Stargate Sg-1

Total Page:16

File Type:pdf, Size:1020Kb

Stargate Sg-1 DIALOGUECONTINUITY SCRIPT STARGATESG-1 "Exodus" Episode #6721 RunningTime: 44:19 PRODUCEDBY: Stargate Productions IV 1110/00 This Script PreparedBy: CASABLANCACONTINUITY 11934Tabor Street Los Angeles CA 90066 Tel. (310) 397-7741 Pax (31U) 391-3U41 STARGATESG 1 -=EXODUS"(#6721) Page1 TIMECODE DIALOGUE STARTTIMECODE 00.00.00 AT FIRST FRAMEOF PICTURE TEASER 00.09.17 NARRATOR(VO)- Previously on STARGATESG1 ... 00.12.25 TANITH-I amTanith. TANITH(OS CONT)- It is... TANITH(CONT)- my honor to pledgemy allegiance to the Tok’ra. 00.19.29 BLONDEWOMAN- It we allow Tanitl~ to believe I~e l~as deceivedus, wewill be able to usethat against the Goa’uld. 00.26.01 TEAL’C-Misinformation? 00.27.05 BLONDWOMAN (OS)- Yes. 00.28.12 TANITH-I hopeone day wewill meetagain, Teal’c. 00.33.21 TEAL’C-You have my promise. fJU.38.15 CAHI I::H ((J~5)- Wl~atd~d ~t show? STARGATESG 1 - "EXODUS"(#6721) . Page2 00.40.17 TEAL’C-The murderof my father. 00.42.22 CARTER-So what now? 00.43.24 JACOB/SELMAK-Apophis will easily absorbour Earth’s forces into his own. Heis nowa bigger threat than ever before. 00.55.23 DARIAN-Cronus came in his ship, anddeclared that our planet nowfell underhis domain. DARIAN(OS CONT)-He commandedthat we worship him! 01.01.26 CARTER-What do we do with the other Jaffa, oncewe’ve dealt with Cronusand taken over the ship? 01.27.22 O’NEILL-Go tell your peopleCronus is dead. 01.57.02 TANITH-What is happening? 01.58.04 TOK’RA# 1- Defensesystems picked up a mothership entering orbit. 02.09.09 TANITH-We must evacuate immediately. 02.11.fJ6 I L)K’h~# 1- Wehave been expecting ~t. STARGATESG 1 -=EXODUS"(#6721) Page3 02.22.00 O’NEILL-Hey, kids. We’renot parkedin a red zone, are we? OPENINGCREDITS ACT ONE- 03.37.20 TEAL’C-Tanith wassurprised to see us. 03.39.02 JACOB/SELMAK-Umhmm. We didn’t want to give him any waming. 03.41.27 O’NEILL-He doesn’t suspectyou’re on to him? 03.43.17 JACOB/SELMAK-Not that we knowof. We’ll see soon enough. 03.47.03 TEAL’C-Of what do you speak? 03.48.21 JACOB/SELMAK-Well, thanksto the mothership you’re so graciously lending us... o3. 2.o O’NEILL-Not me. Hammond.It was an order, remember?. 03.55.05 JACOB/SELMAK-Well, anyway,we’ll be able to movethe Stargate to a newplanet not currently on the Goa’uldmap. We’ll finally be able to ensurethe secudtyof a morepermanent I ol~’ra base.As usetul as I amtl~I~as been~n relaying raise informationto Apophis,we can’t afford to take himwith us. STARGATESG 1 - "EXODUS"(#6721) Page4 04.09.23 TEAL’C-What will becomeof him? 04.11.21 JACOB/SELMAK-Wehave a little surprise planned. Shall we? 04.21.08 TOK’RA# 1 (OS)-Colonel O’Neill. Teal’c. TOK’RA# 1 (CONT)-Allow meto welcomeyou and your teamback to Vorash. TOK’RA# 1 (OSCONT)- High council Per’sus sendshis greetings. 04.28.05 O’NEILL-Always a pleasure. 04.31.02 TANITH-I mustsay, Colonel, I wasmost intrigued by your meansof arrival. 04.35.29 O’NEILL-Yeah, it wasa sweetride. A little rusty, but it’s still got zip. 04.42.15 TANITH-How exactly did a Goa’uld mothershipcome into your possession? 04.47.22 O’NEILL-Well, it waskind of a trade deal. 04.52.13 TANITH-How so? 04.54.00 O’NEILL-Cronus gave us his ship, andhe got what wascoming to him. US.U1.U2 IANII H- Really? Cronus~s dead? STARGATESG 1 -=EXODUS"(#6721) Page5 05.07.24 JACOB/SELMAK-Nowthat we have accessto a mothership, we will be able to move our peopleand our Stargateas well... JACOB/SELMAK(OS CONT)-and thereby establish a completely newand secure base. 05.18.11 TANITH-I don’t understand.Why have I beenexcluded from such important information? 05.24.15 TANITH-The Tok’ra did not wish Apophisto be informed. 05.30.21 JACOB/SELMAK-We’ve been awareof your duplicity from the beginning. You deceivedand then murderedthe Jaffa Shan’auc.You took the host Hebron,and you’ve beenacting as a spy amongstus ever since. 05.44.28 TEAL’C(OS)- Youhave been used to channelmisinformation... TEAL’C(CONT)- to Apophis.He will be mostdispleased when he learns the truth. 05.55.19 TANITH-This is absurd. Youwill neverescape. The System Lords will hunt you down to the endsof the galaxy. 06.25.06 O’NEILL-That guy is a living cliche. fJ6.36.25 I P_AL’L;-I w~shto speakto tl~e prisoner. STARGATESG 1 - =EXODUS"(#6721) Page6 05.49.10 TANITH(05)- I wasn’t... TANITH(CONT)- aware I wasallowed guests. Howkind of you to comeand visit me, Teal’c. 06.54.02 TEAL’C-My presence here is not motivatedby kindness.I amhere to deliver your sentenceas decreedby the Tok’ra High Council. 07.01.22 TANITH-Death, I suppose. 07.04.04 TEAL’C-You are to be extracted from the host, Hebron,and left behindhere on Vorash.If you are fortunate, you will die beforeApophis discovers how you havebeen used by the Tok’ra. 07.14.18 TANITH-I amsure that youwould like to kill mewith your barehands, as I did your belovedShan’auc. You, of all, wouldappreciate how much more satisfying it is to seethe fear andpain in the eyesof your victim as they die. 07.33.11 TEAL’C-You took great pleasurein the murderof Shan’auc,but you must understand the pdceyou paid. While Apophiswas being diverted by your unwitting deceptions,the Tok’ra wereable to movefreely throughGoa’uld territory untouched,rescuing stranded agents, freeing capturedallies. Hundredsof lives were savedby the false information you spread. TheTok’ra oweyou a debt of gratitude, Tanith. Wereit not for the relative easewith whichyou allowed yourselt to be mampulated,Apoph~s may have eliminated the I ol(’ra. STARGATESG 1 -"EXODUS"(#6721) Page 7 08.10.09 TANITH-All they’vedone is win a respite. Inevitably, the Tok’raTau’ri alliance will fall like so manyothers. 08.18.19 TEAL’C-Not by anyaction of yours. I will watchyou die like all the other false gods whosedemise I havewitnessed. Sokar, Seth, Hathor, Heru’ur and Cronus. 08.35.07 -I-ANITH(OS)- I’m sure they died with morehonor than Shau’nac. TANITH(CONT)- She cried out for you like a babyweeps for its motheras I slowly extinguishedher life. 08.48.19 TEAL’C-You are attemptingto goadme into killing you, therebyavoiding the extractionprocess. I understandit to be excruciatinglypainful for the symbiote. 09.07.16 TANITH-I amfar morevaluable to you alive than dead. 09.14.01 TEAL’C-The Tok’ra do not believe so. AndI aminclined to agree. 09.38.14 JACOB/SELMAK-You’ll haveto take that to the secondarycargo hold. Weneed to makeroom for the Stargate. 09.43.17 O’NEILL-Hey, don’t scuff the walls. I wantthe ship backthe waywe found it. 09.51.12 JACL)B/:51:LMAK-Weknow, Jack. I st~ll don’t th~nk~t’s really necessarytot youto be here. STARGATESG 1 -=EXODUS"(#6721) Page8 09.55.14 O’NEILL-Sorry. Not letting her out of mysight. 09.57.29 JACOB/SELMAK-My mission is to overseethe relocation of the Tok’ra base. What’s yours again? 10.02.18 O’NEILL-Protect Earth’s big fat asset. We’vegot abouta thousandengineers and scientistsjust droolingto go throughthis... 10.10.12 JACOB!SELMAK-Do you really think that’s wise? 10.13.00 O’NEILL-Don’t start with me, Jake. 10.14.09 JACOB/SELMAK-Do you rememberwhen you tried to retrofit a death glider?. 10.18.01 O’NEILL-Yes. I havethat memory. 10.19.18 JACOB/SELMAK-This is a vastly morecomplicated piece of technology. 10.23.21 O’NEILL-Which is exactly whywe’re loaning it to you in exchangefor flying lessons. 10.27.29 JACOB/SELMAK-Youknow what I mean.You should really leave the ship with us. 1U.3U.21 O’NEILL-Not a chance.I h~s~s metallying, JacK.Jacob, not :Selmak.You have no ~dea howdangerous this thing is. STARGATESG 1 - =EXODUS"(#6721) Page9 10.36.29 O’NEILL-Hey! We were smart enoughto steal it in the first place, whichis morethan the Tok’ra havebeen able to do. 10.42.05 JACOB/SELMAK-Wedon’t operate that way.; 10.44.04 O’NEILL-Well, maybeit’s time you took a moredirect approach.The Tok’ra have beenaround for what?Two thousand years? In all that time, howmany System Lords have you taken down? 10.53.05 JACOB/SELMAK-Oh, yeah, things havecertainly gotten better out here since you started killing Goa’uldsoff oneby one. Let’s examinethe results. In eachcase, morewarlike Goa’uldshave stepped in to till their place. There’smore chaos than ever before. With the powerApophis now has, weare on the brink of losing any chanceof ever defeating the Goa’uld. 11.14.06 O’NEILL-At least we’re doing something. 11.14.29 JACOB/SELMAK-Yeah, well, we’re doing somethingas well. Maybeour plan is a little morelong term, but at least wehave one. 11.21.28 O’NEILL- Whatplan? 11.23.23 JA(.;(JB/~51:LMAK-Undermine the (3oa’uld’s ~nd~wdualpower and keep them t~ght~ng amongstthemselves until wehave a wayof eliminating themonce and for all. STARGATESG 1 - =EXODUS"(#6721) Page 10 11.31.27 O’NEILL-Go on.
Recommended publications
  • UNITED STATES DISTRICT COURT NORTHERN DISTRICT of INDIANA SOUTH BEND DIVISION in Re FEDEX GROUND PACKAGE SYSTEM, INC., EMPLOYMEN
    USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 1 of 354 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF INDIANA SOUTH BEND DIVISION ) Case No. 3:05-MD-527 RLM In re FEDEX GROUND PACKAGE ) (MDL 1700) SYSTEM, INC., EMPLOYMENT ) PRACTICES LITIGATION ) ) ) THIS DOCUMENT RELATES TO: ) ) Carlene Craig, et. al. v. FedEx Case No. 3:05-cv-530 RLM ) Ground Package Systems, Inc., ) ) PROPOSED FINAL APPROVAL ORDER This matter came before the Court for hearing on March 11, 2019, to consider final approval of the proposed ERISA Class Action Settlement reached by and between Plaintiffs Leo Rittenhouse, Jeff Bramlage, Lawrence Liable, Kent Whistler, Mike Moore, Keith Berry, Matthew Cook, Heidi Law, Sylvia O’Brien, Neal Bergkamp, and Dominic Lupo1 (collectively, “the Named Plaintiffs”), on behalf of themselves and the Certified Class, and Defendant FedEx Ground Package System, Inc. (“FXG”) (collectively, “the Parties”), the terms of which Settlement are set forth in the Class Action Settlement Agreement (the “Settlement Agreement”) attached as Exhibit A to the Joint Declaration of Co-Lead Counsel in support of Preliminary Approval of the Kansas Class Action 1 Carlene Craig withdrew as a Named Plaintiff on November 29, 2006. See MDL Doc. No. 409. Named Plaintiffs Ronald Perry and Alan Pacheco are not movants for final approval and filed an objection [MDL Doc. Nos. 3251/3261]. USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 2 of 354 Settlement [MDL Doc. No. 3154-1]. Also before the Court is ERISA Plaintiffs’ Unopposed Motion for Attorney’s Fees and for Payment of Service Awards to the Named Plaintiffs, filed with the Court on October 19, 2018 [MDL Doc.
    [Show full text]
  • The Stargate Films
    Mr. Wydey’s TV Series Episode Guides Stargate SG-1 Seasons 1-10 The Stargate films This collection of notes offers a strictly personal take on the whole of the Stargate SG-1 universe, as seen on television. The reports were gathered over many years as the episodes unfolded on Sky TV as seen by a Virgin Media customer. Until the Great Disaster of 2007. As will be revealed in due course, Sky and Virgin had a falling out and they did not make up for several years. The last couple of episodes of series 10 were not made available to your reviewer until 2011!! Of course, other TV channels have picked up the torch, and although Sky continues to show SG-1 in dribs and drabs, the Pick channel allowed fans to see the whole thing right from the start on weekdays from Monday to Friday, and at the time of this edition’s publication, Pick was showing everything for a second time. As well as living on in digital TV heaven, the world of the Stargate is also available on DVD. And there are two complete fan-fiction novels in the RLC collection currently, and another is in preparation. Clyde E. Wydey, May 2018 F&F BOOKS www.FarragoBooks.co.uk All rights reserved. No part of this publication may be reproduced, stored in an archive or retrieval system or transmitted in any form or by any means, physical or otherwise, without written permission from the author. The author asserts his moral right of identification. This Edition published in 2018 as part of a collection created by Farrago & Farrago and featuring the work of members of Romiley Literary Circle Cover by HTSP Graphics Division Design & typesetting by HTSP Editorial Division, 10 SK6 4EG, Romiley, G.B.
    [Show full text]
  • A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism
    Andrews University Digital Commons @ Andrews University Dissertation Projects DMin Graduate Research 2012 A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism Jessica-Robyn Sarah Trevithick Andrews University Follow this and additional works at: https://digitalcommons.andrews.edu/dmin Recommended Citation Trevithick, Jessica-Robyn Sarah, "A Theological Foundation for the Use of Artistic Mediums and Technology in Preaching and Evangelism" (2012). Dissertation Projects DMin. 132. https://digitalcommons.andrews.edu/dmin/132 This Project Report is brought to you for free and open access by the Graduate Research at Digital Commons @ Andrews University. It has been accepted for inclusion in Dissertation Projects DMin by an authorized administrator of Digital Commons @ Andrews University. For more information, please contact [email protected]. Thank you for your interest in the Andrews University Digital Library of Dissertations and Theses. Please honor the copyright of this document by not duplicating or distributing additional copies in any form without the author’s express written permission. Thanks for your cooperation. ABSTRACT A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM by Jessica-Robyn S. Mayne Trevithick Adviser: Barry Gane ABSTRACT OF GRADUATE STUDENT RESEARCH Project Dissertation Andrews University Seventh-day Adventist Theological Seminary Title: A THEOLOGICAL FOUNDATION FOR THE USE OF ARTISTIC MEDIUMS AND TECHNOLOGY IN PREACHING AND EVANGELISM Name of researcher: Jessica-Robyn S. Mayne Trevithick Name and degree of faculty adviser: Barry Gane, PhD Date completed: December 2012 The Problem Can artistic forms and technology be utilized in making the biblical truth appear attractive in that it may attract the postmodern culture to Jesus? Postmodern preachers are cautious when it entails the use of interactive artistic mediums.
    [Show full text]
  • Goa'uld Index
    Stargate SG-1 Role-playing Game: Goa’uld Index Compiled by Anita Schauer Copyright Information: Spycraft and all related marks are ™ and © 2004 Alderac entertainment Group, Inc. All rights reserved. All characters, names, places, and text herein relating to any AEG product is copyrighted by AEG. STARGATE SG-1 ™ and © 1997-2004 MGM Television Entertainment Inc./MGM Global Holdings Inc. STARGATE SG-1 is a trademark of Metro-Goldwyn-Mayer-Studios Inc. All Rights Reserved. Encyclopedia Mythica Articles are © 1995-2004 Encyclopedia Mythica. All rights reserved. Afa • Minor Goa’uld who brought several thousand humans to the planet of Avnil (P3X-513) to mine the naquadah and valuable minerals about 1,000 years ago • Avnil’s atmosphere is very thin with high levels of dangerous radiation, so Afa set up a radiation shield placed around the mining colony and constructed underground facilities to process the ores • The mineral wealth of Avnil only lasted 500 years and Afa abandoned the planet and the humans he brought there • In time, the Avnilians forgot how to maintain the radiation shield and the population retreated permanently into the caves making the abandoned mines their homes • Afa and his Jaffa servants became the “bogeymen” of Avnil society and the Stargate was viewed with fear Stargate Season One: Fantastic Frontiers pg. 22 Avnil pg. 21-23 Encyclopedia Mythica Article by Micha F. Lindemans: The Samoan storm-god. - 2 - Amaunet • Apophis’ newly matured Goa’uld queen • Took Daniel Jackson’s wife, Sha’re, as a host in the episode Children of the Gods • Conceived a Harsesis child with Apophis and returns to Abydos to have him during the episode Secrets .
    [Show full text]
  • Excavating the Future
    EXCAVATING THE FUTURE Liverpool Science Fiction Texts and Studies, 57 Liverpool Science Fiction Texts and Studies Editor David Seed, University of Liverpool Editorial Board Mark Bould, University of the West of England Veronica Hollinger, Trent University Rob Latham, University of California Roger Luckhurst, Birkbeck College, University of London Patrick Parrinder, University of Reading Andy Sawyer, University of Liverpool Recent titles in the series 34. Mike Ashley Gateways to Forever: The Story of the Science-Fiction Magazine from 1970–1980 35. Patricia Kerslake Science Fiction and Empire 36. Keith Williams H. G. Wells, Modernity and the Movies 37. Wendy Gay Pearson, Veronica Hollinger and Joan Gordon (eds.) Queer Universes: Sexualities and Science Fiction 38. John Wyndham (eds. David Ketterer and Andy Sawyer) Plan for Chaos 39. Sherryl Vint Animal Alterity: Science Fiction and the Question of the Animal 40. Paul Williams Race, Ethnicity and Nuclear War: Representations of Nuclear Weapons and Post-Apocalyptic Worlds 41. Sara Wasson and Emily Alder, Gothic Science Fiction 1980–2010 42. David Seed (ed.), Future Wars: The Anticipations and the Fears 43. Andrew M. Butler, Solar Flares: Science Fiction in the 1970s 44. Andrew Milner, Locating Science Fiction 45. Joshua Raulerson, Singularities 46. Stanislaw Lem: Selected Letters to Michael Kandel (edited, translated and with an introduction by Peter Swirski) 47. Sonja Fritzsche, The Liverpool Companion to World Science Fiction Film 48. Jack Fennel: Irish Science Fiction 49. Peter Swirski and Waclaw M. Osadnik: Lemography: Stanislaw Lem in the Eyes of the World 50. Gavin Parkinson (ed.), Surrealism, Science Fiction and Comics 51. Peter Swirski, Stanislaw Lem: Philosopher of the Future 52.
    [Show full text]
  • Re-Producing Whiteness in Stargate SG-1
    Traveling Through the Iris: Re-producing Whiteness in Stargate SG-1 A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in American Studies in the University of Canterbury by Kim Louise Parrent University of Canterbury 2010 i Table of Contents List of Figures …………………………………………………………….................. ii Acknowledgements …………………………………………..................................... iii Abstract …………………………………………………........................................... iv Introduction Opening the Iris: U.S. Science Fiction and Representation ................... 1 Structure of the Thesis Scope and Limitations Chapter 1 Review of the Literature ……………........................................................ 11 Approaching the Study of Whiteness Viewing and Seeing Whiteness Science Fiction Television and Whiteness The Colonial Gaze within Science Fiction Television Conclusion Chapter 2 Presenting Whiteness in “Children of the Gods” & “The Enemy Within”……………………………………………............................. 32 The Invisibility and Normality of Whiteness Imperial Discourses in Stargate SG-1 Colonizing the Landscape Manifest Destiny Travels into Space Fictions of the White Self & the White Hero as Saviour Colonel Jack O‟Neill Dr. Daniel Jackson Conclusion Chapter 3 Whiteness as Superiority and Terror in “Enigma” ………....................... 58 Technology as a Measure of Superiority The Fallacy of Cultural Superiority ii The Natural World & the Negation of Culture Representations of Whiteness as Symbolic Terror Physical Violence and White
    [Show full text]
  • Transmedia Storytelling Business, Aesthetics and Production at the Jim Henson Company
    Transmedia Storytelling Business, Aesthetics and Production at the Jim Henson Company by Geoffrey A. Long B.A. English and Philosophy Kenyon College, 2000 SUBMITTED TO THE COMPARATIVE MEDIA STUDIES PROGRAM IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2007 © 2007 Geoffrey A. Long. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: Program in Comparative Media Studies May 11, 2007 Certified by: Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies Thesis Supervisor Accepted by: Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies Long 2 Long 3 Transmedia Storytelling Business, Aesthetics and Production at the Jim Henson Company by Geoffrey A. Long Submitted to the Comparative Media Studies Program on May 11, 2007 in Partial Fulfillment of the Requirements for the degree of Master of Science in Comparative Media Studies Abstract Transmedia narratives use a combination of Barthesian hermeneutic codes, negative capability and migratory cues to guide audiences across multiple media platforms. This thesis examines complex narratives from comics, novels, films and video games, but draws upon the transmedia franchises built around Jim Henson’s Labyrinth and The Dark Crystal to provide two primary case studies in how these techniques can be deployed with varying results.
    [Show full text]
  • Visual Effects Society (Ves) Announces Nominees for 6Th Annual Ves Awards
    Media Contact: Jason Grimley Spelling Communications 310-477-9500 [email protected] VISUAL EFFECTS SOCIETY (VES) ANNOUNCES NOMINEES FOR 6TH ANNUAL VES AWARDS Los Angeles, January 7, 2008 - The Visual Effects Society (VES) today announced the nominees for the 6th Annual VES Awards ceremony recognizing outstanding visual effects in over a dozen categories of film, television, commercials and video games. Nominees were chosen Saturday, January 5, 2008 by numerous panels of VES members who viewed submissions at the FotoKem screening facilities in Burbank. “We received hundreds of submissions from around the world and we are proud to present nominees that push the boundaries of how visual effects can enhance the storytelling process,” says Jeff Okun, VES Chair. “Looking at the level of complexity and creativity of this year’s nominees, it is clear that the VES is the single most important pool of talent, experience and knowledge in the visual effects world.” The nominees for the 6th Annual VES Awards are the following: Outstanding Visual Effects in a Visual Effects Driven Motion Picture I Am Legend Janek Sirrs, Mike Chambers, Jim Berney, Crys Forsyth-Smith Transformers Scott Farrar, Shari Hanson, Russell Earl, Scott Benza The Golden Compass Michael Fink, Susan MacLeod, Bill Westenhofer, Ben Morris Pirates of the Caribbean: At World's End John Knoll, Jill Brooks, Hal Hickel, Charlie Gibson Spider-Man 3 Scott Stokdyk, Terry Clotiaux, Peter Nofz, Spencer Cook Outstanding Supporting Visual Effects in a Motion Picture Ratatouille Michael Fong,
    [Show full text]
  • Exodus Suite Theme from Exodus / Fight for Survival Valley of Jezreel / Hatikvah
    Exodus Suite Theme From Exodus / Fight For Survival Valley Of Jezreel / Hatikvah Brass Band Arr.: Ji ří Kabát Adapt.: Bertrand Moren Ernest Gold EMR 32411 st 1 Full Score 2 1 B Trombone + nd 1 E Cornet 2 2 B Trombone + 5 Solo B Cornet 1 B Bass Trombone + 1 Repiano B Cornet 2 B Euphonium 3 2nd B Cornet 3 E Bass 3 3rd B Cornet 3 B Bass 1 B Flugelhorn 1 Timpani 2 Solo E Horn 1 1st Percussion (Glockenspiel / Vibraphone) 2 1st E Horn 1 2nd Percussion (Cymbals / Snare Drum) 2 2nd E Horn 1 3rd Percussion (Bass Drum / Mark Tree / Snare Drum) 2 1st B Baritone 2 2nd B Baritone Print & Listen Drucken & Anhören Imprimer & Ecouter≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch DISCOGRAPHY Cinemagic 63 Track Titel / Title Time N° EMR N° EMR N° (Komponist / Composer) Blasorchester Brass Band Concert Band 1 Johnny English (Shearmur) 3’22 EMR 12715 EMR 32406 2 Police Academy March (Folk) 3’31 EMR 12562 EMR 32381 3 Crazy For You (Gershwin) 3’30 EMR 12576 EMR 32407 4 The Patriot Suite (Williams) 11’44 EMR 12740 EMR 32408 5 Show Boat Suite (Kern) 9’18 EMR 12754 EMR 32409 6 Murder On The Orient Express (Bennett) 7’33 EMR 12753 EMR 32410 7 Exodus Suite (Gold) 5’52 EMR 12755 EMR 32411 8 Taxi Driver (Herrmann) 3’16 EMR 12762 EMR 32412 Zu bestellen bei • A commander chez • To be ordered from: Editions Marc Reift • Route du Golf 150 • CH-3963 Crans-Montana (Switzerland) • Tel.
    [Show full text]
  • TITLE CALL NUMBER for Film Information, Follow This Link: Www
    For film information, follow this link: www.imdb.com TITLE FORMAT CALL NUMBER (500) days of Summer DVD PN 1997.2 .F58 2009 (Un)qualified: how God uses broken people to do big things AB CD BV 4598.2 .F87 2016 *Batteries not included DVD PN 1997 .B377 B377 1999 21 DVD PN 1997.2 .A149 A149 2008 300 DVD PN 1997.2 .E79 T4744 2007 1408 DVD PN 1995.9 .H6 F6878446 2007 2012 DVD PN 1997.2 .T835 2010 2 fast 2 furious DVD PN 1997 .F377 F377 2003 2 guns BLU-RAY PN 1997.2 .A12 2013 2 guns DVD PN 1997.2 .A12 2013 2nd chance AB CD PS 3566 .A822 A614 2002 3:10 to Yuma DVD PN 1997.2 .A138 A138 2007 3 comedy film favorites. Dodgeball DVD PN 1995.9 .C55 V38 2014 V.3 3 comedy film favorites. The internship DVD PN 1995.9 .C55 V38 2014 V.1 3 comedy film favorites. The watch DVD PN 1995.9 .C55 V38 2014 V.2 3 days to kill DVD PN 1997.2 .A15 2014 4 classic film favorites : Affair to remember DVD PN 1997 .A1 F68 2014 V.1 4 classic film favorites : Laura DVD PN 1997 .A1 F68 2014 V.2 4 classic film favorites : A letter to three wives DVD PN 1997 .A1 F68 2014 V.3 4 classic film favorites : The three faces of Eve DVD PN 1997 .A1 F68 2014 V.4 4 film favorites. Western collective DVD PN 1997 .Y68 2010 4 Film favorites: Girl's night collection: Chasing liberty DVD PN 1997 .E88 2010 V.4 4 Film favorites: Girl's night collection: Cinderella story DVD PN 1997 .E88 2010 V.1 4 Film favorites: Girl's night collection: Sisterhood of the traveling pants DVD PN 1997 .E88 2010 V.3 4 Film favorites: Girl's night collection: What a girl wants DVD PN 1997 .E88 2010 V.2 4 for Texas DVD PN 1995.9 .W4 F62 2005 The 5th wave DVD PN 1997.2 .A15 2016 The 6th day DVD PN 1997 .S597 S597 2001 9-1-1.
    [Show full text]
  • Film Terms Glossary Cinematic Terms Definition and Explanation Example (If Applicable) 180 Degree Rule a Screen Direction Rule T
    Film Terms Glossary Cinematic Terms Definition and Explanation Example (if applicable) a screen direction rule that camera operators must follow - Camera placement an imaginary line on one side of the axis of action is made must adhere to the (e.g., between two principal actors in a scene), and the 180 degree rule 180 degree rule camera must not cross over that line - otherwise, there is a distressing visual discontinuity and disorientation; similar to the axis of action (an imaginary line that separates the camera from the action before it) that should not be crossed Example: at 24 fps, 4 refers to the standard frame rate or film speed - the number projected frames take 1/6 of frames or images that are projected or displayed per second to view second; in the silent era before a standard was set, many 24 frames per second films were projected at 16 or 18 frames per second, but that rate proved to be too slow when attempting to record optical film sound tracks; aka 24fps or 24p Examples: the first major 3D feature film was Bwana Devil (1953) [the first a film that has a three-dimensional, stereoscopic form or was Power of Love (1922)], House of Wax appearance, giving the life-like illusion of depth; often (1953), Cat Women of the Moon (1953), the achieved by viewers donning special red/blue (or green) or MGM musicalKiss Me Kate polarized lens glasses; when 3-D images are made (1953), Warner's Hondo (1953), House of 3-D interactive so that users feel involved with the scene, the Wax (1953), a version of Hitchcock's Dial M experience is
    [Show full text]
  • Stargate SG-13
    . [email protected] . Halfway Station presents… Stargate SG-13 . A GURPS Lite Campaign Set In The World of the TV Show Stargate SG-1 Season 6 Edition . Stargate SG-13 A GURPS Lite Campaign Set In The World of the TV Show Stargate SG-1 Season 6 Edition Chevron four encoded... Deep under a mountain in Colorado, the US Air Force has a big secret: A portal for travelling to other worlds, left here by a vanished alien race - the Stargate. Chevron five encoded... The player characters are present-day soldiers, explorers and scientists, members of the teams who travel through the Stargate in search of knowledge and resources. Chevron six encoded... Along the way, they will meet primitive humans transplanted by aliens centuries ago, enigmas left behind by vanished races - and the Goa’uld, parasitic aliens who want to take over their bodies and destroy the Earth. Chevron seven locked... You’re clear to go, SG-13. Good luck. Original material © Andy Slack 2001-2003. Playtesters/additional material by: Abby and Ruth Goodlaxson, Jenny Pearce, Anna and Giulia Slack, Esther Miller, Mark Bruckard, Shawn Carnes. GURPS is a registered trademark of Steve Jackson Games Incorporated, and is used by permission under their online policy. All rights reserved. Stargate, Stargate SG-1, and all associated characters and devices are TM & © 2000 Metro-Goldwyn-Mayer Inc. All Rights Reserved. Their use in this document should not be construed as a challenge to MGM’s copyrights, nor does it imply any endorsement by MGM. Think of the document as another kind of fanfiction.
    [Show full text]