SPOILER ALERT: This story discusses major plot points

Jurassic World Rebirth could have had different, tragic ending for a major character.

Directed by Gareth Edwards, the film takes place 5 years after the events of 2022’s Jurassic World Dominion.

It centers on a group of mercenaries (Scarlett Johansson and Mahershala Ali) and scientists (Jonathan Bailey).

The crew ventures to the abandoned island Saint-Hubert, which was once home to the InGen research lab for cloning dinosaurs, on a mission to retrieve dino DNA that could lead to a cure for heart disease. Along the way, they encounter the Delgado family — a father (Manuel Garcia-Rulfo), his two daughters (Luna Blaise and Audrina Miranda) and the elder girl’s boyfriend (David Iacono)— rescuing them after their sailboat gets sunk by dinosaurs in the open ocean.

In the film’s epic finale, the characters attempt to escape by boat, but come face-to-face with their most terrifying foe, the Distortus rex, which has savagely chomped their rescue helicopter out of the sky. Ali’s character, Duncan, decides to create a distraction, sacrificing himself so his friends and the young kids will survive. He lights a flare and the D-rex chases him into the water. Then, the flare goes out.

However, that wasn’t always the intended ending. “The draft I first read, he died,” Edwards tells Variety, explaining that, at that point, Ali had not yet signed on to the film. But, once he did board the project, Ali sent in his thoughts. “Mahershala read it, and his only main note was, ‘Can we kill him?’ I agreed with him.”

David Koepp

The first point was the front cover. It said “written by David Koepp,” Koepp wrote 1993’s Jurassic Park” and its sequel, 1997’s “The Lost World.”

Duncan’s Survival

It flipped back and forth a couple of times. In the draft I first read, he died, and I thought, “That’s great!” We started to pursue Mahershala, and for whatever reason, it felt like, well, if we’re going to get Mahershala, we’ve got to keep him alive, right? But then Mahershala read it, and his only main note was, “Can we kill him?” I agreed, so I joined Team Mahershala and we both pushed to have him killed; the script changed back to him dying.]

Two Versions

Whilst we were shooting, the studio said, “Look, we haven’t got time to do a pickup shoot or any reshoots. Just to be safe, get some material, just in case we need him to live.” In my mind, I know how this works; whatever we film will be in the movie, so you’ve got to be careful. I thought, “If we can do this, I want it to be the really classy version that I can live with,” so I started trying to imagine it and to picture some shots. The actors gave this amazing performance for this little section, and I really liked it.

But, when we edited the movie and did the director’s cut, I sent the version that had him dying. It went well, but the studio said, “Oh, it’s great. But can we just see the version where he lives?” So we went back and edited that, and everyone said, “It’s got to be that.” We did two test screenings, and the reaction to him living, everyone was a lot happier.

I still wasn’t sure about it until screening in New York. The moment where this flare appears revealing that he’s lived got this massive applause, and I felt little tear in my eye. Hats off to the studio. I’m glad they made me shoot that extra little section because it’s probably the strongest part of the film.

I just didn’t want to feel like I was selling out by bringing him back. But if anything, I had to remind myself that there’s this film called “E.T.” where E.T. died, and then when he came back. I kept reassuring myself: remember that movie you loved did this, it’s not a cop-out.

Alexandre Desplat

One of the early things Alexandre said what that we should use the theme. At the time, I was like, “I don’t know. We’re just going to experiment.” We did try a version where we didn’t have the “Jurassic” theme at all, and it felt wrong. It felt like it was missing a bit of magic dust.

Then it was a game of, “If we only play it once, where do we put it?” My problem was that I wanted it in the end credits. When it cuts to the credits, that theme begins, but it’s not really in the movie. So, I thought we can use it twice. The Titanosaur became the obvious contender because that’s where you wanted the awe and majesty. That’s also where you remember and feel it in the original, when the Brachiosaurs are at the lake. It was just trial and error.

When we recorded it, it’s one of the “take to your grave” memories. We were at Abbey Road, and I had to go to CinemaCon during the recordings. I was frustrated because I wanted to be there every day. So, I said, “Just don’t record the “Jurassic” theme whilst I’m away. Please don’t record it. Save it until I get back.” While I was away, I heard via text that they had recorded it, and I was sad. It was a big misunderstanding, so when I got back, and they did the theme. As Alexandre was conducting, Conrad Pope, the orchestrator of the original “Jurassic Park,” was there, too. You sit on these steps where The Beatles recorded their best albums and this John Williams theme unfolded, you could feel the orchestra and how they got into this for a living because of Williams.

Homage to Jaws

I started reading the script, and it talks about them chasing a giant creature in the ocean. They’ve got a rifle, they’re leaning out the front of the boat to try and hit the creature, and it’s got a big fin. You start to go, “I’ve seen another film like this… It’s called ‘Jaws,’” and then you feel trapped. You go, “I don’t know how to do this sequence, and not have that iconography, that visuals of ‘Jaws’ in there.” So, it was a game of trying not to be like “Jaws.” But it was nearly impossible because that movie is obviously a masterpiece.

We tried it with scary music, and it felt like long sequence, so we broke it into two. We made the first half about excitement, fun and adventure, and the second half scary, and, suddenly, it really worked.

Homage to Spielberg

This whole job was love letter to Steven and his early work. And it’s a very fine line between plagiarism and homage, so I was truly trying to be in the homage camp. You can’t be Steven, he’s the master at this stuff.

Can the Story Continue?

We haven’t had single conversation with anyone about it — not the studio, the producers, David and not Steven. No one’s said a word. It’s because we all don’t want to jinx anything.

You can smell it when you watch a film like this, if everyone’s trying to make it lead to a franchise. I think it’s more when the franchise is given, right? It’s got the word “Jurassic” at the front of it. How will the world receive this movie, to the point where they want it to carry on with these characters? I think what the actors have brought to it is amazing. I loved what David wrote, so I think it’s all going to be OK.

My girlfriend sent me meme which said, “Gareth Edwards doing ‘Godzilla,’ ‘Star Wars’ and ‘Jurassic’ is the kind of greed they warned us in the Bible.” I feel like I’ve had it too good, and I should just step away and let someone else have a crack at this stuff.