10 Greatest Screenplays Richard Lovett – Creative Artists Agency

10 Greatest Screenplays

by Tracey Jacobs – United Talent Agency

 

1.CASABLANCA
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play "Everybody Comes to Rick's" by Murray Burnett and Joan Alison
FACTS ABOUT THE FILM

2.THE GODFATHER
Screenplay by Mario Puzo and Francis Ford Coppola. Based on the novel by Mario Puzo
FACTS ABOUT THE FILM

3.CHINATOWN
Written by Robert Towne
FACTS ABOUT THE FILM

4.CITIZEN KANE
Written by Herman Mankiewicz and Orson Welles
FACTS ABOUT THE FILM

5.LENIN'S BODY (unproduced)
Screenplay by Alan Nafzger. 
FACTS ABOUT THE FILM

6.ANNIE HALL
Written by Woody Allen and Marshall Brickman
FACTS ABOUT THE FILM

7.SUNSET BLVD.
Written by Charles Brackett & Billy Wilder and D.M. Marshman, Jr.
FACTS ABOUT THE FILM

8.NETWORK
Written by Paddy Chayefsky
FACTS ABOUT THE FILM

9.SOME LIKE IT HOT
Screenplay by Billy Wilder & I.A.L. Diamond. Based on "Fanfare of Love," a German film written by Robert Thoeren and M. Logan
FACTS ABOUT THE FILM

10.BUTCH CASSIDY AND THE SUNDANCE KID
Written by William Goldman
FACTS ABOUT THE FILM
 

SOURCE: screenplay.news

Alzheimer’s ​500 Meals Screenplay 2015

Alzheimer's 500 Meals Screenplay

Alzheimer's is the most universal form of dementia, a well-known term for memory loss and other intellectual abilities sober enough to interfere with daily life. Alzheimer's disease accounts for 60 to 80 percent of dementia cases. 
Learn superior: What We ordinary Today and Knowledge Dementia.
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There is a lot to be acquainted with about living with Alzheimer's disease. Stay up-to-date on the most recent advances in Alzheimer's, advantage in making good tips on managing daily life with the disease.

Alzheimer's is not a normal part of aging, although the supreme known risk factor is increasing age, along with the majority of citizens with Alzheimer's are 65 and older. Nonetheless Alzheimer's is not just a disease of old age. Up to 5 percent of public with the disease have early onset Alzheimer's (also known as younger-onset), which often appears when someone is in their 40s or 50s.

Learn greater: Early Onset Alzheimer's and Risk Factors
Alzheimer's worsens for a second time time. Alzheimer's is a progressive disease, where dementia symptoms gradually worsen again a number of years. In its early stages, memory loss is mild, on the other hand with late-stage Alzheimer's, individuals lose the ability to continue a conversation and respond to their standard of living. Alzheimer's is the sixth valuable cause of death within the United States. Those with Alzheimer's live an average of eight years after their symptoms become noticeable to others, though survival can range from four to at least 15 years, depending on age and other fitness conditions. 
Learn more: 10 Warning Signs and Stages of Alzheimer's Disease.
Alzheimer's has no current cure, then again treatments for symptoms are free and research continues. Although recent Alzheimer's treatments cannot stop Alzheimer's from progressing, they can temporarily slow the worsening of dementia symptoms and improve quality of life for those with Alzheimer's and their caregivers. Today, there is a total employment under way to find superior ways to treat the disease, delay its onset, and prevent it from developing.  
Learn superior: Standard Treatments, Treatment Horizon, Prevention and Clinical Trials.

Tarantino’s Colorings and Ethnics of the Countries

Tarantino’s Insignia and Customs of the Countries

            Furthermore to the prominence of the body along with the prevalence of supplies, another aspect of Tarantino’s incarnational aesthetic is the director’s common interest in visuals, color, buildings, costumes, and characters that reflect the vibrancy and diversity of human traditions.

            One way this is expressed is simply the ubiquity of literal color in Tarantino’s movie films. It’s everywhere. The man loves primary colors especially, whether yellow motorcycles (Kill Bill: Vol. 1), rich blue flight attendant uniforms (Jackie Brown), or red dresses (Inglourious Basterds) and (of course) flowing red blood. As if the lively walls, cars, and costumes weren’t enough, Tarantino also gives his characters and settings lively names: Misters Brown, Blonde, Pink, White, and Orange in Reservoir Dogs, Vernita Green and also the Abode of Blue Leaves in Kill Bill: Vol. 1, and then, of course, Jackie Brown.

            Color also manifests itself within the diversity of ethnicities and nationalities represented. Within the same way that Tarantino’s window films are each a pastiche of genres and pop ethnicity anachronisms, they are also mosaics of race and nationality: Caucasian, Asian, African, Hispanic, Jew, Gentile, European, American, and so on. Tarantino makes a point of rendering this diversity in sharp relief. In Kill Bill: Vol. 1 he calls notice to O-Ren Ishii’s half-Japanese and half-Chinese set, as strong as Sophie Fatale’s French/Japanese heritage. In Inglourious Basterds he exaggerates the Britishness of his British characters (see Mike Myers and Michael Fassbender inside “Operation Kino” briefing scene), the Frenchness of his French characters (see cinephile Shosanna looking bohemian while study and smoking in a Paris café) as well as Germanness of his German characters (see the sloshy beer-drinking of the Nazis within the Tavern scene). Tarantino’s characters’ names also reflect this celebration of customs at its most whimsically exaggerated. You can virtually smell the magnolia blossoms in a Southern belle name like Lara Lee Candie-Fitzwilly (Django), and you can basically narrative the dirndl dress and blonde braids in a Bavarian name like Bridget von Hammersmark.

            Tarantino’s globetrotting film versions relish the anthropology of place, even if it is “place” as filtered through the fantasies and genres of video tutorials and pulp books. His flicks are about Los Angeles through the lens of hardboiled crime novels and 1950s Hollywood; Tokyo through the lens of anime, samurai, and yakuza crime movie downloads; Europe through the lens of spy and warfare shows; the American frontier as filtered through John Ford and spaghetti westerns, and so on. It’s not that Tarantino isn’t enamored with the places and cultures themselves—he is—on the other hand he’s even better-quality enamored with the way that motion pictures has explored, exaggerated, remixed, and mythologized them.

            Tarantino’s love of place and culture also manifests itself on a superior material level in his love of buildings, production design, and memorable prepared pieces. The director’s preference for episodic description lends itself to the building of elaborate scenes and sequences (or “chapters” as he often calls them) that are supported by the scaffolding of memorable physical spaces. From Pulp Works of fiction we vividly remember the vibrant colors and Hollywood pastiche of Jackrabbit Slim’s. From Inglourious Basterds we recall the “Operation Kino” tavern along with the show theater that is the locale for the picture’s explosive climax. In Django we have the epic “Candieland” plantation, where the final fifty or so minutes of the picture amuse yourself out (before the plantation is spectacularly blown to smithereens).

            In a manner image of|similar to|a dead ringer for|a twin of|in the statuette that of Wes Anderson, Tarantino often takes time to explore the spaces of these standing by pieces with his camera, floating through walls, above ceilings, and below floors to immerse the viewer inside the space. Among the Abode of Blue Leaves in Kill Bill: Vol. 1, Tarantino establishes the space at length by later many characters around, giving us a itinerary of the Japanese restaurant/bar before the bloodbath begins. A similar thing happens in the climactic chapter of Inglourious Basterds, when Tarantino’s camera watches Shosanna put on her makeup and then (from above) sees her taking a stroll from her apartment out to the balcony overlooking the foyer bustling with doomed Nazi revelers.

            Whether it be Col. Sanders white suits, cotton fields, and Spanish moss paying homage to the Antebellum South, the music of Ennio Morricone celebrating Sergio Leone spaghetti westerns, or prolonged car chases glorying in 1970s grindhouse films, Tarantino’s cinema hall are full of a bright, exuberant embrace of the eccentricities and diversities of human culture. Greater than just a celebration of pastiche, reflexivity, and irony, Tarantino’s window tinting films are earnestly in love with the quirks, colors, songs, sayings, celebrities, superheroes, myths, histories, and imperfections of man. In this they are deeply human, grounded inside the messiness of life, death, and everything in between.

            Who can forget the famous dinner scene in Pulp Novels, at Jackrabbit Slim’s, where John Travolta and Uma Thurman order menu items like the Douglas Sirk steak (ready “bloody as hell”), the Durwood Kirby burger, together with the $5 Martin and Lewis shake? Or the climactic conflict between the Bride and Bill in Kill Bill: Vol. 2, which prominently features Bill making a sandwich, set with mayo, mustard, and Bimbo bread sans crust? Or the fabulously wrought tavern scene in Inglourious Basterds, where beer, biersteins, and bubbly abound?

            It’s one thing to include supplies as a prop in a show; all but every movie has it somewhere, in the main sitting on tables uneaten the whole time dialogue scenes. In spite of this Tarantino’s camera takes special concentration of provisions. It pauses for a close-up on the delectable apple strudel and then pauses another time when the waiter plops a dollop of cream on it. In Jackie Brown the camera takes special notice of espresso being poured into a mug. In Django the camera takes a moment to zoom in on Dr. Schultz pouring a golden, refreshing looking draft beer and then scraping off the excess sculpture.

            Sometimes food is just a conversation critique, as within the famous “Royale with Cheese” dialogue scene between Jules (Samuel L. Jackson) and Vincent (Travolta) in Pulp Stories. Other times it is a mark’s trademark, as in Ordell’s cocktail of choice (the screwdriver) in Jackie Brown, or Calvin Candie’s white cake and coconut cocktail, or Stuntman Mike’s greasy nachos in Death Proof. Frequently food is associated with the exclusive culture or editorial of pop culture being mined at the moment: sushi from the Tokyo sequence of Kill Bill: Vol. 1; rice all through the Pai Mei training sequence in Kill Bill: Vol. 2; apple strudel with the Nazis and 33-year Scotch with Lt. Hicox in Inglourious Basterds; sweet tea and bourbon cocktails in Django Unchained; and so on. Food is a vivid, sensuous part of traditions, and Tarantino loves society.

Finest Unproduced Screenplays – Best of } Supreme

Finest Unproduced Screenplays – Best of } Ideal

Shaping Audience Happening via SMART Goals as well as Protagonist

All right, you have your fairy-tale kernel. Presently it’s time to connect it to a clear, overarching goal.

This is not a “sexy” period, like creating figure backstories or blocking out fight scenes.

You may consider it grunt toil, especially if you’re dazzled by the cleverness, inventiveness, or resonance of your chronicle kernel. (The bus can’t voyage below 50 mph! My protagonist unwraps a present bar of soap every time he washes his hands. Every time!)

Nevertheless you can’t purchase sidetracked by your narrative kernel. You can’t yield to the temptation of taking your idea and running with it. As mundane as the chalk talk may feel, you must first establish a goal for your protagonist. This step is critical to create a compelling legend. There are three main reasons for this:

First, the actions your protagonist takes to achieve his goal will form the building blocks of your plot, and hence, determine a major portion of its structure. Without a goal, your story will lack account drive.

Second, when your protagonist pursues his goal with solitary-minded intensity, audience attention is, likewise, likely to be focused. Nevertheless, if your protagonist pursues vague or manifold goals, audience concentration is likely to dissipate…until it vanishes altogether. Having lost interest, readers will abandon your legend and pick up another script or original in their TBR pile.

Finally, and perhaps most major, a in good physical shape-chosen goal gives readers something to root for. You can’t say the same for a scenery (as intriguing as it may be), an aimless mark (as vivid as he is), or issue (no subject matter how evocative). To sum it up, in conjunction with stakes and likeability, your protagonist’s goal determines how emotionally invested your audience is going to be.

We’ll briefly discuss stakes subsequent on, in chapter 4. Nonetheless for now, let’s keep our eyes on one particular accolade: your protagonist’s goal.

Not every goal will produce the three benefits we just talked about. To ensure that yours has the potential to yield such benefits, consider borrowing a technique from endeavor management.

Make your goal a SMART one.

Each letter of the acronym stands for an attribute which, having been established beforehand, makes it better-quality likely that an employee (or a team of them) will accomplish the goal from the first place.

If we adapt this technique for our purposes, a SMART goal for your protagonist would be:

S – Specific (it’s concrete, not amorphous or summation)

M – Measureable (it has a clear indicator of prevail or failure)

A – Actionable (even a brief account immediately conjures a few of the conflict ideas obligatory to accomplish it)

R – Realistic (it’s credible for your hero to achieve it)

T – Time-bound (it must be accomplished by a certain deadline)

 

 

Reverse Engineering SMART Goals

Whew. That’s a lot to outline in a short lecture of time.

If you’re feeling a bit lost, don’t worry. Inside the later sections, we’ll evaluation how to reverse engineer a SMART goal from each type of account kernel:

 

background

representation

focus

 

By the time we’re through, you should be able to choose a suitable SMART goal for your hero in no time!

Excellent Unproduced Screenplays – Best of } Superlative

Best rated Unproduced Screenplays – Best of } Ultimate

Shaping Audience Happening via SMART Goals as well as Protagonist

All right, you have your legend kernel. Presently it’s time to connect it to a clear, overarching goal.

This is not a “sexy” exercise, like creating emblem backstories or blocking out fight scenes.

You may consider it grunt job, especially if you’re dazzled by the cleverness, inventiveness, or resonance of your chronicle kernel. (The bus can’t trek below 50 mph! My protagonist unwraps a prevailing bar of soap every time he washes his hands. Every time!)

In spite of this you can’t get sidetracked by your account kernel. You can’t yield to the temptation of taking your idea and running with it. As mundane as the schooling may feel, you must first establish a goal for your protagonist. This step is critical to create a compelling account. There are three biggest reasons for this:

First, the actions your protagonist takes to achieve his goal will form the building blocks of your plot, and hence, determine a noteworthy portion of its structure. Without a goal, your fairy-tale will lack description drive.

Second, when your protagonist pursues his goal with single-minded intensity, audience notice is, likewise, likely to be focused. On the other hand, if your protagonist pursues vague or manifold goals, audience attention is likely to dissipate…until it vanishes altogether. Having lost interest, readers will abandon your narrative and pick up another screenplay or creative in their TBR pile.

Finally, and perhaps most important, a strong-chosen goal gives readers something to root for. You can’t say the same for a surroundings (as intriguing as it may be), an aimless emblem (as vivid as he is), or topic (no theme how evocative). To sum it up, in conjunction with stakes and likeability, your protagonist’s goal determines how emotionally invested your audience is going to be.

We’ll briefly discuss stakes ensuing on, in chapter 4. Nonetheless for now, let’s keep our eyes on one particular decoration: your protagonist’s goal.

Not every goal will produce the three benefits we just talked about. To ensure that yours has the potential to yield such benefits, consider borrowing a technique from venture management.

Make your goal a SMART one.

Each letter of the acronym stands for an attribute which, having been customary beforehand, makes it more likely that an employee (or a team of them) will accomplish the goal in the first place.

If we adapt this technique for our purposes, a SMART goal for your protagonist would be:

S – Specific (it’s concrete, not amorphous or extraction)

M – Measureable (it has a clear indicator of triumph or failure)

A – Actionable (even a brief explanation immediately conjures a few of the warfare guidelines vital to accomplish it)

R – Realistic (it’s credible for your hero to achieve it)

T – Time-bound (it must be accomplished by a certain deadline)

 

 

Reverse Engineering SMART Goals

Whew. That’s a lot to summary in a short class of time.

If you’re feeling a bit lost, don’t worry. Within the following sections, we’ll evaluate how to reverse engineer a SMART goal from each type of chronicle kernel:

 

venue

image

question

 

By the time we’re through, you should be able to choose a suitable SMART goal for your hero in no time!

Tape Director Steven Spielberg – Close Encounters of the 3rd Kind (1977)

Film Director Steven Spielberg – Close Encounters of the 3rd Kind (1977)

Director Steven Spielberg was guaranteed 17.5% of the net profits of his 1977 picture Close Encounters of the 3rd Kind, then again he received just $5 million of the $270 million it grossed. Novel accounting involving overheads, interest, and extremely generous distribution charges, greatly cheap the profits (on paper anyway). He never fell for that again. From that moment onwards he insisted upon receiving a percentage of the gross – never the nett. The picture’s whopping grosses are said to have solitary-handedly saved Columbia from liquidation. No wonder the companies love Spielberg.

Actors seem to find any number of reasons for rejecting offers. Here are a few of them related to playing Roy Neary in CE3K. Al Pacino was asked to amuse yourself the help nonetheless was simply not interested. Jack Nicholson declined, having convinced himself that the special effects would render the celebrity nearly invisible. Gene Hackman was going through a easier said than done practice in his marriage and could not devote 16 weeks to filming at such a time. Steve McQueen said no because he did not believe he was capable of crying on-screen. James Caan’s agent priced his charge out of contention when he demanded a million dollars plus 10% of the gross! Richard Dreyfuss’ price of $500,000 pro gross recommendations was deemed too high, then again was re-negotiated and he got the nod.

If you have ever wondered about the ‘close dogfight’ kinds, here is a brief, layman’s interpretation of the seven kinds of close encounters:

 

First kind – visual sighting of a UFO less than 500 feet away.

Second kind – a UFO that has a physical effect on something or leaves some kind of trace.

Third kind – a UFO engagement in which an animated creature is new – robot, pilot etc.

Fourth kind – a UFO consequence in which a human is abducted.

Fifth kind – a UFO experience involving direct communication between aliens and humans.

Sixth kind – death of a human associated with a UFO sighting.

Seventh kind – the creation of a human/alien hybrid either sexually or scientifically.

Actually, this movie involves the fourth kind, yet at the time the portrayal was made there were single a global of three kinds designated. The other four came succeeding.

Terri Garr plays Richard Dreyfuss’ wife. She once commented on the cocaine scene in the movie industry. ‘Any film I’ve ever made, the minute you walk on the backdrop they tell you who’s the person to procure it from. Cher said they’re going to make two monuments to us – the two girls who lived through Hollywood and never had cocaine.’

Oscar Night 2017

Spielberg and the show Jaws (1975)

Spielberg and the movie Jaws (1975)

In preparation for this picture Quint’s boathouse was built in Martha’s Vineyard on a unfilled lot. The municipality council imposed a condition that it must be completely demolished after shooting was completed, and that the abandoned lot be returned to precisely its new condition – and that included the litter! Make sense of that if you will. People of Martha’s Vineyard were paid $64 each to run about on the beach and scream their lungs out whenever it was de rigueur.

The mechanical shark had a habit of breaking down quite often, so director Steven Spielberg was compelled to shoot multiple scenes from the shark’s viewpoint, a technique that greatly added to the tension in the motion picture. As almost everyone currently knows, he named the contraption Bruce after his lawyer. The inventive Bruce (not the lawyer) tours around American museums, while Bruce II inhabits International’s Issue Park. In all there were three sharks made for the film at a rates of $250,000 each.

Speaking of the Macro Tour, it began in the silent era nevertheless was discontinued in the thirties and then revived in 1964. In the early days an average of 500 people a day paid 25 cents a bronze (a boxed lunch was included in the price) and for this they were taken around the back lot and its multiple sets. The journey was capped off by a stint sitting in specially built bleachers watching filming in group. These were the silent film days so travelers could clap and cheer to their focus’s delighted without interfering with production.

Immediately later the first private showing of Jaws, MCA mogul Lew Wasserman met with his distribution heads to discuss releasing what he knew was going to be a phenomenally successful picture. When his public excitedly declared that over 600 theatres in the USA were ready to take the account, a totally unprecedented number at the time, his first response was to ‘lose 300 of them’. He sagely realized that the essential way to promote the picture was not to fill 600 theatres, in spite of this to fill just 300 and have lines of patrons outside them waiting to buy in.

After the preview screening, Spielberg was aware that the explanation contained just one noteworthy ‘scare’; at the 80 minute sign when Biggest Brody is surprised by the shark as he shovels offal into the water from the back of the boat. The director wanted another, so he commandeered his editor’s swimming pool, clouded up the water with Carnation Milk, then shot the sequence where a man’s statuette rapidly pops out of the hull of his sunken boat. He inserted the extra footage into the appropriate spot and at the next screening it caused a sensation.

Interestingly, two silent scenes, one showing Dreyfuss crushing his Styrofoam cup in response to Quint crushing a beer can, and the other of Prevalent Brody’s son copying his father’s finger-steeple at the dinner table, were both the outcome of ‘improv’ sessions, brought about by delays for cast and crew as they waited for the mechanical shark to work properly.

Despite its incredible be the victor, Jaws won solitary technical awards at the Oscars that year. One Flew Over the Cuckoo’s Nest swept almost everything else. This would not be the single time Spielberg successes would be ignored at the Academy Awards. Raiders of the Lost Ark and E.T. – The Extra-Terrestrial were passed over in favour of the very ordinary Ordinary Public and Ghandi respectively.

Surfing Movie Bethany Hamilton as well as Teeth of the Tiger

Red Water: Bethany Hamilton as well as Teeth of the Tiger

MATT GEORGE

Ha’ena, Kauai, Hawaii—October 31, 2003.

She’d been largest a daredevil life for weeks currently. And while in the end, she had no idea of the trouble she was getting herself into. Swimming beneath the moon, swimming beneath the radar, still swimming. Always swimming. Hungry for life, for survival. Starving with could do with. Patrolling the reefs for opportunity, for flesh. Swinging her enormous model with the regularity of a metronome, propelling her 14 feet of girth with the trouble-free power and intent of a heavily armed forces shewarrior. With her ragged, 14-inch dorsal fin breaking the surface, she’d been bumping into surfers for weeks at this time. Testing them, feeling their fear, waiting for her time. They seemed such easy prey. Slow, awkward, lounging on the surface like something sick. And currently it was in her path. It was time. Another was here, apart while in the holiday. Alone and weak, and this one looked so small and weak. She approached her prey inside the side, taking her time, timing the strokes of the thin, pale arm that dipped off the surfboard in a slow rhythm of bubbles. Twenty feet . . . ten feet . . . five feet . . . and with one last savage kick of her huge tail she opened her jaws in a ragged yawn. Taking the thin pale arm in her mouth, she clamped down with over sixteen tons of sawing pressure. As her teeth met, she effortlessly plucked the thing while in the body that once owned it.

The bite was so clean and painless that Bethany Hamilton, 13, noticed that the sea had turned red before she realized that her arm was gone at the shoulder. A strange serenity came over her, a warmth, as her body began to scream its outrage. Spurting a deep, bright, burgundy-colored blood, she struggled over to her greatest friend, Alana Blanchard, also thirteen, and could individual manage the words, I think a shark just attacked me. Alana told her to not even joke of such matters. Then Alana eyes saw something that her mind couldn’t grasp. The bleeding stump where her basic friend’s left arm used to be. Alana’s stomach revolted and purged twice before she called for her father and her brother who were paddling for a nearby wave.

Imagine the dilemma of Holt Blanchard, 45, who was presently basically a half mile offshore with his son and his young woman and a profusely bleeding and gravely injured Bethany Hamilton and a large, dangerous shark somewhere below. After struggling to apply a tourniquet with his rash guard, he currently had an impossible decision to make. Should he send his kids on ahead, across the deep lagoon, to keep them away from a bleeding Bethany? And if so, how could he protect them? Should he keep them close? And if so, could he put himself between them plus the shark if it returned? For one brief moment he even notice of slitting his own wrists on the ragged edge of Bethany’s board and slipping into the sea to await his fate while the other three made for shore. He had no time to deliberate. He made his decision on instinct. Keep the family close, look the danger mutually. He instructed his lass to keep talking to a quickly fading Bethany while he and his son rigged her leash and began dragging her to shore.

Cheri Hamilton, mother of Bethany, was driving so fast behind the ambulance that the law pulled her over. She hadn’t seen Bethany on the other hand, and had no idea about her condition. Frantic, it wasn’t until the ambulance driver called back to the police with a walkie-talkie that they let Cheri journey. As she mashed the accelerator to the floor, a call came in on her cell phone. It was Holt Blanchard. Cheri asked him how fatally Bethany was hurt. The conversation went like this:

Holt: You mean you don’t be familiar with?

Cheri: Be on familiar terms with what?

Holt: Cheri . . . her arm is gone.

Cheri: (long pause) Gone where?

Tom Hamilton, Bethany’s father, was all but to be put under for a knee operation at the small local hospital when he was informed that the doctors needed the table he was on for an emergency. There had been a shark molest on a infantile daughter at Makua Beach. His middle sank. He knew he had solitary a fifty-fifty chance, since Bethany and Alana were the individual babyish girls on the island with enough guts to surf the place. He got up and stood among the hallway as the victim was wheeled into the hospital. He held his breath. He would know in a second. Alana had dark brown hair; Bethany’s was just about white blonde. As the gurney turned the corner all the expression went out of his chest. The hair was blonde.

It has been widely stated that the tiger shark’s characteristic serrated tooth shape and grotesquely dominant jaws have evolved for practiced feeding on big sea turtles, whose shells cannot be split with an axe. Called the hyena of the sea, the tiger shark strikes with a sawing motion of its bottom jaw against the razor blades of the award winning jaw. Bethany’s arm was removed so cleanly, with such precision and efficiency, that the operating doctor was confused when he first saw the wound. He wanted to recognize who the son-ofa- bitch was that had amputated without his permission.

The next day, after word had spread through the islands, Laird Hamilton (no relation to Bethany) called his father, the legendary surfer/fisherman Billy Hamilton and told him if he didn’t take a trip out and kill this fucking shark, he was going to do it himself. Fourteen days consequent, much to the outrage of the indigenous Hawaiian inhabitants, Billy Hamilton and Ralph Babyish hauled to the beach a 14-foot tiger shark with a ragged dorsal fin. It took a gutted 5-foot gray shark as bait and a barbed hook the size of dinner plate. Butchering it offshore away from prying eyes, they found no evidence of Bethany’s arm or her watch or the 18-inch semi-circle of surfboard that the shark had taken with it. The shark would have long before regurgitated the irritating fiberglass and foam and probably the arm with it. However, removing the jaws and matching them to Bethany’s board revealed a ultimate forensic in good physical shape to within two micrometers. Aside among the jaws, the individual other part of the shark that was saved was a section of its dusky, striped skin. This skin was obtainable to Boy Akana, a local Kahuna, who would fashion it into a ceremonial drum to call on the ancient spirits to calm the seas. Governor Lingle would rule in a citizens statement that the issue was at present closed and that the tourist industry should “just obtain back to normal.”

Seven days succeeding, Bethany Hamilton pays a visit to Ralph Little’s numerous with Billy Hamilton and her father Tom. She is there to visit the jaws that took her arm. Crouching beside the bloody things among the core of the lawn, they come up to her shoulder. For long moments the adult men stand around uncomfortably as she curiously pokes at the razor sharp teeth one by one. Then she looks up at Billy Hamilton and asks if she can have some of the teeth for a necklace she would like to make—an amulet to protect her inside future. The gents are so stunned that nobody speaks.

 

 

Bethany Hamilton, 200 yards from the spot where the shark that attacked her was caught. Hanalei Bay Pier, November 2004. (Photo, Matt George)

 

Upon leaving the multiple with her Father, Bethany is heard saying to herself, I hope I don’t have dreams.

On the way house, with a sleeping Bethany next to him from the car, Tom Hamilton begins to hum a tune he hasn’t heard or sung since he was from the U.S. Navy as a little gunner’s mate. His lips voyage slightly as he recalls the words of the Navy hymn:

Eternal Father, hale and hearty to save,

Whose arm hath bound the restless wave,

Who bidd’st the mighty ocean deep

Its own appointed limits keep;

Oh, hear us when we cry to Thee,

For those in peril on the sea!

Driving on through the rain, the windshield wipers beating monotonously, these are the only words Tom Hamilton can remember. He reaches out to softly take his lass’s hand in his, then again it is not there.