Realising he will most likely die, Jody requests Fergus to promise to seek out his girlfriend Dil (Jaye Davidson). When the deadline set by Jody's captors passes with their demands unmet, Fergus is ordered to take Jody into the woods to kill him. Fergus seemingly complies but when Jody attempts escape, Fergus pursues him without shooting him. Just as Jody escapes onto a road, a British armoured personnel carrier accidentally runs over and kills him. The British army attacks the IRA unit and Fergus manages to escape, believing that his companions have perished in the attack. Fergus escapes to London, taking a job as a day labourer under the alias "Jimmy".
A few months later, Fergus encounters Dil, working as a stylist at a hair salon. Later, they talk in a bar, where a drunken customer torments Dil. Fergus, consumed by guilt over Jody's death, follows the pair, rescuing Dil. Fergus soon begins falling in love with her and their relationship progresses, but when the two prepare to become intimate in her apartment, Dil reveals her transsexual status while undressing. An initially repulsed Fergus rushes to the bathroom to vomit after hitting Dil in the face, and then leaves her apartment. A few days later, Fergus leaves Dil a note in her mailbox apologising and the two reconcile. Despite initially being shocked by Dil's transsexuality, he is still taken by her. Around the same time, Jude unexpectedly reappears and tells Fergus the IRA has tried and convicted him of treason in absentia. She forces him to agree to help assassinate a British judge, and mentions that she knows about his affair, warning him that the IRA will kill Dil if he does not cooperate.
KILL THE IRISHMAN SOUNDTRACK.rar
Without Fergus present, an angered Maguire decides with Jude to proceed with the mission. Maguire underestimates the judge's protection, and an armed bodyguard shoots and kills him while Jude manages to escape. She vengefully enters Dil's flat with a gun, seeking to kill Fergus for missing the assassination. Dil subdues her and shoots her repeatedly after uncovering her part in Jody's death, finally killing her with a shot to the neck. She then points the gun at Fergus, but lowers it, saying that she cannot kill him because Jody will not allow her to. Fergus prevents Dil from shooting herself and tells her to go into hiding. He wipes her fingerprints off the gun, replaces them with his own, and allows himself to be arrested in her place. A few months later, Dil visits Fergus in prison and asks why he took the fall for her. He responds, "As a man once said, it's in my nature," and tells her the story of the Scorpion and the Frog.
Neil Jordan first drafted the screenplay in the mid-1980s under the title The Soldier's Wife, but shelved the project after a similar film was released. A 1931 short story by Frank O'Connor called Guests of the Nation, in which IRA soldiers develop a bond with their English captives, whom they are ultimately forced to kill,[4] partly inspired the story. The original draft had the character Dil as a cisgender woman, but Jordan decided to make the character transgender at the premiere of his film The Miracle at the 41st Berlin International Film Festival in 1991.[4]
In Ireland in 1892, Joseph Donnelly's family home is burned down by his landlord Daniel Christie's men because of unpaid rent. Joseph tries killing Daniel, but he injures himself in the process and is nursed back to health by Nora, Daniel's wife, and her daughter, Shannon. Shannon plans to run away from home and travel to America, as there is land being given away for free there, taking Joseph with her as her servant.
Joseph finds Shannon, Chase, and the Christies already in Oklahoma. Chase, having seen Joseph talking to Shannon, threatens to kill him if he goes near Shannon again. Joseph outpaces everybody and catches up with Shannon and Chase. Joseph is ready to plant his claim flag, but Chase rushes on horseback at Joseph. A fight breaks out, with Joseph being crushed by the horse. Shannon runs to his side and rejects Chase when he questions her actions. Joseph professes his love for Shannon and dies in her arms, but comes back to life fully revived when Shannon reciprocates Joseph's love. They both drive the land stake into the ground and claim their prize land together.
The theme has been reprised various random times throughout the series, though this is often done with pre-existing tracks. For instance, when Lord Garmadon kills Mr. E, "The Metamorphosis" is reprised, with The Overlord's theme playing as Mr. E is ripped apart. The musical connection may compare how Garmadon is destructive like The Overlord.
The despair theme was introduced in Season Eight. The theme is typically played with strings, and applies to moments in season eight where a character "loses everything." The theme plays in "Game of Masks" after the Great Devourer kills Harumi's parents, and she sits in the back of a van with two paramedics. The theme is later reprised in "Big Trouble, Little Ninjago" when Lloyd watches the Colossus crush Destiny's Bounty and kill the Ninja. The melody of this rendition is played with piano. The theme has not been released up to this point.
The theme was later reprised several times in Season Nine. It was heard in "Two Lies, One Truth," when Harumi offers to become Lord Garmadon's daughter of darkness. It was reprised again in "Saving Faith," when Harumi was killed by the apartment building's collapse. This offered a connection to when the theme appeared following her parents' deaths, and the original Ninjas' apparent deaths.
This track was also used in season four during the battle for the Jadeblades in "Only One Can Remain" and the beginning of the Thunderblade competition in "Ninja Roll." It was used in season seven in "The Hatching" surrounding the release of the BorgWatch, in "Secrets Discovered" when Zane and Lloyd were riding in the Destiny's Shadow, during the building montage with Cyrus Borg in "Operation Heavy Metal: Machia". It was used when Kai was showing off his dance moves and sign-spinning skills in "Spinny Sign" and when Jay reminisced about his ElectroMech in "Vehicles and Mechs."
The Treasure of the Sierra Madre is a rich, full score but one that has not pleased every film lover. Many say it overplays its role, and others say, justifiably, that it isn't Mexican music, it's Spanish. Criticisms aside, the score is high on the list of Steiner admirers, and in certain scenes it is beautifully effective. The main theme denotes the determination of the plodding prospectors bent on the finding of gold, with variations on the theme ranging from joyful to tragic. In the scene where bandits attack a train, Steiner builds the excitement with massive orchestra figurations, almost a Richard Straussian coloration. A passage of particular power is the one that marks Bogart's fight following the shooting of Tim Holt, and his later panic when he finds the body has disappeared. Steiner almost holds a mirror up to Bogart in these scenes. He also makes Bogart's violent end more painful: the magnificent Mexican actor Alfonso Bedoya, whose huge mouthful of teeth made him look like a shark when he grinned, comes across Bogart-- Fred Dobbs as this shifty, shallow character is called-- while the exhausted man drinks at a waterhole. The quietly pulsating music underlines Bogart's fears and the obvious intentions of the bandit to kill him. As Bedoya cuts Bogart down with his machete (Bogart off camera) musical strings match the strokes of the large blade and indicated the butchery. Yet another example of Steiner's "catching" an action.
While Steiner was always a melodist, he also always knew how not to use melody in film scoring. Sometimes, a melody calls attention to itself when it should not. Steiner used catchy themes to point up the main characters in pictures but he was adept at doing something more subtle than that--writing neutral music with chordal progressions and just enough melodic motion to make it sound normal but not enough to compel attention. Steiner looked upon scoring more as a craft than an art: "The hardest thing in scoring is to know when to start and when to stop. The location of your music. Music can slow up an action that should not be slowed up and quicken a scene that shouldn't be. Knowing the difference is what makes a film composer. I've always tried to subordinate myself to the picture. A lot of composers make the mistake of thinking of film as a concert platform on which they can show off. This is not the place. Some composers get carried away with their own skill--they take a melody and embellish it with harmonies and counterpoints. It's hard enough to understand a simple melody behind dialogue, much less with all this baloney going on. If you get too decorative, you lose your appeal to the emotions. My theory is that the music should be felt rather than heard. They always used to say that a good score was one you didn't notice, and I always asked, 'What good is it if you don't notice it?'" [Ibid.]
Tommy Vercetti performs various tasks for the band, such as saving them from a murderous fan out to kill them (Psycho Killer) and obtaining their "Love Juice" (a mix of cocaine, boomshine, fizz bombs and petrol), which they claim to need before they go on stage. He also brings them Mercedes Cortez to "keep them company" (mission Love Juice). Willy is the only band member that does not accompany the band when they go out into the city when Tommy chauffeurs them (Publicity Tour).
Band member Willy (spelled Willie in game) appears in a side mission where Trevor must knock out his gold tooth and bring it to Nigel as a souvenir. Willy can be killed in this mission, and if Trevor does kill him, he will say "Oops, sorry Love Fist fans." Its also possible to see the entourage of the band during the mission, one of then being the manager of Love Fist and the other probably the song writer, as he says the he have been "heavily involved with the creative process" of the band. 2ff7e9595c
Comments