ࡱ>  @ bjbj{{ 7D+B B B B B B B V z~z~z~8~\V f444KMMMMMM$nRBqQB qB B 44ºB 4B 4KKB B 4 !z~^7غ0V V B B B B B TN]\  h qqV V $rz~dV V z~ Mosaic by Alexander Julien Revisions by Alexander Julien 2008 Recent Revisions by Alexander Julien and Derek Kilby 2009 Address: #209-1537 Burnaby St. Vancouver, B.C. Canada, V6G-1X1 Contact Info: H (604) 569-4160 C (778) 554-6576 OPEN TO: CARD: September 4, 1990 CARD: The Chayevsky Quantum Dynamics Institute INT. CHAYEVSKY QUANTUM DYNAMICS INSTITUTE - NIGHT A modern looking building with several large lab rooms that encircle a larger generator room. We follow a female lab assistant down several hallways. She passes by several rooms as the lab is busy with activity. The assistant finally arrives at a closed door. The sign on the door reads: ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM LOUD SPEAKER VOICE Sub atomic linear interface in seven minutes. INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT We pan across various computer monitors. Several scientists, in white mid length lab coats, are hustling around the area. DR. LEONARD GALLOWAY (41), looks down at an old stop watch. He looks up at the generator. He looks back down to the watch. GALLOWAY Seven minutes. An assistant approaches Dr. Galloway. ASSISTANT Metallic plates are nominal. All insulators are above norm and holding. GALLOWAY Capacitor alignment? ASSISTANT Permittivity is high. Were looking good. Dr. Galloway turns around and looks through a plexi-glass observation window. In the observation room, there are several people watching. Dr. Galloway gives them all the thumbs up. INT. OBSERVATION ROOM - NIGHT DR. LIONEL WALKER (31), attractive. He approaches another man. DR. MOURAD ABDERAZZI,(48), heavy set. LIONEL Are you ready to rock the U.S. Patent Office? Abderazzi smiles at Lionel. ABDERAZZI I would be happy with a cup of tea that wasnt made in England. Lionel pats Abderazzi on the back. Lionel looks down at his watch. LIONEL I got time. ABDERAZZI Hurry up or youll miss the whole thing. Abderazzi winks an eye. LIONEL I wouldnt dream of it. Lionel exits the lab. Abderazzi turns to an assistant. ABDERAZZI Keep an eye on the EM field. I dont want that frequency to high. ASSISTANT Yes doctor. The assistant turns back to the monitor. INT. HALLWAY - NIGHT Lionel walks down the hall. He looks up and sees the Deputy Director of the National Clandestine Service (NCS). His name is ARCHIE WOODS (46). He is being followed by three men wearing black suits and black bolero hats. Lionel gives Archie a nod. Archie nervously nods back. Lionel also watches the three men. Their faces are hidden by the hats. Lionel gives one of the men a double take. Archie and the three men enter the lab. Lionel shrugs it off and enters a lounge. INT. LOUNGE - NIGHT Lionel grabs a cup of coffee from a cheap vending machine. He lifts the cup in the air and reads the printing underneath. LIONEL Well my good friend. Youre going to have to settle for coffee from... Maine? Lionel lowers the cup and smells the steaming hot brew. LIONEL (CONTD) Maine? Ridiculous. A television set is sitting on one of the tables. The sound is off. Lionel looks over at the television and sees Dr. Abderazzis face. Hes being interviewed. Lionel walks to the television and raises the volume. ABDERAZZI (TELEVISION) ...the decreasing quantity of virtual particles appear between the active plates allowing for resonance frequencies to form. INTERVIEWER (TELEVISION) Dr. Abderazzi. Most people dont understand what Infinite Energy really means in accordance with their every day lives. Does this mean a cleaner source of unlimited energy for our homes, cars and even space travel? ABDERAZZI (TELEVISION) It really depends on who you ask. Some believe it can do everything. Others believe it can never be converted into a useful form. Thats what were attempting to find out. INTERVIEWER (TELEVISION) Doctor. This project has had its share of critics. There are religious groups who believe that were moving into areas of physical science that we cant possibly predict the outcome for. And that this kind of ultimate power can only lead to a decline in our spiritual state of mind. How would you respond to that? INT. OBSERVATION ROOM - NIGHT We see Abderazzi and assistants busy in the lab preparing for the countdown to begin. ABDERAZZI (V.O.) Nature exists and Man exists. Somewhere there must be the wisdom that tells us why and how. There has to be a basic source from which all Science and great religions have sprung. INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT We slow zoom in on the intrinsic generator. A tiny spark of energy is forming. ABDERAZZI (V.O.) Knowledge and wisdom, were not meant only for Gods. INT. LOUNGE - NIGHT LOUD ALARM. LOUD SPEAKER VOICE Warning! Intrinsic field generator active! Sub atomic linear interface in fifteen seconds! The paper coffee cup falls to the floor. The hot coffee spills onto the floor. Lionel runs out of the kitchen. INT. HALLWAY - NIGHT Lionel runs to the lab door. A spiraling blue light above the lab door indicates the lab has now been magnetically sealed. LOUD SPEAKER VOICE ZPE interface in five, four, three, two, one. Lionel turns his head. FLASH OF LIGHT. LIONEL God damn it. INT. OBSERVATION ROOM - NIGHT The sealed door to the observation room slowly opens. Lionel enters the room and walks to Abderazzi. LIONEL You couldnt wait one more minute? Abderazzi turns to Lionel. ABDERAZZI What are you talking about? We havent even started yet. Abderazzi turns back to what he was doing. Lionel turns and looks into the generator room. Dr. Galloway is still prepping the capacitors. Lionel looks around the room to see where Archie and the three men in black are. They are not in the room. Lionel approaches an assistant. LIONEL Where are those three men who came in with the Deputy Director? ASSISTANT Im sorry Dr. Walker. I havent seen the Deputy Director this morning. Lionel turns away in thought. INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT Lionel enters the generator room. He walks to Dr. Galloway. GALLOWAY Cutting it kind of close wouldnt you say? Lionel reaches for the stop watch in Galloways hand. LIONEL May I? Dr. Galloway hands the stop watch over to Lionel. GALLOWAY It was my grand mothers. Keeps perfect time. Lionel looks down at the watch. He looks over to his own watch. The stop watch is thirty seconds behind his watch. GALLOWAY (CONT'D) What is it? Lionel just stares at Galloway. LIONEL Im not sure. GALLOWAY Well come on. Its time to make history. INT. OBSERVATION ROOM - NIGHT Lionel and Galloway enter the observation room. They walk to Abderazzi. Everyone in the room stands watching the generator room. Abderazzi turns to a console and places his right hand on a lever handle. Abderazzi looks up at Lionel. ABDERAZZI The Sea of Energy. Lionel smiles and looks into the generator room. Abderazzi pulls the lever switch. LOUD HUMMING. INT. ISOTOPIC INTRINSIC ELECTRICITY GENERATOR ROOM - NIGHT The generator whirs and hums. A tremendous flash of light and then a bright circular glowing sphere hovers just over the capacitors. The sphere crackles with sporadic energy. INT. OBSERVATION ROOM - NIGHT All the people in the observation room erupt with joy at the apparent success of the experiment. Abderazzi, Galloway and Lionel all begin to shake hands with each other. Galloway turns to an assistant. GALLOWAY Is the field stable?! The assistant turns to a monitor. She reads the available data. ASSISTANT Accelerated frequencies show no degradation! Lionel turns to Abderazzi. LIONEL You did it Abby. Zero point energy. The world will never be the same again. Galloway pats them both on the back. Abderazzi places his right hand on Lionels arm. ABDERAZZI Lets hope for the better. Lets hope. The energy field stays constant. An assistant approaches Abderazzi, Lionel and Galloway. She hands them three champagne glasses full of the bubbly. The three of them toast each other. The assistant removes a camera and snaps a photograph. We pan over and slow zoom into the brilliant energy sphere. CARD: Present Day INT. MORRIS RAIL YARD, NEW JERSEY - NIGHT The streets near the Morris Rail yard are seemingly quiet. A few pedestrians peer through the wire fence to the outgoing shipping trains. EXT. DOOR TO RAIL YARD WAREHOUSE - NIGHT The door is suddenly blasted apart as shotgun fire echoes through the warehouse. Several more shots of a different nature are also heard inside. A masked man clumsily exits the destroyed door. He falls to the ground and struggles to look behind him. A bright flash of light and suddenly there is a figure standing in the doorway. The face is hidden. The masked man struggles to his feet. Blood drips from a gunshot wound to his thigh. He does his best to make his way through some other room while still being followed by the figure. The masked man pumps his shotgun and blasts at the figure. The figure gets hit by the incoming fire and drops to the floor. The masked man waits for a moment. Then suddenly three more flashes of light and three more figures are standing there. They begin walking to him. The masked man grimaces. He looks around and sees that he is cornered against a window and the walls. The masked man decides in a moment what to do. CRASH. The masked man throws himself out the window. He lands with a thud three stories below. The figures reach the broken window and look down at the masked man. He is still moving. A black van with blacked out windows screeches into the rail yard. The van slides around the gravel entrance and skids to a halt in front of the wounded masked man. Three people wearing black ski masks jump out of the van. One of the masked people looks at three figure approaching them. The masked person pulls out an UZI 9mm. The masked person pulls back the chamber loading the clip. The other masked people help the wounded masked man into the van through the side panel door. Three more figures appear walking towards the van. MASKED MAN #1 Let's move! Masked man #1 runs past masked man #2 holding the UZI to the van. Masked man #2 begins firing at the figures. Several shots impact against the figure's bodies. This time they don't fall. MASKED MAN #2 I'm gonna need some help here! Masked man #2 turns back to the van. Masked man #1 looks back. MASKED MAN #1 Get your ass in here! Masked man #2 turns back to the approaching figures. There are only two now. Masked man #2 hastily looks around for the third. Masked man #2 suddenly freezes. Masked man #1 begins closing the side door to the van. Masked man #1 looks out at Masked man #2. MASKED MAN #1 (CONT'D) What are you doing! Come on! Masked man #2 turns to the van. He slowly lifts the UZI. Masked man #1 sees this. MASKED MAN #1 (CONT'D) No! Don't! Masked man #2 fires and kills Masked man #1. Masked man #1 falls out of the van onto the street. Masked man #2 begins shaking. He tries to lower the UZI. He seems to be fighting something inside his head. He presses his left hand against his temple. MASKED MAN #2 No! Get out! Get out of my head! Another masked person looks out the side van. Masked man #2 puts the UZI to his head. He fires. Various bits of skull and brain matter spray the side of the van. The van speeds off. INT. VAN - NIGHT The wounded masked man lies on the floor of the van as it swerves in and out of traffic. The wounded masked man looks up to the other masked men. Masked man #3 checks his wounds. MASKED MAN #5 Did you find it? I hope it was worth it. WOUNDED MASKED MAN What kind of question is that? He reaches into his jacket and removes a package wrapped in brown paper. Masked man #5 takes the package. He begins to unwrap it. MASKED MAN #4 Are you mad?! Put that thing away! Masked man #4 takes the package. WOUNDED MASKED MAN We have to find him. Time is running out... and we're already behind. Masked man #3 leans in to the wounded masked man. Blood is seeping onto the floor of the van. The wounded masked man removes his mask. His eyes are going dead. MASKED MAN #3 We have to get you to a hospital. Wounded masked man shrugs him off. Wounded masked man grabs the hand of masked man #3. WOUNDED MASKED MAN Even if it means your life. Masked man #4 places his hand on the wounded masked mans chest. MASKED MAN #4 You did everything you could. Ill take it from here. LOUD EXPLOSION. The van flips over and everyone inside gets thrown from side to side. EXT. STREET - NIGHT The van slides down the street on its side. The one side of the van has been blown off. The van comes to a stop and sits there burning. Masked man #4 slowly crawls out of the burning van and stumbles to his feet. He looks around at the gathering people and notices that his mask is on fire. POLICE SIRENS IN THE DISTANCE. Masked man #4 rips off his mask and throws it on the street. We see that it is an older Dr. Galloway with a beard. He looks around and see several figures walking towards him. LOUD EXPLOSION. The van explodes again. Galloway runs to some bushes. He has the brown paper wrapped package in his hands. He turns and sees the Police arriving. Two N.Y.P.D. police cars speed around a corner and enter the area. They approach the burning van. INT. POLICE CRUISER - NIGHT A view from behind the two officers in the one cruiser shows the van off to the right on fire. People can be seen running in various panicked directions. LOUD EXPLOSION. The van continues erupting as streams of fire reach into the air in search of more fuel. OFFICER #1 Looks like a war broke out! EXT. STREET - NIGHT One of the figures stops walking. He turns to face the incoming Police cruisers. From behind the figure, we see him remove a pair of sunglasses from his face. INT. POLICE CRUISER - NIGHT The officer driving grabs the radio handset. DRIVING OFFICER This is 1L10! Shots fired at the corner of... We zoom in on the face of the other officer as the driving officer continues his radio call in the background. The officer has a dumb look on his face. He calmly turns his head and looks at the driving officer. The officers fingers trickle over the snap button keeping his service revolver in its holster. He slowly removes the weapon. He lifts it and points it at the driving officer. DRIVING OFFICER (CONT'D) What are you doing?! Wait! GUNSHOT. The driving officers head slumps over. His foot pushes down on the gas pedal accelerating the car. EXT. STREET - NIGHT Galloway watches from the bushes as one of the Police cars speeds directly off its path smashing into the other Police car. The two officers in the other Police car look through the smashed windshield and see the officer with the gun. The officer with the gun begins firing into the windshield of the other Police car. The other officers are dead. The officer with the gun points the gun at his temple. GUNSHOT. Galloway sees this and decides to run frantically down the street. He turns into another alleyway. Two more figures appear in front of him blocking his path. GALLOWAY Shit. Shit. Shit. Galloway turns. DEEP VOICE It doesn't have to end this way. Galloway stops and looks around. More figures appear in the streets. Galloway takes a few steps back and then sees two other figures behind him. The figures begin to close in on him. Galloway looks around and then runs to an old door along side the building next to them. The door is locked. The figures are closing in. Galloway kicks open the door and runs inside the building. INT. BUILDING - NIGHT Galloway begins running through the building looking for any cover. Then the lights come on. Everything is bright. Galloway looks around. He is in a clothing manufacturing plant. There are several large machines around him. He sees one figure. The figure is standing across from him. Galloway can't move. He struggles to run. He can't. The figure approaches. Galloway looks at the figure. The figure is wearing dark glasses. He's bald. The wrapped item from the van falls to the floor. The figure leans down and picks it up. Galloway is still struggling. The figure removes his glasses and reveals his eyes. They are as small as peas and pitch black. BALD MAN Where were you going with this? Galloway doesn't say a word. The bald man unwraps the item in brown paper. It is a seven inch long crystal shard. It begins to glow blue. The bald man smiles and then looks up to Galloway. BALD MAN I imagine it serves no purpose to bring you back. Though we are grateful for your assistance. Galloway is suspended in mid air with nothing apparently holding him up. BALD MAN (CONT'D) It seems you have one more useful experiment to fulfill Dr. Galloway. HIGH PITCHED HUMMING. Dr. Galloway starts to shake. Blood pours out from his nose and ears. DR. GALLOWAY Ahhh! Dr. Galloway begins to melt as he hangs in the air. The bald man turns around and sees the other figures standing around him. They encircle the bald man and in one very bright flash of light. All the figures disappear. INT. ARCHAEOLOGICAL MUSEUM, RABAT, KINGDOM OF MOROCCO - NIGHT CARD: Kingdom of Morocco The National Archaeological Museum is a dusty place with sand everywhere. Mourad Abderazzi, now 68, is the director of the museum. He is a heavy set man with his brow permanently etched with sweat. He sits at his desk smoking a cigar and reading some documents. A clear cup, holding tea, sits beside a picture of his wife and three daughters. The moonlight filters through the wooden blinds of his office. The mixture of cigar smoke and moonlight make for a peaceful setting. CREAK! The door to Abderazzi's office slowly opens. He looks up. ABDERAZZI Is someone there? The door continues to open slowly until it finally stops, showing that nobody is there. Abderazzi rises from his desk and walks over to the door. He closes it and walks back to his desk. He sits down and picks up his tea. CREAK! The door to his office slowly opens once again. ABDERAZZI (CONT'D) Hello? Is somebody there? Abderazzi rises from his desk once again and walks over to his door. He pauses for a moment and looks down at the old fashion solid cast brass palmette door handle. He notices that there is steam rising from the handle. He leans in and touches the door handle. FISSSS! The heat burns his fingers. He quickly pulls them back. Abderazzi walks out his office door to speak to his secretary Azza. She is not at her desk. INT. SECRETARY DESK AREA, MUSEUM - NIGHT The desk lamp is on. ABDERAZZI Azza? Azza? Abderazzi walks around to see if he can find her anywhere. RUNNING WATER. Abderazzi walks down a hallway leading to the washroom. INT. MUSEUM WASHROOM - NIGHT He opens the door and notices the faucet running. He turns off the faucet and closes the door behind him. INT. MUSEUM HALLWAY - NIGHT He notices one of the doors leading to an adjacent storage room is open. He walks towards it and slowly opens the door. INT. MUSEUM STORAGE ROOM - NIGHT Abderazzi takes a few steps into the room. ABDERAZZI Azza? Are you in here? He notices the silhouette of someone sitting in an antique swivel chair. He fumbles for the piece of string that enables the light switch that hangs from the ceiling. ABDERAZZI (CONT'D) Azza? Is that you? The light bulb snaps to life. Abderazzi stands there waiting for an answer from whoever is in the chair. The chair swivels around to reveal the bald man. He is wearing thin pale blue sunglasses. ABDERAZZI (CONT'D) Where is Azza? BALD MAN She looked tired so I gave her some time off. Abderazzi fiddles with his hands. His palms are sweaty. ABDERAZZI Who are you? What are you doing in here? The bald man stands from the swivel chair and walks over to Abderazzi. He puts his white gloved hands onto his shoulders. BALD MAN That's a very good question. Have you ever asked yourself that? The bald man walks around Abderazzi and walks over to one of the unopened crates that sits waiting in the area. Abderazzi turns his head to follow the bald man. BALD MAN (CONT'D) The Human Race. An entire civilization determined to destroy itself. The bald man places his gloved hands palm down on the crate. The bald man turns around and faces Abderazzi. Abderazzi is still standing in his spot. BALD MAN (CONT'D) With all this history around us. You would think wed know ourselves a little better by now. The bald man turns and walks up to Abderazzi. BALD MAN(CONT'D) Mankind has had it chances. We can no longer be trusted to decide whats best. Abderazzi takes a step back. ABDERAZZI I know who you are. Abderazzi turns to walk out the door. An associate of the bald man appears in the doorway. Abderazzi stops before he gets to the door. BALD MAN My dear doctor. What you think you know, is not the same as what you thought you knew. Abderazzi is surrounded by more associates. The bald man walks to him. He removes his glasses. We just see Abderazzi's reaction. BALD MAN I ran into an old friend of yours. Actually. He ran into me. Abderazzi looks around and begins breathing heavy. The inevitability of his situation is sinking in. ABDERAZZI You still don't have what you're looking for. Or you wouldn't be here. The bald man places his glasses back on his face. BALD MAN Tell me the name. I promise the next world for you will be a better one. Abderazzi stays stoic. ABDERAZZI I would rather die a free man. Than live as a slave in your world. The bald man walks away. Several associates move to Abderazzi. The bald man stops and turns to Abderazzi. BALD MAN There are worse things than dying. Abderazzi looks down at his hands. He opens them palm up to the heavens. ABDERAZZI Ashadu anna Muhammadan rasoolullah. Allahu Akbar, Allahu Akbar. INT. LIMOUSINE - DAY The bald man sits in the back of a limousine when there is a light knock on the window. The window moves downward. An associate leans down to the window. ASSOCIATE Racrehel. The bald man leans back in the seat. BALD MAN At last. The window moves upward and closes. INT. ARCHAEOLOGICAL MUSEUM, RABAT, KINGDOM OF MOROCCO - NIGHT Several flash light beams fight to pierce the thick dust in the air. Two men wearing gas masks enter the hallway. Another man, much taller than the other two men, enter behind them. TALL MAN How far is the signal? One of the men looks down at his scanning device. MAN #1 Its within fifteen meters. TALL MAN Bio readings? MAN #1 If you can call it that. Minimal. traces are barely registering. TALL MAN Spread out. If hes in here. Find him. The other two men walk in different directions. The tall man walks towards the main office area. We see that the tall man is in his early forties and he has nice blue eyes. INT. MAIN OFFICE AREA, ABDERAZZIS OFFICE - NIGHT The tall man enters Abderazzis office. He looks around. The area has been tossed. The tall man reaches the back of Abderazzis desk. CREAK. The tall man turns and sees a door to an adjoining closet is ajar. The tall man sees a foot sticking out from the door. TALL MAN Jesus. The tall man reaches the door and opens it. Abderazzi is lying on the floor. He has a slime covering his body and his physical features have begun to disappear. TALL MAN (CONT'D) Abby! Abby can you here me! Abderazzi moves slightly to his left. His mouth opens and he tries to speak. The tall man leans in. TALL MAN (CONT'D) Abby. Who did this? Abderazzi slowly lifts his hand in the air. He points to something. TALL MAN (CONT'D) What is it? The other two men enter the office area. One of them kneels down beside Abderazzi and begins to analyze his condition with a portable imaging scanner. The man looks over at the tall man. BEEPING IMAGING SCANNER. MAN #2 Extensive cellular breakdown. If were going to have any chance of saving him. We have to get him out of here right now. Abderazzi continues to point at something. TALL MAN There has to be some way we can stabilize him. What can we do? Abderazzi begins flailing his arms all around. MAN #2 Hes going into shock! Quickly! Open his shirt! Man #2 begins administering CPR. Abderazzi pushes them away. TALL MAN I thought you said he was in shock?! Abderazzi stretches out his arm and points to the desk. ABDERAZZI Racrehel! The tall man and the two other men look up to the top of the desk. Sitting on the desk is a WNN newspaper. On the page thats opened is a picture of a woman. The header reads: WNN Celebrates One Of Their Own! The tall man looks closer at the name beneath the picture. It reads: Rachel Cole, Peabody Award Winning Journalist. The tall man looks back to Abderazzi. Hes dead. One of the other men turns up to the tall man. MAN #2 What now sir? The tall man continues to look at the picture of Rachel. TALL MAN We have to warn an old friend. FADE TO: INT. LABORATORY ROOM - NIGHT (DREAM SEQUENCE) We enter a lab room. In the middle of the room is a hospital bed occupied by ten year old little girl. The little girl is sitting up in a bed. Frequency electrodes are attached all over her head. She looks uncomfortable. DEEP SOFT VOICE How do you feel? The little girl shifts her weight in the bed. She fidgets with one of the electrodes. DEEP SOFT VOICE (CONT'D) It will all be over soon. Remember what we talked about? The little girl nods her head. DEEP SOFT VOICE (CONT'D) Good girl. DEEP HUMMING SOUND. The little girls hands tightly clench the side of the bed. DEEP SOFT VOICE (CONT'D) It will only hurt if you fight it. LOUD RUMBLING. A massive shock wave of sonic pressure hits the room and everything starts shaking. An electrical charge shoots through the little girl. She falls back into the bed in pain. She grasps for anything to hold. The little girl springs back up into a seated position and places both hands on her temples. She starts to shake uncontrollably. LITTLE GIRL No! No! It hurts! SNAP CUT TO: INT. BEDROOM - DAY RACHEL COLE (30), attractive, snaps awake. Another person stirs beside her. He is ANDREW ROSS (33), attractive. ANDREW (SOFTLY) Bad dreams again? RACHEL Only when I sleep. She turns away from Andrew and looks over at the digital clock on the side table. It reads: 8:17 am RACHEL (CONT'D) Shit. Come on sleeping beauty. We got to go. Andrew reaches out and grabs her by the waist and prevents her from leaving the bed. ANDREW Was it your mother again? (BEAT) RACHEL I can't remember. ANDREW You never were a very good liar. RACHEL No reason for me to play on your side of the tracks. ANDREW Ouch. Youre starting early this morning. She grabs his arm and pulls it around her body. Andrew inhales the scent from her hair. RACHEL Im sorry. Its not you. I havent slept very well these last few months. ANDREW Maybe you should talk to someone. RACHEL Thats why I have you. ANDREW Im flattered you think my psycho analytical prowess is so adept. I mean someone who... Rachel places her hands on Andrews face. RACHEL I know what you mean. (BEAT) ANDREW The Mayans believed that nightmares were memories from our past trying to warn us. RACHEL Really? How would we know? ANDREW You would have to be trained in recognizing the signs I suppose. Rachel giggles. ANDREW (CONT'D) Whats so funny? RACHEL And here I thought you were only good for one thing. Andrew tickles Rachel under the covers. She squirms. ANDREW Ill show you one thing. The two of them play fight for a moment. RACHEL Alright! Alright! Andrew ceases. ANDREW Come on. We'll go to that cute little deli around the corner and grab some of those bagels you like so much. RACHEL I can't this morning. There's something I have to do first before I go in. ANDREW Ill come with you. Rachel smiles and then she kisses him. RACHEL You're sweet. Im a big girl. ANDREW So Ive noticed. Rachel slips out from under the covers and walks to the closet. She grabs a towel and walks across the room towards the washroom. Andrew looks over at the table beside the bed. There is an old vintage crystal lamp, a remote control for the television and a George Foster Peabody Award. He grabs the award and looks at its face. ANDREW He looks like Colonel Sanders. Rachel pokes her head out from the washroom. RACHEL Not bad for a grade seven education. ANDREW Yea. Youve come a long way. RACHEL Not me you jerk. Colonel Sanders. Andrew smiles and places the award back on the table. He then takes the remote control and flicks on the television. He flips channels until he reaches W.N.N. News. ANDREW Oh look. Its the happy channel. A slight giggle can be heard from the washroom. TELEVISION World Network News. Your twenty-four hour news source. Bringing you all the days events. In real time. Disturbing new data released by the World Health Organization shows an alarming rise in the global suicide rate. Every year one million people, or 1.5% of the planet's human population, commit suicide. In the last six months alone. Three and a half million people have taken their own lives around the world. Experts also tell W.N.N. that this number could be much higher due to the undetermined suicides occurring in third world countries. ANDREW (TO HIMSELF) Their getting out while its still good. Rachel pokes her head out from the washroom. RACHEL Did you say something? ANDREW Not important. Rachel pulls her head back in. SHOWER WATER RUNNING. Andrew lies in bed thinking to himself. EXT. TRINITY CHURCH CEMETERY - DAY The sunlight barely cracks its way through the thick cloud cover of the mid afternoon day. Rachel walks through the Trinity Church cemetery and eventually stops at a grave stone marked: "In loving Memory, Monica Woods, 1949 - 1990" Rachel places some flowers on her mothers' grave stone and sits there for a few moments. She ponders. EXT. SIDEWALK OUTSIDE CEMETERY - DAY An unidentified man (40's), in a cream colored trench coat watches Rachel from the sidewalk. He is wearing a black hat as well. INT. WNN NEWS CENTER, NEW YORK CITY - DAY The WNN News Center is bustling with reporters and other people trying to get their work done. Rachel walks into the main newsroom. She walks by her boss's office door. His name is WALTER MICHAELS (53). Walter has been the President of WNN News for fourteen years. WALTER Spark! I still don't have all your sources for "Highwater". Rachel stops at Walter's door. His desk is a colossal mess. RACHEL I put them on your desk last week Walter. Don't you remember? And when are you going to stop calling me that? Walter gives her a smirk. Rachel smirks right back. WALTER Nobody likes a smart ass. Just because you knocked one out of the park your first time up doesn't mean you forget where you came from. A female assistant walks in between Rachel and Walter as they walk and talk. The assistant quietly congratulates Rachel on her award. Rachel looks back to Walter. RACHEL You mean the mail room. When I was getting your coffee? Walter catches up to her. WALTER And what great coffee it was. Rachel continues walking. RACHEL Something will come up. It always does. Walter catches up to Rachel and stops her. WALTER Ive got just the thing. His look is serious. WALTER (CONT'D) It would be a pleasant change of pace to actually have you on board with the rest of us. She gives him a smile. She continues walking. RACHEL Is this is about the Mayor getting caught with the hooker who turned out to be a D.E.A. undercover. I'll pass thank-you. Walter catches up to her at the coffee bar. WALTER No hookers. I promise. Well, not for you anyway. Rachel smiles. Walter holds up his left hand with the three fingered Scout's honor salute. RACHEL It's the other hand Walter. Walter looks at his right hand. RACHEL (CONT'D) You're no boy scout. Rachel playfully walks away from Walter as he lowers his left hand. INT. RACHEL'S OFFICE, WNN NEWS - DAY Rachel enters her office and walks to her desk. She places the file folder on her desk and proceeds to rustle through other papers. KNOCKING. Andrew walks into the office. ANDREW Did you hear the big news? Rachel looks up at Andrew. RACHEL If this is about the Mayor, spare me the lurid details. I'll pick up what I miss from TMZ. Andrew flops himself down on one of the chairs. ANDREW Not quite but you do have to ask yourself. Did he find out before or after? Rachel continues with what she's doing. ANDREW (CONT'D) I'll take that as a "no." Rachel looks at Andrew. RACHEL What are you talking about? ANDREW The footage. From the rail yard massacre a couple of nights ago. Don't tell me you haven't heard. Rachel shakes her head. Andrew springs up from the chair and pulls down the shade blind to the office window. Rachel steps up to see several plasma monitors in the newsroom are all showing security camera footage of a person in the New Jersey rail yard. The person is suspended in mid air apparently being strangled. The security camera shows that nobody is in the room besides the person. (Dr. Galloway) ANDREW (CONT'D) Nine people murdered. Cars blowing up in the streets. And this poor fellow. When they found him, he was nothing but a big blob of jelly. Couldn't even tell he was human. RACHEL It's a joke. Andrew shakes his head. ANDREW Apparently not. This was posted on Youtube fifteen minutes ago. Andrew holds out his Blackberry. He plays a viral video for her. The video shows Dr. Galloway in a nervous state. Hes talking directly into the camera while looking behind him for something. GALLOWAY (VIDEO) This wont be easy to understand. For most of you out there... were just a terrorist group. But the time has come for the world to wake up. The time has come for us to take back out right of will. Galloway looks behind him once again. A woman comes up behind him. WOMAN (VIDEO) We have to go now! LOUD BANGING IN THE BACKGROUND. GALLOWAY (VIDEO) I have to finish it! Galloway returns to the camera. GALLOWAY (VIDEO)(CONTD) Our hope... is that the people of this world come to realize once and for all. The time is now. Take back whats yours. SEVERAL SHOTGUN BLASTs IN THE BACKGROUND OF VIDEO. The video shows chaos and then goes dark. RACHEL Jesus. What do you think theyre talking about? ANDREW If I knew that. I would be sitting in Michael's office where all the secrets of the world go to die. Rachel grins and nods her heads like she's listening. RACHEL Anybody know who he is? ANDREW I dunno. Some crazy scientist. KNOCKING. Rachel sighs. She looks up to the door once again. Her assistant Missy enters the office. Missy is carrying a large yellow envelope. She places the envelope in Rachel's hand. RACHEL What's this? MISSY Your mail. Just arrived. Rachel grabs a letter opener from the desk drawer and slices open the envelope. Rachel looks back to Missy. RACHEL Anything else? MISSY Mr. Michaels asked to see you in his office. Rachel sighs. RACHEL I swear he's like a little boy sometimes. Thank-you Missy. Rachel opens the envelope and tilts the open end down. An old photograph falls out along with a small piece of note paper. Rachel looks at the photo. The photo is of her as a little girl along with two adults. Andrew peeks in. ANDREW Who are they? Rachel places the photo face down on her desk. RACHEL Nobody. Rachel flips the note paper over. It reads: "A light in dark places." Andrew touches Rachel on the arm. She snaps back to reality. ANDREW Hey. You o.k.? RACHEL Yea. Why? Rachel rises from the chair and begins to gather some files and other such items. She smirks and walks past Andrew into the hallway. ANDREW Hey? Andrew follows her. INT. HALLWAY, WNN NEWS - DAY Rachel and Andrew walk down the hallway past numerous computers and various people about in their varied tasks. ANDREW I found a cozy little Spanish restaurant, candle light dinner, serenading guitar player, the works. Interested? Rachel continues down the hall without looking at Andrew. RACHEL No can do. Walter has me pulling double duty. ANDREW Fill me in. Rachel stops and looks at Andrew. RACHEL I can't fill you in because I haven't even looked at the file yet. Ergo, no dinner tonight. Rachel brings her hands up to his cheek. RACHEL (CONT'D) Not even a cozy little Spanish restaurant with a serenading guitar player. As wonderful as they may sound. Rachel walks away glancing behind her. She smiles. RACHEL (CONT'D) Another time. Another place. Andrew watches her for a moment and then turns to walk the other way. INT. WALTER'S OFFICE - DAY Rachel enters the office and notices right away that the President of WNN News is present. WELLINGTON ANDERSON III, (61). Walter is sitting at his desk. His look is somewhat serious. Rachel walks to a chair across from Walter and sits. RACHEL Don't tell me. The Mets lost again. Wellington closes the door to the office. He then walks to the end of Walter's desk and sits on the edge of it. WELLINGTON Miss Cole. Are you feeling alright? RACHEL What are you talking about? Wellington walks to the door while Walter leans into Rachel. Walter places some black and white photos on the desk. Rachel looks at the photos. They are of her kneeling at the cemetery crying at her mother's grave. WALTER It's been twenty years Spark. You've got to let it go. Wellington steps up. WELLINGTON Miss Cole. We are not in the habit of interfering with our employees personal lives but this...unstable behavior quite frankly has me concerned. Walter looks at Wellington. WELLINGTON (CONT'D) Walter doesn't share my feelings on this but time will tell. Walter walks up to Rachel. WALTER You just returned from a difficult assignment. Take a few days. Go shopping. Go get your nails done. Go do what women your age do. RACHEL My age? Walter. I'm fine. Can we move on? Wellington looks at Walter for a moment and then leaves the office. Satisfied for the moment. Rachel turns to leave as well. WALTER Forgetting something? Rachel stops and turns back to Walter. He's holding a file folder in his right hand. RACHEL What's this? Rachel opens the file and briefly peeks inside. WALTER Background. RACHEL On what? WALTER Who. Some famous scientists are showing up dead. One just last night. Car accident or something. Looks fishy. Got an anonymous tip early this morning. I don't like anonymous tips. You know why. It means someone out there knows a hell of a lot more than we do. That makes me nervous. RACHEL What's his name? Walter begins walking to his office. WALTER I don't know. "Azz... Aber", something like that. RACHEL You mean Abderazzi? Dr. Abderazzi? Walter stops walking. He turns to Rachel. WALTER Yea. How'd you know that? RACHEL Walter. One of these days you really have to read something other than the Hunters Almanac. Walter points his pen at her. WALTER Look around you. I get all the bad news I need. Walter lowers his glasses to make sure she knows the seriousness of this. WALTER (CONTD) Listen to me Spark. This "Azzy" guy and his buddies were big news. Two of them are now dead within twenty-four hours of each other. It just so happens that the one remaining live one lives here in the Big Apple. He's giving a lecture at the Giuliani Hall tonight. Walter looks down at some notes. WALTER (CONT'D) Dr... Walker. A real life wonder kid. He was on the Presidents Science Advisory Board at the age of twenty-three. This guy's got more PhD's than God. Think you can handle it? Rachel pulls out an old newspaper clipping from the file folder. The clipping has a picture of several scientists including Dr. Abderazzi and Dr. Lionel Walker. They are gathered around a glowing object mechanism of some kind with champagne glasses in their hands. The paper's headline reads: "TRIUMPH! Rachel looks up at Walter and gives him an evil eye. RACHEL You had someone spying on me? Following me? Walter gives her the sad eyes. WALTER Of course not. Those arrived about the same time as the mystery tip on Abernathy. RACHEL Abderazzi. Walter waves off the correction. WALTER Dont interrupt me. Rachel grins. Walter holds Rachel by the arms with a warm fatherly security. WALTER (CONT'D) Just because you're not being shot at. Doesn't mean it ain't news. She smirks from the side of her lips. RACHEL Those eyes. Walter waves her away. WALTER Go on. Get outta here. Rachel walks confidently out of the office. WALTER (CONT'D) And take that camera guy, whatever his name is, with you! Rachel waves good-bye. WALTER (CONT'D) (under his breath) It's about time he did something. INT. GIULIANI HALL - DAY We enter the Giuliani Lecture Hall. A floor marquee shows a picture of Dr. Lionel Walker. The marquee header reads: Ancient Wisdom and Sacred Science. The hall itself has two hundred and fifty seats that are filled to capacity. Along the back wall and down the side of the hall, are also lined with students eager to hear the speaker. Dr. Lionel Walker walks to the podium. He is a world renowned physicist with a PhD in anthropology, as well as many other fields of study. He is addressing the crowd that has gathered. LIONEL Anthropology in definition, seeks to improve the human condition through knowledge of the past and through an understanding of it's origin. We see faces of students as they attempt to understand the proceedings. A projection screen behind Dr. Walker shows various pictures of ancient cultures from places all around the world. LIONEL(CONT'D) In order to do this we must also bare witness to the study of cycles in physical and cultural aspects that seem to only separate the tribes of Man. Language, religion, the comparative study of social phenomena. We has become so focused on the culture of materialism that little can now be known through just the study of natural sciences. Lionel takes a sip from a glass of water that sits on a small table beside him. Historical paintings of an ancient race of people long ago appear on the large screen behind him. LIONEL (CONTD) Thus, we see in our history, the ebb and flow of human progress. After reaching greatness all the kingdoms of the world descend once again in accordance with the same laws from which they ascended. High priests standing on top of great worship temples holding large multi-colored crystals. They are channeling the forces of nature. LIONEL (CONT'D) For millions of years the Earth has been witness to the great cosmic dance. Comets, consisting of elements that will forever be unknown to our Science, are constantly passing through our solar system leaving traces of our creation behind. Other pictures and scenes of people using natural forces to enlighten themselves spiritually and physically. Ancient Hieroglyphics of levitation, teleportation etc. LIONEL (CONT'D) Plato believed an ancient race of people who lived on Earth a hundred thousand years ago, discovered the almost magical properties of crystalline stones. What was once a primitive and fragile society. Quickly became a highly gifted and motivated superpower of the ancient world. Lionel looks to his left and notices a man in a black suit is standing along the back wall. He is definitely out of place. Lionel lets out a slight cough and continues. LIONEL (CONT'D) Compared to ancient societies, "Modern man" is now a sophisticated being in many ways. But unlike our ancient counterparts. We are still pretty much in the dark when it comes to matters of our own existence. Where do we come from? What is our purpose here? These are the age-old questions that Science has yet to answer. And because of this, the majority of the world's population consider their faith to be a more levied factor in their understandings. A female student raises her hand to ask a question. An old professor along the side wall steps up. PROFESSOR Due to time restrictions. Dr. Walker is unable to answer any questions. Lionel holds up his hand to the professor. LIONEL It's quite alright. What's your name? The student rises from her seat. STUDENT Danielle Forbes. LIONEL What's your interest Miss Forbes? Danielle looks around at the other students. Rachel appears through the doorway. She quietly enters the hall. DANIELLE Isn't it true that Religion has provided more explanations for Man's philosophies over the years? The lecture hall goes quiet. Lionel lets out a slight cough. Rachel watches Lionel. Lionel notices the man in the black suit is gone. Lionel continues. LIONEL Investigations formed out of Faith and sometimes even meditation have had profound results. The assertion of a universe formed from an intelligent direct process cannot be proven scientifically. DANIELLE What about supernatural intervention? Rachel is intrigued with Lionel. LIONEL What about it? DANIELLE Don't you think people need something more? LIONEL Metaphorical realism has no place in modern science Miss Forbes. Galileo made no statements. He relied solely on experimental evidence. The older professor standing along the wall moves forward. PROFESSOR Alright. Thank you Miss Forbes. I think we... DANIELLE What about The Secret Doctrine? Students and faculty become ever uncomfortable with the questioning. Lionel just looks at Danielle. DANIELLE (CONTD) These ancient records are known to substantiate the claims of a Fifth Root Race that existed separately from Atlantis and evolved through Karmic Law. Lionel smirks. LIONEL The Secret Doctrine are occult theories and hypothetical half truths. DANIELLE That may be doctor but I... LIONEL Im not sure I hear a question? (BEAT) DANIELLE Is "Science" going to take us through the next phase of our evolution? LIONEL What makes you think we're still evolving? The audience is deafly quiet. DANIELLE Well I just... LIONEL Youre assuming as much. Man has never had a problem envisioning a perfect world he would be unqualified to occupy. PROFESSOR Alright Miss Forbes. In the future, your grades might benefit from such tenacity. Danielle Forbes sits back in her seat. LIONEL When I was attending Dr. Kimball's Biological Theories class at Harvard. I was constantly reminded of one very important term. "Anomaly." You would be wise to study it's true meaning ... and never forget it. The old professor turns to Lionel. He steps away from the center podium and begins pacing across the stage. LIONEL (CONT'D) It stands as a reminder to me the extremely delicate nature of what we are. We have thrived on this planet based on one single capability. Conceptual mechanization. Without it. We don't have language, social organizations or simple tools for that matter. All to which have allowed human beings to dominate this world. Some would call it "hubris". Others, "fate". Unfortunately the last uncharted frontier for "Man", is the one he's least prepared for. VOICE FROM THE CROWD What's that? People all around look to see who said it. They all look at Rachel. Lionel takes his right index finger and taps the temple of his forehead. Indicating that it all resides upstairs. In your mind. EXT. PARKING LOT, GIULIANI LECTURE HALL - DAY Lionel approaches his Saab sedan. He reaches for his keys and pushes one of them into the door's key lock. He notices a parking ticket on his windshield and grabs it. FEMALE VOICE That felt a little like the Spanish Inquisition. Lionel turns around to see Rachel. He opens the door and places his briefcase inside on the passenger seat. He puts the ticket in his pocket. LIONEL Unfortunately the answers never satisfy the question. Rachel smirks. RACHEL I'm Rachel Cole. WNN. Lionel looks at her once again. They shake hands. Rachel notices a silver ring on Lionel's left thumb. LIONEL You were with Nkunda's militia in Congo. I read your work. "The People's Army" wasn't it? RACHEL He liked to think they were. In the end the Nationals made quick work of them Im afraid. LIONEL Youre fairly young to be on the frontlines. None the less. Good work. Rachel grins sarcastically. Lionel turns to enter the car. RACHEL So now that we know you're such a big fan of my work. How does one go from such a landmark career in Physics to discussing... what is it again? Rachel looks down at a flyer that promoted the evenings lecture. RACHEL (CONT'D) Ancient Wisdom and Sacred Science. Pretty deep stuff. Lionel turns to Rachel and detects a slight antagonistic tone to her question. LIONEL I find the past is often more intriguing than the future. RACHEL I'm not so sure your former employers would agree with you. LIONEL They didnt have to stand in a room day after day talking to people who look exactly like you do now. RACHEL Im not sure I understand what you mean. Lionel stops and turns to Rachel. LIONEL Exactly. Rachel pauses for a moment. RACHEL Sneaky. LIONEL I have my moments. RACHEL Is this one of them? Rachel pulls out a note pad and a pen. Lionel notices this. LIONEL Im afraid Im not very quotable. RACHEL How about a comment then? LIONEL On what? RACHEL Two of your former colleagues are dead. One just last night. Lionel pauses for a moment. Rachel notices his discomfort. RACHEL (CONT'D) Im sorry. I thought you knew. LIONEL I do now. Good evening Miss Cole. Lionel closes the door. Rachel takes a step back. The car drives off. RACHEL Shit. A WNN news van pulls up along side Rachel. Andrew is driving. ANDREW Was that him? Rachel nods her head. ANDREW (CONT'D) What now? RACHEL You stick with him. Im going back to the office for something. ANDREW Stick with him? You mean follow? From, like a distance? Rachel pats Andrew's shoulder. RACHEL A little knowledge is a dangerous thing. I'll call you in an hour. Andrew sighs and then steps on the gas. The van speeds out of the parking area after Lionel has left onto the street. Rachel turns to her car. EXT. DEAD END CITY STREET - DAY A doorway opens in the side of a building. A line of shadowy figures walk out wearing long trench coats and sun glasses. They are all wearing Bolero hats. A Rolls Royce limousine arrives and pulls up beside the figures. One of the figures opens the back door and another figure enters the back seat. The door closes behind him. INT. ROLLS ROYCE -DAY The shadowy figure sits quietly. He looks over at the person next to him. It's the bald man. The figure sits patiently. DEEP VOICE Did you find the desert cold? The bald man waits patiently. DEEP VOICE (CONT'D) It's always cold here at night. BALD MAN I think it would be prudent to postpone our plans. For the time being. DEEP VOICE Postponement was not in our plans. BALD MAN It's Racrehel. DEEP VOICE Here? In the city? The bald man hands the figure a set of photographs. The same photographs that Walter was showing Rachel. They are of Rachel at her mother's grave. BALD MAN Her name is Rachel Cole. She's a reporter with WNN. The figure looks at the photos of Rachel. DEEP VOICE Ah yes. The award winner. I have waited countless generations for her return. BALD MAN I'll make contact. DEEP VOICE No. BALD MAN My lord. Only one stone remains to be found. She should be prepared for her duty once it is. DEEP VOICE A mind without instruction can no more bear fruit than can a field that lacks fertility. They will understand that our way... is the only way. And she will lead us all. The figure turns his head to the bald man. He hands the bald man a folded newspaper. DEEP VOICE (CONTD) I see one of your old friends has come out of hiding. The bald man looks down at the paper and sees a picture of Dr. Lionel Walker. BALD MAN Hell regret that decision. The figure turns to the bald man. We can barely make out his facial features. The figure is very old and his skin is a pale blue. DEEP VOICE He is formidable. Do not underestimate him. The door to the Rolls Royce opens and the figure steps out. He blocks himself from the bright sunlight. The bald man has a nervous look on his face. He picks the paper up from the seat and stares at the face of Dr. Walker. INT. WNN NEWSROOM - NIGHT Rachel enters the newsroom and is walking to her office past the lines of desks filled with monitors. Walter flags down Rachel as she walks by. INT. WALTER'S OFFICE - NIGHT Rachel peeks her head in the door. RACHEL Don't have a lot of time Walter. I'm working on... WALTER Forget it. I've got something else for you. Rachel now straightens up and enters the office. RACHEL What do you mean something else? Im just starting to get hot on this. Walter slams down his pen. WALTER I know what I did God damn it! Now I'm telling you to let it go. It's a dead end. Leave it alone. Rachel walks to Walter. RACHEL Did something happen? Walter looks up at her apologetically. WALTER Can't you just do what you're told? And trust that some of us are looking out for you. Rachel looks at Walter's demeanor. She squats down to look him in the eye. RACHEL What is it? Rachel walks to the door. Missy knocks on the door. MISSY Mr. Michaels. Walter looks over at Missy. She holds up two fingers. MISSY (CONT'D) Line two. WALTER Take a message. I'm busy. Missy doesn't move. MISSY It's...Charles Cavannaugh? The room goes quiet. Walter gets decidedly more nervous. RACHEL Who's Charles Cavannaugh? WALTER Quiet. Walter picks up the receiver. WALTER (INTO PHONE) Yes this is Walter Michaels, with whom am I speaking? Walter's face goes serious. WALTER (INTO PHONE)(CONT'D) I see. Walter hangs up the phone. He looks up at Rachel. WALTER (CONT'D) Somebody wants to meet you. Rachel looks confused. INT. CONFERENCE ROOM, WNN NEWS - NIGHT A man wearing a black bolero hat is sitting at the head of the long conference table. His pale blue sunglasses are still on. The dim light from the desk lamps only partially allows him to be seen. Rachel approaches the table. He rises to greet her. BALD MAN Rachel W. Cole. RACHEL Yes. BALD MAN So glad you could join me. Please have a seat. Rachel stands defiantly. The bald man smiles at her. BALD MAN (CONT'D) I must warn you...I have a reputation for being long winded. Rachel sits on the edge of her chair looking around. The man removes one of his gloves. His hands are pale blue. His finger nails are a darker shade of blue. There is a strange silver ring on his thumb. BALD MAN (CONT'D) I'm looking for your father. The man looks up at Rachel. RACHEL My father? My father's dead. BALD MAN What year was that? RACHEL Im sorry. Who are you again? The bald man stares down Rachel. BALD MAN Fortudine vincimus. Rachel raises an eyebrow. RACHEL Excuse me? BALD MAN It's Latin, "by sheer will and endurance we will conquer." Do you know what I'm referring to? Rachel stays quiet. BALD MAN(CONT'D) For the longest time Man has been living for nothing. No new understanding of the universe or his purpose in it. The bald man places his glove back onto his hand. He places his hands on the table and touches the fingertips together. BALD MAN (CONT'D) I knew your father very well. He took something very special. Something a human being was never allowed to see. Rachel slowly looks around the room. BALD MAN(CONT'D) Now we need it back. Rachel's expression is blank. RACHEL I don't know what you're talking about. And if you knew my father so well, then you must also know that he never shared his work with anyone. Including his family. The bald man stares down Rachel. Rachel stays quiet. He places a clear holographic government business card on the table. BALD MAN I will be in town for a few days. I'm sure you'll make the right choice. When the time is right. Rachel reaches for the card and looks it over. The card has just three letters on the face with a holographic number on the back. The letters are: NCS RACHEL Listen. I'm not sure who or even what you are, but my parents died a long time ago when I was a little girl. The bald man rises from the chair. He walks to Rachel and touches her shoulder. BALD MAN You're still a little girl. He walks out of the office and closes the door behind him. RACHEL Wait a second. Rachel opens the door and bolts into the hallway. The hallway is empty. She looks around for a moment. INT. RACHEL'S OFFICE - NIGHT Rachel enters her office and flops down some papers and assorted files onto her desk. She sighs a frustrating sigh and ponders for a moment. She grabs the remote control for a television that hangs from the ceiling in the corner. Rachel turns the television on and sits down on a leather couch along the side wall. She reaches for the file folder with the photograph from her desk. She opens one folder and looks down at the photo. She pauses for a moment. INT. HOSPITAL ROOM - NIGHT (FLASHBACK) We enter a hospital room. Get well cards and toys completely fill the room as we slowly pass by young Rachel lying in the bed. INT. HOSPITAL HALLWAY - DAY We slowly go down the hallway to where two people, Archie and his wife, Monica (41), are pacing back and forth. A Neurologist, Dr. SAMUEL DIAMOND (41), approaches the two worried parents. DR. DIAMOND How are we doing? Archie looks up at the doctor. ARCHIE All things considered. We're hanging in there. Monica approaches the doctor. The doctor motions for them to have a seat. They follow him to a set of chairs. The two parents look terrified. DIAMOND We've concluded our first round of blood tests and we are happy to say that there looks to be no infection. There is a slight inflammation in her spinal fluid but again, no signs of infection. Monica grabs the hand of her husband. Archie squeezes her hand tightly. ARCHIE Why do I feel a "but" coming on? The doctor looks them both in the eyes. DIAMOND There is still strong evidence of autoimmune abnormality. Archie holds up his hand to halt the doctor. ARCHIE Doctor please. It's obvious the Dr. Diamond is struggling with this. DIAMOND Her epilepsy has progressed far more rapidly than expected. At this point we cant even guess at whats causing these seizures. Its all happening too fast. Monica drops her head and begins sobbing. Archie looks at the doctor. ARCHIE What does that mean? DIAMOND We would like to keep her here for more tests. Monica stands defiantly. MONICA No! No more tests. We'll take her somewhere else. To Europe. Dr. Diamond sighs. His shoulders drop. DIAMOND I feel I must tell you, it's more than likely Rachel's condition will only worsen. I wish we could do more. ARCHIE Thank you doctor. The doctor rises from his chair. Archie rises with him. The two shake hands. The doctor leaves. Monica sobs. INT. BEDROOM - DAY Ten year old Rachel sits in her bed reading a rather large book. The book's cover shows that it is a picture book of Ancient Worlds and Kingdoms. Scattered about her room are posters of unicorns, magical kingdoms made of crystal and wonderful fantasy art. Rachel has a television in her room that is constantly playing animated fantasy movies. Beside Rachel's' bed is a beautiful lamp with small prism crystals hanging from the lamp shade. On top of her dresser is a flat, wide wooden box with a glass cover. Inside the wooden box is a substantial rock collection. Various smooth stones and peculiar shaped healing crystals are aligned and labeled. EXT. FRONT YARD - DAY The front yard of the Woods residence is very well kept with obvious attention being given to the flowering and pottery. The front yard is segregated by a very quaint white picket fence. The cement path that begins with the front steps leads down through the yard and stops at the foot of the sidewalk where a gate allows access. A man opens the gate. We hear a distinct creaking with the expansion of the metal spring that forces the gate closed once it's been opened. The man walking through the gate is the mail man. He carries a large mail bag as we follow him to the door. EXT. FRONT DOOR - DAY The man reaches the front door and opens the mail box. INT. RACHEL'S BEDROOM - DAY Rachel unwraps the blanket from her legs and crawls off the bed. She slides her feet inside two slippers and opens the door to her bedroom. EXT. FRONT DOOR - DAY The mail man is placing mail in the "Woods" mailbox when the front door slowly opens revealing young Rachel. She peers out past the metal screen door. RACHEL Hello. The mail man closes the mail box lid. MAIL MAN Well look at you. Feeling better today are we? Rachel smiles and looks at the mail box. MAIL MAN (CONT'D) I'm afraid there's nothing in there for you. Maybe tomorrow. The mail man turns and leaves. Rachel begins to close the door when she sees several other children playing outside. One of them is a little boy. The little boy stops and notices Rachel in the doorway. LITTLE BOY (ARM MOTION) Come on Rachel. Rachel smiles at him. Monica arrives at the door and looks out at the little boy. She looks down to Rachel. MONICA Some day soon honey. I promise. The door closes with the reflection of the little boy in the door's glass. INT. RACHELS OFFICE - DAY KNOCKING. Rachel awakens from her day dream. The door to her office opens. Missy pokes her head in. MISSY Andrews on three. Rachel places the picture in the envelope and back on the desk. She moves to her desk and grabs the phone. RACHEL Yes? ANDREW (PHONE) When you said to report anything. Did you mean... RACHEL Andrew! INT. WNN VAN - NIGHT Andrew is watching a brownstone condo. ANDREW Alright. He just pulled into a Brownstone between Broadway and Amsterdam. Andrew looks closer through the rainy windshield. ANDREW (CONT'D) Wait a second. EXT. LIONEL'S BROWNSTONE - NIGHT A long black Lincoln Sedan limousine drives up behind Lionel's Saab. We see Lionel turning to look at it. Lionel closes the door to his car and walks to the limousine. INT. WNN VAN - NIGHT Andrew looks through the windshield with the cell phone pressed to his ear. ANDREW There's a black limo pulling up behind him. Somebody's getting out. I can't see who it is. INT. RACHEL'S OFFICE - NIGHT RACHEL (INTO PHONE) Broadway and Amsterdam. Sit tight. I'm on my way. She hangs up the phone. She walks to the coat hanger and grabs her coat. EXT. NEW YORK CITY - NIGHT A thunder and rain storm bombards the city. INT. LIMOUSINE - NIGHT The tall man exits from the limo wearing a dark trench coat. He has a dark bolero hat on. He looks up at Lionel. He is in his fifties now. His eyes are still nice. TALL MAN It's been a long time Lionel. It begins to rain. Lionel looks at the tall man. LIONEL What makes you think that? TALL MAN Were both starting to show our age. LIONEL Speak for yourself. (BEAT) It doesn't take a smart man to appreciate the risk I'm taking by being here. The tall man motions for Lionel to enter the car. Lionel walks to the car and gets in. INT. LIMOUSINE - DAY The tall man sits beside Lionel. The tall man reaches into a briefcase and removes a file folder. Lionel looks forward. LIONEL You've been following me. TALL MAN Abby's dead. Galloway too. LIONEL I know. I felt it. The tall man looks sharply at Lionel. TALL MAN You felt it? Of course. LIONEL Was it an accident like the papers say? TALL MAN Would it matter? Lionel sighs under his breath. TALL MAN (CONT'D) How's Diane? Lionel looks over at the tall man. LIONEL If that's my file. Then you already know the answer to that. The tall man looks to Lionel. TALL MAN You can't always believe what you read. Lionel looks around the limousine. LIONEL Or what you see. (BEAT) TALL MAN How are the children doing? LIONEL Under the circumstances. Id say pretty well. TALL MAN Make sure you give them my best. Lionel looks at the tall man. LIONEL Ill do that. The tall man places the file on the seat. TALL MAN I need your help. Lionel glances at the file. LIONEL You know I cant replace Abby. TALL MAN Im not asking you to. The tall man reaches into the folder and removes a set of electroencephalograms. They are image scans of a human brain. The tall man taps the back of the window that divides the front seating from the rear. A single narrow light beam suddenly shoots down from the ceiling. Lionel reaches for the scans and holds them up near the light. (BEAT) LIONEL This is a child. A girl. The tall man shows Lionel another set of scans. Lionel reaches out and begins looking at them. LIONEL (CONT'D) Shes active in the high beta and theta frequencies. Lionel turns his head to the tall man. LIONEL (CONT'D) These are real? Not a mock up? The tall man turns his head and faces the front. TALL MAN Look at the date Lionel. Lionel looks down at the date along the bottom of the scan hes holding. It reads: September 2, 1990 Lionel looks back to the tall man. LIONEL Two days before the ZPE experiment? The tall man nods his head. LIONEL (CONT'D) Whats this here? Lionel points to a set of letters along the bottom of the scan. They are: RW TALL MAN Were not sure. Hell. Were playing with fire in a gas chamber here. EXT. RAINY STREET - NIGHT The limousine sits by the curb. The rain begins to fall harder. INT. LIMOUSINE - NIGHT The tall man looks out the window. Lionel looks out the window and sees his home. TALL MAN Abby trusted you. So I trust you. (BEAT) Lionel turns back to the tall man. LIONEL Where are you hiding these days? The tall man looks over to Lionel and smiles. He has a nice, trusting smile. TALL MAN My place is here. The tall man holds out his hand to shake. Lionel looks down at it. Lionel places the parking ticket, he received earlier, into the tall man's hand. LIONEL Drive safely. The tall man looks down at the ticket. Lionel exits the car and closes the door. EXT. RAINY STREET - NIGHT Lionel exits the limousine and walks to the front door of the apartment building. The limousine drives off. INT. ROLLS ROYCE - NIGHT We see the silhouette of the bald man. Hes holding a cell phone to his left ear. BALD MAN (INTO PHONE) He just got out of the car. DEEP VOICE (PHONE) And the boy? The bald man turns his head and looks out the other side window to the WNN van. BALD MAN (INTO PHONE) Hes sitting there. Stuffing his face. We should take them now. DEEP VOICE Patience. Well let the Government do our work for us. Then your path will be clear of all obstacles. BALD MAN (INTO PHONE) Yes my lord. Well be ready. The silhouette of the bald man flips the lid closed. EXT. LOT ACROSS FROM BROWNSTONE - NIGHT A heavy rain pelts the windshield of the WNN news van. The radio is on. Slow pan across dash board then to floor. RADIO In other news around the globe. World renowned physicist, scientist and scholar Dr. Mourad Abderazzi died in an apparent automobile accident just outside the Moroccan city of Marrakesh. His assistant was also killed in the crash though her name has yet to be released. We pan around the van and see several junk candy bar wrappers. Half eaten bags of chips, etc. RADIO (CONT'D) Dr. Abderazzi rose to fame after he and several other controversial scientists created the first stable zero point energy field some years ago. Though it was only the size of a penny, it generated more instant energy than a thousand nuclear warheads. A cheeseburger wrapper falls onto the floor of the van. LOUD KNOCKING. Andrew's pop spills over his jeans. Rachel opens the door to the van. ANDREW Thank-you for that. RACHEL What's up with doc? Rachel jumps into the van and closes the door. She wipes away rain water from her face. ANDREW The limousine left about twenty minutes ago. He put something in the back seat and then went inside. I haven't seen him since. RACHEL I wonder who was in the limo. ANDREW What are we doing here? This guy's just a teacher. He's not news anymore. RACHEL He's news to me. Rachel clears some of the condensation from the window so she can get a better look. RACHEL (CONT'D) Have you ever heard of a guy named Charles Cavannaugh? ANDREW Charles Cavannaugh? None other than the leader of the "Golden Dawn." Rachel turns her head to Andrew. RACHEL "Golden Dawn?" What's that? Andrew takes a French fry and stuff it in his mouth. ANDREW One of those secret societies bent on liberating the human spirit from slavery. Or so says their web site. Rachel stops eating. RACHEL You're kidding. ANDREW Yea. I am. Rachel slaps Andrew on the arm. RACHEL Jerk. ANDREW You know Peters from Tech? Rachel takes a couple of French fries. RACHEL You mean that creepy looking guy who fixes our computers? Andrew nods his head. ANDREW Hes a big fan of this kind of stuff. Conspiracy group meetings. They just sit there all day and analyze this shit. Rachel ponders for a moment. RACHEL Doesn't make any sense. It can't be a coincidence. ANDREW Sense or not. Those guys are bad news. End of the world type stuff. And I don't mean war. These guys are fanatical about Man becoming like God. Scary weird. RACHEL I've seen him before. I know it. ANDREW Who. Cavannaugh? RACHEL No. The other one. ANDREW What other one? Am I missing something here? Rachel pulls a hood from her coat up and over her head. RACHEL Wait here. I'll be right back. ANDREW Where are you going now? Rachel looks back at Andrew as she opens the door to leave. RACHEL Sometimes people keep their secrets hiding in plain sight. The door slams to the van. Rachel runs across the street into the used car lot. ANDREW Crazy woman. Andrew struggles to see clearly through the fogged windshield. He tries to clear away the condensation with one of his hands. The passenger door opens. ANDREW (CONT'D) That was quick. Andrew looks over and sees the bald man. ANDREW (CONT'D) Who the Hell are you? The bald man raises a dart gun. He shoots Andrew in the forehead with a dart. Andrews head slams against the steering wheel and then he falls unconscious on the seat. EXT. LIONEL'S BROWNSTONE - NIGHT Rachel walks around the front of the lot. There are no lights on within the building. Lionel's Saab is parked in front. Rachel looks back to the van but her vision is obscured by the falling rain. Rachel walks around the side of the building and peers through a side window. She sees nothing. Rachel walks to Lionels car. She peers into the back seat where the file folder is lying on top of his briefcase. Rachel quietly checks the handle to the door. Its unlocked. Rachel looks around. She slowly opens the rear door to the Saab. Rachel kneels into the backseat and begins searching the file. DOOR SLAMMING. Rachel turns to see Lionel coming towards her. She quickly closes the door and hides behind the drivers seat. Her cell phone drops on to the driveway. Lionel opens the drivers door and enters the car. He starts the car and begins driving. EXT. OLD NEIGHBORHOOD - NIGHT Lionels Saab pulls into an old colonial house that sit s nicely on an old street. The yard has not been kept. The Saab parks. Lionel exits the car. He walks to the front door of the house. INT. SAAB - NIGHT Rachel peeks up and over the drivers seat. She can see Lionel walking into the old house. Rachel quietly opens the back door and exits the car. EXT. YARD - NIGHT Rachel looks around and then makes her way up along the right side of the house. There are several windows aligning the side. They are all blacked out. Rachel makes her way around to the rear of the house. VOICES. Rachel slowly walks to a window underneath a staircase that has a crack of light peeking through. She kneels down to get a better look. Inside she can barely see a small boy. The boy is watching television. The boy suddenly turns his head and looks up at the window at Rachel. Rachel is startled and jumps back. She slams her head against the bottom part of the stairway. She crumples to the floor unconscious. INT. RACHEL'S BEDROOM - DAY (FLASHBACK) Ten year old Rachel is sitting in her bed watching a wonderfully animated cartoon about a fairy princess who is captured and taken to a far away castle. RAISED VOICES IN THE NEXT ROOM. Rachel rises from her bed and walks to the bedroom door. She exits the room and walks to the door of her father's office. INT. ARCHIE'S OFFICE - DAY Archie is pacing in his office. He is not alone. A man in a black suit with a black bolero hat stands just inside the door. His back is turned. ARCHIE Everything is going as planned. We will be finished on time. The man in the black suit walks to a cabinet that is decorated with family photos and other things of personal value. The man holds up a framed picture of young Rachel. SUITED MAN Youre playing this too close. The man turns and faces Archie. SUITED MAN (CONT'D) He does not share your optimistic appraisal of events. Archie walks over to the man and slowly takes the picture from his hand. Archie places it back on the cabinet. ARCHIE I dont need to remind you the danger I face with this. If the executive branch were to find out. Archie pauses. He looks from side to side. ARCHIE (CONT'D) No one can hide from this. Not even him. The man walks to the door of the office. SUITED MAN You needn't worry about that. Monica walks by the office door. She pauses, looks at the man. The man gently pushes the door closed. Monica continues into the kitchen. The man turns back to Archie. SUITED MAN (CONT'D) You seem to have all the motivation in the world to see this through. Archie walks back to his desk. He reaches into his top drawer and removes a pill bottle. He quickly pours out several pills onto the desk. He grabs two pills and tosses them into his mouth. A rock glass half full of whiskey waits nearby. Archie slides the glass back on the desk. ARCHIE I agreed to this for the sake of my daughter. You promised me that you would help her. The suited man walks to the desk and gently touches the forehead of Archie with one gloved hand. Archie looks confused. Archie slowly backs away. The suited man turns. ARCHIE (CONT'D) I said you could count on me and you can. Ill bring her to you when the time is right. SUITED MAN Yes. The suited man stops at the office door and turns to Archie. SUITED MAN (CONT'D) I know you will. The suited man in the hat opens the door to the office and walks out into the hallway. INT. HALLWAY - NIGHT He looks to his right and sees little Rachel. Rachel looks up but the hat prevents her from fully seeing the man's face. The man leans down and touches Rachel's face. SUITED MAN They are so fragile. Unaware of the tremendous power they possess. If unguided, they could destroy all that we create for them. Rachel looks down and sees a shiny silver ring around the man's thumb. The man turns to the front door and leaves the house. INT. ARCHIES OFFICE - NIGHT Rachel enters her fathers office. She slowly walks to him. Archie looks up and they embrace. ARCHIE Dont worry baby. Daddy will take care of everything. We zoom in on Rachels face. She closes her eyes in the security of the fatherly embrace. INT. OLD HOUSE - NIGHT We pull back from an unconscious adult Rachel. She slowly comes around. She can sense people stirring around her. A bright light comes on directly in front of her face. She is blinded by it. RACHEL Hey! Whats going on? Where am I? She lifts her hands to block it out. VOICE What are you looking for Miss Cole? Rachel sits there quietly. VOICE (CONT'D) Did you hear the question? She clears her throat of fear. RACHEL Yes. VOICE What are you looking for? RACHEL I dont understand. VOICE Everybody's looking for something. Whether or not they find what they're looking for simply depends on where they choose to look. The bright light is turned off. Rachel squints to get her vision clear. Several men, women and small children are gathered around her. She looks up and sees Lionel. RACHEL Dr. Walker? Lionel walks through the people as they slowly back away. LIONEL I should have you arrested. RACHEL That wouldn't help either of us. LIONEL Is that what you were doing Miss Cole? Helping me? RACHEL I have important information. LIONEL Important? To who? WNN? RACHEL I know now that there's more going on here than you're telling me. Lionel paces around her. LIONEL Why would you think that? RACHEL Your reaction to the news of Dr. Abderazzi's death. It wasn't what I expected. It was like you knew already. LIONEL I suspected. RACHEL You suspected? Why? Lionel looks around the room. The people have all gone to other parts of the house. Lionel reaches down and takes Rachel by the hand. LIONEL Come with me. EXT. STREET - NIGHT The Rolls Royce pulls into a lane near the old house. INT. ROLLS ROYCE - NIGHT The bald man lifts a cell phone to his ear. BALD MAN Were at the house. INT. DIMLY LIT ROOM - NIGHT The figure has his back turned to us. He is wearing a ceremonial robe and sitting on something we cant quite see. A speaker phone relays the figures deep voice. DEEP VOICE After the mess. Make sure to get the girl. And keep her safe until you arrive here. INT. ROLLS ROYCE - NIGHT The bald man listens. BALD MAN What about Walker? DEEP VOICE (CELL PHONE) If he survives...then bring him. He may yet be of some use to us. The bald man closes the lid on the cell phone. He grimaces under his breath. The bald man looks over to the seat beside him. Andrew is unconscious and gagged. INT. DIMLY LIT ROOM - NIGHT The figure sits hovering in mid air about three feet from the floor. Hundreds of candles flicker all around, standing on top of black metal candle holders. The figure slowly turns around. He is a light pale blue in color. He looks to be around sixty. He hovers over to a stunning, crystal encrusted box that sits atop a pedestal. He opens the box and inside are four glowing blue crystal shards. The figure peers into the crystals. We can see that there are five slots but only four crystals. The figure passes into a trance. We zoom into the glowing crystals. EXT. SPACE/TIME - NIGHT Many streams of light and energy flow past us as we seem to be traveling in the fabric of space and time. We see the figure as he floats through the seemingly endless array of cosmic clouds and energy. We begin to see distorted visions of peoples faces and places. We then see the faces of Rachel, Lionel and other people we have gotten to know so far. Then past events are seen in the same distorted vision. Rachel talking to Lionel in the parking lot. Rachel at her mothers grave. Abderazzi in the museum, etc. The figure seems intent on looking further. Hes struggling with something. The visions begin to fall away from him. Theyre gone. The figure then starts to shake. FIGURE Ahhhh! A bright flash of light. INT. DIMLY LIT ROOM - NIGHT The hovering figure falls to the floor. He slowly comes around. There is blue blood coming from his nose. Another robed person enters the dimly lit room and rushes to the aid of the figure. ROBED PERSON What was it? The figure turns to the robed person. FIGURE I am unable... to see. The robed person helps the figure to his feet. The figure quickly brushes him off. The robed person leaves the room. The figure looks inside the encrusted box. He touches the slot where the missing crystal should be. FIGURE (CONT'D) Racrehel. INT. BACK YARD, OLD HOUSE - NIGHT Lionel and Rachel walk into the back yard. There is a high fence closing off the back yard from a deep wooded ravine. An old swing set sits decaying near the fence. Rachel walks over to it. Lionel follows. LIONEL You said you had information. Rachel turns to face him. RACHEL Who are those people? And why are they all here in this old house? LIONEL Their...family of a sort. RACHEL Family. LIONEL You could say that. Rachel reaches into her inside coat pocket and removes the envelope she received earlier. She shows Lionel the photo of her and her parents from long ago. Lionel takes the picture and gives it a once over. LIONEL (CONT'D) Your family? RACHEL You could say that. My mother was killed in a car accident. My father died shortly after from cancer. LIONEL Im sorry. Rachel paces a little. RACHEL Yea. So was I. After that I went to live with my aunt and uncle in Chicago. They were good to me. Lionel hands Rachel the photo back. LIONEL Do you think about your parents a lot? I mean. Your real parents? RACHEL Thats just it. I havent thought about them in years. These last few months...I havent been able to get them out of my mind. Rachel holds up the photo. RACHEL (CONT'D) Then this arrives at my office. Ive never seen this photo before in my life. It was sent along with this letter. Rachel hands Lionel the letter. RACHEL (CONT'D) Its written in my fathers handwriting. Lionel reads the letter. LIONEL What does it mean? Rachel paces a little more. RACHEL I have no idea. Lionel folds the letter up. He walks to Rachel. He gives it back to her. LIONEL What are you doing here? Rachel turns and looks at Lionel. RACHEL Who are those people? Lionel chuckles. Rachel grins. LIONEL The Peoples Army. EXT. STREET - NIGHT All looks quiet outside the front of the old house. Several black SUVs slowly pull up to the street in front. The doors to the vehicles open and armed men in tactical gear begin flowing out. The men all move out. INT. ROLLS ROYCE - NIGHT The bald man sees the action unfolding. An associate of the bald man looks over. ASSOCIATE What if they kill the girl? The bald man looks very calm. BALD MAN They wont. Hes protecting her. EXT. BACK YARD - NIGHT Lionel and Rachel are still talking unaware of the action happening in front. RACHEL The Peoples Army? Now youre playing with me. Lionel walks over to the swing set. He bends over and lifts a broken seat. Rachel walks behind. He turns and looks at Rachel. LIONEL Theyre Blockers. Rachel smirks. RACHEL Blockers? Whats that? LIONEL Telepaths. People who have the telepathic ability to block other telepaths. RACHEL Youre joking. LIONEL Miss Cole. Youre right. Theres more here than Ive told you. Rachel looks at Lionel. She ponders for a moment. RACHEL Why are they here? LIONEL Because theyre being hunted. RACHEL Hunted? By who? LIONEL Some very dangerous people. People who have other ideas for our future. RACHEL Our future? You mean, us? LIONEL Yes. Rachel walks a few steps and then stops. RACHEL This is crazy. This kind of thing doesnt exist. Nobody c an do what youre saying. Lionel walks to her. LIONEL Are you sure? Rachel looks at him. EXPLOSION. Lionel grabs Rachel and covers her from the blast. LOUD YELLING AND SCREAMING. EXT. FRONT OF OLD HOUSE - NIGHT We see the armed men release nerve gas into the old house. Then the armed men enter in full force. GUN SHOTS. INT. OLD HOUSE - NIGHT We see all the people in the house scatter and run for any possible exit. The armed men start try to subdue them. Some of the people are shot while running. Others are hit with nerve gas and start to fall to the floor. EXT. BACK YARD - NIGHT Lionel grabs Rachel by the arm. LIONEL Come on! Together they head for the tall fence. Lionel looks over the fence. RACHEL Whats happening?! Lionel kicks at the fence. The boards begin to break away. RACHEL (CONT'D) They found them! God damn it! I dont know how, but they found them! Lionel clears away the boards and grabs Rachels arm. LIONEL Lets go! They crawl through the fence and into the deep ravine. INT. ROLLS ROYCE - NIGHT The bald man watches the chaos unfold from the car. He motions to the driver. BALD MAN Theyre moving. Lets go. EXT. STREET - NIGHT The Rolls Royce pulls away from the scene and drives off down the street. EXT. DEEP RAVINE - NIGHT Lionel leads Rachel down through the trees and bushes. RACHEL Where are we going?! LIONEL We have to find someone! Rachel stops running. RACHEL Hey! Stop! Lionel stops and turns to her. LIONEL We have to keep moving. RACHEL Not until you tell me whats going on. What happened back there? LIONEL I promise. Ill tell you everything. Just not now. We have to keep moving. Lionel takes her by the hand and they continue down the ravine. INT. ROLLS ROYCE - NIGHT The bald man is looking down at a GPS device. A single blue dot indicates something moving. BALD MAN Theyre headed for the river. Get me there. EXT. STREET - NIGHT The Rolls Royce speeds away while it weaves in and out of traffic. EXT. BOTTOM OF THE DEEP RAVINE - NIGHT Lionel and Rachel reach the bottom of the ravine. Rachel is struggling in her high heels. Lionel stops and looks around. A river sprawls out in front of them. RACHEL What now? Lionel looks at her. LIONEL Im thinking. Lionel starts walking again. LIONEL (CONT'D) This way. They head off along the river bank. EXT. RIVER BANK - NIGHT Lionel walks and Rachel trails just behind him. RACHEL Who are we going to find? LIONEL Someone who can help. Someone who knows things. RACHEL What kinds of things? Lionel stops briefly and look at her. LIONEL Everything. Lionel starts walking again. RACHEL Nobody knows everything. LIONEL Are you sure? RACHEL Stop saying that. Lionel stops walking. He turns to Rachel. RACHEL (CONT'D) Im not a little girl. Dont talk to me in riddles. She walks by Lionel and takes the lead. Lionel follows. RACHEL (CONT'D) So. These Blockers. They prevent other telepaths from doing what? LIONEL From finding the location of the Seekers. Rachel stops walking. She turns to him. RACHEL Seekers? Whats a Seeker? LIONEL A telepath who can see the future. Rachel drops her head and sighs. RACHEL See the future? Lionel nods his head. RACHEL (CONT'D) Thats it. Im out of here. Rachel looks around to find a way up to the street. LIONEL You wanted to know. Rachel turns sharply to him. RACHEL No! I wanted the truth. All youre giving me is this bullshit about Blockers and Seekers and seeing the future. Lionel looks at her intently. LIONEL Dont worry. It wont hurt for very long. Rachel freezes. RACHEL What? What wont hurt? LIONEL Your arm. Rachel slowly backs away. She looks down at her right arm. LIONEL (CONT'D) Not that one. Rachel looks down at her left arm. RACHEL Theres nothing wrong with my arm. Rachel takes another step back and trips. She falls into a small hole along the bank. Her left arm smacks against a large stone. Rachel grunts in pain. Lionel moves over to her and helps her to her feet. Rachel is clutching her left arm. Lionel places his hands on her arm and begins to wipe away the dirt. LIONEL It wont hurt for very long. Rachel looks up at Lionel. RACHEL How did you know that was going to happen? LIONEL Seeing the future...is like catching lightning in a bottle. Lionel lowers Rachels arm. She moves it around. LIONEL (CONT'D) In order to do it. You need something to attract it. Or the case of telepaths...someone. RACHEL You mean...these telepaths attract the future? How? LIONEL For a telepath. Seeing the future is based solely on predetermination. The prediction of future events based on an understanding of the past. Ninety-five percent of the time, we, as humans, can predict events just by understanding cycles. RACHEL Cycles? LIONEL People love to repeat themselves. Theres a certain amount of security that comes from the knowledge that, Youve been here before. The two of them start walking once again. RACHEL So seeing the future is about, choices? LIONEL Yes. Exactly. No one can predict what will happen. They can only see up to the choices theyve already made. Choices that define other choices. RACHEL What was your choice? Lionel stops walking. (BEAT) LIONEL Not to see. Rachel watches Lionel as he starts walking again. EXT. STREET ALONG RIVER - NIGHT The Rolls Royce is slowly driving along the rivers bank. It comes to a stop. INT. ROLLS ROYCE - NIGHT The bald man waits patiently in the back of the car. BALD MAN I just wanted to talk with her... but, she had to be difficult. Dont you find women are always difficult about absolutely nothing. Worry, worry, worry. The bald man looks over to the seat beside him. Andrew is still gagged but conscious. There is blood trickling from his nose. He has a terrified look on his face. BALD MAN (CONT'D) Now then. Lets see where youve been spending your nights. Andrews scream is muffled by the gag. EXT. RIVERS BANK - NIGHT Lionel and Rachel approach the street that runs along the river. LIONEL Come on. Over here. Lionel jumps over the steel guide rails that prevent cars from driving into the river. He helps Rachel over. RACHEL No more walks in the park for me. Suddenly a set of bright vehicle lights flick on. The unknown vehicle speeds towards them. Lionel grabs Rachel by the arm and begins to help her back over the guide rails. LIONEL Move! The vehicle screeches to stop directly in front of them. The bright halogen headlights blind them. Someone is exiting the vehicle. The person stands in front of the headlights, blocking them. Lionel looks at the person. TALL MAN Do you know how many parking tickets you got last year? Lionel breathes a sigh of relief. Rachel looks at the tall man. RACHEL Who the hell are you? Three men exit the vehicle and run to assist Lionel and Rachel. Lionel approaches the tall man. LIONEL Youre late. Lionel walks pat the tall man and helps Rachel into the back of the vehicle. TALL MAN Are you sure? INT. TALL MANS LIMOUSINE - NIGHT Rachel sits in the back of the limousine. Shes rubbing her arm. Lionel is sitting beside her. The tall man enters the other side and sits across from them. The car starts to move. Tall man hands Rachel a handkerchief. TALL MAN Youve had a busy day Miss Cole. RACHEL How do you know who I am? Tall man holds out a newspaper with her picture on it. TALL MAN Youre quite famous now. LIONEL How did you find us? Tall man reaches into one of his jacket pockets. TALL MAN It seems you forgot something in your haste for a story. The tall man holds out her cell phone. Rachel grabs it from him. RACHEL Where did you find it? TALL MAN In the driveway. Rachel flips open the phone. RACHEL Did you find Andrew? TALL MAN Whos Andrew? Rachel shakes her head. She looks back down to the phone. LIONEL What happened? Tall man turns to Lionel. TALL MAN Someone tipped off Homeland. They attacked the house thinking it was home to a terrorist group. LIONEL Son of a bitch. Who did it? TALL MAN Lionel. Not everyone was satisfied with your departure. You knew there would be... lingering effects. Rachel looks at Lionel. RACHEL Wait a second. Rachel turns to the tall man. RACHEL (CONT'D) Who are you? TALL MAN Just somebody trying to clean up his own mess. LIONEL It was never your mess to begin with. It was ours. Rachel hands the blood stained handkerchief back to the tall man. RACHEL Thanks. The tall man looks at it for a moment. He places it on the seat next to him. LIONEL Why would the NSA be concerned about me? I did what they asked. I never made waves. TALL MAN It seems that someone else is arranging the players. LIONEL Who? TALL MAN Charles Cavannaugh. LIONEL Charles Cavannaugh? No ones seen him for years. RACHEL Hold it. Charles Cavannaugh? Golden Dawn? TALL MAN Youre well informed. Lionel turns to Rachel. LIONEL Youve heard of him? RACHEL You might say that. One of his people came to see me. TALL MAN Came to see you? What did he want? Rachel reaches into her purse and removes the card the bald man gave her. She hands it to Lionel. Lionel looks it over. RACHEL He said he was looking for my father. Said my father took something and they needed it back. Lionel hands the card to the tall man. TALL MAN NCS? RACHEL Whats it mean? LIONEL It stands for the National Clandestine Service. RACHEL Never heard of them until tonight. TALL MAN And you wont again. It doesnt exist anymore. Tall man looks at Lionel. TALL MAN (CONT'D) Or at least it shouldnt. Lionel turns to Rachel. LIONEL You said this person was looking for your father? RACHEL Yes. LIONEL What did your father do? RACHEL Im not really sure. He never sat down and discussed it with us. Lionel looks over to the tall man. RACHEL (CONT'D) I just remember...he was nervous all the time. It was such a long time ago. LIONEL You said you were raised by your aunt after your parents died. RACHEL Thats right. LIONEL So, Cole. Is your uncles last name? RACHEL Yes. It made sense to use it. Lionel looks back over to the tall man. Lionel sees the newspaper and motions for the tall man to let him see it. Lionel flips the paper over and looks closely at the picture. On the bottom of the picture it reads: Rachel W. Cole. LIONEL What does the W stand for? RACHEL Woods. Lionel looks over to the tall man. LIONEL Woods. Tall man looks at Rachel. TALL MAN Your father was Archie Woods? Rachel nods her head. TALL MAN (CONT'D) Deputy Director for the NCS. Tall man looks at Lionel. TALL MAN (CONT'D) Jesus Christ. Thats what theyre after. Tall man reaches into a folder and removes the MRI scan of the childs brain. He looks at it and then hands it to Lionel. Lionel looks at the bottom where the date is. The initials RW are typed beside it. RACHEL What? Rachel looks at Lionel. He doesn t say a word. INT. DIMLY LIT ROOM - NIGHT The figure stands on front of the encrusted box. He is reciting something in a strange language. FIGURE Serpents of Wisdom. Serpents of Wisdom. Another robed person enters the room. ROBED PERSON My lord. The figure doesn t move. The robed person walks to the conference phone and presses a button. The robed person leaves. FIGURE Are you on your way? SPEAKER PHONE There was a problem. FIGURE A problem. SPEAKER PHONE They had help. The figure closes his eyes in thought. FIGURE This time line is becoming unstable. A choice has to be made soon. SPEAKER PHONE We dont need the girl. FIGURE I, need the girl. FIGURE (CONT'D) Do not concern yourself with matters that are beyond your understanding. It would not be wise. SPEAKER PHONE Yes my lord. The line goes dead. The figure returns to the box and the recitation. EXT. STREET - NIGHT We see the tall mans limousine moving down a freeway. INT. LIMOUSINE - NIGHT The tall man is talking into a cell phone of his own. Rachel turns to Lionel. RACHEL Whats going on now? What does all this have to do with my father? LIONEL Your father...was a good man who was pushed into doing the wrong thing for the wrong people. RACHEL What? What do you mean? LIONEL Shortly before our ZPE test. There was a thirty second gap. In time. RACHEL A gap in time? LIONEL I thought my mind was playing tricks on me at first but later realized...something had happened in that thirty seconds. Something that changed everything... forever. RACHEL What? INT. INTRINSIC LABORATORY - NIGHT (FLASHBACK) Abderazzi, Galloway and Lionel are celebrating just after the experiments success. Congratulations are being expressed by several people towards the talented threesome. LIONEL (V.O.) When our experiment was finished. We were told that a top secret project file was being opened under the name of Monarch. Even though our testing was in its infancy. Powers within the government quickly assumed control over our work. INT. LIONELS HOME OFFICE - NIGHT (FLASHBACK) Lionel enters his home office to find its been ransacked. All his work on the ZPE test has been stolen. LIONEL (V.O.) Everything I had spent my entire professional life working on had been taken from me in a single blow. Lionel sits at his desk and starts using the desk top telephone. LIONEL (V.O.) (CONT'D) Nobody was left. I tried to contact Abby but I never heard from him again. I didnt even know if he was alive or dead. Lionel lays on a couch. Several empty bottles of Jack Daniels are spilled out all over the carpet. LIONEL (V.O.) (CONT'D) I did nothing for months. Until one day... I discovered something about myself. Lionel reaches for a half full bottle of Jack. He misses the bottle and it goes tumbling towards the floor. The bottle suddenly stops falling and sits suspended in mid air. LIONEL (V.O.) (CONT'D) It seems, the effects of the test had a different result than we first predicted. Lionel is testing his new found telepathic power with simple levitation test around his house. INT. LIMOUSINE - NIGHT Rachel is stunned by what she is hearing. RACHEL So you became a telepath because of the test? LIONEL Not quite. A large percentage of the worlds population have telepathic ability. They just dont know it yet. RACHEL So what caused the change? Just then, the tall man closes the cell phone. He looks at Lionel. TALL MAN Were here. RACHEL Here? Where? EXT. STREET - NIGHT The limousine comes to a stop in front of an upscale downtown high rise. The right side rear door opens. Lionel exits the car. Rachel is behind him. She looks up at the building. RACHEL What are we doing here? The tall man approaches her and walks by her to the front door. TALL MAN What theyre looking for must be here. RACHEL Why do you think that? The tall man turns to Rachel. TALL MAN Believe me when I tell you. Weve looked everywhere else. INT. RACHELS APARTMENT - NIGHT Lionel, Rachel and the tall man slowly enter Rachels posh home. Rachel reaches for the lights. Lionel grabs her arm and stops her. The tall man enters the bedroom. Lionel and Rachel begin looking around. RACHEL What are we looking for? LIONEL Youll know it when we see it. After a few fruitless moments of searching. The three of them meet in the bedroom. The tall man attempts to lighten the moment. TALL MAN How many physicists does it take to change a light bulb? Lionel and Rachel just look at him. TALL MAN (CONT'D) Two. One to hold the bulb and one to rotate the universe. Lionel and Rachel dont change their faces. LIONEL It wasnt funny then either. TALL MAN Sorry. Lionel turns to Rachel. LIONEL Is there anything you can remember. Did your father ever give anything? A gift of great value? Rachel thinks for a moment. She turns and looks at the old vintage crystal lamp that she has had since she was young. Rachel walks over to the lamp. She leans down and unplugs it. She looks up at Lionel. Lionel walks over to her and takes the lamp. He looks at the tall man. The tall man walks over to them. TALL MAN You think he had the nerve? Lionel flips the lamp over. He unscrews the bottom of the lamp. Lionel pulls out the cord. It isnt attached to anything. Rachel gasps. RACHEL How can that be? I use it all the time. The tall man looks at Lionel and smiles. Lionel pulls apart the bottom of the lamp stand. The body of the lamp falls into his hands. It is a seven inch long crystal shard. It begins to glow blue. RACHEL (CONT'D) Oh my God. Rachel looks up at Lionel with awe. RACHEL (CONT'D) What is it? Lionel looks up to the tall man and smiles. TALL MAN Unbelievable. GUNSHOT. The tall mans chest erupts with blood as he begins to fall to the floor. Rachel falls backwards. Lionel turns around. LIONEL No! Standing in the doorway to the bedroom is the bald man. Lionel steps towards the bald man with an aggressive pose. BALD MAN It's been a long time Lionel. Lionel stands in front of Rachel. BALD MAN (CONTD) Your looking...old. LIONEL Why is everybody saying that? The bald man slowly walks to Lionel. He stops about two feet in front of him. LIONEL Damon. You turned out exactly how I imagined. The two men size each other up like two circling scorpions. DAMON Sarcasm is the recourse of a weak mind. I would expect more from you. Lionel looks around the room as three other figures enter the bedroom. LIONEL That was your first mistake. The other figures spread out around the room. Rachel holds onto the shard. DAMON Really? Lionel looks down at the tall man. Hes dead. He shakes his head in disgust. LIONEL Why did you kill him? Damon paces around. He pretends hes interested in the decor. DAMON My lord gives. My lord takes away. As a physicist. Natures balance of life and death, are at the very heart of your work. LIONEL Nature doesnt discriminate. Or murder. Damon shakes his head in disappointment. He turns to Lionel. DAMON You call it murder. Others call it survival. You used to be someone who never confused the purpose of our intentions. Rachel looks up at Lionel. DAMON (CONT'D) Isn't it funny. We have never solved the question of our elation to God. This is a flagrant contradiction to the Divine Plan. Damon smiles at them. DAMON (CONT'D) If there is such a thing. RACHEL It was you, wasnt it? In my fathers office. A long time ago. Damon looks at Rachel. DAMON It was... a version of me. Damon walks right up to Lionel. Rachel is still partially behind him. DAMON (CONT'D) We have been coming back to Earth for over five thousand years. Transferring our conscious realities into your minds. Helping you to avoid the mistakes that destroyed our world. Without our knowledge, your great industrial nations would never have taken root or thrived. LIONEL Be careful Damon. Youre beginning to believe the illusion. DAMON The illusion...is all we have. RACHEL But why? DAMON Miss Woods, man is constantly seeking freedom from moral laws that are arbitrary and rigid. We are obliged to come to terms with this compromise in order to veil the nature of a greater truth. RACHEL What truth? DAMON The evolution of consciousness. Mankind is facing an evolutionary crisis. A transformation is inevitable. Rachel pulls the shard behind her back. Damon stares down Lionel. DAMON (CONT'D) I wanted to kill you for a long time. Lionel stays stoic. LIONEL Maybe you already have and it just didnt satisfy you. Damon smiles. He backs away and walks to the door. He turns around once he gets there. DAMON I wont bother asking for the crystal. Shell give it up when she falls. Lionel takes a step back. Rachel looks at Lionel. RACHEL Not again. What does he mean by that? LIONEL Dont move. Rachel suddenly feels a sharp pain in her head. She brings one hand up to her temple. RACHEL Unh. Lionel looks at her. LIONEL What is it? Rachel shakes her head to get the fuzz out. RACHEL I dont know...I... A sharp searing pain shoots through Rachels head. She brings both her hands up to her face. The crystal shard drops to the floor. It ricochets off the bed post and slides over just beside Damons right foot. Damon reaches down and grabs the crystal. Rachel is in extreme pain. Lionel tries to help. LIONEL Just block it out! You can do it! Its just a thought! Rachel rears back onto the bed. Lionel grabs her. RACHEL Ahh! LIONEL Rachel! Its just a thought! Close your mind! Rachel falls onto the floor unconscious. Lionel jumps up to attack Damon. One of Damons henchman raises a dart gun and shoots Lionel in the forehead with a dart. Lionels head slams against the hard wood floor. Hes out. Damon looks down at Lionel. DAMON I always have to do things the old fashioned way with you. Lionel and Rachel lie side by side on the floor. INT. WOODS KITCHEN - NIGHT Monica sits at the kitchen table with a half full cup of cold coffee sitting in front of her. She is holding a phone to her ear and quietly talking. MONICA I'm thinking of taking her to Europe. There's a special clinic in Liverpool that treats cases like Rachel. FEMALE PHONE VOICE What about Archie? Does he know? Monica lowers her head. MONICA He's been in total denial ever since she was diagnosed. FEMALE PHONE VOICE Men have a funny way of dealing with these kinds of situations. MONICA I suppose so. I can't wait around for him to find himself. Rachel needs us now. FEMALE PHONE VOICE I don't know how you do it. MONICA What? FEMALE PHONE VOICE Keep yourself from losing it. I don't know if I could. MONICA When your holding on by your finger tips, you don't go waving your arms around. FEMALE PHONE VOICE Ill call you tomorrow. MONICA Love ya sis. As soon as Monica hangs up the telephone. Archie walks into the kitchen. ARCHIE Where did you get this idea? England? It's your damned sister wasn't it? Rachel gets all the care she needs right here. Monica stands and confronts Archie with a strong will. MONICA How the hell do you know what she needs! You're never around! Monica walks to the cupboard and removes a bottle of scotch. She pours herself a small drink. MONICA (CONTD) I'm the one who spends every waking moment with an incredibly sick little girl who happens to require my constant attention at every moment! Monica walks out of the kitchen and into the living room. Archie follows. INT. STAIRCASE - NIGHT Rachel sits on the staircase listening to her parents. They are unaware that she is there. INT. LIVING ROOM - DAY Archie confronts her by an old piano. ARCHIE That's not fair. You know damn well everything Im doing is for her. MONICA Is it? Sometimes I wonder with you. ARCHIE Now your questioning my love for our daughter? MONICA No. Your love is without question. Im thinking of your sanity. Archie slowly backs off. He turns and ponders for a moment. MONICA (CONT'D) Were strangers to you now. Archie slams his fist into the piano top. It slams down hard. Monica backs off. She walks to him and places a gentle hand on his shoulder. She can feel the tension in his body. MONICA (CONT'D) In your world...the means justify the end. Archie slowly turns his head to her. ARCHIE Then Ill change the world. For her. INT. FRONT ROOM - NIGHT Archie walks up grabs a jacket from the closet. He turns and sees Rachel on the stairs. Monica comes walking up. ARCHIE Have you been there long honey? Rachel nods her head. Archie reaches in and gently takes Rachels hand. ARCHIE (CONT'D) Daddy knows some people who want to help you. Do you want to meet them? Rachel looks over to Monica. Rachel nods her head. She jumps into Archies open arms. Rachel looks at Monica. Tears are beginning to run from Monicas eyes. RACHEL Its alright Mommy. Well be back soon. Right Daddy? Archie turns and faces Monica. ARCHIE Yes. We will. And well be a family again. EXT. WOODS DRIVEWAY - NIGHT Archies sedan pulls out from the driveway and screeches into the street. Monica watches from the living room window. EXT. WOODS DRIVEWAY - NIGHT Monica comes out of the house and places several suit cases in the back seat of a sedan. She enters the drivers' side door. The sedan pulls out of the driveway. EXT. STREET - NIGHT The sedan takes a corner and enters a street. Heavy rain begins to fall. INT. SEDAN - NIGHT Monica switches on the sedans' windshield wipers. She grasps the steering wheel tightly in her hands. She struggles to see through the thickening rain. EXT. STREET - NIGHT A large dump truck and front end loader are working along the side of the street. The truck loader reverses. The wide back end sticks out into the street. REVERSE INDICATORS. Flashing reverse indicator lights, partially illuminate the rainy street. EXT. RAINY COUNTRY STREET - NIGHT Monicas sedan comes around a turn in the street. EXT. WIDE VIEW OF COUNTRY STREETS - NIGHT We suddenly see a wave of light flash across the country side. The light wave reaches Monicas sedan and passes through it. The light wave continues across the valley. All the street lights and house lights flick off as the wave passes by. INT. SEDAN -NIGHT All the electrical systems within the vehicle go dead. The lights turn off. Monica is suddenly in pitch black darkness. EXT. STREET - NIGHT A worker man (40s), wearing a hard hat walks beside the front end loader as he attempts to see his way around. He slams his hand against the side of his leg. A bright red flare erupts in the palm of his hand. He tosses it on the street. Another, then another. INT. SEDAN - NIGHT Monica looks up and sees the red flares. Monica suddenly sees the front end loader with its tail in the street. Monica swerves around the loader to avoid a collision. EXT. STREET - NIGHT The sedan impacts directly into a pile of large cement meridians. INT. SEDAN - NIGHT From the back seat we see Monica get crushed from the impact of the collision. The entire front part of the sedan is destroyed. INT. DIMLY LIT ROOM - NIGHT Hundred of candles burn brightly amidst the somber setting. Rachel snaps awake from her slumber. She looks around. Still dazed from the effects. DEEP VOICE Was it your mother again? Rachel turns around to see where the voice is coming from. The candle light does not provide a friend in the dark. RACHEL Is someone there? DEEP VOICE Someone is always there. Rachel stands to her feet. RACHEL Where am I? DEEP VOICE Where youve always been. Rachel approaches one of the elaborate candle holders. RACHEL Wheres Dr. Walker? DEEP VOICE You no longer have to concern yourself with their well being. Rachel looks around. RACHEL Who are you? Show yourself. Rachel feels a presence behind her. She spins. Standing directly behind her is the figure. Rachel still cant make out all his features. Rachel takes a step forward. The figure stands, waiting for her. Rachel reaches the figure. Her hands open wide and then clench tightly with nerves. The figure surprises her by stepping forward into the candle light. He is CHARLES CAVANNAUGH (65). Charles has a soft pleasant aura about him. He would not look out of place sitting at the head of the dinner table at Christmas. Rachel squints to make sure shes not just seeing this. RACHEL (CONT'D) Im... CHARLES Rachel Woods. I know who you are. Ive always known you. Charles reaches for Rachels right hand. He gently takes it and brings it up to his face. He slowly rubs it across his cheek. Rachel is uncomfortable. She politely removes her hand from his. RACHEL Who are you? Charles looks up to Rachel. He has bedroom eyes. CHARLES My name...is Charles. RACHEL Charles...Cavannaugh? Charles straighten up slightly as if an ageless declaration of pride demanded it. CHARLES You remember. RACHEL Remember? No...I heard... Charles turns and walk deeper into the dimly lit room. Rachel watches briefly and then follows. CHARLES Youve been remembering a lot lately. Charles stops and turns to her. CHARLES (CONT'D) Havent you? Rachel stops a few feet in front of him. RACHEL Just bad dreams. Charles turns and walks a few more steps. He reaches the encrusted box. He slowly opens the front panel. A soft blue glow radiates from within. Rachel peeks over his shoulder from a few feet behind but has no sight of anything. CHARLES Come closer. If you wish. Rachel takes a few tentative steps to the box. Charles looks back at her. She quickly gives him a look and then focuses on whats in the box. Charles holds out his hand to her. CHARLES (CONT'D) Its because of you. That all this is possible. Rachel doesnt take his hand but she does continue to the box. Charles moves a little out of the way. Rachel looks deeper into the box. The slot that was empty, has now been filled by the crystal from her apartment. The entire array of crystals now seem brighter with the addition of the lost stone. Rachel is dumbfounded. RACHEL What are they? CHARLES It has had many names over the lifetimes of many peoples. Rachel cant take her eyes from the stunning display. CHARLES (CONT'D) Some have called it Taoui. Others have named it Darpa. In respect to obtaining the most difficult of all achievements. They are the heart of philosophy. Charles walks around Rachel as she continues to stare into the box. CHARLES (CONT'D) They are the Illumination Stones of Atlantis. Rachel hears the words but is unwilling to turn away. RACHEL Illuminati... Charles places his hands on her shoulders. They ease her tension. CHARLES All your questions will be answered in time. INT. CELLAR ROOM - NIGHT Lionel slowly awakens on the damp floor of the cellar. He struggles to gain clarity. He sits up and starts to rub his forehead. VOICE Dont worry. The stinging goes away in a few hours. Lionel turns his head. In the corner of the cellar is Andrew. Hes a little worse for wear but alive. Andrew approaches Lionel. ANDREW You must be Dr. Walker. Andrew extends his hands to Lionel. Lionel reaches out and grabs it. Lionel stands to his feet. LIONEL Thanks. Lionel brushes off his clothing. ANDREW Is Rachel with you? Lionel turns to Andrew. LIONEL She was. They took her. I dont know where. Lionel looks around. ANDREW They? Whos they? LIONEL Its a long story. Lionel looks for a way out. LIONEL (CONT'D) How long have you been here? ANDREW Long enough to know there isnt any way out. Andrew sits down on a small wooden stool in the corner. ANDREW (CONT'D) Id offer you a seat but apparently reservations were full. Lionel checks the thick door to the cellar. LIONEL We have to find a way out of here. Andrew sighs. ANDREW What do they want with her? LIONEL Rachel has a gift shes not yet aware of. When they tap into it. Were all in heap of trouble. ANDREW What does that mean? What gift? Lionel continues to look around. LIONEL When Rachel was young, she had a rare brain disorder. One that gave her a prolonged resistance to high resonance frequencies. Andrew shakes his head. ANDREW Resonance frequencies? Lionel looks at Andrew. LIONEL Intense vibrations. Andrew nods his head like he knows. LIONEL (CONT'D) Her mind can distinguish individual energy waves within a single frequency. Shes able to find the needle in the haystack. ANDREW And how did this happen? Lionel turns. LIONEL How does anything happen. ANDREW What? Lionel walks to a corner. He turns to Andrew. LIONEL Theyre coming. ANDREW Whos coming? The door to the cellar suddenly unlocks and swings open. It slams hard against the back wall. Two robed figures enter. Damon follows closely behind them. He walks to the front and looks at Andrew. Then he turns to Lionel. DAMON My apologies for placing you with los comunes mortales. It could not be avoided. Lionel doesnt move. Damon takes a step to Lionel. DAMON (CONT'D) Does it hurt? Damon makes reference to the small dart hole on the right side of Lionels forehead. Lionel reaches to his back. LIONEL My lower back actually has this sharp pain. Very uncomfortable. Damon smiles. He takes another step to Lionel. Andrew is watching as if hes witnessing a pit fight between to cobras. DAMON Im curious about something. Lionel is calm. Andrew is fidgety. Damon is cocky. DAMON (CONT'D) Were you ever a believer? Or was this just all an experiment for you? Lionel scoffs. LIONEL Your not on any spiritual pilgrimage. Your dreams about a race of supreme beings is exactly that. A dream. Damon retorts the scoff. DAMON You think I care one bit about the old mans visions. He can have the stones. He can have the future. Hell, he can even keep the girl. Andrew scoffs. DAMON (CONT'D) Im tired of seeking. Searching for the next One. Im sick of travelling across time lines just to always end up here. Ive been waiting for this opportunity for countless life times and Im not about to let it go. Lionel braces his thoughts. Then he reasons it out. (BEAT) LIONEL (QUIET) Rachel. Andrew looks at Lionel. ANDREW What about her? Lionel looks back to Damon. LIONEL Youre using Rachel to trap the old man. Damon takes one more step and is right in front of Lionels face. DAMON They can eves drop on the future all they want. They can travel through the realms of lesser beings. Im staying here. This is my world now. Damon motions for the two robed men to take Lionel. They do. After Lionel is removed from the cellar, Damon looks at Andrew. Andrew braces himself. Damon grins. He turns and walks out. The heavy door slams shut behind him. INT. DIMLY LIT ROOM - NIGHT Rachel is still gazing into the heart of the box. The stones glowing brightly. Suddenly the warm, comforting hue from the stones is cut off. Charles closes the front door to the box. Rachel snaps out of her state of delusion. Charles turns Rachel around to face him. CHARLES Now do you see the power within you? The power that resides in us all? You have travelled across chasms of time and space to be here, in this moment. Rachel is enthralled. CHARLES (CONT'D) I have been waiting for your return for as long as I can remember. But it was just a memory. RACHEL A memory? CHARLES Memories are just moments in time. What matters is the connection you have to that moment. That memory. Charles walks a few steps away from Rachel. RACHEL Why am I having these dreams of my parents all of a sudden. Dreams of the night she died. Ive never thought about it like this before. Is it you? Are you doing this? The figure is looking for something in a large cabinet. Rachel walks over to Charles. RACHEL (CONT'D) Please. Tell me whats going on. Charles removes a very old book from the cabinet. He turns and shows it to Rachel. She looks down at it. The front cover has been torn away. The binding has been slowly falling to pieces. The cover of the book reads: Ancient Worlds and Lost Kingdoms Rachel looks up at Charles. RACHEL (CONT'D) How did you get this? This was my old book. I used to read when I was a little girl. Charles hands the book to Rachel. She passionately holds it in her arms. RACHEL (CONT'D) My father gave this to me right before... Charles walks away from her. CHARLES Before...? Rachel sighs. A robed person enters the room. ROBED PERSON My lord. Charles places a gentle hand on Rachels shoulder. Rachel continues to hold the book tightly. CHARLES I shall return shortly. Charles exits the room. INT. BASEMENT GENERATOR ROOM - NIGHT Lionel stands against a wall with his hands tied behind his back. Several robed henchmen are gathered around. Damon waits patiently. The door to the room opens and Charles enters. He gives Damon a glance of approval, then he walks to Lionel. CHARLES Dr. Walker. Ive been such a big fan of your work these past years. LIONEL Book sales didnt show it. Charles smirks under his teeth. CHARLES We were quite remiss in our attempts to find reasons to keep you alive. Charles turns to the bald man. Damon straightens up slightly. CHARLES (CONT'D) However, the departure of Dr. Galloway initiated our need for someone, to carry the torch so to speak. Charles looks at Lionel. Charles walks past Lionel and into another adjoining room. The robed henchmen bring Lionel along. INT. BASEMENT GENERATOR ROOM - NIGHT There is a large set of capacitors lining the room. In the middle is the intrinsic generator Dr. Abderazzi built some years before. LIONEL How did you get this? Charles walks over to the wall and flicks on the lights. Suddenly we see the extent of the plans. Multiple massive capacitors align the great room to the ceiling. Row upon row of electrical power nodes emanate rays of generated energy. Massive electrical waves of energy flow through the capacitors. CHARLES After your government made their plans for this very clear. We knew we had to respond. We knew the worlds survival depended on our acting, and not waiting. LIONEL You people have no idea what your messing around with. You could annihilate the planet and everything on it. Damon walks up to Lionel and releases him from his bounds. Lionel rubs his wrists. Damon walks away as henchmen bring Lionel up to a series of computer monitors. LIONEL (CONT'D) What are you expecting me to do? Damon turns to Lionel and gives him a punch to the mid section. DAMON Once again. Always making me bring out the old fashioned way of doing things. Lionel lifts himself. He tries to breath. CHARLES I would think your purpose here would be clear. As of this moment. You are the only person capable of making this work. LIONEL Work? For what? CHARLES Twenty years ago, when you and your colleagues first accomplished this miracle, we had already been hard at work. For hundreds of years we have been relying on bits and pieces of history to allow us to find a source great enough to power the stones. LIONEL Stones? The crystals. CHARLES Yes. The crystals. They make it possible to see time and space. But without a power source capable of accelerating the effect. It becomes useless. A bird without wings. Lionel looks around. LIONEL What makes you think I can help you? Charles laughs and walks away. Damon walks to Lionel. DAMON You already have. INT. DIMLY LIT ROOM - NIGHT Charles enters the room. Rachel is sitting on the floor looking through the book. She looks up to Charles. He has a warm glow. RACHEL When I was young. This book kept me so entertained. I must have read it a hundred times. CHARLES Perhaps two or three hundred. Whos to know. RACHEL I had a vision. When I looked into the stones. CHARLES Only the truly gifted are capable. What did it show you? Rachel looks down at the book. RACHEL I saw myself with my mother. She was taking me away. She was taking me away... from my father. CHARLES Your... Earthly father. RACHEL She was taking me somewhere in the car. Rachel looks at Charles. RACHEL (CONT'D) We came over a steep road. It was raining. There was a...large truck. Charles takes one of Rachels hands. RACHEL (CONT'D) We crashed into... a wall or something. Charles holds the other hand as well. A tear falls from Rachels eye. She drops her head. CHARLES Time and space are infinite. Coexisting on many levels. So many in fact that beings who had the ability to travel across various time lines, began to change history in order to protect their future. The only way to defend against them changing our past, was to choose our own future. Before it ever happened. RACHEL What are you saying? You can see the future... and choose it? Charles face begins to light up. CHARLES Being able to choose a future for Mankind prevailed over the total destruction of it. RACHEL How many possible future are there? Charles looks deep into Rachels eyes. CHARLES That vision of you and your mother in the car. That was a possible future. Rachel gasps quietly. RACHEL What do you mean...future? How could that happen if Im already here? I didnt die in that crash. CHARLES Rachel. Life is choices. The night you chose to go with your father. What happened? RACHEL We drove to a big house in the country. We zoom into Rachels eyes. INT. BIG HOUSE IN THE COUNTRY - NIGHT (FLASHBACK) RACHEL (V.O.) I remember it because of the smell of the wild flowers. Blue Violets. Archie holds Rachels hand as they walk into the big house. A woman greets them wearing a nice dress. WOMAN Hello. This must be Rachel. Rachel nods her head to the woman. The woman reaches for Rachels hand. Rachel pulls back to her father. WOMAN (CONT'D) Its alright Rachel. Were just going to get you a nice cold drink. Would you like that? Rachel looks up to Archie. ARCHIE Go ahead baby. Its going to be fine. The woman escorts Rachel into another room. Archie enters an office. INT. OFFICE - NIGHT (FLASHBACK) There is an old oak desk in the corner. Several shelves and cabinets hold thousands of books. The chair to the desk swings around. Charles rises to his feet. Only slightly younger looking. CHARLES This will be a day you will long remember. Archie stands there. ARCHIE Im doing this for Rachel. Not for you. Not for the world. For her. Charles walks to Archie and places his hand on his shoulder. They turn together and pace the room. CHARLES We all have our future to think of. We make our choices for selfish reasons. They reach a door. Charles opens it and allows Archie to enter first. OBSERVATION ROOM - NIGHT (FLASHBACK) Archie walks into the room. A large observation glass window allows him to sees Rachel sitting in a hospital bed with electrodes all over her head and chest. Archie turns to Charles. ARCHIE What the hell is this? You said you were going to talk with her. Damon appears behind Archie. Archie begins to shake. He screams and falls to the floor and passes out. Bald man and Charles look at Rachel through the glass. CHARLES Are you ready to choose? Rachel looks around and sees herself in the large glass of the observation room. She is an adult. INT. HOSPITAL ROOM - NIGHT (PRESENT) Rachel snaps out of the memory. She is grabbed by several robed henchmen. RACHEL Whats going on! She is being strapped into the bed. Rachel looks over to the glass window. She sees her reflection. She is ten years old. RACHEL (CONT'D) Whats happening?! Who are you? Where am I? Rachel looks up and sees Damon. He grabs her face with both hands. DAMON I told you. Youre still a little girl. Damon looks over and nods his head to the woman standing next to him. She begins placing electrodes on Rachels head and chest. INT. DIMLY LIT ROOM - NIGHT Rachel is brought back by Charles. CHARLES Rachel! Rachel! Rachel looks at Charles. Shes clutching the book. CHARLES (CONT'D) You were off on your own. I had to bring you back. Rachel turns around. She slowly backs away from Charles. CHARLES (CONT'D) What did you see? RACHEL You. You were there. With my father. Hurting a little girl like that. Charles reaches for Rachel. CHARLES Rachel. What you saw was only one of a million possible time lines. Perpetuated events that you formed into reality. Charles holds onto her by the arms. CHARLES (CONT'D) Easy now. Be calm. Every moment in your life is a memory formed from interpretation. How you interpret past events allows you to form a future. A future that can become real. Rachel slumps in his arms. Shes exhausted. CHARLES (CONT'D) Come now. In time. Nothing will be beyond your reach. The two enter another room. INT. GENERATOR ROOM - NIGHT Lionel stands against a wall with his hands tied once again. Some men in yellow lab coats are fiddling around with capacitors and such. Damon has left the area. Two robed henchmen stand in the area. Lionel looks at one of the yellow coated technicians. The technician slowly cocks his neck and stops what he was doing. The technician turns and walks to Lionel. One of the robed henchmen sees this and tries to prevent the technician from getting any closer. Another technician comes from behind the robed henchman and drives a grated tool into his back. The robed henchman screams and is stabbed repeatedly in the back. The other henchman comes over to stop the technician when another technician attacks him. Soon, several technicians are attacking the lone henchman. A technician comes to Lionel. LIONEL Thats it. Your doing fine. The technician releases Lionel. Lionel runs over to the generator output relay system. Some of the technicians have begun attacking each other. They have blocked the door to the room. LOUD ALARMS. Lionel accelerates the frequency output system. The timer on the side of its panel decreases by ten minutes. Its set to go off sooner than expected. Lionel looks around the room. Up above the door there is an observation window. Damon is standing there watching the events unfold. INT. DIMLY LIT ROOM - NIGHT Rachel sits on a plush sofa. The book still in her hands. Charles is at the encrusted box. Damon enters the room. CHARLES I dont remember giving you permission to enter. DAMON We have a problem. Charles looks at him. CHARLES Problems are for mortals. Charles looks at Rachel. CHARLES (CONT'D) She is almost ready. Charles turns back to Damon. CHARLES (CONT'D) Do what you must. Damon walks over to Rachel and waves over several robed henchmen. The robed henchmen lift Rachel from the sofa. They carry her into the next room. Damon turns to Charles. DAMON Did she entertain you? Charles looks back to the box. He opens it. CHARLES She is merely a conduit. A vessel for me to use as I please. DAMON Dr. Walker is dead. Charles looks away. CHARLES Not yet. INT. BASEMENT HALLWAY - NIGHT Lionel sneaks down a long hallway. He avoids some robed people on their way to the alarms. Lionel ends up at the cellar door. He unlocks it and opens the door. Andrew is standing there holding the small stool in his hands. LIONEL What were you going to do with that? Andrew drops the stool. LIONEL (CONT'D) Come on. I have a job for you. Lionel and Andrew follow the hallway until they reach a courtyard. EXT. COURTYARD - NIGHT Lionel and Andrew hide in the staircase leading to the courtyard. LIONEL Rachel is in the main room. Just through those doors. Andrew looks over. He turns back to Lionel. ANDREW What are we going to do? Lionel looks at Andrew. LIONEL Not we. You. ANDREW What do you mean? Where are you going? Lionel turns back down the hallway. He stops and looks at Andrew. LIONEL When you feel the ground shake. Youll know it time. Go in and get her. ANDREW Wait! Where are you going? LIONEL To give us a thirty second head start. Andrew turns back to the courtyard and grimaces. INT. DIMLY LIT ROOM Lionel comes through a door. Damon and Charles are standing near the box. Damon turns to Lionel. DAMON Just couldnt leave it alone. Could you? Lionel walks to the center of the room. Charles turns and walks into the next room. The door closes behind him. DAMON (CONT'D) Im going to have front row seats to the show of a life time. LIONEL Punching your ticket are we? Lionel just stands there. Damon walks up to him. DAMON You know how this is going to go down. Dont you? Lionel smiles. LIONEL I figure. Wed stare at each other until one of us blinks. Surely thats enough time. Damon grins. He nods his head. DAMON Enough time? Lionel smiles back at him. Damons eyes widen. DAMON (CONTD) Until one of us blinks. The two stand in front of each other. Staring into each others eyes. INT. TEMPLE ROOM - NIGHT There is a see through floor as you walk in this room. Rachel sits in the middle of the floor in a long robe drenched around her. Several other robed people are standing around her. Charles stands behind her. He is holding out the stones in their receptacle. Charles starts chanting in another language. CHARLES Serpents of wisdom. Serpents of wisdom. All the robed people begin chanting. Rachel awakens to the chanting. She looks around the room. She cant move. She stands to her feet. Charles turns to Rachel. He walks up to her. He places his hands on her temples. He looks deep into her eyes. CHARLES (CONT'D) Are you ready to see what God has seen? A brilliant flash. EXT. SPACE/TIME - NIGHT Rachels mind travels through energy streams and brilliant arrays of light and energy. EXT. OPEN FIELD - DAY A pregnant Rachel is sitting in an open field of grass. She is covering her eyes from something. RACHEL Can I open them now? VOICE Not yet. Rachel sits there. VOICE (CONT'D) Alright. Now. Rachel opens her eyes. Andrew is standing there holding out a wedding ring wrapped in a large beautiful leaf. Rachel unwraps it. She looks up at Andrew. She smiles. EXT. SPACE/TIME - NIGHT Rachel travels through time once again. INT. ARCHIES OFFICE - NIGHT Archie is sitting in his chair. Young Rachel sits across from him. He holds out his hand and caresses Rachels hands. ARCHIE I kept things from you. From your mother. In time. I hope youll forgive me and know that I love you. All this...was because I loved you. Monica enters the room with a camera. She places it on a cabinet. She sets the timer and hurries to the side of Rachel. MONICA Im sending this to your grand mother in Maine. Archie, Monica and Rachel look up to the camera. RACHEL Say cheese. They let out a smile. ARCHIE/MONICA Cheese. CAMERA MECHANISM SOUND. A bright flash of light. EXT. SPACE/TIME - NIGHT Rachel enters the telepathic journey once again. She suddenly sees the lights go dark around her. Rachel looks around in a panic. INT. TEMPLE ROOM - NIGHT Rachel is suddenly brought back to the real world. Everything around her is falling to pieces. The house and all the rooms are disintegrating. Andrew is grabbing at her arms. ANDREW Come on! Rachel! Come on! Rachel looks around and sees all the robed people are dead on the floor. Charles Cavannaugh is lying on the floor with a huge metal ceiling support running through his body. CHARLES Racrehel! Help me! Racrehel! Rachel jumps off the center piece she was standing on and runs through the house with Andrew. She turns to him. RACHEL Wheres Lionel?! How did you find me?! Andrew keeps pushing her to the front door and the open court yard. ANDREW I cant explain it! The ground started rumbling and when I came into the front room! Everyone was standing still! Like they were frozen in time! They make it to the court yard. They run through the yard and out onto the acreage. RACHEL What do you mean Frozen?! Andrew turns to Rachel. ANDREW Thats what I said! Then the whole place stated falling apart around me! Rachel stops and looks around. RACHEL Now you see. Dont you my child? So many possible futures for you and I to see together. Only when we cross all of time, will we choose a world fit for us to rule. Rachel turns around. She sees Charles behind her. He smiles a warm smile at him. RACHEL No. Not like this. Not like this. Andrew looks at Rachel. ANDREW What is it? Rachel looks at Andrew. She reaches out for his hand. She holds it tightly. Andrews face goes somber. ANDREW (CONT'D) Youre going in arent you? Rachel tightens her grip on his hand. ANDREW (CONTD) Will I see you again? Rachel smiles. She kisses him. RACHEL Only time will tell. Rachel takes a step backwards. BRIGHT FLASH OF LIGHT. EXT. SPACE/TIME - NIGHT Rachel flows through currents of time and space. Multiple possible predicted futures echo around her. CHARLES So many possible futures for you and I to see together! Only when we cross all of time, will we choose a world fit for us to rule! A world... of our own creation! Rachel turns around. She sees Charles behind her. CHARLES (CONT'D) This is what you were meant for! She smiles a warm smile at him. RACHEL My life. My choice. BRIGHT FLASH OF LIGHT. INT. FRONT ROOM - NIGHT Archie walks up grabs a jacket from the closet. He turns and sees Rachel on the stairs. Monica comes walking up. ARCHIE Have you been there long honey? Rachel nods her head. Archie reaches in and gently takes Rachels hand. ARCHIE (CONT'D) Daddy knows some people who want to help you. Do you want to meet them? Rachel looks over to Monica. Rachel looks back over to her father. She slowly shakes her head no. Rachel walks to her mother. RACHEL I love you Daddy. But I cant come with you. Archie turns and faces Monica. A tear runs down Monicas face. Rachel walks over with Monicas hand and grabs Archies hand. They all hold hands. Archie sighs. He slowly releases their hands. He turns to the door and leaves the house. Rachel looks up at Monica and smiles. EXT. TRINITY CHURCH CEMETERY - DAY A light rain is falling. A series of people dressed in black slowly make their way out of the cemetery. As they slowly dissipate into the fading daylight, Archie Woods can be seen as the last person to leave. Archie has his head hanging low. He slowly stands to his feet. He makes his way down a cement path that winds through the cemetery. EXT. SIDEWALK OUTSIDE CEMETERY - DAY A woman is walking with her young ten year old son. The boy looks up at his mother. Its the same boy who asked Rachel to come out and play. BOY Were here mommy. He pulls at her hand until she relents and releases him. The boy runs through the gate leading to the cemetery. He runs until hes almost at a certain grave site. The young boy stops running. There is a man wearing a post mans navy blue colored trench coat and a blue hat. He is placing something at the headstone. The boy approaches the grave. BOY (CONT'D) Hello. The post man turns his head slightly to the boy. MAN Hello. The boy looks down at the headstone. It reads: In Loving Memory, Rachel Woods, 1980-1990 The headstone is beside another headstone of Rachels mother. Leaning against Rachels headstone is the large book on Ancient Worlds and Lost Kingdoms. BOY What kind of book is that? The man doesnt take his eyes from the headstone. MAN A book of dreams. The boy moves to the man and stands beside him. BOY She was my friend. The man glances over. MAN Its good to have them. BOY Did you know her? The man places his hand on the boys shoulder. MAN No...but I would have. 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