE - DAY

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.

CLOSE ON HOOPER

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.
                                                      41.

                    HOOPER (CONT’D)
          ...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.

EXT. DOCK AREA - DAY

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.
                                                       42.

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 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 (CONT’D)
          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.
                     (MORE)
                                                      43.
                    HOOPER (CONT'D)
          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.

ANGLE SHOWING VAUGHN APPROACHING THE DOCK

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.

HOOPER AND THE FISHERMEN

The men who landed the monster are in a tight cluster,
debating 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.

BRODY AND VAUGHN

They are walking down to the shark together.
                                                      44.

                    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 catching
          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.
                                                      45.

                    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 (CONT’D)
              (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.

MRS. KINTNER JOINS THE GROUP

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 (CONT’D)
          My Alex was a beautiful little boy
          and you killed him. Did you know
          that?
                    (MORE)
                                                         46.
                    MRS. KINTNER (CONT’D)
          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 dis-
admiration.

INT. BRODY HOUSE - NIGHT - DINING ROOM

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
youngest, Sean, who makes a face at him. He makes a face
back.

They play this game together for a few minutes.
                                                         47.

                    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 (CONT’D)
          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 (CONT’D)
          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 (CONT’D)
          Dynamite!
              (to Brody)
          How was your day...?

                    BRODY
          Swell.

They exchange a long look that evolves into a slightly
desperate, but shared laughter.
                                                       48.

                    HOOPER
              (producing wine)
          Here... one red, one white.

They laugh some more. Ellen is again left out of it.

                    HOOPER (CONT’D)
              (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 talking
          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.
                                                      49.

                    HOOPER (CONT’D)
          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 (CONT’D)
              (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 (CONT’D)
          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.
                                      50.

          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?
                                                      51.

                    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
          anything 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.

INT. BOAT SHED - NIGHT

Dark, spooky shed, with shadows of boats and strange
silhouettes 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 moves 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.
                                                       52.

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 family, 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 (CONT’D)
          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
          alimentary 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 (CONT’D)
          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,
fascinated by the bizarre ritual.

                    BRODY
          What's that?

                    HOOPER
          Half a flounder. Hmmm... a burlap
          bag... a paint can... aha!
                                                53.

                    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
          garbage 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 (CONT’D)
          ...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...
                                                         54.

EXT. ABOARD HOOPER'S BOAT - NIGHT (TANK)

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
concentrate 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 themselves)
          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,
          probably a school of mackerel
          clumped together. And staying right
          with us.
                                                       55.

INSERT - ELECTRONICS SCREEN

It's blipping and peeping.

CLOSE ON THE TWO MEN

                    BRODY
          Where'd you get all this?

                    HOOPER
          I Bought it. Both sets of
          grandparents 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...

WIDE ON THE "FASCINATIN' RHYTHM" AS IT SWINGS AROUND

The two men looking very small and vulnerable in the open
sea, the low-hanging mist obscuring their visibility in the
night.

CLOSE ON BRODY

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 (CONT’D)
          What the hell?

ANGLE FROM HOOPER'S BOAT: GARDNER'S BOAT "FLICKA" AWASH AND
                                                         56.

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.

INSIDE THE COCKPIT OF HOOPER'S BOAT

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.

THE TWO BOATS

Hooper is examining the Flicka, tying a towline to it.

INSERT HIS POINT OF VIEW

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.

                    HOOPER'S BOAT
          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.
                                                      57.

INSERT, ELECTRONICS DISPLAY

Blip, chatter, blip, chatter.

BRODY AND HOOPER

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
              (hyperventilating)
          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.

CLOSE ON BRODY

He is studying the surface, trying to follow Hooper's
movements. 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.

PAST BRODY'S BACK TO THE ELECTRONICS

Beep, chatter, blip.

UNDERWATER SEQUENCE - HOOPER

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.
                                                      58.

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...

CLOSE - HOLE

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.

CLOSE - HOOPER

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
adrenaline 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

THE BOAT, HOOPER EMERGING FROM THE WATER

He is gasping for breath, his whole body vibrating with
urgency. The salt water in his lungs combines with the
adrenaline 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!
                    (MORE)
                                                      59.
                    HOOPER (CONT'D)
          We're not talking 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.

EXT. ISLAND HIGHWAY - THE BILLBOARD - DAY

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 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!
                                      60.

          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
I don't have it.

          BRODY
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
economic 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!
          (MORE)
                                                      61.
                    HOOPER (CONT'D)
          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 (CONT’D)
          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.
                                                        62.

                    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
          concerned 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.

INT. FERRY BOAT - DAY

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.
                                                      63.

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.

INSIDE THE FERRY

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!

ANGLE ON BRODY, NERVOUSLY WATCHING THE BEACH

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.
                                                      64.

                    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.

EXT. BEACH PARKING LOT - EARLY MORNING

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.
                                                       65.

                    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
          repellent 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 acknowledgment.

                    HOOPER
          I hope we get some more help.

                    BRODY
          I wish it would rain...

EXT. BEACH - AMUSEMENT AREA - CLOSE OF SHARK MACHINE

In a shed near the bandstand, a half-dozen pinball and
arcade machines sucking quarters from holiday beach-goers. A
mechanical 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.

EXT. SOUTH BEACH - THE FOURTH OF JULY

four foot surfer's swell curls and crashes on shore,
riderless. 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.
                                                      66.

ANGLE - LIFEGUARD STATIONS

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
binoculars on some local color.

ANGLE ON TV MOBILE UNIT

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.

                    AT SEA
          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.

INT. TELEVISION MOBILE UNIT

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
repellent 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. Roll.
                                                      67.

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 Oceanographic 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)
                    (MORE)
                                                         68.
                    ANNOUNCER (CONT'D)
          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. 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...
                                                      69.

His voice is dialed under as the Announcer himself appears
in the control room to watch himself on the monitors.

                    ANNOUNCER (LIVE) (CONT’D)
          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.

ANGLE ON THE BEACH

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!
                                                       70.

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 (CONT’D)
              (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 (CONT’D)
          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?

WIDE - ON THE BEACH

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.

                    BOAT #7
          Hendricks is on the radio while a
          Coast Guard spotter works the
          sonar.
                                                      71.

                    HENDRICKS
          Anything? Thought I saw a shadow.
          Over.

Pan to the water.

                    UNDERWATER
          As before, 400 pairs of enticing,
          yummy swimmers' legs, kicking like
          animated hors d'oeuvres.

INT. HELICOPTER - AERIAL VIEW

A breathtaking view. The copter spotter looks down with
naked eye and binoculars.

                    COPTER SPOTTER
          Nothing from up here, Daisy. Over.

CLOSE - HENDRICKS

                    HENDRICKS
              (into walkie-talkie)
          False alarm. Must be this glare.

ANGLE - BEACH - CLOSE ON BRODY

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 (CONT’D)
          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.
                                                      72.

                    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.

TV CREW - NEAR WATER

TV cameramen are packing up their gear. For them it's a wrap

REPELLENT LINE - COUNTY POLICEMAN

Suddenly his Walkie-Talkie fizzes, and the Copter Spotter's
voice overloads the speaker.

                    COPTER SPOTTER
          Copter to Daisy! Red Four, Red
          Four!

BOAT #7 - HENDRICKS

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!

BEACH - BRODY

Rigid and choked, he almost breaks the "send" button trying
to transmit.

                    BRODY
          Everybody out! Out of the water,
          please -- leave the water, please --
                                                         73.

A lifeguard in a loft behind him begins blowing on his
whistle.

CLOSE - BRODY

shouting hysterically.

                    BRODY
          No whistles! No whistles!

                    THE BEACH
          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.

BOATS #6 AND #7

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.

                    HOOPER'S BOAT
          Caught on the other end of the
          line, he is wheeling in a broad,
          hot-dogger's circle turn, headed
          back.

THE WATER - BATHERS

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.

BOATS #2, #3, #4

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.

THE WATER - BATHERS

This is a confirmation of our worst dread -- a full-blown
headlong water panic.
                                                      74.

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.

CLOSEUPS - PANIC

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.

EXT. THE BEACH

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! Somebody
          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.

ANGLE - BATHING AREA

The monstrous black fin turns a slow circle as two Coast
Guardsmen manage to cut their own repellent line. All boats
converge on the dynamic fin. Men raise their guns to fire.
Others adlib nautical commands in a uniquely calculated
fashion.

CLOSE - FIN

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 surfboard. One youngster looks up and is greeted
by:
                                                         75.

YOUNGSTER'S POINT OF VIEW

Twenty rifles and shotguns pointed directly at him.
Surrounding him on three sides. Some of the policemen start
to lower their guns -- struck dumb.

HOOPER IN HIS BOAT

He throttles back suddenly, subsiding into his own wake, his
eyes still restlessly searching.

CLOSE - YOUNGSTER

his only defense, he begins to cry -- and feebly raises his
hands in unconditional surrender.

ANGLE - ESTUARY

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.

BLACK DORSAL FIN

is cruising through the narrows and toward the busy pond.

HOOPER IN HIS BOAT AGAIN

He sees it, and jams his throttle forward. He steers with
one hand, fumbling urgently for his walkie-talkie with the
other.

                    AERIAL VIEW
          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.

CLOSE ON VAUGHN

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.

OVERLOOKING THE ESTUARY

Vaughn gets there just in time to see the disaster. He
watches, helpless, trying to shout, out of breath. Stunned.
                                                       76.

ANGLE - POND

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!

CLOSE - BRODY

He turns. Oh God! Running through the slogging sand.

CLOSE - ELLEN

A sudden turn. She runs.

CLOSE - HOOPER IN BOAT

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 re-
passing the two children, racing to get out. Hooper reaches
the mouth before the others. The fin won't veer off.
                                                         77.

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.

WIDE ON WATER

Copter roars in buzzing the shark, but too late.

CLOSE - BRODY AND ELLEN

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.

INT. HOSPITAL - DAY

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.
                                                78.

Ellen exits.

                    BRODY (CONT’D)
              (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.
                                                      79.

Vaughn signs, and Brody takes the paper and exits.

QUINT'S HOUSE - DAY

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
           handshake 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.
                                                      80.

                    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 (CONT’D)
          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 (CONT’D)
          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.
                                                        81.

                    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.
                                                      82.

                    HOOPER
          I don't need to pass basic
          seamanship.

                    QUINT
          Let me see your hands...

He takes Hooper's hands in his own big bloody fists, and
feels them as he talks.

                    QUINT (CONT’D)
          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.

EXT. QUINT'S DOCK - MORNING

The Mate is loading. He hands Quint the items on his check
list as Quint takes them aboard.
                                                      83.

                    QUINT
          lengths of 1/2-inch, 20 number
          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...

CLOSE - ON HOOPER AND RESEARCH ASSISTANT

                    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.

ANGLE ON DOCK AND ORCA

Quint sees Hooper approaching with the large cage.

                    QUINT
          Hello, Junior. What are you? Some
          kind of half-assed astronaut?
              (to himself)
                    (MORE)
                                                      84.
                    QUINT (CONT'D)
          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 (CONT’D)
          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...

ANGLE ON DOCK, BRODY AND ELLEN APPROACHING

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
circumstances.

                    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?
                                                        85.

                    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
          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.

ABOARD THE ORCA

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.
                                                      86.

                    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 (CONT’D)
          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:

EXT. THE OCEAN - NOON

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.
                                                         87.

INSERT - SHARK WRIGGLING ON HOOK

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.

ANGLE ON THE WATER

The gutted shark swimming in circles biting at its own
entrails.

                    ANOTHER ANGLE
          Fins closing in on the wounded
          shark.

                    QUINT
          Go ahead, you cannibals. Tell 'em
          where you got it!

                    SHARK FRENZY
          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:

EXT. THE OCEAN - AFTERNOON

The Orca is drifting in neutral. The ocean is like gelatin,
the sun sucking heat waves from its surface.
                                                      88.

Brody at the stern, handkerchief on his head to protect from
further sunburn, 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 (CONT’D)
              (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!
                    (MORE)
                                                         89.
                    HOOPER (CONT'D)
          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
          electronics. 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:

LATER

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.
                                                         90.

                    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:

LATER

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
direction.
                                                         91.

                    QUINT (CONT’D)
              (straining, muscles
               popping)
          Starboard, for Chris'sake --

Hooper steers it sharply.

                    QUINT (CONT’D)
              (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 (CONT’D)
          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 (CONT’D)
          Makin' believe it's easy now.

The line is almost vertical, and Quint shows a hint of
bafflement. He reels in suspiciously.

                    QUINT (CONT’D)
          Gettin' ready to run again -- no?
          No?
              (suspicious)
          What's he playin' here?
              (reels in furiously, to
               Brody)
          Put the gloves on!
              (to fish)
                    (MORE)
                                                      92.
                    QUINT (CONT’D)
          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
clutching at the big rod, appalled. Quint skips away for a
flying gaff. He picks one, turns...
                                                      93.

That's when the leader lashes free, sending Hooper crashing
backward in a serious fall, and the rod whips at Brody's
forehead, drawing blood. Quint snatches up the rod and reels
in.

The wires have been bitten through.

                    QUINT (CONT’D)
              (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
          surface, 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.
                                                         94.

ON BRIDGE - HOOPER AND QUINT

                    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.

CLOSE - QUINT

looking hard at something.

CLOSE - BRODY

staring, eyes widening.

CLOSE - HOOPER

moving in, surprised, interested, fascinated.

THEIR COMBINED POINT OF VIEW

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 submerges, its tail giving a final slap.

ANGLE ON QUINT

He puts his rod away and stares at it. And stares. And
stares.

Hooper is the first to break the silence.

                    HOOPER
          feet, if it's an inch...

                    QUINT
          feet. And three tons of him there.
                                                      95.

Hooper is nearly beside himself with a strange ecstasy. He
leaps toward his gear.

                    QUINT (CONT’D)
              (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 (CONT’D)
          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)

CLOSE ON QUINT IN THE PILOT HOUSE

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.
                                                      96.

                       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.

ANGLE FROM DECK

The big shark is slicing through the water just below the
surface, its fin high, the big gray back glistening, the
teeth gleaming.

ANGLE - INCLUDING FOREDECK

                    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.
                                                      97.

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.

                    ON DECK
          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 (CONT’D)
              (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
desperately hunts for something.

                    QUINT (CONT’D)
          Hurry up, rig the line!

ANGLE ON HOOPER

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.
                                                      98.

                    QUINT (CONT’D)
          The line, man, the line!

Hooper is rigging like crazy.

FROM THE FLYING BRIDGE

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.

CLOSE ON QUINT

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!

INSERT - COILED ROPE AND BARREL

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.

THE FOREDECK - QUINT

                    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.
                                                      99.

THE FLYING BRIDGE, BRODY AND HOOPER

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 (CONT’D)
              (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.

FROM THE FLYING BRIDGE

Hooper is anguished, intense, trying to find the shark,
spinning 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...
                                                       100.

                    QUINT
              (grim)
          You hired me, remember? It's my
          $10,000. It's my shark...

EXT. ORCA - OPEN SEA - NIGHT

Throttled back to slow ahead, the boat circles the water
endlessly, staying over the shark like an avenging angel.
Its running lights gleam in the night, and a glow lights the
interior of the pilot house. A bright strobe glints on the
water winking once like a firefly.

INT. PILOT HOUSE - NIGHT

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 (CONT’D)
          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.
                                                     101.

                    QUINT
          Wire burn. Trying to stop a
          backstay 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 (CONT’D)
          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 (CONT’D)
          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.
                                                     102.

They toast each other. Brody looks around, sees the strobe
blink once through the darkened window.

                    QUINT (CONT’D)
          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 (CONT’D)
          ...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 (CONT’D)
          Gimme a hand, here. I got something
          to show you --

Brody lends a hand. The shirt slips part way off.

                    HOOPER (CONT’D)
              (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 (CONT’D)
              (shows belly)
          Look a' that -- Bayonet Iwo Jima.

                    BRODY
              (aside)
          C'mon. Middle appendix --
                                                     103.

                    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.

CLOSE ON QUINT

                    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.
                    (MORE)
                                      104.
          QUINT (CONT'D)
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 overdue
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.
    (Pause)
In the middle of the second day,
some of us started to go crazy from
the thirst.
          (MORE)
                                                     105.
                    QUINT (CONT'D)
          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

(pause) Anyway, we delivered the bomb.

EXT. OCEAN - NIGHT

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.
                                                     106.

INT. ORCA PILOT HOUSE - NIGHT

                       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.

EXT. OCEAN

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.

INT. PILOT HOUSE

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 hears 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.
                                                     107.

                    QUINT (CONT’D)
          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.

ANGLE ON THE ORCA

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 (CONT’D)
          Keep your eyes open, Mr. Hooper!

Hooper stands ready on the bridge, Quint pacing the stern
deck.

                    QUINT (CONT’D)
          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 (CONT’D)
              (sings)
          Show me the way to go home... I'm
          tired and I want to go to bed.
              (etc.)
                    (MORE)
                                                     108.
                    QUINT (CONT’D)
          Hooper and Brody join in from their
          respective positions.

EXT. OCEAN, WIDE ON THE ORCA

The men in place, singing, the water sparkling towards the
horizon, the stars twinkling above. The sound of a distant
whale in distant counterpoint.

EXT. THE ORCA - DAWN

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
hammering 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.

BRODY'S POINT OF VIEW - THE WATER

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.
                                                        109.

                      QUINT
          It's him.

He takes a killing lance from the rack. Hooper gets a
boathook.

                    QUINT (CONT’D)
          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 (CONT’D)
              (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 (CONT’D)
          Here -- gimme. I don't see what
          he's been doin'.

WATER - ANGLE

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.

CLOSE - BRODY

His instincts shine -- as does his newly-acquired sense of
direction.

                    BRODY
              (top of his lungs)
          Shark! Starboard!

CLOSE - HOOPER AND QUINT

They turn just in time, and a long spine-stretch saves them
from instant decapitation.
                                                       110.

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 (CONT’D)
          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.

QUINT - CLOSE

A perfectly terrible look comes over him. He raises up and
starts after Brody. Brody disappears into the cabin. Quint
pauses outside and sees:
                                                     111.

INSERT - QUINT'S LEAD-CENTERED BASEBALL BAT

his calloused hand grabs it up fiercely.

INT. RADIO SHACK

Brody picks up the radio, flicking on knobs and lights on
the complex console.

                    QUINT (O.S.)
          Beg your pardon --

ANGLE - DOORWAY

Quint appears, silhouetted in the hot light of the door,
raising his bat.

                    QUINT
          Duty first and pleasure after --

CLOSE - BRODY

looking up in horror, covering his face.

CLOSE - QUINT

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 adrenaline 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 goddamn 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.
                                                     112.

CLOSE - HOOPER

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 ---

ANGLE - OVER THE BOW

                    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
precision.

                    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!

ON THE FLYBRIDGE

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.
                                                       113.

                    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 (CONT’D)
          Atta boy!

Quint leans to one side, harpoon over his head. The Great
White breaks water and...

                    QUINT (CONT’D)
          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!

WATER LEVEL ANGLE

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 (CONT’D)
          Grab yourselves a couple of poles!
                                                      114.

Quint steers "Slow Ahead," engine protesting, as he
maneuvers toward the moving barrels. Quint peers down,
steering closer and closer.

                    QUINT (CONT’D)
          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 (CONT’D)
          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.

CLOSE - HOOPER

securing the rope to a cleat but allowing the barrel to hang
overboard. Brody ties his now-perfect bowline adjacent
cleat.

WIDE ANGLE - ORCA

The boat is jarred violently from side to side as the
underwater force of the Great White jerks and heaves them to
and fro, up and down, side to side...

ANGLE - HOOPER AND BRODY

are both torn off their feet as the boat is thrust forward.

FLYBRIDGE - QUINT

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 (CONT’D)
          Haul in -- watch the prop!
                                                        115.

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 (CONT’D)
          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.

HOOPER AND BRODY

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
objects, 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.

CLOSE - THE TWO CLEATS

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
disappear beneath the turbulent grey surface.

The three men, breathing heavily, bruised and pouring sweat,
look out at the blank water.

ANGLE - OCEAN

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.
                                                     116.

                    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 (CONT’D)
              (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!

ANGLE - OCEAN

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.
                                                     117.

WITH HOOPER ON THE FLY BRIDGE

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!

BRODY AND HIS POINT OF VIEW

                    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,
destroying themselves with every rotation of the damaged
shaft.

                    BRODY
          He's chasing us! I

don't believe it.

                    QUINT
          Full throttle! To port!

ANGLE ON THE BRIDGE

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.
                                                     118.

                    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 (CONT’D)
              (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.

THE THREE MEN ON DECK

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.

QUINT AND THE TRANSOM

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?
                                                     119.

                    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:

ON DECK, LATER

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 (CONT’D)
          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.

CLOSE ON HOOPER IN THE CAGE

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.
                                                        120.

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.

UNDERWATER - CAGE

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.

ANGLE - HOOPER IN THE CAGE

as he floats to twenty feet Hooper never stops looking
around degrees. He removes the rubber guard from the needle
and waits.

EXT. THE SURFACE - BRODY AND QUINT

Their turning heads tell us that the barrels are still
circling.

Suddenly, both heads stop turning.

                    THE SEA
          The barrels have come to a stop.
          Delicately, they change course and
          meander toward the lowered cage.

UNDERWATER - HOOPER

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.

HOOPER'S POINT OF VIEW

The water is clear and shafts of sunlight streak downward in
the blue. From the deep gloom -- diving slowly, smoothly --
comes the shark. It moves 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.
                                                        121.

The vinyl flesh is pocked with bullet holes, iron scars,
gaffing hooks and strange open wounds that tinge the passing
currents with pink.

                    SURFACE
          The trailing barrels gong and
          scratch the keel of the Orca above.
          Brody and Quint leap back.

HOOPER - CLOSE

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,
bending the bars like clothes hangers. Hooper can't turn the
pointed 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.

ANGLE - SHARK

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.
                                                     122.

                    SURFACE
          One of the barrel ropes snakes
          around the cage rope and pulls
          taut.

HOOPER - DEEP

Turning to meet the monster which -- though held back for a
moment by the snarled rope -- now surges forward.

SURFACE - BRODY AND QUINT

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.

UNDERWATER - HOOPER

maneuvering downward, away from the jaws... Suddenly the
crazed shark veers upward for the surface.

SURFACE - QUINT

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
              (a horrible scream)
          He's comin' up -- !

                    BRODY
          He's taken him!

                    MASTER ANGLE
          The shark breaks water right beside
          the Orca, rising with a great
          whooshing noise. It rises
          vertically, towering overhead,
          blocking out the sun. The pectoral
          fins seem to reach forward.
                    (MORE)
                                                     123.
                    MASTER ANGLE (CONT'D)
          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.

CLOSE - BRODY

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.

NIGHTMARE ANGLE - DECK OF THE ORCA

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
desperation, 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.
                                                     124.

DECK OF THE ORCA, LISTING BADLY

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 shark 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.

CLOSE - BRODY

He scrambles for his life onto the flying bridge, sees the M-
stuck there, seizes it.

OVER BRODY, LOOKING DOWN AT THE STERN

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.

WIDE ON THE ORCA ‚ EXPLOSION

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.
                                                       125.

                    UNDERWATER
          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.

CLOSE - HOOPER

Emerging from beneath the surface, he raises his mask, spits
out his mouthpiece and kicks toward Brody.

SURFACE - BRODY AND HOOPER

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
          No...
              (notices something O.S.)
          You think we can get back with
          those?

SURFACE - BRODY AND HOOPER - ANOTHER ANGLE

They swim through the debris, using two barrels as floats,
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:
                                                     126.

HIGH SHOT FROM SHORE

The two tiny, miserable heroes swim ashore as the credits
roll.

                                               FADE OUT:

THE END
