Jurassic Park III

Jurassic Park III

(Original Motion Picture Soundtrack)

Music Composed and Conducted by

Don Davis

Original Themes by

John Williams

Renovatio Records proudly celebrates this year’s Jurassic June with a newly curated release of Don Davis’ thunderous score for Jurassic Park III (2001).

After redefining the blockbuster genre with Jurassic Park in 1993 and returning with The Lost World in 1997, Steven Spielberg stepped back to an executive producer role and handed the reins to director Joe Johnston for the franchise’s third installment. Led by Sam Neill reprising his role as Dr. Alan Grant, the cast also includes Téa Leoni, William H. Macy, Alessandro Nivola, Michael Jeter, and Trevor Morgan. This time, Dr. Grant is lured back to Isla Sorna—the second island introduced in The Lost World—under false pretenses by Paul and Amanda Kirby, a wealthy couple (or so they claim) seeking to rescue their stranded son. What begins as a search-and-rescue operation quickly descends into a desperate fight for survival, as new prehistoric threats—including the formidable Spinosaurus—emerge.

Unlike its predecessors, Jurassic Park III was produced under tight constraints and without a finished script, favoring spectacle over narrative complexity. Gone was the thematic richness of Michael Crichton’s novels, replaced by a brisk, action-driven adventure that critics found shallow but which many audiences embraced as a lean, entertaining thrill ride. While it didn’t leave the same cultural footprint as the first two films, it retains nostalgic appeal for a generation of fans—and with it came a score that, more than two decades later, deserves a spotlight of its own.

With John Williams opting out of scoring duties, Universal turned to composer Don Davis, then at the height of his popularity following The Matrix. Davis wasn’t chosen merely for his orchestral skill—he came with a personal recommendation from Williams himself. The maestro even served as a musical consultant, offering guidance on integrating his iconic themes into the new score. Davis approached the project with deep respect and meticulous attention, studying Williams’ orchestral language—its harmonic depth, instrumental layering, and thematic architecture. The result is a dynamic and reverent score that bridges legacy and innovation. It honors the musical DNA of the franchise while showcasing Davis’ own bold voice, marked by his signature orchestrational density, shifting meters, and kinetic action writing.

Williams’ beloved themes—the adventurous park fanfare and the majestic wonder motif—are reprised in cues like “The Dinosaur Fly-By,” “Brachiosaurus on the Bank,” and the sweeping “End Credits.” But Davis goes further, introducing new thematic material of his own. A heartfelt, hopeful motif for the Kirby family adds emotional resonance to the film’s otherwise breathless pacing. First hinted at in “Crash Site Discovery” and developed further in “Tree People,” the theme reaches full expression in “Family Reunited” and “The Hat Returns/End Credits.” It brings warmth and depth to characters who might otherwise feel like comic relief or plot devices, demonstrating Davis’ skill at marrying sentiment with spectacle.

Equally striking is the new motif for the Spinosaurus, the film’s apex predator. Davis crafts a muscular, four-note idea—a spiritual sibling to Williams’ carnivore motif—built on grinding low strings, and aggressive brass. It makes a fearsome first appearance in “Cooper’s Last Stand” and becomes the backbone of action cues like “Frenzy Fuselage” and “River Spino Rampage.” These motifs—both new and inherited—are interwoven with remarkable finesse, creating a cohesive musical tapestry that propels the film’s tension and excitement.

What truly defines this score, however, is its relentless energy. Tracks such as “The Raptor Room,” “Raptor Repartee,” “Billy Oblivion,” and “River Spino Rampage” are tightly wound, rhythmically complex pieces that rarely pause for breath. Davis’ orchestration is dense but never chaotic—balancing strings, brass, woodwinds, and percussion in fluid interplay that drives the narrative forward with unwavering momentum. It’s a sonic rollercoaster that pulls no punches.

Yet, Davis finds space for atmosphere and mystery. “Pteranodon Habitat” blends fluttering strings and spectral textures to evoke one of the film’s most suspenseful moments, while “Raptor Harassment” ends the score on a haunting, almost reverent note—reminding us that these creatures inspire wonder as much as fear.

The original Decca Records album, released alongside the film in 2001, offered an enjoyable but abbreviated and often edited selection of cues, leaving much of Davis’ best material on the cutting room floor. Years later, La-La Land Records released a definitive edition featuring the full score, alternates, and source music—a treasure trove for completists, but perhaps daunting for casual listeners.

This new Renovatio Records edition offers a fresh alternative: a carefully assembled, one-hour presentation that distills the score’s most essential and thrilling highlights. Remastered with improved clarity and dynamic range, it offers an emotionally and musically satisfying journey from start to finish.

Though it once stood in the shadow of Williams’ monumental originals, Don Davis’ Jurassic Park III score has emerged as a fan favorite in its own right—an intricate, exhilarating work that bridges tradition and invention. This release is both a celebration and a restoration designed for longtime fans and new listeners alike. Once again, the gates of Isla Sorna open—and this time, the music is louder, sharper, and more thrilling than ever.

Track listing:

1. Isla Sorna Sailing Situation (4:22)

2. Grant Back in Montana (2:29)

3. The Dinosaur Fly-By (2:17)

4. Cooper's Last Stand (2:40)

5. Frenzy Fuselage (4:06)

6. Crash Site Discovery (3:38)

7. Raptor Eggs (2:54)

8. The Raptor Room (2:40)

9. Raptor Repartee (5:13)

10. Tree People (2:02)

11. Family Reunited (3:36)

12. Pteranodon Habitat (3:00)

13. Billy Oblivion (6:10)

14. Brachiosaurus on the Bank (2:05)

15. Reaching for Glory (2:03)

16. River Spino Rampage (4:42)

17. Raptor Harassment (4:51)

18. The Hat Returns/End Credits (10:07)

Total Running Time: 68:55

Download Link

Size: 385.2 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by Don Davis

Original Themes by John Williams

Produced by Don Davis

Executives in Charge of Music for Universal Pictures: Kathy Nelson and Harry Garfield

Executive Producer for Renovatio Records: John M. Angier

Music Business Affairs: Phil Cohen and Cindy Zaplachinski

Orchestration by Don Davis

Music Scoring Mixer: Armin Steiner

Music Editors: Joe E. Rand and Barbara McDermott

Assistant Music Editor: Brenda Heins

Orchestra Contractor: Sandy De Crescent

Concertmaster: Clayton Haslop

Choir Contractor: Sally Stevens

Music Preparation: JoAnn Kane Music Service

Recorded at: The Newman Scoring Stage, 20th Century Fox Studios

Technical Engineer: Bill Talbott

Orchestral Scoring Recordist: John Rodd

Scoring Crew: Damon Tedesco and Tom Steel

Mastered by Larry Mah at Hacienda Studio

Album Sequencing: John M. Angier

Art Direction: Mira Ellis

Published by Universal Music Corp.

Special Thanks:

John Williams, Steven Spielberg, Joe Johnston, Kathleen Kennedy, Larry Franco, Peter Adee, Dawn Ahrens, Pam Blum, David Buntz, Robert Dalva, Eddie Egan, Aida Gaboyan, Michael Gorfaine, Brett johnson, Lisa Joy, Trevon Kezios, Mary Parent, Stacey Robinson, Sam Schwartz, Stacey Snider, Scott Stuber, Cheryl Tiano, Cheryl Tkach, Lauren Wolfinbarger, Megan, Kamyla and Colamen

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Isla Sorna Sailing Situation	1m1 Main Title/Sailing Situation (Edited)
2. Grant Back in Montana	1m3 Udesky, Nash and Cooper
3. The Dinosaur Fly-By	2m2 The Dinosaur Fly-By (Edited)
4. Cooper’s Last Stand	2m3 Cooper's Last Stand (Edited)
5. Frenzy Fuselage	2m4 Frenzy in the Fuselage
6. Crash Site Discovery	2m6 Kirby Paint and Tile Plus (Edited) 2m7 Bone Man Ben (Edited)
7. Raptor Eggs	3m1 Raptor Eggs
8. The Raptor Room	3m2 The Raptor Room (Edited)
9. Raptor Repartee	3m3 Raptor Repartee 3m3A Eric to the Rescue
10. Tree People	3m4 Tree People
11. Family Reunited	3m5 Nash Calling
12. Pteranodon Habitat	4m1 Pterodactyl Habitat
13. Billy Oblivion	4m2 Tiny Pecking Pterosaurs (Edited) 4m3 Billy Oblivion
14. Brachiosaur on the Bank	4m4 Brachiosaur on the Bank
15. Reaching for Glory	4m5 Reaching for Glory (Edited)
16. River Spino Rampage	4m6 River Rampage (Edited) 4m6A Paul Makes the Leap (Edited)
17. Raptor Harassment	4m7 River Reminiscence (Alternate) 5m1 Raptor Harassment (Edited) 3m6 Party Crasher (Edited)
18. The Hat Returns/End Credits	5m2 Bloody Billy/End Credits

Motion picture artwork, artwork title and photos: TM & © 2001 Universal Studios and Amblin Entertainment, Inc.  This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19107]

Jaws

 

Jaws

(Music From The Original Motion Picture Soundtrack)

Music Composed and Conducted by

John Williams

In 1975, Jaws changed cinema forever. Not only did it launch the era of the modern blockbuster—becoming the first film to gross over $100 million—it also cemented one of the most enduring creative partnerships in film history: director Steven Spielberg and composer John Williams. Now, fifty years later, this definitive anniversary edition pays tribute to one of the most iconic and influential scores ever written—a score that helped salvage a troubled production, terrified generations of moviegoers, and redefined how music could shape tension, drive narrative, and embed itself into the cultural consciousness.

Based on Peter Benchley’s bestselling novel, Jaws tells the story of a seaside town terrorized by a great white shark, and the trio of men—Chief Brody (Roy Scheider), marine biologist Hooper (Richard Dreyfuss), and grizzled fisherman Quint (Robert Shaw)—who set out to destroy it. Spielberg’s taut direction, the clever screenplay, and the film’s primal sense of danger made it an instant phenomenon. But behind the scenes, things were far from smooth. The production’s infamous mechanical shark—nicknamed “Bruce”—frequently malfunctioned, leaving Spielberg with limited usable footage of the creature.

Enter John Williams.

Having already worked with Spielberg on The Sugarland Express, Williams was brought in to give the mostly-unseen shark a sonic presence. When he first played his now-legendary two-note motif (E–F, E–F…) on the piano, Spielberg laughed, thinking it was a joke. But when performed by a full orchestra, those primitive, alternating notes took on an elemental, unstoppable power—an embodiment of instinctual, inhuman hunger. It was then that Spielberg realized the score would be the film’s secret weapon.

At its core, Jaws is a masterclass in musical minimalism. The theme that opens the film and the score is deceptively simple, yet Williams extracts a tremendous range of nuance and terror from it. Rather than reflecting the audience’s fear, the motif expresses the shark’s predatory drive—accelerating, intensifying, and pulsing with violent purpose. The music is the shark. It fills in for the creature, turning suspense into horror.

Just as effective is Williams’ use of silence. The theme’s absence in certain scenes—such as false alarms—heightens anxiety by subverting audience expectations. Viewers quickly learn that when the music isn’t playing, the shark isn’t present. That lesson, once internalized, makes the theme’s return all the more terrifying. This interplay between presence and absence became key to the film’s psychological impact.

But Jaws offers far more than its famous motif. The score has surprising emotional and stylistic breadth. A sprightly Americana theme for Amity Island (“Tourist on the Menu”) reflects Williams’ gift for warm, melodic writing—a gift he would later refine in scores like E.T. and Born on the Fourth of July. But the true heart of the score lies in the music for the Orca expedition. As the three men set out to hunt the shark, Williams introduces an adventurous, seafaring theme. In cues like “Out to Sea,” “One Barrel Chase,” and the iconic “Man Against Beast,” Williams channels the spirit of old Hollywood seafaring swashbucklers, creating a sense of camaraderie, sport, and determination—one that slowly gives way to dread and desperation as the hunt turns deadly.

Tracks like “Man Against Beast” and “The Underwater Siege” showcase Williams’ orchestral mastery: full of dynamic motion, bracing tension, and rhythmic precision. Even the quieter moments—like “Father and Son” and “End Titles”—reveal his sensitivity to character and emotional nuance, elements too often overshadowed by the film’s visceral thrills. Especially noteworthy is “The Indianapolis Story,” which underscores Robert Shaw’s haunting monologue with ghostly restraint, amplifying the trauma without ever overwhelming the performance.

The final battle with the shark is a tour de force of musical storytelling—escalating tension, triumphant brass, and cathartic release culminating in the beast’s explosive demise. The score’s dramatic arc mirrors the film’s structure: a gradual escalation from creeping menace to epic confrontation, elevated at every turn by Williams’ symphonic storytelling.

The original 1975 soundtrack album was not a direct representation of the film score. Instead, Williams re-recorded and rearranged selections into a 35-minute suite designed for album listening. While expertly performed and assembled, it omitted much of the darker, moodier material and key narrative cues. For decades, this was the only way audiences could experience the music outside the film.

In 2000, Decca released a 51-minute expansion using the original film recordings for the first time, coinciding with the movie’s 25th anniversary. Though a breakthrough, this edition was hampered by sonic issues—including hiss, clicks, and the narrow stereo field of the original three-channel tapes.

Then, in 2015, Intrada Records delivered what became the most complete and polished edition to date: a 2-CD set featuring both the original score and the 1975 album, sourced from new transfers and digitally restored for superior clarity. It included alternate takes, previously unreleased cues, and offered a vastly improved listening experience. That release, long regarded as definitive, forms the foundation of this new 50th anniversary edition.

This new set by Renovatio Records exists not to reinvent the wheel, but to preserve and present Williams' score with the respect it deserves. The music is reprogrammed to follow the film’s narrative more closely, honoring its legacy while offering the clearest and most dramatic presentation to date.

It also reaffirms a longstanding truth: Jaws may not be the most immediately accessible album in Williams’ discography—it lacks the sweeping romance of Superman, the lyrical warmth of E.T., or the breakneck energy of Raiders of the Lost Ark—but it stands among his most intelligent, daring, and precisely crafted works. Few scores have so thoroughly redefined a genre. Fewer still have entered the cultural imagination so deeply.

With this definitive edition, Jaws resurfaces in all its terrifying, thrilling, and magnificent glory—a musical masterpiece finally presented the way it was always meant to be heard.

Track listing:

1. Main Title and First Victim (3:25)

2. Father and Son (1:55)

3. Night Search (3:29)

4. Tourists on the Menu (1:29)

5. Into the Estuary (2:43)

6. Out to Sea (2:28)

7. Man Against Beast (5:28)

8. The Indianapolis Story (2:39)

9. One Barrel Chase (2:58)

10. Three Barrels Under (2:41)

11. Preparing the Cage (1:57)

12. The Underwater Siege (2:59)

13. Hand to Hand Combat (3:12)

14. End Titles (2:25)

Total Running Time: 39:48

Download Link

Size: 201.6 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music Composed and Conducted by John Williams

Produced by John Williams

Executive Producer for Renovatio Records: John M. Angier

Recorded at The Burbank Studios (Warner Scoring) and 20th Century Fox Studios Scoring Stage, LA, California

Scoring Engineer: Ted Keep

Recording Engineer: John Neal

Remixed at Universal City Studios

Mastering Studio: MCA Recording Studio

Mastering Engineer: Don Thompson

Music Editor: Joseph Glassman

Orchestrations: Herbert W. Spencer

Orchestra Contractor: Sandy De Crescent

Album Sequencing: John M. Angier

Art Direction: Mira Ellis

All compositions written by John Williams, published by Songs of Universal, Inc.

Cue Assembly:

Track Title	Slate and Cue Title
1. Main Title and First Victim	1m1 Main Titles 1m3 The First Victim 1m5 Remains on the Beach
2. Father and Son	4m1R Father and Son
3. Night Search	5m2-6m0 Ben Gardner’s Boat
4. Tourists on the Menu	6m1 The Montage
5. Into the Estuary	2m2 The Empty Raft (Edited) 7m1 Into the Estuary (Edited)
6. Out to Sea	8m2 Out to Sea (Album)
7. Man Against Beast	9m1-10m0 Man Against Beast (Edited)
8. The Indianapolis Story	10m1 Quint's Tale
9. One Barrel Chase	11m5-12m0 The Great Chase
10. Three Barrels Under	12m1 Three Barrels Under (Edited) 12m4R Quint Thinks It Over (Edited)
11. Preparing the Cage	13M1 Work Montage
12. The Underwater Siege	13M3 The Shark Hits The Cage 8M3-9M0 A Tug on the Line (Edited)
13. Hand to Hand Combat	14M2 Blown to Bits
14. End Titles	14m3 End Titles

Motion picture artwork and photography © 1975 Universal Pictures. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19075]

The Interpreter

The Interpreter

(Original Motion Picture Soundtrack)

Music by

James Newton Howard

Two decades after its original release, Renovatio Records presents James Newton Howard’s The Interpreter, a score of remarkable restraint and emotional intelligence. Directed by the acclaimed Sydney Pollack, The Interpreter marked the filmmaker’s return to the political thriller genre — and his final feature. It stars Nicole Kidman as Silvia Broome, a United Nations interpreter who inadvertently overhears a plot to assassinate an African leader, and Sean Penn as the emotionally bruised Secret Service agent assigned to protect her. The film combines high-stakes international intrigue with introspective character drama. Set within the halls of the United Nations — famously becoming the first film to be granted permission to shoot inside the actual UN General Assembly — The Interpreter was seen as a mature, intelligent entry in Pollack’s storied career. While not a runaway critical darling, it received solid praise for its performances, direction, and atmosphere, and went on to gross over $160 million worldwide — a respectable box office success for a talky thriller steeped in moral ambiguity.

To score such a nuanced film, Pollack turned to James Newton Howard, a composer uniquely suited to its demands. By 2005, Howard had firmly established himself as a master of emotional subtlety, textural richness, and genre versatility. For The Interpreter, he crafted a score that eschews overt melodicism in favor of atmosphere, ambiguity, and slow-burning tension. Much of the music unfolds in a restrained, ambient mode — perfectly aligned with the film’s espionage-laced narrative. Low harmonic drones, tentative piano and clarinet motifs, and sparse instrumental textures evoke a world fraught with suspicion and unspoken emotion.

Yet what distinguishes this score is its careful infusion of cultural identity. Drawing inspiration from the fictional African country of Matobo — a clear parallel to Zimbabwe — Howard integrates African elements through percussion, vocal timbres, and a poignant adaptation of the traditional hymn Atolago, performed by Kirsten Bråten Berg and Kouame Sereba. Far from being a superficial flourish, this material grounds the score in the film’s political and emotional stakes. The Atolago theme, first heard in “Drowning Man Trail,” recurs in cues like “Simon’s Journals” and “Standoff and Resolution,” culminating in the extraordinary “Naming of the Dead.” There, it blossoms into a full orchestral and vocal statement — one of the score’s most moving passages — offering a moment of catharsis and spiritual grace.

Howard also introduces a sorrowful piano motif associated with Penn’s character, a man who is grieving the death of his wife. First appearing in “The Phone Call,” it returns in “Naming of the Dead,” this time arranged for guitar and strings, reaching a moving conclusion that finally gathers the score’s drifting elements into a moment of emotional resolution.

While much of the score leans toward moody understatement, Howard also delivers standout moments of suspense and orchestral drive. “Guy Forgot His Lunch” and “Zuwanie’s Arrival at U.N.” are highlights, unleashing swelling harmonies, polyrhythmic percussion, and tense crescendos that recall Howard’s more muscular writing from The Devil’s Advocate or The Fugitive. Elsewhere, cues like “Matobo,” “Hearing Voices,” “Silvia Is Followed,” “Bus Meeting,” and the second half of “Simon’s Journals” tingle with suspense, using African-style percussion in hushed, predatory rhythms that evoke the feeling of a silent hunt.

Despite its largely understated palette, The Interpreter is never static. Its use of ambient design, ethnic instrumentation, and thematic fragments results in a compelling, slow-blooming narrative arc. By the time the end credits roll, Howard has quietly gathered all the score’s emotional strands into a satisfying and resonant conclusion. It may not be the most attention-grabbing work in his filmography, but it’s undoubtedly one of the most refined.

Originally released by Varèse Sarabande in a truncated 45-minute edition, The Interpreter now receives the deluxe treatment from Renovatio Records. This expanded presentation runs over 60 minutes, remastered from the original recording sessions and presented in chronological film order. This new album not only restores key cues previously unreleased on the original album, but also shines a light on a more meditative and underappreciated side of Howard’s craft.

For longtime fans of James Newton Howard, this is a vital restoration of an overlooked gem. For collectors of politically-tinged thrillers and atmospheric dramatic scores, it’s a must-own. And for anyone who values the art of subtle storytelling through music, The Interpreter now speaks more clearly than ever before.

Track listing:

1. Matobo (8:03)

2. Silvia's Background (2:01)

3. Tobin Comes Home (2:21)

4. Hearing Voices (1:49)

5. Silvia Is Followed (1:22)

6. Drowning Man Trial (Atolago) (1:45)

7. I Knew He Was Dead (5:26)

8. The Phone Call (3:21)

9. Bus Meeting (4:54)

10. Guy Forgot His Lunch (3:03)

11. Simon's Journals (9:28)

12. Zuwanie's Arrival at U.N. (5:59)

13. Assassin (4:37)

14. Standoff and Resolution (5:52)

15. Naming of the Dead (Atolago) (4:53)

Total Running Time: 64:54

Download Link

Size: 299.7 MB

Files type: FLAC Audio File [.flac]

Channels: 2 (stereo)

Sample Rate: 44.1 KHz

Sample Size: 16 bit

Bit Rate: 1,411 kbps

Cover Artwork:

Credits:

Music by James Newton Howard

Produced by James Newton Howard and Jim Weidman

Executive Producers: Sydney Pollack, Kevin Misher and Nick Angel

Executive In Charge of Music for Universal Pictures: Kathy Nelson

Executive Producer for Renovatio Records: John M. Angier

Score Recorded and Mixed by Shawn Murphy

Electronic Score Produced by James T. Hill

Percussion Recorded and Mixed by Eddy DeLena

Programming & Sound Design by Mel Wesson and Clay Duncan

Orchestrations by Jeff Atmajian, Brad Dechter, Pete Anthony and James Newton Howard

Conductor: Pete Anthony

Music Contractor: Sandy De Crescent

Performed by The Hollywood Studio Symphony

Supervising Music Editor: Jim Weidman

Assistant Music Editor: David Olson

Auricle Control Systems: Richard Grant

Music Preparation: JoAnn Kane Music Service

Score Recorded and Mixed at Barbra Streisand Scoring Stage, Sony Studios

Score and Mixing Crew: Bob Wolff, Mike Ging, Adam Michalak, Mark Eshelman, Brian Clement, Craig Loskorn

Mastered by Patricia Sullivan-Fourstar at Bernie Grundman Mastering

Assistant to Mr. Howard: Annica Ackerman

Album Sequencing: John M. Angier

Art Direction: Mira Ellis

"Atolago (Traditional)"

Performed by Kirsten Bråten Berg and Kouame Sereba

Courtesy of Grappa Musikkforlag and Six Degrees Records, Ltd.

by arrangement with Ocean Park Music Group

Cue Assembly:

Track Title	Slate Number and Cue Title
1. Matobo	1m1 Matobo (Edited)
2. Silvia’s Background	2m5 Lud & Tobin Discuss Silvia 2m9 Tobin Briefs The Agents
3. Tobin Comes Home	2m6 Tobin Comes Home
4. Hearing Voices	1m2 Silvia Hears Voice And Runs 2m7 Silvia Sees Lud 3m4 Missing Mask
5. Silvia Is Followed	2m5 Lud & Tobin Discuss Silvia
6. Drowning Man Trail (Atolago)	3m2 Drowning Man Trial
7. I Knew He Was Dead	3m3 Silvia Plays Flute 3m9 Philippe Wants To Meet Silvia (Edited) 4m0A Philippe In The Park 4m1 King Watches Philippe 4m0B Philippe And Silvia Talk
8. The Phone Call	2m6Alt Tobin Comes Home (Alternate)
9. Bus Meeting	4m3 The Bus
10. Guy Forgot His Lunch	4m4 Bus Blows Up
11. Simon’s Journals	5m2Alt Philippe's Suicide (Alternate) 5m2 Philippe's Suicide 5m4 Simon's Journals 5m5 Tobin Watches Silvia
12. Zuwanie’s Arrival at UN	6m2 Zuwanie Arrival
13. Arrival	6m3 Assassin 6m4Alt Lud (Alternate) (Edited)
14. Standoff and Resolution	7m1Alt Silvia & Zuwanie - Part 2 (Alternate) (Edited)
15. Naming of the Dead (Atolago)	7m3 Naming Of The Dead (Edited) 7m4A End Credits (Edited)

Motion picture artwork and artwork title © 2005 Universal Studios. This compilation and cover artwork © 2025 Renovatio Records. All rights reserved. Unauthorized duplication is a violation of applicable laws. For promotional use only.

Renovatio Records [0-01702-19092]