(ALL THE TIME IN THE WORLD)

by

(George Rini)
(Based on The Time Machine
Written by
H. G. Wells)
George Rini
jesnicrs@aol.com
516.658.3263
Planet Earth is spinning slowly and getting larger over North
America. California and parts of Nevada and Oregon are gone
and the Pacific ocean is touching land west, of what use to
be Las Vegas. Old casinos, high rise office buildings, and
hotels are shells of the former greatness. Zoom continues and
turns into a fly over a desert expanse with a few small
patches of green.

EXT. FLAT ROCKY DESERT EXPANSE -- 105 DEGREES -- APPROACHING -- DUSK

Year 2666 appears on screen.
A hundred yards off in the distance is a small rusty gray
metal shack.
CUT TO:
The front door of the shack is quickly pushed open from the
outside and slams the inside wall. Two men dressed in leather
flight suits enter.

INT. SHACK.

They discover a young fair haired boy huddled on the floor,
alone and scared. The two men scan the room slowly from side
to side.
The shack has a pot belly stove, a small cot, a table and
chair. A string runs across the room with clothing hanging
from it. On the table is a dish with bread on it. A small
wrinkled photograph is set neatly next to the dish.
With his arms wide open.

EXON
Bingo. Another young one.

Exon walks closer to the boy as he's looking around.

EXON
This place is a mess. I love it.
Where are your parents kid?

The boy says nothing.

EXON
Are they dead?

The boy uses his feet to push himself away.

EXON
How old are you?

2.

The boy stretches his arm out, with fingers extended, as if to say stop.

BOND
Slow down. Can't you see you're
scaring him.

Exon keeps going.

EXON
Five?
BOND
He's too big to be five.
EXON
Are ya fifteen? I think he's
fifteen.

Getting down to the boys level in a nurturing manner.

BOND
Do you have a name son?

Looking back and forth at the two men. The boy answers in a tone deaf voice.

THE BOY
Aton.
BOND
Look at this kid, he's filthy.

Looking around the room.

EXON
What do you expect?

Bond looks up at Exon.

BOND
He'll die alone out here if he
doesn't get some help.

Getting closer and standing over the boy.

EXON
Well then, Aton. How would you like
to come with us?

Aton runs and grabs bread off the table, and starts to nibble at it like a squirrel.

3.

BOND
You want this kid to be your first
subject?

Repeating Bond.

EXON
(sarcastically)
He'll die alone out here if we
don't help him. Didn't you just say
that?
BOND
I didn't say we. Who's gonna take
care of him, you? You can barely
take care of yourself.

Exon approaches Aton.

EXON
Come on kid. Let's go.
BOND
I hope you know what you're doing.
EXON
I have to exhaust all
possibilities.
BOND
Are you sure it's a cure you're
after, or do you just enjoy
plundering the future.
EXON
Desperate times, calls for
desperate measures.
BOND
Did you ever once, stop and think
that maybe it's mother nature's
way.

Exon stares down at Aton. Aton looks back up at Exon scared and confused.

EXON
No! Living, human DNA could be the
break in our research we need.
BOND
What if it's not? Do you have a
back up plan?

4.

EXON
Keep exploring the future.
BOND
You don't have a back up plan do
ya?

Facing the door, Aton shouts.

ATON
Iris.
BOND
What'd he say?
EXON
I don't know... You don't want to
die alone out here. Do ya kid?

Aton perks up, wide eyed.

ATON
Iris - Iris.
EXON
What is he saying?
BOND
How do we know he's alone?
EXON
Do you see any evidence of life
around here besides him?

Bond turns to look around and sees a huge figure with long

brown hair and dark skin. Standing 6 feet 8 inches tall,
ensconced in the doorway with legs wide apart. It's
appearance would make a line backer run scared.

BOND
(pointing)
You mean like that.

Exon looks over his shoulder and before he can turn around
completely, the behemoth leaps on him. A struggle ensues with
a lot of rolling around and dust flying.
Bond jumps on the back of the behemoth. The behemoth rolls
over onto Bond, holding Exon in a bear hug. The behemoth
starts to yell in a loud deep gravelly woman's voice.

IRIS
Mine - Mine.

5.

The behemoth is grinding Bond into the ground while Exon is
on top, having the life squeezed out of him.
Barely able to speak.

BOND
Can't reach my stun gun... ahhh.

Exon reaches over the behemoth's arms to grab the stun gun off his belt.

EXON
Got it.
BOND
No, wait.

Exon presses the gun against the behemoth's side and pulls
the trigger. Exon, Bond and the behemoth begin to seizure
from the stun gun. Exon's hand is frozen and can't let go of
the gun. Finally the gun stops.
All three go limp. Exon falls off the top of the pile and
rolls to his knees. Exon grabs the behemoth and drags it off
Bond. Bond gasps for air and sits up. Bond reaches over and
puts his hand on the behemoth's neck.
Breathing heavy, and rubbing his neck.

BOND
I knew that would happen. (pause) I
think it's dead.
EXON
Are you sure?
BOND
I don't feel a pulse. Did I hear
him say "mine - mine"?

Rolling his eyes.

EXON
I don't think it's a him. Maybe
this kid's already been kidnapped.
BOND
How can you say that? How do we
know this thing isn't his mother?

Bond and Exon look at the boy quivering in the corner with
bread in hand. And then back at the behemoth.

6.

EXON
My guess is no.

Aton is shaking a bit less, but now his look has turned sad.
Exon reaches for Aton. Aton pushes Exon's hand. Exon reacts
calmly and moves back. Aton moves quickly and crouches down
behind Bond.

EXON
How sweet. He likes you.
BOND
I'm not surprised.

Aton turns around, lowers his head, and gently puts his hand
on the behemoth. Aton moves again. Reaching under his cot, he grabs a little
black box. Bread still in hand. Aton looks at both men, who are standing motionless,
then makes a run for the door. Aton leaves the cabin in the dust.

BOND
Wow. I didn't expect that. I pegged
this kid for half dead... You're
not gonna go after him?

Exon says nothing and walks in front of Bond facing him squarely next to

a small dirty window.
As the tension builds, Aton becomes visible in the window
running at an angle from right to left. Exon looks out the
window and then back at Bond. He presses a button on his
belt.
A spherical force field surrounds Exon. The field compresses
into a small dot and disappears with a snap. Bond is left
standing alone in this rusty cabin. He looks around and grabs
the wrinkled photograph off the table.
Bond slips the photo in his inside pocket of his suit. Taking
a deep breath and shaking his head in disgust, he walks over
to the open door. Through the kicked up dust, Bond watches
Aton running away.

7.

The dust he has raised caused the cabin to be barely visible
from a distance.
A transparent, water mark like silhouette of a man becomes
visible, directly in front of a charging Aton. Aton runs into
the water mark and disappears.
Standing in the doorway Bond presses the button on his belt, and nothing happens. He
presses and taps it several more times and nothing happens.
From over his left shoulder in the background the behemoth rise to her feet.
Bond turns around with his head down, trying to fix his time
travel device. He picks his head up and discovers the
behemoth standing. The behemoth lunges at Bond.
From outside the shack fighting and screaming can be heard.
Seconds later there is a time travel snap and then a second
snap. The wind whistling through the quivering metal shack is
the only sound.

INT. DREAM SEQUENCE -- YEAR 1898 -- DATE APPEARS ON SCREEN

(No sound) Scene has slight haze around the edges.
George, a scientist in his early thirties, with a boyish look
and four other well dressed professionals around the same age
are standing over a table in front of a fireplace.
Clocks and books on the mantle. The most visible book is the
Holy Bible. The men are looking at a scaled down model of a
tiny machine set on the table.
The tiny machine is about 8 inches long and 5 inches high. It
has a horizontal disk on the bottom, and a small captain's
chair in the middle. In front of the chair is a cylindrical
control panel with a small crystal lever sticking out of it.
George is about to demonstrate it's ability to his most
trusted friends and colleagues. He sets a small clay figure
in the chair.
He reaches for a colleague's hand and finger to push the tiny
crystal lever forward. Within seconds, the tiny machine
glows, and shakes it's way into the future.
Fragmented sound of George.
GEORGE
Into the future.

8.

INT. GEORGE IN BED -- EARLY MORNING -- DATE APPEARS ON SCREEN.
AUGUST 15, YEAR 802,726

George, a silver haired man, slim, in his late fifties. He
maintains a healthy active lifestyle and that
boyish look. He awakes in a cold sweat from his dream and
bolts upright.

GEORGE
Into the future.

Weena, a beautiful woman, with golden blond hair. Who still
looks very youthful, though her age is unknown, even to her.
She puts her hand on George's back.

WEENA
George. Everything alright?
GEORGE
I had it again.
WEENA
Same dream?
GEORGE
Must I never enjoy some peace? Or
is all this just an illusion.
WEENA
You've been asking that question
for 25 years.

Weena rests her head on George's shoulder.

WEENA
Do I feel like an illusion to you?
GEORGE
No. But if something were to go
wrong...
WEENA
You worry too much. What could
possibly go wrong?
GEORGE
Weena. You're the strongest person
I've ever met. I have loved you
from the moment I met you.
WEENA
I love you too. Please rest.

9.

Weena kisses George tenderly on the side of his mouth. He gazes right through her.

EXT. MOUNTAINSIDE -- ARCHAEOLOGIST DIG -- MORNING AFTER REOCCURRING DREAM

George and Weena enjoy a bright blue sky and a slight warm
summer breeze. They're standing next to a rock ledge. Behind
them, in ruin, a short distance away there is a tilted winged
sphinx. 100' tall including the base.
The sphinx is a mans body, down on one knee. One wing is
broken off completely the other wing is partially broken. The
entire sphinx has a green tarnished brass finish.
On the front of base are two sliding doors, which are closed.
75 percent of the sphinx is covered in vines.
George looks out over the hill where the sphinx is.

GEORGE
Smell that fresh air.

Weena takes a deep breath, turns and looks in the same

direction.
WEENA
I love this time of day.

She notices the sphinx.
Hey George. Does the old sphinx look different to you?
George squints to get a better look. Then his look turns
serious. Looking at Weena to check her reaction.

GEORGE
What's different?
WEENA
(tilting her head)
Not as tilted?
GEORGE
Looks the same to me. We'll check
it later. Perhaps another piece
broke off. Who knows how old that
thing is?

Weena begins to climb.

WEENA
Did I ever tell you how much I love
coming up here with you?

10.

Wiping the sweat from his brow.

GEORGE
Yes. Every time we come up here.
WEENA
Did I ever tell you how much I love
finding ancient artifacts?

George looks up surprised, at the similarly phrased question.

GEORGE
Yes. Every time we come up here.
WEENA
Did I ever tell you how much I
enjoy finding more artifacts than
you?

George does not answer Weena's jocular antics.
Weena catches George looking at the sphinx.

WEENA
Something wrong George?
GEORGE
No my dear. Everything is fine...

Quickly changing the subject. Yesterday you mentioned finding something interesting up

there on that ledge.

WEENA
Yes. I left it for today because I
was losing light. I would ask you
to come up with me but, with your
fear of heights and all.

Looking annoyed.

GEORGE
Weena. You know...
WEENA
Yes. I know.

Imitating him.

"There's two things I'm sensitive about. My fear of heights
and my first name".

11.

GEORGE
Unbelievable.
WEENA
I think Herbert is a fine name.
GEORGE
Never liked it.
WEENA
I can't help wonder how a man who
can travel almost a million years
into the future, could have a fear
of heights.

Weena has reached the ledge.

GEORGE
Yes I did travel, as you said. But
I never left the ground.

They both have a laugh.
Weena begins to chip away at the rock. George takes a cloth
tarp off an area of ground. He gets down on his knees and
begins brushing away the dust from a protruding bicycle
handle.
Weena separates the artifact and holds it up to show George.

WEENA
Got it.

The ground starts to tremble and a faint glow emanates where
the artifact was found. Weena starts climbing down and loses
her footing. Falling nearly twenty feet and landing hard on
her legs, rolling to a stop on her back.
The tremor subsides. George runs to Weena.

GEORGE
Don't move. Did you hit your head?
WEENA
No.
GEORGE
Do you hurt anywhere?
KIM
I don't think I'm hurt.

12.

GEORGE
(shaking his head)
You're amazing...

A loud yell for help draws George and Weena's attention down
the path. George helps Weena get to her feet.

GEORGE
Can you walk?

Weena shakes her head yes as they begin down the path.

EXT. NEW LOG HOME AREA -- MOMENTS LATER

George and Weena come jogging down the path.

Builder number one sees George.

BUILDER 1
Hey George, did you feel that?
GEORGE
Who yelled?
BUILDER 1
I did. Jason fell off the roof.

Jason's on the ground holding his leg above the knee in

pain.
GEORGE
Take it easy Jason. Let me look at
this.

George pulls out a pocket knife and cuts Jason's pant leg.
From the other direction, with dark hair and Weena like
beauty, Kim, George and Weena's 17 year old daughter comes
running up the path.

WEENA
(addressing Kim)
Are the kids OK?
KIM
Yes. There already back to playing.
I heard a yell.
WEENA
Jason fell off the roof.
KIM
Is he alright?

13.

WEENA
George. Did you see that flash of
light up on that ledge?

George is examining Jason's leg.

GEORGE
I didn't see a light...
George has his hand on Jason's knee.
GEORGE
You dislocated your knee.
KIM
That's gotta hurt.
JASON
Is that bad, George?

Weena turns to Kim.

WEENA
(slightly annoyed)
Kim, could you go back down to the
house and see if James ate the
breakfast I left him?
KIM
(slightly annoyed)
Everyone has eaten mother.

George gives a look to the beautiful woman in his life and
tries to focus on Jason.

GEORGE
Rest it properly and you'll be back
building you're new home in no
time. Hold still, this may hurt a
bit. Ready. One, two, three.

George pops Jason's knee cap back were it belongs. Jason reacts.

JASON
Ohhhh.

GEORGE
There.

Everyone standing near, is in awe watching George repair Jason's knee.

14.

GEORGE
(addressing some of the
builders)

Gentleman. Please get several cold
packs from the stream, and bring
them and Jason back to his place so
he can rest. Jason, keep the cold
packs on that knee and don't try to
walk. I'll be by later to wrap it
for you.

As everyone moves, Jason grabs George's arm.

JASON
Thank you George.

Putting one hand on Jason's shoulder in a reassuring manner.

GEORGE
No problem, old boy.

Two young builders carefully lift Jason onto a work bench and

begin to carry him away.

Weena moves closer to George in a loving way.

WEENA
I love it when you play doctor... Herbert!

George points at Weena. Half smiling.

GEORGE
Watch it.

George grabs a cloth from his pants pocket and wipes his
brow. Weena holds up the artifact she found.

WEENA
Check this out George.

Taking it from Weena and weighing it with his hand.

GEORGE
It's really light. Looks like a
wrist bracelet.
WEENA
It must be very old.

Looking at Weena adoringly.

15.

GEORGE
Everything is old around here,
except you.

Remembering where he is, George turns to the remaining builders.

GEORGE
You're all doing a great job. Keep
those logs tight.

BUILDER 1
Will do George, thanks.

George and Weena walk away holding each other.

WEENA
What do you make of the tremor?

GEORGE
Not sure.

WEENA
That's the second one this month.

INT. GEORGE'S LOG HOME -- COMMON AREA -- SAME DAY --EVENING

The artifact Weena discovered is set neatly on the mantel,
between a tambour clock, and some books. The hearth has
filled the room with a shimmering yellow glow.
Above the stone mantle hang several antique clocks that
George unearthed in his time with the Eloi. The furnishings
in the room are a mixture of ancient and newly hand crafted
pieces.
Gathered together are about 12 people including George,
Weena, their 4 children, Jason, and other friends. Their
attire is casual.
A five inch by thirty inch length of cloth, with the words
"Happy 25th Anniversary" written in calligraphy, hangs over
the mantel. The kids play and the adults are conversing.
Weena stands. Holding up a proud cup.

WEENA
When George came to us 25 years
ago, he saved us from the Morlock.
He stayed and helped us realize our
potential. Let's also honor those
who came before us. I speak for all
Eloi. Thank you.

16.

EVERYONE
Here - Here.

WEENA
Children, the gift.

His third oldest child David runs to him with a cloth wrapped

present.

George and his second oldest, Emily, are sitting over a stone
chess set, that is set on a large round tree stump.
George unwraps the gift.

GEORGE
This is the most beautiful sun dial
I have ever seen. David, did you
carve this yourself?
DAVID
Yes father.

Kim nudges David.

DAVID
I mean no. We all made it. From
rocks.

George struggles to hold back the tears.

GEORGE
(he stands)
Thank you for this lovely gift.
Many times along our journey, I've
been discouraged, only to look in
your faces and find hope. It's
great how quickly you found your
humanity. Love, cooperation,
survival... I'm jealous of how
young you all still look. I've been
here 25 years, and I'm the only one
who's aged. Perhaps it's the
water...

George pauses.

GEORGE
Many years ago I was told, "if you
travel into the future you could
mess things up". That couldn't have
been further from the truth.

17.

Holding up his cup.

EVERYONE
Cheers!

One of the guests begins to play a soft peppy tune on a small
accordion. The children dance about. As George sits, his
three youngest children, Emily 14, David 10, and James 7,

press him with hugs.

GEORGE
(addressing the kids)
Now that I have my gift, it is time
to give you yours.
EMILY
What is it father?
GEORGE
Hold on, I'll get them.

George disappears into his bedroom. Moments later he emerges
with a pair of antique brass cymbals.

GEORGE
Here you go kids. Marching band
cymbals.

The room is filled with silence. George Is surprised by their response.

KIM
What are they used for?
GEORGE
These were used in marching bands.
They make crashing sounds. Here,
let me show you.

George holds the cymbals apart in front of him and smacks
them together making a loud, crashing sound.
Everyone jumps. Including George.
With a slight hint of disappointment in her voice.

WEENA
George, where did you find those?
GEORGE
I discovered them a few months ago.
In that old museum we dug up. You
don't remember?

18.

I wanted to keep them a secret from
the children until the time was right!
JAMES
Can I try them father?
GEORGE
Sure James. Here, now hold them
tight, they're heavy. Ready, Go!

James crashes them together, making a very small sound.

JAMES
That was fun father. Can I try again?
DAVID
Can I try now?
Weena gives George a "not in the house look".
GEORGE
Not tonight Jimmy. Tomorrow outside
would be a better time and place.
Weena smiles.
DAVID
Can we make a marching band, too?
GEORGE
Yes, David. Tomorrow.

EXT. GEORGE AND WEENA'S HOME -- FRONT DOOR -- SAME EVENING

Weena moves toward the entrance. Jason on crutches, moves
from the table and approaches Weena, who is gazing at the
stars just outside their front doorway. Several families in
the square have small fires burning.

JASON
Weena. Is there something bothering George?
WEENA
(Looking down at Jason's
leg)
How's your knee?
JASON
Oh, it's fine. Feels better
already.

19.

WEENA
(looking at George
engaging the children)
He's been under some stress lately.
JASON
Oh?
WEENA
As much as he says he did the right
thing by coming here, he still has
some regrets.
JASON
Like what?
WEENA
Never properly saying goodbye to
Mrs. Whatchett, his house keeper
and to his most trusted friend,
Philby. He also feels he went wrong
somewhere and things could get bad
for us again.
JASON
What kind of things?
WEENA
I don't know for sure. Honestly
Jason, I think he worries too much.
Jason nods his head.

INT. GEORGE'S LOG HOME -- COMMON AREA -- SAME DAY -- EVENING

Weena move towards George and the kids. Jason hobbles behind.
George seems distracted, yet he indulges everyone.

JAMES
Father, could you please tell us a
story from when you were a child?
GEORGE
Aren't you tired of all my old stories?
THE CHILDREN
No father, we love your stories.

George shifts his position and puts James on his lap.

GEORGE
Well then. Let's see. 802,745 years
ago when I was a young boy.

20.

George and the kids laugh.
GEORGE
You know, Weena, that joke never
gets old.

EXT. COURT YARD -- NEXT MORNING.

A warm sunny summer day greet the Eloi. The center of the
courtyard is filled with a fruit and vegetable garden. Some
children are kicking a ball around.
Some adults are gathered and seated on stone benches at the
opposite end of the courtyard. James and David are playing
marching band in the background.

CUT TO:

EXT. ARCHEOLOGICAL SITE -- MORNING

George is standing motionless, over looking the landscape,
which includes the dig, young Eloi tilling the soil on a farm
to his left, and the sphinx.
He lifts a small telescope and eyes the sphinx. It's no
longer tilted, and the broken wing, is now 50 percent mended.
George pulls the scope from his face, and looks out over the
farm. The ground begins to tremor. He turns and runs back
down the path.

CUT TO:

EXT. COURTYARD -- MORNING
The Eloi in the courtyard are running frantically about. At
the center of the courtyard three time travelers appear out
of a cloud of dust. They're tall, and armed.
Two of the travelers are Exon and Bond. The third traveler is
dark, taller and more muscular than the other two.
The ground stops shaking. Everyone is stunned. Weena and her
children are standing in front of their home.
George runs to his families side.

GEORGE
(addressing the travelers)
I demand to know why you're here!
Exon walks through the garden.

21.

EXON
So they speak English. What are the
odds? Hey Bond, look at the way
they're dressed. And look at these
log huts. Are you sure we traveled
into the future?
BOND
I thought you had our arrival timed
so no one would see us.
EXON
Oops.

The three travelers spread out to surround George and his family.

BOND
You did this on purpose.

George notices tension between Bond and Exon.

GEORGE
We are a peaceful people. I demand
to know who you are and why you're here?
EXON
SILENCE!

Exon motions to the third traveler, then points to Kim. The
traveler rushes her, grabs her around the waist from behind.
Kim is wiggling like a fish.
George swiftly reacts to try and free her. Bond moves to
intercept George and holds his arm behind his back. Weena
charges the third traveler and tries to tackle him from
behind. Still holding Kim he turns and knocks Weena to the
ground.

BOND
You intentionally wanted to cause
this hysteria. This stops here.

Bond pushes George out of the way and points his weapon at Exon.

BOND
(addressing the third
traveler)
Let the girl go.

22.

The third traveler looks at Exon. Exon motions for him to let
her go. Kim runs to her mother.

EXON
You're right Bond. This is where it ends.

Bond takes a step toward Kim and Weena.

BOND
I'm sorry. Are you OK?

Exon quickly raises his weapon and fires at Bond, hitting him
in the abdomen with a laser shot. He clutches his belly and
goes down hard.
Kim runs toward Bond, but Exon grabs her.

KIM
Let me go.
EXON
(addressing Bond)
I thought we had an understanding.
I should have let the beast kill
you in that shack. If you like
these people so much you can stay
with them.

Exon and the other traveler, grab their time travel devices
and disappear with Kim.
Bond is left behind wounded, unconscious, and stranded.
George and Weena rush to the spot where Kim disappeared.
Dropping to her knees, in shock. Weena closes her eyes as her
hands press against her temples.
Everyone in the courtyard is standing dumbstruck. Weena
collapses in George's arms.

GEORGE
I'm sorry Weena..

Bond is laying on his back. No one is looking at him.

Stuck on an idea.

I'm stuck on an idea.

In the original Time Machine movie, they use a siren to connect the future to the past. Explaining that in 1966 when you heard the air raid siren, you would go under ground to escape the bombs. When the bombing stopped it was "all clear." The Morlocks in the movie used that air raid sound to lure the Eloi under ground so they could eat them. When the doors to the sphinx closed, it was all clear.

My sequel is of the book, where the air raid thing never happens. In my sequel I'm making the same connection with a different sound. When George arrives in Manhattan to rescue his daughter he encounters a young lady in Time Square, during a New Years celebration, he mistakes for his daughter. She points out to him how people blindly follow the music from a stage set up in Time Square, that has a holographic band being broadcast from England , live.

When the Morlock come back, in the future, from George's failure to rescue his Time Machine prototype, they play a holographic image and sound in the base of the sphinx, of Led Zeppelin playing Kashmire, to lure the Elio down into the sphinx.

Your thoughts.

My first blog.

Hi.

These are the first words I am posting to this here blog. I'm starting this here blog because I have found a new passion, to add to all the other passions in my life. And there are many. Most of them legal.

Screenplay writing is my newest passion. In this blog I hope to bring brains together to create a screenplay writers community. Many people have ideas for movies. They say "I got a great idea for a movie." They say what the idea is, and it dies right there at their feet.

Maybe you got drunk at a wedding and thought of a premise for a movie. After you slur out the details, the idea drowns in your beer. This forum would allow you to get instant feedback on your idea. All ideas would be protected by the nature of the medium they are communicated on.
But, I would encourage all parties interested in sharing ideas to protect their material legally.

Ideas can be shared, not only about premises, dialog etc. but how to actually write a screenplay. Where to get help publishing.

Post entire screenplays and or sections of screenplays for critique by the community. Watch the language and the personal attacks.

Here's to good ideas.

George Rini