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Welcome to ''The Changeling'' survey.

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These are so much fun.

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- (Martin) Where are we going, guys?
- Nelson Creek Bridge in West Vancouver.

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(Alex) An old abandoned highway
going through Horseshoe Bay,

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where we're gonna stage the crash site.

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We'll go out to the bridge
with stunt coordinator Dan Shea

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and with special effects - Wray Douglas.

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And a West Vancouver fire chief
will meet us out there.

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We'll talk about
what we wanna do on the bridge,

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then Dan and Wray will try and convince
us it's not possible with their budgets.

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But in the end it'll be great. You'll love it.

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(Martin) Our bridge is down here
near the highway.

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lt's an old highway bridge
that we're gonna take over.

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And we're gonna use this highway
that we just left as a background.

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lt's hilarious being a director because
wherever l walk, they'll all follow me.

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lf l walked off into the bush right now,
there'd be this line of people following me.

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They think l'm doing something that's
very creative by walking off into the bush,

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when, in fact, actually
sometimes you just have to, you know...

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Well, you know. But they'll follow me.

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So l have to go to the bathroom before l
leave the studio cos l can never sneak off.

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Excellent. Let's go.

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OK. Here's what's gonna happen, guys.

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The crashed cars will be here.

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One here and one here.

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All the vehicles come down here.

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We've got a police car down here,
right where the fire is.

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Actually, on this side.

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- Basically our 180 is this.
- That's right.

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That's a dead end. There's nothing
happening there. They'll be there.

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So we bring in a rescue truck
and a pumper.

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- Out here?
- Right.

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lt might not be able to hold the trucks.
That wouldn't be a good thing.

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Car crash over here, bridge lets go.

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Take a look over the side.
See how far down it is.

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Whoa/

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And action!

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(alarm bell)

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OK, let's roll.

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(sirens)

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(dispatcher) Rescue to engine seven.
We have a two-car head-on collision.

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One of the vehicles is leaking gas.

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Roger that. Confirm location
at Taylor Way overpass.

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Roger that.

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- ETA five minutes.
- Ten-four.

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Ten-four. Over and out.

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OK, Probie. Time to get your feet wet.

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- Ready.
- Yes, you are.

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We have the coolest job. lt's crazy cool.

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At this point when we first get here,
no flames.

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Here they come.

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OK? But we do have
gas leaking from both cars.

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- (fireman) l got the gas leak.
- (Carter) Great.

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Hi there. Can you hear me? Good boy.

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l need you to stay still.
We'll get you out soon.

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He's alert and responsive.
What have you got?

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OK. Give me a hand here.

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Let's pop the door.

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Stay still. We're gonna get you out.
Come on, Probie.

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Hurry up with that clamp/

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lt's all right. You're gonna be all right.

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Easy now. On my count.

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Three. Two. One.

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(Carter's voice echoes) l need
a charged line/ Let's get this fire out.

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(man's voice echoes)
l can't charge the line/

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(man's voice echoes)
There's no pressure.

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- Carter's there.
- (man) With the little kid.

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And Jonas is with her, OK?

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Teal'c looks up.

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This first car - boom - starts to go up.

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We're here. We see the flames start up
and the camera finds these guys here.

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They're lifting and running,
and Carter throws the line back:

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- T, get the heck out of there.
- ''Get your ass out of there.''

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And cut.

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- T, get your ass out of there.
- Everybody outta there/

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l need flames coming out from both sides.

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He goes from here, jumps through the fire,
over the hood, and down to the other side.

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- Save yourself.
- l'm getting you out, old man.

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Save yourself!.

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No/

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And cut! Nice. That's gonna work.

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Martin Woods... Hey, Martin.

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Well, l had wanted to play
the dream sequences of Teal'c

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with traditional actors' make-up,

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without overemphasising the eyes,
no tattoo and no gold at all.

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But Martin had the brilliant idea
of making him one colour throughout,

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so that the transitions would be smoother

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and you would not be able to tell when
you were actually in the certain dreams.

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So it would all be
kind of interchangeable.

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At first l met with some resistance and, of
course, Martin had thought it all through.

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Once he explained it, it was another one
of his great ideas... of your great ideas.

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Why, thank you, Chris.

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Here we are, scouting the fire hall.

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- Alex, would you start here?
- Sure.

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This is for a scene of the firehouse
sleeping area, where Teal'c is asleep.

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Bunks here, bunks here.
Bunks there, bunks there. OK?

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We'll put Teal'c down in here.
We don't want to see a lot of his face, OK?

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We'll be shooting from here,
so we see the sleeping guys in here.

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You'll black that out.
We're looking that way.

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We're setting up for a motion-control shot
where we go from the café to the fire hall,

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with Carter at one end and
Carter at the other end of the same shot

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with a transition on Chris's face.

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Major Carter.

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Teal'c. l thought you were gonna
get in a few hours of kelno'reem.

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l was unable to do so.

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Does that happen often?

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lt is rare, but it does happen.

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Most often when recovering
from an injury.

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You look OK to me.
Why don't you try a glass of warm milk?

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l would prefer not to consume
bovine lactose at any temperature.

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A cup of herbal tea, then. lt can't hurt.

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You might just be preoccupied
with the upcoming mission.

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(Carter's voice fades)

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Don't deny you're worried.
lt's all over your face.

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What's on my face?

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Using the motion-control
as we did in the cafeteria scene,

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this will be the other end of it,
establishing that we're in a fire hall.

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Motion-control. Whoa.

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We don't get that in this show often.

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And if we don't do it quickly,
we won't get it again.

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Do it.

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There you go, Martin. Right to you.

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Every day, five days a week.

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They call me the patriarch, which means
father figure, which means l'm the oldest.

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Hey.

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He loves us so much.

126
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This is gonna be exciting.

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That's a concept.

128
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Let's clear everybody out of the hall,
except for Gia and Chris right now.

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- l wanna start charging down the hall.
- Yeah.

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Charge down with us, OK? Go, guys.

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Charging, charging, charging down here.

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Keep going and... keep going.

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And you're going this way.

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And stop at this door.

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We're in here. Gia, what l'd like you to do
is you come straight through.

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Look down, and then turn.

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There and...

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You don't actually leave here.
lt'll lead into the gate-room shot, OK?

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l'd like you to come around like this, get
on top of him like this when he's turned,

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then back over here
and push into Apophis when we do it.

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The other side of this
we'll do in the gate room.

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Hopefully it works.

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l think it's about time we shot it.

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Action.

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Here, almost everything is door.

146
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Turn.

147
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Great.

148
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That looked really good... l hope.

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You cannot escape your fate, shol'va.

150
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C'mon, let's go.

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And cut!

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- Happy birthday. How you doin'?
- Hey!

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- Good to see you.
- That's her personal trainer.

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(all sing ''Happy Birthday'')

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- Did you do this, Martin?
- He called me.

156
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Last week when l said
''ls it your birthday?'' he'd called.

157
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He was calling me
to tell me it was your birthday.

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ENHOH