SKU: 16086732287

2003-2006 Mercedes-Benz G55 AMG ML350 722.6 TCU Transmission Valve Body Solenoid w/Conductor Plate

$96.19 $106.88
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Description

2003-2006 Mercedes-Benz G55 AMG ML350 722.6 TCU Transmission Valve Body Solenoid w/Conductor PlateFeature: 1: According to the original factory specifications,perfect match for the original car. 2: Own different test machines to design exact accurate parameter for our products. All items were tested for performance. 3: Made by high quality material, lightweight, anti rust, colorfast and durable. 4: Aftermarket product with premium quality. 5: Stable performance, high reliability,suitable for replacing your broken one. Specifics: Condition:

Feature:
1: According to the original factory specifications,perfect match for the original car.
2: Own different test machines to design exact accurate parameter for our products.All items were tested for performance.
3: Made by high quality material, lightweight, anti-rust, colorfast and durable.
4: Aftermarket product with premium quality.
5: Stable performance, high reliability,suitable for replacing your broken one.

Specifics:
Condition: Remanufactured
Material: Metal
Manufacturer Part Number: A2402700106
Interchange Part Number: 722.6
Other Part Number: 1402700761, 722.6, 10020951, 2402700106
Type: Valve Body
Fitment Type: Direct Replacement

OEM:
722.6
10020951
2402700106
1402700361
1402700161
1402700561
1402700861
1402700761

Fitment:
Fits For many 5-speed automatic transmissions 722.6 such as:
- CL-Class, S-Class, SL-Class

For Mercedes-Benz：
C230 1997-2005
C240 2001-2005
C280 1994-2007
C32 AMG 2002-2004
C320 2001-2005
C350 2006-2007
C36 AMG 1995-1997
C43 AMG 1998-2000
C55 AMG 2005-2006
CL500 1998-2006
CL55 AMG 2001-2006
CL600 1998-2006
CL65 AMG 2005-2006
CLK320 1998-2005
CLK430 1999-2003
CLK500 2003-2006
CLK55 AMG 2001-2006
E300 1996-1999
E320 1996-2006
E350 2006-2007
E420 1997
E430 1998-2002
E500 2003-2006
E55 AMG 1999-2006
G500 2002-2005
G55 AMG 2003-2005
ML320 1998-2002
ML350 2003-2005
ML430 1999-2001
ML500 2002-2005
ML55 AMG 2000-2003
S320 1994-1999
S350 2006
S420 1994-1999
S430 2000-2006
S500 1994-2006
S55 AMG 2001-2006
S600 1994-2006
S65 AMG 2006
SL320 1994-1997
SL500 1994-2007
SL600 1994-2007
SL65 AMG 2005-2007
SLK230 1998-2004
SLK32 AMG 2002-2004
SLK320 2001-2004
SLR McLaren 2005-2006
Sprinter 2500 2010-2012

***If you are not sure, please provide vin for us!

Package Include:
1 x Auto Transmission Valve Body W/ Solenoid
High Quality, Strictly tested.
(Instruction is not inclued!)

Note:
1.Please check the description or use the year/make/model check finder and replace part numbers to confirm the compatibility before purchasing.
2.Professional installation is recommended.

Installation Video (FOR REFERENCE ONLY):

https://youtu.be/NVbcuKcnC2Q?si=vMw-Ebgg3Ldk1J7D

(Please note, the installation video is for reference only and may not be completely accurate. If you're unsure about installation, we recommend consulting a local professional mechanic for assistance.)

Warranty:
Returns: Customers have the right to apply for a return within 60 days after the receipt of the product
24-Hour Expert Online: Solve your installation and product problems

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 16086732287

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4.2 ★★★★★
Based on 7 reviews
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Product Reviews
J
Verified Purchase
jk Smiles
Draper, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
San Leandro, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Port Orchard, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Bozeman, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Fort Morgan, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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