Over 9 months of hard work and here it is.
Thanks to all involved!
Here Carmine Gallo breaks it down in
"The Storytellers Secret"
|Forces Acting on An Airplane|
There are four forces acting on the airplane all the time during airplane is flying.The four forces are
Lift: is produced by a lower pressure created on the upper surface of an airplane's wings compared to the pressure on the wing's lower surfaces,causing the wing to be LIFTED upward. The special shape of the airplane wing (airfoil) is designed so that air flowing over it will have to travel a greater distance and faster resulting in a lower pressure area (see illustration) thus lifting the wing upward. Lift is that force which opposes the force of gravity (or weight).
Lift depends upon (1) shape of the airfoil (2) the angle of attack (3) the area of the surface exposed to the airstream (4) the square of the air speed (5) the air density.
Weight: The weight acts vertically downward from the center of gravity (CG) of the airplane.
Thrust: is defined as the forward direction pushing or pulling force developed by aircraft engine . This includes reciprocating engines , turbojet engines, turboprop engines.
Drag: is the force which opposes the forward motion of airplane. specifically, drag is a retarding force acting upon a body in motion through a fluid, parallel to the direction of motion of a body. It is the friction of the air as it meets and passes over an airplane and its components. Drag is created by air impact force, skin friction, and displacement of the air.
|Aircraft Flight Control|
An airplane is equipped with certain fixed and movable surfaces or airfoil which provide for stability and control during flight. These are illustrated in the picture.
Each of the named of the airfoil is designed to perform a specific function in the flight of the airplane. The fixed airfoils are the wings, the vertical stabilizer, and the horizontal stabilizer. The movable airfiols called control surfaces, are the ailerons, elevators, rudders and flaps.The ailerons, elevators, and rudders are used to "steer" the airplane in flight to make it go where the pilot wishes it to go. The flaps are normally used only during landings and extends some during takeoff.
Aileron: may be defined as a movable control surface attached to the trailing edge of a wing to control an airplane in the roll, that is , rotation about the longitudinal axis.
Elevator: is defined as a horizontal control surface, usually attached to the trailing edge of horizontal stabilizer of an airplane, designed to apply a pitching movement to the airplane. A pitching movement is a force tending to rotate the airplane about the lateral axis,that is nose up or nose down.
Rudder: is a vertical control surface usually hinged to the tail post aft of the vertical stabilizer and designed to apply yawing movement to the airplane, that is to make it turn to the right or left about the vertical axis.
Wing Flaps: are hinged or sliding surfaces mounted at the trailing edge of wings and designed to increase the camber of the wings. The effect is to increase the lift of the wings.
He gave a glance and slickly retorted, "then where is everybody?"We surveyed the bleak concrete landscape devoid of human life and came to the conclusion that perhaps we were in the midst of the Rapture. Maybe laying witness to the tail end of some grand earthly exodus. Seeking refuge in a tavern, we ordered brats and swilled beer worthy of a master craftsman, and tried to ascertain the reasoning behind this apparent ghost town, doubling as the 5th largest city in the Midwest.
|Hanging with a Clint Eastwood sound-alike|
|No way it was a lone gunman. Weldon's a lousy shot.|
INT. GAS STATION/GROCERY - DAY Chigurh stands at the counter across from the elderly proprietor. He holds up a bag of cashews. CHIGURH How much? PROPRIETOR Sixty-nine cent. CHIGURH This. And the gas. PROPRIETOR Y'all getting any rain up your way? CHIGURH What way would that be? PROPRIETOR I seen you was from Dallas.
Chigurh tears open the bag of cashews and pours a few into his hand. CHIGURH What business is it of yours where I'm from, friendo? PROPRIETOR I didn't mean nothin' by it. CHIGURH Didn't mean nothin'. PROPRIETOR I was just passin' the time. CHIGURH I guess that passes for manners in your cracker view of things.
A beat. PROPRIETOR Well sir I apologize. If you don't wanna accept that I don't know what else I can do for you. Chigurh stands chewing cashews, staring while the old man works the register and puts change on the counter. PROPRIETOR ...Will there be somethin' else? CHIGURH I don't know. Will there?
The proprietor turns and coughs. Chigurh stares. PROPRIETOR Is somethin' wrong? CHIGURH With what? PROPRIETOR With anything? CHIGURH Is that what you're asking me? Is there something wrong with anything? The proprietor looks at him, uncomfortable, looks away. PROPRIETOR Will there be anything else? CHIGURH You already asked me that. PROPRIETOR Well... I need to see about closin'. CHIGURH See about closing. PROPRIETOR Yessir. CHIGURH What time do you close? PROPRIETOR Now. We close now. CHIGURH Now is not a time. What time do you close. PROPRIETOR Generally around dark. At dark.
Chigurh stares, slowly chewing. CHIGURH You don't know what you're talking about, do you? PROPRIETOR Sir? CHIGURH I said you don't know what you're talking about.
Chigurh chews. CHIGURH ...What time do you go to bed. PROPRIETOR Sir? CHIGURH You're a bit deaf, aren't you? I said what time do you go to bed. PROPRIETOR Well...
A pause. PROPRIETOR ...I'd say around nine-thirty. Somewhere around nine-thirty. CHIGURH I could come back then. PROPRIETOR Why would you be comin' back? We'll be closed. CHIGURH You said that.
He continues to stare, chewing. PROPRIETOR Well... I need to close now -- CHIGURH You live in that house behind the store? PROPRIETOR Yes I do. CHIGURH You've lived here all your life?
A beat. PROPRIETOR This was my wife's father's place. Originally. CHIGURH You married into it. PROPRIETOR We lived in Temple Texas for many years. Raised a family there. In Temple. We come out here about four years ago. CHIGURH You married into it. PROPRIETOR ...If that's the way you wanna put it. CHIGURH I don't have some way to put it. That's the way it is. He finishes the cashews and wads the packet and sets it on the counter where it begins to slowly unkink. The proprietor's eyes have tracked the packet. Chigurh's eyes stay on the proprietor. CHIGURH ...What's the most you've ever lost on a coin toss? PROPRIETOR Sir? CHIGURH The most. You ever lost. On a coin toss. PROPRIETOR I don't know. I couldn't say.
Chigurh is digging in his pocket. A quarter: he tosses it. He slaps it onto his forearm but keeps it covered. CHIGURH Call it. PROPRIETOR Call it? CHIGURH Yes. PROPRIETOR For what? CHIGURH Just call it. PROPRIETOR Well -- we need to know what it is we're callin' for here. CHIGURH You need to call it. I can't call it for you. It wouldn't be fair. It wouldn't even be right. PROPRIETOR I didn't put nothin' up. CHIGURH Yes you did. You been putting it up your whole life. You just didn't know it. You know what date is on this coin? PROPRIETOR No. CHIGURH Nineteen fifty-eight. It's been traveling twenty-two years to get here. And now it's here. And it's either heads or tails, and you have to say. Call it.
A long beat. PROPRIETOR Look... I got to know what I stand to win. CHIGURH Everything. PROPRIETOR How's that? CHIGURH You stand to win everything. Call it. PROPRIETOR All right. Heads then.
Chigurh takes his hand away from the coin and turns his arm to look at it. CHIGURH Well done.
He hands it across. CHIGURH ...Don't put it in your pocket. PROPRIETOR Sir? CHIGURH Don't put it in your pocket. It's your lucky quarter. PROPRIETOR ...Where you want me to put it? CHIGURH Anywhere not in your pocket. Or it'll get mixed in with the others and become just a coin. Which it is.
He turns and goes. The proprietor watches him.
Casablanca cafe owner Rick Blaine (Humphrey Bogart) sacrificed himself with a "We'll always have Paris" and "No good at being Noble" airport farewell speech to ex-lover Ilsa Lund (Ingrid Bergman):
Rick: Because you're getting on that plane.
Ilsa: "I don't understand. What about you?"
Rick: I'm staying here with him [Renault] 'til the plane gets safely away.
Ilsa: "No, Richard. No. What has happened to you? Last night..."
Rick: Last night, we said a great many things. You said I was to do the thinking for both of us. Well, I've done a lot of it since then and it all adds up to one thing. You're getting on that plane with Victor where you belong.
Ilsa: "But Richard, no, I've..."
Rick: Now, you've got to listen to me. Do you have any idea what you've have to look forward to if you stayed here? Nine chances out of ten, we'd both wind up in a concentration camp. Isn't that true, Louis?
Renault: "I'm afraid Major Strasser would insist."
Ilsa: "You're saying this only to make me go."
Rick: I'm saying it because it's true. Inside of us, we both know you belong with Victor. You're part of his work, the thing that keeps him going. If that plane leaves the ground and you're not with him, you'll regret it. Maybe not today, and maybe not tomorrow, but soon, and for the rest of your life.
Ilsa: "What about us?"
Rick: We'll always have Paris. We didn't have - we'd - we'd lost it until you came to Casablanca. We got it back last night.
Ilsa: "When I said I would never leave you.."
Rick: And you never will. I've got a job to do too. Where I'm going, you can't follow. What I've got to do, you can't be any part of. Ilsa, I'm no good at being noble, but it doesn't take much to see that the problems of three little people don't amount to a hill of beans in this crazy world. Someday you'll understand that. Now, now. Here's looking at you, kid.--------------------------------------------------------------------------------------------------
INT. CAMPUS BAR - NIGHT MARK ZUCKERBERG is a sweet looking 19 year old whose lack of any physically intimidating attributes masks a very complicated and dangerous anger. He has trouble making eye contact- and sometimes it's hard to tell if he's talking to you or to himself. ERICA, also 19, is Mark's date. She has a girl-next-door face that makes her easy to fall for. At this point in the conversation she already knows that she'd rather not be there and her politeness is about to be tested. The scene is stark and simple. MARK How do you distinguish yourself in a population of people who all got 1600 on their SAT's? ERICA I didn't know they take SAT's in China. MARK I wasn't talking about China anymore, I was talking about here. ERICA You got 1600? MARK You can sing in an a Capella group. BRICA Does that mean that you actually got nothing wrong? MARK Or you row crew or you invent a 25 dollar PC. ERICA Or you get into a final club. MARK Or you get into a final club, exactly. ERICA I like guys who row crew. MARK (BEAT) Well I can't do that. And yes, it means I got nothing wrong on the test. ERICA Have you ever tried? MARK I'm trying now. ERICA To row crew? MARK To get into a final club. To row crew? No. Are you, like--whatever--crazy? ERICA Sometimes, Mark-seriously-YOU say two things at once and I'm not sure which one we're talking about. MARK But you've seen guys who row crew, right? ERICA No. MARK Okay, well.. they're bigger than me. They're world class athletes. And a second ago you said you like guys who row crew so I assumed you'd met one. ERICA I guess I meant I liked the idea of it. The way a girl likes cowboys. MARK The Phoenix is good. ERICA This is a new topic? MARK It's the same topic. ERICA We're still talking about the finals clubs? MARK Would you rather talk about something else? ERICA It's just that since the beginning of the conversation about finals clubs I think I may have had a birthday.
4. Jurassic Park
INT. VISITOR CENTER PRESENTATION ROOM - DAY HAMMOND, GRANT, ELLIE, MALCOLM, and GANNARO eat lunch at a long table in the visitor's center restaurant. There is a large buffet table and two WAITERS to serve them. The room is darkened and Hammond is showing slides of various scenes all around them. Hammond's own recorded voice describes current and future features of the park while the slides flash artists' renderings of all them. The real Hammond turns and speaks over the narration. HAMMOND None of these attractions have been finished yet. The park will open with the basic tour you're about to take, and then other rides will come on line after six or twelve months. Absolutely spectacular designs. Spared no expense. More slides CLICK past, a series of graphs dealing with profits, attendance and other fiscal projections. Donald Gennaro, who has become increasingly friendly with Hammond, even giddy, grins from ear to ear. GENNARO And we can charge anything we want! Two thousand a day, ten thousand a day - - people will pay it! And then there's the merchandising - - HAMMOND Donald, this park was not built to carter only to the super rich. Everyone in the world's got a right to enjoy these animals. GENNARO Sure, they will, they will. (laughing) We'll have a - - coupon day or something. Grant looks down, at the plate he's eating from. It's in the shape of the island itself. He looks at his drinking cup. It's got a T-rex on it, and a splashy Jurassic Park logo. There are a stack of folded amusement park-style maps on the table in front of Grant. He picks one up. Boldly, across the top it says, "Fly United to Jurassic Park!" HAMMOND (on tape) - - from combined revenue streams for all three parks should reach eight to nine billion dollars a year - - HAMMOND (to Gennaro) That's conservative, of course. There's no reason to speculate wildly. GENNARO I've never been a rich man. I hear it's nice. Is it nice? Ian Malcolm, who was been watching the screens with outright contempt, SNORTS, as if he's finally had enough. MALCOLM The lack of humility before nature that's been displayed here staggers me. They all turn and look at him. GENNARO Thank you, Dr. Malcolm, but I think things are a little different than you and I feared. MALCOLM Yes, I know. They're a lot worse. GENNARO Now, wait a second, we haven't even see the park yet. Let's just hold out concerns until - - (or alt. version) Wait - we were invited to this island to evaluate the safety conditions of the park, physical containment. The theories that all simple systems have complex behavior, that animals in a zoo environment will eventually begin to behave in an unpredictable fashion have nothing to do with that evaluation. This is not some existential furlough, this is an on-site inspection. You are a doctor. Do your job. You are invalidating your own assessment. I'm sorry, John - - HAMMOND Alright Donald, alright, but just let him talk. I want to hear all viewpoints. I truly do. (or) I truly am. MALCOLM Don't you see the danger, John, inherent in what you're doing here? Genetic power is the most awesome force ever seen on this planet. But you wield it like a kid who's found his dad's gun. MALCOLM GENNARO If I may.... It is hardly appropriate to start hurling Excuse me, excuse me - - generalizations before - - I'll tell you. MALCOLM (cont'd) The problem with scientific power you've used is it didn't require any discipline to attain it. You read what others had done and you took the next step. You didn't earn the knowledge yourselves, so you don't take the responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you knew what you had, you patented it, packages it, slapped in on a plastic lunch box, and now you want to sell it. HAMMOND You don't give us our due credit. Our scientists have done things no one could ever do before. MALCOLM Your scientists were so preoccupied with whether or not they could that they didn't stop to think if they should. Science can create pesticides, but it can't tell us not to use them. Science can make a nuclear reactor, but it can't tell us not to build it! HAMMOND But this is nature! Why not give an extinct species a second chance?! I mean, Condors. Condors are on the verge of extinction - - if I'd created a flock of them on the island, you wouldn't be saying any of this! (or) have anything to say at all! MALCOLM Hold on - - this is no species that was obliterated by deforestation or the building of a dam. Dinosaurs had their shot. Nature selected them for extinction. HAMMOND I don't understand this Luddite attitude, especially from a scientist. How could we stand in the light of discovery and not act? MALCOLM There's nothing that great about discovery. (or) What's so great about discovery? It's a violent, penetrative act that scars what it explores. What you call discovery I call the rape of the natural world! GENNARO Please - - let's hear something from the others. Dr. Grant? I am sorry - - Dr. Sattler? ELLIE The question is - - how much can you know about an extinct ecosystem, and therefore, how could you assume you can control it? You have plants right here in this building, for example, that are poisonous. You picked them because they look pretty, but these are aggressive living things that have no idea what century they're living in and will defend themselves. Violently, if necessary. Exasperated, Hammond turns to Grant, who looks shell-shocked. HAMMOND Dr. Grant, if there's one person who can appreciate all of this - - (or) What am I trying to do? But Grant speaks quietly, really thrown by all of this. GRANT I feel - - elated and - - frightened and - - (starts over) The world has just changed so radically. We're all running to catch up. I don't want to jump to any conclusions, but look - - He leans forward, a look of true concern on his face. GRANT (cont'd) Dinosaurs and man - - two species separated by 65 million years of evolution - - have just been suddenly thrown back into the mix together. How can we have the faintest idea of what to expect? HAMMOND I don't believe it. I expected you to come down here and defend me from these characters and the only one I've got on my side it the bloodsucking lawyer!? GENNARO Thank you. One of the WAITERS whispers to Hammond. HAMMOND Ah - - they're here.
5. My Dinner with Andre
6. The Big Lebowski
7. The Master