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							|  |     ### GUIDE ### [3][Background] [4][Synopsis] [5][Credits] [6][Episode | 
						
						
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							|  |    _Contents:_ [9]Overview - [10]Backplot - [11]Questions - [12]Analysis | 
						
						
							|  |    - [13]Notes - [14]JMS | 
						
						
							|  |     | 
						
						
							|  |      _________________________________________________________________ | 
						
						
							|  |                                        | 
						
						
							|  | Overview | 
						
						
							|  | 
 | 
						
						
							|  |      Babylon 4 returns as abruptly as it vanished, but its reappearance | 
						
						
							|  |      may bode ill for the future. Delenn receives a momentous offer. | 
						
						
							|  |      [15]Kent Broadhurst as Major Krantz. [16]Tim Choate as Zathras. | 
						
						
							|  |      [17]Denise Gentile as Lise Hampton. | 
						
						
							|  |       | 
						
						
							|  | Sub-genre: Intrigue/mystery | 
						
						
							|  | [18]P5 Rating: [19]8.57 | 
						
						
							|  | 
 | 
						
						
							|  | Production number:  118 | 
						
						
							|  | Original air date:  August 10, 1994 | 
						
						
							|  | 
 | 
						
						
							|  | Written by J. Michael Straczynski | 
						
						
							|  | Directed by Jim Johnston | 
						
						
							|  | 
 | 
						
						
							|  |   Watch For: | 
						
						
							|  |    | 
						
						
							|  |      * A man shouts at Garibaldi and Sinclair; what he says might provide | 
						
						
							|  |        clues about the nature of the opponents in another scene. | 
						
						
							|  |      * Look closely at what's inside a transparent case given to Delenn. | 
						
						
							|  |        It's an object that's been shown in a previous episode. | 
						
						
							|  |         | 
						
						
							|  |      _________________________________________________________________ | 
						
						
							|  |                                        | 
						
						
							|  | Backplot | 
						
						
							|  | 
 | 
						
						
							|  |      * Babylon 4 was stolen by people from the future, apparently at | 
						
						
							|  |        Sinclair's behest during that time period, to act as a base of | 
						
						
							|  |        operations in a tremendous war being fought between the forces of | 
						
						
							|  |        light and darkness. | 
						
						
							|  |      * Sinclair will be a great leader, possibly _the_ leader, of the | 
						
						
							|  |        forces of light in that war. | 
						
						
							|  |      * At some point, long before he participates in Babylon 4's | 
						
						
							|  |        disappearance, Sinclair will flee a place (most likely Babylon 5, | 
						
						
							|  |        cf. [20]"Signs and Portents") that is about to be overrun by some | 
						
						
							|  |        evil creatures. Garibaldi will stay behind to fight, but will | 
						
						
							|  |        force Sinclair to leave. A [21]transcript of the scene in question | 
						
						
							|  |        is available. | 
						
						
							|  |      * The Grey Council stopped the war because of a prophecy. Valen (a | 
						
						
							|  |        revered figure, see [22]jms speaks) said that humans, or some | 
						
						
							|  |        among them, had a destiny with which the Minbari could not be | 
						
						
							|  |        allowed to interfere. | 
						
						
							|  |      * Delenn is on Babylon 5 to study humanity, to determine whether the | 
						
						
							|  |        prophecy is correct. | 
						
						
							|  |         | 
						
						
							|  | Unanswered Questions | 
						
						
							|  | 
 | 
						
						
							|  |      * Will Babylon 4 appear again? If so, when? | 
						
						
							|  |      * Was it really Sinclair in the suit? If not, who or what was it? | 
						
						
							|  |      * What was Sinclair trying to prevent from happening? | 
						
						
							|  |      * Who was waiting for Delenn and Sinclair? | 
						
						
							|  |      * Will Delenn keep her position on the council? | 
						
						
							|  |      * What is the purpose of the triluminary? | 
						
						
							|  |      * What was happening in Sinclair's flashforward? Who or what was | 
						
						
							|  |        attacking the station? Is it related to the destruction of the | 
						
						
							|  |        station as foretold in [23]"Signs and Portents?" | 
						
						
							|  |      * What was the crazed man referring to when he shouted about | 
						
						
							|  |        "monsters" and said, "I see you... you think I can't?" (see | 
						
						
							|  |        [24]Analysis) | 
						
						
							|  |      * Is the Grey Council's cruiser the same place Sinclair was taken | 
						
						
							|  |        during the Battle of the Line? (cf. [25]"And the Sky Full of | 
						
						
							|  |        Stars") | 
						
						
							|  |      * Why is Delenn so convinced she must remain on Babylon 5, even at | 
						
						
							|  |        the risk of her standing in the Council? | 
						
						
							|  |      * What "change" does Delenn believe is coming? | 
						
						
							|  |         | 
						
						
							|  | Analysis | 
						
						
							|  | 
 | 
						
						
							|  |      * None of the races have demonstrated an ability to travel through | 
						
						
							|  |        time. Yet within Sinclair's lifetime, such technology will either | 
						
						
							|  |        be developed, discovered, or introduced by people from the distant | 
						
						
							|  |        past or future. Does it exist already? If so, who has it? Zathras' | 
						
						
							|  |        people may be the ones to provide the technology. | 
						
						
							|  |      * The voice that speaks to Sinclair sounds like Delenn's, but her | 
						
						
							|  |        face is intentionally not shown. Presumably there is a reason for | 
						
						
							|  |        that; Delenn may be due to change in some way that will alter her | 
						
						
							|  |        appearance. | 
						
						
							|  |      * After Babylon 4 completes its time jump, a voice (presumably a | 
						
						
							|  |        computer) announces that the atmosphere was breathable. Why wasn't | 
						
						
							|  |        it breathable before? Zathras clearly had no trouble breathing in | 
						
						
							|  |        the past, so is something about the future Sinclair different that | 
						
						
							|  |        prevents him from breathing a normal atmosphere? | 
						
						
							|  |      * In the past, when we've seen Grey Council members, they have had | 
						
						
							|  |        silver triangles on their foreheads ([26]"And the Sky Full of | 
						
						
							|  |        Stars" and [27]"Signs and Portents" during Morden's visit to | 
						
						
							|  |        Delenn.) Yet no such triangles were visible this time. What do the | 
						
						
							|  |        triangles mean, and what causes them to appear? (see [28]jms | 
						
						
							|  |        speaks) | 
						
						
							|  |      * The attacking force in Sinclair's vision of the future seemed to | 
						
						
							|  |        be invisible. Witness the fact that Garibaldi's men were firing in | 
						
						
							|  |        seemingly random directions, as if they didn't know where the | 
						
						
							|  |        enemy was. It also seems unlikely that they'd use a flamethrower | 
						
						
							|  |        if they could aim at their opponents. When the unknown force | 
						
						
							|  |        finally cut through the wall, it was forced inward, but nothing | 
						
						
							|  |        could be seen forcing it. This also explains what the crazed man | 
						
						
							|  |        on B4 was talking about; he'd seen visions of a battle against | 
						
						
							|  |        invisible foes too. | 
						
						
							|  |        The only instance of invisibility seen in the series up until this | 
						
						
							|  |        episode was in [29]"The War Prayer," and it was developed by the | 
						
						
							|  |        Earth Alliance military, suggesting perhaps that the attackers | 
						
						
							|  |        might be humans. | 
						
						
							|  |      * Garibaldi flashed back to an event two years earlier. That may | 
						
						
							|  |        suggest that Sinclair's flashforward (if indeed that's what it | 
						
						
							|  |        was) was to two years in the future, which would put the scene | 
						
						
							|  |        somewhere in the year 2260, season three of the series. | 
						
						
							|  |         | 
						
						
							|  | Notes | 
						
						
							|  | 
 | 
						
						
							|  |      * Babylon 4 is larger than Babylon 5. | 
						
						
							|  |         | 
						
						
							|  | jms speaks | 
						
						
							|  | 
 | 
						
						
							|  |      * The one I'm most looking forward to writing just now, though, is | 
						
						
							|  |        "Babylon Squared," in which we finally show what happened to | 
						
						
							|  |        Babylon 4, and in the process ask more questions than we answer | 
						
						
							|  |        (though at least we DO answer the questions we asked about the | 
						
						
							|  |        fate of that station in general...you'll know what happened to it, | 
						
						
							|  |        just not yet what it means). The end of this episode will cause | 
						
						
							|  |        more speculation and consternation and astonishment than anything | 
						
						
							|  |        you've seen on TV in a long, long, very long time. | 
						
						
							|  |      * What a weird day...filming "Babylon Squared," and one minute I'm | 
						
						
							|  |        standing in the anteroom/hallway of a Minbari cruiser that leads | 
						
						
							|  |        into the Great Hall and the chambers of the Grey Council...a few | 
						
						
							|  |        minutes later I'm standing in a section of Babylon 4, and the | 
						
						
							|  |        whole atmosphere of the crew is *very* different, the whole | 
						
						
							|  |        sensibility is strange... very strange. | 
						
						
							|  |        "Babylon Squared" has a *very* different look to it, and a very | 
						
						
							|  |        eerie and foreboding feel about it, which I like a lot. Jim | 
						
						
							|  |        Johnston, who directed "Soul Hunter" and several others is doing | 
						
						
							|  |        it. Very moody. | 
						
						
							|  |      * Yesterday, I got the final air-check versions of "Babylon Squared" | 
						
						
							|  |        and "Chrysalis" to QC before delivering them to PTEN. Watched both | 
						
						
							|  |        of them three times in the same day. They're just stunning. | 
						
						
							|  |        Probably the two best episodes of the entire season. | 
						
						
							|  |      * Yes, you will see the Major Conflict that leads to the situation | 
						
						
							|  |        with Babylon 4. We're building toward a massive conflagration | 
						
						
							|  |        here. | 
						
						
							|  |      * Yes, you will definitely, at some point, see the flip side of the | 
						
						
							|  |        B2 episode. | 
						
						
							|  |      * No, actually, B2 was structured for maximum jarring effect, thus | 
						
						
							|  |        the sudden cuts back and forth, the sickly green light in | 
						
						
							|  |        B4...makes the person watching feel unexplainably anxious, which | 
						
						
							|  |        was a subliminal but definite intent. So no, nothing much was cut. | 
						
						
							|  |        And yes, eventually we will see the flip-side of the B4 story. | 
						
						
							|  |      * In B-squared, we saw the present events in the vanishment of B4; | 
						
						
							|  |        in a future episode, we'll actually see our characters make the | 
						
						
							|  |        decision to go back in time and yank B4 forward, what went wrong, | 
						
						
							|  |        and so on. | 
						
						
							|  |      * _The One's suit was very similar to the suits in "2001."_ | 
						
						
							|  |        Re: the suit...that wasn't an intentional 2001 nod...we went to | 
						
						
							|  |        Modern Props to get a space suit for Babylon Squared, and the only | 
						
						
							|  |        one they had on hand that would work for us was one left-over from | 
						
						
							|  |        2010, which I asked the folks in costume to change as much as | 
						
						
							|  |        possible...though it was pretty much what it was regardless. So | 
						
						
							|  |        that one wasn't intentional. | 
						
						
							|  |      * Nope; Zathras is one of his race, which aren't offspring of any | 
						
						
							|  |        other two groups. | 
						
						
							|  |      * When Zathras shows up in time, it'll definitely be recognizeable | 
						
						
							|  |        as Zathras. | 
						
						
							|  |      * B5 is smaller than B4 because they sunk most of their budget into | 
						
						
							|  |        B4; on B5 they had to get outside funding, and scrimped. | 
						
						
							|  |      * B1-B4 were located in roughly the same sector, with B4 using some | 
						
						
							|  |        of the materials from 1-3 leftover. B5 was constructed about 3 | 
						
						
							|  |        hours (traveling time in real-space) from the location of B4. | 
						
						
							|  |      * No commander had yet been assigned to Babylon 4. One Major Krantz | 
						
						
							|  |        had been assigned to oversee the final stages of construction, and | 
						
						
							|  |        was on board -- along with about 1300 others in the construction | 
						
						
							|  |        crew -- when the station vanished. The station had only been on- | 
						
						
							|  |        line 24 hours, and the discussions of a commanding officer had | 
						
						
							|  |        just begun when it disappeared. | 
						
						
							|  |      * Major Krantz wasn't so much in charge of B4 as he was (as noted in | 
						
						
							|  |        dialogue) assigned to oversee the final stages of construction. | 
						
						
							|  |        His job was to get the station finished, then turn it over to | 
						
						
							|  |        someone else to run. | 
						
						
							|  |      * Why no triangles on the Council's heads? | 
						
						
							|  |        While the triangle is one element of the Grey Council symbology, | 
						
						
							|  |        it is not present and visible at all times and under all | 
						
						
							|  |        circumstances; it has a particular purpose or meaning. | 
						
						
							|  |      * The triangle only manifests itself for specific reasons, at | 
						
						
							|  |        specific times, neither of which were appropriate to that moment. | 
						
						
							|  |        And yes, the Triluminary is much cooler...and does something quite | 
						
						
							|  |        interesting. | 
						
						
							|  |      * Valen was the one who brought Minbari civilization together, he is | 
						
						
							|  |        their Christ-figure. And yes, the heavyset Grey Council member is | 
						
						
							|  |        the same one as in "Sky." | 
						
						
							|  |      * _Does the Grey Council live permanently on that ship?_ | 
						
						
							|  |        They stay on the cruiser almost entirely during their tenure in | 
						
						
							|  |        the council, only leaving for personal family crisis/situations | 
						
						
							|  |        and the like. | 
						
						
							|  |      * Garibaldi's closing lines in Sinclair's flashforward are | 
						
						
							|  |        reminiscent of "Aliens." | 
						
						
							|  |        When you're shooting a show, invariably you get to the stage and | 
						
						
							|  |        find that you have, for instance, three lines, one per character | 
						
						
							|  |        in the room...and you're trying to get them out the door, and it | 
						
						
							|  |        moves better if you give one line to one character and the other | 
						
						
							|  |        two to the other character. That sometimes happens. But rarely. In | 
						
						
							|  |        the Garibaldi's yell case, it was written as a quick shot, he | 
						
						
							|  |        yells and we're out. The director wanted to extend the shot a bit, | 
						
						
							|  |        visually. I wasn't in the studio at the time, so Jerry improvised | 
						
						
							|  |        a series of yells. | 
						
						
							|  |        This sort of thing is *extremely* rare on the show; the actors and | 
						
						
							|  |        directors know they *cannot* change dialogue on the set without | 
						
						
							|  |        approval from me or Larry. On any given script, no more than about | 
						
						
							|  |        3-6 lines get modified for staging purposes once we get to the | 
						
						
							|  |        set. And always with approval required. This is an absolute, hard | 
						
						
							|  |        and fast rule. The only reason the Garibaldi thing happened is | 
						
						
							|  |        that they figured it was just a yell, so nothing could get messed | 
						
						
							|  |        up story-wise (which is the primary reason this is so strict; | 
						
						
							|  |        change one word in a line and it could screw up plot points three | 
						
						
							|  |        episodes down the road) by having him yell a few specific lines. | 
						
						
							|  |        If I'd been there for that scene, I would've written him something | 
						
						
							|  |        a little less reminiscent of "Aliens." | 
						
						
							|  |      * The script called for Garibaldi to take up the Big Massive Gun and | 
						
						
							|  |        fire, with a primal YELL that went on forever. Any dialogue at | 
						
						
							|  |        that point which replaced the yell came from the actor. The | 
						
						
							|  |        "you're already dead" was only relevant to the scene, not T2. | 
						
						
							|  |      * Re: Garibaldi in the flash-forward scene...no, it wasn't any kind | 
						
						
							|  |        of "homage" to Aliens. (And for the most part, I try and stay | 
						
						
							|  |        clear of any kind of homage unless it's primarily a throwaway; I | 
						
						
							|  |        want my story to be MY story, not a bunch of homages.) | 
						
						
							|  |        The single most moving kind of story for me is the "last man on | 
						
						
							|  |        the bridge"...the last defender who has to hold the line while | 
						
						
							|  |        others get away, knowing he will probably not survive it. This has | 
						
						
							|  |        great power for me, and for many others, which is why it shows up | 
						
						
							|  |        again and again in films, literature, TV and other venues. The | 
						
						
							|  |        Garibaldi scene has NOTHING to do with Aliens, and everything to | 
						
						
							|  |        do with that figure. | 
						
						
							|  |        Re: *why* it is that humans are special...has nothing to do with | 
						
						
							|  |        sacrifice, or dedication (well, that's not quite true, it has | 
						
						
							|  |        something to do with it), but that's not the totality of it. | 
						
						
							|  |        There's one more element you don't know about yet, that won't be | 
						
						
							|  |        revealed until season two, episode one, "Points of Departure." | 
						
						
							|  |        Once you see that episode, you'll fully understand that there is | 
						
						
							|  |        one very particular thing about humans that is very special | 
						
						
							|  |        indeed. | 
						
						
							|  |      * I kinda *have* to play fair with the story; if you hear Delenn's | 
						
						
							|  |        voice, then you can be sure it's Delenn. | 
						
						
							|  |        In one form or another. | 
						
						
							|  |      * "So who IS the One? Some of the evidence points to Sinclair, but | 
						
						
							|  |        other bits seem to indicate Delenn. Yet neither seems to fit all | 
						
						
							|  |        the facts above." | 
						
						
							|  |        Exactly. | 
						
						
							|  |        What you have here in your message are two pieces of the puzzle. | 
						
						
							|  |        You're confounded by the fact that somehow they don't quite seem | 
						
						
							|  |        to fit into one another. That's because there's one last piece | 
						
						
							|  |        missing in this part of the picture, which fits in between them. | 
						
						
							|  |        The intent is to put this piece into clear view in year three, | 
						
						
							|  |        probably between episodes 8 and 11 approximately. At that point, | 
						
						
							|  |        the question of the One will be fully answered. | 
						
						
							|  |      * Re: Sinclair as the One...funny how all this time very few folks | 
						
						
							|  |        have really commented much on how it was that Zathras could look | 
						
						
							|  |        right into Sinclair's face and say, "NOT the One." | 
						
						
							|  |      * _Garibaldi's eyes glow for one frame in the flashforward scene._ | 
						
						
							|  |        (sigh) Our rotoscope EFX guy was waiting for a bunch of PPG EFX to | 
						
						
							|  |        finish rendering in that battle scene, and was bored, and like | 
						
						
							|  |        many such EFX types, filled in the eyes of Garibaldi with weird | 
						
						
							|  |        stuff while waiting around. When the other scene finished | 
						
						
							|  |        rendering, he got out, believing that he had not saved that one | 
						
						
							|  |        frame. Unknowingly, he had. | 
						
						
							|  |        Nobody caught it until after broadcast. | 
						
						
							|  |        We talked. | 
						
						
							|  |      * "It has been divulged that Sinclair is coexisting in a parallel | 
						
						
							|  |        dimension Babylon 4." | 
						
						
							|  |        Actually, this has *not* been divulged...what it is is a | 
						
						
							|  |        speculation based on an offhand comment by Michael at a | 
						
						
							|  |        convention. I jump in here only because, well, that ain't it. B4 | 
						
						
							|  |        is not in an alternate dimension, neither is there an alternate | 
						
						
							|  |        Sinclair. Just a course correction to the discussion. | 
						
						
							|  |      * With only one exception, you won't see time travel anywhere in the | 
						
						
							|  |        five-year run of the B5 story. | 
						
						
							|  |      * _Which do you do first?_ | 
						
						
							|  |        Fasten, button. | 
						
						
							|  |        Levi's Jeans forever! | 
						
						
							|  |      * _Why wasn't Franklin delivering the autopsy report?_ | 
						
						
							|  |        Garibaldi is head of security, and Franklin would likely give him | 
						
						
							|  |        the report, which Garibaldi then relays. In such things there is a | 
						
						
							|  |        chain of command. And as you say, it seemed pointless to bring in | 
						
						
							|  |        the actor just for one half-page scene. | 
						
						
							|  |      * _Credits for two Gray Council members?_ | 
						
						
							|  |        Mark Henrickson was the...rounder of the two Minbari. The one with | 
						
						
							|  |        the staff wanted to go uncredited. | 
						
						
							|  |        No real reason, he just felt it would be better for the character | 
						
						
							|  |        to remain mysterious; and since it really wasn't a big part, it | 
						
						
							|  |        wouldn't make a real difference one way or another in his credits | 
						
						
							|  |        and resume. (I know that sounds weird, but as near as I can | 
						
						
							|  |        determine, that's the reason. He did a great job, and we're | 
						
						
							|  |        looking forward to having him again.) | 
						
						
							|  |      * Does the triluminary have anything to do with the sculpture in | 
						
						
							|  |        Delenn's quarters? | 
						
						
							|  |        Yes, the Triluminary does have a function in the device she's been | 
						
						
							|  |        making. | 
						
						
							|  |         | 
						
						
							|  | 
 | 
						
						
							|  |    [35][Next]  | 
						
						
							|  |     | 
						
						
							|  |       [36]Last update: October 27, 1997 | 
						
						
							|  | 
 | 
						
						
							|  | References | 
						
						
							|  | 
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							|  |    2. LYNXIMGMAP:file://localhost/lurk/maps/maps.html#titlebar | 
						
						
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							|  |    4. file://localhost/home/woodstock/hyperion/docs/lurk/synops/020.html | 
						
						
							|  |    5. file://localhost/home/woodstock/hyperion/docs/lurk/credits/020.html | 
						
						
							|  |    6. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php | 
						
						
							|  |    7. file://localhost/home/woodstock/hyperion/docs/lurk/guide/019.html | 
						
						
							|  |    8. file://localhost/home/woodstock/hyperion/docs/lurk/guide/021.html | 
						
						
							|  |    9. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#OV | 
						
						
							|  |   10. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#BP | 
						
						
							|  |   11. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#UQ | 
						
						
							|  |   12. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#AN | 
						
						
							|  |   13. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#NO | 
						
						
							|  |   14. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#JS | 
						
						
							|  |   15. http://us.imdb.com/M/person-exact?+Broadhurst,+Kent | 
						
						
							|  |   16. http://us.imdb.com/M/person-exact?+Choate,+Tim | 
						
						
							|  |   17. http://us.imdb.com/M/person-exact?+Gentile,+Denise | 
						
						
							|  |   18. file://localhost/lurk/p5/intro.html | 
						
						
							|  |   19. file://localhost/lurk/p5/020 | 
						
						
							|  |   20. file://localhost/home/woodstock/hyperion/docs/lurk/guide/013.html | 
						
						
							|  |   21. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.flash.html | 
						
						
							|  |   22. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#JS:valen | 
						
						
							|  |   23. file://localhost/home/woodstock/hyperion/docs/lurk/guide/013.html | 
						
						
							|  |   24. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#AN:inv | 
						
						
							|  |   25. file://localhost/home/woodstock/hyperion/docs/lurk/guide/008.html | 
						
						
							|  |   26. file://localhost/home/woodstock/hyperion/docs/lurk/guide/008.html | 
						
						
							|  |   27. file://localhost/home/woodstock/hyperion/docs/lurk/guide/013.html | 
						
						
							|  |   28. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#JS:triangle | 
						
						
							|  |   29. file://localhost/home/woodstock/hyperion/docs/lurk/guide/007.html | 
						
						
							|  |   30. file://localhost/lurk/lurker.html | 
						
						
							|  |   31. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html#TOP | 
						
						
							|  |   32. file://localhost/cgi-bin/uncgi/lgmail | 
						
						
							|  |   33. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php | 
						
						
							|  |   34. file://localhost/home/woodstock/hyperion/docs/lurk/guide/019.html | 
						
						
							|  |   35. file://localhost/home/woodstock/hyperion/docs/lurk/guide/021.html | 
						
						
							|  |   36. file://localhost/lurk/lastmod.html
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