Download as pdf or txt
Download as pdf or txt
You are on page 1of 240

OPENING SYSTEMS FOR

COMPETITIVE CHESS PLAYERS


A COMPLETE EASY-TO-LEARN OPENING AND DEFENSIVE
REPERTOIRE FROM BOTH SIDES OF THE CHESSBOARD
The intelligent player's guide to being FULLY PREPARED
for the chess openings in the shortest possible time

THREE BOOKS IN ONE!


A complete system as White :
The Torre Attack
Book # 1
Torre Attack setup

As Black vs. all setups except 1.e4 :


Tartakower's Legacy
Book # 2
Tartakower's
legacy setup

As Black vs. 1.e4 :


The Caro Kann Defense
Book # 3

byUSCFSeniorMaster JOHN HALL


Edited by Lou Hays and Ken Artz
THE EASIEST WAY TO
BE PREPARED IN THE
CHESS OPENINGS
1) Play opening systems which emphasize piece place-
ment rather than memorized variations. 2) Force your
opponent to play positions familiar to you. 3) When
playing Black against 1.e4, have a forcing system and
know the most important ideas and variations.

With Opening Systems for Competitive Chess Players


you will be ready, after only a few hours of study, to
begin playing the Torre Attack (Book 1) and
Tartakower's Legacy (Book 2). These two systems will
prepare you for nearly 80% of all the openings you will
encounter! Against 1.e4, the Caro Kann Defense 1...c6
(Book 3) immediately forces White into your game.
This book thoroughly examines critical lines and
recent developments in this ever-popular opening.

What top players employ these systems? Kasparov,


Karpov, Spassky, Seirawan, Christiansen, Timman,
and Miles, just to name a few. Begin now to "work
smart" instead of hard. This book shows you the way.

Double Diagrams display positions


from both the White and Black viewpoints
265 Diagrams (132 positions) / 192 Pages
Algebraic Notation
OPENING SYSTEMS
FOR
COMPETITIVE
CHESS PLAYERS

JOHN HALL
USCF Senior Master

Edited by Lou Hays and Ken Artz

Hays Publishing Dallas, Texas


Copyright© Lou Hays, 1992

All rights reserved under Pan American and International Copyright


conventions. No part of this book may be reproduced or transmitted in
any form or by any means, electronic or mechanical, including photocop-
ying, or by any information storage and retrieval system, without written
permission from the publisher.

Editors: Lou Hays and Ken Anz


Book design and typeset: Lou Hays
File Creation: Ken Anz
Proofreaders: John Hall, David Sewell, David King, Luis Salinas

Illustrative game computer files built on Zarkov 2.5 (Created by John


Stanback and Distributed by Chess Laboratories) and ChessBase 3.0
(Distributed by Chessbase, U.S.A). Diagrams created on Zarkov 2.5 and
Diagram 2.01 (Diagram 2.01 created by Steve Kelly). Special thanks to
WindowDOS Associates, Arlington, Texas for their WindowDOS 3.5 soft-
ware, which makes all of our computer tasks easier and faster.

First printing March, 1992


Reprinted March, 1994

PRINTED IN THE UNITED STATES OF AMERICA

Hays Publishing
P.O. Box 797623
Dallas, Texas 75379

ISBN 1-880673-87-8 Softcover


INTRODUCTION

Opening Systems for Competitive Chess Players is a practical book for all
strengths of chess players. It is designed for one purpose: To provide the
serious chess player with a sure-fire set of openings which can be learned
in a minimum amount of time. You can immediately benefit by learning
openings which rely more on proper piece placement than on memorized
variations. The nice thing about these openings is that together they form a
UNIVERSAL SYSTEM and can be played against virtually anything the
opponent throws at you! Best of all, you are forcing your opponent into opening
lines you know and understand. You will be able to play the Torre Attack
(Book 1) and the Tartakower Legacy Systems (Book 2) almost immediately as
you learn the proper piece setups and go over a few main line games. The
Caro Kann Defense (Book 3) will require more study of variations, as do all
defenses to 1.e4, but the opponent is forced into your game on move one!
Stronger players will be able to delve deeper into the extensive notes to the
illustrative games and be on the cutting edge of critical lines played by the some
of the world's strongest players right into the 1990's. These openings can
become the advanced player's "stock" systems, or serve as valuable "second
string" systems to be used for variety or surprise value against opponents who
are well-prepared for his regular openings.

HOW TO USE THIS BOOK

NOVICE, CLASS E AND D PLAYERS:

1) Carefully read the introduction to each book. 2) Learn the ideal piece setups
as explained at the start of the section. 3) Play through each main line game at
least twice to get a feel for the opening. You will be absorbing ideas which will
repeat themselves over and over again as you play these openings. 4) After
familiarizing yourself with the main lines, you should immediately go to the Caro
Kann section (Book 3) and begin work on the secondary level (of the lines you
choose to play) games. These are the bold faced and italicized games within
the notes. Know the results of these openings and be familiar with the
evaluations given at the end of the variations. As Black against 1.e4 you will be
required to know more critical lines. Do not, however, attempt to memorize all
of the variations given, as this will only cause confusion at this point. 5) Play the
illustrative games completely through. This will give you a feel for the types of
middlegame and endgame positions you will be getting into. 6) Begin playing
these openings immediately. Utilize the systems, playing as many tournament,
skittles and blitz games as you possibly can. Since these systems are based
on correct piece placement, you will find that your openings play themselves
much more smoothly with less risk of getting into trouble early. You will very
quickly have a trustworthy opening system, so as a lower rated player, you can
devote the majority of your time to other more important aspects of your game
(tactics!). 7) As your overall game becomes stronger you can begin to go
deeper into the variations.

FOR CLASS C AND CLASS B PLAYERS

You should follow the instructions for the lower rated pl~yers, but you must go
deeper into the analysis of the lines you choose. Begin to play through the secondary
(bold faced and italicized) lines as well as the main lines in all three books. It is still
not necessary for you to memorize all of the lines, but know the basic piece setups
and be familiar with the ideas and lines which you see cropping up again and again.

FOR CLASS A, EXPERT AND MASTER PLAYERS

The great benefit of this opening repertoire to the more advanced player is that the
ideas will be clear and understandable from the first day. Many of the variations in
this book go very deep and show recent critical variations played by the world's top
players. Strong players can choose to utilize these openings as main weapons or
as "second string standbys" to provide greater variety in their repertoire.

FOR ALL PLAYERS: DOUBLE DIAGRAMS

The double diagrams (seeing positions from both players' point of view) used in
this book provide you with two unique possibilities. 1} As you play through the
games, you can see the diagramed positions from YOUR OPPONENT'S point of
view, and 2} You can study the openings where you have the Black pieces as they
will actually appear to you at the board. This should be beneficial from the practical
point of view, as well as the psychological.
Table of Contents

Book 1 The Torre Attack.................................. 9


ILLUSTRATIVE GAME ONE
THE TORRE TACKLES e5
(Black plays ... e6 and ... d5)
Zs. Polgar- A. Dive Wellington, 1988.....................................................11

ILLUSTRATIVE GAME TWO


CARLOS TORRE AT MOSCOW 1925
(Black avoids ... d5 and fianchettos his Queen Bishop)
Torre - Dr. Lasker Moscow, 1925...........................................................19

ILLUSTRATIVE GAME THREE


GREED DOESN'T PAY
(Black plays an early ... Qb6 and ... Qxb2)
McCambridge - Bonin Philadelphia, 1985 .............................................27

ILLUSTRATIVE GAME FOUR


PUTTING THE QUESTION TO THE BISHOP
(Black plays .. .h6 early in the opening)
Piket- Fernand.ez Groningen, 1985 .......................................................32

ILLUSTRATIVE GAME FIVE


TRAP ON MOVE FIVE (5.d5!)
(Black falls into the trap 1.d4 Nf6 2.Nf3 e6 3.Bg5 c5 4.e3 b6?! 5.d5!)
Chernin - Kudrin Mendoza, 1985...........................................................39

ILLUSTRATIVE GAME SIX


PROFFERED PARING PROVIDES PERDITION
(Black trades light-squared Bishops with ... b6 followed by ... Ba6)
Spassky - AI burt Hollywood, 1985..........................................................46
ILLUSTRATIVE GAME SEVEN
THE TORRE TAKES ON THE KING'S INDIAN
(Black plays the King's Indian defense)
Kasparov- Martinovic Baku, 1980 ............................................•...•.........•.•...•55

ILLUSTRATIVE GAME EIGHT


TAMING THE GRUENFELD
(Black plays the Gruenfeld defense)
Ye Rongguang - Tseshkovsky Belgrade, 1988.....•.....................•....•............62

Book 2 Tartakower's Legacy...........................s9


ILLUSTRATIVE GAME ONE
TARTAKOWER'S LEGACY
(Black's hanging pawns and pressure on the b-file)
Bertok - Fischer Stockholm, 1962..................................................................72

ILLUSTRATIVE GAME TWO


GELLER'S PAWN SAC
(The Queen's Gambit- Black opens lines with ... d4!)
Timman -Geller Hilversum, 1973...................................................................81

ILLUSTRATIVE GAME THREE


TOO MUCH FINESSE LEADS TO LESS
(Queen's Gambit- White's King caught in the center)
Psakhis -Geller Erevan, 1982•.......................................................................87

ILLUSTRATIVE GAME FOUR


KARPOV VS. KASPAROV
(White plays an early b4)
Karpov- Kasparov 12th Match Game, Moscow 1984 I 85 ............................92

ILLUSTRATIVE GAME FIVE


THE QUEEN'S GAMBIT DECLINED, EXCHANGE VARIATION
(Ideas for Black against the Queen's Gambit)
Hort - Georgadze Porz, 1981 I o2 ...................................................................97
ILLUSTRATIVE GAME SIX
MEETING THE ENGLISH, RETI AND
KING'S INDIAN ATTACK
(Playing Tartakower's Legacy against openings which
transpose with great frequency)
Speelman - Karpov Belfort, 1988 ..........................................................106

ILLUSTRATIVE GAME SEVEN


TARTAKOWER VS. TARTAKOWER
(Tartakower's Legacy vs. the Catalan)
Korchnoi- Hjartarson 8th Match Game, 1985 ......................................113

Book 3 The Caro Kann Defense...............121


ILLUSTRATIVE GAME ONE
ON THE ROAD TO KASPAROV
(Karpov plays our recommended 4 ... Nd7 system)
Sokolov - Karpov Candidates Match Game 3, Linares, 1987................124

ILLUSTRATIVE GAME TWO


A TIMELY DIVERSION
(Analysis of 4 ... Nd7 5.Bc4 and 5.Bd3/ines)
Sokolov - Karpov Candidates Match Game 7, Linares, 1987................131

ILLUSTRATIVE GAME THREE


THE ADVANCE VARIATION
(Extensive analysis of the variation 1.e4 c6 2.d4 d5 3.e5)
Short- Timman 2nd Match Game, Hilversum, 1989 ..............................139

ILLUSTRATIVE GAME FOUR


OLD BUT DANGEROUS
(How to play against 1.e4 c6 2.d4 d5 3.f3)
Murei - Seirawan New York Open, 1985.......•.••••.•.•..........................•.....151
ILLUSTRATIVE GAME FIVE
THE EXCHANGE CARO-KANN
(Analysis of the variation 1.e4 c6 2.d4 d5 3.exd5 cxd5 4.Bd3)
Hort - Bellon Mantilla, 1978..........................................................................158

ILLUSTRATIVE GAME SIX


THE TWO KNIGHTS ATTACK
(White tries the variation 1.e4 c6 Nc3 d5 3.Nf3)
Zahariev- Stefanov Bulgarian Championship, 1985...................................163

ILLUSTRATIVE GAME SEVEN


THE PANOV - BOTVINNIK ATTACK
(The latest word on this anti-Caro Kann attempt)
Rantanen - Vladimirov Helsinki, 1990.........................................................170

ILLUSTRATIVE GAME EIGHT


A MODERN VARIANT
(1.e4 c6 2.c4 and now Black can essay 2 ... e5!? {forcing White
into Black's game] instead of the usual 2 ... d5)
Sax - Miles Lugano, 1989.............................................................................177

ILLUSTRATIVE GAME NINE


THE CARO KANN MEETS THE "SNEAK"
KING'S INDIAN ATTACK
(1.e4 c6 2.d3 d5 3.Nd2, and Black plays a different setup, 3 ... e5)
Hubner - Kharitonov Solingen, 1991 ...........................................................186

LIST OF QUOTED GAMES AND PLAYERS.............................189


BOOK1

THE TORRE ATTACK

A complete system for playing the White pieces

THE TORRE ATTACK 9


INTRODUCTION TO THE
TORRE ATTACK
The Torre Attack is named after Carlos Torre, the brilliant and
enigmatic Grandmaster whose chess career was brief but
impressive. The Torre is our chosen system for the White pieces
because it combines both solid and dynamic qualities. The solidity
comes from the formidable triangle of pawns placed on c3, d4 and
e3. This complex stakes out control of important dark squares in
and near the center, while allowing all of White's minor pieces to
develop fluidly to active positions. The main dynamic quality of
the Torre emanates from the possibilitie's of attack inherent in the
cooperation between the pawn triangle and the total development
of all four minor pieces (in many other opening systems only three
of the four minor pieces are actively deployed in the beginning
stages) early in the game.

The King Knight is always placed on f3 from where it controls the


central e5 square while its partner, the Queen Knight, goes to d2
to control the e4 square. The White King Bishop is normally placed
on d3 (thoug.h·frrsome instances c2 will be chosen) from where it
reaches its influence along the b1-h7 diagonal. This is often a
useful idea for attacking operations. The deployment of the Queen
Bishop to g5 is the most definitive part of the Torre pattern.

The normal move order of the Torre is 1.d4 followed by 2.Nf3


and 3. Bg5. The Queen Bishop is developed early so that the
impending pawn move to e3 does not lock the Bishop inside the
pawn triangle.

There are various defensive structures Black can play against


the Torre. In the following series of illustrative games we shall
demonstrate how to conduct the Torre against these various
approaches - from the opening to the middlegame and through
the endgame.

10 OPENING SYSTEMS
THE TORRE TACKLES eS
In most opening systems, certain key squares are critical to
the proper conduct of strategy. When Black defends against the
Torre Attack with systems involving ... d5 and ... Nf6, the e5
square- is slightly weakened. This is because the f-pawn can't
go to f6 because of the Nf6, while the d5 pawn has given up the
option of ... d6. Consequently, White can use e5 as an important
central base for aggressive operations. The following game is
a fine illustration of this.

ILLUSTRATIVE GAME ONE

White: Zs. Polgar Black: A. Dive


Wellington 1988

1.d4 Nf6 2.Nf3 e6 3.Bg5 Be7 4.Nbd2 d5

Black's view

Black adopts a perfectly sound defensive setup. However, as


mentioned in the introduction, e5 can become a strong outpost
square for White if Black does not proceed accurately.

THE TORRE ATTACK 11


5.e3 0-0

Believe it or not, this is a slight inaccuracy. Black should retain


the option of castling Queenside in certain cases. A fine example
comes from the seventh match game for the 1966 World Chess
Championship, between Boris Spassky (White) and Tigran
Petrosian. This game began 1.d4 Nf6 2.Nf3 e6, 3.Bg5 d5 4.Nbd2
Be7 5.e3 Nbd7 6.Bd3 c5 7.c3 b6 8.0-0 Bb7 (Note that Black has
avoided castling Kingside) 9.Ne5 (going after e5) 9... Nxe5 (Black
must trade now or face f4 after which ... Nxe5 is met by fxe5 with
strong pressure down the f-file) 10.dxe5 Nd7 11.Bf4?! (A subtle
inaccuracy. White has assumed Black must castle Kingside).
11 ... Qc712.Nf3h6!(Now Black's intention is surfacing. He wants
to play ... g5 which gains a tempo while threatening to unseat the
White pieces which protect the e5 pawn outpost. Also, this pawn
advance in conjunction with the push of the h-pawn, will constitute
a "pawn wave" attack against Wpite's Kingside castled King. This
pawn attack is possible because Black has retained the option
of tucking his King away on the Queenside. Obviously if Black
castled Kingside, this aggressive use of his Kingside pawns would
only lay open his King to a devastating attack by White's pieces).
13.b4 g514.Bg3 h5 '15.h4 gxh4 16.Bf4 0-0-0and Black utilized
his excellent attacking chances on the g-file to gain victory.

Fortunately, White has a better plan. Instead of 11.Bf4?! correct


is 11.Bxe7 Qxe7 12.f4. For example, the game Spassky-A.
Sokolov, Bugojuno, 1985, continued 12... f6 challenging the e5
pawn. If Black castles Kingside he will come under pressure there
largely because of the e5 pawn. The game Estevez-Siero,
Cuba 1984, continued 12 ... 0-0 13.Qh5! g614.Qh6 Rfd815.Rf3
Nf8 16.Rh3 f6 17.exf6 Qxf6 18.Rf1! (bringing up the reserves)
1B... Qg719.Qh4with a big advantage fo·r White. 13.exf6 gxf6
(On 13 ... Nxf6 14.Bb5+ Nd7 15.Qh5+! g6 16.Qg5! is excellent
for White since 16 ... Qxg5 17.fxg5 gives White the f-file and a
fine outpost at e5 - after a subsequent Bxd7) 14.e4! (White's
"other" e-pawn moves forward to control e4) 14... 0-0-0 15.Qe2
(with the strategic threat 16.exd5! Bxd517.Be4 and White's use of
e4 and c4 - due to the forced removal of Black's d-pawn gives

12 OPENING SYSTEMS
him excellent play). 15... d4 16.a4! (to open lines for attack with
aS). 16... e5 17.f5 (necessary, otherwise 17 ... exf4 clears an
excellent outpost for the Black Knight at e5). 17... Nb8. (since his
own pawns at c5, e5 and f6 block the Knight, he retreats in order
to place the Knight on the more active square c6). 18.a5 Nc6
19.axb6 axb6 20.Ba6 and White has a powerful attack.

6. Bd3 c5 7 .c3

Reinforcing d4 and allowing the Bd3 to remain on the important


b1-h7 diagonal if Black plays c4 (7 ... c4 8.Bc2 or 8.Bb1 ). The move
c4 is a strategic error in. such positions because it relaxes the
pressure on White's stalwart d4 pawn.

7 ... b6

White's view Black's view

8..Ne5!

The key move for White's strategy. The Knight at e5 radiates


power against Black's position, and more specifically, provides a
basis for a dangerous Kingside attack.

8 ... Bb7 9.Qf3!

The Queen rushes forward to coordinate with the minor pieces


in the brewing Ki ngside attack.

THE TORRE ATTACK 13


9... Nbd7 10.Rd1

Centralizing the Rook while awaiting events. Now if 1O... Nxe5


11 .dxe5 Nd7 then White can force a weakening in Black's castled
position with 12.Qh3! and after 12... h6 (12 ... g6 13.Bf4 leaves
Black weak on f6 and h6) 13.Bf4 Qc7 14.Qg3 (Threatening
15.Bxh6) 14 ... Kh8 15.h4! (Preparing to lift the King Rook into the
attack via h3) 15... c4 16.Bb1 Nc5 17.Rh3! (Threatening 18.Bxh6!
gxh6 19.Qf4 Kg7 20. Rg3+ or 19 ... f5 20.Qxh6+ Kg8 21. Rg3+ Kf7
22.Qg6 mate) 17 ... Ne4 18.Qg4 with the idea of 19.Qh5
threatening 20.Bxh6 gxh6 21.Qxh6+ Kg8 22.Rg3+! Nxg3 23.Qh7
mate. This is a good example of the terrific attacks which can
spring from the Torre Attack formation.

10... cxd4

This only helps White by opening the central e-file.

11.exd4 a6

Hoping for counterplay on the Queen side with ... b5 and ... b4, but
this is too little, too late.

12.0-0 ReS

Preparing to overprotect h7 with ... Nf8. However, the passive


nature of this plan highlights the difficult nature of Black's game.

13.Rde1!

Switching to the newly opened e-file.

13... Nf8 14.Qh3

White's next few moves are an assault pattern aimed at Black's


h7.

14... b5 15.a3 Qb616.Re3!

14 OPENING SYSTEMS
Black's view

Now Black faces Qh4 and Rh3 against which there is no good
defense.

16... a517.Qh4 b4

Black's Queenside attack is no match for White's Kingside attack


since White's target is the Black King. If Black tries 17... h6, then
the sacrifice 18.Bxh6! crashes through: 18... gxh6 19.Rg3+ Ng6
(or 19... Kh8 20.Qxh6+ and 21.Qg7 mate) 20.Bxg6 fxg6 21.Rxg6+
Kh8 22.Qxh6+ Nh7 23.Qg7mate.

18.Rh3

Threatening simply 19.Bxf6 Bxf6 20.Bxh7+. Note that 18... g6 is not


possible because of 19.Bxf6, while 18... h6 again loses to 19.Bxh6.

18... Qc7

Black can only be fatalistic.

19.Bxf6 Bxf6 20.Bxh7 + Nxh7

Of course not 20 ... Kh8 because of 21.Qh5 followed by 22.Bg6+.

21.Qxh7+ Kf8 22.Re1

THE TORRE ATTACK 15


White's view

Now with an extra pawn and attacking chances, White's game is


a technical win.

22 ... bxa3 23.bxa3 Ba6 24.Rf3

Threatening 25.Rxf6! gxf6, 26.Ng6+ fxg6 (forced) and 27.Qxc7.

24 ... Ke7

The King runs for his life since 24 ... Qe7 allows 25.Qh8 mate,
while 24 ... Qd8 fails to 25.Rxf6! gxf6 (25 ... Qxf6 26.Nd7+) 26.Qxf7
mate.

25.Qh5 Rf8.

On 25 ... g6 there follows 26.Qh7 threatening 27.Qxf7+ and


27.Nxg6+.

26.Qg4!

More tactics; now White threatens 27.Ng6+! fxg6 28.Qxe6+ Kd8


29.Qxd5+ and 30.Qxa8+.

16 OPENING SYSTEMS
White's view Black's view

26 ... Qd6 27.a4 BcS 28.c4!

To open more lines for attack.

28 ... Bxe5

Trying to pare down White's attackers, though the task is


hopeless.

29.dxe5 Qb4 30.Qg5+ Kd7 31.cxd5 exd5 32.Rb1!

Now if 32 ... Qxa4 then 33.e6+! Kxe6 (or 33... Kd6 34.Qxg7 among
othermovesthatwin handily). 34.Re3+ Kd6 35.Qe7+ Kc6 36.Rc3+
is simply crushing.

32 ... Qe7 33.Qxg7 Ra6

Black's view

THE TORRE ATTACK 17


Black should resign, but prefers to struggle on for a few more
moves.

34.Qg4+ Qe6 35.Qd4 Rc6 36.Rf6

Now on 36 ... Qe7, (or 36 ... Qe8) 37.Qxd5+ leaves no doubt.

Black Resigns.

18 OPENING SYSTEMS
CARLOS TORRE AT MOSCOW 1925
For those who wonder how the name of the Mexican
Grandmaster Carlos Torre became appended to our 1.d4, 2.Nf3,
3.Bg5 sequence, we offer the following games- one in our main
line illustrative game, the other presented in the notes. Torre
defeated the great Emanuel Lasker in a celebrated game which
was soon published in virtually every chess magazine around
the world. To defeat one of the greatest defensive players in
history was certainly a remarkable feat. In the notes to this
game, we give another of Torre's sparkling efforts against the
redoubtable German Grandmaster Fritz Samisch (His name is
given to the Samisch Variation of the King's Indian and
Nimzo-lndian defenses), who had many fine results in
tournaments consisting of world-class players.

In both of these games Black adopts a Queen's fianchetto


defensive formation while carefully avoiding ... d7-d5 in order to
give the Bb 7 full scope. However, without adS pawn, White has
greater access to both e4 and c4 for his minor piece maneuvers.
Also important is the fact that Black trades ... cxd4 early on. After
this exchange, the correct recapture is exd4, in order to use the
half-open e-file for pressure against the center and Kingside.

ILLUSTRATIVE GAME TWO


White: Torre Black: Dr. Lasker
Moscow 1925

1.d4 Nf6 2. Nf3 e6

If Black hopes to escape the pinning 3.Bg5 by omitting an early


... e6, White can still obtain the edge. For example the game Ye
Rongguang-Rahman, Asian Team Championship, 1991 began
1.d4 d5 2.Nf3 Nf6 3.Bg5 Ne4 4.Bh4 c6 5.e3 Qb6 6.Qc1 Bf5 (At
first glance it may seem that Black's deployment is "free and easy",

THE TORRE ATTACK 19


however, the real truth is that Black's occupation of e4 so early is
a bit overambitious) 7.Bd3 Nd7 8.0-0 e6 and now instead of the
actually played 9.b3, Ye Rongguang recommends 9. Rd1 and after
9... Bd6 1O.c4 dxc411.Bxc4 0-0 12.Nc3 with slightly better play for
White (White has a two-to-one pawn majority in the center).

3. Bg5 c5 4.e3 cxd4

Black hopes to use the half-open c-file for pressure against


White's Queenside. After a later White c2-c3, Black can, after
completing development, launch the famous minority attack,
involving the pawn move ... b5-b4, and then follow with ... b4xc3,
leaving White with a weakened pawn structure no matter if
White recaptures on c3 with a piece or a pawn. On the other
hand, White now gains the e-file for operations in the center
and Kingside.

Since a Kingside attack's target is the opposing King, its success


clearly outweighs a Queenside victory. Hence White, more often
than not, emerges the winner from such structures.

5.exd4 Be7 6.Nbd2 d6

As mentioned, in this line, Black omits ... d5 in order to have an


unobstructed diagonal for his Queen Bishop from a8 to h1.

7.c3

Quite possible is 7.c4, but this lies outside our Torre formation.

7 ... Nbd7

On d7, (as opposed to c6) the Queen Knight does not block the
a8-h 1 diagonal. The development of the Nc6 is however
playable. We give the game Torre-Samisch as an example of the
type of play which can result. 1.d4 Nf6 2.Nf3 e6 3.Bg5 c5 4.e3
Nc6 5.Nbd2 b6 6.c3 Bb7 7.Bd3 cxd4 B.exd4 Be7 9.Nc4 (This
maneuver is made possible by Black's omission of d5) 9... Qc7

20 OPENING SYSTEMS
10.Qd2! (Now, on ... h6, the Bishop can go to f4 attacking the Qc7
and thus gaining a tempo) 10... Rc8 11.0-0 h6 12.Bf4 d6 13.Rfe1
NdB?! (Threatening14 ... Bxf3 15.gxf3 to wreck White's Kingside
pawns, but this is easily met) 14.Qd1 Nd5 15.Bg3 0-0 16.Nh4!
(Now if 16 ... f5, then 17.Ng6 Rf7 18.Nxe7+ and 19.Nxd6 wins)
16... g5? (This radical cure soon rebounds on Black's head)
17.Qh5! Kg7 18.Rxe6! (Crushing. Now if 18 ... gxh4, then
19.Qxh6+ Kg8 20.Qh7 is mate, while 18 ... fxe6 fails to Qg6+ and
20.Qh7 mate) 18... Nxe6 19.Nf5+ KgB 20.Nxh6+ and Black
resigned in view of 20 ... Kg7 21.Nf5+ Kg8 22.Qh7 mate.

White's view Black's view

8.Bd3 b6

If 8 ... a6 (intending an extended fianchetto by 9... b5) then 9.a4


restrains Black's ambitions.

9.Nc4 Bb710.Qe2 Qc711.0-0 0-0

Both sides have completed their minor piece development and


castled Kingside, leaving White with a space advantage in the
center (the d4 pawn) as well as the possibility of building up a
King side attack. White definitely has the advantage in this position.

THE TORRE ATTACK 21


White's view Black's view

12.Rfe1 Rfe8

Lasker is intent on fortifying his Kingside by bringing the


Queen Knight to f8.

13.Rad1

White harmoniously completes his development with this


centralizing Rook move.

13... Nf8 14.Bc1

Preparing to probe Black's King side defenses with Ng5. The idea
is to provoke Black into advancing at least one of his Kingside
pawns, giving White a weakness to work against.

14... Nd5 15.Ng5

But this is not the most accurate. Now Black can start
counterplay against White's pawns with the ... b5 advance.
Correct was 15.Na3 (not allowing ... b5) followed by Nc2, bringing
the Knight back into play.

15... b5! 16.Na3 b417.cxb4 Nxb4

Now Black has a fine position since White's d-pawn is isolated


and the strong Bd3 is under fire.

22 OPENING SYSTEMS
18.Qh5

White's view Black's view

Going for the throat -typical of Torre's style.

18... Bxg5

Lasker rightly surrenders the Bishop rather than weaken his


pawns with 18 ... g6, after which 19.Qh6 (with the threat of Re3-h3)
would be dangerous.

19.Bxg5 Nxd3

Removing the dangerous light-squared Bishop.

20.Rxd3 Qa5

Threatening- not only the obvious 21 ... Qxe1 mate, but also
21 ... h6 since the Bg5 can not move without dropping the Queen.

21.b4!?

Torre mixes it up, hoping that Lasker will go astray.

21 ... Qf5?

THE TORRE ATTACK 23


Which he does! Right was 21 ... Qd5, threatening mate at g2.
Then 22.Rg3 loses material after 22 ... h6 23.Bf6 Ng6 24.Qxd5
Bxd5, since the Bf6 has no good square for retreat.

22.Rg3 h6 23.Nc4!

Another clever tactic, threatening to capture on d6.

23 ... Qd5

Lasker, possibly confuse9 by his resourceful opponent, again


errs. Best was 23 ... hxg5 and after 24.Nxd6 Qg6 25.Qxg6 Nxg6
26.Nxb7 Reb8 27.Nc5 Rxb4 28.Rxg5 Rxd4, the position is even.

24.Ne3 Qb5

A critical mistake which loses to a fine combination. The last


saving chance here was 24 ... Qxd4, though after 25.Bxh6 Ng6
26.Bg5 (with the idea of Rh3) he would still face an attack.

White's view Black's view

25.816!!

With a double attack against g7 and b5

25 ... Qxh5

24 OPENING SYSTEMS
He might as well take the Queen and hope for a miracle, since
otherwise 26.Rxg7+ wins anyway.

26.Rxg7+ Kh8 27.Rxf7+

The powerful battery of Bf6 combined with the Rook sweeps


aside all resistance.

27 ... Kg8 28.Rg7+ Kh8 29.Rxb7+

Due to the power of the discovered check, the Rook cleans out
Black's second rank.

29 ... Kg8 30.Rg7+ Kh8 31.Rg5+

Winning back the Queen.

31 ... Kh7 32.Rxh5 Kg6

White's view

This double attack regains the piece: but now White is many
pawns ahead and even Lasker's endgame prowess is useless
here.

33.Rh3 Kxf6 34.Rxh6+ Kg5 35.Rh3

The rest is simple.

THE TORRE ATTACK 25


35 ... Reb8

Hope springs eternal.

36.Rg3+ Kf6 37.Rf3+ Kg6 38.a3 aS 39.bxaS RxaS 40.Nc4 AdS


41.Rf4 Nd7

A blunder which drops thee-pawn, but the game was obviously


lost in any event.

42.Rxe6+ KgS 43.g3

Black Resigns.

26 OPENING SYSTEMS
GREED DOESN'T PAY
Due to the early deployment of the Queen Bishop to g5 in the
Torre Attack, the White b-pawn is left unprotected. A sharp and
obviously ambitious system Black can adopt is based on an
early Queen move to b6 which threatens to win the unprotected
pawn at b2. White can respond with solid protection via Qc 1,
but on the principle of meeting boldness with more boldness,
we recommend gambiting the b-pawn in order to seize a lead
in development. It should be borne in mind that Black's early
pawn grabbing expedition not only costs valuable tempi, but
also takes the Queen out of play.

ILLUSTRATIVE GAME THREE


White: McCambridge Black: Bonin
Phi/adelphia 1985

1.d4 Nf6 2.Nf3 e6 3.Bg5 c5 4.e3 Qb6

Demonstrating a desire to grab the b-pawn.

5.Nbd2!

White's view Black's view

THE TORRE ATTACK 27


The best response. Solid and safe is 5.Qc1 , but this is an
awkward displacement for the White Queen and is unnecessary.

5... Qxb2

Taking the bait is the only logical consequence of 4 ... Qb6.

6.Bd3

Now all four of White's minor pieces are developed compared to


Black's Queen, whose development is a mixed blessing.

6... Nc6

In a game Nei-Mikenas, USSR 1967, Black pulled his Queen back


immediately with 6 ... Qb6. There followed 7.0-0 cxd4 B.exd4 Be7
9.Re1 Qc7 10.c4 b6 11.Rc1 d6 12.Bb1 Nbd7 13.Nf1 (White
calmly regroups on inner lines confident of the strong cooperation
between his pieces and pawns) 13... h614.Bh4 Bb715.Ne3!0-0?,
and now White played the surprising shot 16.Nd5! After 16... Qd8
17.Nxe7+ Qxe718.d5!, White's pressure was worth more than a
pawn.

In the game Alexseyev-Balashov, USSR 1972, Black tried


another Queen move - 6... Qc3, but after 7.0-0 d5 B.Re1 c4 9.Bf1
Nc610.Bxf6 gxf611.e4!, White's strong central play gave him the
advantage.

7.0-0 cxd4

This pawn trade helps White by opening up thee-file. More solid


is 7 ... d5.

8.Nc4!

Bringing the Knight into active play with a tempo-gaining attack


on the Black Queen -again, thematic for this line of play.

28 OPENING SYSTEMS
8 ... Qb4 9.Rb1

Still more time and development is gained at the expense of the


Black Queen.

9... Qa4 10.exd4

Black's view

10... Be7 11.Bxf6!

A fine idea. White gives up the two Bishops in order to use his
d-pawn dynamically.

11 ... Bxf6 12.d5 Nb4

Playing to keep lines closed since 12.exd5 is more than risky.

13.Nd6+ (see next diagram)

13... Kf8

And now, to add to Black's troubles, his King can no longer castle.

14.Bb5

Again the Queen is victimized to gain time and to control


important squares.

THE TORRE ATTACK 29


Black's view

After 13.Nd6+

14... Qa5

No better is 14... Qa3, because 15.Rb3 forces the Queen back to


aS anyway.

15.Qd2 a6

The Knight cannot move.

16.Be2 Be7 17.dxe6 Nc6 18.Qf4!

Black's view

This mating threat maintains the initiative.

18... f6 19.Nc4!

30 OPENING SYSTEMS
Once again the Black Queen is bumped!

19... Qc5 20.Nb6

Winning material because of the dual threats 21.Nxa8 and


21.exd7.

20 ... dxe6

Or 20 ... Rb8 21.exd7 winning at least a Rook.

21.Nxa8 Bd6

A desperate gesture.

22.Qd2 b5

Hoping to trap the Na8.

Black's view

23.Nb6

Removing any such illusions. Now 23 ... Qxb6 allows 24.Qxd6+,


while 23 ... Bb7 is out because of 24.Nd7+ and 25.Nxc5.

Black Resigns.

THE TORRE ATTACK 31


PUTTING THE QUESTION
TO THE BISHOP
The legendary chess genius Aron Nimzowitsch coined a
phrase to describe a pawn move which attacks a pinning Bishop
- he called this, "Putting the question to the Bishop. " In the Torre
move order 1.d4 Nf6 2.Nf3 e6 3.Bg5, Black can immediately
test the Bishop's intentions with 3 •.. h6. There are two
reasonable reponses: 4.Bh4 or 4.Bxf6. The first is seemingly
logical since it maintains the pin. However, after 4.Bh4, Black
can gain a good game by chasing the Bh4 with 4...g5 5.Bg3
Ne4. The game Petrosian-Botvinnik, USSR Championship
1951, continued 6.Nbd2 Nxg3 7.hxg3 Bg7 B.c3 d6 9.e3 Nc6
1O.Bd3 Bd7 (An original conception, Black intends to castle
Queenside) 11.Qc2 Qe7 12.0-0-0 a5! (Stealing Queenside
squares) 13.e4 a4 14.a3 Na5 15.Rde1 0-0-0 and Black's
Bishop pair and Queenside incursion gave him fine chances.
By playing 4.Bxf6 however, White has good chances for the
initiative. The loss of the Bishop pair is amply compensated by
the exposed position of the Black Queen at f6 (after 4.Bxf6 Qxf6)
and the gain of central space by 5.e4.

ILLUSTRATIVE GAME FOUR


White: Piket Black: Fernandez
Groningen 1985

1.d4 Nf6 2. Nf3 e6 3. Bg5 h6

"Putting the question." (Nimzowitsch)

4.Bxf6

Giving the answer.

32 OPENING SYSTEMS
4 ... Qxf6

Of course not 4 ... gxf6, which is too weakening.

5.e4

White's view Black's view

An immediate positive consequence of 4.Bxf6 is the seizure of


central space.

5 ... d6

Intending to restrain e5 while preparing to place his own e-pawn


forward to fight for pawn control of the center. After 5... Nc6 6.c3
d5 7.Nbd2 Bd7 B.Bd3 0-0-0 9.e5! (Closing the center in
preparation for a Queenside attack) 9... Qe7 10.b4 g5 11.Nb3 g4
12.Nfd2 White's chances of attack are superior to Black's, from
the game Vaganian-Psakhis, USSR Championship 1983. Another
approach is 5 ... b6. The game Korchnoi-Karpov, Hastings
1971/72, continued 6.Bd3 Bb7 7.Nbd2·a6 B.Qe2 d6 9.0-0-0 Nd7
10.Kb1 e5 11.c3 Be7 12.Nc4 0-0 13.Bc2 RfeB 14.d5! (As in the
above example, White closes the center in preparation for a flank
attack) 14... c5? (Better was 14... c6) 15.Ne3 BfB 16.g4! (A pawn
move to open lines. Observe that 3 ... h6 has provided a target for
this) 16... Qd8 17.g5! h5 (On 17... hxg5, White has 18.Rdg1

THE TORRE ATTACK 33


followed by 19.h4 with a crushing attack.) 18.g6! fxg6 19.Rhg1
Qf6 20.Ng5 and White had a winning position.

In the game Ermenkov-Burger, New York 1980, Black played


5... d5. There followed 6.e5 (Also quite good is 6. Nbd2) 6... Qd8
7.Nbd2 c5 B.c3 Qb6 (Attacking d4 in the fashion of the
Nimzowitsch Variation of the French Defense - 1.e4 e6 2.d4 d5
3.e5 c5 4.c3 Nc6 5.Nf3 Qb6 - but in our position, Black has clearly
lost tempi by the Queen shuffle from d8 to b6) 9.Qb3! (Now if
9 ... Qxb3, then 1O.axb3! is right, obtaining the a-file for Queenside
pressure and a slight pull) 9... Bd7 10.Be2 Nc6 11.0-0 Bel
12.dxc5 Bxc513.Rae1 witt:l an edge for White due to the cramping
pawn at e5 and possibilities of occupying d4 with a Knight at some
point later in the game.

6.Nbd2 Nd7 7.c3 e5 8.h4!

This peculiar looking move can be an overture to a later attack


via g4 and g5 (much like the previously mentioned Korchnoi-Karpov
game).

8 ... c6 9.Bd3 Be7 10.Nc4

A good maneuver- the Knight is heading for e3 from which it will


observe the fine squares d5 and f5.

10... 0-0 11.Ne3 ReS 12.Kf1!

White's View Black's View

34 OPENING SYSTEMS
A further refinement. The King can tuck itself away if need be by
g3 and Kg2. Also, White wishes to keep the King Rook on the
h-file for possibilities of attack.

12... Bf8 13.g3 Qd8

Trying to get in ... d5 (e.g. if now 14... d5, then White cannot
respond 15.exd5, since then 15... e4 wins material.

14.d5!
As we have seen in the notes to earlier moves, closing the center
is indicated before proceeding with attacking intentions. Also, this
prevents the threat of 14... d5.

14... cxd5?

A tactical error which allows White a powerful initiative. Better


was 14... Nf6, though after 15.c4, White still retains favorable
chances.

15.Nxd5 Nf6 16.Bb5!

Now if 16 ... Bd7, then 17.Nxf6+ is tremendous, and forces the


horrible 17... gxf6.

16... Re6

White's view

THE TORRE ATTACK 35


17.Ng5!

A nice tactical shot. Note that h4 and the position of the Rh 1 are
emphasized in this continuation.

17... hxg5

Forced, as the Re6 is attacked.

18.hxg5 Ng4

If 18... Nxd5 or 18... Nxe4, then 19.Qh5 is decisive.

19.Qxg4 Rh6 20.Qf3 Bg4?

A tempting tactic which meets with a startling refutation.

White's view

21.Qxg4!!

The main point of the sacrifice is seen after 21 ... Rxh1 + 22.Kg2
Rxa1 23.g6!! and if 23 ... fxg6 then 24.Bc4!! with the overwhelming
threat of 25.Nf6+ (or25.Ne7+) Kh8 (or h7) 26.Qh3 mate. If 24 ... Kf7
then 25.Nf4+ wins: 25 ... d5 26.Qe6 mate or 25 ... Ke8 26.Bb5+ Ke7
(or Kf7) 27.Qe6 mate. Also, if Black meets 23. g6!! with 23 ... Rc8
(To prevent Bc4) then 24.gxf7+ Kxf7 25.Qf5+ Kg8 26.Bd7!
(threatening 27.Be6+ Kh8 28.Qh5 mate) 26 ... g6 27.Qxg6+ Kh8
(Or 27 ... Bg7 28.Be6+ Kh8 29.Qh5+ Bh6 30.Qxh6 mate) 28.Be6

36 OPENING SYSTEMS
and Black cannot stop mate since 28 ... Be7 allows 29.Qh6 mate,
while 28 ... Bg7 loses to 29.Qh5+ and mate in one.

21 ... Rxh1 + 22.Kg2 Rh7

Trying to avoid the brilliant tactical shots seen in the previous note.

23.Rh1!

Excellent. Bad was the tempting 23.g6 because after 23 ... fxg6
24.Qxg6 Rh6!, and Black can defend. The text removes the
defending Rook.

23 ... Rxh1 24.Kxh1

Black is helpless because of White's perfect coordination


between the Bishop, Knight, Queen and g5 pawn.

24 ... Qc8

Or 24 ... Rc8 25.Bd7 Rc4 26.Nf6+! gxf6 (26 ... Kh8 27.Qh5 mate)
27.gxf6+ Kh7 (27 ... Kh8 also leads quickly to mate) 28.Bf5+ Kh8
29.Qh5+ Kg8 30.Qh7 mate. Or 27 ... Kh8 28.Qh5+ Kg8 29.Bf5 and
mate to follow.

25.Bd7 Qc4 26.Ne3

Also convincing is 26.Nf6+ gxf6 27.fxg6+ Kh8 28.Qh3+ Kg8


29.Bf5 Bh6 30.Kg2! (To stop 30 ... Qf1 +) and 31.Qxh6 followed by
mate.

26 ... Qxa2 (see next diagram)

27.g6!

Prying open the light-squared diagonal with decisive effect.

27 ... Be7 28.Nd5

THE TORRE ATTACK 37


White's view Black's view

After 26...Qxa2

Cutting off the Queen's defense of f7.

28 ... 816 29.Qh3

Threatening 30.Qh7+ Kf8 31.Qh8 mate.

29 ... Qb1+

A spite check.

30.Kh2

Now if 30 ... fxg6, then 31.Be6+ Kf8 32.Qh8 mate.

Black Resigns.

38 OPENING SYSTEMS
TRAP ON MOVE FIVE (5.d5!)
In researching a variety of openings, it is easy to find a number
of traps which lie in wait for the uninitiated. Usually these traps
are tactical in nature. Material is won or checkmate is effected.
Occasionally the trap is of a positional nature, for example, a
vital square is seized unexpectedly (typically, tactics are
interwoven in this type of trap, but no material is won or
checkmate accomplished.) In the following game, Black adopts
a defense involving an early Queenside fianchetto while
delaying d5, in order not to obstruct the Queen Bishop's a8-h1
diagonal. However, the position involves a subtle drop of
strategic poison, backed by some neat tactics.

ILLUSTRATIVE GAME FIVE


White: Chernin Black: Kudrin
Mendoza 1985

1.d4 Nf6 2.Nf3 e6 3.Bg5 c5 4.e3 b6?!

Here it is! This outwardly logical move allows White to gain a


strategic bind by a pawn thrust to d5.

5.d5!

White's view Black's view

THE TORRE ATTACK 39


This seizure of an advanced central square is made possible by
background tactics.

5 ... h6

The direct 5 ... exd5 runs into 6.Nc3 Bb7 7.Bxf6 Qxf6 8.Nxd5!
Bxd5 9.Qxd5 Qxb2 10. Rd1 (Black's Ra8 is under attack but now
the natural defense 1O... Nc6 fails to 11.Qxd7 mate) 1O... Qb4+
11.c3! (A fine point) 11 ... Qxc3+ 12.Ke2! Qb2+ 13.Rd2 Qb5+
14.Rd3! Qb2+ 15.Nd2! and White wins material. Despite these
tactical gymnastics, it should be borne in mind that the prime aim
of 5.d5! is to acquire more central space. Black doesn't have to
play 5 ... exd5 and submit to the above line. Furthermore, at move
six of the above line, Black can play the better move 6 ... Be7
(instead of 6 ... Bb7) then play can proceed 7.Nxd5 0-0 8.Bc4! and
White retains a clear positional advantage because of the control
and occupation of d5 as well as pressure against Black's backward
d-pawn.

6.Bxf6 Qxf6 7.Nc3

Locking onto d5. Now if 7 ... exd5, then 8.Nxd5 is obvious and
strong.

7 ... d6 8.Nd2!

Black's view

40 OPENING SYSTEMS
A nice strategic retreat focusing on e4 - in other words, White's
major opening strategy revolves around the domination of d5 and
e4. Another point behind 8.Nd2 is that now the f-pawn can be used
aggressively.

8 ... e5 9.Bb5+!

Another strategic nuance. Black is induced to give up his Bishop


pair since 9 ... Nd7 1O.Bc6 leaves Black badly tied up.

9... Bd7 10.0-0

Also good is 1O.a4, but the text emphasizes rapid completion of


development.

10... Bxb5 11.Nxb5 Qd8 12.14!

White's view Black's view

A keenly calculated pawn thrust. Now if 12... exf4, White will not
play the automatic recapture 13.exf4, as after 13... Be7 and
14... 0-0, the game is roughly even. Instead, after 12 ... exf4, White
would play 13.Qg4! (Preventing 13... Be7 in view of 14.Qxg7 while
if Black continues to capture pawns with 13... fxe3, then 14.Rae1
gives White an overwhelming attack- Black's King is a sitting duck
in the center.) If 13.Qg4! is answered by 13... Qd7, then White has
14.Qxf4! since 14... Qxb5 is refuted by 15.Qxf7+ Kd816.Qb7 and
Black is mashed. (Based on analysis by Chernin.)

THE TORRE ATTACK 41


12... a6 13. Nc3 Nd7

Again, 13... exf4 is strongly countered by 14.Qg4!

14.f5!

Another strategic move gaining more space on the Kingside


while insuring the White Knights an excellent central base at e4,
since now Black can never effect ... f5.

14... Be715.Nce4 Nf6

Trying to take away some of the pressure by trading down. But


the net result is that White will have the long-term positional
advantage of a Knight versus a bad Bishop.

16.Nxf6+ Bxf6 17.Qh5 Ke7

Black shows acumen by leaving his King behind the barricaded


center. Castling Kingside would eventually lead to a powerful
attack for White based on the pawn storm g4-g5 (after proper
preparation).

18.Ne4 b5

Trying to gain some space for counterplay, though this effort


eventually falls into White's plans. Nonetheless, complete
passivity was hardly palatable.

19.b3

With the idea of engaging Black's pawns. For example, White


might play c4 and then if Black responds with ... b4 to keep lines
closed, a3 comes with the opening of the a-file.

19... c4 20.Qe2 Rca

42 OPENING SYSTEMS
White's view Black's view

21.c3!

Now White envisions b4 followed by a4. Subsequently, axb5 will


gain the a-file as an invasion route.

21 ... Qb6 22.b4 Qb7

If Black tried 22 ... a5, then 23.bxa5 Qxa5 24.Rfb1 followed by


Rb4, and then, Qb2 would put great pressure on the b-pawn.

23.Rfd1 Qd7 24.g4 Ra8

Not 24 ... h5 because 25.g5 wins material.

25.Qf2

With thoughts of 26.h4, threatening g5.

25 ... Kd8

Now 26.h4 can be met with 26 ... Qe7.

26.Kg2

Threatening to play 27.h4, then if 27 ... Qe7, then 28.Rh1.

26 ... Qe7

THE TORRE ATIACK 43


Stopping h4, but now White switches to the Queenside to
increase the pressure.

27.a4!

White's view Black's view

27 ... Kc7 28.Ra2

White doubles on the a-file to insure that he is in full control of it


before trading pawns at b5.

28 ... Rhb8 29.Rda1 Qd8 30.axb5 axb5 31.Ra7+ Rxa7 32.Rxa7+


Rb7 33.Qa2

White's view Black's view

Threatening 34.Qa5+ Kc8 35. Ra8+ winning Black's Queen.

44 OPENING SYSTEMS
33 ... Qd7 34.Qa5+ Kc8 35.Ra8+

Now 35 ... Rb8 allows 36.Qa6+ Kc7 (36 ... Qb7 37.Nxd6+) 37.Ra7+
bringing down the house.

Black Resigns.

THE TORRE ATTACK 45


PROFFERED PARING
PROVIDES PERDITION
In the Torre Attack, White's King Bishop almost always seeks
the d3 square from which it surveys the fine b 1-h 7 diagonal.
Attacking chances routinely spring from this Bishop's
cooperation with its cohorts as pressure builds against Black's
King side bulwarks. Hence a stratagem designed to remove this
Bishop from the board early on has gained occasional attention
from defenders against the Torre. In this game we see Black
seeking a trade of his Queen Bishop for White's dreaded Bd3.
Former World Champion Boris Spassky demonstrates, however,
that the loss of time involved in this procedure can allow White to
gain central space which is deftly transformed into a strong
Kingside attack. In his efforts to avoid the worst, Black falls prey in
a peculiar type of ending featuring White's Queen and pawns
versus an immobilized array of Black's remaining pieces.

ILLUSTRATIVE GAME SIX


Boris Spassky-Lev Alburt
Hollywood 1985

1.Nf3

Yes, it will be a Torre.

1... Nf6 2.d4 e6 3.Bg5 c5 4.e3 Be7

No one can blame AI burt for avoiding the bold 4 ... Qb6 (aiming to
grab the undefended b-pawn) since Spassky has shown from the
early days of his illustrious chess career that he is a super-class
attacking player.

5.Nbd2 b6 6.c3 0-0

46 OPENING SYSTEMS
Black could try 6 ... Ba6 immediately, but he waits since he knows
that White will soon invest a tempo by moving his King Bishop to d3.

7.Bd3 Ba6

White's view Black's view

This is the "proffered paring." However, after the ensuing


exchange of Bishops, the Black Queen Knight will be shifted
offside, implying a loss of time. This loss of of time will be used
by Spassky to create an enduring initiative.

8.Bxa6 Nxa6 9.Qe2 NbS

To be considered is 9 ... Nc7.

10.e4!

Going for increased central space control. This motif is often


good against Black defensive systems ~hich avoid an early d5.

10... cxd4

Hoping for counterplay along the c-file.

11.Nxd4!

THE TORRE ATTACK 47


White's view Black's view

This recapture shows profound positional judgment. The Knight


assumes a centralized post while unblocking the f-pawn for further
territorial gains.

11 ... d6

Circumspect, but the more direct 11 ... d5 allows White to play


12.Bxf6 Bxf6 13.e5 Be7 14.f4, with excellent prospects largely
because of the pawn break at f5. Note the limited prospects for
the Nb8 in this line. Also, if 11 ... Nc6, then White has 12.Nxc6 dxc6
13.0-0-0!, with fine chances of attack coupled with strong
pressure down the central d-file.

12.f4 Nfd7

Hoping to reduce White's pressure by exchanging pieces. The


natural developing move 12... Nbd71oses a piece after 13.Nc6 Qe8
14.Nxe7+ Qxe7 15.e5.

13.N2f3

Bringing the Queen Knight to a more active post. Of course,


anti-thematic would be 13.Bxe7, exchanging to no effect and
thereby squandering White's prospects for real pressure.

13 ... a6

48 OPENING SYSTEMS
After 13 ... h6 14.Bxe7 Qxe7 15.0-0-0!, White has fine attacking
prospects, especially since the h6 pawn invites a line-opening
pawn thrust g4-g5.

14.0-0

Also possible was 14.0-0-0, but Spassky realizes that 14.0-0


is safer while still giving very good attacking chances.

14... Bxg5

Trying to unravel his stunted position by trading.

15.Nxg5 Qe7

Protecting e6. Poor is 15 ... h6 because of 16.Ngxe6 fxe6


17.Nxe6 Qe718.Nxf8 Qxf819.Qc4+ Kh8 20.Qc7 with a Rook and
two pawns as well as strong bind on Black's position.

White's view Black's view

16.e5!

Threatening 17.Qe4, attacking both the point h7 and the Ra8.

16... Ra717.Qd3

THE TORRE ATTACK 49


Forcing a weakening of Black's Kingside pawn shield, a recurrent
technique for building up attacking chances.

17... g6 18.Qh3 h5

Unpleasant, but there was no other way to prevent mate at h7


without losing material.

19.Qg3

Defending e5 while exerting veiled tactical pressure against the


King. It is remarkable how much progress Spassky has made with
three successive Queen moves.

19... Kh8 20.Rae1

White's view Black's view

Threatening 21.exd6 Qxd6 22.Ngxe6! fxe6 23.Rxe6 Qd5


24.Qxg6, with an overwhelming attacking position.

20 ... Rg8

To defend g6 in view of the above mentioned threat.

21.exd6 Qf8

50 OPENING SYSTEMS
He must retreat since 21 ... Qxd6 drops the Queen to 22.Nxf7+.

22.f5!

With all of White's pieces poised forward of Black's compromised


defensive structure, it is not very surprising to see a dynamic
breakthrough.

22 ... gxf5 23.Nxf5!

Blasting through Black's defensive wall. On 22 ... exf5 there


follows 23.Nxf5 just the same.

23 ... exf5 24. Rxf5 f6

White's view Black's view

If 24 ... Qg7, then 25.Qf3 is still the move, with threats of 26.Qxh5+
as well as 26.Nxf7+

25.Qf3 Rxg5 26.Rxg5 fxg5 27.Qxh5+ Kg8

On 27 ... Kg7 28.Qxg5+, play proceeds similarly to the actual


game, only with Black minus his g-pawn.

28.Re8 Qxe8 29.Qxe8+ Kg7 30.Qe7+

THE TORRE ATTACK 51


Black's view

With Black's pieces mired ·on the Queenside, White's Queen and
armada of pawns sail to victory.

30 ... Kh6 31.Qe6+ Kg7

If 31 ... Kh5 then 32.h3! threatening 33.g4+ Kh4 34.Kh2 (or g2)
and 35.Qh6+ wins.

32.Qc4!

Preventing black from unraveling his Queenside with 32 ... Nc6.


Also he threatens the brilliant tactic 33.Qc7!!, since after 33 ... Rxc7
34.dxc7 the c-pawn pawn promotes, while 33 ... Ra8 allows 34.Qb7
winning the Rook.

32 ... a5 33.Qc7!

White's view Black's view

52 OPENING SYSTEMS
33 ... Ra6 34.a4

Now Black is tied hand and foot.

34 ... Kf6 35. Kf2 Ke6 36. Ke3

The White King eagerly presses forward.

36 ... b5

Desperation.

37.axb5 Rb6 38.c4 a4 39.h3

Black is left with no good moves.

39 ... Kf5 40.g3 Ne5 41.Qh7+

White's view Black's view

Now on 41 ... Ke6 42.Qe7+ Kf5 43.g4+ wins the Ne5.

Black Resigns.

THE TORRE ATTACK 53


THE TORRE TAKES ON
THE KING'S INDIAN
Many adherents of the Torre Attack feel quite comfortable when
confronting classical-type defensive formations, i.e., formations
without a Kingside fianchetto. However, the King's Indian
Defense structure presents new issues of strategy and tactics.
Since the King's Indian pattern involves playing the d-pawn to
d6 early on, attempts to dominate e5 are ruled out. Also, the
fianchetto formation on Black's Kingside (pawns on f7, g6 and
h 7) precludes most standard attack plans which depend on the
action of the Bd3 along the b 1-h 7 diagonal. Consequently, the
White King Bishop is often placed on e2 or c4 instead of d3.
In the King's Indian formation, Black will aim for a .. d6, ... e5
central pawn configuration. If we stick with our usual Torre pawn
pattern (c3, d4, e3), then Black can gain Kingside chances by
advancing the e5 pawn to e4. In order to stop this idea, we shall
utilize a precise move order designed to enforce an early e4,
hence blockading Black's e5 pawn. In addition, the pawn
exchange dxe5 (requiring Black to recapture ... dxe5 to maintain
a pawn at e5) will muffle the action of Black's fianchettoed King
Bishop since there will be no possibility of Black playing ... exd4
to create pressure against our d4 square (Note that since our
e-pawn will be on e4 in these lines, the overprotection of our d4
pawn with e3 does not occur). After these events, White can
strive to gain Queenside territory by advancing b2-b4. In
addition, with our Queen Knight on d2, the maneuver Nc4 will
allow us to pressure Black's e5 pawn. The following game by
the current World Champion Garry Kasparov, is a good example
of the stratagems outlined above.

54 OPENING SYSTEMS
ILLUSTRATIVE GAME SEVEN
White: Kasparov Black: Martinovic
Baku 1980

1.d4 Nf6 2.Nf3 g6 3.Bg5 Bg7 4.Nbd2!

This is the precise move order mentioned in our introduction to


this game. With 4.Nbd2, White intends to play for e4 rather than
e3.

White's view Black's view

4 ... d6

This is the pure King's Indian reply. If Black plays 4 ... d5 to stop
e4, we have a Gruenfeld Defense formation which will be covered
in our next game.

An important alternative to 4 ... d6 is 4... c5 5.Bxf6 Bxf6 6.Ne4


(The point behind 5.Bxf6, Black cann.ot retain his Bishop pair
without disadvantage) 6... Qb6 (Best. After 6... Bxd4 7.Nxd4 cxd4
8.Qxd4 0-0 9.Nc3 Nc6 10.Qd2 Qb6 11.h4!? Qxb2 12.Rb1 Qa3
13.h5, White has attacking chances in an unclear position)
7.Nxf6+ Qxf6 B.c3 b6 (If 8 ... cxd4, then 9.Qxd4! Qxd4 1O.cxd4
d511.e3 Nc6 12. Rc1 -the c-file is occupied first by White- 12 ... Bd7
13.Kd2! (Best. With the Queens off, the King can stay active in

THE TORRE ATTACK 55


the center) 13 ... e6 14.h4 h6 15.Bb5 and White retained a slight
edge in the ending Lein-Grubisic, Vrbas 1979) and now 9.e4 gives
White more central space and a very slight plus.

5.e4

This is our recommended central configuration against the King's


Indian. Now after Black plays e5, White can exchange dxe5, and
when the Black d-pawn recaptures at e5, the Bg7 will be impeded,
since the e5 pawn can not be easily cleared from that square.

5 ... 0-0

Another, sharper plan involves trying to trade the Black King


Knight for the Bg5. For example, the game Salov-Smirin, USSR
Championship 1988, began 1.d4 Nf6 2.Nf3 g6 3.Bg5 d6 4.Nbd2
Nbd7 5.e4 h6 6.Bh4 g5 (To corner the Bishop, but the weakening
of Black's Ki ngside pawns is double-edged) 7.Bg3 Nh5 B.Nc4 Bg7
9.c3 e6 10.Nfd2! (Black was trying to inconvenience the Bg3 with
f5-f4, but the text forces a clarification) 10... Nxg3 11.hxg3 Qe7
(Black plans to play ... Nf6, ... Bd7 and ... 0-0-0) 12.Ne3 Nf613.Qb3!
(Pressing against b7 and thereby preventing ... Bd7 and ... 0-0-0)
13... c614.0-0-0e5?!(1f Black tries 14... d5, then 15.e5 Nd716.f4
f5 17.g4! gxf418.Nxf5!! exf5 19.gxf5, and the advanced pawn duo
at e5 and f5 are more than enough compensation for the piece)
15.dxe5 dxe516.Ndc4! and the threat of Nd6+ gives White a clear
advantage. If 16... Nxe4, then 17.Qc2! Nf6- if 17... f5, then 18.Bd3
and the attack on e4 and indirectly on f5, gives White excellent
play- 18.Nd6+ Kf8 19.Bc4 Be6 20.Nef5, with great advantage for
White, whose Knights have galloped into Black's weakened
squares at d6 and f6.

6.c3 Nbd7 7.Be2

As mentioned in our introduction, the King Bishop is better placed


at e2.

7 ... e5 8.dxe5 dxe5

56 OPENING SYSTEMS
Slightly better was 8 ... Nxe5 so that after 9.Nxe5 dxe5, the
pressure is reduced somewhat by simplification.

Black's view

9.0-0 b6 10.Re1

Preparing a regrouping to overprotect the e-pawn.

10... Bb711.Qc2 h612.Bh4 Qe713.Bf1

Securing the e-pawn and freeing the Nd2 for maneuvering.

White's view Black's view

13... Rfe8

THE TORRE ATTACK 57


After 13 ... Rfd8, the game Balashov-Sax 1979, continued 14.Nc4
Qe615.Nfd2 Qg4 16.Bxf6! Bxf6 17.Ne3 Qe618.Bc4 (The results
of 16.Bxf6! are the tempo-gaining maneuvers 17.Ne3 and 18.Bc4)
18... Qd6 19.Rad1 c6 20.Nf3 Qe7 21.Ng4! Bg7 22.Qd2 Kh7
23.Qd6 with a terrific position. The move 13... Rfe8 protects the
e-pawn so that the Bxf6 trade can be met by ... Nxf6, maintaining
pressure on White's e4 and hence restricting his maneuvering
possibilities.

14.b4!

But White has other means of pursuing a positional initiative.


The text is a useful gain of space.

14... 86

After 14... as 15.a3 Ra7, White continues 16. Bd3 Rea8 17.Qb2
and retains an edge.

15.Nc4 Rac8

This move causes problems. Best was 15... Qe6, and after
16.Nfd2 c5 17.Ne3 cxb4 18.cxb4 Rac8 19.Qb1 with only a small
edge for White.

16.a4!

Now 16... c5 allows 17.b5!, stifling Black's attempts to open the


c-file for counterplay.

16... Qe617.Nfd2 Nh5

Hoping to drum up play on the Kingside.

18.f3! (see next diagram)

A fine consolidating move which reinforces e4 and allows the Bh4


to return to play via f2.

58 OPENING SYSTEMS
White's view Black's view

18... Bf6 19.Bf2 Bg5 20.Ne3!

Preparing not the obvious Bc4, but instead, a fine strategically


motivated advance of the c-pawn.

20 ... Ndf6 21.c4 c6

To prevent Nd5, but now d6 is weakened and the Bb7 is hemmed


in.

22.Nb3 Nd7 23.c5

White's View Black's View

Tightening the blockade of Black's Queenside.

23 ... b5 24.Red1

THE TORRE ATTACK 59


Aiming at d6.

24 ... Be7 25.Nc4!

The invasion of d6 is accomplished by tactical means. Now


25 ... bxc4 is met effectively by 26.Bxc4 Qf6 27.Rxd7.

25 ... Rc7 26.Nd6 Rb8 27.axb5 cxb5

On 27 ... axb5 there comes 28.Ra7 Bd8 (Otherwise 29.Na5 wins)


29.Nxb7 Rbxb7 30.Rxb7 Rxb7 31.Rd6 and 32.Rxc6.

28.Nxb7 Rbxb7

Now White targets the backward a-pawn.

29.Qa2 NbS

On 29 ... Ra7, 30.c6 attacks d7 and a7.

White's View Black's View

30.Na5 Qxa2 31.Rxa2 Ra7 32.c6!

Tying Black up completely.

32 ... Ra8 33.Rc2

60 OPENING SYSTEMS
Threatening 34.Bb6 Rca 35.c7, winning the NbS.

33 ... Bxb4 34.Rd8+ Kg7 35.Bb6

Black's view

The finishing touch. Black, in serious time pressure, stumbles


forward.

35 ... Bxa5 36. Bxa5 Rxc6

On 36 ... Rca7, 37.c7 decides.

37.Rxb8 Rxb8 38.Rxc6 b4 39.Bc7

Black Resigns.

THE TORRE ATTACK 61


TAMING THE GRUENFELD
The Gruenfeld Defense formation is another non-classical
formation often played against the Torre. Unlike the King's
Indian, the Gruenfeld pushes the d-pawn to d5 to contest the
light squares e4, c4 and d5. We shall respond with our standard
Torre pawn triangle at c3, d4 and e3. Then Black can play for
a quick central break by ... ReB and ... e5 (as in the game below)
or defer in favor of development of the Queen Bishop via b6 and
Bb7 or Bg4. Both will be examined in the notes to this game.

ILLUSTRATIVE GAME EIGHT


White: Ye Rongguang Black: Tseshkovsky
Belgrade 1988

1.d4 Nf6 2. Nf3 g6 3.c3

A slightly different route to our Torre pattern.

3... Bg7 4.Bg5 d5 5.Nbd2 Nbd7

White's view Black's view

62 OPENING SYSTEMS
This early development of the Queen Knight is often a signal that
Black intends to play for the central pawn break at e5. Another
more sedate method is 5... 0-0 6.e3 b6 7.Be2 Bb7 as in the game
Seirawan-Kudrin, U.S. Championship 1988. That game
continued instructively with B.b4! (Gaining space on the
Queenside. In particular, White intends to play b5 which will pin
down Black's c7 pawn. If Black moves his c-pawn forward after
b5, then White trades his b-pawn for Black's c-pawn, leaving a
single White a-pawn. Then White can initiate the minority attack
by pushing a4-a5. Then if Black trades ... bxa5, he is left with a
backward isolated a-pawn, while if he does nothing, White plays
a5xb6 and Black is still left with a backward isolated pawn whether
he recaptures on b6 with the a-pawn or a piece.) 8... Nbd7 9.0-0
QeB(Trying fareS) 10.Bxf6 Bxf6(Not 1O... Nxf6, since Black wants
to play e5. White played 10.Bxf6 in order to give Black less pieces
with which to seek central and Kingside play while he pursues his
Queen side aims.) 11.b5a612.a4 e513.dxe5 Nxe514.Nxe5 Bxe5
(If 14... Qxe5 then White plays 15.Nf3!, since 15... Qxc3 is strongly
met by 16.Rc1 Qa5 17.Rxc7) 15.Qb3 axb516.axb5 d4 (Trying to
unblock the diagonal of the Bb7 while opening up the position for
his Bishop pair. However, White is soon able to trade his Be2 for
the Bb7 eliminating the two Bishops. Also note that Black's
backward c-pawn is a chronic weakness: the result is a small, but
definite advantage for White) 17.cxd4 Bxd4 18.Rxa8 BxaB
19.Bf3! Bxf3 20.Nxf3 and Seirawan went on to grind out a win.

If Black brings his Bishop out to g4, he is virtually conceding the


Bishop pair to White. For example, the game E. Torre-Zuger, Biel
1988, began 1.d4 Nf6 2.Nf3 g6 3.Bg5 Bg7 4.Nbd2 d5 5.e3 0-0
6.b4 (Rightly seeing that c3 need not be played first in such
positions) 6... Bg4 7.Be2 Nbd7 B.h3 Bxf3 9.Bxf3 c6 10.0-0 e5
11.c3 a5 12.b5 Qb6 13.bxc6 bxc6 14.Rb1 and by controlling the
b-file as well as the light squares (as a result of 8 ... Bxf3) White
attained excellent play.

6.e3 0-0 7.Be2 ReS 8.0-0 e5 9.c4!

THE TORRE ATTACK 63


White's view Black's view

A sudden change in the pawn structure which gives White the


edge. Now if 9 ... c6, then 10. Rc1 aiming at pressure on the c-file
is good. Also, if 9 ... exd4 lO.Nxd4 centralizes, again with very good
play for White's minor pieces. Observe Black's backward
development here (Bc8).

9 ... e4

The pawn structure is identical to the Advance (or Nimzowitsch)


Variation of the French Defense (with colors reversed); e.g. 1.e4
e6 2.d4 d5 3.e5. In such positions, White wants his King Bishop
developed to d3 to pressure h7 - especially since the e5 pawn
forestalls the normal protection of h7 by a Nf6. Conversely, in
the position after 9 ... e4, Black would like to have his King Bishop
on the b8-h2 diagonal; clearly the Bg7 is misdirected in this case.
Also note that White's Queen Bishop is outside his pawn chain
as opposed to the Black Queen Bishop in the French Defense.

10.Ne1 c5

Instead of the solid .(passive?) reaction like 1O.... c6, Black


continues to play very aggressively. However, White has a good
reply.

11.Nc2!

The Knight achieves contact with the central d4 square.

11 ... cxd4 12. Nxd4 Nc5

64 OPENING SYSTEMS
Black's view

13.Bh4!

To avoid 13. Rc1 Ne6 (attacking both the Nd4 and the Bg5)
14.Nxe6 Bxe6, and Black has developed actively with reasonable
chances.

13... dxc4

Now 13... Ne6 is answered by 14.N2b3, and if 14... Nxd4, then


14.Nxd4 and the Bc8 has no active square since the White Nd4
and Be2 control e6, f5 and g4.

14.Nxc4 b6

Hoping to place the Queen Bishop on a6.

15.Bg3!

A fine response. Now on 15... Ba6 16.Nd6! is strong, e.g .. 16... Bxe2
17.Qxe2 Rf8 18.h3! (To keep the powerful Nd6 protected. Now
18... Nh5 is calmly met by 19.Bh2) and White is clearly better.

15... Bd7

Trying to protect c6. As we shall see, White's plans are to utilize


this square as an outpost in the open c-file.

16.Rc1 Ne6

THE TORRE ATTACK 65


Seeking to ease pressure on his position by exchanging.

17.Nd6

The occupation of this post in the heart of Black's position is clear


proof of the superiority of White's position.

17... Nxd4 18.exd4!

Black's view

The correct way to recapture. Now White has a strong


centralized passed pawn.

18... Re7 19.d5!

Passed pawns must be pushed!

19... a6

To prevent Ba6 or Bb5.

20.Qb3 Bg4

Now c6 is gravely weakened, but it was difficult to find any better


idea.

21.Bxg4 Nxg4 22.h3 Nf6

66 OPENING SYSTEMS
Black's View

23.Rc6!

Occupying the advanced outpost and pressuring the b-pawn.

23 ... h6

If 23 ... b5, then 24.Rfc1 (Threatening 25.Rc8) 24 ... Qd7 25.Nc8!


Rea 26.Nb6 wins material.

24.Rfc1 Kh7 25.Nc8

Not 25. Rxb6 Nxd5

25 ... Rb7 26.d6!

Black's view

THE TORRE ATTACK 67


Relentless. Now 26 ... Ng8 is met by 27.Rc7! (Note the consistent
use of the c-file) 27 ... Rxc7 28.Rxc7 Rxc8 29.Qxf7 Rxc7 30.dxc7
Qc8 (Or 30 ... Qe7 31.Qc4! and the c-pawn promotes) 31.Be5 Qf8
32.Qxf8 Bxf8 33.c8=0.

26 ... Nh5 27.Ne7!

Threatening f7.

27 ... Nxg3 28.fxg3 Bd4+ 29.Kh2 Kg7 30.Qd5

A powerful centralization. of the Queen which breaks Black's


resistance.

30 ... Bxb2

There is nothing better: 30 ... Rxe7 31.Qxd4+ Kh7 32.Rc8! Rxc8


33.Rxc8 Qxc8 34.dxe7 and 35.Qd8, promoting thee-pawn. On
30 ... Bc5 31.R6xc5 bxc5 32.Qxb7.

31.Rc8 Axes 32.Rxc8 Qd7 33.Rg8+!

The finishing touch.

33 ... Kf6 34.Rf8

Now 34 ... Qe6 loses the Rb7, and otherwise White's


breakthrough on f7 is annihilating.

Black Resigns.

68 OPENING SYSTEMS
BOOK2

TARTAKOWER'S LEGACY

A complete system for playing the


Black pieces against everything except 1.e4

TARTAKOWER'S LEGACY 69
HOW TO PLAY BLACK
AGAINST WHITE SYSTEMS
NOT INVOLVING l.e4

In this section, we shall consider how to meet the Queen's


Gambit, English, Catalan, Reti and King's Indian Attack formations
by using a very solid pattern of development for Black. Our system
will consist of the following moves (with occasional diversion in
particular cases): 1... Nf6 2...e6 3... d5 4... Be7 5... 0-0 6... b6. In
this manner, we anchor a pawn at d5 to control e4 and d5 and on
the Queen's flank, c4. The Nf6 provides sturdy defense of the
7

Kingside while the Be7 will be available for reinforcement. The


problem of developing the Queen Bishop is simply and logically
solved by playing .. b6 and ... Bb7. As usual, our format will consist
of ILLUSTRATIVE GAMES with comprehensive notes to explain
the ideas inherent to each structure.

70 OPENING SYSTEMS
TARTAKOWER'S LEGACY
Saviely Tartakower was one of the most remarkable of a
group of world caliber chess players in the earlier decades of
this century. One of the best chess players in the world in his
heyday, he is credited with devising an excellent method of
defense against the Queen's Gambit. The basic line begins
1. d4 Nf6 (Also possible is 1... d5, but 1... Nf6 is more
circumspect) 2.c4 e6 3.Nc3 d5 4.Bg5 Be7 5.e3 0-0 6.Nf3 h6
7.Bh4 b6. After Tartakower's successful adoption of this
defense, the Soviet players Makoganov and Bondarevsky
added valuable contributions to it in the '40s and '50s.
Subsequently, this line has numbered among its adherents a
myriad of world class Grandmasters, including Garry Kasparov,
Anatoly Karpov and Boris Spassky to name just a few. Another
remarkable aspect of this defense is its quality as a universal
system which can be adopted against the English, Reti and
King's Indian Reversed opening systems. Each of these lines
will be examined in separate games.

THE DYNAMIC DUO


One of the typical pawn structure changes in the Tartakower
Defense involves the creation of so-called hanging pawns.
Hanging pawns (sometimes referred to as the isolated pawn
couple) are two pawns side by side on the fourth rank, neither
of which has a pawn on the file
immediately next to it. As a result, the
pawns are more vulnerable to
pressure by the opposing forces. For
example, consider the diagramed
position.

The plus side of the hanging pawns


is the array of squares controlled in
front of them (in this case b4 ,c4, d4,
e4) Note that one of the Black pawns

TARTAKOWER'S LEGACY 71
is a center pawn. (Also note that White has no true center pawn
-i.e. a pawn on d4, e4, d5 or e5). In this sort of position, White
will try to pressure these hanging pawns in order tt;J force one of
them to advance. This is done to create strong points for White
pieces to occupy. For example, if Black is forced to advance
the c5 pawn to c4, then d4 is weakened. Then a White piece
(often a Knight, but in principle any piece may do) can entrench
itself at d4 with no fear of being driven off by a Black pawn.

On the other hand, Black can often find a moment to favorably


advance one of the pawns for tactical reasons. This possibility
gives a dynamic characte; to such positions. Also, Black can
utilize the b-file in order to build pressure against the b-pawn.

In our first ILLUSTRATIVE GAME, we shall see the great


Bobby Fischer demonstrating how pressure down the b-file can
give Black excellent play.

ILLUSTRATIVE GAME ONE


White: Bertok Black: Fischer
Stockholm 1962

1.d4 d5

The most direct, but 1... Nf6 is more flexible.

2.c4 e6 3.Nc3 Be7

An old move of Charousek's which limits White's options for


developing the King Knight. After the standard 3... Nf6 4.Bg5 Be7
5.e3 0-0, White can play 6.cxd5 exd5 7.Bd3 followed by 8.Nge2.
The text is a waiting move designed to restrain this option.

4.Nf3

72 OPENING SYSTEMS
Most usual. If White is stubborn he can still play for Nge2 after
the moves 4.cxd5 exd5 5.Bf4 c6 6.e3 Bf5 7.Nge2, but this is no
great threat for Black. The pawn trade cxd5, exd5, constitutes the
Exchange variation of the Queen's Gambit which we shall examine
in detail in ILLUSTRATIVE GAME FIVE.

4 ... Nf6 S.BgS 0-0 6.e3 h6

This is Tartakower's finesse. The main idea is to remove the


h-pawn from h7, which often comes under pressure along the
b1-h7 diagonal (for example, if White's King Bishop is on d3 and
the Queen goes to c2, then Bxf6 would be threatened, removing
the guard of the h7 pawn).

White's View Black's View

7.Bh4

Another possibility is 7.Bxf6 Bxf6 B.Rc1. Now we recommend


the peculiar pawn move 8 ... a6!?. The i.dea is to play ... dxc4 and
after Bxc4 to respond ... b5 and ... Bb7. For example, after 8... a6!?,
the game Mikalchisin-Lputian, Lvov 1986, continued 9.Bd3 dxc4
10.Bxc4 Nd7 11.0-0 b5 12.Be2 Bb7 13.Qc2 c5 with good play
for Black. White continued with 14.dxc5 Nxc5 15.Nxb5?! (Better
was 15.Rfd1, but after 15... Qb8 Black is fine) 15... axb5 16.Qxc5
Rxa2 and Black had at least equal play. In another game
Rajna-Bonsch, White tried 9.cxd5 exd5. The idea is to prevent

TARTAKOWER'S LEGACY 73
Black from obtaining an opening of the a8-h1 diagonal for his
Queen Bishop by dxc4. There followed 10.Bd3 ReB 11.0-0 c6
12.Na4 (Heading for the outpost at c5) 12... Nd713.b4 (Aiming for
the minority attack) 13... Be7 14.Qb3 Bd6! (The Bishop has
maneuvered to a fine active diagonal with intentions of building a
Kingside attack) 15.Nc5 Nf6 16.Rfe1 Qe7 17.a3 Ne4 (Black
establishes his own advanced outpost in the half-open e-file)
1B.Bxe4 (Understandably trying to get rid of the annoying Ne4,
but the pawn which replaces it forces the Nf3 to pull back at a loss
of time. In addition, Black now has the two Bishops against the two
Knights in an open position, this often being a great advantage in
itself) 1B... dxe4 19.Nd2 ·sts 20.Nc4 RadB! (Now if White
eliminates Black's Bishop pair with 21.Nxd6, then 21 ... Rxd6 allows
the Rook to swing across to the King's side via the third rank).
21.a4 Bg4 22.Nd2 (Rushing back to defend the Kingside)
22... Qh4 23.Nf1 (But not 23.g3, because of 23 .... Qh3, threatening
24 ... Bf3 and mate at g2) 23... Bc8 24.b5 (White pursues his
minority attack as his Kingside seems to be secure, but Black
decides the game with a fine combinative blow). 24... Bxh2+!
25.Nxh2 Rd5 (Threatening 26 ... Rh5) 26.f4 Rh5 27.Nf1 Qh1+
28.Kf2 Bh3! (The long-range power of the Bishops is amply
demonstrated here) 29.Re2 (on 29.gxh3 Qf3+ 30.Kg1 Rxh3
31.Nh2 Rg3 mates) 29... Qxg2+ 30.Ke1 Qxf1+ 31.Kd2 Qf3
32.Nxb7 (White is winning on the Queenside, but Black is really
winning because his attack encompasses the King) 32... Bg4
33.Rce1 axb5 34.Nd6 RfB 35.axb5 Rd5 36.Nc4 Rxb5 37.Qa2
RfbB (Adding insult to injury; now the Black Rooks control the
Queenside too) 38.Kc3 (Trying to prevent Rb3) 38... Be6 39.Qa3
Qh5 (Threatening 40 ... Bxc4 41.Kxc4 Qd5+ 42.Kc3 Rb3+ )
40.Nd2 Qd5 and White resigned.

7 ... b6

Completing Tartakower's formation.

8.cxd5

74 OPENING SYSTEMS
A logical idea. White trades in order to use the c-file to create
pressure against the Black Queenside, especially the c-pawn. For
other eighth move alternatives, see ILLUSTRATIVE GAME
FOUR.

8... Nxd5

The right recapture. Black offers to trade two pairs of minor pieces
in order to defuse White's attempts to build a significant initiative.

9.Bxe7

If White tries to avoid exchanges with 9.Bg3, then Black can


equalize with 9 ... c5 and on 1O.Bd3 cxd411.exd4 Bb7 12.0-0 Nd7
13. Rc1 N7f6 and black has completed development with no
problems. The main reason White has nothing in this line is
because 9.Bg3 is basically a passive, tempo-losing retreat.

9... Qxe7

Inferior would be 9 ... Nxe7, which decentralizes the Knight and


removes the option of simplifying further with Nxc3.

10.Nxd5

White is trading in order to install a pawn at d5 which blocks the


a8-h1 diagonal for Black's Bb7. Also, since the Black c-pawn is
backward on the open file, c7-c5 is necessary, but then afterdxc5,
bxc5, we have the hanging pawn duo. An alternative is 10.Rc1.
This, however, shouldn't pose any serio~s problems for Black. For
example, the game Filip-Fischer, Curacao 1962, continued
10... Nf6 (Unblocking the a8-h1 diagonal while avoiding further
simplification through 11.Nxd5) 11.Be2 Bb712.0-0 Nbd713.Qa4
c5 14.Qa3 RfcB 15.Rfd1 QfB (Unpinning the c5 pawn) and Black
has fully equal play.

10... exd511.Be2

TARTAKOWER'S LEGACY 75
Rather sedate, but after the more direct 11.Rc1, Black still has
adequate resources. For a thorough discussion of this possibility,
see ILLUSTRATIVE GAME TWO.

11 ... Be6!

An important finesse discovered long ago by Tartakower. After


the coming ... c5, White will trade dxc5, and after ... bxc5, Black will
have the b-file. In this case, the Black Queen Bishop on b7 would
only obstruct play on the b-file. Hence the right place for the Queen
Bishop is e6. ·

White's View Black's View

12.0-0

Another idea is to advance the Knight to e5, but this gives Black
no worries. For example, the game Larsen-Thorsteins, Reykjavik
1985, continued 12.Ne5 c5 13.0-0 Nd7 14.Nxd7 (Inferior is
14.Nd3. After 14... c4! 15.Nf4 b5 16.Bf3 Nf6, Black has the edge
because he has obtained a mobile Queenside pawn majority. This
is another reason why White trades dxc5 so soon- otherwise Black
can often play c4 obtaining the 3 to 2 pawn majority). 14... Qxd7
15.dxc5 bxc5 16.Qd2 Qb7 and Black's position is fine.

12... c5 13.dxc5

76 OPENING SYSTEMS
As will be seen, giving Black hanging pawns in this position is
not best! Better was 13.b3 (to prevent c4). There could follow
13... Rc8 14.Rc1 a5! (A good stratagem. Now ... a4 and ... axb3 is
a possibility, leaving White with an isolated pawn while opening up
the a-file for the Ra8. For example, the game Najdorf-Georghiu,
Lugano 1968, continued 15.Bb5 [To stop a4] 15... Nd7 16.Qd3
[With an important idea in mind which Black must be alert to]
16... Ra7![A neat concept; Black will double his Rooks on the c-file]
17.dxc5 Nxc5! [This is a case where Black should eschew the
hanging pawns recapture 17... bxc5, as White replies 18.e4!. Then
18... dxe4 19.Qxe4 leaves the c5 pawn vulnerable, while 18... d4 is
met by 19.Nxd4 as 19 ... cxd4 fails to 20.Rxc8+ and 19 ... Ne5 (To
protect the Rc8) is answered by 20.Qg3]) 18.Qd4 Rac7 19.Qb2
Ne4 (Black's pressure down the c-file and active Ne4 are at least
sufficient compensation for the isolated d5 pawn) 20.Bd3 (If
20.Ne5 then 20 ... Qf6! pinning the Nd4 and threatening 21 ... Rxc1
22.Rxc1 Rxc1 + 23.Qxc1 Qxf2+ demonstrating the power of the
c-file and Ne4) 20... Rc1 21. Rxc1 Rxc1+ 22.Qxc1 Qc5! Black
continues to play vigorously. Now if 23.Qxc5 bxc5 24.Bxe4 dxe4
25.Nd2 f5 and Black's Bishop is stronger than White's Knight;
obviously this line holds no problems for Black.

13... bxc5 14.Qa4 Qb7!

White's View Black's View

Beginning to exert pressure on the b-file.

TARTAKOWER'S LEGACY 77
15.Qa3 Nd716.Ne1

After 16.Ba6 Qb6 17.Rac1 Rfb8 18.b3 Qb4! Black holds the
edge, since the hanging pawns can not be successfully pressured,
while Black will be able to play ... a5-a4, targeting White's
Queenside pawns. For example, 19.Qxb4 Rxb4 20.Rfd1 Rb6
21.Be2 a5, followed by ... a4.

16... a5!

Another fine move. Now after a subsequent ... Qb4, White cannot
trade Queens because the reply ... axb4 gives strong pressure
down the a-file.

17.Nd3

Stopping Qb4 and inducing ... c4, but as we shall see, Black will
hold the initiative because of his use of the b-file.

17... c418.Nf4 Rfb8

Note the harmony among Black's pieces; also the ... c4 advance
restrains White from protecting the b-pawn by b3.

White's View Black's View

19.Rab1

78 OPENING SYSTEMS
This is not good, but reasonable alternatives are hard to find.
Probably best was 19.Nxe6 fxe6 20.Bg4 Ra6 21.b3 cxb3 22.axb3
axb3 23.Qxb3 23.Qe7 Ne8 24.Ra3 with drawing chances.

19... Bf5! 20.Rbd1 Nf6 21.Rd2

Not 21.Bf3 Qxb2 22.Qxb2 Rxb2 23.Nxd5 Nxd5 24.Bxd5 (Or


24.Rxd5 Be6 25.Rc5 ReS! 26.Rxa5 c3 27.Rc1 c2 28.Be4 Rb1!
winning since 29.Rxb1 cxb1 =0+ 30.Bxb1 allows 30 ... Rc1 mate)
24 ... Rc8 25.e4 Be6 and Black has a winning advantage due to his
passed c-pawn and Rook on the seventh rank.

21 ... g5!

A cute shot which wins quickly.

22.Nxd5

Desperation. After 22.Nh5 Ne4!, Black has an overwhelming


position.

22 ... Nxd5 23. Bxc4

On 23.Bf3, simply 23 ... Bd3 shuts White down.

23 ... Be6 24.Rfd1 Nxe3!

Black's View

TARTAKOWER'S LEGACY 79
Winning more material.

25.Qxe3 Bxc4 26.h4 Rea 27.Qg3 Qe7 28.b3

Playing on out of sheer inertia.

28 ... Be6 29.f4 g4 30.h5 Qc5+ 31.Rf2 Bf5

White Resigns.

80 OPENING SYSTEMS
GELLER'S PAWN SAC
Efim Geller has been one of the world's premier
Grandmasters since the early SO's. His excellent knowledge of
opening theory has been demonstrated against the finest
players. He has plus scores against Botvinnik, Smyslov,
Fischer and Petrosian!
In the next game, Geller shows an excellent innovation in a
line played between Fischer (White) and Spassky, in the 6th
Match game for the 1972 World Chess Championship.
Strangely enough, even though Geller stated that he had shown
this innovation to Spassky, Boris didn't use it at the critical
moment. r

ILLUSTRATIVE GAME TWO


White: Timman Black: Geller
Hilversum 1973

1.d4 d5 2.c4 e6 3.Nc3 Be7 4.Nf3 Nf6 5.Bg5 0-0 6.e3 h6 7.Bh4
b6

Reaching our standard position.

White's view Black's view

TARTAKOWER'S LEGACY 81
8.cxd5 Nxd5 9.Bxe7 Qxe710.Nxd5 exd511.Rc1

Also interesting is 11.Bd3, though Black can equalize. For


example, 11.Bd3 c5 12.dxc5 bxc5 13.0-0 Be6! (Again Black
avoids blocking the b-file) 14.e4!? (A thematic attempt to break
up Black's hanging pawns, but with active piece play, Black is able
to hold his own) 14 ... Rd8! 15.exd5 Bxd5 16.Qe2 Qf6 (Naturally
Black avoids the ending since his c5 pawn is then vulnerable)
17.Rfd1 Nc6! (Focusing on d4) 18.Be4 Nd4 with completely equal
play for Black according to Grandmaster Miroslav Filip.

11 ... Be6

Very poor is 11 ... Qb4+ 12.Qd2 Qxd2+ 13.Kxd2, since then the
c-pawn is very weak and White's King is well placed fort he ending.

12.Qa4

Preparing to pressure Black's c-pawn after it advances to c5. In


the game Vaganian-Gheorghiu, Baden Baden, 1980, White played
12.Qd2. The idea behind this move is to play b4 in order to restrain
Black's projected ... c5. Gheorghiu conveniently held equal
chances by 12...a5! (Stopping 13.b4) and after 13.Bb5 ReB
14.0-0 c6 15.Be2 c5, the players agreed to a draw.

12... c513.Qa3 ReS 14.Bb5

This move was Fischer's choice against Spassky in their World


Championship Match. The idea behind 14.Bb5 is to tempt Black
into kicking the Bb5 by a6, but this weakens Black's Queenside.
Geller had examined this position in detail after an unpleasant
experience against Furman, the originator of the 14.Bb5 move.
He concluded that a dynamic pawn sacrifice would give Black
excellent play. The more sedate 14.Be2 is well met by 14...a5
15.0-0 Qa7! (Getting out of the pin on the a3-f8 diagonal) 16.b3
Nd7 with equal chances, Karpov-Kavalek, Linares 1981.

14... Qb7!

82 OPENING SYSTEMS
The main idea behind this move is to take advantage of the fact
that White has not castled.

15.dxc5

Otherwise 15... c4 cuts off the Bishop's retreat while creating a


strong Queenside pawn majority.

15... bxc516.Rxc5 Rxc517.Qxc5 Na6!

White's view Black's view

Although Knight moves to the edge of the board are often


considered to be poor, this is definitely an exception. Now if White
continues 17.Qc6 then 17... Qxc6 18.Bxc6 Rb8! (On 18... Rc8
White can play 19.Ba4 to meet 19 ... Rc1 +with 20.Bd1; the text
move wins the b-pawn, since if White defends it by 19.b3, he
blocks the a4-d1 diagonal and hence 19 ... Rc8 wins materiai-
20.Ba4 Rc1+; or 20.Bb7 [or b5] again 20 ... Rc1+) and Black is
much better.

18.Bxa6 Qxa6

Now White's King is caught in the center and Black threatens to


win immediately by 19 ... Rc8.

19.Qa3 Qc4 20.Kd2

TARTAKOWER'S LEGACY 83
A bold step which leads to serious trouble. After the better move
20.Qc3, Black regains the advantage by 20 ... Rb8! (threatening
21 ... Qxc3 22.bxc3 Rb1 +)

20 ... Qg4

With the King stuck in the center, the Queen raids vulnerable
points in White's position.

21.Rg1 d4!!

A brilliant sacrifice of another pawn to open up more lines for the


attack.

22.Nxd4

On 22.exd4, Geller intended 22 ... Rb8! with the idea of 23 ... Bd5
(Note how the Bishop uses the newly cleared central square d5)
threatening 24 ... Bxf3 25.Qxf3 Qxd4+ and ... Rxb2.

22 ... Qh4!

Attacking both f2 and h2.

23.Re1!

On 23.Ke2 Qxh2 is powerful, since 24.Kf1 fails to 24 ... Bc4+, while


23.Rf1 loses to 23 ... Bc4 24.Ne2 Rd8+ 25.Ke1 Bxe2 26.Kxe2 0c4+
27.Ke1 Qc1 + 28.Ke2 Rd2+ and 29 ... Qxf1.

23 ... Qxf2+ 24.Re2 Qf1 25.Nxe6! (see next diagram)

Removing the dangerous Bishop, but Black's Queen and Rook


in action against the exposed King prove to be decisive.

25 ...fxe6 26.Qd6

84 OPENING SYSTEMS
Whhe's view Black's view

After 25.Nxe6!

Otherwise 26 ... Rd8+ is crushing.

26 ... Kh8 27.e4 ReS

Keeping the King hemmed in.

28.Ke3 Rf8 29.Rd2

If 29.Kd2, then 29 ... e5! (as played on the next move) is still
powerful.

29 ... e5!

Preparing to play 30 ... Qf4+ 31.Kd3 Rf6, with a relentless attack.

30.Qxe5 Qe1+·31.Re2 Qg1+ 32.Kd2 Rd8+.

White's King is soon in a mating net_.

TARTAKOWER'S LEGACY 85
White's view Black's view

33.Kc3

Not 33.Kc2 Qd1 +winning the Re2.

33 ... Qd1 34.Qb5

On 34.Rc2 Rc8+ wins, as does 34.Rf2 Qe1 +.

34 ... Qd4+ 35.Kc2 a6!

A nice diversionary move, which allows Black's Queen access to


c5.

36.Qxa6

The Queen must guard the a6-e2 diagonal, as otherwise


36 ... Qd3+ wins the Re2.

36 ... Qc5+

Now mate follows: 37.Kb1 Rd1 mate, or 37.Kb3 Rb8+ 38.Ka4


Qb4 mate.

White Resigns.

86 OPENING SYSTEMS
TOO MUCH FINESSE LEADS TO LESS
In our next game we again see Grandmaster Geller launching
an assault against the enemy King caught in the center. Geller's
opponent, former USSR Champion Lev Psakhis, adopts an
opening finesse based on the idea of preventing Black from
achieving the important advance of the c-pawn to cS. Geller,
with his unerring instinct for attack, discovers that with White's
King lagging in the center, .. .cS can be effected as a pawn
sacrifice in order to pry open avenues of attack. This scenario
is, of course similar to the previous game against Timman. In
this game, however, Geller has many more pieces to work with
and he makes them dance into intricate and instructive patterns
on the road to an uncompromising victory.

ILLUSTRATIVE GAME THREE


White: Psakhis Black: Geller
Erevan 1982

1.d4 d5 2.c4 e6 3.Nc3 Be7 4.Nf3 ~f6 5.Bg5 h6 6.Bh4 0-0 7.e3
b6 8.Bxf6

A positional idea, first explored by ex-World Champion Tigran


Petrosian. The idea is to remove Black's Nf6 so that cxd5 can not
be answered by ... Nxd5 with the simplification we saw in
ILLUSTRATIVE GAMES ONE and TWO. Of particular importance
is the removal of the Nf6, which weakens Black's control over d5.
This fact will be exploited by White's following moves, all designed
to prevent Black from playing c5 because of the indirect pressure
exerted against d5 after the pawn exchange dxc5.

TARTAKOWER'S LEGACY 87
White's view Black's view

8... Bxf6

One drawback to White's plan is obvious: Black acquires the two


Bishops.

9.cxd5 exd5 10.Qd2 Be6 11.Rd1

All according to the plan outlined above.

11 ... Qe7!

A fine concept. Black clears the d-file for his Rook, while exerting
veiled pressure along the e-file towards White's uncastled King.

12.g3

White's view Black's view

88 OPENING SYSTEMS
Intending to fianchetto the King Bishop in order to keep pressure
on Black's d5. In the game Georgadze-Geller, played earlier in
the same tournament, Geller continued his development with
12... Nd7. There followed 13.Bg2 RfdB 14.0-0 RacB 15.Rc1 c5,
and the players agreed to a draw. In the meantime, Geller, a most
creative opening theoretician, found a way to take advantage of
White's King in the center by a series of pawn sacrifices.

12... c5!

Playing the impossible move.

13.dxc5

Unwisely calling Black's bluff. Unfortunately for Psakhis, it isn't


a bluff.

13... Rd8!

Preparing to blow open the center with still another pawn


sacrifice.

14.cxb6

White's view Black's view

This places White in a critical position. After 14.Bg2 bxc515.0-0


Nc6, Black would be somewhat better, but not winning.

TARTAKOWER'S LEGACY 89
14... d4!

After seeing his game against Timman, one wonders if Geller


could patent this move.

15.Bg2

On 15.Nxd4, Black wins with 15... Bxd4 16.exd4 Bd5+, since the
Rh1 falls. Remarkable variations follow 15.Ne4. Geller intended
15... Bd5! (Exploiting the clutter of unprotected pieces on the
diagonal) 16.Nxf6+ Qxf6 17.Qxd4 Qxf3 18.b7 (Suddenly it seems
Black has miscalculated sirice 18... Bxb71oses the Rd8) 18... Rd7!!
19.Qa4 (After 19.bxa8=0, Black wins with 19 ... Bxa8 20.Qa4
Rxd1 + 22.Kxd1 Bxh1) Qxd1 +!! 20.Qxd1 (Or 20.Kxd1 Bxb7+ and
21 ... Bxh1 with Black gaining a material advantage while retaining
excellent attacking chances) 20 ... Bxh1 21.f3 (21.Qb3 Rxb7)
21 ... Rxd1 + 22.Ke2!? (Hoping to Queen after 23.bxa8) 22 ... Rd2+!!
(Bursting White's bubble) 23.Kxd2 Bxf3 24.bxa8=0 Bxa8 and
Black is a piece ahead. If White (Instead of 19.Qa4) tries 19.Bb5,
then Black wins with 19 ... Qxh1 + 20.Kd2 (Or 20.Ke2 Bf3+ 21.Kd2
Qxd1 +,etc) 20 ... Qxd1+!! 21.Kxd1 Bf3+ 22.Kc2 Rxd4 23.bxa8=0
Bxa8 24.exd4 and Black remains a piece up. Fantastic variations!

15... Nc6

Not 15... dxc3 because of 16.Qxd8+ Qxd817.Rxd8+ Bxd818.b7


cxb2 19.0-0 Bd5 20.bxa8=0 Bxa8 21.Rb1 Bf6 22.Nd4 and White
comes out on top

16.Nxd4 Nxd4 17.exd4

After 17.Bxa8 Rxa8 18.exd4 Bd5+ 19.Qe2 Bxh1, Black is much


better, though this seems preferable to the text.

17... Bh3+ 18.Kf1 Rxd4

Note how Black's Bishop pair have exerted great pressure on


White's position after the game has been opened up.

90 OPENING SYSTEMS
19.Qe3

White's view Black's view

19... Qb7!

This nice crosspin seals White's fate.

20.f3

Also losing was 20.Rg1 Rxd1 + 21.Nxd1 Rd8! 22.Nc3 Bxg2+


23.Rxg2 Bxc3+ (Again note the Bishop's influence) 24.bxc3 Qa6+!
25.Ke1 (25.Qe2 Rd1 mate) 25 ... Qxa2 25.Qc1 Re8+ 26.Kf1 (26.Kd1
Qe2 mate) 26 ... Qe2+ 27.Kg1 Qe1 +and mate on the next move.

20 ... Rxd1+ 21.Nxd1 Qa6+ 22.Kg1

Not 22.Qe2, because of 22 ... Bxg2+.

22 ... Rd8 23.Nf2

Not 23.Bxh3 Bd4, winning the Queen:

23 ... Bd4 24.Qe1 Bxf2+

Now after 25.Kxf2 (25.Qxf2 Rd1 +) 25 ... Qxb6+ 26.Kf1 (26.Qe3


Rd2+ wins) 26 ... Bc8! and the threat of Ba6+ is crushing.

White Resigns.

TARTAKOWER'S LEGACY 91
KARPOV vs. KASPAROV
The epic struggles for the World Chess Championship
between Garry Kasparov and Anatoly Karpov have always been
in the public view. Characteristic of their encounters at the
highest level is a rigorous examination of specific opening
variations in game after game. Both as White and Black,
Kasparov and Karpov have shown a preference for the
Tartakower Variation. In the game below, we will examine their
approach in a line of the Tartakower in which White plays an
early b4. The idea behind the early b4 is to meet Black's ... c7-c5
with bxc5, and after ... bxc5, the b-file is open. A vefY important
finesse, however, precedes this pawn trade. White delays the
otherwise routine central pawn trade (cxd5) until Black has placed
his Queen Bishop on bl. Then by playing Bxf6 (To prevent ... Nxd5
after White's cxd5) and only then cxd5, White rules out Black's
preferred option of ... Be6. Then White plays b4, anticipating
.. .c7-c5; now, the opening of the b-file occurs with the Black Queen
Bishop on the unfavorable bl square blocking Black's play there.
Play often enters a highly technical endgame phase with White
sometimes holding a slight edge. Although most ordinafY players
will not opt for this sort of super-refined play, we shall nevertheless
examine the resulting positions.

ILLUSTRATIVE GAME FOUR


White: Karpov Black: Kasparov
12th Match Game, Moscow 1984/85

1.Nf3 dS 2.d4 Nf6 3.c4 e6 4.Nc3 Be7 S.BgS 0-0 6.e3 h6 7.Bh4
b6 8.Be2

Varying from our previously examined 8.cxd5. The main idea is


to wait for Black to play ... Bb7 and only then play Bxf6 followed by
cxd5.

92 OPENING SYSTEMS
White's view Black's view

8 ... Bb7 9.Bxf6 Bxf610.cxd5 exd511.b4

Intending to open the b-file after ... c5 with bxc5. Another move
is simply 11.0-0. Then Black can rule out b4 by playing 11 ... Qe7.
The game Veingold-Tal, Tallin 1983, continued 12.Qb3 RdB
13.Rad1 (A vain attempt to restrain ... c5 by indirectly pressuring
d5) 13... c5! 14.dxc5 Bxc3 (Removing the pressure from d5 just
in time) 15.Qxc3 (After 15.bxc3 Qxc5, White's c-pawn is at least
as weak as Black's d-pawn) 15... bxc516.Rc1 Ndl, and Black had
a perfectly sound game.

White's view Black's view

11 ... c5

Also possible is the less active 11 ... c6 and after 12.0-0 Qd6, the
game Christiansen-Gudmunddon, Grindavik, 1984, continued
13.Qb3 ReB 14.Rfd1 Ndl 15.Rab1 aS! (Getting some

TARTAKOWER'S LEGACY 93
compensatory space on the Queenside. Now if 16.b5, then 16 ... c5
17.dxc5 Nxc5 bumps the White Queen with sufficient piece activity
to easily offset the isolated d-pawn) 16.bxa5 Rxa5 17.a4 Ba6!
(Getting rid of the hemmed in Bishop) 18.Bxa6 Rxa6 19.Rdc1
ReaS and play was about even.

12.bxc5 bxc5 13.Rb1

Another feature arises. White is first to occupy the b-file.

13... Bc6 14.0-0 Nd7 15.Bb5

A logical move to exchange one of Black's Bishops while


weakening the protection of d5.

Black's view

15... Qc7

Poor is 15... Bxb5 16.Rxb5, which would only activate White's


Rook.

16.Qd2

Two other deployments of the White Queen have been tried. In


the 42nd Match Game 1984/85, Kasparov as White played
16.Qc2. There followed 16... Rfc8 17.Rfc1 (Both sides vie for the

94 OPENING SYSTEMS
c-file) 17... Bxb5 18.Nxb5 (To retain control of d4. After 18.Rxb5
cxd4 19.Nxd4 Bxd4 20.exd4, the position is a dead draw) 18... Qc6
19.dxc5 Nxc5 20.Qf5 Qe6 21.Nfd4 Qxf5 22.Nxb5 Ne6 23.Rxc8+
RxcB 24.Nxa7 Rc2 (Recovering the pawn with an easy draw)
25.Nb5 Rxa2 26.h3 Ra5 and the players agreed to a draw. In the
8th Match Game, 1985, Karpov with Black, bolstered d5 with
16... Rfd8. After 17.Rfd1 (Better than 17.Qf5 as in the game
Didisko-VIadimirov, Moscow 1983. Black responded 17... cxd4
18.exd4 g6 19.Qh3 (On 19.Nxd5, Bxd5 20.Qxd5 Ne5! 21.Qe4
Nxf3+ 22.Qxf3 Bxd4, it's dead even) 19 ... Bxb5 20.Nxb5 Qf4 with
an easy game) 17... Rab8 (Black simply eases his pieces into play.
White has only the tiniest of an advantage due to his slightly better
pawn structure) 18.Bxc6 Qxc6 19.Rxb8 RxbB 20.dxc5 Bxc3
21.Qxc3 Qxc5 22.Qxc5 Nxc5 23.h3 (Of course not 23.Rxd5??,
allowing mate after 23 ... Rb1) 23... Ne4 (Active defense, though the
stodgy 23 ... Rd8 was probably tenable) 24.Rxd5 Rb1+ 25.Kh2
Nxf2 26.Rd8+ Kh7 27.Rd7 a5 28.Rxf7 (White has won a pawn,
but this is virtually impossible to convert into a win) 28... Rb2 29.a4
Nd1 30.Re7 Rb4 31.Nd4 and now 31 ... Rxa4! gives equal chances
after 32.Nf5 Kg6 33.g4 Kf6. In the actual game Kasparov played
31 .... Nxe3?!, but still managed to draw.

16... Rfd8

Indirectly reinforcing the d5 pawn.

White's view Black's view

TARTAKOWER'S LEGACY 95
17.Rfc1 Rab8

Both sides have completely disposed their forces. White has


only the hint of an advantage.

18.Bxc6

Trading in order to weaken d5.

18... Rxb1 19. Nxb1 Qxc6 20.dxc5

Leaving Black's d-pawn isolated.

Black's view

20 ... Nxc5 21.Qc2

And in view of the reduced material, the players here agreed to


a draw.

1/2- 1/2

96 OPENING SYSTEMS
THE QUEEN'S GAMBIT DECLINED,
EXCHANGE VARIATION

After the initial moves 1.d4 d5 2.c4 e6 3.Nc3 Nf6, White can
go for the stabilizing center pawn trade 4.cxd5 exd5. This is
the so-called Exchange variation of the Queen's Gambit
Declined, a favorite line of many of the world's top Grandmasters
for over 60 years. Originally, the main idea behind this line was
for White to have the option of playing the minority attack against
Black's Queenside pawn structure. Nowadays, additional plans
involving the timely advance of the central and/or Kingside
pawns are in favor. Also critical are lines in which White castles
Queenside in order to freely use his King side pawns as battering
rams against Black's Kingside castled position. In our next
game, we will look at various strategies and tactics emanating
from these possibilities.

ILLUSTRATIVE GAME FIVE


White: Hort Black: Georgadze
Porz 1981182

1.d4 d5 2.c4 e6 3.Nc3 Nf6 4.cxd5 exd5 5.Bg5

Also of theoretical importance is the line in which White stations


this Bishop at f4. This usually occurs when Black adopts
Charousek's move order (1.d4 d5 2.c4 e6 3.Nc3 Be7) then after
4.cxd5 exd5 5.Bf4, we reach a position which was initially explored
by the great Mikhail Botvinnik forty years ago. In particular,
Botvinnik's eclectic thrust of the g-pawn to g4 in response to
Black's development of his Queen Bishop at f5 set new problems
for both players. In the present day, Karpov and Kasparov have
engaged in this line. For example, the 21st Match Game 1984/85
between Kasparov (White) and Karpov began 1.d4 d5 2.c4 e6
3.Nc3 Be7 4.cxd5 exd5 5.Bf4 c6 6.e3 Bf5 7.g4!? (Trying to gain

TARTAKOWER'S LEGACY 97
both space and time at the expense of the Bf5, but even so, the
advance is highly committal and double-edged) 7... Be6 (On
7... Bg6, White plays 8.h4! and now if 8 ... Bxh4, then 9.Qb3! is
strong after 9... b6 1O.Nf3 Be7 11.Ne5!, and Black is in a very
difficult position. Better is 8 ... h5, though the further advance 9.g5
gives White a clear space advantage, e.g., 9 ... Bd6 1O.Nge2 Ne7
11.Bxd6 Qxd6 12.Nf4 with an edge) B.h4 Nd7 (Now if 8... Bxh4,
then White plays 9.Qb3! again with the better prospects after
9... g5!? 1O.Bh2 Qb6 11.Nf3 Qxb3 12.axb3 Bxg4 13.Nxh4 gxh4
14.Bxb8 Rxb8 15.Rxa7. However, a very interesting idea of
Belyavsky's is quite playable: 8 ... c5! - meeting White's Kingside
pawn thrusts with a central .reaction is fully in accordance with the
classic rules of chess strategy - 9.dxc5 Bxc5 10. Nge2 Ne7
[1 O... Bxg4 11.Qxd5] 11.Nd4 Nbc6 12.Nxe6 fxe6 [White gains the
Bishop pair, but Black's active development combined with
pressure on the f-file gives him good play] 13.Bg2 0-0 14.0-0
Ng615.Bg5 Be716.h5!? Bxg517.hxg6 hxg6 18.f4 Be719.Nxd5!?
So far as in the game Flear-Belyavsky, Szirak 1987. Now best is
19 ... g5! and if 20.f5, then 20 ... exd5 21.Bxd5+ Kh8 22.Kg2 Rf6! to
meet 23.Rh1+ with 23 ... Rh6 and Black wins, or 20.Nxe7+ Qxe7
with about even chances) 9.h5 Nh6!? (Karpov's innovation. After
the previously played 9 ... Qb6, White gained better chances after
1O.Rb1 Ngf6 11.f3 0-0 12.Bd3 c5 13.Nge2) 10.Be2 (1 O.Bxh6 is
inferior since Black retains a strong dark-squared Bishop and the
g-file, while the doubled h-pawns cannot be attacked.) 10... Nb6
11.Rc1 (And now Karpov recommends 11 ... Nc4! bringing the
Knight into play with about equal chances.)

After 7.g4!? Be6, White has two other tries besides the already
examined 8.h4. In the game Botvinnik-Petrosian, World
Championship 1963, there occurred B.h3. Play proceeded B... Nf6
9.Bd3 c5! (Again the strategical theme is to counter White's
Kingside flank operations with counter pressure in the center)
10.Nf3 Nc6 11.Kf1! (An original idea of Botvinnik's. The King is
to be tucked away on g2) 11 ... 0-0 . . 12.Kg2 cxd5 (Also quite
feasible is 12... Rc8 13.dxc5 [On 13.Rc1 a6 is equal] 13 ... Bxc5
14.Ne2 Ne4 with unclear play, Bronstein-Kuijpers, Amsterdam
1968) 13.Nxd4 Nxd4 14.exd4 Nd7 (14 ... Rc8 deserves attention)

98 OPENING SYSTEMS
15.Qc2 Nf6 (Avoiding King side pawn moves. For example, 15... g6
allows 16.Bh6 Rea 17.f4 with good chances while 15... h6 16.Qd2
Bg5 17.Bxg5 hxg5 18.Rae1 also favors White according to
Romanovsky) 16.f3 Rc817.Be5 Bd618.Rae1 Bxe519.Rxe5(Not
19.dxe5 d4!) 19... g6 (Playable now since White doesn't have Bh6)
20.Qf2 Qd6 and White's advantage is truly inconsequential.

Still another choice is B.Bd3. The game Miles-Georgadze, Porz


1981/82, continued 8... Nd7 9.h3 h5!? (Fighting back on White's
territory) 10.Qf3(0n 1O.gxh5 Ndf611.h6 Nxh612.Qc2 Qd713.Nf3
Bf5, Black's position is satisfactory) 10... Qb6 11.0-0-0 hxg4
12.hxg4 Rxh1 13.Qxh1 g5! (Blocking White from gaining more
space with g5, while preparing to grab the g4 pawn. 13 ... Bxg4
immediately can be answered by 14.f3, followed by Qh8 attacking
both g7 and Ng8) 14.Bg3 Bxg4 15.Rd2! and now correct is
15... Ngf6 (Instead of the move played, 15 ... Be6. Note that
15... 0-0-0 loses to the clever ~shot 16.Nxd5!, since 16... cxd5
allows 17.Rc2+) protecting d5 against the Nxd5 shot, with unclear
play and roughly equal chances.

5 ... Be7 6.e3 0-0 7.Bd3 Nbd7 8.Nf3

White's view Black's view

An important alternative is.,the development of the King Knight to


e2. A good example of play in this line is the game Hulak-Spassky,
Toluca Interzonal, 1982. It began 1.d4 Nf6 2.c4 e6 3.Nc3 d5
4.Bg5 Be7 5.cxd5 exd5 6.e3 0-0 7.Bd3 Nbd7 B.Qc2 ReB 9.Nge2

TARTAKOWER'S LEGACY 99
(This post for the King Knight was first recommended by Alekhine
who used it to win a World Championship game against
Capablanca in 1927.) 9... c610.h3 (Preparing to castle Queenside
and follow up with the aggressive pawn advance g4. A more solid
procedure is 10.0-0 Nf8 11.Rab1 a6 12.b4 Be6 13.Na4 (Or 13.a4
with the idea of b5 which is more straightforward. Once White
plays b5, Black cannot avoid a permanent weakening of the the
Queenside pawn structure. For example, if from the position
before 13.Na4, White has pawns at a4 and b5 and he threatens
bxc6. Then if Black recaptures on c6 with the b7 pawn, he is
saddled with a backward c6 pawn on the half-open c-file, while if
Black recaptures with a piece on c6 [Imagine Black has a Bishop
at d7] then the d5 pawn is isolated and the b7 pawn is also subject
to pressure on the b-file. This is the essence of the Minority Attack)
13 ... N6d7 14.Bxe7 Qxe7 15.Nc5 Nxc5 16.bxc5 Rad8 17.Rb2 g6
18.Rfb1 and White held a slight plus - from the game
Portisch-Yusupov, Bugojno 1986). 10... Nf8 11.0-0-0 a5!
(Thematic. Black creates attacking chances by advancing his a
and b-pawns.) 12.Kb1 b513.g4a414.Ng3a315.b3Qa516.Rhg1
KhB 17.Nce2 Bd7 18.Nf5 (A poor idea. Best was 18.Bf5 Rac8
19.Nf4) 18... Bxf5 (The invading Knight must be removed) 19.gxf5
RacB 20.Nf4 N8d7 21.Qe2 c5! (Threatening c4 and forcing open
lines for attack. Taking the b5 pawn is too dangerous.) 22.dxc5
Nxc5 23.Bxf6 (23.Qe1 was a better try) 23... Bxf6 24.Nxd5 Na4!
(A nice tactic. Now 25.bxa4 bxa4 would allow Black an annihilating
attack on the b-file) 25.Rc1 Nc3+ 26.Nxc3 (26.Rxc3 was the only
chance) 26... Rxc3 (Now the pressure of the Bf6 is decisive)
27.Rgd1 Qb4 (Threatening 28 ... Rxb3+) 28.Bc2 Rcxe3! (To open
the deadly h8-a1 diagonal) 29.Qd2 (On 29.fxe3 Qc3 wins)
29... Rc3 30.Re1 Rxe1 31.Qxe1 h6 32.Rd1 Kh7 33.Qe2 Rxh3
34.Qe1 Qc5 35.Kc1 Rxb3! 36.axb3 and White gave up.

8 ... c6 9.Qc2 Rea 10.h3 Nf8

Clearing the path to e6 for the Queen Bishop.

11.Bf4

100 OPENING SYSTEMS


Hoping to avoid exchanges.

11 ... Be6 12.Be5

Repositioning and aiming at the Black King's position.

12... N6d7!

A good maneuver to chase back the menacing Bishop.

White's view

13.Bg3 a6 14.Rd1

Centralizing and awaiting events.

14... Rc815.0-0 Qb6 16.Qb1

Getting off the c-file in view of the veiled pressure of the Rca.

16... g6

Strengthening resistance along the b1-h7 diagonal and


considering posting a piece at f5 in some contingencies.

17.a3

Feinting a Minority Attack.

TARTAKOWER'S LEGACY 101


17... Qa7!

A clever Queen retreat to free the advance of the b-pawn.

Black's view

18.Bf4

Looking at h6. Both sides are maneuvering on inner lines while


waiting for the oppone~t to commit.

18... b5!

With the idea of creating a strong point on c4 for the Nd7.

19.Rfe1 Nb6 20.Bh6 Nc4 21.Ne2 Bf6 22.Nf4 Bd7 (see next
diagram)

There is no reason to give up the Bishop for a Knight.

23.Qc1

Protecting the a3 pawn in order to oust the Knight with b3.

102 OPENING SYSTEMS


White's view

After 22... Bd7

23 ... Nd6 24. Re2 a5

In order to play ... a4, which will prevent the b-pawn from going
to b3. The idea is to make c4 a permanent outpost square.

25.Bc2 a4 26.Nd3 Nf5 27.Bxf8

If 27.Bf4 to try and retain the Bishop, then 27 ... Ne6!, and then
28.Bh2? fails to 28 ... N6xd4! 29.Nxd4 Nxd4 30.exd4? Rxe2.

White's view Black's view

27 ... Rxf8

Slightly better was 27 ... Kxf8, leaving the Rook on thee-file.

28.Nc5 Nd6 29.Bd3 Rfe8

TARTAKOWER'S LEGACY 103


Black watches the center, since White might try to open up play
by e3-e4.

30.Rde1 Re7!

Now if 30.e4, then 30 ... dxe4 31.Bxe4 (On 31.Qf4 Bxd4! 32.Qxd6
Bxc5 is good for Black) 31 ... Bf5! 32.Bxf5 Nxf5 is quite convenient
for Black.

31.Nd2 AceS

A picturesque standoff on the e-file.

32.Nb1

Heading for b4 to put pressure on c6.

32 ... Bc8 33.Nc3 Bg5

Both sides maneuver their pieces into more active positions.

34.Na2

White's view Black's view

34 ... f5!

104 OPENING SYSTEMS


Clamping down on e4 and holding the possibility of ... f5-f4 at
some point.

35.Nb4 Qb6 36.Qc2 Kg7?

A blunder which goes unnoticed. Correct was 36 ... Bf6 with equal
play. Probably time pressure is playing a part.

White's view Black's view

37.b3?

Returning the favor. White should have played 37.Nxc6! since


37 ... Qxc6 loses the Queen to 38.Ne6+.

37 ... axb3 38.Qxb3 Nb7 39.Qc3 Bf6 40.Nb3 Bd7

The backward c-pawn is easily defended.

41.Qc1 Re6 42.g3 Be7

And still with many possibilities, both players decide to call it a


day.

1/2- 1/2

TARTAKOWER'S LEGACY 105


MEETING THE ENGLISH, RETI,
AND KING'S INDIAN ATTACK
The English opening today enjoys great popularity at all levels
of play. This is partly due to its flexible, transpositional nature.
For example, after 1.c4 Nf6 2.Nf3 e6, White can go for a Catalan
formation with 3.d4 (See ILLUSTRATIVE GAME SEVEN) or a
Reti via 4.b3. In any event we shall go for our Tartakower
formation (even though technically speaking, there is no
"official" nomenclature for this defensive pattern against these
systems, we still regard it as Tartakowerian in nature).
Against the King's Indian Attack (K.I.A.) we recommend a
slightly modified approach used by Karpov (Black) against
Portisch at Moscow 1977: 1.Nf3 Nf6 2.g3 b6 3.Bg2 Bb7 4.0-0
e6 5.d3 d5 (Reaching the Tartakower pattern by transposition)
6.Nbd2 Nbd7! (An important finesse. After the routine 6 ... Be7,
White can play 7.e4! since 7... dxe4 B.dxe4 Nxe4? fails to 9.Ne5!
Nd610.Bxb7 Nxb711.Qf3 attacking both b7 andf7) 7.Re1 Bc5!
(Karpov's innovation which takes aim at f2 in order to discourage
B.e4. For example: B.e4 dxe4 9.dxe4 Ng4 10.Rf1 Ba6 11.c4
leaves White with gaping weaknesses at d3 and d4 on the open
d-file) B.c4 (Switching plans, but this gives Black no problems
at all) 8... 0-0 9.cxd5 exd5 10.Nb3 Bb4 11.Bd2 as and Black
had at least equal chances.
Our next game shows Karpov outplaying Jonathan
Speelman in a typically positional Reti opening. However, the
later stages of the game feature some intricate tactical
maneuvers.

ILLUSTRATIVE GAME SIX


White: Speelman Black: Karpov
Be/fort 1988

1.Nf3 Nf6 2.c4 b6

106 OPENING SYSTEMS


A transition to the Tartakower formation.

3.g3 e6 4.Bg2 Bb7 5.0-0 Be7

If 5 ... d5 immediately, then 6.Qa4+! Nbd7 7.Ne5 presses on c6.

6.Nc3 0-0 7.b3

White's view Black's view

Possible is 7.d4, which transposes into a Queen's Indian, which


lies beyond the scope of the present volume. A sample line
nonetheless: 7.d4 Ne4 8.Qc2 (Or 8.Nxe4 Bxe4 9.Ne1 Bxg2
1O.Nxg2 d5 11 .Qa4 dxc4 12.Qxc4 c5 13.dxc5 Bxc5 with equality,
Averbakh-Furman, USSR Championship 1964) 8 ... Nxc3 9.Qxc3
f5 10.d5 (Or 10.b3 Bf6 11.Bb2 aS 12.Qd2 Na6 13.Rad1 Qe8
14.Ne1 Bxg2 15.Kxg2 g5 16.Rfe1 Qg6 with about even chances)
10... exd5 11.Ne1 d4 12.Qxd4 Bxg2 13.Nxg2 Nc6 14.Qd5+ Rf7
15.Be3 Bf6, with equal play.

7 ... d5 8.cxd5 Nxd5

Playable is 8 ... exd5, but the text keeps the Bb7's diagonal open.

9.Bb2 c5

Advancing the backward c-pawn and staking out a share of d4.

TARTAKOWER'S LEGACY 107


10.Rc1 Nd7

Black has developed with simple, logical moves and can already
claim equality.

White's view Black's view

11. Nxd5 Bxd5 12.d4

Possible is 12.d3, but this is too passive to create any difficulties


for Black.

12... Rc8

Also perfectly sound was 12 ... Bf6.

13.Qd2 cxd4

Liquidating the tension in the center.

14.Rxc8?!

This is a slight inaccuracy. Better was 14.Qxd4.

14... Qxc815.Qxd4 Nf616.Rc1

This obvious move leads to problems. Correct was 16.Qe5.

108 OPENING SYSTEMS


Black's view

16... Qa6!

A fine retort. This move was made possible by the exchange at


move 14. Now Black wins a pawn.

17.e3 Qxa218.Nd2 Bc5 19.Qe5 Bd6

Gaining some time on the clock.

20.Qd4 Ba3

When ahead in material, trade down.

21.Bxa3 Qxa3 22.Rc7 Bxg2 23.Kxg2 h6

Creating room for the King.

24.Nc4 Qxb3 25.Rxa7

It seems that White is getting some counterplay for his pawn. If


25 ... b5, then 26.Nd6 Rd8 27.Qe5. However, Karpov has a clever
means of attack using only his Queen and Knight.

25 ... Qc2!

TARTAKOWER'S LEGACY 109


White's view Black's view

The idea is to play Ne4, attacking f2.

26.Ne5

If 26.Nxb6, then 26 ... Ne4 27.Kf3 Qxf2+ 28.Kxe4 Qf5 mate.

26 ... Ne4 27.Nd3 Nd2 28.Ne5 b5!

Now the pawn can safely advance.

29.h4

White's view Black's view

On 29.Qf4, Black has 29 ... g5! 30.Qf6 Qb1! (Threat: 31 ... Qf1
mate) 31.h4 (Not 31.h3 Qe4+! 32.Kh2 Qxe5! 33.Qxe5 Nf3+)
31 ... Qe4+ 32.Kh3 b4 33.Rd7 Qh1 + 34.Kg4 Qd1 + 35.f3 Ne4!
36.Qe7 ( On 36.Qxh6 Qa1! 37.Ng6 Nf6+ 38.Kxg5 Qa5+ 39.Kxf6

110 OPENING SYSTEMS


fxg6+ and Black is winning) 36 ... Qb1! and now if 37.fxe4, then
37 ... Qxe4+ and 38 ... Qxe5 wins, while 37.Rd8 loses after
37 ... Nf6+!! 38.Qxf6 Qf5+ 39.Qxf5 exf5+ 40.Kxf5 Rxd8. An
extraordinary set of variations which will repay careful study.

29 ... Ne4!

Back again.

30.Nd3 Qc4!

This move is made possible by 28 ... b5!

31.Qd7

After 31.Qxc4 bxc4, winning the ending easily for Black.

31 ... Nd2

Threatening to invade the weak light squares around White's


King.

32.Rc7 Qe4+ 33.Kh2 Nf3+ 34.Kh3 g5

White's view Black's view

Black encircles the hapless King with a minimum of attacking


units.

TARTAKOWER'S LEGACY 111


35.hxg5 hxg5

Now if 36.g4 (To stop 36 ... g4+ 37.Kg2 Ne5+ and Nxd7) then
36 ... Nh4 (Threatening 37 ... Qg2 mate) 37.Ne1 Qh1+ picks up the
Ne1.

White Resigns.

112 OPENING SYSTEMS


TARTAKOWER VS. TARTAKOWER
Next we consider the Catalan Opening, characterized by the
moves d4, c4, and g3. Ironically, none other than Tartakower
himself was responsible for introducing the Catalan Opening.
Named after the Catalonia region in Spain, the Catalan's main
strategy is to exert pressure on the center and Queenside along
the long diagonal from h 1 to a B. One method of countering this
strategy is to bring the Black Queen Bishop to the aB-h 1
diagonal via bl or c6 (after ... Bdl). In the game below, Black
adapts the latter procedure. In a complex middlegame, White's
classical pawn center is broken up by a timely thrust of Black's
f-pawn. Combined with strong attacking possibilities against
White's Kingside, this proves to be White's undoing.

ILLUSTRATIVE GAME SEVEN


White: Korchnoi Black: Hjartarson
8th Match Game 1985

1.c4 Nf6 2.d4 e6 3.g3 d5 4.Bg2 Be7 5.Nf3 0-0 6.0-0 dxc4

White's view Black's view

TARTAKOWER'S LEGACY 113


Our preferred procedure. Now White will have to lose some time to
recover the pawn. Also, this trade clears the long diagonal for Black's
Queen Bishop to face-off against the White Catalan Bishop on g2.

7.Qc2

Interesting complications arise after the move 7.Na3!?. For


example, Morozov-Caturjan, correspondence game, 1989,
continued 7... Bxa3 B.bxa3 (White hopes the Bishop pair plus the
newly opened b-file will provide good compensation for the pawn)
B... Bd7 9.Ne5 Bc610.Nxc6 Nxc6 11.Bb2 Nd512.Rb1 Nb613.e4
Qd7(Preparing to strike in the center) 14.Qd2 Rad815.Rfd1 RfeB
16.Ba1 e5! 17.d5 Qd6 and Black had the edge. If White tries to
recover the c-pawn by 7.Nbd2, then 7 ... b5 is good. Now 8.a4 c6
9.e4 Bb7 gives Black a good position with a solid extra pawn. Still
another attempt is 7.Ne5, but then Black has the surprising retort
7... Nc6!. Black gives back the pawn in order to get quick piece
development. For example, 8.Nxc6 bxc6 9.Bxc6 Rb8 1O.Nc3 Nd5
11.Qa4 Nb4 12.Bg2 a6 13.a3 Bd7 14.Qd1 Nc6 with about even
chances. White can play 8.Bxc6 in order to win a pawn, but giving
up the light-squared Bishop while Black retains his gives Black
very good play. For example, Chekov-Agzamov, USSR 1979,
continued: B.Bxc6 bxc6 9.Nxc6 QeB 10.Nxe7+ Qxe711.Qa4 e5!
(Opening up lines) 12.dxe5Qxe513.Nc3Qe6and Black has good
chances.

7 ... 86

A good idea. Now if White plays 8.Qxc4, then 8 ... b5! is quite
satisfactory for Black. There could follow 9.Qc2 Bb7. Now if White
plays 1O.Bf4, then 1O... Nd5 is quite satisfactory for Black, while
1O.Bd2 (to answer 1O... Bb7 with the annoying pin 11.Ba5) is
satisfactorily met by 1O... Nc6, and after 11.Nc3 Nxd4 12.Nxd4
Bxg2 13.Nxe6 Qc8 14.Nxf8 Qh3! 15.Bg5 Bxf1 16.Rxf1 Rxf8 the
position is even.

8.a4 Bd7

114 OPENING SYSTEMS


Since White has prevented b5 and Bb7, the Bishop approaches
the a8-h1 diagonal by the other route.

9.Qxc4 Bc6 10.Bf4

After 1O.Nc3, Black has the sharp reply 1O... b5! since 11.axb5
axb5 attacks both the Qc4 and the Ra 1.

10... 85

An important positional move, nailing down the weakness of


White's b4.

11.Nc3 Na6 12.Rae1

Black's view

Intending to build a classical pawn center with e4, but as will be


seen, Black's active minor pieces are well placed to meet it.

12... Nb4

A slight errror. Best was the centralizing move 12 ... Bd5!, as after
13.Nxd5 exd514.Qb5 Qc8 followed by ... c6, Black's coming pawn
barrier (pawns on b7, c6, d5) would effectively neutralize the
Catalan Bg2 and chances would be even.

13.e4 Nd7!

TARTAKOWER'S LEGACY 115


Threatening 13 ... Nb6 14.Qb3 Nd3 followed by 15 ... Nxf4
wrecking White's pawn structure and acquiring the two Bishops.

White's view Black's view

14.Ra1

To defend the a-pawn after Black plays ... Nb6, but this retreat
shows White's plan to be poor. The right move was 14.Re2!, as
after 14... Nb6 15.Qb3, White retains an edge. Note that 14.Re2!
would forstall Black's 15th move.

14... Bd6

Another strong regrouping move threatening 15... Bxf4. If now


16.Bxd6 cxd6 gives Black play on the c-file, while promoting the
c7 pawn to a central pawn.

15.Be3 Nc216.Bg5

To retain the Bishop.

16... Nb6

It is clear that Black's minor pieces are using the exposed position
of White's Queen to good effect.

116 OPENING SYSTEMS


17.Qd3

Not 17.Qe2 because of the clever shot 17... Nxd4 (e.g. 18.Nxd4
Qxg5).

17... Nb4 18.Qe2 Qe8!

Gaining time by pressuring White's a-pawn. Black also has in


mind ... f5 followed by ... Qh5 with pressure against White's center
and Kingside.

19.b3 f5!

White's view Black's view

The beginning of a strong initiative for Black. This move removes


White's e-pawn, thus allowing Black to use the central d5.

20.Rac1 h6 21.Be3 Qh5 22.d5?!

A sharp attempt to regain the initiative which rebounds. Better


was 22.Nd2. ·

22 ...fxe4 23.dxc6?

But this will lose. White had to try 23.Nxe4 and after 23 ... N6xd5,
Black would be only slightly better.

TARTAKOWER'S LEGACY 117


23 ... exf3 24.Qd1 bxc6

Of course not 24 ... fxg2?, because of 25.0xh5.

25.Bxb6 cxb6 26.Qxd6 fxg2 27.Rfd1

White's view Black's view

There is no good way to defend. If 27.0xe6+, then 27 ... Kh8


28.Kxg2 Rae8! wins, since 29.0d6 Of3+ 30.Kg1 Nd3! 31.Rc2 Ne1
threatens mate at g2. Also, if 29.0h3, then Black wins with
29 ... 0f3+ 30.Kg1 Nd3 31.Rc2 Nf4!. Another line is 27.0xe6+ Kh8
28.Rfd1, but then Black crashes through with a Rook sacrifice:
28 ... Rxf2!! 30.Kxf2 Oxh2 (Threatening 31 ... g1 =0 discovered +)
31.Ke3 (If 31.Rg1, then 31 ... Nd3+ is winning) 31 ... 0xg3+ 32.Ke2
(If 32.Ke4 then 32 ... Rf8 [threatening 33 ... Qf4 mate] 33.Qe5 Qg4+
34.Ke3 Rf3+ 35.Kd2 Rd3+ 36.Ke1 g1 =0 mate) 32 ... Rf8 and now
on 33.Ne4 Of3+ 34.Kd2 Qd3+ 35.Ke1 g1 =0 mate, or 33.Qe3
Qg4+ 34.Kd2 Rd8+ 35.Ke1 g1=0+ and wins.

27 ... Qf5

Now with two pawns in hand and a strong attack, Black is clearly
winning.

28.Qd2 Nd3!

118 OPENING SYSTEMS


Now 29.Qxd3 fails to 29 ... Qxf2 mate.

29.Rc2 Ne5

Quite sufficient, but 29 ... Rad8 was even stronger.

30.Qe2 Rad8 31.Kxg2 Nf3!

White's view Black's view

This invasion at f3 is made possible by the position of the Rc2.


If 32.Rxd8 Rxd8 33.Qxf3, then 33 ... Qxc2 and wins.

32.Rxd8 Rxd8

Now White faces two threats, 33 ... Nd4 and 33 ... Qxc2! 34.Qxc2
Ne1 + and 35 ... Nxc2.

33.Rc1 Nd4 34.Qe3 c5 35.Rd1 Qc2

Raiding the weak Queenside pawns ..

36.h4

A better try was 36.Qd3, when 36 ... Qxb3 allows 37.Rb1 with
counterplay. Of course 36 ... Qxd3 would be winning in this case
anyway.

TARTAKOWER'S LEGACY 119


36 ... Rf8 37.Rc1

Allows a quick finish.

37 ... Rxf2+ 38.Qxf2 Qxc1

White Resigns.

120 OPENING SYSTEMS


2)@E/AL=/L

$ "$  $

&:  =EA?.G,E5?=L
&: ;),7L;)KDLL +L
zzz{

&: #2/L +L ) +!L%) A5)E5?=L


zzz{ zzz{

&: &25E/DLE2<?H/L :E/A=)E5H/DL

}
' dv} nd} 5 ] ?{} I? T c kn}
} F  }

=EA?.G,E5?=L
CĚ7  Ě_Ě PĚvĚ ĚĚĚ Ě Ě Ě 2Z-L042b_ZÃĚ
 Ě źź źźźźźź ź ן

ź ź) ź ź%ź


CĚ7  Ě_Ě " %ĚĚccĚ">Ě

p¡Ě Ě IĚ   ĚĚ Ě ĚĚĚ Ě ĚĚ::ĚŸ
rĚ

>OSmG vO?iv\`eGv ib?BG v?^Ev? ^ vS^m?BmvBG^meGv

3ĚĚ7  Ě3@}Ě  IĚ %ĚĚ Ě ĚĚ Ě" %ĚĚ
Ě  ĚĚ%ĚĚĚ<ĚĚ5rQĚ !MbĚ?Ě ĚĚ   Ě´ĚĚĚŸ
 ĚĚ  %Ě % Ě Ě  ĚĚ -&Ě  ĚĚ ĚĚ 8ĚĚ  Ě
Ě Ě Ě y1ĚĚ 5Ě
3Ě Ě Ě ĚIĚĚ Ě!Ěm3ĚĚ Ě  JÞĚYIĚ #Ě
Ě ĚĚ Ě ! Ě vĚĚ Ě  ĚĚĚ  %Ě&Ě Ě ĚåêĚ
 Ě Ě ĚĚ  Ě Ě  Ě Ě I  Ě
r $)&'() æĚąĚę
  &Ě Ě !Ě IĚ Ě Ě 3´Ě Ě ç Ě Ě Ě¯¸ĚÊ Ě

%IĚ ĚĚ ĚĚĚ  %Ě ĚĚ %  &Ě Ě ĚĚĚ>Ě Ě ¸ĚĚ
 Ě   Ě Ě &Ě Ě &Ě Ě%ĚĚ %Ě%< Ě ĚĚĚ
8Ě -ĚìĚ Ě ĚĚĚ*Ë8ĚĚĚ  
%)ĚĚ %Ě
 Ě" %Ě Ě%}  Ě Ě Ě Ě % Ě Ě  ĚĚ Ě%¯ ĚĚ-Ě

›
9 L F }Et? c A F }>? g T ? n T d a }

>OSmGivmOG\?mSBvb?q^v ?Ep? ^BGv

^Ě Ě @}<%Ě  IĚĚĚĚĚĚ &Ě 3Ě  ĚĚI Ě


Ě  Ě Ě  Ě M:>&Ě   ĚĚ Ě[Ě !ĚĚĚvĚ  O
  ĚĚĚ>ĚCĚ Ě ĚĚ   IĚĚĚ %<  &Ě  &Ě
% Ě ĚĚ  Ě &Ě  Ě IĚ Ě < %Ě ĚĚ Ě IĚĚ
Ě%Ě Ě Ě :&Ě Ě !Ě Ě  %Ě ĚĚ-ĚĚ %bĚ

&W?BVivmOG\?mSBvb?q^v ?Ep? ^BGv

"IĚĚĚ   ¤Ě" %Ě ĚIĚĚ >¤Ě ĚĚĚ  ĚĚ Ě


Ě ĚĚ  vĚ Ě >ĚCĚ Ě ĚĚ ĚĚ  %ĚĚĚ
>Ě î Ě ĚĚĚĚ MsĚ  ĚĚ" %Ě  ĚĚ ĚĚ8 ĚĚĚ
 ĚĚ QQQĚ/ -&Ě QQQĚ6-&Ě  ĚQQĚ/*:>&Ě Ě ĚĚ % Ě Ě M:ĚĚ IĚ
ĚĚ3Ě ĚĚĚĚ ĚĚĚĚ nĚzĚ &Ě nbĚ >Ě ĚĚĚ
IĚ M! >&ĚĚĚĚĚ @}ĚĚĚĚ IĚĚ" %&Ě Ě Ě Ě
3JĚ  ĚĚĚ rĚ
7Ě Ě ĚĚĚĚ  Ě&ĚĚ  %Ě% ĚIĚĚĚ  Ě
Ě-:8&Ě Ě ĚĚĚĚĚĚ FĚ Ě Ě *Ě Ě>&Ě Ě ĚĚ
ĚvĚ ĚĚ  % Ě MQĚ7IĚĚ Ě  Ě Ě -&Ě Ě Ě *&Ě
Ě Ě Ě Ě %Ě Ě ĚĚ: Ě %ĚĚ Ě >:Ě Ě QĚQƒ-cĚ

Q_^Yź_ ź&,ź:ź+++źźź*
ź":'źź*5źź

 Èź:"źÈ ź&,ź
"
"Yź
ź.źź*.>ź"
źź '.ź
:ź:ź*

“ź_ ź
ź&,ź:ź++½ź źź*.ź»
>źź&'źźź
"
ź, ź'5ź ź
ź

:
ź ź5ź&>ź" źź, ź źź
ź,ź5ź
ź @
r"źź ź5
źź&ź
ź@Ťźźź5źź ź
ź

"
&*.+ź
®  &Ě Ě Ě Ě %ĚĚ Ě ĚĚ Ě Ě Ě ĚĚ Ě Ě
 Ě " %Ě IĚ Ě Ě >ĚĚĚĖ-QĚ

<OGvASNNGimv Z`iGev S^vmOGv*eG^BOv%Ep? ^BGv

7ĚĚ Ě&Ě FĚ% ĚĚ 2ĚĚv ĚIĚĚĚĚ7  Ě_O


&Ě Ě Ě ĚĚĚ %ĚĚ MĚĚĚ >Ě CĚĚ ĚIĚĚĚ
 ĚĚĚ 6µ >Ě ĚĚ  %ĚĚĚ 2QĚ ?Ě <JĚ< Ě ĚĚ ĚĚ
" %JĚ  I¨Ě ?Ě ĚĚ ¥% Ě  &Ě Ě <Ě  ĚĚĚ ^ĚĚ
 ÇĚ Ě Ě Ě IĚ .-2bcĚ

}
'dv}nd} 5 ] ?{} I? R a kn}
} F}

%^EvmOGvASNNGimvqS^ ^GevS^vmOGv*eG^BOv%Ep?^BGv

aĦ1Ħ Ħ Ħ


Ħ 'Ħ ĦĦ Ħ ĦĦ ƒy…Ě FĦĦĦ%
Y

ĦĦ

ĦĦ1Ħ Ħ Ħ
Ħ  
ĦĦĦĦ 'ĦĦ&Ħ aĦ
 
1Ħ Ħ 
Ħ  ĦĦ '$1Ħ ĦĦ 'Ħ Ħ Ħ Ħ '"H'$1Ħ ĦĦ Ħ
ĦĦ);?]Ħ Ħ Ħ  Ħ Ħ 
 Ħ  6Ħ 'Ħ 'ĦĦ Ħ 
Ħ 5  Y
 Ħ Ħ &&Ħ!'Ħ ĦĦ&Ħ /6Ħ
Ħ
Ħ ?Ħ  Ħ Ħ Ħ Y


Ħ :NN2b  1Ħ Ħ  Ħ  Ħ Ħ+Ħ Ħ  Ħ Ħ Ħ .-2b 1Ħ Ħ
 Ħ ĦĦĦ' Ħ Ħ 'Ħ 1Ħ Ħ / 6Ħ 
ĦĦ Ħ  Ħ Ħ
Ħ  Ħ' %Ħ Ħ 5Ħ ?&Ħ

;OGvmOG\Gv`IvmOSivBO?bmGev

VĦ Ħ Ħ Ħ'Ħ Ħ Ħ ĦĦ '% Ħ 'ĦĦ Ħ Ħ Ħ
Ħ Ħ ƒysĚ Ħ
 Ħ Ħ Ħ ''Ħ Ħ Ħ ĦĦĦĦ 0&Ħ U
Ħ Ħ

Ħ Ħ Ħ 
5Ħ   ĦĦ Ħ 
Ħ Ħ % Ħ ''ĦĦ RĦ VĦ
1Ħ 1Ħ Ħ Ħ 'ĦĦĦ


 ĦĦ 
ĦĦĦ ĦĦ<Ħo1ĦĦĦFĦ ĦĦ Ħ
ĦĦĦĦĦĦ%ĦĦ 'Ħ  ĦĦ 'Ħ/6ĦĦ Ħ
åĦ

56ĦĦĦ  &Ħ VĦ Ħ yĚ "ĦĦ 'Ě "Ħ $ĦĦ $Ħ 1Ħ  Ħ 'Ħ Ħ Y
1Ħ ªĦ &&&ĦĦ Ħ yĚ SĦ Ħ 'Ě SĦ$Ħ Ħ$Ħ $Ħ SĦĦ 3Ħ $Ħ!'Ħ )Ħ ź
źĦ Ħ Ħ&&&Ħ$1ĦĦ   Ħ   Ħ
56Ħ
 ĉª?Ħ  Ħ ĦĦ
 Ħ Ħ Ħ WĦV6Ħ Ħ
Ħ'Ħ ''ĦpĦĦ%Ċ Ħ Ħ 1Ħ
Ħ  Ħ  &Ħ V6Ħ1Ħ Ħ Ħ 
ĦĦ Ħ ĦĦĦ Ħ

 1Ħ  ĦĦĦ Ħ Ħ 
©  Ħ ĦĦ Ħ
 j

  Ħ  Ħ 
&Ħ

LGaYź '5źi
źź
ź" ź ź&ź"
ź
źź5.źr"ź
ź:źź"źźä
ź

51źG
ź ź
"
źź

ź*5ź
ź
ź5&ź
ź, 
ź&ź
ź.1ź

;(,7L:(KDLL *L bbb{

źź źźź4źź#ź źźź

QL^źL źź
ź,.źź*5ź
ź
"ź
ź*.ź111ź ź
 Yź
ź
źźź111ź >ź, ]źź
ź:źźGi:ź ź Ìź{

źźź1 11ź>ź
źź ź Ìźź

źźź1 11ź źź ź 1ź
VĦ ĦĦf&fĦĦ Ħ Ħ
Ħ Ħ
Ħ1ĦĦ 

Ħ

Ħj
&Ħ !Ħ
Ħ Ħ ĦĦ & & 1Ħ
Ħ '
  Ħ Ħ Ħ % Ħ 'Ħ 1Ħ


}
9 L F }Et? a A F }> ? f R ? n Q d a }

Ħ
ĦĦ ĦĦ  Ħ Ħ
 ĦĦ Ħ  ĦĦ & & &%$Ħ
Ħ 
Ħ/Ħ
Ħ & & & 
Ħ $Ħ Ħ"%$Ħ

}¨źź%ź }¨źź%ź
&ĦB & 
Ħ Ħ 

Ħ '

Ħ 
 ĦĦ Ħ CĦ

'?iGvimoEtv"v O`qv yyy{ Av EGIG?miv?vBOGiivNG^Soiv

ˆ6Ħ ¢ ĦĦĦ  ĦĦ ĦĦ  Ħ  ĦmĦ^Ħ


ĦqĦ
/Ħ ĦF ¬Ħ /6

Ħ Ħ Ħ1Ħ 1Ħ .^b:?Z?L:b,?V4bV[Nb4]VS-b


JNZ4Tb

GT`Z_t
Dt ,6QwQys‡ stKk‡Q pS_…i
'qwPLn‘ ‘

źź źźź#źź Jźź


<  ĦĦĦ Ħ ĦĦ 1ĦĦ Ħ
 ĦĦ& & & 
Ħ %"ĦĦĦ& &&Ħ!'ĦĦĦ
!1Ħ ¢Ħ6

ĦĦĦĦĦ Ħ
  ĦĦqĦ Ħ
ź#ź źźź źźź
UĦĦĦĦœĦ ĦĦ & &Ħ
Ħ
1Ħ ĦĦĦ%ĦĦĦ Ħ!ĦĦĦ
'Ħ /&Ħ <
Ħ Ħ 6Ħ
ĦbĦ1Ħ Ħp Ħ Ħ 6

Ħ Ħ
qĦF Ħ

ĦĦ
ĦĦ ĦĦĦ Ħ   &$;¢"Ħ
Ħ ĦĦ
1Ħ ĦĦ Ħ
Ħ ĦĦĦ ĦĦ!1Ħ Ħ ĦĦ Ħ 
 Ħ1Ħ Ħ
ĦĦ

ĦĦ / 6Ħ &Ħ V6Ħ'
ĦĦ Ħ
 Ħ Ħ ;1Ħ Ħ
Ħ ĦĦ'
Ħ Ħ6

Ħ Ħ'Ħ
1Ħ Ħ
6Ħ pĦ Ħ Ħ '&Ħ


}
' dv}nd} 5 \ ?{} I? Q a kn}
} Ħ

ź ź ź

 Ħ#ĦĦ% Ħ  Ħ  Ħ &Ħ1ĦĦĦ'ĦĦ Ħ
Ħ/ #Ħ Ħ

Ħ  Ħ  ðĦ 'Ħ%
1Ħ 'Ħ)ĦĦĦ 0Ħ %Ħ !%ĦĦĦĦ  Ħ Ħ
ĦĦĦ  & 
Ħ Ħ )Ħ%Ħ!%1Ħ Ħ/ Ħ Ħ ĦĦĦ Ħ Ħ Ħ Ħ
ĦĦĦ % &Ħ F'Ħ Ħ/MĦ
Ħ )ĦĦĦ0Ħ //µ
  Ħ Ħ 'Ħ 
 Ħ
Ħ  ĦĦ% Ħ Ħ0Ħ&B&Ħ%ĦcĦ3%1ĦĦ# Ħ Ħ 

ĦĦ  Ħ'Ħ
 Ħ
Ħ Ħ Ħ  Ħ  Ħ Ħ  Ħ 
ĦĦfĦ FĦĦ ĦĦ
6Ħ
ĦĦĦ#Ħ“  ĦĦ  ĦĦĦĦ Ħ0Ħ Ħ1Ħ Ħ Ħ Ħ
Ħ 'Ħ BĦ$ĦĦĦ BæBĦ!)&Ħ

 ź
^Ħ ĦĦ  ĦĦ#ĦĦ  
Ħ
Ħ Ħ Ħ 
Ħ Ħ ĦY

Ħ Ħ 


Ħ'Ħ Ħ  &Ħ FĦ Ħ  Ħ ĦĦĦ   Ħ

ź ź
Wmm{

Ħ Ħ
Ħ'r
Ħ   Ħ®Ħ

Zź źź(ź9|?źźź

źźź ź ź%ź


/ #Ħ
Ħ   Ħ &&ĦĦ Ħ  ĦĦ

VĦ /
Ħ g Ħ
Ħ  Ħ Ħ  Ħ Ħ Ħ Ħ Ħ 
Ħ 'Ħ ĦĦ
V Ħ Ħ 
ĦĦ Ħ Ħ+Ħ SĦĦ*Ħ SĦ$Ħ Ħ$ĦĦ SĦ$Q1Ħ ĦĦ 

Ħ
% Ħ
tĦ

(ź“““ź źź
eĦĦ ąĦ ĦĦ'Ħ$Ħ]Ħ 'ĦĦĦĦ #M

ĦĦ*¨Ħ / #Ħ

Ħ Ħ
 Ħ 'Ħ &Ħ«$Ħ Ħ &B&Ħ$;S&Ħ

ź ź
\ \m{


}
9LF} Et? c A F }>? g Q ? n T d a }

<Ħ ' Ħ


1Ħ +,Ħ ĦĦĦ  Ħ Ħ 1Ħ Ħ Ħ 'Ħ 'Ħ + + Ħ!*Ħ / Ħ

Ħ
Ħ 
Ħ #Ħ #
1Ħ ĦĦ Ħ 
Ê#Ħ Ħ ĦĦ&Ħ UĦ F Ħ Ħ

ŠïĦ  Ħ/ #6Ħ Ħ Ħ SĦĦĦ# 1ĦĦ

Ħ  Ħ# Ħ  Ħ   $Ħ


Ħ Ħ &&BĦ$H
SĦĦ Ħ Ħ Ħ? ĦÞĦ

ź ź ź źźź źź  ź  eźJź ź-;ź


VĦ Ħ#Ħ ? Ħ qĦMĦ 'Ħ'Sß'$Ħ Ħ/M#1Ħ Ħb Ħ Ħ
ĦĦĦ  
Ħ Ħ +$Ħ!*Ħ Ħ Ħ +Ħ'SĦ UĦ ĦĦ

Ħ 
ĦĦ Ħ Ħ #ĦĦŽĦ  Ħ   Ħ Ħ Ħ ¦+1Ħ qĦ Ħ

M~6Ħ Ħ ¤&Ħ

ź  źź  źź ź ź?|ź


vvv{

<#Ħ
Ħ1ĦĦ #Ħ
#Ħ#Ħ ';'
&Ħ ^Ħ Ħ{

ĦĦ# Ħ + ) Ħ
!*1Ħ {#  Ħ '*;'SĦ # ĦĦ  BĦ
ź ź Zźź-Zź (ź źZF?źź ź
m m\{

<  Ħ 4/µ'SĦ Ħ M 1ĦĦĦ^Ħ  6Ħ


Ħ Ħ 
Ħ4/µ& &&ĦSĦ

ź ź źźźź?Fź


vv`{

/ 6Ħ
Ħ ĦĦ Ħ Ħ  Ħ 
ÃĦ 'ĦĦĦĦ? Ħ Ħ 
ĦĦ
Ħ Ħ Ħ Ħ M  Ħ # &Ħ e1Ħ Ħ /
Ħ g Ħ Ħ  Y
Ħ Ħ  Ħ #Ħ 
Ħ 'Ħ#Ħ
 ĦĦ { Ħ
Ħ Ħ
 Ħ
 &Ħ

ź źź;źźźź-Zźź-ZźZź źź ¥źź o?ź


vvv{

<Ħ
ĦĦ Ħ
ĦĦ1Ħ ĦĦ  ĦĦ 
Ħ? Ħ
Ħ'Ħ

 &Ħ
ź źZźź|źźź
vv`{

U
Ħ6ĦĦĦ Ħ'Ħ S&Ħ

(ź źźź ¥ź¥ź ź;ź©Fź» ź


VËĦ{ ĦĦĦĦ  ĦĦĦ'ĦĦ;ĦĦ*1Ħ }{Â Ħ Ħ
 BĦ

Q_^YźQźź

źź
ź5źź
ź:*"źź*
ź
*ź.ź
*5źñ ź ź &y"*ź
ź0iźGź[

5ź &
+ź%**>źG:ď
 "5ź"*i
ź :ź*vź
ź.ź*
ź
ź
)ź%ź
źź
ź
*ź"*źź
ź¿ Xź*.ź
*ź, ź
ź5ź."ź&&
ź
|ź
^ĦĦ Ħ ĦĦÃr
Ħ Ħ 
  Ħ/b£1Ħ ĦF 6ĦY

ĦÂŽĦ ĦĦ   1Ħ 
  Ħ 
  Ħ
 ¨Ħ Ħ Ħ Ħ j
'rĦ  Ħ 

Ħ
;

Ħ  
Ħ Ħ ¼1Ħ #ŽĦ Ħ #Ħ Ħ
6Ħ 
Ħ'ĦĦ #Ħ d1Ħ 
ĦĦ 
Ħ Ħ  
Ħ ĦĦ
#Ħ Ħ
Ħ†%ċ Ħ o MĦ   #ĦU Ħ Ħ+cc1Ħ 'Ħ ĦĦ 

 
Ħ 

ŽĦ]Ħ ĦĦ #Ħ #Ħ
Ħ F6ĦĦ
ĦC6Ħ


}
' dv} nd} 5 ] ?{}I? Q a kn} t zĦ

a6ĦĦ  ĦĦ ĦĦĦĦ Ħ'Ħ Ħ ĦĦ% Ħ /6Ħ


ĦĦ'Ħ  ĦĦ&&&Ħ&Ħ

¨źź%ź ¨źZźź
   Ħ ''ĦĦ ";Ħ    Ħ"Ħ& &ĦĦ

'?iGvimoEtv#v >OSmGvbW?tivvv

źź źźźźźź źź|?źźZź


/Ħ ĦĦ "HĦĦ
ĦdĦ<Ħ 
ĦĦĦĦ

Ħ&Ħ

%[- G lYź% 
:ź*ź."ź>ź&*źi
ź**źź

&ź
: ź111ź ??źź ź  ź ź9ź, ź
ź5
źź*

)
ź111ź Fź
<ĦĦĦĦ'Ħ
 ĦĦĦ&ĦeĦ
Ħ Ħ3"QĦĦ Ħ Ħ
Ħ'Ħ  &  
Ħ Ħ

ź ź
<Ħ
Ħ Ħ
ĦĦ aĦ $Ħ3 "ĦĦĦ 
ĦĦ )Ħ Ħ '&Ħ
<'Ħ$Ħ&&&Ħ!)ĦĦ!'Ħ!'$Ħ )ĦĦĦ G   ĦĦĦ 
Ħ4 ĦĦ ĦĦĦ
Ħ Ħ 'Ħ 'h1Ħ ''ĦĦ % C§Ħ 0Ħ %Ħ !%Ħ cĦ,;,Ħ )Ħ +,Ħ  $Ħ $CĦ + + Ħ
3Ħ ,«,à,Ħ +*Ħ%)Ħ3%)Ħ+  Ħ!*Ħ $CĦ 
 ĦĦ

ĦĦ
Ħ  ĦĦ Ħ j
 Ħ Ħ<&ˆH„&w
1Ħ „Ħ *,,)€Ħ

<Ħ 
“Ħ Ħ$Ħ'"1ĦĦ6

Ħ%ĦĦĦ%Ħ

Ħ °Ħ

ź111ź ź ź  ź


UĦ'ĦĦ a ;^Ħ ´ĦĦ
zĦĦĦ
Ħ Ħ

 ;?ĦĦ/6

ĦĦ '

Ħ Ħ'Ħ /


Ħ gĦ 

 Ħ

,t
ăČzĦ Et? a AF} > ? f T ? n Q d a }

' ĦĦ 
 Ħ ]Ħ

ź ź ź ź(ź

ź(ź%ź ź ź%ź


g
Ħ Ħ$;Ħ 
 ĦĦ  Ħ Ħ & & &
Ħ Ħ


 ĦĞ6Ħ

Ħ0ĦĦ zĦ 0Ħ& &Ħ Ħ


Ħ b£Ħ Ħ Ħ  ;?Ħ 
Ħ Ħ'&Ħ

Zźź ź
<Ħ
Ħ
 Ħ''Ħ Ħ Ħ% &Ħ!ĦĦĦĦ 
Ħ &&&Ħ$1Ħ ĦĦĦ
Ħ  ĦĦ)1Ħ Ħ Ħ 6ĦĦĦĦĦĦ 
~ ĦĦĦ
&Ħ& &ĦŸ¡0Ħ Ħ  & & Ÿ
Ħ ¡Ħ 1Ħ/z6Ħ
ĜĦ Ħ Ħ ĦĦ 
Ħ 
Ħ Ħ
ĦĦ ĦĦH"1ĦĦ
 ĦÁ6Ħ

ĦĦĦ 
Ħ'&Ħ

(ź ź  ź źź Jź ź¥ź¥ź źź  ź ź- źź ź źeeźź


ź

 ĦĦ
ĦĦĦ  1Ħ  ĦĦ £ ĦĦĦ
Ħ 'Ħ 'ĦĦ
?1Ħ Ħ Ħ Ħ Ħ Ħ'Ħ
Ħ Ħ qĦ  &Ħ
ź0 źź ź-ź-Zź źź ź
dĦĦ 
 Ħ Ħ ĦĦ 
Ħ Ħ ĦĦ<&Ub;!&U1Ħ dĦ
ˆ Ħ *,,"Ħ

GT`[tt
dt :9QyyWQ rt #AsWkk`:Qak]W
1qn„L‹VJLq‘ ‘

źź źźźźźź źźźźźźź źź111ź ?|ź


<Ħ%
Ħ&Ħ 
 Ħ ĦĦ
Ħ ĦĦa Ħ 
6Ħ Ħ

}
'dv}nd} 4.}?{}I? Q a kn} t ªŜ

*Ŝ^jŜ#4$Ŝ Ŝ[ŕŜ'Ŝ#,Ŝ *Ŝ4Ŝ ,ŜŜ'Ŝ\ Ŝ "


 ŜŜŜ "Ŝ ŜŜ
Ŝ âŜ
[Ŝ Ŝ
"Ŝ ŜŜ1ĜŜŜŜ"! ŜŜJŜbŜ Ŝd
Ŝ0Ħ ŜŜ' #'ŜUŜ
Ŝ !
’ŜŜ
ŜŜ Ŝ1ŜŜ Ŝ  Ŝ"Ŝ
=Ŝ !Ŝ%6Ŝ Ŝ Ŝ"ŜŜ !
Ŝ!Ŝ H


 $ŜŜŜ Ŝ !Ŝp " 


Ŝ =Ŝ ŜŜŜĻ#,ŜEŜ*Ŝ)ì)ŜŜ'Ŝ"Ŝ
òŜ
ŜšŜŜŜ"Ŝ
ĶJŜŜ"!$ŜŜŜ š ‘!Ŝ1ŜŜŜŜa`› ŜŜĤž"ĥŜ
'
ź ź  źź źź

:
1zŜ Ŝ p› Ŝ ŜŜHēŜŜŜ
  ŜŜ9ŜŜ ŜōŜ
ėź
ŜnH9
Ŝ Ŗ
 [ Ŝ:Ŝ ŜġĮ ßŜ
Q_^Ğź L›ēźź
ź ź &źź
ź5źź ź
ź
źźź
ź 

ź

 Z>źź
ź,ź&*ź.ź&*źź źźźźź
źźź"
ź:źZź

 źź.źź1ź
ź1 ))ź ZźZź ijź

U


Ŝ:ŜŜ,Ŝ Ŝ1ŜbŜ ŜŜŜŜÞŜŜ:
 ŜŜHŜ\ Ŝ
ŜŜŜŜŗŜ
=Ŝ Ŝ  ŜŜ
Zź¥ 11źºźź$ź

ź źź ź ź%ź


 Ŝ" Ŝ ŜŜ))Ŝ'Ŝ —
! :!Ŝ |ŜŜŜ

E
ŜŜ0Ħ)Ŝ#4Ŝ
Ŝ›
i€€›
1Ŝ" ŜŜ!Ŝ  ŜŜŜŜ
ŜcĦd*é^Ŝ$Ŝ  Ŝ
{Ŝ H #4%%Ŝ
cĦ)* %6 6Ŝ6Ŝ
 *jŜ
(ź)11ź  ź ¥ŜĘź

;ŜŜO
!Ŝ JŜb !
 Ŝ$Ŝ ŜbĈŜ!
Ŝ
ŜŜŜ [
ŜŜH*ŜŜ Ŝ! Ŝ ŜŜ 
H

3t
ĉėŜ E}t?}a}ĐŜ >?}f}O}? n Q d a }

  "Ŝ
)Ŝ@[› Ŝ  Ŝ,%4$Ŝ"¶Ŝ ŜJŜž¹ŜŜ!
MŜ "ŜŜ[ĭŜ
7: Ŝ |
ŜŜ

$ŜŜ
Ŝ ;T›ô "Ŝ Ŝ Ŝ" 
ŜRŜFĦ ŜŜ%Ŝ‰Ŝ# ,$Ŝ
H

[ ŜinŜŜŜŏ

ŜľšŜ"łŜ1 "‘JŜ Ŝ!Ŝœ Ŝ Ŝ Ŝ
Ŝ ‘ŸŜ
Ŝ =ŜÃĦŜ=Ŝ őŜąŜ ŜŜŃŜŜ 
Ŝ› |   Ŝ±
%6Ŝ  'JŜ%%Ŝ  nŜ * %Ŝ­Ŝ Ŝ%Ŝ úŜ Ŕ õŜ
) Ïœ,Ŝ#ŜŜ Ŝ
Ŝ Ŝ Ŝ
Ŝ
zŜŐ Ŝ
Ŝ ŜŜ|Ŝ 
ŜŜÄËđnŜ ŜzŜKjŜ nŜŜ
Ŝ -c H*Ŝ 

ŜŜŜ


 Ŝ !óŜ )  Ŝ Ŝ Ŝ!Ŝ!  ŜĢģŜ   ŜŜŒ› Ŝ

"!ŜŜ ŜŐź Ŝ))Ŝ'ŜŜnŜÞjKŜ#4¤Ŝ


$ź1 11ź Fźź ź

ź ź%ź ź ź%ź


;ŜŜ 
Ŝ
Ŝ 1 ŜÆŜ[ Ŝ KŜ ù{Ŝ

ŸŜ

ÿČ Ŝ<ŜtŜŜ :


:
ŜŜĿŜ:ŜŜŜŜŜŜÇŜà»  ÜŜ
ź ź
u

"ŜŜ
Ŝ1Ŝ ŜŜ%%Ŝ *Ŝ +56:Ŝ*H9
Ŝ Ŝ"ŜŜ
 ŜŜ
Ŝ
ŜŜ Ŝ 
Ŝttc5c” : Ř Ŝ))Ŝ#*$Ŝ ŜUŜ!
$ŜŜ Ŝ
Ŝ:  Ŝ Ŝ ŜŜŜŜ[ Ŝ
ź111ź ź ź źźF   ź
•Ŝ%,Ŝ#Ŝ ,Ŝ Ŝ Ŝ|Ŝ )řŜ
Ŝ:Ŝ%,Ŝ¦ÝŜ Ŝ
ŜŜJŜ  ŜeŜŜŜ
Ś  Ŝ ŜŜ Ŝ!Ŝ
%Ŝ,íŜ<Ŝ '$ŜŜ1JŜzŜŜá»Ę!ŜŜŜŜ[  ŜŜ!öŜ =Ŝ
zŜ))KŜćĎ 'ŜŜ ŜŜ6 ¡6i6ŜŜŜ  Ŝ)Ŝ

;
ŜŜ Ŝ"Ŝ"Ŝ!ŜŜŜ:ŜŜŜŜ J Ŝ $ŜŜŜŜŜļ ŜŜ

 ŜŜ Ŝ

ŜŜ ÐdŜ"ŜŜ

ŜıŜJŜķ
ŜŜŜŜŜ[ Ŝ
$ź111ź ź ź źź  ź ź źź Zź ź-;ź
ĊęŜŜŜ Ŝ ŜŜŜ ŜŜŜ9ŜŜ±bŜŎŜ%'7Ŝ 'GŜ7d4%4Ŝ*Ŝ$Ŝ:Ŝ Ŝ Ŝ

}
& d v }nd} 4 ] ?{} I? R a kn} } F  }

-&Ŝ-ŜcŜŜ Ŝ&Ŝ%4Ŝ_Ŝ C ¦Ŝ


ź dħźź ź
mmm{

T(& qŜ‹ Ŝ((ŜŜ&((Ŝ&ŜŜ-Ŝ9 Ŝ


źź-Z Zźź (źź0źź Jź ź
Z-&ĵ ŜŜ "Ŝ-Ŝ -Ŝ-ŜW% ‚¾*‚Ŝ
 ź ź źź #ź
1-ŜŜ&Ŝ &ŜŜ Ŝ&Ŝ‹-ŜŜP WŜPC Ŝ ŜWŜTŜ#-'Ŝ  Ŝ
W,ŜKKKŜ#C Ŝ
ź -źź#ź
m mm{

1-Ŝ&(Ŝ& -!Ŝ-Ŝ&"ŜŜA*Ŝ___Ŝ
ź - #|źź źe ź
mmm{

ź ź%ź ź ź 


Z-Ŝ&& ŜŜ!¼-(" Ŝ ;-Ŝ&‹AŜT&'Ŝ &Ŝ

ƒƒŜ& Ŝ-Ŝ&Ŝ  ŜŜ !ŜŜŜ!ŜŜŜ C-*Ŝ@ 4GŜW*ŜOWŜP WŜ"&_Ŝ

'?iGvimoEtv!v >OSmGvbW?tiv
 &A:
v

źź źźź#ź ź#ź źź9źź ź


DŜŜ&ŜŜ!Ŝ-ŜT*ÍŜ"!ÎŜŜ &Ŝ ŜŜ-Ŝ-Ŝ"!Ŝ Ŝ%ŜŜf› WŜ
Ŝ *Ŝ,Ŝ*ŜP 4ŜH›c-ŜeŜ-& VŜc-Ŝ!&¼&cŜŜ#,Ŝ'Ŝ*Ŝ Ŝ" -Ŝ-Ŝ-&!Ŝ
"ŜŜŜ1-$Ŝ&Ŝ "& ŜŜ,ŜŜ'ŜT(& Ŝ( ŜŜ&Ŝ"ŜŜŜŜ-Ŝ
-&ŜŜ &cŜ-Ŝ´Ŝ9ŜŜ *Ŝ-&! Ŝ&(& Ŝ ŜŜP 4Ŝ

}
: L F }Et? a A F }> ? g P ? n R d a }

ă& Ŝ1Ū Ŝ 'ŜWŜ Ŝ *Ŝ,Ŝ*Ŝ#4Ŝ#,Ŝ'Ŝ-( Ŝ Ŝ*ŜT*GŜ &Ŝ&Ŝ*ŜŜ 'Ŝ'Ŝ


T&ŜT&'Ŝ1Ŝ aŜ-&!Ŝ-ŜŜŜ# XAWŜŜ Ŝ &( $Ŝ&Ŝ-Ŝ-&Ŝ&(]
& Ŝ(& Ŝ-Ŝ -ŜŜ,Ŝ–Ŝ Ŝ-Ŝ &Ŝ Ŝ# ,Ŝ& Ŝ#W$Ŝ- -$Ŝ
- -Ŝ&Ŝ-Ŝ&Ŝ&ŜO&&!Ŝ( Ŝ-&!Ŝ"ŜŜT&'ŜŜ-Ŝ &"Ŝ-ŜD!&]
-$ŜŜ aŜ Ŝ&ŜO&&!Ŝ-& ŜŜ Ŝ-Ŝ-Ŝ"!Ŝ# ,ŜpŜ
ÈŜŜ-Ŝ"!Ŝ Ŝ,Ŝ# ,ŜTŜŜ*Ŝ'Ŝ*Ŝ&,ŜT?Ŝ
” SŜ1((VŜĠŜ ŜŜ,Ŝ§“Ŝ'Ŝ& Ŝ(&ŜŜ(Ŝ-Ŝ"& &!Ŝ& Ŝ
™&ŜE&&Ŝ

GT`[tt
dt !B_QRQks‡ MBW`yQˆQp
’‡› SCk tVqn€SVt‘SCnJfLx‘‘

źź źźźźźź ź#9|?ź


;ŜŜ-ŜO&&!AD!& -Ŝ &"’Ŝ1-Ŝ&! Ŝ-ŜC -& ŜŜěŜ( -]
ĺ& Ŝ-ŜŜ ( ŜŜŜ&Ŝ
ź  źź#ź
]r^{

E&&Ŝ   ŜŜ Ŝ-&& Ŝ-Ŝ-Ŝ-ŜŜ ŜŜ &Ŝ& ƒŜ


˜Ŝ&(w&!Ŝ&Ŝ*Ŝ___ŜT&'$Ŝ-Ŝ1-Ŝ" -Ŝ-&!Ŝ  Ŝ'Ŝ#WŜ  Ŝ4Ŝ
//µ

źźźź ź

ź ź%ź ź Zź%ź


Eh Ŝ& Ŝ T(& Ŝ ŜŜ-Ŝ& Ŝ

źź

 }
&dv}nd} 4 \ ? { }I? R a kn} t F  }

1Ŝ
 ŜŜ :
Ŝ Ŝ ĽŜ:Ŝ A9
Ŝ
Ŝ:Ŝ )Ŝ
ź+++ź źOź ź  ź(źeź |ź
DŜ+Ŝ Ŝ"Ŝ‡"Ŝm
=Ŝ NJJNLb)4LT4b?Lb>4TTb Ŝ " ŜŜ ~

ŜŜŜ1
 Ŝ”" Ŝ +ŜŜ%?B*_ŜUŜ +Ŝ
Ŝ
Ŝ
ŜŜ + ~
"ŜŜeŜ   pŜ 
 ŜŜ"ŜŜ 
 Ŝ+
ŜŜ
=«Ŝ
ãŜkŜŜ"+ŜŜ ŜŜ:Ŝ  ŜŜŜ "Ŝ 
Ŝ
"ŜŜA Ŝ Ŝ
Ŝ Ó Ŝ
„ŜþŜŜ"+ŜŜ  Ŝ: ŜŜŜ  $ŜŜ ŜŜŜ Ŝ ŜŜ
 Ŝ
9
„Ŝ
^Ŝ
 Ŝ
Ŝ ŜŜ
Ŝ +  ŜxŜ $Ŝ  ŜŜ9=Ŝ
 )Ŝ
+^ŜkŜŜ Ŝ:Ŝ +
Ŝ =Ŝ ŜFŜ *ŜŜ1Ŝ
Ŝ))Ŝ ŜŜ €Ŝ


Ŝ ŜŜ  ^Ŝ
m
=ŜŜ  ŜŜŜ""ŜŜ
Ŝ 
" ŜŜ Ŝ Ô ŜŜ1Ŝ
ŜŜ7=Ŝ¯")Ŝ
#Ŝ=Ŝ"ŜE
=Ŝ ŜŜ
“ŜUŜ
ŜŜ"+Ŝ+ŜŜŜ
$Ŝ   Ŝ"+ ŜŜ Õ Ŝ )ŜUŜŜŜ +  ŜŜ  $Ŝ Ŝ
xŜŜŜ $Ŝ ŜŜ"+ Ŝ ŜŜ
 Ŝ '$Ŝ
ŜŜŜŜŜ

Ŝ9
Ŝ
"Ŝ:Ŝ ŜŜ?Ŝ; ŜŜ  ŜŜYŜŜŜ"+ŜŜBŜ„K¤Ŝ'$ŜŜ
 ŜŜ"+ŜŜm
Ŝ 
Ŝ ŜpŜ =Ŝ +Ŝ Ŝ
ŜŜ\Ŝ
ŜF =€Ŝ  =Ŝ
™Ŝ" ŜeŜŜE
ŜŜŜ"
Ŝ
Ŝm
=Ŝ
$ŜŜŜŜ
Ŝ
  Ŝ"ŜŜŜ  YŜ c
 Ŝ"ŜŜ:Ŝ
Ŝ Ŝ ŜŜxŜ
 ŜŜ")ŜU+
YŜ:Ŝ ŜŜŜ"ŜŜ )Ŝm
=Ŝ
 Ŝ
Ŝ ]
ŜŜŜNP4Lb "Ŝ
Ŝ:Ŝ" ŜŜŜ
  Ŝ + ")Ŝ;ŜŜ]

"$Ŝ
 Ŝ" ŜŜ  +Ŝ Ŝ"+ŜŜ:Ŝ  Ŝ
Ŝ $Ŝ
 \IJ Ŝ%ŜŜ*’Ŝ ŜŜŜ ŜŜŜ
Ŝ
Ŝ ŜŜŜ
Ŝ
LGaËź%
źź*5ź
źvź źź źźź#źź#ź."ź
ź*.ź
ź"
ź
ź
ź!,)+2 *.ź."ź:*&
źźź
ź"źź


źÀ
:1ź
tŜE
Ŝ"+ ŜŜ Ŝ
ŜŜ
Ŝ Ŝ ŜŜŜ 'YŜ ŜŜ
+ Ŝ:ŜŜŜŜ9
øŜŜ=Ŝ  w ŜŜ 
+ ŜŜ
Ŝ
 ŜŜŜ
Ŝ $ŜŜ:Ŝ
ŜŜŜ 
 Ŝ  Ŝ  iŜ9

 4Ŝ
;ŜŜ =Ŝ  ŜŜ Ŝ"+Ŝ ŜŜ 
Ŝ 
YŜ
ŜŜ 
ŜŜ
 ŜŜ1=Ŝ A9
 Ŝ Ŝ
ŜxŜ Ŝ  ŜŜŜ9 ŜÑ eŜ 

ŜŜ
Ŝ
Ŝ ŜŜ
Ŝ 
KŜ; ŜBŜ))Ŝ'Ŝ"ŜŜ ŜŜ

ŜŜŜ Ŝ  YŜŜŜŜŜ
Ŝ
"Ŝ ŜŜ ŜŜŅ Ŝ
"+ŜŜ 
Ŝ"ŜŜŜ =Ŝ ŜŜ ŜŜ  ŜBŜ„Ŝ'$Ŝ Ŝ

}
8 K F }Et ? a A F }> ? f R ? n P d a }

ŜŜŜ *A9
Ŝ
"Ŝ:ŜŜ $Ŝ Ŝ
Ŝ# *Ŝ ŜŜÒ
ŜŜ²Ŝ Ŝ+Ŝ" Ŝ

Ŝ
ŜŜ Ŝ
  Ŝ ŜŜA
*)Ŝ#cŜŜŜ Ŝ Ŝ Ŝ
Ŝ# *ŜŜŜ  Ŝ\ ŜŜŜ  ŜŜ
Ŝ)…Ŝ'YŜŜ Ŝ  ŜŜ ŜŜ,$Ŝ
ŜŜ+Ŝ ŜŜŜ
Ŝi*^Ŝ
DŜ ŜŜ
""
 ŜŜŜŜ+


Ŝ
ŜŜ ŜŜŜ " Ŝ Ŝ

Ŝ " Ŝ  )ŜE+ŜŜ
Ŝm
=Ŝ
ŜŜ¢  ŜŜ"Ŝ
Ŝ"+ŜŜ YŜ Ŝ
Ŝ"+ŜŜŜ ŜÌ  $ŜE
Ŝ
ŜŜ
Ŝ
Ŝ"  $ŜŜŜ + ŜŜ Ŝ
ŜŜ €Ŝ
DŜ1Ŝ Ŝ" ŜŜ9 Ŝ ŜŜ ŜĨŜŜŜ#,Ŝ Ŝ*Ŝ $ŜŜŜ Ŝ ŜŜ
YŜŜE
Ŝ =Ŝ+ŜŜŜŜ ŜŜ Ŝ   Ŝʼn
Ŝ™Ŝ  ŜŜŜŜ 
Ŝp" ŜŜ  =ŜŜ  ŜŜ  ŜŜŜ
:Ŝœ  ^Ŝ
1ŜŜ
wŜŜ:Ŝ "Ŝ ŜBŜ)))Ŝ'îŜ
źź ź ź źźź;Oź
1ŜŜ ŜŜŜ"+YŜ ŜŜŜ: ŜŜŜ9 Ŝ
"Ŝ ŜŜ
,KŜ
źźź
;Ŝ Ŝ  Ŝ
Ŝ ŜQŜ
Ŝ  YŜ ŜŜŜ
Ŝ
źźź źź  #źź ź źJź źź
E+ŜŜŜŜ
Ŝ ŜŜ9 Ŝ
ŜŜ Ŝ  Ŝ ŜŜŜ
"ň )ŜEŜŜE
ŜŜ  Ŝ
ŜŜ
Ŝ+ Ŝm
=Ŝ
ûŜ
ź+++ź ź;Oźź (ź9ź0źź (ź
DŜ%BŜ))Ŝ7 4$ŜŜ6Ŝ# ŜŜ ŜŜŜŜŜ Ŝ ŜŜŜ
Ŝ
ŜŜ
  Ŝ RŜt

ŜŜŜ  ŜŜ
  
ŜŜŜ Ŝ
 #ź
Eħ+Ŝ
ŜŜ ŜŜŜ:Ŝ A9
Ŝ
ŜŜ\ Ŝ Ŝ 
Ŝ:ŜŜ
Ŝ
:Ŝ + ŜŜŜ  Ŝ $Ŝ ŜŜ ŜŜŜ
ŜŜŜ  Ŝ
)ŜH›Ŝ:
Ŝ $Ŝ ŜŜŜ+ŜŜ \  Ŝ  Ŝ ŜŜ
Ŝ9 ^Ŝ
U
ŜŜŜŜ  ŜŜ  Ŝ:ŜŜ Ŝ "Ŝ ŜŜ  Ŝ "^Ŝ
1Ŝ ŜŜŜ QŜŜ Ŝ " ŜFŜ Ŝ Ŝ€ŜŜ
"ŜcŜ
Ŝ ŜŜŜ Ŝ ŜŜ ĝ Ŝ 
÷Ŝ Ŝ
ŜxŜ

ŜŜŜ Ŝ


ŜF  ŜIŜŜ ŜŜŜ:: ŜŜ)Ŝ
ź+++źŮź ź ź0Oźźź-Oź ź- ź- |ź
”
 ŜŜŜ
ŜŜ Ŝ ŜŜ Ŝ+
ŜŜŜ " 
+ŜŜŜxŜ
?A9
)Ŝ;ŜŜ"Ŝ:"Ŝ1ŜŜ
+ Ŝ
"Ŝ  ŜŜ ŜŜ:Ŝ
Ŝ@?GŜ Ŝ*Ŝ@Ą$ŜŜŜŜŜ@'$ŜŜŜ))Ŝ'Ŝ ŜŜŜ
ź0 ;ź#ź ź ź0ź ź ź0Oźźź
;+  Ŝ'Ŝ))Ŝ'Ŝ4Ŝ#'$Ŝ Ŝ Ŝ+ 
ŜŜŜ Ŝ

}
&dv}nd} 4 \ ?{}I? P a kn} } F}

ź/#ź-  ź ź-6ź-6ź(źź/6ź ź źź ź•?ź


1 Ŝ0 Ŝ! Ŝ Ŝ
00Ŝ
05Ŝv$Ŝ$Ŝ Ŝ>%Ŝ@ vŜ˜ŜŜŜ Ŝ Ŋ

Ŝ$Ŝ Ŝ Ŝ
0   Ŝ Ŝ}Ŝ0Ŝ'Ŝy Ŝ 0ŜŜ 
 5  )Ŝ

ź (ź%ź źź%ź


1 ŜŜ
!Ŝ 0Ŝ0Ŝ Ŝ0 0Ŝ yŜ¶´ Ŝ
Ŝ Ŝ

 ź #?ź
vvv{

Ŝ5 Ŝ>%_r)#GNŜŜŜŜ ŜC Ŝ 


Ŝ>ŜCŜCv$ŜŜ>Ŝ@CŜ
@vGŜŜ Ŝ Ŝ9ŜŜ 0!
 Ŝ rŜ
ź-;?ź
;0 
Ŝ5 Ŝ£ 0Ŝ 0 Ŝņ5Ŝ

ŜŜ Ŝ0
Ŝ; 
Ŝ>Ŝ@³½Ŝ#C>Ŝ>>Ŝ CëŜ
Ŝ>HŜŜŜ0 $Ŝ0ŜŜ5  Ŝ 0Ŝ Ŝ 0Ŝ0
ŜŜ
ŜfŜ>>ŜŜ7 >Ŝ>Ŝ
7C/Ŝ7>GŜ>/ŜO vŜ7 >G)Ŝ
ź /źź źź /ź
vvv{

DŜ>>Ŝ C>Ŝ7 >Ŝ Ŝ


00Ŝ0ŜvŜŜ ĖŜ0Ŝ1 ŜŜ0Ŝ 5Ŝ 0Ŝ 
ŜfŜ
0Ŝ0Ŝ /Ŝ£  yŜŜŜ0 Ŝ!Ŝ Ŝ>Ŝ@³½Ŝ
ź źź3#9ź
vvv{

U0Ŝ0
Ŝ1 ŜŜ› @C>Ŝ)Ŝ
ź -ź
vxa{

E5
ŜŜ›) R)ŜOď`Ŝ
#ź 3źź6ź /źJźź 3źź ź ź#ź
; Ŝ0 Ŝ>`Ŝ…)rŜ7CŜ>BŜ4Ŝ
(ź źźźźź
˜Ŝ' ¡ŜŜ 0 ŜºŜ Ŝ
$Ŝ 
ŜŜ0}ŜŜ Ŝ
ŜŜ  ŜŜ

}
:LF} Et? a A F }> ? f P ? n P d a }

Ŝ 0Ŝ0
Ŝ ŜŒ)Ŝ
 ź-3;ź#źź/ź\ źź/9ź-ź&t-36ź\ ź#ź3ź-ź6ź3#ź
;  Ŝ Ŝ0Ŝ Ŝ0Œ Ŝ 0Ŝ Ŝ0 
Ŝ Ŝ4Ŝ7`G$Ŝ Ŝ0Ŝ 

ŜŜ

Œ Ŝ9Ŝ)Ŝ
6ź -;9źź\ ź \JCź@ ź
wwv{

1 yŜ
00ŜŜ
 Ŝ ŜŜy Ŝ!Ŝ
ŜŜ
$ŜŜ`Ŝ…)Ŝ7C 'ŜŜ05Ŝ
 ŜŜ

ź  ź%ź źźź


1 ŜŜŒºŜ Ŝ
0Ŝ Ŝ5 ŜŜ
 NŜ

;OGv2`? Oiv%eVv;e?bv

QL^ËźG/źź&'.ź*
ź ź A&źź3"''.źA3ź.źź3:{
ź'AA&źA/ź.ź&,>ź
źź3ź ź ź/''ź/Aź
ź A iź[5ź
®&8źa &ź
źź"ź

&źźAźA'3ź
ź,ź5A,ź:ź{
/Aź
ź''ź/'AA3ź­ź
;Ŝ0ŜŜ ŜŜ
 ŜŜŜ}ŜŜ5   Ŝ0Ŝ5}
ŜŜŜŜ
  Ŝ‹Ŝ Ŝ
)Ŝ6› 0
Ŝ®
Ŝ‡C Ŝ

0
Ŝ 
Ŝ%ŜŜ'ŜŜ Ŝ /Ŝ>ŜC /Ŝ
C /ŜŜ#>Ŝ#'Ŝ/Ŝ/Ŝ 'Ŝ'ŜŜŜ0 ŜŜ'Ŝ))Ŝ CŜ Ŝ!0 Ŝ   Ŝ0
Ŝ
0Ŝ
 ŜĔ
Ŝ'ŜR))Ŝ# 4SSŜ4Ŝ/…Ŝ
E05ń Ŝ5
Ŝ0 ŜŜ 0Ŝ1 ŜŜfŜˆý 0¬Ŝ%ŜŜ'ŜŜ Ŝ /Ŝ>Ŝ
#>Ŝ#'ŜŜ /ŜŜ/Ŝ/Ŝ'Ŝ'Ŝ ŜC>Ŝ4ŜC>Ŝ#Ŝ`Ŝ7 ŜO`ŜBŜ >Ŝ#C Ŝ%6ŜOC Ŝ
/Ŝ%%ŜŜ#'Ŝ Ŝ0Ŝ%Ŝ#SSŜŜŜ0 Ŝ0Ŝ0 0Ŝ5
 ŜŜ Ŝ!Ŝ ŜHŜ

Ŝ0
Ŝ Ŝ !ŜÖ/$Ŝ Ŝ Ŝ!Ŝ Ŝ0ŜŜ Ŝ5
Ŝ 
Ŝ%Ŝ))Ŝ)Ŝ

}
&dv}nd} 4 \ ?{} I? P a kn} t F}

UŜŜŜ; + ŜuŜ1ŜŜŜŜ (ŜŜŜ aŜ ŜŜ


 Ŝ ŜŜ (M$ŜŜŜŜ8 Ŝ((ŜŜ;Ŝ g8Ŝ8(Ŝ(Ō
(Ŝ

GT`[t#t
et /%snRP` rt /%ƒU`S
‰JC tL€„‘ ‘

$źź6źź3ź3źź ź źź6źźź/ ź


( .Ŝ(MŜŜŜM(ŜŜŜ%ŜŜ'ŜŜ Ŝ *Ŝ,Ŝ*Ŝ'ŜŜ
6ź3ź6źźź3ź ź@@ź 6ź(ź ??źnźź
1$Ŝ Ŝ%?Ŝ‡($Ŝ8ŜŜ  ŜŜŜŜ
(ź  ??ź
UUU{

; Ŝ( .$Ŝ6*êŜ‡($ŜŜŜ 8Ŝ +ŜŜŜŜ  ŜŜ ŜUŜ


( Ŝ(MŜcĦRŜ ,ŜŜ Ŝ(MŜŜ%6Ŝ@ ,ŜŜŜŜŜ%6ŜRKŜ *KŜ
ź??ź
;Ŝ8 Ŝ8+ŜŜ1Ŝ ( Ŝ+Ŝ+ Ŝ8(ŜŜŜ(Ŝ%6Ŝ
'Ŝ#' %%Ŝ ,Ŝ*Ŝ%ŜP$ŜŜŜ .ŜŜŜ. ŜŜ'Ŝ aŜ +Ŝ
( .Ŝ8ŜŜŜŜŜŜ%ŜRŜRŜ
$ź  $$ ź
lVV{

ZŜ+(ŜŜŜŜ%%ŜP *Ŝ'ŜŜŜŜ9ŜZŜ9ŜŜ(Ŝ(ŜŜ
Ŝ( .ŜŜŜ%%ŜP,ŜFM ŜŜ+ŜŜŜMŜ ŜŜ×IŜ
%%§ä Ŝ%ŜPŜ4RŜ
$$ź 3ź$ź!3ź ź  Ŝ1ŜĩM ŜŜ(Ŝ8+Ŝ6ŜŜ  jŜ
Wmm{

'?iGv9moEtv!v>OSmGvbW?tivv 2Iv

$źź6źź3ź3źźź6źź /ź źnźź


DŜ8.ŜŜŜ(ŜŜ *AŜŜŜ(MŜŜ¨ŜP 4ŜŜ+ŜŜ1aŜ
Ŝ8+‚Ŝ
%[! £ lCźa'ź&AAnź/Anź*5ź,A"*3źźź 6?Cź ź6ź 6ź6źCź
m mm{

, ź% 
ź n5źA&ź
ź@/'ź,
ź

n
źA/źź9ź,{
ź
ź5

źCź
ZŜŜŜ  (ŜŜŜ( .aŜ $ŜŜŜ((ŜŜŜ¯8Ŝ*jŜ;ŜŜ
8+Ŝ( .Ŝ Ŝ ŜŜŜŜŜŜ<jRŜ'¬ŜŜ8($Ŝ*Ŝ# ,ŜFO+Ŝ
 Ŝ# ,ŜpŜaŜ ŜŜ  aŜ Ŝ8Ŝ8 Ŝ  $ŜŜŜ( ŜŜ ŜŜŜ

}
8 L F }Et? a A F }> ? f R ? n P d a }

Ŝ( .ŜIŜ*ŜŜ'Ŝ'Ŝ'Ŝ#'Ŝ46A6ŜP 4Ŝ?Ŝ#Ŝ#?ŜFŜM (Ŝ(ŜŜŋ


 ŜŜ. ŜŜ 'IŜ cĦ # ,Ŝ# 'Ŝ%6Ŝ,Ŝ6A6A6Ŝ%%ŜŜO4%Ŝ ŜFŜŜ((~
 Ŝ + ŜŜŜŜ. ŜŜŜŜŜ.  IŜ%ŜŜ#* %,Ŝ
PŜ4%Ŝ@ XŜ *NŜF+ Ŝ  ŜŜ. $Ŝ@8+Ŝ ŜŜ +ŜŜ
ŜŜŜ.  IŜ%*Ŝ#XŜ# 4Ŝ%'Ŝ# Ŝ*Ŝ%4ŜP,ŜŜ%?Ŝ#Ŝ#*Ŝ Ŝ( .Ŝ
 ŜŜ(ŜŜ Ŝ+((MŜŜFŜ8+Ŝ%6NIŜŜˆċ(~
;K@Ē8+$ŜZ8.Ŝ66Ŝ
;(w+(M$ nŜŜP 4Ŝ'Ŝ# ,Ŝ'Ŝ4Ŝ*ŜXŜ?ŜOXŜ'ŜcĦ ,Ŝ *ŜF8Ğ Ŝ1aŜ
.  Ŝ(MŜŜ  ŜŜŜ IŜ%6Ŝ#Ŝ  Ŝ%%Ŝ# Ŝ# 'Ŝ%ŜO Ŝ
#  %,ŜP ŜŜeŜ ŜŜE¨((AˆEœ+ $ŜuŜ66*$Ŝ ŜŜaĦ
.Ŝ( .Ŝ( Ŝ+Ŝ  ŜŜ+ŜŜŜ+ŜŜŜ ŜŜ
%,ŜŜ# 'Ŝ%ŜP Ŝ6A6A6Ŝźź%*Ŝ Ŝ NŜ

nźź%ź nźź%ź
—g (MŜ (M ŜŜ'Ŝ ;Ŝ(  ŜgŜ

GT`[t't
et 7?wk rt33…yWi
ˆ€„w_D n‘ 0LCPˆL‘‘

$źź6źź3ź3źźź6źź /ź źźCź


1ŜŜ88 ŜŜŜ *Ŝ ŜŜŜŜŜ A(ŜŜŜ.Ŝ
#ŜŜŜŜ 8ŜŜO+$ŜD+ .Ŝ  qŜ+ŜŜ ŜŜ Ŝ
Ŝ1cŜ Ŝ(M Ŝ,Ŝ# ,KŜ
ź888źź
;Ŝ  ŜŜ(ïŜŜŜŜŜ(ŜŜ 8ŜŜ8+((Ŝ . Ŝ

}
&dv}nd} 4 ] ?{} I? P a kn} t ªŜ

ŜŜŜŜ ŜŜŜ
Ŝ /ŜŜ Ŝ  $Ŝ2 Ŝ
ŜLŜ55 Ŝ
.ŜŜ5
ŜŽ Ŝ Ŝ  Ŝ   
ŜŜ
Ŝ
6ź ź3źźź
1 Ŝ  Ŝ Ŝ Ŝ

Ŝ Ŝ2
ğ ŜŜ
.Ŝ Ŝ Ŝ
Ŝ
ź+++ź 6źźź

źź%ź ź6źź
ZŜĪH?Ŝ  ŜŜ.Ŝ ŜŜ /ŜŜŜ.Ŝ9

1Ŝ Ŝ .Ŝ2 Ŝ ŜŜ


L
Ŝ
)Ŝ
QL^Xź[źĄAţŘźźźr"źA/ź

ź&Ažźźź&*.iź&,ź
 
"
"ź

źźAź*Aźź3/33ź.źź&,+ź
; Ŝ5Ŝ Ŝ² ŜŜ Q Ŝ ŜŜ /$Ŝ ŜŜŜ
ŜŜ$Ŝ
Ŝ.Ŝ
.ŜŜŜŜ <ŜDŜL
ŜŜ Ŝ /H9
ŜŜ
! Ŝ Ŝ2ŜŜŜŜ Ŝ
 Ŝ
ƒŜ;Ŝ.ŜŜ ŜŜQ  ŜŜ Ŝ9
$Ŝ Ŝ ŜŜŜ
 Ŝ2Ŝ
Ŝ2ŜŜ24$Ŝ Ŝ5Ŝ.ŜŜ
ŜŜ2Ŝ1 Ŝ
G› Ŝ 
Ŝ $Ŝ
Ŝ
5Ŝ Ŝ /H9
$Ŝ.ŜŜ
ŜŜŜ
ŜŜðŜ
Ŝ

$ŜŜŜ Ŝ.  Ŝ2 ŜŜŜŜ įŜŜ ŜŜfŜ
5Ŝ9
Ŝ
®

5
$ŜŜŜ.  ŜŜŜ /ŜLŜ2ŜŜ24ŜŠ Ŝ ŜŜ2. Ŝ
.ŜLQŜŜ Ŝ Ŝ ŜŠ
Ŝ7GŜ
.ŜZŜ Ŝ w !Ŝ4ŜŜ#'$Ŝ Ŝ Ŝ

h ŜŜŠŜ<<Ŝ $ŜK)KŜ#2Ŝ Ŝ Ŝ)<Ŝ#2 /$Ŝ
Ŝ Ŝ?Ŝ /NŜ# /ŜBŜ# /Ŝ
Ŝ
Lg
 ŜLŜLŜ9ŜŜ 
ŜBŜ<<<Ŝ7 /SŜ36Ŝ7GŜ7 4 33Ŝ2/Ŝ' 3Ŝ
')ŜEŜ.Ŝ Ŝ2Ŝ2  Ŝ Ŝ5.Ŝ Ŝ Ŝ 
2Ŝ
 

BŜ<†Ŝ /Ŝ7›  ŜŜ ŜŜŜ /Ŝ!$Ŝ! Ŝ Ŝ2ŜŜ24Ŝ ŜŜ Ŝ
1 Ŝ Ŝ5Ŝ Ŝ

ŜŜ
 
Ŝ

}
: L F }Et? a BF} > ? f P ? n P d a }

DŜ ŜŜ2Ŝ.Ŝ›\ Ŝ Ŝ
 
ŜŜ /Ŝ ŜŜ$Ŝ ŜŜŜ
Oź- ź†‘†Æ†?ź
7› Ŝ 5Ŝ;1 
HUŜk2h$ŜŽŜ3BB?$Ŝ.Ŝ Ŝ Ŝ
Ŝ Ŝ?Ŝ)Ŝ Ŝ
BŜŜ#2 36Ŝ6Ø6Ŝ#2 / 33Ŝ7Ŝź6ź33)#,ŜF
  Ŝ Ŝ Ŝ
Ŝ
g g
$Ŝ2 Ŝ
  Ŝ
5Ŝ
Ŝ Ŝ 
Ŝ.Q  Ŝ Ŝ Ŝ Ŝ /IŜ3Ŝ2,Ŝ# /Ŝ3,Ŝ
 ,Ŝ4 3Ŝ7Ŝ#,ŜFf
Ŝ ŜL ŜŜ Ŝ Ŝ\$Ŝ2 Ŝk2hŜ

g ŜŜfŜ2Ù
Ŝ Ŝ Ŝ  ŜŜŜŜ
L
Ŝ ŜŜQ5Ŝ 
 IŜ
3/Ŝĕ,Ŝ6H6Ŝ3'Ŝ# ŜFŜ.ŜŜ!Ŝ1 ŜŜ  ŜŜ
Ŝ Ŝ Ŝ34Ŝ
#$Ŝ
 ŜL
 µ Ŝ Ŝ52QLQ!Ŝ3?Ŝ#'GNIŜ34ŜR<ŜR¾/NŜFŜQ5
 Ŝ5!Ŝ
 Ŝ Q! Ŝ.qŜ 5Ŝ Ŝ Ŝ Ŝ5
Ŝ5d IŜ34Ŝ'Ŝ@' 3?Ŝ@'Ŝ
' 3BŜ7/Ŝ 'Ŝ6Ŝ7 Ŝ@d?Ŝ3Ŝ@XŜ74ŜŜŜ?Ŝ,Ŝ7 ,Ŝ/ŜŜ /Ŝl 4Ŝ/Ŝ#Ŝ
Ŝ'Ŝ7/Ŝ7/Ŝ4Ŝ /Ŝ@XŜ?ŜlXŜ/Ŝ Ŝ› 1 Ŝq Ŝ5.Ŝ~
L ŜŜŜ
Ŝ$ŜŜ Ŝ5!Ŝ.Ŝ  Ŝ<<ŜŜ
 ŜŜ ]

 Ŝ2Ŝ 5Ŝ
k2hqŜŜŜ  Ŝ Ŝ Ŝ5Ŝ–lŜ
Ŝ.$Ŝ2 Ŝ ÉŜ Ŝ!
Ŝ ]
 )ŜD  ŜĆ
.Ŝ Ŝ Ŝ
5Ŝ5. ŜLŜ Ŝ?Ŝ<<RŜ Ŝ¢ Ŝ Ŝ1 Ŝ
Ŝ5.Ŝ Ŝ Ŝ5Ŝ Ŝ /$ŜŜ.Ŝ Ŝ 
Ŝ2Ŝ ! ]
 ŜQŜ9)ŜZŜŜŜ!
ŜdŜ› Ŝ  $Ŝ2 Ŝ ŜŜ1 ŜŠQ ŜŜŜ Ŝ
! Ŝ Ŝ› $Ŝ 
2Ŝ! Ŝ Ŝ2.ŜŜŜ
 ŜŜŜLŜ ÚŜ
2 Ŝ Ŝ
Ŝ Ŝ SŜ
DŜ.Ŝ Ŝ Ŝ! Ŝ\ Ŝ.Ŝk2h$ŜDŜŽ›Ŝ Ŝ

Ŝ?Ŝ<Ŝ@ ?NŜŜ
Ŝ2.Ŝ. Ŝ Ŝ!Ŝ25ŜŜ 
 ŜŜ2?<ŜDŜLŜBŜ /Ŝ# /Ŝ36Ŝ# /Ŝ
7 /Ŝ.ŜŜ 
Ŝ5
Ŝ Ŝ Ŝ 5$ŜŜBŜ/$ŜŽ ŜfŜ]
 ŜŜ /$ŜŜ
Ŝ 
ŜBŜ†<Ŝ2/ 36Ŝ#Ŝ 33Ŝ#/Ŝ7? 3Ŝ7Ŝ#/Ŝ
(ź3x?ź
;ŜŜ Ŝ2!$Ŝ.qŜ2 HŜŜ2Ŝ   Ŝ ŜQ!Ŝ 
Ŝ 
Ŝ
Ŝ <ŜZ

Ŝ1 Ŝ5  Ŝ!Ŝd ŜfŜ2.ŜŜ

  Ŝ Ŝ Ŝ
Ŝ
ŜBŜ/NŜźîź 2 Ŝ Ŝ /i9
åŜZŜBŜ))<Ŝ2/ 36Ŝ#NŜŜ
33Ŝ#/Ŝ7?Ŝ3Ŝ2,$Ŝ}µ\ Ŝ$Ŝ.Ŝ!
Ŝ  
Ŝ
Ŝ Ŝ2.Ŝ. <Ŝ; Ž]
Q!$Ŝ1 Ŝ Ŝ!ŜL
 ŜBŜ7 ¿SŜŜBŜ)Ŝ  3‰Ŝ !Ŝ.Ŝ ŜŜ
!
Ŝ.
ŜŜŜ'Ŝ Ŝ33Ŝ2/<Ŝ
(ź 3xź ź 3xź3ź źźx9F?ź
rrr{

;Ŝ2ŜŜ33†è†7NS«Ŝ
Ŝ5$Ŝ3Ŝ ,ŜF Ŝ Ŝ3Ŝ‰H‰SŜ#/N$ŜŜ3Ŝ
lXNŜ#2NSŜ3,Ŝ,Ŝ# /ŜŜ9IŜ3ŜR<<Ŝ7 Ŝ3,Ŝ,Ŝ7 Ŝ3ŜO›F Ŝ2.Ŝ9ŜŜ

 $Ŝ2 <<<IŜ3Ŝ<<<Ŝ́Ŝ3/Ŝ@,ŜF3/ŜlSŜ# GŜ3'Ŝ# Ŝ7Ŝ ŜIŜ
3/Ŝ<)æŜ# Ŝ3'Ŝ@ Ŝ#,GŜ34ŜlXŜ#/Ŝ3?Ŝ7Ŝ,Ŝ3BŜŜ Ŝ Ŝ5Ŝ !]
 Ŝ Ŝ.)Ŝ
ź 7Z 
.ŜŜ 
Ŝ 
Ŝ3ŜlŜ/ 3,Ŝ7 ,Ŝ / 3Ŝ,Ŝ/Ŝ çŜ
$ź - 3?ź
rrs{

}
& d v }nd} 4 ] ?{} I? P a kn} t F  }

Ě " .ZTĚ nź


VĚ$ '5†5Ě źĚ  ĚĚ " ªĚ Ě!0Ě$ ( Ě" 'Ě PĚ$ ( Ě (Ě
"! +ZĚ$+Ě /! +Ě 6!.Ě  Ě  Ě ĚĚ Ě :Ě Ě Ě " Ě  Ě Ě  0Ě O
 Ě ĚĚ Ě ĚĚSĚ$(Ě55Ě"+$+Ě " .Ě X! +Ě t.Ě "! 2Ě 9! 2$-Ě /! +Ě 6!.Ě
$*Ě6'Ě 6! +$2Ě "-Ě"!-$aĚ 6!-`Ě Lï2Ě  ĚĚ Ě 3 Ě ĚĚ ĚO
ĚĚ Ě tĚ  Ě  Ě  Ě Ě

nźźź ź ź%ź


K Ě " Ě g Ě +Ě

źźxź
" Ě  ĚĚĚ$(Ě5Ě-Ě
 ?ź
•ĚĚĚ -ĚĚ Ě Ě$ ‡Ě".ZĚ +Ě­.Ě/ 'bĚ
ź)))ź- ź xźź xCź
’AĚ 8ĚĚ Ě   0Ě Ě Ě Ě Ě Ě ĚĚĚĚ Ě Ÿ
 5Ě ^Ě ĚAĚĚÅĚ  0Ě Ě3 Ě Ě Ě  Ě Ě O
Ě  Ě  Ě ĚĚĚĚ !Ě Ě  ĚĚ  Ě
6źź źxź/ź ź/ź  (źź /źnź(ź
7þĚ Ě Ě " Ě Ě$ aĚĚ!.Ě '1Ě"'5Ě
ź?ź
•ĚĚĚĚ  ĚĚ'1Ě" (Ě" .Ě '$Ě 6+ÌĚ
ź)««ź ź ź- źxźź/źźź ź\ źź?ź
f ĚĚ Ě ‡È8ĚĚ" JĚ  ĚĚ Ě 0Ě Ě" Ě  Ě  Ě
ĚĚ 0Ě Ě Ě Ě '+Ě9 (Ě/.Ě PĚ '+̧Ě/!'Ě'.Ě 6!'Ě 9 ‡SĚ'.Ě 6'Ě-0Ě
 Ě

}
8 L F }Et? a A F }> ? g P ? n P d a }

ź) ))ź /xźxźź 9ź6ź\ ź9źź-ź ź ź/ ź- ź(źJź ź
? Ě" Ě ĚĚĊ Ě ĚĚ'ăĚ/ .0Ě  Ě §†Ě"-ˆĚĚ 0Ě (1Ě
L'Ě 9 ‡Ě($Ě "'Ě/+`Ě('ĚLĚ 9 (Ě Ě (Ě 5ĚV0Ě Ě Ě Ě Ě
3 Ě   Ě Ě(1Ě9'éĚ
ź\/ź-/ 9ź ź\ź- 9źź\/ź-źź -?źnźź

nź(ź%ź źźź
UĚ Ě " cĚcĚ ĚĚĚ 3 Ě  Ě Ě Ě  Ě

?Ě ĚĚĚ Ě Ě!  ĚĚĚ Ě((Ě9 (5Ě


ź))1źxCź ź\/ ź-źxźxź-/9ź
K Ě Ě (.Ě5Ě9 `Ě (-ĚL'Ě 9!+`Ě(*Ě L (Ě PĚ (*Ě L(Ě 9(`Ě (2Ě L'Ě 9tĚ SĚ
(*ĚxĚ9(`Ě(2Ě L 'Ě 9.`Ě (aĚ “(Ě-Ě+1Ě 62`ĚL*Ě Ě ĚĚĚ  ĚĚĚ Ě
+$ĚxĚ9 (Ě Ě
6ź- /??ź
G ĚĚĚĚ7Ě(-Ě9 'Ě Ě Ě ĚĚ Ě  ĚĚĚ Ě
ĚĚ  Ě(-Ě55Ě9 `Ě(*ĚL'Ě 9 '¢Ě(2Ě LĚ 9 `Ě
6ź)))ź- 9źź\ź- 9ź ź\ź-ź
ź‘ ź
9 ĚĚ  Ě Ě Ě  Ě Ě ĔĚĚ(Ě55Ě-ZĚ

#2/L *L ) .
L%) A5)E5?=L
STT{ TTT{

źź 6źźźxźźxźxźźź
/Ě Ě3 AĚ Ě0Ě  Ě 0Ě AĚ  Ě ĚĚĚ!Ě
 Ě¾Ě Ě +Ě (ĚĚ  ĚĚ ĚĚ Ě †Ě

 }
&dv}nd} 4 \ ?{} I? P a kn} t ©Ě

ź111ź6źź /źźź$ź

ź$ź%ź źź%ź
7 Ě Ě Ě  Ě Ě Ě  Ě K Ě   Ě

3Ě Ě kºĚĚ ĚĚ  Ě Ě Ě   Ě" ĚĚĚĚ  Ě
!  Ě Ě  :8 Ě  Ě 7Ě .ĚĚ" *0Ě3 Ě Ě ĚĚ Ěė
 Ě ĚĚĚĚ Ě Ě Ě Ě  Ě Ě ĚĚ  ĚĚ Ě
Ě

v>OSmGv bW?tivv &EvBrEvv BrEv

GU`Zt-t
et ,%sn`o[ƒW‹![ƒ`jPz A%gƒz_ƒƒ
:‰ wVn‘4ektXCJ‘ ‘

$źź6źźź#źź#ź#źźź6źź /źź6źźź

%[- G lXź*5źA"'3ź&*.ź6ź111ź#>ź,  źAź


ź/źA/ź
źźź
AAźźź
ź, 
ź5
źAź$źAi
ź
źź

ź@
r"1ź¬A,:Č>ź
ź,5źźź#Cź#źZźCź, ź/ź*5ź
&'.źZź) ))ź/9?ź
ź A&źź
&&źź'A
źvź(ź0>ź&'ź
$ź-/$+ź
? Ě Ě Ě  Ě Ě 2ĚĚ"! (ĚaĚ6! (Ě"2Ě P'Ě Ě ĚSĚ R1Ě 1[1Ě C Ě
 Ě  Ě  ĚĚ Ě 8 Ě 0Ě  Ě  Ě  Ě 8ĚĚĚ 0Ě

}
8 L G }Eu? a AG} > ? g R ? n P d a }

Ě3 ĚĚ  Ě ĚV ĚĚ  ĚĚĚ" Ě  Ě!  ĚĚ  Ě +Ě


ź3ź#źźź
" Ě  ĚĚ Ě  ĚĚĚ!   Ě Ě ?ĚĚĚĚĚĚ
 Ě Ě *ĚddĚX -ZTĚ 2Ě 1É1Ě X! +0Ě  Ě Ě +:Ě Ě  Ě Ě
\:"ĚfdĚ?  0Ě Ě ĚĚ  ĚĚYĚYĚ\O
"0Ě  Ě  Ě Ě" ĚgĚ  ĚĚ  Ě  Ě á ĚK Ě  Ě  Ě
Y  Ě 3 Ě30Ě Ě  Ě Ě  Ě  Ě ĚĚ Ě Ě Ě O
 Ě ĚĚĚ?ĚĚ ĚĚ Ě ĚĚĚ Ě 0ĚĚ?ĚĚ Ě
  Ě Ě  ĚĚ Ě Ě Ě Ě Ě ĚĚ Ě Ě Ě
Ě  Ě  ĚĚ
7ĚaĚX! +Ě6! +Ě R1ĚX (Ě-ZĚ P ĚĚ Ě Ě X.sĚĚ Ě ĚĚ
œĚ  Ě Ě Ě Ě   Ě Ě Ě.ĚĚ3 Ě ĚĚ øĚ Ě RRĚ
9tĚ62 R'Ě/! .0Ě   Ě" ĚĚĚĚĚ  Ě ĚĚ R'ĚdĚ" -SĚ R R Ě
6'ĚX*Ě" Ě Ě Ě  Ě R'ĚdĚX -Ě  Ě  Ě dĚ" .0Ě  0Ě Ě3 Ě Ě
  Ě̙Ě Ě Ě  dĚG› Ě  Ě  0Ě  Ě \["Ě Ě
 ĚĚĚĚ !Ě  0Ě ĚĚĚĚ Ě Ěk Ě  ĚFĚ
G Ě~ĚĚĚ Ě Ě  Ě-Ě5Ě".Ě  dĚ
Zźeźź(źź6Cź
7Ě ĚĚ Ě 3 ĚVĚ ~ĚĚĚ!  Ě80Ě Ě Ě  Ě
  Ě Ě Ě ĚĚĚkĚĚĚ <ĚĚ  Ě Ě  ĚĚ Ě
Ě Ě ®ĚĚ 0Ě " Ě  Ě Ě  Ě  ĚĚ  ˜ Ě +Ě  Ě
 Ě ĚĚ Ě [ĚC Ě  Ě Ě  Ě Ě ĚĚ *0Ě Ě ĚĚ
Ě Ě  žĚĚ  Ě Ě  Ě  Ě :0Ě  Ě  Ě  Ě  Ě  Ě Ě
 ĚĚ Ě  Ě \ Ě 3 ~Ě<ĚĚ Ě Ě    Ě Ě  Ě
  Ě  Ě Ě Ě ĚĚ+:.Ě  ĚĚĚ  ĚĚĚ
$źź 6 $$ź źźźź
à ĚĚ Ě Ě Ě  Ě Ě Ě R'ĚX.Ě
$źź
ň˖œĚĚ R'Ě X+0Ě  Ě Ě !  ĚĚ (0Ě  Ě R'Ě5Ě .Ě R(Ě X .Ě"! .Ě
R+Ě ! .ĚX *Ě Ě Ě  Ě Ě
$ź) ))źź
3 Ě đ¡ĚĚ  ĚĚĚ R(ĚX.ZĚ Ě Ě ĚĚ  ĚĚ Ě8 Ě
$źhź •ź
7Ě<Ě ĚĚĚ Ě Ě  ˆĚ Ě Ě  ĚĚ +ĚĚ!  ĚĚ
Ě 3 ~Ě  Ě Ě(dĚ V0Ě R(ĚxxxĚX * R+Ě"(Ě1¥1ĚĚĚĚĚĚ  Ě
 Ě Ě

$źź ź$ź?ź
7ĚùĚĚĚ C ĚĚĚ ĚĚ Ě Ě  Ě Ě m Ě
Ě Ě Ě Ě FĚ ĚĚ ~ĚVĚ Ě  Ě ĚĚ! Ě

}
&dv}nd} 4 ] ?{} I? P a kn} t F}

  
ŪŪ "%ŪŪ Ū ŪŪŪŪ   Ū Ū ŪŪ Ū ŪŪ
V


ŪŪŪ%Ū Ū ŪŪ Ū 
Ū Ū$1&111Ě 4ŪŪ5Ū Ū

>ŪŪ ŪŪŪŪ  
Ū  Ū Ū

QL^Ëź%§
ź3ź
Aź5&źAź3.źź ź
Æ"&>źźvź
 ź A&źź 3źA·ź§ź3vź
Aźź&:ź&A
Aź,
ź
,5ź&,źź,§ ź ź źAź*ź ź
AźA&*
ź

8ź
CŪÄŪŪŪŪ  ŪŪ %Ū  Ū Ū  Ū ” ŪŪ ŪŪ  Ū
”  Ū ”8ŪŪ%Ū Ū € ŪŪ
ŪŪŒ ”Ū Ū Ū 5vŪ
a ŪŪ ŪŪ  Ū Ū 
ŪŪŪ   
ŪŪ1)Ū*
'JŪC Ū
Ū   Ū   Ū Ū  Ū ŪŪŪ ŪŪ Ū "Ū 
Ū !Ū 
Ū Ū Ū
Ū "%Ū Ū5Ū Ū ŪŪ Ū Ū ŪŪ 8 Ū Ū !Ū
#ź888ź ź 6ź!ź  ź!~ź! źźź

źź%ź źź%ź
H Ū Ū 
Ū    Ū   Ū Ū ŪŪŪ Ū

  ŪŪŪ ŪŪ %Ū Ū Ū ŪŪŪŪa  %ŪŪ >ŪŪ Ū Ū çŪ
Ū 1:1Ě nŪ Ó2Ě * )Ū Ū 
Ū ŪŪ$2Ě   *
Ū  Ū QŪ 1 64Ū Ū )Ū$aĚ "Ū 
Ū$2Ě4  R{* $Ū$aĚ
"JŪ Ū Ū  gŪ GŪ Ģ Ū   Ū  Ū nŪŪ Ū  V
 ŪŪ   Ū Ū !Ū
ź!#ź!ź (ź ź§6Fź

®GaXźL ź  źź:


*ź&*"ź
A ź
*ź58ź%  źAvźźź

[3:ź¤
Aź
ź:'"źAź888ź 6źź3.ź
ź, 
ź5
ź

•@r">ź, 
ź
źźźAź
§źź
Aź3
*.ź

5źA¹

źAź
Aź'ź
ź,.źAź
ź3:źAź
ź@&,8ź

}
: K F }Et? aAF} >? g R ? n R d a }

ź3ź@ź źź! źź§#ź


ĵ>Ū ŪŪ
  ŪŪŪnŪ 
Ū
ŪŪ Ū   Ū Ū
  >Ū  Ū  Ū 
Ū ŪŪ Ū :
%Ū Ū ŪŪ Ū Ū 
ŪŪ
:  Ū  
Ū Ū Ū  
Ū ŪŪŪ  Ū
 Ū Y %Ū ŪŪ
Ū Ū
 Ū Ū Ū  Ū %Ū ŪŪ  Ū Ū !Ū  Ū"Ū 
Ū Ū  Ū

ź288ź!źź0ź! źź!ź 6ź #ź ź•Cźź#ź

ź#ź%ź ź6ź%ź
GŪ   ŪŪ ģ Ū Ū Ū

  >ŪŪŪ Ū '$Ū * "Ū


 "ŪŪ5Ū ŪŪ Ū Ū ŪŪ Ū ıŪ Ž
 Ū Ū5ŪŪŪ Ū Ū 
Ū ŪŪ Ū Ū ŪŪ Ū   %Ū Ū
Ū  Ū Ū ŪŪ Ū Z Ū Ū "Ū >Ū Ū 
%Ū Ū  Ū Ū Ū Ū
Ū ,ĚŪ

6źJź!3źź!#ź6ź źź
QŪ Ū Ū  ŪŪ  Ū ŪŅŪ 
%Ū Ū  >ŪŪŪ ŪŪ)N
: Ū  Ū Ū

 źIJ88ź #Cź(ź?Cź!Cź
ªŪ´ŪŪŪ çŪ
>Ū
ŪŪ"<: Ū4 4Ū

ź!ź#ź ź!ź9źź0§ź!JCźź6ź
GŪ ŪŪ 
ŪŪ Ū :
ŪŪŪŪ 
ŪŪŪ  
Ū

ź!ź!9Cźź źź@ ź

}
&dv}nd} 4 \ ?{} I? Q a kn} } F}

  v>OSmGv bW?tivv &EvBrEvv 2rE$v

GT`Zt2t
it /6_P`yƒkk`o CIskhs‡
1q€GqŒ‘ ‘

źź6źźźźźźJźźź6źź /źź6źźźź C?źźź

źźź ź źź


p Ū 00Ū  @>0Ū 0Ū p Ū0–Ū

CŪ  Ū  ´Ū  Ū 53Ū ªŪ  0Ū ŪŪ 00 Ū  00Ū Ū nŪ
h  N tŪ›Ū  Ū XŪ 
"Ū * $%Ū 
Ū  0Ū  0ŪŪ  Ū Ū   
Ū B¤Ū  Ū V
0 %Ū XŪ3 3Ū* $Ū 9Ū * $Ū  $Ū MŪ/EŪ 0 Ū 00Ū MŪL 3LŪBLŪ
ź888źC?ź
ªŪ @Ūm @>0Ū
ŪŪŪ
Ū  ? ŪŪŪ Ū@ 3Ū GŪ
 @Ū
0ŪŪ5Ū Ū ŪŪ XN%ŪŪ  @Ū00ŪŪ Ū tŪŪ tŪŪ
Ū 0  Ū 3Ū
źź ź(ź@ź
6›Ū  Ūm?@Ū %Ū5Ū
Ū  
ŪŪŪ ŪŪMŪ/ X%Ū 
V
 ŪŪ Ū  tŪ
 Ū 

< 0™ŪMŪL33Ū= 9Ū17Ū/$ŪWŪ 00 tŪŪ 0Ū 17Ū/XŪ

"Ū 1 1 Ū 
"Ū /
"Ū 
Ū Ū @
Ū  Ū 5ŪŪ 0ŪŪ 
Ū tŪŪ

Ū
)TŪ 1°ŪŪ= E 1 1 ŪXŪ
" 1EŪ 
"Ū /Ţ
" 1!Ū* !Ū W
Ū Ū 1!Ū /9ûOŪ * 9 1"Ū 9OOŪ
Ū " 1"Ūn› /) 1)Ū“\Ū ź
/EPŪ ŪŪŪTŪ1!Ū 3  / ¼ź
GŪ Ū0ŪŪXŪ0Ū   %ŪŪ  @>0Ū @Ū0Ū  ŪŪ ŪŪŪ 0Ū

}
8 L F }Et? a BF} > ? f R ? n Q d a }

0: 0ŪŪŪ < %Ū0  ŪŪ 0Ū Ū :0ŪŪŪ 


Ū ŪŪ 0
Ū Ū  ŪŪ
  Ū

Y Ūm @ŪŪ 0 tŪŪ ~BŪ  L =


Ū EPOŪ 
Ū

ŪŪ 0 Ū Ū 1$Ū “EŪ/XŪ
1XŪ BŪ* $Ū 19Ū= 1%Ū 0Ū5Ū0ŪŒ0ŪŪŪ Ū  tŪŪŪ  @Ū
ŪŪ Ž
 Ū Ū  @Ū 
Ū  Ū   tŪ 0ŪŪ0
ŪŪ@ ¨Ū
19Ū   7
Ū 7N7Ū 1MŪ"–Ū “ķ9Ū E7Ū BŪ * 9ŪE1Ū/"Ū* XŪEEŪ"Ū = 9Ū E!Ū *EŪ *BŪE"Ū = 9¶Ū 9Ū EBŪ
= 1Ū / XŪE$Ū /"Ū * $Ū EXŪ/ BŪ * "PŪE9Ū“\Ū 
Ū 1N7Ū 0ŪCm @NZLm @%Ū
š 0
ŪE77XŪ

ªŪ Ū0Ū Ū ŪŪ >4UU(Y.H?U>?L:b0%Ū


ŪŪŪŪ00  0%Ū G @Ū
=%Ū
ŪŪŪ~BŪ   =
Ū "–Ū 0Ū Ū Ū Ū%Ū0Ū  @Ū  0ŪŪ0V
ŪŪŪ Ū  Ū 1XŪ  B%ŪŪ [?V>b-Lb4]VS-b V4JPNb  ŪŪ 0 Ū V
Ū1$Ū!Ū= ! 1 X Ū“EŪ=!PŪ 19Ū/!Ū/X 1MŪ BŪĨÞ $ŪE7Ū/$LŪ   @Ū0Ū Ū V
0Ū ŪŪ   ŪŪŪŪŪ Ū 0ŪŪŪ Ū@ Ū 
ŪŪ
š
Ū  0Ū Ū
0 
Ū 0Ūˆ;Ū0Ū  ŪŪŪ 00>Ū ¡ Ū  Ū
Ū ŪŪ a Ū %Ū ŪŪ ŪŪŪ0t Ū ŪŪ m @Ū ŪŪ
E7Ū33Ū7<7<7 E1Ū = 1Ū Ū Ū0Ū  Ū Ū‡ŪŪE13“9– 3 Ū*Ū ŪEEŪ"ŪŪ
Ū Ū  Ū EEŪ33Ū=9–%Ū 
 ŪŪ @ Ū ŪXŪ 
Ū 0Ū @ ŪŪ 0 Ū Ū ŪE!Ū
BOŪ Ū Ū Ū 0 
ŪtŪ E!Ū3 3Ū*"%Ū Ū 5Ū 0Ū  Ū Ū  @Ū Ū
!LŪC
Ū Ū
5Ū 
0Ū @Ū Ū
  ŪŪ <Ū  ŪE1Ū = 1Ū “9%Ū Ū 0ŪŪ  @Ū
ŪŪ    Ū ŪŪ  @Ū 0ŪŪ 0Ū @Ū EEŪ 3Ū
"Ū 
Ū E!Ū3Ū*
B3Ū

ªŪ 00Ū Ū0Ū
 ŪŪ  @Ū0Ū Ū 0Ūy“ŪŪ0Ū 0 Ū Ū0ŪŪ
m @Ū0Ū   
ŪŪ Ū Ū  %Ū 
Ū “  Ū
 
ŪŪ  3Ū

(ź 6ź ź /źź
W mm{

ZŪ  @Ū 0ŪŪ  Ū Ū  <0: 


Ū 00Ū  Ū LŪ

ź9źź ź ź źź(ź


m @Ū0Ū 
Ū  ŪŪ ŪŪŪ  0 Ū0™Ū 5Ū 0Ū 0 V
 ŪŪ  Ū
Ū 8Ū
 Ū
ŪŪB<Ū 0Ū  ŪG  Ū Ħ  V
DŪ0ŪŪ
Ū Ū0 Ū Ū

źCź6ź
yŪ  0ŪŪ
ŪŪ 0ŪŪ  tŪ 1!Ū 33Ū
 "OŪŪ1"Ū* "Ū  0ŪŪŪ
@ ŪŪ Ū 
Ū 0: Ū  Ū Ū0 0Ū Ū B<Ū

źź ź
  @Ū 0Ū Ū   ŪŪ ŪŪ ŪŪ


ŪtŪ~BŪE3Ū

ź ź ź 6źź 6ź ź /ź


G  ŪŪ ŪŪ ŪŪ19Ū *B–Ū Ū ŪŪ  @Ū:Ū00Ū 0 %Ū
1MŪ * $Ū  0Ū Ū

 Ū ŪŪ @ŪŪ93Ū

ª0
Ū 1XŪ 
BŪ /
) 1 9 Ū*!Ū °<°<°– Ġ Ū
Ū Ū   @Ū  @ Ū  0Ū
ŪŪ
< ŪŪ 1MŪ333Ū=; 93Ū G;0Ū 1MŪ /XOŪ 
Ū Ū Ū  Ū  0Ū Ū1MŪ3 L3Ū=
9ŪE7Ū
/ XŪ =!Ū E1Ū !Ū 
"Ū ¡ ŪŪ iŪ 0>Ū  %Ū 5Ū 
ŪŪ 0 Ū
Ū Ū

}
&dv}nd} 4 ] ?{} I? P a kn} t F}

ŜŜŜ,ŜŜŜr)rŜ#*Ŝ
$ź+88ź/ Cź$ ź3ź3hź$ź(źźźź

ź(ź%ź źźź
 ŜŜ 8Ŝ  Ŝ ¼ź
1Ŝ ŜŜŜŜo!Ŝ

1Ŝ !ŜŜŜŜŜŜeŜŜŜĸŜŜ
› ›!Ŝ DŜ ŜVŜŜ
Ŝ Ŝ Ŝ%BŜ Ŝ

@ sŜ ŜŜ9Ŝ “Ŝ Ŝ Ŝ ŜŜrŜ
  ŜŜŜŜ o ŜŜ
$(ź+++źźź-3$ź
:
D  ŜŜ Ŝ Ŝ A·°Ŝ Ŝ8ŜŜŜ `ŜŜ6Ŝ)Ŝ Ŝ
{Ŝ JeŜ%Ŝ7 sGŜ@ sŜŜ
@ s)Ŝ
ź+++źź$źź/ ź
UŜ% Ŝ{Ŝ 
JŜ ŜŜŜŜ Ŝ ŜŜŜ#*NŜ 4
ŜŜ©Ŝ ŜŜ
9ŜŜŜŜ X7Ŝ,Ŝ74GŜO sŜŜŜ#ŜŜ 'GŜ Ŝ' * %ŜGVŜŜ ŜŜ)Ŝ#*Ŝ,Ŝ
7`GŜ`ŜŜ@ ÀŜŜ  Ŝ7*SŜ !Ŝ1Ŝ Ŝ Ŝ J Ŝ  )Ŝ
tŜu°! āŜŜooŜ ŜŜ  Ŝ1ŜŜŜŜ
Ŝ› gŜŜ!Ŝ
ŜŜ ŜŜ Ŝ ŜŜŜ ,‚Ŝ
ź3źź źź/ źRnRnt
  v>OSmGvbW?tivv?v


$ ö ö6  ź3ź3źź źźźźźźQ6źź /ź3ź6ź  ź
1ŜŜŜŜŜŜJ ŜŜŜŜŜ  ŜŜ*Ŝ ŜŜ!Ŝ

-
ŜŜŜ%ŜŜD ŜŜŀŜ ŜŜŜŜ8!VŜŜĴİŜ
¹Ħ J ŜŜ Ŝ Ŝ
ŜAŜ

}
: K F }Et? a A F }> ? g P ? }n}  a}

ź$ź%ź źź%ź
Ŝ 1Ŝ8Ŝ  Ŝ
—!o Ŝ tŜŜ9ŜŜŜv›b Ŝ=Ŝ Ŝ


•Ŝ1ŜŜ  Ŝ bŜŜ ! ŜŜ= ŜŜ ŜŜŜŜŜ9ŜŜ A
Ŝ  
!­·Ŝ ŜŜ9īŜ ŜŜVŜŜ 8Ŝ  ŜŜ8!Ŝ#*ŜŜŜŜ
ŜŜ 4Ŝ
$źÉÚź
Ŝ ŜhŜ 8ŜuŜŜ!Ŝ ! ŜŜJ8 Ŝ !i
tŜŜŜŜŜÅÊ 

8ŜŜŜbś ŜŜ3 #Ŝ#4Ŝ%%Ŝš› #  ¸ ŜŜŜJŜ  ŜŜ


8!ŜbŜ #2:)1 "0:
Ŝ oŜAŜIŜ%Ŝ#Ŝ# 4%,Ŝ# ,Ŝ Ŝ 4Ŝ%*ŜKbŠ› Ŝ
š›
Ĺ)Ł! ÛEuŜŜ!VŜDwŜŜFhIŜ66ŜŜŜ
$ź8++ź 3ź
 ŜŜ !Ŝ Ŝ 7%Ŝ%Ŝ#*ŜVŜ Ŝ Ŝ
! Ŝ%6ŜŜŜ{Ŝ%%ŜŜ
Ŝ!Ŝ1ŜŜ!Ŝ  Ŝ
Ŝ ŜŜVŜ ŜŜ8ŜŜŜ–OŜŜ%%Ŝ*Ŝ7Ŝ*Ŝ%Ŝ Ŝ7 sŜŜ
Ā[Ŝ
 $! Ŝ
1=Ŝ9 Ŝ Ŝ Ŝ ŜŜ¹ŇŜ ŜŜ8)ŜD Ŝ%%Ŝ ÁSŜŜ8Ŝ A
Ŝ /:
Ĭ  VŜ ŜŜ #4%Ŝ©ŜFŜ  Ŝ%,Ŝ#*I XŜŜ)Ŝ7' %,Ŝ6A6Ŝ' %Ŝ*Ŝ
Ŝ!ŜŜ;)ˆ¸Ŝ! 
7 ` %*Ŝ*Ŝ1oŜ Ŝ
 ŜŜ Ŝ   Ŝ ŜŜŜŜ ^Ŝ•Ŝ
i kŜ6
)
Ŝ8 ŜŜ  Ŝ
.

}
&dv}nd} 4 ] ?{}I? P a kn}
} F}

Ě$$5556 (lTĚ  ĚjĚ8DĚĚ Ě  ) Ě3 Ě)Ě  5Ě7)Ě$'Ě


6'Ě )Ě$'Ě 6+Ě eSĚ$'Ě=55Ě6!'Ě$(Ě L!'Ě eĚ Ě Ě$+Ě />SWĚ  Ě Ě$+Ě==5Ě/*Ě
 Ě$>Ě= =dĚ/ eWĚ?Ě AĚĚĚ8D Ě Ě Ě3 ĚĚjĚ8D ĚĚ Ě  O
 ĚĚ iĚ  ĚĚ =Ě

v>OQmGvbW?tivv &Gv

GT`Zt4t
Bt !,z`S_ƒh AIP[Po`Po
?qweJ‘:LC k‘SCk tWqn€SWt‘@LwL‹C n‘ ‘

źź źźź#źź#ź#źźź źź źgź źgź

QL^Yź¬źg'5źź.ź"
ź"
"
ź ź&*ź
ź ź
  &>ź"
ź ź
''źź
źź:'
źź% 
iź&ź:
ź
'',ź ź
ź&źźźæ5
" źź
ź'5+ź
3ĚĚĚĚ ĚG) ĚU Ě)Ě _ Ě   Ě Ě Ě
 ĚĚ)Ě) ̉Ě
Å++źźź#ź ź Jź
7)Ě²Ě1[1Ě"!'Ě MŪ 6!'Ě 6elĚ$1Ě6!eĚ/!eĚjĚ!  ĚĚ8DĚĚH Ě)Ě
3 ĚĚ Ě ĚĚ )Ě) Ě Ěÿ Ě  =Ě
Å++ź(ź ź ź ź@ź  BźNźHź
Y  ĚĚY [Y)WĚĚĚ Ě(Ě===Ě eĚ =Ě| Ě Ě )Ě Ě
) ĚĚmAĚ Ě! ĚĚĚ eĚ)ĚĚ) )[:)Ě Ě²=Ě
MMź-Mź4Áź
" )Ě )Ě Ě    Ě )Ě ĚĚĚ Ě )Ě:  Ě :WĚ
DĚ_ AĚĚĚĚ )Ě)WĚ ĚĚ)Ě3 Ě)Ě  Ě Ě
 Ě'[+=Ě ?Ě Ě Ě  Ě Ě Ě)DĚ$$===/ *WĚ  Ě$'Ě +ĚD Ě Ě
 Ě Ě$'Ě===Ě"!+TĚD WĚ Ě D)WĚĚĚ ĚĚ$ (Ě(=Ě

LGaXź% ź
ź&
źź'>ź&ź:'&
źi
ź
ź&{

.+ź
iź" źź&y
ź
ź&"
ź."ź&źź
ź&
"ź
r">ź:źź
ź
5źź"&'źź
&>źźź
ź,
ź
Å++  >źź&:
ź
ź&&
ź&*.źź:ź'5ź ź2ź
 ź
U Ě Ě Ě Ě  Ě 8D WĚ f) DĚ  Ě Ě ))Ě Ě 8DĚĚjĚ
  Ě Ě  Ě Ě  Ě  )5Ě
Å++ FźNźHź

}
8 L F }Et? a BF} > ? f R ? n P d a }

7 )ĚĚ Ě  Ě )Ě)=Ě?  ĚĚĚjĚ >:8D)Ě)ĚjĚ  Ě


 Ě Ě8DĚ Ě Ě  Ě Ě ĚjĚ )ĚĚ ! Ě Ě ===Ě >WĚ
  )Ě)Ě  Ě)Ě Ě D)5Ě
ź ź ź
G)D) ĚĚĚ  ĚĚ ĚĚ eWĚ  Ě Ě ĚĚĚ Ě  ĚĚA8DĚ)O
AĚ )Ě8D)=Ě YWĚ )Ě Ě )Ě )ĚĚ" AĚĚAĚĚĚ
Ě Ě )Ě Ě eĚ  Ě *WĚ )j)Ě  Ě Ě Ě Ě Ě Ě   Ě)Ě
 Ě*[8D)=Ě
ź-M  ź
zĚĚ ĚĚĚ  Ě!  ĚĚ [8D) Ě ĚĚ Ě Ě Ě
8DĚ ĚĚ  ĚĚĚ) Ě  5Ě
źźBź
7 Ě_ ĚĚ8D ĚĚĚĚ Ě ĚĚ':+=Ě VĚĚ )Ě ĚĚ)Ě
Ě ĚĚ ĚĚ̍D¾ĚĚ (5Ě
ź Jź 4źMźÞź źM ź źNźHź ź J Fź \ m\{

Nźź%Hź NźźgHź
GĚ )   Ě Ě)Ě_ Ě 3  Ě ĚĚ !  TĚ

+4b [NSUVb.@U>[email protected]>-Lb V>4b .4UVbEL@:>Vb )Ě Ě ĚĚ$>Ě"(ĚĚ


 Ě((5Ě| Ě  Ě  ĚĚĚĚ ĚĚ Ě Ě Ě AĚ
 Ě WĚDĚ_ Ě Ě)q Ě Ě Ě ) Ě D Ě j)Ě)D)Ě
Ě  WĚ )D  Ě Ě D)Ě Ě iĚĚ  Ě 5Ě

(ź-Mźgźźź#­ź
" Ě AĚ Ě DĚĚ'1Ě= ==Ě1:1 '$Ě /! >lĚ ! >Ě''Ě6! *=Ě ? Ě Ě 7)Ě
f) )Ě ĚĚ ) Ě ĚĚĚ Ě  Ě)Ě Ě=Ě


}
&dx}nd} 4 ] ? {}I? R a kn} t F  }

Mź ź  źź-~ź- źź ź0Cź


CŪŪŪ Ū   Ū Ū  ŪŪŪ #ŪŪŪ a# ŪC
 Ū m Ū

Ū ŪŪ#Ū Ū :Ū Ū  ŪŪŪŪŪ 
Ū

źź-Ŗ źź ź-ź ź ź CźN<źź

N<źź%Hź N<ź źź


  Ū 
Ū Ū ŪŪŪ  
Ū pŪ  Ū
 ŪŪ <OŪ

CŪ#Ū3ŪGŪ:Ū#ŪŪŪŪ $Ū Ū



 Ū9Ū #Ū Ū5Ū
ŪŪ Ū #ŪŪ Ū>Ū

źCź
QŪŪ -Ň Ū Ū Ū :
ŪŪ  >Ū ˆ###>Ū 
Ū Ū  
ŪŽ
 
Ū Ū 5%Ū ŪŪŪ ŪŪ#ŪŪ Ū#

ź)))ź ź źź ź(źPź-źźź Cź


  Ū

ŪŪ Ū
ŪŪ Ū#
ŪŪ Ū ŪŪ ŪŪ !ŪŪ!d  "%Ū
Ū Ū
Ū Ū#Ū
 #Ū#ŪŪŪ ŪGŪœ# Ū# Ū Ū

#ŪŪˆ# Ū  >ŪŪŪ  Ū#3Ū

MźWź-źź Jź-ź ź ź-źź Jź-źQmQmt

QL—Yź[ź,ź :ź>ź&*.ź" źź¤'5:źź¤<ź&'.ź



ź´ ź<źź < *.ź.<źźĦ ź<źźź

Cź

&W?BVivdoGG^iQEGvb?q^vboiOv

a %Ū QŪŪŪ Ū Ū Ū Ū Ū>Ū#ŪŪ#ŪC


 Ū ###%Ū Ū
Ū#Ū# Ū# 4Ū QŪ  Ū Ū ŪŪ 
#
Ū Ū  
Ū <

}
: L F }Et? aAF} >? g P ? n R d a }

Ū  Ū #: Ū#ŪŪ  Ū#Ū!Ū‘%ŪŪ  Ū  Ū #Ū#Ū  ŪŪ


p   Ū
ŪG## ŪŪ!Ū3 3Ū63Ū

CŪ %Ū ŪŪ ŪŪŪ #ŪŪ#ŪŪŪ 


Ū#Ū:µ

Ū # Ū Ū ŪŪ   ŪŪŪ a# Ūš Ū

5ŪŪ #Ū Ū  


%Ū ŪŪŕŪ Ū
"Ū
Ū ‘Ū 
Ū  ŪŪŪ

‘Ū 
Ū$ýŪ   Ū Ū Ū Ū Ū #Ū #  Ū  oŪ #ŪŪŪ
##ŪŪŪ
"<ŪŪ 3Ū ‘%Ū #ŪŪ 
 ŪŪŪŪ:#Ū##ŪŪ
"Ū Ū#ŪŪŪ:
Ū   Ū 3Ū QŪŪ #Ū Ū5ņŪ  Ū Ū
#Ū#
ŪŪ ŪŪ ##ŪŪŪŪ#  Ū
 Ū"<‘%Ū  ŪŪ

ôŪŪŪ 
Ū # Ū Ū #
 Ū
"Ū

GT`Zt6t
'-3sohnPort ,-W|oWSh
9CWn„‘=WnGLn„‘ ‘

Mźź źźźźźźźźź  źź źź źź źź@ź  ź źźź(źź


 źMĴźźN<ź ź
Y#Ū  Ū
ŪŪ
 ŪŪŪŪ ŪŪ Ū# Ū ŪŪ ŪŪ Ū

>Ū  Ū ŪŪŪ ##


¤Ū Ū 
Ū ŪŪ##
3Ū

Mź) ))ź³ź
QŪŪ d d Ū  'OŪ /'4Ū GŪ Ū Ū#ŪŪŪ #Ū Ū  Ū Ū Ū
Ū#ŪŪ Ū
  Ū#Ū ŪŪ ŪŪ Ū :#Ū‘Ū WŪ#Ž
# Ū:#Ū #Ū Ū#Ū"<‘Ū
 ¾Ū 
Ū 6ŪWŪŪ :#Ū Ū Ū  Ū
 
¾Ū

MMźź@źMźź
5Ū ŪŪŪŪ ŪŪ 'Ū#ŪŪ Ū##
ŪŪŪdŪŪ ŪŪŪŪ
ŪŪŪ "<‘Ū 
 4Ū

Mź) ))ź  Cź
5Ū Ū ŪŪ Ū # %Ū Ū :ŪŪŪŪ
#ŪŪŪ ŪŪ
#Ū  ŪŒ 4Ū Y#ŪŪŪ  
ŪŪ #†ŪŪŪ #ŪŪŪ#Ū#Ū
[Ū

Mź ;ź
œŪŪ5Ū Ū
ŪŪŪŪ : Ū  ŪŪ"%Ū * '%Ū / '%Ū*
'%Ū "Ū
Ū
‘%ŪŪŪ
ŪŪŪ # Ū  3ŪG##ŪY#Ş ŪŪ# ÓŪ

Mź)))źCź N<źź

LGaYźL ź)))ź@ź'5<ź:ź<źvź:<
*ź<ź
<ź
.&źź&,ź

"Ă")ź
Y#Ū Ū Ū
#Ū# Ū #  %Ū ŪŪ #Ū d"Ū$Ū>Ū#Ū

}
& dv} nd} 4 ] ?{} I? P a kn}
} ƒŪ

 ¨Ū  Ū ."Ū Ū $Ū5ŪkŪ Ū”


ŪŪ Ū 
AŪŪŪV
AŪŪ Ū¡ Ū  Ū )<: Ū Ū Ū A

ŪRŪŪ R  Ū  Ū 
ŪŪ
kŪ  Ū Ū $N4Ū h Ū  Ū 
Ū A ŪŪ  Ū ŪŪ
Ū 44Ū*6%Ū 4Ū*)%Ū 44Ū9Ū
Ū 44·ŪA$4Ū

*  Ū5Ū
ŪRŪ 
ŪŪ ŪŪ  Ū ŪŪ ŪŪŪAV

%Ū  ŪŪ  ŪŪŪŪ€ŪŪŪ  ŪŪ ]Ū "Ū Y %Ū  Ū
ŪŪ  AŪŪŪ   ŪŪŪ AŪŪR\%Ū
ŪŪ Ū  Ū  kŪ
Ū Ū   
Ū  Ū Y ŪŪ Ū ŪY  kŪ
 ŪŪ  Ū .°Ū444Ū "Ū Ū
R
ŪŪŪŪŪŪ ŪŪŪŪ  ŪŪŪ ŪŪ4Ū
QŪ Ū  A Ū
 Ū   ŪŪ› Ū› 
 ŪAŪŪŪŪ
Ū Ū )Ū 
Ū  
Ū Ū  Ū AŪ
"Ū
Ū AŪŪ N Ū  Ū Ū
 AŪ   ]
Ū 
"©Ū 
"Ū

M ź
ÙŪŪŪ Ū ŪŪ A
%Ū 
 Ū Ū ŪŪŪR
AŪŪ
ŪEN!Ū
ŪA!<A"%ŪRŪŪ ŪAŪ 
ŪŪnŪŪŪŪŪ :

  Ū3Ū

Mź)11źźMź ź- ź
  Ū ”ŪŪ 
ŪR
ŪŪ¡ n ŪŪŪ
Ū Ū ŪŪ 4ŪR"[Ū

M źź
5Ū
 
ŪŪ R  ŪŪŪ 
 Ū Ū nŪ ŪŪ Ū d!Ū4Ū4)Ū   
Ū Ū
ŪŪ”A
4Ū Y %Ū ŪŪ Ū  Ū  Ū   Ū Ū 
Ū ŪŪ Ū ŪV
 Ū¡ ŪŪ AŪŪ
 ŪŪŪ < 3Ū

M ź)))ź BźMźź- Bź Nź Hź

Nźź%Hź Nź ź%Hź


  Ū ŪŪ A
Ū   Ū Ū :
Ū   Ū

ƒƒŪ
8 L F }Et? a BF} > ? f P ? n P d a }

a R Ū  ŪR  Ū  ÓŪ Ū ŪŪ A ŪŪŪ Ū  ŪŪR< Ū
Ū  Ū V
ÅŪ Ū 93Ū GŪ  Ū Ū .9Ū443ŪR" .MŪ R"Ū R"%Ū -AŪ Ū4Ū
M ź-źźM(ź?ź
QkŪ ŪŪ Ū•Ū¹kŪ
 Ū ŪŪŪ< Ū 
%Ū 
Ū ŪŪ
 Ū Ū  ŪŪ  AŪ²Ū !<: Ū  Ū²ŪAćŪ Ū ŪnŪ  Ū  Ū
ŪŪ
Ū   Ū 
Ū Ū  Ū
Ū A
4Ū C Ū .MŪ R"JŪ Ū Ū
Ū ŪŪ”AŪ %Ū ŪŪRŪ Ū  Ū ŪŪ !Ū
  ŪŪ V
 ÕŪ  Ū ŪŪ RŪ Ū Ū!%Ū Ū Ū   R Ū : Ū Ū ŪRŪ   î
”
Ū RŪŪ R  Ū  Ū
G  Ū ŪŪRŪ ŪŪ  Ū ŪŪRŪŪ•Ū ŪŪ   ŪŪ²ŪŪ
 Ū Ū .MŪ R"Ū =EŪE7Ū /EŪ /9ŪE.Ū /REŪ
M(ź1 1)ź ź
GŪ:Ū •ÅŪŪR$ŪŪ ŪŪ 6ŪŪ ŪŪŪ  AŪŪ ŪŪ Ū
A•ŪnŪ Ū !NŪ
ź-ź- źMź-źźźź
5Ū kŪ

ŪŪnŪ
 Ū Ū!ŪŪŪEEŪ=E%ŪnŪEEŪ[ [ŪR"4Ū
ź)))ź- źź ź
¹kŪA
Ū   Ū- ŪRAŪ  ŪŪ
Ū  ŪRŪ  ŪR Ū  ŪŪ
:
4Ū
ź) ))ź-Bź
C Ū ²Ū AŪ   Ū5ŪkŪRŪR ŪŪAŪŪŪ R²ŪŪR"N 
Ū

"È%Ū  Ū ŪŪ   Ū Ū AŪ  


Ū 
ŪŪ
ź źźź gź g BźNź(Hź

Nź(ź%Hź Nźź%Hź
CŪ AŪ  AŪ   Ū "Ū !ŪkŪ 
Ū

ƒ ĕŪ
& dv}nd} 4 \ ?{} I? P a kn}
} ƒŪ

GŪŪŪŪ: ŪŪ6Ū Ū Ū 0AĦŪŪŪ  Ū ŪŪ€ Ū

 
ŪŪ Ū y ŪŪ  Ū$KŪŪŪ
 Ū ŪŪ  N  

 ź!;ź źź;źź źź!ź(ź!ź!ź


CŪ Ū  ŪŪŪ "NŪŪŪ  Ū C ŪŪ Ū5Ū Ū
Ū Ū
 Ū Ū Ū Ū Ū 
Ū Ū  >Ū :
Ū¦ †3Ū

ź;ź ź ź-ź-Bź


CŪ  Ū  ŪŪ Ū Ū Ū Ū Ū 
ŪQ  ŪŪ! ' Ū="Ū =˜Ū! ! Ū=˜Ū 
"PŪ !"Ū
H\Ū ˜KŪ  Ū GŪ ŪŪ Ū    
KŪ Ū5Ū  ŪŪ  †Ū  Ž
 Ū Ū
Ū  ŪŪ 
Ū ŪŪ  Ū
¨Ū

ź0 ź  źź!ź źźź!ź ź;źź źź!źźźź ź!hźź


(ź!;ź źźź ź źźźź!źź@ ź

'25E/DLE2<?H/L :E/A=)E5H/DL
źź źźźźźźźN<źHź
5Ū
>ŪŪŪ

Ū
"ŪŪ"Ū !Ū  Ū Q
Ū Ū ŪŪ Ū   Ū

 Ū  ŪŪ  ŪŪ  ŪŪ   Ū KŪ  Ū Ū"Ū
 )LŪ

C Ū 
ŪŪ"Ū*!Ū 
"Ū)Ū
!Ū* $Ū $Ū7N7Ū 5Ū 
Ū Ū  ŪŪ Ū
"<Ū
ŪŪ  KŪ  Ū
 
Ū Ū® Ū Ū 
Ū : Ū 
Ū  

ŪŪ

 ŪŪŪ)NŪ Y KŪ $Ū  Ū$JŪ  Ū zŪ  KŪ ŪŪ )<Ū Ū

Ū ŪŪŪ   Ū  Ū Ū Ū  oŪ  Ū KŪ 6Ū"Ū )Ū 0Ħ*)Ū *$Ū MŪ*


$Ū ˜7Ū/'Ū7<7Ū ˜˜Ū *
!Ū/ 6Ū
Ū  ŪŪ Ū Ū: ŪŪÙC 
V
*… š
KŪ
Ū ˜MM$Ū

a KŪ "Ū/ "ŪŪ Ū 


Ū Ū"Ū  
Ū 
"Ū)Ū*!Ū * $Ū$Ū
!ŪŪ  Ū Ū nŪ"Ū*!Ū
 KŪ  Ū Ū Ū Ū :ŪŪ Ū "Ū

LaYźGź&źźź&ź&ź.ź'5Yźź)))ź  ź ź źpBź
Nź H)źL ź 5ź<"&
ź% <
iź"*ź"&>źź źź ź
Đ

5źźźźź
< ź, 'źvź ź ź
ź &źź;źź
 "
ź"
ź
ź)ź
Q
ŪŪ  Ū  ŪŪ)ŪL4Ū/)¶ŪŪ$Ū !KŪŪŪ  Ū ŪŪ Ū
"Ū
Ū !KŪ
 Ū ŪŪ ŪŪ 
Ū Ū oŪ $Ū Ū 
"Ū 6Ū

 !Ū 
Ū ŪŪ0Ħ * !KŪ   Ū
Ū ŪŪ  Ū Ū:ŪŪ0Ħ3 Ū/"JŪ ŪŪŪŪ €ŪŪMŪ3  

Ū "Ū<
 Ū Ū  Ū Q
Ū  Ū 0Ħ !Ū
"ŪMŪ7<7Ū
 !Ū 5Ū  
Ū  Ū Ū¦Ū
Ū Ū  ŪŪa ڍŪ m <CZ KŪ  Ū'777Ū

ƒĖŪ
8LF} Et? a BF} > ? f R ? n P d a }

Nź ź%Hź Nźź%Hź


p  Ū  Ū Ū  Ū 5>Ū  ŪŪ
 
Ū

GU`Ztt
At /#WyW‹s‡h‰qt /,kWh
&MwkC‘n‘/MCPˆM‘ ‘

źź źźźźźźźźhź
5Ū Ū ŪŪ Ū  KŪ ŪŪ Ū  Ū  Ū Ū 6Ū Ū
"Ū Ê4Ū )Ū )Ū / "Ū

ź)))ź  ź
CŪ Ū Ū Ū QŪŪ )Ū*!Ū  Ū Ū  ŪŪŪŪ )Ū3Ū  )KŪŪ
Ū Ū  Ū  
Ū Ū ŪŪ  Ū
Ū Ū Ū  ŪŪ Ū Ū
"oŪ
 Ū KŪ $Ū
!Ū W5>ŪŪTŪ $Ū| Ū[$JŪ NźHź  ŪŪ
 î
Ū¦ŪŪŪŪ Ū  KŪ 
Ū  Ū 6Ū/'Ū )Ū 0Ħ*)Ū *$Ū  Ū ¦Ū
Ū  Ū 3Ū *Ū Ū  ŪŪ Ū   Ū ŪŪŪ Ū ˜Ū "Ū$Ū 'Ū
*!Ū
)Ū!Ū* !Ū*$Ū"Ū)Ū *
6Ū)Ū
"Ū )Ū $Ū
 )Ū * $Ū 6Ū"Ū )Ū9Ū
!Ū$KŪ Ū ŪŪ
 
ŪŪp Ū} KŪ ŪŪ >ŪŪŪŪ 33Ū*$Ū
Ū 343Ū*
63Ū

 >Ū  Ū Ū Ū Ū Ū>Ū Ūä  [Ū

ź?±źź źź
5Ūæ ŪŪŪ ŪŪ  Ū 64Ū

ź)))ź B?ź
C Ū ŪŪ$ŪŪû 0ĦŪŪ
ŪŪ6Ū3 Ū/$KŪ  ŪŪ)Ū
Ū'Ū

ź pź

ƒ ėŪ
&dv}nd} 4 ] ?{} I? R a kn}
} F}

5DŪ Ū Ū D Ū ŪXŪ/ XŪ= 9Ū9Ū/XŪ/)PŪ MŪ* !Ū


"Ū

ź)))ź źź
QŪŪŪ D
ŪŪŪ Ū DŪŪ¯ ŪD¯ ŪŪ
D
Ū Ū  Ū Ū  Ū'Ū
DŪ    /
Ū $Ū DŪ Ū  ŪŪDŪ ŪŪ $Ū Y uŪ5;DŪ 
ÆŪŪ Dµ

  Ū DŪ Ū D ŪŪŪ DŪ 


ŪDž
ŪDŪ
¯Ū

ź)))ź CźNźHź

N<ź ź%Hź Nźź%Hź


  Ū DŪŪ DŪ ÚŪ Ū ŪŪ  JŪ

a D Ū5DÆŪ 

(źź- ź źCź
›D Ū  ŪŪ)<ŪDŪ
 Ū Ū
 ŪŪDŪ  Ū
Ū Ū  ŪŪŪ
 ŪŪ
 Ū ŪDŪŪwŪ

źźź ź ź ź


  ŪDŪŪ Ū
uŪŪŪŪŪDND uŪŪD Ū 
ŪDŪ
¯Ū
Ū Ū

DžžŪ  Ū

źW źWź  @ź?ź


p ş Ū
ŪŪd"Ū Ū*"JŪ d)Ū*"Ū W Ūd)Ū !Ū)JTŪd)ŪŪ )Ūd$Ū=~Ū= )JŪ dXŪ/'Ū WDŪdXŪ
/$uŪ Ū dXŪ Ū*!PTŪ dXŪwŪ/XŪ d9Ū*
!Ū= '¶Ū 
ŪŪ

ź- ź ź źWCź


5DŪ ŪŪ D Ū d$ŪL 4LŪ"OŪ dXŪ =$PŪŪ Ū D
Ū ŪDŪ 
Ū   
Ū D LŪ

ź)))ź ź źW ź ź źźe@ź (ź?ź


GŪ ŪŪD ŪŪŪdMŪ*
' J  Ū

(ź)))źWźź ź-ź ź źźN<źHź

}
8 K F }Et? a A F }>? g P ? n R d a }

’Ū
Ū  Ū  Ū  ŪD  ŪŪ a  JŪ

źź
Q
Ū''Ū/

"ŪDŪ   D uŪ D Ū  >Ū  ŪŪ''Ū*
'ŪDŪ Ū Ū Ū
DŪŪ 4Ū
ź)))ź- Cź
ZŪŪ'!Ū  !Ū
"PŪŪŪ :ŪDŪŪ
D  
Ū  Ū

źźe ź
5DŪD¯¯ŪŪ 
Ū  Ū'!Ū [Ū= 'PŪ'"Ū H 'Ū/ "PŪ')Ū >y› =9Ū

}
2(@E/AL#I?L

$ # $    $

&: =EA?.G,E5?=L
&: &45E/L:(KDLL0L
&: &25E/L:(KDLL. L
&: E2/ALE2L?H/DL
8KF} " y A L ? aIF} > ? f O ? n P d a }

=EA?.G,E5?=L
±Ū 2 2ŪŪ 2 Ū  Ū­Ū }&Ķ Ūm Ū  Ū źź źźź#źź4ź#ź
<ź H™ź

<ź ź%Hź <źź¢ź


GŪ}& Ū m Ū CŪŪ: Ū  Ū ijkŪ  Ū

GŪ Ū ŪŪ &eŪ 2Ū 2Ū Ū  & Ū ŪŪ & %Ū 2ŪŪ2Ū
Ū ŪeqŪ

;OGvN``Ev ^GqivI`ev&W?BVv

e&ŪŪŪ ŜeŪ22 %Ū Ū Ū  ŪŪŪ & %Ū 2Ū&Ū


2eŪ 2eŪ ­Ū e <: 2ŪŪ Ū &9%Ū Ū&Ū &Ū Ū o›2Ž
&Ū ˜Ě Ū  Ū —Ūa   %Ū ¹­>Ū  &ŪŪ  Ūe2%Ū Ū
ŪŪ &2ŪŪ&&ŪŪ ŪŪŪ&  ŪŪ &ŪŪ"<B%Ū  Ū
2 ŪnŪ!ŪBŪ  Ū Ū Ūe Ū 2Ū ŪŪ  ŪG &Ū2Ū h&p&Ū
e{ĈŪ * Ū&ŪŪ eŪ &ŪŪ6<: %Ū Ū&"ŪŪ e2Ū ŪŪ;Ū   Ū Ū2BqŪ

ºŪ ŪŪ oŪ õGŪa &Ū }& ŪŪŪ Ū2eqŪ«Ū¦Ū2Ū Ū 2V


eŪ Ū&Ū Ū  eŪ : %Ū &Ū Ū Ū qqqŪ*Ŀ$Ū 2Ū qq]Ū6%Ū 2ŪŪ &e%Ū
2Ū Qö eŪ Ū yH4Ū kŪ eŪ ŪŪ eŪ ŪŪ h&p&%Ū e–>Ū

;OGv A?Ev ^GqivI`ev&W?BVv

Ū &2 ™Ū › Ū H ŪŪ Ū2Ū­Ū a &Ū}& Ūm ŪŪ


}
&dv}nd} 4 \ ?{} I? Q a kn}
} ¬ƒŪ

5ŪŪ Ū
Ū   ŪŪ,,Ū †Ū %Ū 
Ū ŪžŪcļŪ
.9)7ŪŪ Ū Ū
® ŪŪzŪ;Ū 
ŪŪjŪ Ū ŪŠ Ū h,4Ū
ZŪ,ŪŪŪ TNJ4W<?K;b  Ū,Ū JŪ

GŪTNJ4W<?K;bŪŪ ,® ŪŪ Ū ,•ŪŪŪ ,  Ū ®4Ū C



Ū ŪŪ
Ū  
,Ū 
 ©ŪŪŪ 
ŪŪš
,
Ū Ū 
Ū,ŪŪŪŪŪ Ū
Ū , 
4Ū C
Ū
ŪŪŪ ,  Ū,ŪŪŪzfŪ ŪŪŪ
5>ŪŪ , Ū  %Ū ŪŪ Ū , Ū,Ū ŪŪ %Ū Ū ŪŪ
Ū
ŪŪ,,,Ū Ū Ū3Ū

a,ŪŪŪ,ŪŪáŪ ,Ū> Ū ŪŪ  ŪŪŪ  ŪŪ µ


  ŪŪ,Ū5á%Ū Ū
>Ū Ū
, 
%Ū Ū Ū Ū ,Ū;Ū Ū
Ū
 Ū Ū Ū 
ŪŪ , Ū ,¬Ū ,Ū  4Ū WC
ŪŪ%Ū
Ū Ū Ū, ŪŪ  Ū Ūh,ŪŪ5Ū ŪŪŪ TŪ

>OQmGivb`iiQAWGvbW?^iv

Z  ŪŪ
ŪŪ, Ū ¬,Ū  ŪŪ, Ū  ŪŪ5>Ū¬,ŪŪŪ
ž Ū,Ū,OŪ

5 %Ū Ū
< Ū Ū  
%Ū ŪŪ
,Ū Ū Ū Ū< 3Ū Š ,Ū ŪŪ ,Ū
ŪŪ,Ū  Ū ŪŪ %Ū ŪŪ
Ū Ū ŪcŪ  Ū ŪŪ,Ū
, 
4ŪZŪŪ  Ū,Ū ĴzŪ Ū¤Ū
 Ū  ŪŪ,Ū  Ū,
%Ū
ŪŪ:ŪŪŪcŪ %Ū 
ŪŪ
 Ū,Ū   Ū Ū N 4Ū

GŪ , ŪŪŪŪcŪ Ū   Ū  Ū


 Ū  Ū<?Tb  %Ū 
Ū jŪ
,Ū Ū   Ū Ū ,Ū Ū ,Ūŋ ŪcŪ Ū  4Ū GŪ Ū ,Ū =iŪ

ŪŪ,
ŪŪ 444Ū=9%Ū  
ŪŪŪ ŪŪ Ū
Ū ,Ū Ū
,Ū
,ŪWŪ  Ū,ŪŪj,ŪŪ ,
ž ŪŪ Ū, zŪ, ŪŪcŪ Ū µ
,T4Ū }Ū,Ū
 Ū ,ŪŪ ŪŪ
  Ū,Ū   ŪŪ< ŪŪŪ Ū
ŪŪ ŪŪ  Ū  %Ū ŪŪ Ū   Ū,Ū  Ū Ū Ū4Ū ZŪ 5Ū

Ū ,Ū  %Ū 
ŪŪ Ū Ū ŪcŪ 1MŪ p,Ū  Ū Ū ŪŪ 4Ū

;OGv 1`ebOtvbW?^v

QL^Yźź.ź5ź2 "*)2 #2 ))2*&*02 ź<źź"


&
ź
źÃźr"źź

<ź<&y>ź""''.ź'
źźź&źź
<‘&ź<'+ź_ <źr"ź 
źź&<ź, < ź<ź"&&yź.źź
&,źź
źź<'ź.źź.ź&,+iź
*Ū 
,ŪŪ)N:,ŪŪŪa, Ū}  4Ū GŪ ŪŪŪ:,%Ū Ū Ū
ŪŪŪŪ , Ū Ū 4Ū QŪ>Ū Ū WRY4b Ū :,Ū ŪŪ Ū Ū
jŪ 
Ū Ū)Ū ŪŪ
,Ū ŪŪ 444Ū$%Ū Ū Ū †Ū ŪŪŪŪ, Ū Ū

}
8 K F }"yA K ? aIF}>? f P ? n Q d a }

  Ū  ŪjŪ  Ū , Ū  ŪŪ  Ū43Ū4$4ŪGŪ Ū  Ū ŪŪ Ū µ
,

 
ŪŪ ŪŪ $%Ū ,Ū Ū ŪŪŪ ,,ŪŪ$<:,Ū,Ū ‡Ū
 þŪ 
ŪŪ Ū ,  Ū ‡Ū   ŪŪŪŪ4Ūa,,,%Ū  Ū 434Ū$Ū
ŪŪ$N:,Ū 
ŪŪ  Ū 
4Ū

G,,ŪŪ)<:,Ū ŪŪ}  Ūm,Ū Ū,Ū Ū ŪŪ


Ū :,4Ū GŪ 
,ŪŪcŪ Ū ŪŪQŪŪ

ŪŪÇh,Ū
Š >Ū žŪ,ŪŪŠ Ūh,%Ū Ū C, Ū ŪŪŪ Ū
},ŪŪ,ŪŪ cŪ Ū 19)74ŪGŪ, Ū Ū ¨Ū 5Ū Ū Ū ŪŪ
)Ū 
Ū Ū Ū,ŪŪŪ'<"4ŪQŪ  Ū,
ŪŪ 444Ū*)Ū ,Ū 444Ū)%Ū
Ū  ŪŪ, Ū  %ŪŪťBŪ , ŪŪŪ ,Ū
Ū ,Ū
Ū Ū,Ū Ū  Ū
ŪŪ< 4Ū
Y,>Ū Ū Ū  ŪŪ h,>Ū Ū Ū  3Ū

GT`Ztt
dt @;syw]‰rtCCn‰]
/qnJqn‘FhVnJNqhJ‘€Vkˆh ‘

źź źźź#źź4ź4źź ź ?ź


*ŪŪŪ
 Ū,ŪŪ4ŪQŪ
Ū ,ŪŪŪŪ
ŪŪ
%Ū ,Ū Ū Ū Ū "%Ū- ŪŪŪ 4Ū
#źź  ź ź@ź ź
šŪŪŪ ,,Ū,Ū%Ū   ŪŪ,
ŪŪŪ ŪŪ$ŪjŪ* )%Ū Ū
Ū 
ŪŪ Ū ŪŪ Ū  žŪ ,Ū  Ū Ū Ū ŪŪ Ū Ū ,ŪŪ
  Ū*$Ū
Ū , j,Ū 33Ū3$3ŪY,%Ū Ū   ŪŪŪ  
Ū Ū

Ū®ŪŪ , Ū ,Ū Ū ,3ŪGzŪ  Ū5Ū Ū 


ŪŪ , Ū ,,ËŪ

%[-  lYź¶"źź'ź
ź´
źź<:<ź."ź
ź'5ź&<ĝź
"
ź.ź"y ź'źź
&<ź<ź."ź,ź&<<'<
.2ź
ź 4źN<źź
Y,Ū Ū %Ū Ū ,
Ū h,Ū Š 3Ū

ź+++ź ź
ZjŪŪŪ ¬Ū®Ū - Ū;Ū , Ū,ŪcŪ)<:,3Ū

ŭ ź
GŪ Ū, Ū ,ŪŪŪŪŪ  4Ū

$›lmm{  ź(źź?ź

Š ŪŪ³ŪŪŪŪ Ū Ū ,Ū,¬Ū, Ū,Ū  rŪ

ďĎ ĪĽŌŪ

CŪ, Ū
  ŪŪŪŪ Ū,¨Ū ..Ū * $Ū $Ū.'Ū)%Ū z ŪŪ 3Ū

}
&dv}od} 5 ] ?{} I? Q a ko}
} ƒŪ

ź g4ź
Wmm{

h Ū  Ū Ū &
ŪŪ & ŪŪ KŪŪŪŪŪ ŪSŪŪ
ŪS Ū Ū
N Ū 
Ū SŪ5Ū ŪŪ& ŪŪ Ū & Ū

ź4ź ź źFźNźHź

NźźgHź NźźgHź
 &‚Ū ŪŪŪ  &Ū h ‚ŪS Ū  Ū

QŪ &Ū & Ū :


Ū Ū  Ū Ū Ū ŪŪ KŪ Ū Ū SŪ
 Ū Ū  Ū Ū Ū 
¤Ū

:
ź @?ź ź#ź 4ź źgź
}SŪŪŪ 

Ū  Ū h Ū
‚ŪŪ &&vŪ

ź #ź źg ź- ź ź ź


m mq{

C
Ū 5KŪ Ū & Ū Ū Ū  KŪ Ū  LŪ

QŪ‚Ū ŪŪ Ū


Ū& Ū ŪŪh Ū ŪŪ & ŪŪŪ ŪŪ
*lŪ 6› Ū   Ū& ŪŪ ŪŪŪŪ  Ū  ŪŪŪ Ū

GTjZ t
et @;syw]‰ 39vˆWp]Pj
„S‘kC„GSPCkL‘/qnJqn‘‘

źź źźź#źź4ź#źź ź  źźgźg ź


C ŪŪŪŒ&ŪŪ Ū & ŪŪŪ—Ū  &ŪŪ Ū  Ū
 †ÂS¤Ū  Ū KŪ )Ū| L|Ū
„Ū ŪlŪL L L6KŪ
Ū &ŪŪ ŪŪŪŪŪ  Ū

 }
8 K F } " y B L ? aIF}> ? f P ? o Q d a }

q |  "KŪ
Ū  ŪŪ 
Ū lŪ wŪ "KŪ  Ū  ŪSŪŪ 
& ŪlŪ |  &
Ū l|Ū

%[- G lœźNi
ź''ź'&źź
ź&źź."ź<
ź,5ź"&ź

: ź."ź5źź
Bź
)
źeźg źź Jź ź
Q»Ū &Ū
Ū Ū & 
KŪŪ&
ŪSŪ  
ŪŪ5‚Ū Ū SŪŪ
6Ūq gŪ&lKŪ & &D Ū  Ū
"Ū
ź 4ÁźN<źHź
Y Ū Ū Ū  Ū

ź  ź(źgź
m mm{

5› 
 Ū Ū &ŪŪ&D Ū
<KŪ 5ŪŪ  
Ū Ū ŪŪ'NŪ
Ū Ū Ū
(ź ź
W mm{

C ŪÀŪ |Ū/'Ū .7Ū/iŪ"Ū ..Ū 


'Ū5Ū Ū  Ū Ū Ū Ū CŪ Ū
S ŪŪŪ. . w  w7<7Ū .'Ū=~Ū /!Ū .!Ū *
lJŪ 
'OŪ W
Ū ~lŪ— Ū*
lJŪ 
ŪŪ
  
KŪ   Ū.„Ū="J O ŪS Ū5TŪ ."Ū*„Ū „Ū.)Ū/
'Ū)Ū.„Ū/ )Ū
H9 . 6 Ū/)ŪH 9 .9Ū/ lŪ H9 .ÀŪ/$Ū H 9Ū '7Ū/$Ū
ŪŪ ŪŪŪ Ū6Ū
Ū Ū KŪ ŪSÂŪŪ '7Ūĉ qŪqí) '.Ū /$¶ÌŪ

źź g4ź ź4ź ź


ÝŪ Ū Ū . . —  w*lKŪ Ū ŪŪ .'Ū
lOŪ /!KŪ Ū ŪŪŪ &ŪŪ  Ū  Ū
Ū & Ū Ū Ūa &Ū Y KŪS KŪŪ Ū  Ū ŪŪŪ Ū
.'Ū *"JŪ /lŪ .!Ū
lŪ * "ŪW Ū.!ŪL   /
Ū "Ū ."Ū „Ū 
Ū 5Ū ŪŪ&ŪTŪ ."Ū /iJŪ
/"Ū ÁlŪ="JŪ 
Ū &‚Ū :ŪŪ 

źź ź
y Ū.ēŪ |Ū*
)Ū .!Ū*"Ū/&6Ū."Ū"JŪ ŪŪ
S gŪ

źźź ź źź ź źN<źHź


G  Ū .$Ū *$Ū $ . 6 Ū „KŪ
&S  Ū Ū &Ū ŪŪ &Ū:Ū

o4ź ź ź-oź‘@ź


mmm{

C Ū .„Ū|Ū „ .6Ū*lŪŪ&ŪŪ 6ŪŪ 


Ū Ū ŪŪ &Ū DŪ Ū&Ū
Ū .6ŪLŪ7N7 .9Ū*„JŪ „ .ÀŪ/ !ŪH9Ū '7Ū/"JŪ Ū ‚Ū  ŪŪ Ū6Ū Ū

ŪŪŪ &Ū:Ū Ū'7ŪLwŪ÷ţlŪ'.Ū /6|ŪYS KŪŪh Ū
ŪŪ
Ū&ŪŪŪ 
Ū
Ū&& Ū Ū Ū&ŪŪŪ 

źgFź
ġ   Ū Ū Ū ŪŪÂŪ :Ū Ū  ŪŪ &ŪŪŪ :
Ū

ź  źź- (ź Fź
mmm{

*Ū ŪŪ Ū


Ū Ū Ū &l<: Ū

(ź ź
mmm{

}
&dv}nd} 4 \ ?|} I? P a kn}
} F  }

F˖  ˖! ˖˖ ˖


X ˖˖ 
˖˖$#˖  ˖˖! ˖˖
˖ ˖˖˖
˖˖˖-!˖"@)˖
ź Jź-źMźźNź HźMź)))ź ź

NźźgHź Nź źgHź


*
M˖=˖˖
 t˖ F˖ ˖˖R ˖

CŪ  
˖˖
 ˖˖*
M˖ ˖!#˖ ˖˖+/CɎA˖ ˖˖++˖'$±_˖

źghźhźźg 9ź0źźgź- źźg 9F M@ź


0
˖˖˖=˖ ˖+)˖f T˖?%
$˖+$˖?6Z˖

&25E/L;(KDLL0L
%vEt^?\QBvB`o^mGevm`v mOGv1`ebOtv5W?^v

1˖˖˖˖!˖*
˖˖˖ !˖
 ˖ ˖^˖× !M˖
ƒ 
˖á%
 Ù˖F˖ ˖!
, ˖˖˖,

˖˖!˖ ˖,˖

˖˖

 ˖˖ 
˖ #˖
˖˖!˖˖˖˖ ˖˖
  ˖1M˖

 ˖˖ F˖ 


˖"˖~ l˖0$˖ ˖)˖k l˖*$˖ 
!˖˖˖ ˖˖
˖s ˖¨˖ ˖

˖˖  C˖
*!
˖˖˖ 
˖˖˖ ˖^˖á%
 ˖œ #˖˖˖˖
 ˖  ˖˖˖˖ƒ 
˖M!!˖ʒ˖
˖ ˖ ˖˖˖ ˖ '˖ #˖
 ˖%!#˖ ˖&˖% )˖ % )˖ "˖'&˖ ˖"˖T T˖0 "#˖˖˖˖ M!˖˖ ˖ Ÿ˖
˖  ˖!˖ ˖"˖0 &k˖ 1˖˖˖˖

[˖ 
˖˖˖˖˖

}
9 K F }# yB K ? aIF}> ? f Q ? n Q d a }

! ˖  ˖˖˖ M˖!!˖˖˖ ˖  ˖ ˖ ˖׆M˖ ! ˖


n˖
ˆ˖ M˖!˖˖˖˖
A˖  ˖ ˖˖ ˖ ˖˖)j= ˖X˖˖  ˖
˖ ě˖
˖˖ ˖ ˖ Mźź źźźź źźźź ź ˖ź)))ź  BźN{
źHıź

Nźź%Hź Nź ź%Hź


*

˖^˖˖)ä= ˖ ˆ  ˖˖ - !˖

S˖*!
˖˖!˖˖˖˖ 
#˖˖!˖
˖

!˖˖²˖* $#˖ f˖' 6˖


 ˖ ˖7N7gŪ p˖ M˖! ˖ ˖˖ !˖ ˖ ˖ ˖˖
-!˖˖˖
˖)å= C˖ °! ˖CË`˖' 6˖˖˖0 &˖˖1˖
˖˖
  ˖˖
C_˖*)#˖˖0
˖
˖˖!!˖ !˖%
 ˖˖1M˖ £
=  ˖ĪË˖ň ˖  ˖˖²_Ʒ˖' 6˖ ˖k_œ˖'$˖˖˖CÙ˖Ëĉ$˖ ˖ ˖
-˖˖  ˖˖)@= ˖
źgBź
F˖- ˖  ˖˖ ˖1˖˖ ˖˖˖?˖ÿ†˖ e/˖"˖)˖+˖
'&˖'
$˖&˖*)\˖ 6›
 ˖^˖˖׈˖F - M˖ ˖˖˖!
˖˖˖
)˖  ˖
¥˖˖˖^ ˖ #˖ ˖˖ ˖ ˖ !˖,˖˖
$#˖
˖!˖
0
M˖ɵ
˖ ˖)˖
ź+ ))źg ź
*!  ˖˖)@= k˖'˖*!
˖˖!˖˖ ˖$˖k f˖' 6#˖˖1˖
˖˖
  ˖˖˖˖
˖= ˖˖˖*%
$±˖˖˖ 
 ˖ `˖'%

 ˖˖˖
Bź
1˖˖ ˖˖%!˖˖=RĪ ˖   ˖˖
#˖ ˖ ˖*

}
& dv}nd} 4 \ ?{} I? Q a kn}
} F}

,˖˖$˖ ˖' 6#˖ 6˖k k˖:@:˖D˖A˖ ˖* "˖ ˖A˖_ ˖*o#˖˖3,D˖#˖ ,˖˖ ˖
˖,,˖
ź)))źJBźNź Hź

%[-WGWlYź%ź<ź

ź'5ź&'.ź)))źW >ź)))ź >ź)))źWźź''.ź
)))ź@>ź"
źź:ź "'źź**,ź*<'.)ź¬ '.ź<ź
,"'źź ź)))źW??źźź ź
ź< &źź'

G˖
, ˖=
˖˖ ,#˖,˖*
˖ , D˖˖D,
˖,˖=,D˖
˖˖ ˖˖˖˖˖,
˖˖˖ ,˖˖
$`˖
źź ź źź
*
˖,˖,˖  ˖A˖*3
"˖<6Ư˖K˖*&˖'o˖s,!˖A˖<"˖!˖‘˖3
 ˖

,,
˖A˖_ _˖3…i˖ K˖<3A˖'"#˖ ˖1,˖,˖,˖ ˖ D˖˖˖D˖ ˖˖
/µ˖˖æ'
+Z#˖ ,, ˖˖ #˖ D˖ /:˖_˖'D&Z#˖ D,
, ˖‘˖,˖, k˖
ź)))źź(ź źź ź@ź
1,˖D˖˖‘˖˖˖"å˖
N˖ ˖˖F˖,D,˖/:˖<3"˖
˖˖D, ,˖/:˖ȏ ż_˖* "tŸ˖ , ˖˖ D,†Ǖ˖˖ ˖˖˖˖,˖
, ˖,˖ `˖*3&k˖F ˖, ˖ !˖ / / ˖‰D+˖<6Ó˖/+˖Q/˖ '$˖ /&˖ '3
"˖:ú:˖,˖
3
˖ 
 ˖

˖  ˖*
˖ u›Gkšò ,
Ģˆ_œ#˖ ˆ
,˖ +::"`˖
ź)))źWź

 ˖˖‘˖˖#˖ /:˖kC˖* "m˖,˖ ˖ //˖?Ü˖Z˖˖*

N˖Dó
˖ ˖,˖//_'6m˖
˖˖˖ ą˖ ˖/+˖<D"i#˖˖ ˖
/+˖ ˖*3&˖ /&˖<3 6˖?A˖ /"˖ 3&˖ ˖,˖˖ D˖˖˖ ˖ /…˖*$˖,˖˖,, ˖

˖ ˖”Ĝ_˖
$$źź
1,N˖,,˖,˖
 Ŝ˖ ,
˖˖˖
"@˖,˖˖Ø
N˖ ˖ D˖ ˖‘˖˖
,˖,, ˖ ˖ ˖
 ,†,˖˖,˖ ,
˖ ,˖˖,˖'
&˖ e ˖'D+˖
D˖'3
"˖,˖
,\#˖ * …#˖?D/˖ D˖?/ ˖*
M˖ ,
˖˖˖DÝ D˖ú,˖
D˖˖
˖D ˖, ˖  ˖
ź)))ź-  BBźNź(Hź
ˆ,!ą#˖ *
˖ ˖˖
˖ ˖ ˖ ,
˖ ,˖,˖ D,
˖
 _˖ ƒ, ŀ˖
˖˖˖,@, _˖

WQ_^YźL źźź'
źź
*'ź
ź
'ź"
ź
ź"&&ź&,ź
ź

,ź< &źź
ź< &@&>ź"
ź
.źź"r"
'.ź
ź:
ź<ź
ź
.&źź&<
ź,
ź<
ź*ź&,źź&ź
'ź<ź
ź
)ź
s  #˖  ˖
˖,˖˖ƒ 
˖¼
˖*

˖˖ D˖˖,˖, ú= D˖
,i˖ |˖,˖˖˖˖, ˖,
˖˖˖ D#˖,˖,
 ˖= ˖
˖$#˖ …#˖  ˖ "˖· D˖ M˖˖ ˖˖6@= ˖ ˖,
#˖ ˖˖ ˖

7}
:LF} " y C K ? a I F }> ? g P ? n P d a }

˖˖ ˖ ˖


$#˖˖,˖
˖˖@˖˖˖,˖, _˖
ə
D!#˖*!
˖,˖˖ ˖˖
,˖˖ ˖ GD˖˖˖ t˖S˖,˖ 
!˖
!
D˖˖˖ ,_˖ ķ˖
,D ›˖
,˖S˖”Ĝ˖D˖,˖,˖ ˖ă•#˖˖˖?3+˖,Ǫ ˖˖˖,˖,˖
t › F˖ ˖
˖ ˖˖$˖D˖˖
 ˖˖
$@˖,˖O˖'3
$˖C˖
,,,k˖F˖ ˖
˖ ˖ ˖…#˖ ˖,˖
˖˖˖,˖=N ˖D
˖˖
$˖ ˖ĭ
!, ˖__˖'3
$#˖D˖ ˖ ˖ , ˖
˖,˖ ˖ ˖˖¬,˖,˖˖
 ˖
˖ ˖ ˖˖
˖˖ ˖ , ,D˖
,˖F˖ ˖
˖ ˖˖"#˖
, ˖˖,˖=#˖, ˖˖DD˖
"˖ #˖,˖<3

˖

 D#˖˖ ˖˖,˖=˖D˖
˖˖ _˖
źź
”,˖ ˖ /+˖C˖?"˖D˖  ˖˖˖˖
"˖,˖'D+˖D˖'3
"˖S˖,D,£
˖ /+˖<3
"˖˖/+˖ ˖:@:˖/&˖'
&˖?"˖Nź ź/"˖<+˖ '3
$˖˖*!
˖  ,˖
˖˖,˖˖
,˖ ˖˖áȻ,  @œ*#˖GD ˖!˖œ!˖+::$˖
F ˖!D˖/…˖* …˖D˖ ˖*!
˖,D˖˖ ˖ ,˖/…˖ ˖'D"i˖ ˖/$˖
'3D"˖®3 o˖ ,˖,˖˖ƗdƗŸ˖ !˖/$˖*3DA˖'3+ù˖/6˖'3+˖?3+­˖ /A˖*3

e!, ˖˖˖˖˖  ˖,
˖˖  ,˖˖ã˖ /A˖C_C˖*3
6˖,˖˖˖
D ˖ ˖”,˖

Nź(ź%Hź N<ź ź%Hź


G˖ , ˖ ,˖ F˖3 ˖˖
˖˖˖

G ˖˖÷Ÿ˖ /+˖'D+#˖ ,, ˖˖ ,


˖˖˖
"@˖,˖'3
"#˖ ^˖,˖
=˖ ˖D˖ D˖˖˖
˖,
˖D˖,!˖D˖˖,˖˖ D˖
,Ņ˖ /+˖˖?"˖ /&˖<
+˖*o˖ /"˖<
&˖ :ú:˖ /…˖'3
"˖'Do˖ /$˖<D"˖njŢ$˖ /6˖&˖ '3
"˖ /A˖3

*$˖ /K˖ *+˖$˖+:˖?ă•˖ ?" +/˖ &˖<A˖++˖<"˖e˖DD˖
$˖C Cã˖++˖˖*3
"i˖ +&˖<

7}
' dv}nd} 4 \ ?{} I? Q a kn}
} F}

e+&˖ ?%."˖<%"˖ 8˖ d˖%. ˖ ˖1\˖+&˖`˖*)˖ ˖*!.˖ ˖    ˖d˖


8˖ W!˖8 ˖˖8@8 ˖ ˖ ˖ ˖˖.$˖ ˖ˆ`œĄ Ēķ¢! #˖ š ˖
+::$˖

_GaYź¶"źi
źź
ź Òź
ź'źó 
źź" ź

ź."ź
'Òź
ź
"źź'5iź"
&'.źź
.ź
ź&'.źź
źź
&

ź @ź ź ź-#źNź Hź
i ih{

Nź ź%Hź Nź ź%Hź


ˆ   ˖˖ ˖ ˖8!˖ *!.˖ ˖ d˖.˖

F˖ ˖˖ .d a ˖ ..  ˖d˖ d˖ B ˖ 8 ˖  ˖˖ ! d˖ d˖a˖ ( ( ˖a`˖
ÿM˖˖˖^ ˖  ˖˖ ˖˖ .˖ ˖dW˖W˖a ˖d  ˖W˖
8! ˖

IWa\tt
Bt /CkP‡`pP qt /APfkaS]
ˆJCtL€„‘ ‘

źź źźź#źź4ź4źź ź  ź#ź#ź ź źź3hźź#ź ź źź#ź(ź ź


ź  eź ź źź- ź źź eź ź ź-#ź źWź  ź
ˆ˖*!.˖˖8 !!˖   ˖ !˖=! ˖'W˖.˖˖ .˖8˖˖
1˖˖.da˖ ˖ #˖ ˖˖.!!˖!!˖*!.˖˖ ǭ˖˖  aC˖
;#ź4ź
Ž 8  .a#˖˖*!.˖!˖˖˖8!˖8 ˖d ˖()˖ '% $˖.% $˖($˖
?Ç˖ *6˖W˖ ˖˖ ˖dd.˖˖ %8!˖˖! d@=  ˖8MǏ˖8  ˖

}
9 L F } " y D L ? aIF}> ? g Q ? n P d a }

  d˖&˖  ˖ +˖ ˖  ˖ ˖


;#ź  3Fź
hhh{

S ˖*!.˖ ˖!d˖d˖%. ˖ W˖d ˖ ()˖² O˖?% )˖ /$˖'% )˖<% )˖/6˖<%.$#˖


W!˖ˆ!a ˖W˖8 !˖8 ˖ ˖ /)˖O ˖OĊ$#˖W˖^˖8˖.˖  ˖˖&#˖
a ˖8 a ˖˖W˖˖˖!.˖ 8dO˖ ?Ą! .M˖a˖˖.˖
   ˖˖˖!.˖=˖.˖˖8W !˖ .˖˖˖   C˖
ź- źFźNź Hź
° ʟ ˖˖ d˖˖."˖ ˖8 8  ˖˖ !!˖.  .˖˖.  ˖˖d ˖
J ˖˖&˖
ź ź
G˖d !˖ 8!˖˖ !a˖˖ 8  #˖˖1˖ ˖˖  ˖ .O˖
ź FFź
h hh{

Ï˖  ˖  ˖a˖d˖˖W! ˖  ˖a˖%8.d ˖˖˖˖˖  ˖s 8M˖


˖˖d˖.8 ˖
źź-#pź
F˖ ˖ ˖Ą ˖˖ ˖! ˖d˖ ˖ ˖
(ź0 ź źNź Hź

Nź ź%Hź Nź ź%Hź


G˖   ˖=˖. .˖ F M˖˖ .˖

F d ˖+:˖OO˖* +Ó˖+(˖ Q ™˖ *%&˖˖


ź 3 ?ź
1 ˖ ˖  !!˖a˖   ˖˖+:˖?% $t˖W˖d˖ ˖.! ˖a˖.À
 ˖+:˖O ˖.% $˖ +/˖ ? ™˖ * +Z˖++˖ Q+˖ *%&˖ +&˖ ?% $˖ '6˖ e^˖ d˖ ˖ a ˖˖˖


}
& dv}nd} 6 \ ?{} I? P a kn}
} F}

, , ˖˖¨,˖,˖˖
ã˖>"˖ '&˖' $˖>)˖?%$˖06˖>$˖?6˖')˖>6˖?%6˖'&ù˖>A˖
Q&˖ ' ™˖ġ˖>K˖ ?› '&ġ˖W,˖˖ W˖˖ ,˖ É˖ ˖
 #˖ ,˖&‹˖Q™m#˖  ˖,˖
&‹˖k k_˖? ™˖ ˖
š˖
 #˖ ˖ ˖W˖ ˖W˖
ą ˖˖ ˖
˖˖ 
,˖=
˖˖
˖ ˖1đ˖W,˖, ˖, ˖,˖¨ ˖ ˖˖

˖,
 ˖ ˖ ˖ 0u
, #˖  ˖ W˖ ˖W ˖ ˖ ˖‘˖ , ˖ W˖˖ W˖ ˖˖>(˖
 ˖˖ ˖~˖
=ź =9ź= ź0 ź
L jk{

|˖˖˖ ˖ ,,˖,˖ , ˖˖ ,˖ ˖>/f f


% $˖>>˖<"˖$˖e ˖
>>˖TÔ˖? $˖>&˖?% $ã˖>&˖<% )t˖% )˖>"˖Q% >˖ ˖˖˖0
˖, ,˖˖˖ ˖
˖˖˖ ˖0˖, ˖
˖˖
 Å˖
= ź 4CCźUź ź
nom{

|˖
 ,˖˖1,˖˖˖W˖˖˖ #˖ ,˖, ˖˖=˖ ˖˖
˖,˖ ˖W˖ 6›   ˖˖W ˖˖˖ ˖˖>>˖ ˖'%&˖˖˖˖˖
  ˖
˖ ,˖Ô˖
==ź!ź 9ź=ź 0 ź ź=źź
G ˖>"˖ ?
&˖0
˖˖˖
,
˖W˖>"˖Ƹ‚˖
% $˖W,˖˖ #˖ ˖, ˖,
˖
 ˖˖W˖ ˖˖=#˖ ˖>"˖TÔT˖0 >ġ˖>)˖ ?› '%&ġ˖>$˖?%&˖0%&˖W,˖W˖ ˖
 ˖W˖W˖  ˖˖=T˖F˖ ˖˖ ˖˖ ˖˖W ˖ ,˖
,
˖ ˖1,_˖
=ź ! #9ź =ź0 źź = ź ź ź
L jh{

|˖˖ ˖W˖1,˖  ˖˖


 ,˖ ˖, ˖W˖W˖˖u
˖,˖˖, ˖ ‘ ˖˖˖
˖
=ź4ź ź= ź ź!#ź=(źź! źź=ź!#ź  ź ź!# ź=źź źźPź
! 9ź ź0 =ź! #źź4ź! #9ź ź 0ź!49źź 0ź!9ź ź0=ź!49ź@ ź
1,˖˖˖ =˖ ˖&K˖Qũ˖? ũ˖ġ˖"‹˖Q >˖0"ġ˖

&25E/L:(KDLL.L
;OGv1`ebOtv5W?^v?iv&[ ?BVv

F˖ ƒ 
˖á%
 ˖, ˖˖ 
, ˖˖V>4b V-G4bN6bV[Nb TQY-R4Tb|˖˖,  £
, ˖,,#˖˖= ˖ e›  ˖)˖  ˖˖=˖¥˖˖ ,˖1,˖,˖ ˖
,#˖ 0
˖, ˖˖˖˖
 ˖˖˖s ˖˖,˖˖˖"
= ˖ |˖,˖ ˖˖,˖ ,,˖ W ˖ ˖ ˖ ˖˖ ˖˖, ˖
 ÷˖ ˖"˖ ˖Ö˖ ˖ʄ˖W,˖ l˖‚Ċ)#˖˖˖, ˖ , ˖˖˖"ċ
= ˖
˖˖  ˖ ˖˖ ,†˖˖,,f˖

}
9 K F }" yA K ? aIF}> ? f P ? n P d a }

źź ź=źź #źź4ź4źźź  Fź


ɚ˖˖˖˖ ˖"˖'&#˖ ˖W,˖˖ %
˖˖˖)˖0)˖W ˖
˖,˖˖,˖¨˖˖˖˖ ˖1˖
źź
š˖  ˖ "˖ ˖ ˖ ˖,˖ ˖ ˖W,˖CO˖'"Ù˖|˖, ˖ )˖'&˖
˖)˖] fT˖0 "#˖  , ˖$˖ ˖'% "#˖ ,˖  ˖
 ɮ˖ ˖ 0
#˖ ˖˖ ,˖)˖O O˖'"˖$˖
0>˖e1˖ ˖WH˖˖˖  , ˖˖˖, ˖=  ˖,˖˖ $˖ C˖'% &ã˖
$˖ ˖0)#˖ 
ij˖
#ź  źUź ź
Vmm{

ź ź%Hź ź źUź


0

 é˖)˖ 0

H˖
é˖, ˖, ˖

0
˖ ˖ ˖
 ˖˖)= ˖ ˖1˖
˖˖ ˖˖ ˖˖
, ˖  ˖p ˖WM˖˖˖˖
˖˖ ˖˖W˖W˖0

˖,ŏ˖
˖ "= ˖ ˖˖é˖,˖  ˖

v>OQmGvmeQGivI`eviQ\bWQIQB?mQ`^v

HWa\t$t
dt !CWnWp`ƒh qt CIsjhs‡
%cC„Lw[nFˆwP‘ ‘

źź ź=źź#źź4ź4źźź  źźź ź źź

}
'dv} nd} 4 \ ?{} I? R a kn}
} F  }

1 ˖
 ˖ ˖=˖˖˖= ˖ ˖˖
˖ Y˖ ˖ ˖˖ ˖˖ u
 ˖*"#˖%
  ˖˖*
M˖ M  M˖ ! j=  ˖ O˖p #˖ ˖ ˖

˖˖   ˖˖=˖˖&#˖ ˖œ˖ ˖  O˖
S ˖$˖'³˖ ˖
   ˖ ˖˖%˖ #˖  ˖*
˖˖˖= ˖ ˖
 ˖ ˖$˖'&˖' 6˖6˖‹‹˖* "˖A˖?Ç˖ < 6 K˖' Û˖ ź źK˖“˖‹‹˖e˖ ˖
K˖“ “˖‹j‹‹˖ ˖˖ !\˖(‹˖&˖*Y#˖

ź+++ź C?ź
S˖˖˖˖˖ ˖

ŏ˖˖˖˖˖ ˖ ˖˖ ˖ ˖
˖˖%O˖ 6›s M˖ ˖ ˖ˆ˖ ˖ĸ!#˖ S˖   ˖  ˖"˖ O˖*$˖
 ˖Y˖“ “˖*$˖ 
 “˖p #˖˖ ˖ ˖
  ŏ ˖˖˖
 ˖˖ ˖!˖    ˖˖
 #˖ ˖ ˖œ˖˖ ˖ X ˖
 ˖ ˖  ˖˖ ˖˖˖$j= ˖ S˖  ˖ Y˖ ˖
! ˖˖˖
 ˖ ˖< 6˖ ˖˖= ˖
!  #˖˖!!˖˖ ˖   ˖˖ ˖
=˖ ˖““˖* "˖
ź źź źź
1 M˖ ˖ ˖  !˖˖%
 ˖˖ 
˖  ˖  ˖˖ ˖ F ˖ À

  ˖œ!˖˖ !˖ ˖  ˖˖


ź+++ź  ź(ź ź CCźź ź

ź ź ź ź%ź


F˖  ˖˖ ˖  t˖ s ˖ ˖˖  t˖

G˖ 
˖ 
 O˖*!
M˖ ˖ ˖˖ ! ˖H ˖ ! #˖˖˖ ˖

 !!  ˖˖Yj  ˖"j= O˖F˖˖!˖


 ˖ ˖  ˖
 ˖˖
!
˖ ˖˖ O˖ S˖ ˖˖  ˖
˖˖ ˆ ˖ ˖˖˖%u

  ˖˖= ˖ ˖ ˖K˖OO˖<% $ (‹˖< &˖˖*!
˖ ˖ !˖
 ˖˖%u

 ˖=˖ ˖ ˖˖˖


˖˖ 6O˖S ˖ ˖ ˖˖  #˖  ^˖

}
9 K F } " y A K ? aIF}>? f Q ? n R d a }

˖ ˖  ˖O˖* "˖˖ ˖˖ ˖=˖

QL^XźGźi
ź,
ź."ź
źźź&ź.ź
źź

ź."ź" ź
 "
źź:ź."*ź"'>ź*
ź&,ź
ź
ź
ź&&y"¹

.+ź¶"ź,''źź"&źźźź'ź
źź
ź'+źGź(èź
źź
źÃ'‹ź&
"źź
ź+++ź ź5źź
źź&>ź
"
źźź &źź(ź+++ź ź,**ź5ź."ź'5źź
:ź&{

*źźźź'ź5źð
źèźźź

źź 5ź
."ź&&
źź,ź."ź
ź+ź
$ź ź@@ź$ ź ź0 ź
G ˖˖˖ ˖    ˖ ˖˖

!˖  Ĕ˖Ž  ˖˖
‘˖  ˖ ˖˖^˖ ˖˖ ˖˖ M˖  ˖˖1 ˖· M˖˖
˖˖ ˖˖ ƒ 
˖ á%
H ˖   ˖˖ ˖

˖œt˖Ă˖ ˖
ŕ³˖µµtm˖ ˖ M˖˖ ˖  ˖*
˖˖ ˖˖˖ ˖   ˖   ˖˖

  #˖˖O˖ Y˖! ˖˖
 ˖˖˖ ˖˖$˖  Ĕ˖s !˖1 ˖

 ˖˖  ˖ ˖˖! ˖?•˖  ˖' &˖ ˖'"#˖ ˖ ˖


˖ Ò!  ˖ ˖! ˖˖ O˖*˖ˆ Ò˖  ˖˖M˖ ˖ M˖ ˖

˖ ˖˖˖ ˖˖ ˖‘˖


ź†d†©†?Cź Cźź ź
œ!˖ ˖ ˖

˖˖ ˖! ˖s O˖
$ ź
ˆ ˖  ˖ĔOO˖Y˖ ˖  ˖˖
 ˖˖"˖˖ ˖  ˖ S˖  ˖(&˖'%"˖
%" ƾ"˖*%"˖*%Û˖ ˖˖= ˖  ˖˖ ˖  ˖ ˖ ˖e ˖
 ˖1 ˖!!˖˖ ˖ ÇY˖*%
$˖˖d ˖ÇY˖ OO˖%
$˖*

˖  ˖˖

˖ ˖^˖Ê ˖ ˖˖!!˖  ˖ OOO˖QA˖ H ˖ O˖?A\˖
$ź+ ++ź 4Cź
*!

˖˖s ˖!#˖ ˖Ò ˖ ˖
˖ ˖O˖S˖ ˖˖˖
˖G
˖ ˖ ˖˖˖  ˖ ˖ 
˖

#˖ ˖˖ ˖
˖  ˖˖ ˖˖ ˖˖ ˖˖˖ ! ŏ ˖˖ ˖ 
˖p ˖
X˖ ˖˖
˖ ˖
˖ !˖ ˖ ˖˖RÃ ˖˖! ˖
źÂ#źÂ4ź ź ź źź!  $ź!;?ź
S˖ d ˖(6˖*%
$˖%
$˖ (A˖< &#˖
  ˖˖=˖ ˖˖ ˖ 
  ˖

#˖ ˖
˖ (A˖OO˖<$t#˖   ˖^˖ ˖H ˖   ˖˖  ˖ ˖
ŕK˖OO˖<%³˖
F˖˖ 
˖˖ ˖ (6˖? •#˖   ˖˖ #˖˖*

˖˖˖
 ˖ !˖˖ (6˖OO˖*%"˖(A˖<%"˖ ?%³#˖     ˖X˖ ˖ d˖ ˖  ˖ ˖
$ź+++ź źź! (źź Cźź (ź
G˖ ˖˖˖#˖˖ !˖
˖˖Û˖H ˖³˖ ˖1 M˖ ˖‘ u
 O˖

 }
&dv}nd} 5 ] ?{} I? R a kn}
} F  }

ź źźwźWźźź!~ź źź7ź źź!źBź


1 ˖˖˖˖˖ @ [˖ ˖˖˖Ç˖-  ˖ ˖ ˖-˖
  f˖œ˖% ˖˖9˖˖9˖˖ ʦ ˖ ˖
ź !wź
| ˖>)˖ '% $˖â%&˖>$˖%&˖' >ii˖˖>6˖`˖<•Z[˖˖>6˖Q% >m˖?>Z˖ ˖
˖ ˖{-˖ ˖>6˖<% >˖ <•˖Z˖9˖˖-   ˖ ˖˖ş ˖
ź111źź ź 7ź!źźźwpBź
¼ ˖  ˖˖9  ˖[˖œ˖ ˖˖˖%9 ˖{-˖˖9˖
˖ ˖˖1đ˖˖9 ˖˖˖˖&˖  ˖&˖
 źwźwpź(ź0Mź
ˆ˖ 9 ˖˖˖ ˖{-  ˖˖*9˖ F˖˖˖&˖ ˖ ˖
[˖-˖˖- ˖˖9 ˖ ˖1 ˖˖ ˖˖˖&:˖"˖
(ź111ź! BźźWź07Bźźź

źw(ź%ź źź%ź
?    ˖˖˖ *9˖-˖ 9 ˖ ˖  ˖

*9˖9 †˖ ˖  ˖˖  ˖ )˖ S˖  ˖&:˖˖?%&mm˖ &(˖'"˖ ˖*9˖˖
˖9 ˖ ˖   ˖˖  ˖˖ &˖˖˖ ˖˖˖ )[˖ £
˖ 9˖1 ˖ 9{- ˖˖ ˖˖
wźWź0 źź ź! źź07ź! źź mź!ź
*9˖ ˖  ˖ ˖ ˖ p ˖˖˖9 ˖ ˖{-˖˖ ˖9˖£
9˖&˖ ˖&˖˖˖˖ ˖
ź! Mź ź  ź 0ź źź !~ź
ˆ -˖˖˖˖ ˖Æ˖ ˖&6˖˖ )[˖ 9˖˖˖ ˖˖&@˖˖

}
8 K F } "yB K ? aIF}> ? g R ? n Q d a }

9  ˖ ˖˖  [˖ ˖˖& A ˖'% )i˖ Q% )˖& K ˖"Z[˖    ˖˖ 9˖
 ˖9  ˖˖ ˖ ˖
ź111ź Bź ź! wźź(ź ź!źźź źMź!Mź!ź
G˖ ˖˖˖ ˖"( f$˖">˖' •˖ â%&[˖ Ǫ  ˖˖˖ S˖˖"&˖?•˖
'˖ &i˖ › Q%&˖ e˖˖ 99˖ ˖""˖?$Z[˖-˖ ›  ?$˖  ˖¿\˖ › ˖'˖%•˖Z˖ ˖˖
K{

E ˖ ˖ 9˖ ˖ >˖˖ &˖


Pź!ź07 źź wź!źPź!Mź  Bźź!7~źźźMź

źMź%ź źź%ź
1 ˖ ˖ ˖  ˖ G  ˖ ˖ ˖˖

1 ˖˖BƘ˖˖ ˖ǡ ˖  ˖ ˖˖ ˖ 9˖˖9&˖  ˖&˖9u


 [˖ *9˖˖˖˖ ˖ ˖^˖ ˖˖˖ ˖ ˖9f˖
 ź0ź źź0wź0ź ź!7ź ź
G˖˖œ˖ 9 ˖˖9˖˖˖9{-   ˖˖ ˖˖
(ź7źźź7ź!ź
1 M˖˖˖˖ ē ˖˖ ˖˖˖9˖  [˖ ˖˖ ˖˖
-9˖ ˖˖ ˖9˖˖˖"˖
wź!7 ź ź ź! ź!ź ź 0źźź! ź!pź ź0wź07ź ź!œź ź
F˖ ˖˖9˖¨-˖ -˖˖˖˖ 9˖˖˖@[˖ -˖˖ĭ
9˖ ˖˖9 ˖  ˖ ˖˖˖    ˖  ˖˖˖
ź ź
1 õ ˖ ˖˖ ˖ ˖˖)6˖?)˖ "˖)A˖% "˖&˖)K˖'%&˖?%&˖ ˖˖9˖
 9˖ ˖˖˖@˖
ź111ź! ź  ź0ź!ź(źW7wź!pź ź0źź wźWź ź@wź

}
&dv}nd} 4 \ @{} I@ S a kn}
} F  }

v&W?BVviGQuGivmOGvGIQWGv?LGgvb?iiQpGvbW?tvIg`\v>O QmGv

S˖- ˖%˖ ©˖0


˖˖˖˖˖˖f˖F˖s ˖ ˖˖ ˖˖
)˖  ˖
€˖  ˖ ˖   ˖ ˖ ˖  ˖˖ 
˖ e› ˖˖
 “˖

IWa\t(t
it LLapWyqt !!kWh]`pW
2q‡W nPSCk‘‘

Mźź źźź#źTź4ź#źźTź 7 źźTź ź ź ?Cź Cźźź


G˖ ˖ ˖˖˖ ˖
˖˖†˖˖‘f˖F˖=-˖ À
˖ ˖”˖ ˖
 ˖  ˖˖˖˖˖˖ l ›
ź źCź
Î ˖˖
˖{-˖ ˖
  ˖˖A˖'&˖˖A˖ff˖*%&˖˖-˖˖
˖f˖
O Jź
S ˖A˖®&m˖  ˖A˖ “˖:@:@:˖K˖®% )˖'$˖ /:˖®%6˖èA˖˖0
˖˖˖ƨ
˖
˖ ˖˖f˖
Oź †Æ†‘†ź(ź ;ź źMźTź ź$$ź©eź#ź
L hL{

G˖˖!˖-

 ˖˖%
  ˖ ˖˖ @{-  ˖©˖

-˖˖˖˖ ˖ ˖É˖ -˖   ˖˖˖


˖˖ ˖ ˖
˖
{- _˖
$ź TźTź$TźTź ź$ź?ź
G˖ ˖ ˖ ˖˖ ˖ 0
˖ ˖ ˖
 ˖ ˖‘˖  ˖{- ˖
%˖
€˖ ˖)f˖
$ź ź
h hh{

p˖ ˖˖/€˖f˖kĊ)˖˖˖˖˖{- ˖ ˖˖ʔ ˖


$ź Tź
1 ˖- ˖˖  ˖˖ ˖˖/)˖)tf˖*
˖- ˖ ˖˖˖É˖ -˖
˖- ˖˖˖ ˖ ˖)f˖
;#ź źM ź! ;ź #­źźTź
hhh{

'˖G˖˖ ˖˖
˖Ö˖˖ ˖ ˖ &˖¬-˖˖˖ ˖1˖

˖ ˖-˖˖˖ ˖˖ /6˖)˖


$ ;ź
I› /6˖h›ɔ /A˖$˖' A /K˖'•˖èA˖ ˖Ö˖$Ē˖!˜˖˖Gʃ˖ ć˖R 
 f˖
Mź111ź  $Oź Tź #ź
1˖˖  ˖˖
- ˖ ˖
˖˖
˖˖0
˖- ˖-˖ ˖˖
jf˖

}
: K F } " y B K @ aIF}> @ g P @ n Q d a }

$(ź Tź ź
Ɖ ˖ ˖˖ s ˖')˖  ˖
ź ź!Oź$źź! źź ź! OźTź!;ź!Oź ź0;źOź źTź 4Cź
0
˖  
˖- @-˖˖
˖  ˖˖˖˖˖
t˖ F˖ö ˖
˖
 ˖˖ ˖  ˖˖{-˖

˖˖€“˖
 źTźʼn7Fźźźź7;ź

źTź%ź źź%ź
0
˖ ˖˖ ˖ ˖ 1˖ ˖
˖ -  ˖  ˖

1˖ ˖ ˖ ˖ +6˖%


€˖ ®€Z˖ +A˖ Q
(˖ 0&Z˖ +K˖ =y› è$Z˖ &:˖ Q•˖ ®
+˖&/˖ èÜ˖
0+Z˖
ź ‚T9źOźTź T9ź(ź Tź!Tź Tźź#ź
hhh{

F˖ ˂ ˖˖ ˖˖ &˖


˖”˖˖ ˖˖^˖
&@©˖  ˖
˖˖

˖˖
f˖
T$ź ;ź!TźTź!źźTTź;ź0CźTź#ź!TźTźź4źT ź!;ź!źTź!ź
źTOź0ź źT(ź0ź @$ź
G˖ ˖ ˖˖GÉ˖-˖ ‘˖ ˖˖˖˖  ˖˖˖˖˖ ˖
0
˖˖˖ á%
 ˖ Ō ˖ S˖˖˖ ˖˖ ˖ ˖ď ˖ ˖  ˖
˖Ů  ˖/€˖€m˖˖ ˖0
˖˖

˖s˖  ˖
-˖ ˖˖
˖- ˖˖-˖-˖˖ ˖˖˖1˖˖˖ “˖Î˖˖  ˖-˖

˖ ˖˖ ý ©˖ S˖  ˖˖ Ȩ˖

QL^Xź '5Ÿź
,źźź
ź^ ź¤
źź&'Ŵ
 .źź
źq&
>źź:e"ź
ź
ź"
{
 1źG
ź źź
źź:'
źź&

>ź"
ź'yź

&
ź,ź ź "'ź
.ź&&1ź

}
& ev} ne} 4 ^ ?{} I? P a kn}
} F}

E2/ALE2L?H/DL
6› ŽH˖ƒ ˖M˖3H¦ ˖^˖Ɖ3.H ˖œH H ˖˖H. ˖ H˖ ˖¦˖
 ˖/˖ "˖$˖+˖ "˖ Y˖U˖'.U˖'$˖"˖3 Y˖3 Y˖Y˖* Y˖FH˖ ˖ ˖šQ˖˖*H.E‚˖
'[˖ ˖1 ˖ ˖˖˖ ˖ H˖˖¦˖ ˖˖ ˖.H˖ ˖ źź
 źšźźźźźźź 7tź˖HN˖2  ˖˖H˖ ¦˖H˖ ˖ ˖* Yf˖|Į
H ˖˖ .H˖H}˖ ź 7 Ùźźštź
hhh{

ũźšź%ź źš źǼɣǽ˖


‚˖* $˖  ˖ ˖ ĸ˖2-˖˖ H˖

 .˖  ˖ Y˖ H˖H˖- ˖˖-˖3˖¦˖


F˖¦ ˖˖Y˖* U˖* $˖$˖' +˖ e˖$˖'U˖* "\˖ $˖  æ˖<$­[˖ -  ˖ ˖=-˖˖
H˖H. ˖ =-H˖˖˖H.  H˖˖  H2˖3.H ˖˖ @=-H ˖
2 ˖G˖ 6˖*U˖*Y˖A˖*3Y˖<3Y˖K˖< +˖' 6 /:˖*"˖*3" //˖'3"˖' $ /+˖U˖Y˖
/U˖ :@:@:˖:@:@:˖ źš ź*H.E˖ H ˖ H˖4}˖.¦H2˖  ˖ ˖
ÿĔQH† E}@ĂQ-H[˖ Q ˖+::Y‚˖ Nj˖ H.˖ H˖ H˖H˖H  ˖[˖2-˖˖ ˖
- ˖ ¦2HH.˖˖H}˖˖ ˖ *H.E˖ ˖E  ˖˖ H˖‚˖
ƒ H}[˖˖- ˖˖H˖"˖."˖ ˖¦ ¦˖} ˖ ¤˖1 ˖ ˖}˖ ˖˖
H ˖=-M˖H˖  ˖ 8› ˖H˖  .˖ ¦˖˖˖
2 ˖˖2"˖-˖ *H.E˖H˖  ˖ H¦˖H˖"˖ ‚˖'$Ƈ˖ ˖3H¦[˖Y˖'U˖ e˖Y˖'.U˖
*2"˖$˖* U˖:@:˖ 6˖'U˖ * "˖A˖*U˖ 3."˖ K˖*3."˖' Y­[˖H˖ ˖ H˖H˖ H¦˖2˖˖
H¦˖H}[˖ '‚s † Ý* ]ˆ.E[˖ ŽE˖+::Y\˖Y˖‚ ˖*2"Z˖ $˖* +˖ *3 +Z˖6˖'23 +˖ :@:˖ A˖
*+˖ 3."˖K˖'3."˖*$˖H ˖˖S<°˖H˖H˖..Ÿ˖˖1 ˖ ˖ '‚s ǭ IJ*ˆ.E#˖
ŽE +::Yf˖

}
2(@E/AL#2A//L

$  $
#$

=EA?.G,E5?=L
&: ?D5E5?=(:L5=/DL
&25E/L EE(,8DLI5E2L/1CL
& dv} nd} 5 \ ?{} I? P a kn}
} Õ´˖

=FA?.G,E5?=L
+4bNKG^bW-TEb? K bW<4bNP4K?K;b?Tb WNb R4-1<b-bPG-^-.G4bJ?22G4;-J4 b
Ǝ¨˖° 

F˖ ˖˖˖È˖ƒ ˖¡3˖ ˖ źź źźź#źź źe ˖&˖'


&\˖ ź+++źź
ź źź#ź /ź źź ™ź

ź ź%ź źź%ź


F˖ƒ ˖¡3˖ 0
˖   ˖ O˖' $˖

0
˖ ˖   ˖   ˖ ˖  ˖˖ ˖  ˖ ˖ 
 ˖˖  ē= Õ ˖
f˖ħ˖3 ˖  ˖˖ ˖˖
 Õ˖˖  ˖˖
˖ ˖ ˖ ˖ ˖

˖˖˖ ˖
 ˖ ˖˖ ˖È˖3˖˖
Õ ˖ u
 Ú˖

&[?BVivo^QpGei?WvitimG\v

F˖ƒ ˖¡3˖˖˖˖ ˖   ˖  ˖ 


˖ ˖  ˖ƒ  #˖ ˖

˖˖ ˖  ˖ ˖&˖'


&˖ ˖&˖' +f˖F˖˖ ˖˖ ˖ ˖
 ˖ ˖˖
 ˖ ˖˖ ˖   ˖ 0 ˖ ˖ Õ ˖˖  à˖˖ ˖ƒ ˖¡3˖ £
˖  ˖˖ ˖˖˖˖ 
- ˖  ˖˖ ˖ ˖ - ˖ G˖˖˖
#˖1 ˖  ˖ ˖˖  ˖˖˖˖
ƃ˖   ˖ ˖
"#˖  ˖0
M˖ ˖˖
 ˖ ˖ ˖˖
ˆ˖  N˖ ˖ ˖˖˖ò˖˖˖˖ 
 ˖ ˖ ˖   f˖ S˖

}
Ā ï Õ ˖$ d fn} / a d z }

˖ 
  ˖ ˖  #˖  ˖˖S˖˖  ˖ ˖¢s˖ ˖ Õ˖ ˖ ˖ ˖
˖   ˖ ˖ ˖ M˖ ˖

;OGvgG?i`^vK`ev bW?tQ ^NvmOGv *`hv /^`rv

S˖ ˖ ˖  ˖˖ ƙ˖


  ˖
˖ Õ ˖›˖
˖ ˖ Õ˖˖˖ ˖ ˖ ˖ ˖&˖'
&˖ ˖&˖' +˖  ˖˖
˖˖ ˖˖
 ˖˖ ˖ 
˖˖ʴ ˖  #˖ Õ˖
3#˖ 
ü˖ ˖
˖ ˖ ˖˖˖#˖@   
#˖  ˖   ˖ ˖  ˖  ˖˖
˖
˖ ˖˖ ˖

;OGv `bG^Q^Nv\`pGiv

Ǝ M˖˖  ˖ ˖ ˖   ˖=


›˖
źź źźź#źź È ź
1 ˖  ˖  ˖ ˖   ˖   ˖È˖  ˖˖
 ˖˖

 ˖ƙ ˖&˖)˖
ź2++źź
0
˖†˖È˖

˖ ˖  ˖˖Ǜ  ˖"@)O˖FĻö˖   Õ˖È ˖˖  ˖
˖ w˖ ˖˖˖ ˖ ˖ ˖$#˖  ˖ ˖= O˖ħ ˖˖˖ ˖#˖0

 N ˖ -˖ ˖˖ C˖'$˖
ź ź
1Ļö ˖˖˖   ˖˖˖ ˖
 #˖ ˖˖È˖  ˖ ˖˖  ˖˖˖
3
 ˖
 ˖ = ˖
ź++źˆź
I

F˖ Õ ˖˖˖ Õ˖ƒ ˖¡3ȩ˖ Õ˖


˖˖ ˖˖3 ˖ ˖
$˖
ħ ˖  ˖˖¨˖ ˖˖  ˖ ˖˖˖ ˖
 ˖ ˖Ļ ˖  f˖
ź /ź
1 ˖ ˖ ˖ ˖ ˖  ˖  ˖f˖
ź+ +  ź
J{

s˖

 ˖
źź
G  ˖   ˖ Ȫ˖1 ˖
 ˖˖  ˖ Õ #˖  ˖"˖
 ˖ Ò ˖ ˖  @=  ˖˖˖ ˖ , ˖= ˖˖ ˖ƒ 
O˖
ħ˖˖ ˖ Ÿ ˖ ˖ $˖'Õ )#˖
˖˖ 3  ˖~˖
ź+++ź źźź

 }
' d v }nd} 5 ] @{} I@ R b kn}
} ´˖

1˖˖ 
˖˖ ˖˖
$I˖ ˖ ˖˖ ! ˖˖ 6f˖F˖˖˖
 ˖  ˖˖ ˖-  ˖
!! ˖˖ ˖ W˖ ˖˖"I˖ ˖ ˖Ý
 ˖$˖˖'$˖˖6˖'%$Ó˖W- ˖ ˖0
˖˖
- ˖ ˖W˖W˖
6˖ k˖ %$˖˖6˖˖<%$ª˖Ø˖ ˖Ƴ ˖˖ƒ ˖Q%˖
˖˖˖ ˖˖˖

 ˖
 dź
š˖W˖ ˖1˖˖˖W ˖

˖˖I˖ W
˖ W˖W˖‘˖ ƒ ˖
Q%˖˖-˖˖˖˖ ˖W ˖˖˖ ˖p˖  I˖ ˖%I˖
˖ ˖6˖<>˖ ˖ 6˖' ½“˖
ź) ))ź 6ź
G˖ ˖ ›˖0Ľ
˖ ˖  ˖
 ˖˖ W˖  C˖ p˖˖  ˖˖
W ˖ A˖'%$Ó˖W˖A˖ ˖'%$˖ S˖˖K˖ «½I˖ ˖
˖ ˖
- ˖W˖K˖ f˖<% "ë˖
W˖1˖ N˖˖- ˖ ˖˖W˖ ˖(:˖'%
$˖%
$I˖W˖˖
˖ (:˖'%6ªI˖  ˖  ˖ (:˖˖Q%6ª˖ ( ( ˖0 $Ó˖ W ˖ ˖ {-˖˖ 
  ˖

I˖˖ - ˖˖ (Ĥ˖f]˖< ½ëI˖ - ˖‘˖{-˖˖˖   ˖{- f˖F˖˖
  ˖˖   I˖˖1˖-˖ ˖˖˖˖ ˖˖ >I˖ W ˖0

˖ ˖W˖˖
˖W˖ (ê˖~Ŕ~˖Q%6˖
ź ź ź
0

‘-˖˖ ˖

LaYź£ź
ź´yź0sź
źdr"źź*
ź',.źź

ź&
źź

ź &ź
ź61ź
( ź
S˖ ˖K˖')ª˖'%)˖ (:˖ %½˖0
˖˖˖ 

˖ (:˖] ~~˖< )ë˖W
˖W˖˖W˖
-˖˖˖ -˖ ˖˖˖˖ >˖ ˖( (   <%)T˖
'WI˖W I˖1˖˖  ˖˖˖(:˖')I˖W˖ ˖(Ĥ˖˖'%)˖ e ˖˖
˖{- ˖W˖W!˖˖ ˖-˖˖( ( ˖'%
$˖%
$\˖( ( ˖ %)˖˖˖˖

  ˖˖˖  ˖e ˖( (  f< ½˖
˖˖W  ˖˖(>˖"ë\˖0
˖- ˖
 ˖˖·  ˖˖W˖˖ ˖˖˖ ˖ %
 ˖˖˖ j{-  ˖˖ ˖
˖  ˖
(ź)))źsź źsź6ź ź! ź@źźź
0

˖˖ ˖p˖˖˖˖ ˖ ˖˖W!˖ 
 ˖˖˖

 I˖W˖˖ W˖ ˖˖ W˖ -


- ˖

&W?BVvNQpGiv o b vOQiv AQiO`bvI`ev?v V^QNOmv

S˖˖G 
˖œ ‘˖W˖W˖˖0
˖W˖˖˖ -˖˖ ˖  ˖˖˖
Ø N˖  @{-  ˖I˖ W
˖W˖ -˖˖ ˖˖W˖ -
- ˖p˖  ˖
˖  ˖W˖˖ ˖~]˖$˖  ˖ ˖0$I˖ ˖W˖ ˖
)˖ W ˖˖ ~˖<$I˖ ~~˖0 6˖ ˖

ń´˖
9KF} $dgn} / b d z }

 f k0
˖ ½k˖|  ˖˖
˖˖Ą
˖W˖˖W˖˖˖˖  ˖1N˖Ø  N˖
 ˖{-  ˖f˖|˖˖ƒ ˖Q%˖˖˖˖  ĵ˖˖˖   ˖˖%Ű

 ˖˖˖˖ ˖˖ [<?W3bEK?;<W b


Ï˖˖ ˖‘˖˖˖
˖ ˖· W˖ ˖ 
!˖˖{-˖ ˖Žu
 ˖š˖˖Ø˖W ˖˖ ˖ ˖˖˖˖ʤ Në˖Ă˖˖ƒ ˖Q%˖
W˖ ˖˖0
˖%
 ˖˖ ˖  ˖  ˖  ˖ ˖ -˖˖˖ W˖
u
 ˖ ˖˖ ! ˖ {- I˖ ˖˖˖˖% ˖ ˖

QL^Yź ź*>ź*5ź "*ź*.ź&


"źźź, ź ź źź&ď

*ź


<OGv Q\b`h? ^BGv`IvvBvm`viGBoeGvmOGv BG^meGv

Ă-˖W!˖˖
 ˖˖ ˖ (:˖<%U˖0
˖ ! ˖(:˖˖
$I˖ W
˖W ˖˖˖
 
˖d ˖ ˖( ( ˖<%6˖F˖!˖ W˖ ˖ ˖ ˖ ˖ ˖† ˖˖
Ű
 ˖ G ˖I˖ ˖˖ ˖˖%
 ˖˖1˖W˖  ˖ ˖ ˖˖˖W˖˖-u
‘- ˖ "Ý ½˖ ˖  ˖˖ 
˖˖
˖ ˖˖@ T˖ F˖ ˖˖ ˖˖˖
  ˖
˖˖˖˖-˖˖  @{-  ˖˖˖>˖W˖>jU˖ ˖0>C˖
GŸI˖ ˖1˖W!˖˖Ø ˖˖ ˖WN˖ ˖˖ ˖˖ -˖
˖ ˖  ˖˖
˖ {- ˖
˖˖˖
  ˖˖
 ˖W˖ "ú ½f˖

źź%ź źź%ź
0
˖˖ ˖ ˖ 0
˖˖˖ ë˖

;OGv b?q^v?mm?BVv`^v 
qQmOv vBv Qiv b`iQmQ`^?WWtveQiVtv

5›H˖ƒ 
˖ ƤI˖˖0

H˖˖^˖ H
˖ ˖
½˖W^-˖˖ʞ @

ńř˖
& dv}nd} 4 \ @ { }I@ R a kn}
} F  }

˖g˖!!Ä ˖B#˖˖g˖.!!˖=! † ˖ ˖ ~˖pa #˖ g˖g˖


˖˖^˖ .g˖ ˖ ˖ ƒ ˖ Q%˖ p ˖ î˖g˖˖g@ #˖  ˖  ˖  £
.g!˖˖! úg=  ˖g˖˖˖ a!#˖ g˖ ˖a˖ ] ]C˖.)˖ .! ˖.!!˖˖˖ű
gĿ!˖ gg ˖˖ ag˖˖a!˖.˖˖gB! Ä ˖ɶ˖˖!.˖=g O˖

?D5E5?=(:L5=/DL
'?iGvimoEtv"v&W?BVvGrBO?^NGiv`^vGvQ^v?vI?p`oe?AWGvq?tv

HWa\t.t
ft 77`qt3D]`eP[PpP]Pp
,L~Lw‘ ‘

źź źźźźź źźź źźxźź ź ź ź źźź


î˖ . g˖˖˖˖=˖˖+˖ !˖
ź  źOźź
h hh{

G˖a  g˖a˖˖ g˖!!˖ ˖ ˖ƒ .˖ggg#˖˖ !˖! g˖˖˖


g!. ˖˖*!.˖!.g˖˖˖ƒ ˖Q%C˖S˖g˖.. ˖ ȼ ! Mg˖
! ˖ʼngg.˖F! ˖ ˖g˖ ˖ ˖g g ˖˖ ˖˖g˖!˖
A˖]C]˖*%"˖K˖*%"˖.$#˖ ˖.!˖.˖˖ƒ ˖Q%˖g!.ĿO˖pa #˖˖ A›
Fg˖? !˖¨ ˖ ˖˖ g.gg˖ ˖g g ˖˖*!.˖g˖˖g !˖
 C˖
Oź źźź(ź@@ź
h hh{

Qgg˖. g˖˖ ˖. ˖! j˖ !gg˖˖˖   C˖ 6›˖.g˖*!.˖g˖


  ˖Æ˖  ˖ %!#˖K˖'%$˖ *%$˖ /:˖ *%$˖ <%$˖ / / ˖*"˖ *%"˖ /+˖ <%"˖ .$˖ gg˖
î˖ɻ˖!˖ ˖K˖' &˖' )˖ /:˖* +˖njŢ"˖/ / ˖*%"˖*%"Z˖ /+˖.&˖ *6˖*!.˖
. !˖g! M˖.!˖˖ ˖^˖gggg ˖˖˖gú ˖ ˖
.į˖
(ź Bź źź ź źź
LLh{

S˖!g˖ !˖˖!!˖˖˖=!˖g˖ ˖/ / ˖O˖<%6 /+˖<%"˖.$#˖˖î˖g˖ ˖


 ˖˖g  gO˖
ź Bź
hLh{

F˖  ˖ O˖F˖!.˖ ˖.˖g˖  ˖˖˖.-  ˖˖


g  g˖ g!˖˖˖.&@g= ˖g˖˖îMg˖ g˖  ˖ gg ˖˖
'˖˖˖*!.˖ ˖! ˖K˖O˖'%"˖î˖.! ˖a˖! ˖˖˖/:˖*%6˖
'.&˖//˖ *% At˖ '%+Z˖/+˖*%+˖?% A#˖˖˖g˖a  ˖a ˖ .  ˖g˖

}
8 K F } $ d fn} / a dy}

źh?ź
î˖g! ˖a˖  ˖ /+˖*% A˖˖ ˖ /+˖OO˖'%+ù˖/&˖Q +t˖'% "t˖ /"˖*%.6˖
'%&Z˖/)˖ %&˖˖g˖˖^˖ g ˖ ˖ . ˖  ˖˖˖˖=ű
g ˖ *˖ ˖^˖˖=g˖ %.  ˖  ˖a ˖˖ !!˖ ˖  ˖
.˖î˖g˖¨g˖˖šQ˖ F g˖ ˖a ˖  ˖ ˖˖ ˖˖˖
=g˖ g!!˖˖˖ ˖ ˖˖˖  Mg˖ .g˖ ˖O˖
ź+++źź źźź
*!.˖.! ˖!g˖a˖. ˖˖.˖˖/&˖OC˖<&Z˖/"˖=y› e ˖/"˖Q +˖µ@µ@µt\˖
/"˖OO˖'.)˖˖ g˖˖/)˖OO˖'"˖ ˖˖˖˖˖+˖ ˖˖ ˖˖.&C˖
ź!  ź‘‘źźź

źź%ź ź źź


*!.˖g˖˖!g˖ a ˖ î˖g˖g˖ ˖˖"˖

ź ?ź
ƒ g  ˖˖ ˖g..gg!˖  #˖ Qgg˖ .!gg!˖ g˖˖O˖
ź ! Oź źź
hhh{

F˖!gg ˖a!˖g˖/$˖"#˖! ˖î˖ g˖˖˖˖g !˖ ˖ ˖


/$˖O O˖<&Z˖ /6˖ =y› $˖ /A˖ '."˖?%+˖ /K˖ '%&˖ ?% +˖
ź Bź źÞź ź
hhh{

F˖BĜ˖=˖g˖.   ˖O˖ˆ˖g˖˖g˖Ä ˖ 6˖˖a ˖)˖  #˖


˖ ˖ /A˖ <&˖ ^˖˖g˖.! ˖ ˖ /A˖C]˖< )Z˖!! ˖˖ /K˖OO˖?%)˖ ˖˖
 ˖!!˖^˖ g]˖F  ˖î˖ g˖ ˖ gg˖  ˖˖ ˖.]˖
;Oź  ź9ź (ź0 ź źź ź! ź ź! źJźź!Oź9źź 0 ź9ź
ź0 ź9źź0 ź9ź  ź0 ź9źRm Rmt

}
ƋƦ˖ʹ˖ 4 ] ?{}I? R b ko}
} ´˖

Ž
  ˖ 7˖  ˖7 ˖ ˖ ˖ ˖˖0
N˖

˖ ˖˖7˖
 ˖˖
˖S˖
˖+$˖˖'$ ɂ˖7˖ 7˖˖ R  ˖ ˖

'?iGvimoEtv#v &W?BVveGIoiGivm`v o^BUvommGevOQivb`iQmQ`^v?^EvQiv


BeoiOGEv AtvEEvv

%[! G lXźGź% 
źź:ź,
ź@#źź
ź´yź0ź,
ź
&"
z>ź
ź źź,ź,
ź*5iź&
Ĩź

HWa\t 1 t
Bt $$Paprt !ƒp[!ƒp[
C oPbqb‘ ‘

źź6źźź#źź źźź źźź ź6ź6źź źźź


0˖ 7˖ #˖SN˖
7  ˖ 7˖n˖ ˖n˖6 :@:˖ ' $˖ ž˖<+˖ ˖ ˖ ˖˖
7 ˖ n˖ ˖ ˖ 7˖ 7˖  ˖ ˖
ź+++ź 6ź ź@ź
? 7˖ 7˖ž˖0 )#˖ ˖ ˖þn˖/$˖
ź)))źź(źź@ź źźź6ź ź)++ź! ź
1˖7˖ Ÿ˖ ˖
 ˖0
N˖˖7 ˖ ˖  ˖7 ˖7˖ ˖
‘7˖n  n˖
źź4ź źźź ź!;ź! ź ź 4źź źź  ź 6ź!;ź6ź
G˖
˖¨ n Å˖ ×0
˖7˖ ˖#˖ ˖ 7 ˖ ˖ 7˖=˖   ˖
7˖ )@=˖ s7 ˖17 ˖7˖˖Ĉ7˖˖˖
"˖ ˖7 ˖ =˖ u
 ˖ "@ )˖ ˆ˖0
˖ ˖"@+˖˖ ˖ 7˖  ˖˖ )ņ˖17 N˖˖ 7 7˖ ˖
7˖ n N˖
p#˖ ˖
˖ 
˖˖
˖˖ 7 ˖ 7˖  ˖˖˖ 7˖ 7 ˖˖
$˖ ˖˖n
7˖ 
 ņ˖ ˖  ˖ ˖
 ˖ ˖7 ˖˖˖ )˖ ˖ ˖ 7˖
˖ 7˖ ˖7 #˖ ˖   ˖ 7˖ $@=˖  ˖ ˖ 7˖7 ˖ =˖ ˖  ˖
˖6#˖ 7˖ nn  ˖  ˖˖ 7˖
˖  ˖' 7#˖ 7˖˖˖ 7˖
 7 ˖ N ˖†#˖ ˖ ˖
˖ ą˖ Ĉ˖˖
˖˖7
7˖
 ˖˖ )˖ Ï ˖
 ˖ ˖0
˖ƃē+˖ ˖
ÿ  ˖n˖
˖ #˖˖ ˖ 7 ˖ 7˖˖˖ ™˖ ˖˖˖
 ˖ ˖  ˖ 7˖
"@ )˖ 
˖G ˖ ˖ 7˖ @ ˖#˖˖ 
 ˖ 
˖˖ 7˖
˖=˖ ˖

n˖ ˖S  #˖17 ˖˖ ˖˖˖ ˖7 Ý

 ˖ 7˖ 
˖˖
7˖ )=ņ˖
ź#Bźźź
š˖‘7˖ 7˖7 #˖ ˖17 ˖7 ˖  ˖ /6˖0
+˖  ˖0
˖7 ˖   ˖ /6˖ ˖?ž#˖
7˖ N ˖7˖˖ 7˖ n -˖˖ 7˖ "Ý )˖  

}
Ƒï˖ $dfo} ɍʠˊ˖

ź+++ź #ź ź#ź4ź (ź#Bź


0  ļ ˖ 7˖˖˖ •˖  ˖
˖   ˖ )˖ 7˖  ˖˖ n˖S ˖ĈŸ˖ ˖ 7 ˖
7˖ ˖˖ž˖ 7˖ ˖nf˖

źźź ź ź%ź


17 ˖ ˖ 7 7˖ 0
˖ ˖7˖ ˖‘ ˖ 
˖

(ź) ))źJź
S˖/K˖˖'ž 6˖Ĉ7˖
˖=N˖ ˖˖ 7˖ @ ˖ ˖
 #˖˖ 7 ˖ 7˖ ˖˖ Ʃ

˖ ˖  ˖˖ 7˖ )@=˖
n˖+å:#˖   ˖  ˖

 ˖ 7 ˖ 7˖

˖ 7 ˖˖$˖ ˖  ˖Á¾˖ ˖˖+:˖?% )i˖   ˖0
˖ Ʃ

˖   ˖Ĉ7˖ 7 ˖˖+/˖ ?% 6˖'% 6˖++˖<%6Z˖  ˖ n ˖ % ˖ n˖Á¾À
˖G˅ ˖7  ˖˖ 7˖%
7 #˖ ˖˖ f˖ Á¾˖n   ˖n˖Å˖
ź ź! ź ź!#ź! źź!#ź 6ź źź 6źź ź źźź 6ź6ź!#ź
ź źź#ź  ź !#ź »ź

9`vqOGeGvEQEv &W?BVvN`vqe`^NvQ^vmOQiv N?\G$v

S˖˖7˖ ˖ 7 7˖Ĉ7˖˖n˖˖ ˖7˖


 ˖ Ĉ ˖0
˖7 ˖
˖ ˖ ˖ T?\b0<-K04Tb  ˖17 ˖  ˖ž˖<+˖ ˖ /"˖' )˖ ˖ %
7 ˖

˖˖"˖ ˖ ˖˖˖
$˖ ˖ 
˖7 ˖  ˖˖ )˖ ˆ %˖
7
˖ ˖˖7 ˖
ni˖
ƒ˖%n˖ ˖n˖/:#˖ ˖˖ ˖ ˖˖ ź)))ź ź źźź źź
6™ź Á¾˖ ^˖ n˖ n 7 ˖7˖
  ˖ ź ź 6ź źź  ˖˖ Ĉ7˖˖
˖Ĉ ˖ ź ĸź
\˖ /"˖˖<$˖ n˖ ˖%
7 ˖ 7˖ 7˖/)˖fC˖0"˖S˖ 7˖/)˖ƃ˖ e ˖˖

}
'dv}od} 5 ] ?|} I? R a kn}
} ´˖

Üo˖˖02"˖˖($˖02+\˜˖0!

˖!
˖˖d
˖˖2 &˖˖Ço˖ ˖ot˖  ˖ ($˖˖"“˖
”˖
! M˖ 8!˖($˖"˜˖˖8˖˖8M˖ 
˜˖2
˖˖($˖ ˖<%2&˖
”ğ˖2˖ 8˖˖ ("˖˖<2$˖˖8 22!˖ ()˖&˜˖˖ !˖˖ Ço˖˖02"˖
2\˖G ˖2!˖8!˖˖ ("˖ ˖<
¶tm˖ ()˖ ?
(˖ e˖ˈ˖ ˖ †˖˖˖2!

=˖È  ˖˖˖˖8˖˖ ˖˖ ˖2˖  ˖˖˖ "Ł o˖ u

\˖ Üo˖ ˖? At˜˖ 
˖˖0!
˖ ˖2!˖2! ˖˖ 
˖˖˖ ou
= l˖Á¾˖

˖ ˖  !˖=ʗ˖
Ă˖!!˖˖
 ˖˖”M˖8
˖  ˖2
˖˖!˖8 

˖ ˖8
˖˖˖ ˖˖2 ė˖ ˖!!˖˖ ˖8
˖˖

˖2!
˖ ˖ ˖8 8 ˖˖
 ˖2   ˖G ˖! ˖˖
˖!˖
2˖˖8˖˖ "˖2 ˖˖˖˜˖ ˖8!
˖ ˖˖8u
!˖   ˖˖˖˖
 l˖ Á¾  ˖˖ ˖˖ Å˖

_GaYź^:.ź źźźź'źr"'ź:'"ź:"ź'5źź

´yź0)ź
ɛ¾ ˖˜˖ ˜˖˖8 ė˖˖ ˖8! ˖ ˖˖1˖ ˖˖
28˖ ˖˖ ˖
˖2˖ ˖8!˖ ˖0!
˖

'?iGvimoEtv!v &W?BVivAQiO`bvAGW`^Niv`^v G v^`mv`^vEv

Á¾˖8 ˖˖0!
M˖  Ģ=  ˖28˖˖˖ƒ ˖¡%˖˖˖
dÄ
!˖d˖
SM˖  ˖˖ ˖ ˖˖2˖  ˖  ˖˖  ˖”˖ 0˖˖ M˖  ˖ ˖
2
˖  ! ˖ ˖ ˖˖ ˖0!
˖ ˖ ˖  ˖ 8  ˖˖˖%˖
˖

HWa\t4t
gt !#Wk`P‡h‰qt 85WpWp
qtLn SCPLn‘ ‘

źź źźźźź Jźźź źźź ź ź źźź


Á¾˖!Ÿ˖$˖ ç˖' ¶˖˖˖ 
  ˖˖ p ˜˖ S˖˖˖!˖˖À
8˖ ˖˖  ˖ %
 ˖ ˖"˜˖˖!˖ 2
˖1˖M˖˖2˖
2!˖˖8!˖ ˖
 ˖' o˖ ˖ S˖ ˖ !˖
˖ ˖0!
˖ ˖˖2=˖˖'$˖
!!˖ ˖˖8˜˖ à ˖˖ ”˖˖˖˖˖ 8 ˖˖Ã˖28˖˖"˖
Á¾ 2

8  ˖˖ ˖˖!Ð˖˖$˖ ˖' ¶˖¶˖:ú:˖' $˖A˖' &˖˖˖
æ˖
1Ƀ˖ 8˖ ˖2 @8 ˖ ˜˖ ˖˖d˖
 !˖o˜˖  ˖˖u
 ˖˖! ˖2˖ ˖0%&˖
š˖
 ˜˖1˖0-Kb 8˖˖ ˖˖&˖˖˖˖!˖ ˖$˖˖' ¶˖¶˖:j:˖' $˖
A˖<+˜˖2˖ ˖0!

˖ %
 ˖ W[NbP?404Tb ˖ "˖ d˖A˖ ˖0%"˖ e ˖ !˖ ˖ ˖˖
˖ ˖˖ ˖˖
˖d- ˖+˜˖2\˖ MŪ 0%"˖'%" (:˖<%"˖
$˖˖˖
 ˖˖

}
Āï˖ $ d fo} / a dy}

˖$˖ ˖0%"˖!˜˖1B˖˖ 8  ˖˖˖  ˖! =  ˖28˖F˖ Ų


!˖  
˖˖8˖˖˖ 

!˖d
˖˖˖ 2!
˖ ç˖
źź ź źź  ź(źźJź  @ź ź ź!~źź(ź

ź(źź ź źź


0!
˖˄M˖2˖˖ 2˖ 0!
˖˖  ˖8  ˖

ź  ?ź
mmm{

SM˖2˖˖˖ ˖˖˖
M˖8 “˖ 0!
˖! ˖8˖˖28˖ ˖˖
2! ˖˖( (0¶t˖
ź|ź
¢ Ä ˖È˖È˖˖ ˖Ð!!˖ ˖˖È˖o@= ˖
ź dź
eee{

0!
˖! ˖˖ ˖˖ !˖˖(+˖˖0"t˖˖%
 ˖˖˖˖˖8u
!˖˖˖˖ ˖ď ˖ ˖˖28˖˖˖˖˖˖˖ ˖˖o˖
źkź!ř’ź
0!
˖ ˖d!!˖˖d  ˖ (&˖˖0"˜˖  ˖ ˖”˖˖("˖0"˖
ź •Áźź ź
s˖

8! ˖ S ˖˖0!


Ƿ˖28˖ ˖˖¶˖  ˖È˖ $˖S˖˖

˖˖
! ˖ ˖˖ ˖˖ ("˖˖'%o˖ ()˖ %o˖ ' o˖ ($˖ 0 +˖ 2ot˖ ź tź
8 dÄ ˖˖ ˖ ˖2Ä ˖ !  ˖ ˖˖
 ˖˖
&@
"˖0!

˖
˖
 ˖2!˖ ˖ 
˖ ˖˖ʎ ˖˖ ˖ $˜˖ ˖0A˖  ˖ ˖0 ¶˖
?d-ʲ ˖˖È˖
-!˖ ˜˖˖˖28˖˖ $˖d˖%
 ˖ Ŗ"˖ Ž˖'%om˖¨ʵ˖
!˖˖8
˖˖˖ ˖()˖ %o˖0!
˖  ˖!˖2!  ˖˖%
 ˖˖
28˖˖o˜˖2˖˖Ä ˖8 ˖˖ǔ˖ ˖˖˖28@8 Æ˖
ź kź źź ź ź!;ź  ź
e ee{


}
&dv}pd} 5 ] @{} I@ R b kn}
} ´˖

č˖„;5 5˖5;˖5˖ ;5ø„˖ 55 ;˖˖5˖;5˖5;˖;˖ ("˖;#˖ ˖*„˖


5 ˖˖;#˖˖„M5˖5˖˖ ˖;! ˖ ˖!˖ 5˖ Þ$˖‚ ˖ $#˖ ˖5 ˖
; ˖˖5˖  Ê= ˖;˖ ;˖$#˖ $˖ ˖ 6]˖
$ź Fź ź$ ź #ź $(ź Fźź$=ź
1 5M˖;˖˖˖ ˖ ˖3; 5 ˖5˖ „˖;˖*!„M˖;O˖
$(źªªªź ź=ź źź=$źź!ź==ź!3ź ź=ź3ź! ź=ź!ź!3 ź=ź!9ź
0 ź= ź!ź !3ź=ź! 9ź0 ź= ź39ź ź=(ź! ź$@ź

ź$$źU%ź ź$=źź
F˖;˖ ˖„˖  ˖;˖6˖ G˖ 5 ˖; ˖*„˖

'?jGv jmoEtv#v -mjv ? A`omvmQ\GvqGv j?qv &W?BVvqQ^v ?vN?\GXv

č˖15˖;˖˖ø˖;5;˖!˖;˖ø˖ę; 5˖Q;3#˖5˖ ˖;5˖!˖„˖


;˖; 5˖;˖˖;„„ ˖;˖5˖ j ˖° ˖ ˖5;˖˖  „˖5˖˖
;˖ "˖ ˖ 5   ˖ ˖5˖„5  ¥˖ ; ˖˖15˖ ;5  5 „!˖ „˖5˖
˖5;˖ …˖ 5ʑ ˖˖ ˖  ˖ ˖; Đ˖„ „˖„  „#˖5˖5˖„;u
5;˖ ˖ ¥˖; ˖˖˖!;˖5˖ "Ê˖5;˖˖ = 5 ˖˖„˖˖
˖55˖^˖!„˖ ;;˖ ˖˖5;˖ †˖„;5 ;˖;˖5˖ 5  ˖;˖!f˖
G˖„;;˖5˖˖55˖15˖ 5˖„  ˖˖˖˖ø; 5˖;˖øø„˖;˖5˖
  #˖  ˖ „5˖5;˖  ˖ "˖  =5!¥˖5˖ ƒ; 5˖Q;3˖ ;5˖ !!˖15˖
5;˖ ˖!˖˖;˖„ ø˖

HWa\t7t
gt :#jƒ‡]W`p qt (As‹WpPja
1qn„wLC e‘ ‘

$źź ź=ź3ź3źź Jź3źź ź3źź ź ź ź3ź 3źźÇź  ź ź ź

}
Ā ï  ˖ $ d hp} /bdy}

G;5 ˖ ˖ ˖A˖— >im˖  ˖5;˖˖K˖—„"˖ ˖5˖ ދ˖—„…#˖ ˖5˖ 5˖


,˖5! ˖;˖ 5˖ …j= #˖; #˖ ˖*„˖ ˖˖„ !#˖ (‹˖—…i˖ 5 5  ˖
‘;˖  „˖*„M˖= ˖ ˖5˖ ÞÞ˖ —3„$O˖ —;5˖55˖ ދ˖O˖*3U˖; M5˖˖
„˖5˖5 ˖; 5#˖ ˖5 ˖ ( ( ˖<3U˖5˖6Ê˖; ˖˖ 55„ ˖ 5 „#˖ u
 ˖ø5˖( Þ  „$˖; M5˖5˖;˖5˖  ˖
č˖ ˖5˖ ;˖A˖O ˖*6˖K˖—„"˖* …­m˖ ź$ź˖ ˖5;˖1 5M˖!;˖£
; ˖5˖ ~~~˖„…Ê ˖˖ ; 5˖; ˖;„ȫ˖; ˖3#˖ (‹˖ —U˖ „…˖; ˖ (‹˖
‰„…˖ „…˖ ˖*„˖„ ˖„;5 ˖ č˖ ;M5˖˖˖ ˖˖55˖
15˖ „˖5˖ 5 ˖;˖5˖ „5 ˖„˖ ~˖

ź$źU%ź ź$źU%ź
*!„˖˖ ˖ 5˖ TÔ˖„…˖ F5„˖=! †  ˖

ź ź
h hh{

č5˖˖ „ ;˖5;˖ ˖5˖5˖55˖?;†5 ˖„5 ˖5  5˖˖˖ 5˖


B˖  5 ˖ ˖;˖ 5˖A˖ ˖*6˖ „˖  ˖˖5˖ !˖ƫ;˖5˖;˖U˖ ˖
15˖ ˖;5˖5;˖˖—…iM˖G5 ˖#˖ K˖ —…m˖ ; ˖ !˖5;˖K˖l ~l˖—3…˖ (‹˖ 3…˖< …i#˖
;5˖5ø„  ˖…˖ ˖5 5R, ˖5˖;˖ >f˖
G5 ˖ A˖]C]˖* 6˖K˖<>˖*3U˖(‹˖<3U˖ „$˖*„˖ ˖  ˖˖35 ˖5;˖ ˖5˖5˖
„;5 ˖ˆOQʱÊ*¢ #˖ š ˖ e  \˖ >‹‹A˖F˖ ˖˖˖5˖; ˖
5 5  ˖˖5˖5 ˖„>ʄU˖˖15˖ 5 ˖5˖5˖˖„>ú„"˖;›˖ ( ( ˖?Ü˖
‹Ê‹ Þ>˖„U˖?A ÞU˖*"˖<… Þ"˖U˖*ĐA ޅ˖? ê˖ e ˖15˖ ; ˖5 ˖ ޅ˖*…˖ 5;˖
5;˖*!„M˖  ˖ \˖ (…˖ž˖…i˖ ź$ź Þ$˖*U˖? A˖ e 5˖5  5;  ˖
„5 † ˖;˖¢ ˖˖ = † #˖ ˖5˖5˖;˖  ˖;5  ˖Ų
„ ¥˖ ; 55˖; ˖ ˖5˖;˖>‹˖˖ ˖ ; ˖˖5„5„˖5 \˖ Þ6˖ *ê˖ < … ÞA˖
‰"˖3 "˖(K˖*3 "˖—3"˖>‹˖*3"˖< …m˖e5 ˖>‹˖ f˖<Ui˖ ;;˖5˖!5˖šQ˖; ˖
*„#˖ ˖>˖˖  ˖  ˖˖1 5˖5 ˖ 5˖ ˖ „;5;˖ ˖ ˖5˖ #˖

}
&dv}nd} 4 \ ?{} I? P a kn} } F}

*!
˖!!˖˖TTT˖®% (˖˖ ˖^˖ ˖˖ \˖ +(˖ *%6Zt˖ Q%6˖++˖?%w˖?%w˖+&˖
®&Z˖Q w˖+"˖®% 6˖ e ˖*!
˖ ˖8! ˖+:˖T TO˖®&˖1˖
˖! ˖˖
! ˖
˖˖+"˖TTT˖® % (˖\˖ +"˖O TO˖® +˖ +)˖ *&t˖ e˖ ˖˖ ˖ ˖
! ˖ ˖
1˖! ˖˖˖d !˖  ˖+)˖?(˖?Ç˖ ˖˖ ˖ !˖+˖!!˖ 8\˖ +)˖TOT˖®+˖
+$˖&˖?$˖+6˖® +˖®% +˖+w˖ ?Ƨ +˖ $˖ +K˖? 6˖?6˖&:˖? w˖?)˖&(˖"˖? )˖&+˖?
w˖ (@:T˖
(źsź ź źźź źźdź ź¾ź4źUź;kź

ź;kźU%ź ź źUź


*!
˖8 8 ˖TOT˖*&˖ ň˖ ˖˖ ˖

QL^XźL źźź&ž
ź3źź
ź¿žź0+źL ź*5ź”"ź
 ź
ź4ź
ź"&&žź
ź·ź
ź ź &ź,
ź ź888ź 8ź
Ō" źź ź,"*3źź3,
ź"&&*źź% 
>źź
ź
,"*3ź,5ź
ź3e&,ź3ź ź35ź”"źź*8źG
ź
,"*3ź*ź" ź¸ź&ůź ź 3ź
ź5ź
" źź
ź¹

ź,
ź3‘3kź3ź"ź
ź &źźźźź,&ź
ź

*5ź5+ź
S ˖ ˖˖˖˖˖ ˖*!
˖#˖˖1#˖ ˖˖  ˖#˖
 ˖˖˖ ˖˖ 8!˖ (&˖TOT˖*&T˖ ÁƔ˖˖˖  !˖
 ˖  ˖1˖! ˖˖
˖ 8!˖ ("˖*
&#˖˖ !!  ˖˖%
 ˖˖ 8O˖ '˖ ("˖T TT˖®%
&m˖ ! ˖ 8˖
˖=˖˖ ()˖ *%6Z#˖ ˖ *!
˖ 8!˖ ("˖T TT˖*"T˖1˖! ˖ 
˖ ˖ ˖˖
%
 ˖˖8˖˖ ()˖ *+˖  ˖*!
˖8 ˖ ˖ ˖ ˖˖ ()˖TTO˖*&O˖Ǒ¾˖
!˖˖ ˖
 ˖ ˖˖ 8O˖
p ˖ ˖ ˖1B˖T˖ S !!˖˖! ˖!˖˖ 8!˖ (&˖ ? (#˖˖˖˖
(&˖TTT˖*&˖˖
˖d
˖˖8˖˖˖("˖*(#˖ ˖˖8 !˖ ˖^˖ (&˖? (m˖
¨˖!  ˖˖8˖˖(&˖T _ T®%+T˖*! ˖  ˖ ˖˖˖!
˖˖
˖ TTO˖* &˖
T˖

}
8LF} $dfn} /ady}

źBź! ź
G ˖ (&˖TTT˖? wmt˖ ("˖ ?(˖ 'wm˖ e˖ ! ˖ 8!˖ ("˖TTT˖*w\#˖ *!
˖ ! ˖˖˖˖()˖
')t˖ Uź ź˖ ()˖OTT˖%)˖ ($˖?%6˖ ˖ ˖ R ˖ ˖1 T˖

%[! G lXź¶"ź "*3ź*,¸źź*žźź


ź
&źź¸"ź &*¸ź

¿žź0+ź^¯źź¸ "ź**źź
źźź*3ź>ź
ź źź

@ &źź
ź, 
ź5
źź&
**¸ź&źź*5+ź
ǑƔ˖˖˖ ˖ ˖˖   ˖˖  ˖˖ 8˖ ˖˖ #˖ ˖˖˖ ˖
˖ (&˖TOT˖?w#˖  ˖!˖˖˖  ˖˖8˖˖ !˖6˖ ˖1 ˖˖  ˖˖
8!˖˖?(˖  ˖')T˖ S˖˖ 8˖ ˖ ˖˖ #˖ ˖ !!˖˖! !˖
˖˖ T_T˖*&˖˖˖˖8   T˖š^ ˖ ˖ ˖8 !˖˖˖8˖˖
 8˖˖6˖  ˖  ˖ ˖  ^˖ T T T?
˖ wT˖ÁƔ  ˖?†! ˖  ˖  ˖  8˖ ˖

8 ˖˖1BĜ˖%˖ #˖˖   ˖ ()˖ ')˖ ! ˖
˖˖ T˖
G˖˖ ˖ ˖˖
! ˖˖w@= ˖ ˖˖ #˖ 

˖˖  ˖
˖ $˖˖!8˖! ˖˖  ˖ ˖˖ ˖ 
O˖
ˆ˖ ˖ ˖ ˖ ˖  
 ˖˖˖ (&˖TOT˖ )tm˖Uź ź˖ @
˖8!#˖˖ ˖ ˖˖ ("˖ ®%
$m˖ !˖ ˖ ("˖TTO˖® +t˖ ˖1˖˖˖
 8˖  #˖  !˖ ˖1˖ = ˖ 8˖
˖˖   ˖
˖ ("˖T T T%
"#˖!! ˖ ˖()˖%
"˖˖
˖ ()˖T T T?w˖˖*!
˖˖
˖  ˖
 ó
8!T˖ S ˖  ˖ ("˖
%)˖ e ˖ ("˖ )˖
% ) ()˖"˖®$ ($˖
%)˖ * $˖  ^˖
˖


˖ ˖ *!
˖ ˖GT* !
@s
¼! #˖ Ɖ!
˖ (KK$\˖ ("˖T TT˖
%) ()˖?(˖ *!

˖Ò  ˖dd
˖!! ˖ ()˖O TO˖' )m˖ ($˖')t˖ ˖œTʘ
@GTŽʳ#˖ 1 ˖
e 8 \˖ +::+#˖˖()˖T TO˖?wt˖˖ ˖($˖')˖˖ ($˖T OT˖*w˖ e ˖˖($˖O TT˖%)˖ ( 6 ˖
?%6t\˖ ˖˖ ˖ ˖*!
O˖

ź źU%ź ź źU%ź


Á¾˖s
¼! ˖ ˖ *!
˖ ˖ ˖! ˖

}
& ev} ne} 4 _ @ { }I@ R a kn}
} F  }

ź!;ź!˜ź ź!ź ˜ź


*
M˖  
˖ ˖  ˖
  † #˖õ
˖˖˖˖ ˖2 u
  ˖ ˖ "@ )˖˖ ˖

˖˖

#˖˖˖2
˖   ˖
˖2˖

˖ ˖]˖ 1 ˖ ˖ ˖  #˖ * ˖ 
˖ ˖œ˖
ź ź!ź ź!;źJźź;˜ź
'˖/6˖` `˖? Am˖˖*
˖˖˖ ˖˖/A˖ ')i˖
˖ ˖˖
;˜źW;?Bź
1˖˖
 
˖ ˖ ˖˖ ˖  ˖˖ ˖ S ˖/A˖)˖  ˖
˖ ˖˖2
˖   ˖  ˖ /K˖ $#˖ ˖ ˖/K˖C˖ $˖˖2   ˖>:˖ )˖
 ˖2˖ ˖ 2˖ #˖ ˖ >/˖ *3$#˖   ˖ ˖ 
#˖  ˖2˖ ˖ `˖ˆ˖
*
˖ ˖ ˖ /A˖ )˖  ˖ /A˖C]f˖$i˖F˖˖   ˖ ˖ ˖ ˖2˖
 2#˖ ˖
˖ 
˖ ˖ 


˖ 
˖  ˖ ›˖ /K˖ '"˖ 'A6i˖ >:˖ )˖

3 )˖ >/˖ '3$Z˖*3$˖>>˖ *36Z˖Q36˖ >U˖*3$˖ 3$˖ >"˖


3 )˖ ?3 )˖>)˖ <3 )˖3 )˖>$˖
?3A˖<
U˖ >6˖?•6˖<
/˖Z˖>A˖ ?› <"Z˖ >K˖ Q •˖ <
/˖Z˖ ˖ ˖ ˖2˖ ˆ˖

˖
;˜ź !˜ź (ź;ź!Bź
e eB{

G˖õ˖ 
˖3
 ˖

˖˖ ˖˖ 
˖˖1õM˖  u
=  ˖2 ˖
źź!ź ź?ź
1 ˖   ˖˖  ˖˖*
M˖   ˖
C˖p˖ ˖˖
 ˖>/˖ U#˖   ˖"#˖ ˖˖ ˖>/ *3U˖
  ˖˖2
˖ ˖ ˖
>>˖ ? >`˖ F˖ #˖>>˖` ]C˖*
)˖>U˖?3 "˖ *3 "˖˖  ˖ ˖ ˖ ˖ ˖ ˖  ų
 ˖ ˖˖˖ ˖ #˖  ˖ ˖>"˖? •˖ *
˖˖>"˖kk`˖
)˖
 ź ! źźź! Bźź (ź
M hN{

ź (ź%ź źź%ź


*
˖ ˖
  i˖ F M˖˖ 

}
8 K F }$efn} 0 a ey}

G˖ ˖˖˖* ˖˖˖  ˖'˖˖˖˖ 


˖ ˖2˖
>U˖`˖*
)˖ ˖˖  ˖˖˖2
˖=˖˖"˖ ˖2˖C˖<"˖ ˖ k`˖<$#˖
 ˖>>˖` ]C˖<"m˖
˖2˖˖2˖>U˖ Ȥk˖
źźźź ź BźźEź
SM˖˖2
@ ˖˖ ˖>)˖'3)˖ <>Z˖
ź111ź ź ź!ź
š ˖>$˖
3 $m˖<>Z˖>6˖Q•˖ <•Z˖>A˖'3•˖ ?3•˖ ]˖
 ź źźź
\ \m{

1 ˖˖˖˖˖˖˖>˖ ˖ ˖  #˖2˖˖˖ ˖˖U˖2


˖ų
˖  ˖
ź Bźźź˜ź˜ź
B Be{

š ˖>A˖Q•˖ ' "˖ ˖˖   ˖


C˖
˜ź1 11ź ź(ź źź źź!ź  ź˜ź!źźź!ź ź 0 ź @ ź
F M˖˖  ˖ ˖  ˖˖
˖U˖ ˖

&25E/L EE(,8DLI5E2L/1CL
G˖ ˖ Ć  ˖1 M˖˖  ˖   ˖˖    ˖ ˖>@"˖ ˖
 22˖˖  ˖È˖
 ˖*
˖˖˖ *˖ ˖˖ ˖ ˖˖ ˖ ˖ ' )˖
˖2˖1 #˖  õ ˖ ˖˖ 6@ #˖ ˖È˖ ˖   `˖|˖˖  ˖   ˖˖
˖ ˖/>˖ #˖  ˖ ˖˖ ˖ ˖   ˖˖i˖
1˖ ˖ ˖m˖
SM˖ ˖
‚˖ F˖˖= ˖ ˖˖ ˖ õ˖˖˖ ˖˖˖ ˖
˖>¥˖˖˖= ˖ ˖˖2
˖ õ˖ ˖6˖š˖˖˖  ˖  ˖2˖
˖ƒ 
˖¼
˖ ˖˖/$˖  ˖˖˖˖2  ˖˖˖
˖˖6˖
2˖˖ ˖ 2 ˖ ˖
"˖ *˖˖ ˖ ˖˖
 ˖ ˖6˖  ˖ ˖ ˖ ˖
  ˖ ˖˖ ƒ ˖Q3˖F ˖ ˖2
˖*
˖ ˖ą˖ ˖  ˖   ˖ u
˖ ˖˖˖ ˖˖˖˖2 ˖˖
$#˖2˖˖2
˖ W<4b.CT<NPb
CTb JNZDK:b-[-^b9NJb W<4b2464K04bN6bW<4b4 TQY-R4b

9CG^?eQ`v"v>OQmGvcW?tivmOGv c`Q^mWGiiv v 2N:v

źź źźźźź źźź źźź ź ˖˖˖ - ˖2˖1 #˖˖˖


2 ˖ ˖˖ 6#˖ õ˖   ˖$#˖ ˖˖ õ˖˖ 2˖
õ ˖ `˖ F˖ ź1 11ź ź
ź tź
  ˖˖ ˖˖ ˖˖ ˖ ]˖p #˖ ˖M˖˖
2˖˖˖ ˖*
i˖

}
& dv} nd} 4 \ ?{} I? Q a kn}
} F}

ź$ź%ź źźź
F M˖˖˖

˖ *
˖˖˖
 Â˖

9BG^@ eQ`v !v >OQmGv bY@tivmOGvmGeeQMQ^ N vv2GNv

źź6źźź#źź źźź źź ź6ź6ź 4Bźźź


F˖˖
˖
  Ë˖|  I˖ ˖˖˖ ˖ 
˖˖˖˖˖ ˖*
˖˖ u
 Æ˖ ˖˖$˖Ë CË˖'$m˖6˖')˖  ˖È ˖˖˖ 
˖ ˖ž˖' %6ü˖ ˖ ˖˖˖

˖˖
 ˖˖&I˖ ˖ ˖$˖ ˖*%&m˖ 6˖<%&˖˖6˖ ˖6˖ ˖  ˖

%[!  lYźµ:>ź
ź
ź,ź źÐź
ź
.ź
ź,.ź

ź5
ź,
ź6ź888ź 6?>źź
źźź Bź\źOź #9źźÓ
:XźOź888ź\ź(ź 69źź% 
ź&5ź"&ź
ź5źź O>ź, 'ź
źź
ź
ź"&źOź888ź\Oź,
ź(ź #9ź\ź źÞ9ź\36ź$$ź 9ź\#ź
$ź9ź\ź źź
8ź'5ź
ź ź &ź
ź6ź''ź
>ź"
ź
"y"
'.ź ź5ź
ź
ź8ź
*˖˖I˖˖˖ ˖˖˖˖=
˖˖ž˖ ˖Q$I˖˖˖˖˖ K˖
< "˖ )˖ /:˖"˖ ˖1˖˖
 ˖
˖
?Âĩ ˖˖$˖' )I˖˖ ˖˖   ˖˖˖˖˖I˖˖*
˖˖
˖Â ˖$˖ ˖' 6mI˖˖˖˖-G[-^Tb ˖ ˖)˖ ˖*
$˖|˖ Â ˖È˖)@
= Æ˖  ˖1˖M˖  ˖˖

˖ ˖6˖m˖FM˖%
˖˖|˖
 ˖˖ ˖ ˖˖˖˖˖ ˖ƒ ˖Q%˖ I˖˖6˖'%6i˖ ź
ź

  ˖˖˖˖F˖ ˖  ˖˖˖ ˖ ˖6˖C˖Q%6˖ž˖' )Z˖Qž˖K˖


'%$m˖<6 /:˖<+˖e  ˖ //˖ '%
6Z\˖ /µ˖Ë˖Q6˖ //˖ ' )Z˖Qž˖ /+˖'$˖Q6˖˖˖
˖ |˖
 ˖˖
 ˖˖/ /  Q$˖˖˖=
I˖˖ /+˖*&˖˖
*
˖˖˖˖˖  ˖ ˖˖˖1˖|˖˖ ˖˖ ˖˖ƒ ˖Q%˖|˖

}
9 K F } %dgn} / a dy}

  ˖˖˖˖ ˖  ˖˖$˖  ˖˖˖ ˖

źźź źź%ź
Ɛ˖˖ ˖ F˖
 
˖ 

Q_^XźGź,ź&&
ź
źźź
źź”"5ź,>ź"
źź
 Ăźź
ź·ź'
'.>źź(źBź
ź
ź(ź 6ź:ź% 
źź
 '.ź"ź

:8ź

;OGv@ ^mQE`mGvm`v v 2GNvQivv v& Ev

HWa\tt
ft 9!ysp`Pp ;DƒypWy
)C€„W nP€‘ ‘

$źź6źźź#źź Jźźź źźź ź6ź6ź 4ź6Bźźźź?ź


'˖˖˖˖ ˖˖6˖'%6˖ I˖˖ 6˖ ˖Q%6˖ž˖' )Z˖Qž˖ M˖ ˖
1˖  ˖ ˖ ˖ ˖˖
Å˖  ˖%I˖K˖'%$˖<"im˖ ˖K˖*

*% + /:˖'%$˖e ˖ /:˖? ™˖* )\˖ /µ˖Ë CË˖<" //˖'% 6Z˖Q 6˖

s ˖  ˖ ˖1˖˖6˖* &I˖˖ ˖6˖ ˖$˖ ž˖'"˖˖˖˖
˖˖
 ˖˖ I˖ ˖˖˖ž˖ ˖*6˖ež˖ ˖'$im˖˖  ˖˖ ˖K˖'% $Z˖

% $im˖*
˖ ˖
 ˖ ˖˖)= \˖K˖
&˖'$˖ /:˖<+˖'%"˖//˖ *%"˖*%"˖ /+˖
<%"˖
$˖/&˖:j:˖' 6˖/"˖?Ç˖ '$˖ /)˖<+˖:j:˖ ˖1˖˖  ˖ ˖˖
Ɛ*  @GC?I˖ 1 ˖+::)C˖
ź111ź 6źOź 6?ź
°   ˖˖ ˖˖

˖˖  ˖˖pX ˖/žK)˖  ˖˖ p ˖

}
&dv}nd} 4 \ ?{} J? Q a ko}
} F}

>::/ ˖FB ˖ ˖˖ ˖;˖B˖> ˖ʼn#˖ B˖ʼn˖/˖B  ˖2˖˖


˖ ˖ Ø|˖˖˖ ¤ ˖ ˖;¤˖B˖#˖ ˖;˖S˖ ˖;˖ ˖
 ¤
Ǹ˖˖
G;M˖ ˖% ;˖;˖B ˖;;˖¤˖B˖ ˖
';B#˖ A˖'BU˖ …i˖ B  ˖ ˖¤;E˖;˖ "˖; ˖2˖˖¤;˖1B ˖
ź++źŒ (ź ź Fźźź

ź ź%ź ź źź


G˖
; 
 ˖
 ¤
˖ *
E˖˖2˖
¤˖

ę;˖;
˖˖B˖;˖ ;2¨
;˖;˖B˖2
E˖=˖ ;  ˖;˖¤$˖ ˆB˖2;˖B˖
E   ˖ B˖  ˖;¤˖ ˖2˖
E  ˖ B˖B ˖2 B;˖ ˖ ; 
 ˖B˖ ˖
;¤˖/µ˖ C˖*%¤U˖
źźź ź ź9ź
';˖B˖=˖
˖B˖˖¤;˖˖E B˖;˖ ;˖;˖¤$l˖
źź  ź źź
1B˖
M˖˖
˖˖˖ ˖˖ ;˖B>˖
ź+++ź ź ź 9ź0 ź ź@dź ź źź ź ˖*
E˖2˖;¤¤˖B˖
E˖ ˖
;˖;˖;˖…A˖

9BG^?eR`v ! v>OQmGvbW?tivv 2GNkv `ev  2GNkv

FB˖˖;B˖
;Ǜ ˖2
˖B˖' …˖;˖
˖2˖
;2 ˖B˖˖=

<>˖;˖:j:#˖  ˖ B˖;¤˖B˖ ; ˖ ;˖
˖2˖¹ ˖2¤;˖;˖¤˖
' …˖
FB˖˖B˖ ˖;›˖ źź źźźźź Jźźź źźź ź ź źź ź

}
9LF} $dfo} / a dz}

ź bź  ź ź@tźB

˖;˖˖¤;˖ ˖6 :@:˖' ¤$˖A˖' …˖;˖; ˖
ĚB ˖ ˖;˖˖ źź źźźźź Jźźź źźź ź ź źź
źź ź  ź źźź tźB
B˖=˖;˖źź  ź ź 4¼ź

QL^Xź[Rź'źźR źR"*ź&źźź  źź ź  +ź



t rr{ rrr{

¬,:>źź*źR,źR ź, Rźr"ź&"RźRź&"źź


 ź>ź‡:>ź"&&yźR źźź 4>źź'5éź:*&Rź
źRźź,&ź,R źR źź,.źź  źźR ź ź+++źB+ź
h hh{

=Wa\tt
dt @-swwWy <:S%soPjU
/rnKrn‘ ‘

źź źźźźź źźź źźź ź ź źź źź ź  ź ź@ź


G
-˖B˖;˖; ˖;¤˖B ˖ ˖˖6˖:Ł:˖' ¤$˖A˖' …#˖2˖SM˖
B  ˖ ˖
;˖
Ф˖˖
G¤˖A˖<>˖B˖
;  ˖˖ ˖A˖O O˖<6i˖ źÄź B; ˖˖B˖$@
 ˖ˍ6@ ˖ ';˖¤˖1B ˖ ˖ ;˖ B˖K :@:#˖ B˖E B˖
˖2˖E
E ˖
2P
E˖2˖ K˖ ˖B$˖B˖ /:˖'"˖'%"˖ //˖ *%"˖*%"˖ />˖ <%"˖
$˖ /U˖
"˖—¤$˖ /"˖<B"˖ $˖ /…˖
?Ç˖ * 6 /$˖<BU˖ …˖/6˖'…˖ :Ē:ē:˖¤˖;2  † ˖B˖2
E˖; ;˖˖ýˆ;Eĭ
G?;#˖ ý2¨ ˖>::/˖

źź%ź ź ź%ź


G˖- ˖ ¤˖;˖ 1˖ ˖ ˖;2˖

S ˖ K˖'…˖ ˖B˖;2 ;˖


E ˖;#˖2˖1B ˖ ˖  ˖ B˖¤ ˖ ˖;˖
B˖B  ˖ >@à˖K˖˖'%… /:˖ %…˖ ' 6 //˖'%B6m˖ eB˖B; ˖˖¤;˖//˖ ::˖


}
'dv}nd} 4 ] ?{} I? R a kn}
} ´˖

˖0!

˖
˖˖ ˖˖ / / O$ /+˖'&˖ <"im\˖//“f?%6i˖ /+˖0%6˖
<Bȥ˖Vź ź /&˖0 &˖0% +I˖
˖˖˖˖˖0!
M˖
ü˖˖˖
 ˖˖  ˖˖ %
 ˖ ˖˖˖˖˖ ˖ /"˖? ™˖ <%+C˖S˖ ˖ ˖
¼° Łœ¢! I˖ˆ˖s
˖+‹‹"I˖ 1˖  ˖ ˖
˖  ˖ ˖ /"˖0 )I˖
˖˖  ˖  ˖˖  ˖˖!˖ 
›˖ /"˖f˖<% )˖ /)˖? ™˖ '
)˖ /$˖Q ™˖ ‹@‹@‹˖ /6˖"˖
<) /ž˖?% +˖ '% & /û˖
% &˖?% &Z˖+‹˖Q™˖ ? "˖+/˖ Q™˖ 0
)˖++˖ ? "˖?"˖+&˖ <&˖?&˖+"˖
< ™˖<"˖+)˖? &˖<™Z˖+$˖ ? ™˖ ?&Z˖+6˖Q+˖?+Ǿ˖+ž˖Q &˖ < )Z˖ +û˖Q
&˖?&Z˖&‹˖Q

<"Z˖‹@/˖
ź822ź ź(ź! ź CźVź(ź

Vź(ź%ź Vźź%ź
Ĺ˖  ˖ ¦˖˖ ˖
˖ G ˖ ˖0!

S ˖û˖ O˖‹@‹˖!!˖1˖˖ !˖˖ ˖˖ /‹˖')i˖ ˖˖ƒ ˖Q%˖


˖! ˖˖˖ !˖˖˖ ˖^˖ ˖† ˖˖
 !˖O˖
 ź
G ˖˖

! ˖/‹˖?%$Zm˖0!
˖! ˖
˖ ˖ ˖
˖˖ ˖˖˖ ˖
e^˖˖/‹˖O O˖%$m˖/ / ˖'%$˖˖//O O<6m˖!˖˖{˖˖ /+˖0 $Z\I˖˖0!

˖ 
!˖˖ ˖˖ ‰› “ Qži˖ ˖1˖˖˖˖!˖˖˖^˖ ˖
A{

 ˖ ˖ ˖  ˖H ˖˖˖˖



 ˖!!ȄC˖
ź288źź
G!!˖ 

  ˖˖˖ƒ ˖Q%˖Ø !MȬ˖0!


˖!˖˖ ˖ʓ˖˖ ˖£
 ˖1˖
H˖!˖ //˖ ')˖
ź7 ź
¢  ˖˖6j˖¼  ˖˖ ˖|˖˖%
  ˖/+˖'"I˖   ˖˖
 ˖ ˖˖
 I˖  ˖˖   ˖ /+˖OO˖‹@‹˖ ˖ !˖

 }
9 K F } $din} / a dy}

ź7ź
G ˖˖  ˖˖˖S˖
˖ ˖ ˖ 
  ˖˖ ˖˖
 ˖ 
 ˖  ˖ &˖
ź888źCź źź
š˖
 ˖^˖{˖˖ ˖ ˖  ˖˖/&˖OO˖ "C˖
ź222ź7ź
0!
˖˖˖ ˖{ ˖
! ˖˖  ˖˖ ˖˖/"˖ ˖ "I˖

! ˖  ˖ ˖  
 ˖˖ ˖
 ź
'˖!˖ ˖˖ I˖˖ /"˖fO˖ "m˖!˖˖ !!˖˖ ˖/)˖'"I˖˖!˖ u
 ˖/"˖OO˖0%+Z˖
ź288ź@eźVźź ź7ź
1˖!!˖˖
˖˖˖
˖ ˖ ˖˖
 !˖!˖^˖˖˖ ˖
 Ȑ˖ ° ˖˖! ˖˖  ˖ /)˖"˖˖ ˖ ˖˖ 
˖ I˖˖˖
0!

˖ ˖˖  ˖    ˖ 
˖˖/)˖ O˖ "i˖ /$˖'+˖)˖ ˖˖ ű
  ˖˖/6˖ C˖"˖ ˖ !  ˖˖^˖
 Ù˖
ź282ź7 ź
0!
˖˖˖˖!˖ ˖˖˖ ˖˖˖  ˖ ˖%!˖˖% ˖
  ˖˖˖
 ˖
ź7ź7ź ź! źź
G ˖
X ˖˖   ˖ I˖ ˖˖˖/ž˖ O˖ "˖
źźź (źź 0 źźź!  ź ź7źź ź!źźVź ź

<ź ź%ź Vźź%ź


Ď˖
˖  ˖˖ Ď˖  @ ˖
 i˖

}
'dv}nd} 5 ] ?{} I? T a kn}
} F}

p Œ˖
!˖
4! † ˖ ˖  
˖ ˖ ˖ ˖4˖0!
E˖˖-
˖˖ !˖

E`˖ F˖  Œ˖4˖ ˖+&˖ç˖')˖  ˖˖˖  ˖˖ &˖ 4˖ &˖ 1 ˖
N˖
Ľ˖  [˖-˖
˖˖˖4 ˖  ˖ ˖! Œ=-4 ˖  ˖  ˖4 

˖
4-˖˖
źźźPź0ź4ź#ź  ź!ź  źPźPź
F˖E Œ˖4˖ ¨-˖ ˖ 3 ˖ ˖˖ Œ•˖ ˖˖&l˖
ź 4źCźnźź źź #ź (ź ! ź !ź ź!źź ź ź?ź
F˖ 4˖˖˖  ˖ ˖˖0!
Eğ˖ ˖˖˖ ˖ ˖&( T`Œ3&Ó˖&+˖'3&[˖
 Œ˖˖E Œ˖-[˖-˖E ! Œ˖1 ˖˖  ˖ ˖&+˖T TT˖'Œ"˖ ˖ &&˖˖'&˖
ź ! ź #ź@$ź
ˆ4˖˖ ˖1 ˖˖˖ Œ˖4E˖˖&˖ ˖4 Œ ˖S˖
˖˖
- ˖  Œ˖˖
 ˖&&˖<)i[˖  Œ˖ś˖ ˖ ˖ ˖˖&"˖
$˖˖4˖˖

%v*`hv /^`rvIQ?iB`v`evmOGvE? ^NGev`J ?v beG]?moeGv yyy{ 2Iv

ƒ !![˖4˖ ˖˖ Œ˖˖ ˖0!


E˖ ˖ ˖˖ -
˖˖˖4-˖˖
!!Œ˖
˖ ˖E Œ˖˖"˖

=Wk\tt
Bt D,WjP]‡`j`  *@Pƒ‹‹s
ˆ fPCwWC‘ ‘

źPź źźPź#źź źPźPź Pźź#źWź7 ź źź  ź


1˖-! ˖˖$˖ll˖' ¸˖ ˖˖¸˖_ Ë˖'Œ$[˖ !R Œ˖˖4
-4˖˖$˖ ˖˖
E ŒO˖
ź  9ź ?ź
ȿ˖ ˖˖˖¸˖] ]`˖Œ3$˖

ź4Cźnźź ź111źź
S˖E˖˖-Œ˖1 ˖˖- 4 ˖˖˖!˖˖ 
˖4˖K˖03$˖03 •[˖-˖
(źCź
'˖˖
E˖=-˖ ˖- ˖4 [˖˖K˖O ˖<3 "˖(:˖0)Ó˖ ˖4˖˖ Ǯ

4 ˖
EO˖
(źĩ²²źź ź ź ź4ź74?ź
Ž Œ˖˖=-
E˖ [˖4˖4˖ E˖  Œ˖˖ 4ƹ˖ p˖
- ˖˖ ˖˖
 ˖ ( • O˖ O˖0
$˖
źCźnźPź
F˖ ˖N˖
˖4˖˖
Ć4˖ ˖ (+˖`˖03&˖(&˖03ś˖?3ś ("˖<"˖
E˖

}
Āť˖ $dgn} 1 a dy}

˖ś˖ ˖&O˖F˖4  Œ˖˖4˖!˖-˖4˖1 Å˖

nź źź nźPźź


0!
Eŵ˖ =-˖ ˖4 ˖ 0!
E˖ Œ˖4 Œ˖

$ź111ź 7 ź0źź$Pź0ź źo#źź7P ź#ź74ź źź0ź ź7 ź7 $(ź


7Pź źźPź!7 ź ź4ź @ź
|˖Œ-˖ N˖˖44˖ ˖˖˖ ˖-4˖ 
- ˖˖˖ƒ4˖Q3[˖-˖˖
$˖ ]]˖' ¸˖ ˖-N!˖
˖ -˖ Œ Œi˖

}
3(@E/AL /H/=L

$
    $   $  $

&: =EA?.G,E5?=L

9(,7L/:(KDL(DE:5=1L

&35E/L:(KDLL/L

#3/L< </.5(E/LL/L

; K F } /R aIk} * a E R ? a }nn ? A Y }

=EA?.G,E5?=L
F˖¦˖ 
 ˖˖Š˖Š˖Š
˖1Š˖Š ˖+˖ "#˖ ˖QŠ N˖| Š˖G

ì˖  ˖˖ Q|G\˖Š
˖‡ Š˖ źź źźź#źźWźź~tź u
 ˖1Š˖
˖˖  ˖&˖<+˖˖Š˖Šl˖

ź ź  źź 
F˖ QŠ N˖| Š˖G
˖ G˖‡ ˖

|˖˖Q|G#˖ 1Š˖˖Š˖˖˖ &˖ ˖ ¦˖X


˖˖ +˖· ˖Šĭ
‡˖ 
ŠŠ˖˖˖ ˖Š˖˖˖˖ ˖˖‡Š˖˖
"˖  ˖‡)˖ p˖ Š˖˖
 ˖Š˖˖˖ ¦N˖ ˖Š˖˖˖  ˖Š˖Š
˖Ɛ˖˖
Š˖ ˖  Š˖˖ ˖  #˖ Š˖ ˖˖˖‡ ˖   ˖ ŠŠ ˖

Š˖"@Yl˖
»
˖˖ Š˖˖˖  ˖˖ ˖QŠ N˖| Š˖G
#˖ ‡˖Š˖Š˖
 ˖
+› Š˖
˖ ˖˖¦Š ˖‡˖    ˖˖˖ƭ
Š
N˖ ¦›˖¦#˖ 0

˖   ˖˖1BXN˖ŠŠ˖˖ +@ "˖˖Š†˖
˖˖˖{Š ˖Š˖
˖ Š ˖ ˖ 
˖ŠŠ ˖˖
)˖  ˖ ˖‡)˖ G˖˖ ˖ #˖ Š˖ Š˖˖ ŠŠ ˖
  ˖ A7bJN23RKbTY.XH3X^b?Tb-2232bXNb 0H-TT?0-HbHN:?0b

%vqQ^ ^Q^NveGBQbGvI`ev>OQmGv

1XN˖˖ ¦Š ˖  ˖  Š #˖‡˖


˖BX˖ 
˖ ˖Š˖ Â˖ Š ˖Š˖

˖{X
˖‡
˖‡l˖|˖ ˖˖˖˖QŠ N˖| Š˖G
˖˖
˖|˖˖ ˖Š˖˖¦˖  ˖‡ XŠ ˖/˖ «&˖|˖˖ 
 ˖‡˖˖u
X ˖˖˖ ¦ĵ˖


}
'dv}nd} 4 \ ?{} I? U a ln}
} p8µ

HWa\t$7t
?t4+jWS] qt ,6kƒ[Wy
' ˆ nPD‘‘

źź źźźbźź ź  źź źbźbźź  ź źźjźjźeź dźZźbź jź(ź-~źbź


ź źI4ź ź  ź ź źI źňźIź źźJź xźźź źź Ijź jź bź
 ź Zźź4ź (ź 4ź bźź bźI ź ź ź\ Zźź  źVIIźźź  ź GGe{

ź ź źź ź dź


gw~ pµ  w˜pj pµ49µ_u7µ`uJµ4:µIu;µ¬~ wµj pµ •µq•ŒŒ•¬µ¬w„Œpµjq p˜µ47µ$$µ`uJµ49µ
_­q;µ joµ 4:µ Iu;µ ¢wpµ lŒjm‹µ ‹~uµ pp µ  wpµ jpµ qj p$µ

gw~ pµj  jm‹ˆuµ –Œjµ ~µ «p˜®µ mŒpj˜µ joµpj®µ •µ Œpjœ$µ gpµ~uw µ ©j˜~¯pµ~ µjµ


q•ŒŒ•¬@µ

~µ ^© µ¢wpµ–j¬µ•µp9µ ~µ•˜op˜µ •µ mwjpµ j¬j®µ wpµlŒjm‹µ‹~uw µq˜•µq:µ

~~$µ Lpqpoµ wpµ –j¬µ¬~ wµ `pTµ joµ ~qµ~ µ ~žµj £jm‹poµjuj…µl®µ $µ_m;µ j•µ¬~ wµIq7µ•˜µ


_p4µ  x~µ p­ ˜jµ©––•˜ µ ¬j µ ppopoµ~µ wpµ ujpµ jl•«p$µ

~~~µ^Œj®µx4w7µ •µ –˜•«~opµjµj  jm‹~uµljpµ •µu9µq•˜µ wpµ‹”uw µ •˜µjµ–j˜ µ•qµjµ


˜j~uµ–j¬µjo«jmpµw9w:µ H µ wpµ jpµ ~pµIŒjm‹µ~µ–˜p«p poµ q˜•µj‹ƒuµ
w~µ•¬µ–j¬µ w˜ª µ¬~ wµ$$µu9µ ~µ˜p–•pµ •µ Iq7µl®µgw~ pµ jujƒµ¦µŒj  p˜µm•±
~op˜j ~•µ o•p µj˜ƒpµ~µ wpµujpµjl•«pµ

~«$µ^Œj®µIw6µ  •µ op p˜µ IŒjm‹µq˜•µm•© p˜j  jm‹~uµ~µ wpµ mp ˜pµ¬~ wµ$$µq:µ jµ wpµ


 wpµ p:–j¬µ ¬•©Œoµ wju$µ

«µ [j‹pµ jµm•©–Œpµ •qµopqp~«pµ•«pµ•µ wpµ—©pp~opµ •µ ‹pp–µ wpµlŒjm‹µj  jm‹µ


q˜•µl˜pj‹~uµ£w˜•©uwµ wp˜p$µU µ o•p µj £p˜µ~qµ¢xpµ –j¬µ j˜pµ q~­poµ~µjµqj«•©˜²
jlŒpµjp˜µq•˜µIŒjm‹µ gw~ pµ~µu•~uµ  •µj pµ •µ  wpµ‹ƒu~opµlpq•˜pµIŒjm‹µ mjµ
p­–Œ•‚ µ w~µŒ•u p˜µ jo«j jupµ

«~$µ ^© µ ¢wpµ ‹~uw µ•µu9µ ~µ wpµujpµ jl•«pµ IŒjm‹µj«•~opoµ mwj~uµ~ µljm‹µ¬~ wµ


2;µ $µw:µ •© µ •qµ qpj˜µ •qµ TJµ \­p:µ q­p: 2>µI­p:µ YJµ 4/µ I­o9µ ¬wpµ gzƒ pµwjµ wpµlp£ p˜µ
•qµ ~ µ¬~ wµ £¬•µ m•pm poµ –jpoµ –j¬’Ÿµ q•˜µ  xpµ–~pmpDµ  ~ŒŒµ  wƒµ¬jµ l®µ qj˜µ wpµŒpp˜µ
p«~Œµq•˜µw~$µ

«~~µ^© µ wpµ —©ppµ •µw9µjoµl®µj¢£jm‹~uµw;µ –p˜©jopµIŒjm‹µ •µ j‹pµ¤pµ‹~uw µ•µ


u9µ ¬~£wµ wpµl~w•–%µ

«~~~&µ bzpµ˜pmj–£©˜pµx­u9µ •–pµ £wpµ wq~Œpµ joµ •µ ~ ˜•o©mpµ wpµŒ•u p˜µ£w˜pj µ•qµ


Wu4µ joµ Ny› Œ~ƒuµ ©–µ jµj pµ •µw;$ 3 µ jŒ•µ u~«pµ h pµ –j¬µ •µp9µ joµ u9µ jµ
–ƒ‘mpšµŒ~‹pµw•Œoµ•µ wpµ q:—©j›pµ¬w~mwµjŒŒ•¬µ wpµ «~•Œp µ‹~uw µ•qqp˜µ ¤j µm•²
mŒ©opoµ wpµ ujpµ jl•«pµ

M«pµjµl•pwpjoµŒ~‹pµ ®pŒqµm•©Œoµ ©op˜ joµ jµ  ˜j~uw q•˜¬j˜oµ –Œjµ©mwµjµ


 w~µjoµUµ©poµ ~ µ¬~ wµ©mmpµ~µ‰©~•˜µ •©œjp $µ Uµm• ˜j µ IŒjm‹µm•© p˜±
–Œj®µ•µ¤pµ—©pp~opµ ~µ •qµjµj ©˜pµ o~qq‚m©Œ µ q•˜µ jµ~p­–p˜~pmpoµ –Œj®p˜µ  •µ wj

}
c y p µ / P a I  l } + a E P ? a }nn? A Z }

oSpµ Hµup~©µ• q µ¤pµ N˜pmwµLpqpmpµ ©mwµj  µfwŒj’µ ~uw µ wj«pµ •µ –˜•lŒpµ
qpo~uµ•qqµ wpµ¬w~ pµj £jm‹µ¬w~Œ µ¬˜pj‹~uµwj«•mµ¬~ wµw~µ•¬µ—©pp~opµ
–j¬Cµ l© µ ~ µ~ µ •µ ~–Œpµq•˜µ wpµ˜p µ•qµ©$µbwp˜pq•˜pµ¬pµ ppoµ jµl~ µ•qµm˜pj †«±
 ®µ •pµ ƒ–~˜j ~•µ  •µ ˜©Œpµ•© µgw‚ pµj© •j ~mµ j  jm‹$µ

:)-7L/:)KDL)DE:6>1L
;OGvN`WEG^ve o W G vI`ev &W?BVvpGeioivmOGv/-%v

Uµu©pµ •µqj˜µUµ• µp­jm Œ®µ pŒŒ„uµ wpµ N˜pmwµLpqpmpµ •µ®•©Eµ–p˜wj–µ®•©µj˜pµ


jŒŽµ ˜©|…uµ •© µ •µ l©®µ V•wµ Mµ l••‹µ •µ wpµ Wƒ‘uµUo~jµH  jm‹µ Q•¬p«pšµ
 wp˜pµ ~µjµ Hmw~ŒŒpµ wppŒµ  •µ wpµ¬w~ pµ p ©–$µ U µ~µop~upoµ  •µj pµ jµlŒjm‹µ‹~uµ
~££~uµ •µuJµ joµ ®•©µ ¬~ŒŒµ ju˜ppµ ~ µ o•pµ ¤j µ –˜p ¢®µ ¬pŒŒ$µ YWb[>-WbB7bW>3R3b ?Tb MOb .G-0Eb
F?M;bT?WW?M;bOMb; b

LaXź 'I5źD "'źI:VźID


'V„ź"„
V'źV
źVDźID'"
'.ź„DDI.«ź

8› ˜pmp µ ®pj˜µ N˜pmwµLpqpmpµ jp ˜•µ wj«pµ Œpjœpoµ •µ w•Œoµ ljm‹µ q˜•µ //µ Hoµ
¬w®µ• Gµ d{pµ pŒjl•˜j pµ joµ ©¬~pŒo®µ ¬w~ pµ p ©–µ Œ•pµ jµŒ• µ•qµ~ µ–•¬p˜µ¬wpµ
¢wp˜pµ~µ •µ j˜up µ •µuJµ [pj¬w…Œpµ IŒjm‹µ mjµ–˜pµ jwpjoµ ¬~ wµw~µ —©pp~opµ
–j¬µjo«jmp$µ Zp µ ppµw•¬µ wpµ •–p‚uµ~uw µ©q•Œoµ~qµIŒjm‹µ j«•~oµ mj Œ~uAµ

źź źźźbźź ź  źź źjźbźźbBźVIźź

LaXź[ź"D"'ź"'źź
"źVDXźIDźD„źIDź% V
ź'I.Dź>ź'.ź,V
ź

 «««ź b­ź
gx„ pµ q~jmwp  •µ~µ w©µp µ ¬~¢wµjµ•«pµ ¤j µ • µ•Œ®µ uj~µ –jmpµ•µ wpµ —©pp
~opµl© µ jŒ•µ mŒpj˜µ  wpµ ¬j®µq•˜µIŒjm‹µ•¬µl~w•–µ  •µ u•µ •µl;µ p© ˜jŒ~¯~uµ zpµ
–˜p©˜pµ q˜•µ gw~ pµ l~w•–µ•µu4µ Ipmj©pµ $µl9µwjµ  w~µ o•©lŒpµ q©m ~•µ~ µ
j‹pµ ppµ  •µ –Œj®µ ~ µ lpq•˜pµ ¢wpµ • wp˜µ  ®–~mjŒµ –jmpµ ujƒ~uµ  w˜ª µ $$µm9µ  w•©uwµ
wp˜pµ ~ µ j‹pµ •µ ˜pjŒµ o~qqp˜pmpµjµ$µm9µ q•ŒŒ•¬µ •µ wpµ p­ µ•«pµ

gj~£~uµ© †Œµu6µ •mm©˜µ lpq•˜pµ –Œj®~uµ '$$µl9µpjµ wj µgw~ pµ mj µ mzjupµw~µ


~oµ joµ op«pŒ•–µ  wpµl~w•–µ q˜•µq2µ ~µ jµ jŒ pœj ~«pµ qjz~•µ ¬~ wµj®µp­o9µ joµ
 wpµo6o7µ ¬wpµ wpµl9–j¬µ~uw µlpm•pµjµ j˜up µ ]mpµwpµ wjµ–Œj®poµ u6µ
gw„ pµ ~µ•˜pµ •˜µ Œpµm•~  poµ  •µ  wpµ q•ŒŒ•¬©–µ Iu4$µ

QL—Xź[Dź,źD I''źD>źyDź'V5ź¤'5:ź„‹
źI',I.DźD
V5ź


 "'źźI„D,V„źź,V
ź«½½źb>ź"
źV
ź,V''źyIV„'.ź 'ź."ź Dź
źź„
ź
ź"„'ID ź."ź"„
'.½ź[„źVź% V
ź IDź
'I.źV„D
Iźźź
„ź
źVDź:çźID„ź
ź'',ź
źŷ

>źIDź,źD I''źDź'I
źV„ź
ź I
½ź

 }
'dv} nd} 5 ^ ?{}I? Q a kn}
} F}

źźJź
°  ˖ ˖˖ 88  ˖
˖8Å˖ ˖ 8 
˖˖˖ ˖˖˖
8I˖ 2  ˖2  ˖˖ ˖2
˖ ˖˖ ˖  
 ˖
ź@ź  ź ź!c~ź
G˖ ˖2˖ ˖ ˖88
I˖  ˖2˖˖˖˖˖˖˖1 I˖˖ ˖

˖2˖   ˖ ˖˖˖˖ w˖ ˖B˖2
˖= ˖8˖˖
 ˖
 ˖ ” ˖˖˖ ˖ ˖ ˖

źź%ź źź%ź
*   ˖
8˖ G˖2
 ˖ 8  ˖

v >O QmGv cW?tivGGv?^EvB Bv

źcźc źź3ź3źź ź  źź źcźźźź źźźź»ź  ź ź!c~ź4ź


ƒ˖˖ 
˖ ˖2˖%8  ˖I˖ ž˖“˖*26 ȡŃŃ˖˖˖8
˖f˖
(źcź 3źźź
” ˖ ˖ ˖ 8˖ ˖   ˖ ˖ 8
˖  I˖2˖˖ 22Ÿ˖2
˖  ˖ ˖ À
˖˖   ˖˖@88
˖˖ ž˖” ˖˖ 
˖
˖˖  ˖˖˖

 I˖˖ ˖88˖ ˖8˖˖1 I˖ ˖88˖˖  ˖ ˖ ˖


˖ ˖  2˖˖  I˖ ˖˖˖˖ 8
˖˖˖ ˖ ˖2
˖= ˖ ˖

˖ 
˖  ˖

€˖

Q_^úź[ź,cź ''źcc>ź'5ź ź


źccź:c.źc"**.ź
ź *ź
{
 c
cź ź
"
"cĺź"
źź cźcźź
cź cźź"cź
źc
źźcc
ź
&
 źc"cź *2)2#"2
)2 /#&2#&2!202 #$""2
")2#"2*2%,")2

}
8 K F }/ R aIk} , a E R ? a }nn ? A Y }

”˖  ˖% ˖˖ƒ


˖¼
˖˖ ˖˖? ˖Ž8 ˖ˆó
˖ œ˖  ˖ ˖8  ˖˖*
˖

HWa\t(t
gt (GR`WooŠh] BIsjhs‡
:rk€ c ‘‘

źcźc źźźźź ź  źź źź


#›˖ ˖2#˖œ˖ ˖   ˖˖8˖ËËȝ˖2Ƅ˖ƚ˖˖   ˖˖ &f˖

źźź źźcźź@ź  ź ź!c~ź4ź


š˖2˖8 ˖˖w˖ f *
˖ 26I˖  ˖œ˖8˖  ˖˖%˖ ˖
â cź 3 źź
š ˖ 8˖˖ ˖ 2 ˖ ˖˖ ˖2
˖8˖I˖2˖˖ ˖
2˖˖˖= ˖˖%
˖˖œ˖˖   ˖“˖
źźź ź3hź  źźź

źź%ź ź ź%ź


Ž˖  ˖ ˆ ˖= ˖8˖

šB ˖ ˖˖ Ƅ@8˖ ˖8˖8˖˖ ˖  ˖˖


€˖
źź
” ˖7˖   ˖8˖˖*&#˖
2  ˖ ^˖˖˖ ˖?ōʿ#˖˖<
+˖˖ ˖˖
I˖ ˖
˖˖˖˖
% Y˖  ˖ B˖*%
Y˖*
˖ ʣ˖˖ ˖2˖
 ˖
˖ 8˖ “˖ €˖˖8˖ I˖˖˖2
˖ ˖  ˖˖ ˖2 8˖˖ +I˖2˖
˖2
˖˖ ˖˖˖ ˖˖˖€j=˖ ˖ ˖ ˖ ]˖*À
 I˖8  ˖˖ €˖ ˖ ˖˖˖
Ƅj8˖˖˖ ˖˖*&˖ ˖'€I˖  ˖

}
)dv} nd} 4 ] ?{} I? R a kn}
} F}

0
˖- ˖˖ =-  ˖˖

˖˖
-8˖ ˖ĕĕ˖ %
"C˖
$ź+++źŽÔź
œ˖  ˖˖- ˖˖˖˖˖   ˖
)›˖˖
˖ñ˖˖˖ ˖
p˖˖ ˖Ŝ˖Ą-˖˖ ˖ī
  ˖ª˖ Ę˖#˖ 0
N˖Ʈ  N˖ u
ʩ-˖ 
˖˖8-˖˖1 N˖=- ˖˖ˆ-
˖ ˖˖ -ǯ
  ˖-˖˖ī˖=- ˖īż˖
ź ź@ź
1 ˖1Ã˖ -˖
  ˖˖˖- ˖˖˖˖  #˖ ˖
˖  ˖
˖

ˀǥ˖ -˖  ˖ ˖


  ˖˖
˖˖ ˖
$Ž Eź!4Ôź
Ę˖˖8 ›˖B˖˖  ˖ ˖
)j8˖   ˖^˖˖˖
% )˖  ˖
˖0%
)C˖ S˖   ˖˖ ˖ ˖ 8 ˖˖˖  ˖8˖#˖ ˖
j8 ˖
 ˖˖
˖=-#˖ ˖ ˖
˖˖˖ ˖˖ ˖˖@ ]˖
ĉ#ź /Ïźŋź ź źźź ź
0ɬN˖=- ˖-˖˖
˖˖-˖
˖˖ 
#˖  ˖

˖ʯ˖ 4˖1,#˖ ˖ -˖ - ˖  ˖( 6C˖
˖ %&#˖  R, ˖˖ 8˖˖&“˖
$ķźĉź!O $Oź Žź
S˖˖˖1B ˖˖ 8  ˖ ˖-

˖˖˖=- ˖ ˖ ˖˖u


 ˖ʨ˖4˖-˖˖   ˖
˖pŀ˖B˖ - ˖ ˖˖ - ˖˖˖ ˖
˖
 ˖ ˖ 
˖˖ -
˖˖-#˖ ˖˖˖ 8˖Ą˖ ˖  ˖˖
˖˖˖=- ˖ ˖ ˖˖
C˖
ÏOź2+2ź/Oź
Ęʰ˖ ˖=- ˖ ˖ 1 ˖ ˖˖ 
˖  ˖ B˖8   ˖˖(K˖˖' "iª˖˖
+:˖Ǎ% "˖
% " ˖˖&˖ ˖&˖
 k˖ɠ˖ Ã ˖ ˖ ˖ ˖-˖B ˖
   ˖
  ˖  #˖1 ˖˖˖  ˖˖&#˖-˖^ ˖˖
˖Ǔ"˖- ’˖   ˖
(ź Ž?ź
1 ˖  ˖˖  ˖ (K˖? (˖˖˖

˖˖ ˖ ˖
 ˖
$(ź+++źź źźEŽź$źhEŽź EŽCź
0
N˖=- ˖-˖ ˖,˖  ˖ ˖˖  ˖˖ ˖
źh¾Žź!ź ź!źźŽź #ź Žźźź#źŽ?ź
|N˖˖  ˖˖
˖6#˖-˖1 ˖- ˖˖ ˖  ˖+)˖Q(#˖   ˖
˖˖
B˖ 
˖B˖ ~˖
4ź881ź  Fź
?˖#˖ ī˖ B ˖=-˖ ˖ æ˖
 ź 9ź0 źźJÏź 9ź@ ź
F˖  ˖

˖˖+˖ 
˖˖ ˖ ˖
#˖˖1 ˖ ˖˖

}
;LF} /Q aIk} * a E Q ? a }nn ? A Z }

- ˖˖˖˖ ˖ ˖+ 6˖ C<%ă•˖+


˖ A ˖?%ă•˖'+ù˖+ K ˖?› '%ă•˖& : ˖'%6ù˖Q%6˖&(˖
Ǎ% A˖
ĕ˖

nźź%ź n¨ź ź%ź


1Ã˖ ˖Ã˖4-˖ ?ÃÃ ˖0
N˖˖ ˖

v >PQmGvbeGKGeivGrE vm`vG Gv

1˖- ˖-Ÿ˖˖˖ ,˖˖A˖ ?Ü˖ 6›˖ ˖#˖œ˖ ˖


A˖˖)#˖ ˖˖^˖-Ÿ ˖-˖
˖˖˖Ã˖˖
 ˖˖
˖
 ˖K˖)#˖-˖˖˖ ˖Ÿ ˖˖  ˖˖ 1Ã#˖ ˖ K˖ "i˖ 

- ,˖˖
˖#˖ ǥ ˖˖ (:˖ % )#˖   ˖˖˖
4ĕ˖ 8›
˖
#˖0
˖- ˖ -˖˖8 ˖ ˖˖ ˖˖ 8  ˖
˖A˖ ˖06#˖˖˖˖˖˖˖˖, C˖œ˖ ˖-˖˖
 † ˖ #˖  ˖˖˖ 
 ˖ %
˖^˖ ˖  Ã˖˖
-˖ ˖˖
#˖ʁ˖
˖A˖ ˖06ĕ˖

%[! G lXź E5źEn/"''.ź


ź&ź:ź/ź''ź
źź."ź
:ź&'.+ź[ź.ź:E
n.ź
źE
ź
źnź/źź/
źź
E"&'ź/ź.ź

ź/"
"n+ź

HXa\t(t
ct ::}P pt BKsjhs‡
#‰wqtLCn‘SCk tVqn€ S V t‘4S wVJ‘ ‘

źŽź źźź#źź ź / źŽź /źź#źź#ź źźE#źź@ź E ź ź!ÏźÔźŸ


ź ź

}
& dv} nd} 4\?{}I? R a kn} } F  }

ý˖˖ %˖˖ ˖  ˖


˖ ˖˖ ˖ ! ˖ ˖
( ź
s˖ M˖
 ˖˖˖ ˖˖"@)#˖  ˖˖˖ ˖˖ E  ˖‘˖ ˖˖
A˖ 
˖˖!
E˖E ˖˖˖  ˖ ˖$˖F˖˖ ˖˖˖
!
E˖= ˖˖ ˖ ˖
˖ ˖ )˖ ˖˖˖˖˖
˖ ˖
 ˖˖ @ !˖
(ź222źź ź4ź4Bź
G˖ ˖  !˖ E˖! ˖˖/:˖˖'% )˖˖ ( ( ˖'
"˖˖˖ E ˖˖
˖ ˖!
E  ˖=˖ F˖ !
E˖ = ˖ ˖ ! ˖˖˖  ˖  #˖
 ˖” ˖
! ˖ 
E˖ ˖˖
˖    ˖  ˖ ')˖
ź ¦ź
G  ˖ *!
E˖  ˖ X ˖  ˖˖!
E  ˖˖˖ ˖E #˖  ˖ ˖˖
( ( k ] 
% "˖(+˖'&˖  ˖ (&˖ '% "#˖˖˖˖˖ ˖ ˖ ! ˖ =M˖ “˖
ź 4Bźź(Hź

ź(źHź ź ź


s@! E˖!˖ '˖˖
!˖

F˖
!˖˖
˖ ˖˖E ˖˖˖ ˖˖ƒ
˖ý%
 #˖˖S˖
 ˖˖˖Øs˖!M˖ e †  ˖˖)@=˖ ˖˖E \˖ ˖” M˖
˖˖˖  “˖p˖s˖!˖˖ ˖˖ +˖ ˖˖˖˖(&˖
'%
$˖*%
$˖("˖'%
"i#˖   ˖ ˖˖E˖˖˖ ˖˖ )#˖˖˖ (&˖' %
"i˖ ˖

˖ (+˖˖'% "˖ (&˖ ' %
"˖ ˖!˖ !˖˖*!
E˖F˖ ˖
! ų
  ˖˖˖˖= ˖ ˖=  ˖˖*!
Eà˖
ź222ź!¦ ź
¼  ˖
$˖˖
 ˖ ˖ ˖˖!  ˖˖” M˖
  ˖

}
8 K F } /R aIk} , a E R ? a }nn ? A Y }

ź ź
” M˖
  ˖  ˖
$˖˖˖ #˖˖ ˖ ˖ !!˖˖  ˖!˖˖

˖ ˖  ˖˖˖ )j=˖
ź222źòBź
Ō!E˖˖ ! ˖!!˖ ˖ 
˖ ˖ !˖˖   ˖˖˖˖˖˖
= ü˖ ˖ ˖ ˖ ˖
!˖
ź?ź
F˖
 
!˖ ˖ ˖˖ ˖˖˖
 #˖˖” ˖ M˖ ! †˖ `˖¢u
!!˖E  ˖ ˖ ˖  ˖ 
˖˖ 
˖˖E˖
!˖ =#˖˖˖%˖
˖ ˖
˖˖ C˖
p˖ ! ˖˖ ˖˖  ˖˖˖   Ė
 ˖ =˖ ˖
˖!

#˖ !˖ )#˖ ˖ ("˖ '"i˖F˖ ("˖˖ $˖ ()˖ *$˖ ˖1 ˖ ˖u

E#˖ ˖˖ ˖ ˖˖
  ˖ !˖  ˖ ("˖˖'"˖ ()˖ ')˖*$˖ /$˖ < "˖
?
6i˖ e˖  !˖ ü˖ ˖˖˖ ˖˖ /6˖ '$ő˖QA˖ (A˖ '%ĉ6Z˖˖   ˖6˖
 ˖ !˖
!˖
A˖˖
!! ˖˖E ˖˖)˖  ˖ ˖*
A\˖( 6 ˖*$˖ e˖ (6˖*"˖ *
A\˖
(6˖˖ $˖ ź Htź
˖˖*!
E˖
 
˖˖%
 ˖˖E˖˖ ˖
‘
E›˖ (A˖ *%A˖Q%A˖/K˖'%
$˖ e(K˖'$˖ '% "˖ ˖*!
E\˖ (K˖˖*%
$˖+:˖'&˖*% "˖
+/˖ ? •˖<$˖e
E  ˖+\˖++˖<&˖*%+˖+&˖'% )˖*% )˖+"˖?% )˖<%&˖+)˖*%&˖'

 ˖*!
EM˖= ˖˖ ˖ ˖  ˖
 ˖˖˖%
 ˖
ź222ź ź
'˖/)˖'"˖ ˖! ˖˖˖/)˖` kC˖*%"#˖ ˖” ˖˖˖ ˖˖˖ ˖
 ˖  #˖
!!˖˖/)˖'%
"˖'%+i˖ ($˖Q%+˖ %
"˖˖*!
E˖
ź ¦ ź!¦ Bź
FEX ˖˖

˖˖  ˖ ˖E˖ ˖˖ !˖! ˖˖  ˖E˖
ź 4ź! ź ź
ŊE  ˖*!
EM˖!˖˖˖˖ E ˖˖)˖
˖˖˖  ˖
E˖˖˖ĉ$]˖
ź222źkź źź  źź Hź
G˖˖ E ˖ #˖˖  ˖˖

 
˖˖˖ƒ
˖ý%
 ˖
Ō  C˖ ” ˖˖˖ ˖E ˖˖˖)j=#˖  !˖   ˖*!
EM˖
E ˖˖"j=˖ S˖!!˖ ˖!!˖ ˖  ˖˖ #˖˖˖
˖˖ ˖
ª˖ɀ˖˖˖˖˖! ˖˖!˖ ˖ ˖ 
#˖ ˖ ˖˖˖ ˖|˖

#˖*!
EĠ˖˖˖˖˖˖ 
˖˖ ˖ ˖˖˖ ›˖
˖˖˖ 
˖

˖F˖  
˖˖˖!
E˖˖ ˖  ˖
˖˖%˖˖ ˖
(ź!źkBźźź! ź ź ?Fź
G!!  ˖˖E ˖˖ ˖˖    ˖˖*!
E˖”Ã˖! ˖˖˖
 ˖ ˖+(˖ * +˖˖˖+( )˖*!
E˖ ˖˖ ˖˖
E˖ ˖˖
]C]˖<A˖ ˖CC˖<)]˖
 ź222ź¦ Bźź¦ź¦źź¦ź¾Bź

}
&dv}od} 4 ] ?{} I? R b ko}
} F  }

0-˖R˖>&˖ ˖0$m˖>"˖'
$˖R˖6˖z8˖
=PźPź6ź=ź 3ź6ź
F˖ ,˖ ER, ˖˖ R˖!, z˖˖#˖ !!,R ˖0r
E˖˖ 8-˖ ˖ z"Ê8R˖
-Rz˖r˖ 8-l˖
=6ź#źź=ź=?ź
|Rz˖>6˖03z$˖03z"Z˖>A˖Q/˖ Šz$˖,˖3
rrR˖˖0!
E#˖-˖1,˖, ˖,!r˖
˖
8z˖,˖˖
r˖>6˖?•­˖˖˖>6˖ ˖03z"Z˖>A˖03z"˖<3z"Z˖>K˖<>t˖
<3>Z˖&:˖'3>˖˖,8˖R˖&˖,˖ zRzz˖
=ź 3P9ź= ź3Pź3P9ź=(ź0 $źPFźź$=ź
h Qh{

ź$$źU%ź ź$=źU%ź
0!
E˖˖ 8,R˖ R˖˖!RE˖ F˖
E˖,˖r,R ˖

°,,Rrr˖ z
,,Ŝ˖ ,˖&:˖ "˖ ˖ ,8˖R˖ >˖ ,˖Rz˖Rz˖œrE˖
R˖8-˖
,˖ER, ˖R˖&˖ ,˖
"˖ ,˖˖zE=-˖,Rzl˖F˖ ˖ ˖ E˖,R ˖
-
˖,˖ ˖0r
E˖
ź$ź! =9F?ź
s˖˖-˖-rz˖˖z!, z˖˖˖r˖˖,Rz˖ -
˖˖¥˖˖ 8,R˖,R ˖˖
&/˖ Q3BÛ˖ 3 &Z˖ ,˖”,˖ ˖
,
˖ R˖ R˖ ,RR˖ z˖,˖&>˖Q3 &˖<"˖
˖˖r˖ z,R˖˖&>˖ Q/˖ <"ZC˖ 0-˖ ,˖˖
R˖˖˖

!˖ ˖-˖R˖ zl˖ ɉRz˖ ˖ =-,˖ &:˖ l˖')įt#˖,˖˖ ˖˖&/l l'3 &˖
#˖
˖1,˖˖, R˖˖R
#˖˖ &/˖<3z"˖'3 &Z˖&>˖Q /˖ '3>Z˖&&˖Q>˖'3z"˖

˖,˖˖El˖

LGaYźL ź*3ź"*ź *3ź3Xźź."źźź3ź:>ź'5źźź


:źÐźåź

}
8 K F }/ R b I  k } + b E R ? b }oo ? A [ }

$ź¥ =ź$9ź=ź!$źźź!#ź
0r-Rz,R ˖˖8,
#˖- ˖”,˖˖-r˖zz˖R˖˖&&˖? /˖03z&˖
ź““+ź3źPź!3#ź #­ź
0›R˖&)˖?3z&˖'3 &Z˖Rz˖1,˖r˖,˖E,R ˖ƞ˖&$˖Q /˖</Z˖˖BĜ˖=-R˖
˖&$˖<3 &˖ </˖Z˖&6˖ ?› 3 &ZC˖
źPź 9ź@ ź

'26E/L@;(KDLL/L
”˖-rz˖R˖-Ÿ˖ ,R˖˖˖8,,R˖˖˖C˖G˖ $źPź6ź=ź3ź3ź
0r

R˖R˖&˖'&mt˖,˖&˖C C˖z3"˖"˖z3"˖<3z/˖Z˖)˖Q3z/˖0
)˖R˖˖˖
88z˖ ˖˖R˖=-r˖Rz ˖F˖,˖,˖,-˖ ˖”,˖-˖zz˖
HR˖zRz˖˖"˖ˆ˖˖˖˖rEz˖˖&˖'z>#˖˖˖R-r˖zr8,R ˖
Ʋ˖ -˖˖ ˖˖˖
˖”,˖=-Rr˖8˖ ź=źź$ ¼ź

ź$źź ź PźU%ź



!!˖rz˖˖˖&˖'z>˖ G ,R˖ R˖!˖ C˖)˖

Ă-˖, ˖˖Rz,R ˖˖B,˖-!z˖˖˖


˖šR˖R˖,˖˖˖˖
<>˖8,z˖˖zRz˖˖˖8R˖R˖)˖ -rz˖”,˖ zR
˖,˖˖sĭ
#˖,R˖
R˖˖'z>#˖ ,˖r˖˖˖
!˖˖˖z!8R˖˖˖
,8˖˖
/˖Rz˖ zz˖8R
˖˖ ˖8,r˖

"˖,E˖˖˖
R#˖ ,˖'

,R ˖,!r˖˖˖rr˖-8˖ ˖ 8-˖˖8-˖R˖z)l˖
F˖˖ r˖r˖,-˖R,˖˖&˖<>˖ z-˖˖˖8R,r˖8,R˖˖˖
=-R˖ 3˖R˖˖$j8R˖ ƒ˖ 38r#˖R˖˖0r
EN˖˖!,z˖˖˖
&˖'z>˖ ,˖&˖f C˖
)˖ "˖' &˖'
$˖)˖ &˖ 0z$˖$˖0 >˖' 6#˖ Rz˖R˖ ˖$˖˖Rzz˖ ˖ -z˖

 }
'dv}od} 4 ] ?{} I? Q a ko}
} F}

˖YȎ= O˖*˖ ˖ ˖˖ ˖ ˖˖˖˖*r


˖ ˖˖r˖˖ ˖
&˖<+˖˖˖&˖ ]˖
Y˖ ˖1˖^˖˖˖"˖% Y˖<% Y˖e ˖&˖' +˖˖
r ˖˖˖r˖ ˖˖"˖ “O˖% Y\˖Y˖ '
&˖ G ˖ ˖˖ ˖ ɴ˖1I˖
˖
˖r˖"˖'&˖'
$˖Y˖ &I˖˖Y˖ ˖* $m˖˖˖˖  ˖r  ˖ ˖$˖% Yk˖
š˖
 I˖˖˖˖ r˖ ˖˖˖˖ ˖r ˖˖&˖] Ú˖
Y˖I˖˖˖
r˖˖%r˖˖1˖˖r˖&˖<+˖ ˖ ˖+˖<+˖

,`qvm`vG\A?ee?iivmOGv qOQmGv doGG^v

1˖ ˖˖˖^˖ 
˖˖&˖' +˖˖˖r˖ r˖˖^˖ ˖*r
˖˖
{ b-TbTNNKb -Tb ,?W4bPG-^Tb: b F˖
˖˖ ˖ ˖ ˖&˖<+¥˖
S3PG^b 1 2 3 .
˖
˖˖ ˖ ˖˖˖ rĵ˖

_GaYź[Ŝźź>ź &'.ź #źźźź% Rź&'.źÌź 11źź


hhh{

7#ªź
hhh{

F˖Ǩ˖˖Ò˖/˖Ǖ"˖ $˖+˖ &˖ Y˖&˖<+˖ '$˖"˖'&˖*6˖Y˖ &˖*r


˖r ˖
  ˖˖˖
r˖ ˖= ˖
˖˖Y˖ O˖Yt˖ ź tź 

r ˖˖ ˖ 
 
˖ ˖˖é ˖
@  ˖˖Y˖O O˖
Y]˖ F˖˖
˖ ˖ ˖$˖* +˖ e˖˖   ˖ ˖$˖YI˖ ˖ 
 ˖ r\˖$˖ ]˖ %"˖6˖ %"˖"ë˖
*r
˖˖  ˖˖
˖˖˖ ˖$I˖
 ˖˖˖=]˖F˖
u
! ˖˖
˖ r
r˖ ˖ɥ˖˖A˖ǎ@ǎm˖ r˖˖%
 ˖˖A˖] O]˖* $˖
ĸ˖˖˖ ˖˖˖ 
˖ ˖

IWa\t(t
it Ľ8'ćŢĊŗæźqt %6s`S
ˆJC tL€„‘ ‘

$źź źźź#źźź  źź źź#źź#ź źź


S˖˖ %˖ I˖1˖  ˖˖ ˖

 ˖$˖Y]˖
ź źźźź ź7ź
h hh{

G ˖ A˖&˖ *$˖ K˖< +˖'


$˖ *r
˖ ˖ ˖r ˖ ˖ r˖ F˖ ˖  ˖
u
˖ /:˖ Y˖ ' Y˖ ź #ź Ȣ/˖ *ˁ˖ e˖ 
 ˖  ˖˖˖ I˖ ˖
1ǟ˖˖
 ˖^˖%˖˖˖ ˖ ˖˖
 \˖ / /  *%™ /+˖Q%™˖ ñ˖ /&˖Q +˖
:@: /"˖<+˖ < 6 /Y˖?Ç˖ ?Ǟ A˖ ˖ ˖˖ r†˖˖˖r
˖
˖˖
ķ]F@ŌÚQ
I˖ 1¨˖ ˖ĺ˖+:::˖
ź 7ź(ź7ź ź$źź  ź$ ź@ź Bź
M hM{

S˖˖ ˖˖˖˖ 


˖˖*r
˖r† ˖^˖ "@= ˖
˖1˖
˖ ˖

"T˖ '˖˖Q
˖  ˖ r˖˖  ˖˖ à˖  ˖˖˖ ˖ ˖˖
 ˖ / / ] ]:@:˖ ˖ /+˖ Y˖ ' 6 /&˖? ™˖!r˖1˖˖ % ˖r˖ Ò ]˖


}
8 K F } / Q a I  k } - a E Q ? a }no? B Y }

$ź źź$źźź$ ź
S ˖ /&˖Y˖ ' Yi˖r
˖˖
˖˖A˖ ˖r˖™˖  ˖ F˖/"˖*+˖
<%
"˖˖˖ ˖ ˖1˖˖˖ ˖
ǟ˖

ź #ź%ź ź$ źź


*r
˖˖˖ ˖
Ē  ˖ *r
˖˖ r  ˖ ˖˖˖

$ź 7 ź7ź7 $#ź!7$źź $ ź#ź #ź$ź#ź#ź ź!7ź


h hh{

Srr ˖  ˖˖I˖˖˖ ˖˖



 ˖˖ ˖˖˖@ ˖
 ˖˖   ˖r ˖˖ r˖
$ ź ! ź$(źź
hhh{

F˖r˖˖˖ ˖r ˖ r˖˖˖ ˖6˖


$(ź  Bź
hhh{

° ˖˖˖ ˖


˖˖˖˖  ˖Ç˖
ź!7$ź4?Bź
Q
˖r ˖  ˖˖˖˖+:˖]]]˖Q 6t˖ ˖ ˖+/˖'
&˖Q$˖˖
 ˖  ˖ Y˖  ˖
˖Yk˖p ˖˖ 
˖ ˖é ˖
˖˖ 
˖

 ˖˖˖ ˖r “˖
 źźŨ3 źź7#ź4źź ź
F˖˖˖ ˖ ˖˖+:˖I˖ ˖˖rr˖˖*r
˖˖ ˖˖˖u
˖˖˖ 
˖ ˖˖˖ 'rI˖ +&˖ '
&t˖ %"˖ e+&˖ ˖*
"˖ +Y˖ Yi˖ u
 ˖1\˖+"˖ '% Y˖ Ǟ% &˖+Y˖% &˖r ˖˖=rȞ˖
ź?Fź! ź
s ˖
˖˖+&˖]C]˖?6iI˖ ˖^˖˖˖  ˖˖+˖˖˖rr˖
ź?Fź
1˖
r ˖rr˖r ˖˖˖+"˖*
Y˖ %"˖+Y˖'
&O˖

}
& d v }nd} 4 ] ?{}I? T c kn}
} F  }

=ź+“źź= # źź
1˖  ˖ ˖  ˖  ˖+)˖ %Í˖ ? AZ˖+$˖Q+˖ *ÍZ˖+6˖Q&˖ *ÍZ˖+A˖Q+˖? +Z#˖
˖˖  ˖˖  ˖+)˖ *+˖
=#ź))ź 9ź= ź0=ź @ ź
1˖ ˖˖ ˖#˖  ˖˖  ˖˖˖Æ˖ ˖%#˖+6˖
'
&˖?&i˖ +A˖?•i˖ı ˖ɁɊ ˖ ˖Ĩ˖ ơ
Lj˖ơơĨ˖ ˖˖+A˖* +˖
Q 6i#˖   ˖+K˖‚˖?
A˖˖
˖˖˖˖
&˖˖+K˖‰% o˖*Íư˖˖˖
˖  \˖ +A˖‚‚˖*%•˖ +K˖ ?%•˖ Q 6˖ ı  ˖˖&:˖?AƯ\˖&:˖ '% o˖ ?%+Z˖  ˖ ˖
 ˖˖˖˖ ˖ ˖  ˖*
˖˖ ˖

QL^Xź¶"ź,ä''ź
ź
I
źÎI5źIź.ź
ź"'źÃ‹
źI
'ź
"'ź
źźI.‹źź
ź
źIÁź

IIź jź%ź IIź ź%ź


ÿ  ˖˖˖  ˖ ħ
˖ ˖  ˖˖ ˖

>ORmGvBW`iG ivmOGvBG^meG !vmOGv i?\Gv`WEvim`etv

S˖˖ ˖˖ ˖˖ ˖˖˖˖Ñ˖˖˖˖˖


Ñ
˖
 ˖˖
 ˖˖$˖o˖ H› ^˖ ˖ #˖˖ ˖˖*
˖
˖˖  ˖
Ĩ #˖ ˖˖1˖˖˖  ˖ ˖˖ ˖%˖ ˖
 ˖ 
˖ ˖˖ Í@o˖ #˖  ˖˖ ˖ ˖ ˖ ˖ ˖˖
 ˖
˖% o˖ S˖˖ ^  ˖ ˖˖Ĩ˖
 ˖ ˖*
˖˖˖   ˖Bö˖
˖ ˖
! ˖ ˖
 ˖ ˖˖˖ ˖J˖ ˖˖ ˖ ˖$˖oÚ˖
S˖˖˖˖˖ ˖˖˖˖ ˖ ‚‚˖o˖ ˖ ]`˖
o˖˖˖ ˖ ²˖S˖
˖%˖ ˖ #˖
˖- ˖&˖<+˖ ˖$˖o#˖˖˖˖ ˖ ˖˖
˖˖ ˖˖˖&˖' +‚˖1˖b
˖ N˖˖˖  @ ˖ ˖

}
8 K F } /P cIk} * c E P ? c }nn? A Y }

˖˖#˖  ˖  ˖˖
Ñ
#˖*
N˖@J ˖˖˖J˖
Ñ˖ ˖  ˖ ˖˖ ˖

HWa\t)t
et (BS]ƒrhpt ,:W`Wy
&LxlCn‘SCl tXqnSXt‘e„LnbVwGSLn‘ ‘

źź ź=źź#źź=ź  źź źź#źź#ź ź#ź ź


Ï˖˖ ˖˖˖ 
 ˖˖˖˖  ˖+˖<+˖'$˖&˖'&˖ o˖Í˖o˖
‰ 6 o˖ &˖*6˖$˖ &˖o‚˖
ź=ź#ź ź ź  ź(źeźI4źIIź ź źźź ź =źI ź
Ę˖
˖
 Ņ˖1˖˖˖  ˖˖ ˖˖  ˖b
˖˖˖˖
˖  ˖˖˖˖˖ ˖˖ ˖˖ A˖ Ę ˖ ˖1˖ Ÿ˖˖J˖
˖˖ Ñ Å˖
=źźhź źź
ħ˖
 ˖˖˖˖b
˖J˖ )˖˖(Í˖
Í˖˖Ĩ ˜˖˖˖
˖˖˖
˖˖ +˖ ˖
˖ ˖ *
N˖ Ñ ˖J˖
˖ ˖  l˖
Ï  ˖s ˖˖˖˖˖˖ŸÅ˖
źźFź
ˆ˖˖(Í˖ %
Í˖'$˖˖*
˖  ˖˖‚˖
 ź
'˖˖˖ ˖
 ˖˖ 
 ˖˖˖
 
 
˖˖˖ƒ 
˖˖
#˖ ˖B˖˖  
˖˖*
N˖
@˖˖ ˖˖˖
Í#˖˖ Ű
J
 ˖˖  ˖ ˖ Ík˖' ˖*
˖ ˖˖J˖˖˖
˖˖ #˖ ˖˖˖˖
˖ Í˖˖˖ ˖˖˖ƒ 
#˖˖ ˖
s ˖ ˖ Ÿ˖ J˖  ˖
 ˖  ˖ ˖ ˖˖@˖  ˖˖


˖˖ b

&#˖ ˖˖˖1˖˖
#˖ 
˖˖   ]˖
ź++źIFźIIź (ź
Ę˖ ˖˖Å˖˖ ˖
˖˖˖Ē˖˖J˖˖
 ˖
˖

˖*
˖˖
 ˖ ˖ ñ@Ñ ˖ ˖˖ Ñ˖˖

&˖
S˖*
˖ ˖  ˖_]]˖Í˖ ˖˖#˖ ˖˖ ˖˖(Í˖‚˖$#˖1˖ ˖˖
J˖˖

˖˖  ˖˖˖ ()˖ Íim#˖
˖J˖!˖ ˖ ˖
˖J˖˖
˖ 
˖˖˖ ˖˖
˖
˖

˖˖^˖o@Ñ Å˖ ˖˖ ‚˖<o#˖


lll˖*o˖ ˖kk`˖'o˖˖˖

 ˖J˖˖ ˖š˖
 #˖ ˖˖˖ ()˖ Í˖ ˖˖
@  ˖ ˖˖J˖ ˖˖˖ ˖˖
 ˖ J˖Ĩ˖˖  ˖˖
æ˖æ˖'$˖ J ˖ T˖< 6˖ ˖J˖ `˖*
$¥˖˖˖
˖
˖J˖˖Ñ ˖ ˖˖
˖  ˖ #˖ J ˖1˖ ˖˖˖ J ˖˖˖  ˖ ˖
~4ź-I ?ź
ˆ
˖ ˖˖J˖˖

˖˖˖()˖‰ oi#˖˖˖Üo˖ ]˖<o˖($˖<o˖ $˖


}
&dv}nd} 5 ] ?{}I? Q a kq}
} F}

(¶˖<&˖$˖ (A˖'&˖ ˖ n˖˖˖   ˖   ÄC˖Ï˖


 
˖ ˖ ˖˖
()˖~ ~C˖$˖($˖'3$i˖ 3$˖ (¶˖<)Z˖QA˖(A˖< $i˖<A˖e ˖˖*
˖˖
M˖  ˖ $\˖
(û˖<3$˖ <ź ź (û˖~C~˖'$˖+:˖<)Z˖e   ˖ ˖=˖˖˖ ˖ ˖ ˖
˖+:˖~ ~C˖*
A\˖+:˖CCC˖Q A˖+(˖?•˖ *
A˖++˖<
+˖* A˖+&˖?3$i˖ e˖
 ˖
 
˖ ˖
u
˖˖*

˖
 ˖ ˖  ˖ ˖ )˖ ˖~C~˖<¶\˖+"˖~ ~~˖*3$˖+"˖*3 )Z˖*$˖
+)˖*3
"˖*3
"˖+$˖ '3
"˖*
¶˖+¶˖<"˖˖” ˖˖ 

 ˖ ˖˖˖˖˖
#˖ ˖¯˖ Ä˖ ˖˖˖˖˖˖n˖˖
˖¬ Ÿ˖

˖ ˖˖ ˖ ˖ ˖+A˖ )~˖ SM˖ ˖
#˖˖  ˖1 ˖˖n˖i˖

ź (ź%ź źźź


ƒ
   ˖~ ~ ~<
˖ )˖ ¼
˖
n ˖

ˆ˖ ˖^˖n˖^˖s ˖ ˖˖Ć ˖^˖ n˖n˖("˖C C~˖"˖ ˖u


˖˖("˖C C~˖$#˖   ˖ ˖m˖1#˖¯˖ ˖ ˖ ˖ ˖ ˖
˖˖¯˖
n˖˖ ˖˖ ˖˖n˖˖˖˖~˖S˖^ ˖s ˖
 ˖˖

 ˖ n˖˖
˖ ˖ ˖˖ ˖  ˖ ˖  ˖ ˖
ˆ #˖   ˖n˖  ˖($˖ '3$i˖  ˖+&˖ ?3$i˖ · ¯˖˖  ˖˖  ˖

 
˖^˖˖ ˖˖  ˖˖ 
˖ ˖˖ ˖n˖ ˖ u

i˖S ˖ ˖s ˖ ˖  ˖˖˖("˖C ~C˖$#˖˖˖˖˖

˖˖ ˖
˖ ˖˖
  ˖ ˖= ˖ ˖ ¯˖ ()˖ "C˖
ź 6Ēź
hhh{

GM˖˖˖ ˖~˖ s ˖ ˖˖˖ ˖ ˖n˖ ˖  ˖


 ˖= ˖
˖  ˖ C˖
6 uź

QL^ĹźL uź, <


uź&<uuź<Ųu'.ź,<
źź
uź'5ź5ź
źź
źZ>ź
 "
ź
uuź,**źuźź
R5źuź" źź 6ź ‘ź ź 6źź
h hh{


źuXź,uź :uźuźźÎź,.źź´*u @0'"uź
ź
uźu{
źź
uź &
u+ź


}
8 K F } /Q aIk} * a E Q ? a }nn? B Y }

6ź !Zź<ź ź
h hh{

ź ź%ź źź %ź


*
˖ ˖ ˖˖ ć˖ ˖
˖~ ~~˖ ~~~˖ ˖ M˖˖˖ ˖˖

s ˖ ˖˖ ˖ ˖ ˖˖    ˖˖˖= C˖s #˖1 ˖

M˖ ˖˖˖˖˖ n˖˖˖


#˖˖ ˖˖˖   ˖˖
n˖  ˖ 
 
#˖ ˖ ˖ ˖˖ ˖ ˖˖C˖
ź!~ź
G˖n˖˖˖˖˖ ˖ ()˖n~˖
ź ź
hhh{

Ï˖ 3˖˖ ˖˖n˖˖ ˖˖


+#˖ ˖  ˖  ˖Ø M˖ ˖ ˖
n˖˖˖1 M˖¯˖  ˖˖ ~˖
Zź źź (ź ź
¢   ˖
#˖ ˖˖ ˖ ˖  m˖F˖ 
˖” ˖˖˖ n˖ ˖˖
˖˖˖˖)#˖˖ ˖˖ ˖¬nn ˖ ˖˖˖˖"C˖
(ź źź!Zź Zź ź!~źź ź !;źź ź u;ź ź
hhh{

ķ˖
Å˖ ˖ ˖˖ ˖ ˖˖˖˖˖ ˖˖  ˖˖
˖  #˖ ˖ ˖˖ 
˖˖ ˖˖ =˖ ˖˖˖˖ ˖˖˖
 C˖
ź ź 6źźźź6ź;ź†©†Cźźź
G˖ ˖˖ n˖#˖ s ˖˖ ˖  ˖ ˖ ˖  ˖ ˖¯˖
#˖˖ ˖˖
˖ Ä ˖˖ ˖ ¯˖ n˖˖ ˖= ˖˖ ˖˖˖ ˖  ˖ C˖ p˖ ¯ć£
˖
˖ ˖nn˖˖
˖ ˖ n˖˖¯˖  ˖n ˖  
˖˖˖
˖  ˖   ˖˖˖ = ˖  ˖˖
˖ ˖ ˖  ˖n
˖n~˖
p ˖   ˖ 
˖˖ ˖ ˖˖¯˖ ˖˖¯˖ ˖˖¶~˖


}
& d v }nd} 4 \ ? { }I? R a kn}
} F}

=ź- ź  ź= ź-7 ź
1˖˖
˖˖ 
 ˖˖˖!˖˖
˖˖ !#˖˖1M˖
!  ˖˖˖˖˖˖!
 ˖˖˖˖˖˖-!˖

 ˖˖˖˖! ˖˖˖ ˖


˖ˆ
-ʥ˖
˖!˖!˖˖
˖
 #˖Ŀ!˖a!!˖˖˖˖^˖!˖˖- ˖^˖ @˖˖˖˖
!˖˖˖  #˖˖˖a˖˖!˖
= ź888ź- ź=›ź  ź źźź-=ź
sM˖ ˖!˖˖›˖˖ ˖ ˖˖˖a˖˖˖˖ ˖
˖ ˖˖˖˖ 
˖˖+#˖ ˖˖
&@˖!!˖˖ ! ˖ ˖
‚‚˖'6˖ ˖ C˖')#˖ ˖
˖Ļū M˖ ˖˖ aƀ˖
 ź- ź ź=ź /ź #źUź=ź

ź=źU%ź ź=źUź
ɘ^ʍ ˖ ˖ a˖ Ĺ˖Ž ˖œ˖

¢a ˖1˖˖ ˖



˖˖ a ˖˖˖j˖˖˖
@‚˖
ź-7 ź
1˖˖!˖
˖˖˖˖ #˖
 ˖˖˖˖ ū ˖
 ˖˖
^˖•@#˖•@  ˖
/@=‚˖
ź888ź-=źź4ź
G˖!˖1˖˖˖ 
a#˖-˖˖ ˖j˖˖
˖˖ ‚˖
ź+++ź-=ź ź  ź=ź  ź4źź
p˖&ß˖‚‚Ë˖è•˖Ǧ˖ ˖˖ 
‚˖
ź/ ź/ ź ź/ ź/ ź ›ź#9ź\ źźź7ź ź#ź ź=ź7=ź/ źź ź
\  e ź


}
9 L F } / R aIk} + a E R ? a }nn ? B Y }

#3/L<</.6(E/LL/L 

Ⱦ!!#˖˖˖˖ źź ź=ź=źUź=Ĝź


˖! ˖˖˖˖
&Ė"˖a˖ßĖ )˖˖
˖˖a˖% ˖˖^˖
#˖˖ ˖
! ˖˖^ ˖!˖ ˖ F˖  ˖˖˖ *!
˖ ˖˖^˖a˖<+˖
˖˖!˖ ˖˖!Ÿa˖@˖
G˖ 
˖!˖˖+˖‚ ‚˖ )˖˖&˖ &˖ 'ß˖! ˖˖!˖#˖  ˖&˖% )˖<% )˖
"˖'
&˖<)˖˖!˖"˖C C˖< A˖˖! ˖- ˖˖*!
C˖ S˖˖
˖˖-! ˖
a˖˖˖˖ˆ
 a˖¼
˖˖
˖1M˖<+˖a˖˖˖!˖a!˖
˖*!
M˖ ‚‚˖ß˖‚˖
pa#˖ S˖˖˖
 ˖^˖ū ˖˖˖+˖‚‚˖'ßįm#˖
˖˖
˖˖

˖˖a!˖ ˖!˖ s˖!!˖1˖!!˖ ˖˖
 ˖!˖&˖'&˖˖&˖ ‚˖ )˖"˖)˖' 6˖)˖ &˖˖˖^˖Q M˖S ˖
G
˖˖+˖ &‚˖
S ˖ ˖&˖)˖' )˖ Uź=ź˖a˖˖-!˖G!M˖¼

eʝ!˖ /˖ "˖'ß˖ +˖)˖ ' )\˖ ˖đ
˖1˖˖˖đ˖=˖˖ +#˖  ˖˖
˖˖˖™ Æ˖˖˖
˖˖˖˖ ˖ ˖ ˖  ˖ ˖˖ S  #˖ ˖˖ 
˖
˖ 1˖ =
Ǧ˖ ˖˖ !˖ ˖"˖'&˖ ß˖)˖ "˖
)Ŵ˖ e˖˖=˖˖
! ˖   ˖ "˖ ˖đ˖  ˖ a!˖!
 #˖1˖
M˖
˖ ˖
˖ 
˖˖˖
 \˖ß˖
"˖'"˖6˖% ß˖
% "˖A˖'% "˖ *% ß˖K˖')˖:@:˖ /:˖ '% ß˖
<% ß˖ɫ ˖1˖˖  -!˖ ˖˖ a!˖˖ɨC1
†À
ʼn¢ ū#˖ŋ˖+::߂˖

ź=źU%ź ź= źU%ź


G!@!˖ ¢ ˖
˖

è-ǫ ˖˖˖˖˖&˖‚ ‚‚˖' )#˖1M˖˖



˖˖¨˖˖!˖˖


}
& dv} nd} 5 ] ?{} I? P a ko}
} F  }

 Ħ"Ħ!Ħ Ħ œĦ

§Ħ"ĦW &&Ħ!%Ħ$Ħ %Ħ O

O ĦĦ"Ħ  Ħ ::@:˖ Ħ/Ĉ Ħ Ħ   Ħ ;AĦ 


 Ħ
OĦĦ( 
(
Ħ ( Ħ O&Ħ E(Ħ ĦO  Ħ(O Ħ LĦĦ
 ĦO  OĦ
(µĦĦĦ OÉĦĦOĦ Ħ/ Ħ ĖO(ĦĦĦ (&Ħ

>ĦE(O(ĦaĦ ĦOĦ 
Ħ(
Ħ Ħ"Ħä &Ħ!•RĦ $Ħ!Ħ G(Ħ$Ħ!% $Ħ% $Ħ

 ĦĦ(Ħ 
Ħ ĦĦ& &€Ħ)Ħ Ħ & & &
Ħ Ħ Ħ (O( >Ħ  Ħ (Ħ $Ħ̄ ¯°Ħ ) ¹OO Ħ
Ħ
Ħ šQ˖O(Ħ
 AĦ ĦĦ  Ħ (Ħ Ħ
Ħ(AĦ AĦ Ħ "Ħ Ħ)Ħ!"Ħ :@:˖ 9Ū "Ħ
Ÿ¡AĦ 
Ħ$Ħ­ &&Ħ •RĦ Ħ Ħ (Ħ (  Ħ Ħ (  Ħ Ħ Ħ
 ĦĦY
 
Ħ    Ħ(ĦĦ!% $Ħ% $Ħ )Ħ% QĦĦ9Ū %)Ħ3%)Ħ ź6™ź


}
2)@E/AL512EL

$$ $

&:  =EA?.G,E5?=L
%: #2/L#I?L=512EDL%) A5)E5?=L
&: &25E/L:)KDLL 0L .!LL/CL
&: )A/L=.L?H/DL
%: )A/L A.L?H/DL
ô ĠĦ od} 4 \ ?{}I? R a ko}
} F}

L= EA?.LG,E5?=L
UĦ   Ħ  Ħ Ħ   ĦĦ Ħ 
H  Ħ Ħ Y
 Ħ ĦĦ K8Ħ ĦĦ Ħ ĦĦ
 Ħ VĦĦĦ
 Ħ
ĦĦ ĦĦ   Ħ ĦĦĦX Ħ Ħ-Ħ LĦĦ  ‘ Ħ

 Ħ  Ħ Ħ/ Ħ6Ħ ĦĦ ĦĦX 
Ħ  -Ħ
XĦ LĦĦ
 Ħ Ħ ĦĦ Ħ?
ĦEĦ Ħ Ħ#MĦ ĦĦ
 ĦĦ   ĦĦ -Ħ Ħ Ħ Ħ  
Ħ ĦĦM Ħ Ħ

UĦ Ħ ?XĦĦ Ħ Ħ   Ħ ĦĦ  Ħ


Ħ ¶Ħ
ĦĦ   Ħ
XĦĦ  ĦĦ  Ħ-Ħ Ħ 
Ħ Ħ ĦXĦ Ħ Ħ  XĦ
Ħ   Ħ  Ħ  Ħ G
 ĦĦ ; >Ħ  Ħ Ħ  Ħ Ħ



 Ħ   Ħ FĦ -Ħ Ħ   Ħ Ħ
 Ħ Ħ Ħ ?  Ħ
Ħ
 Ħ Ħ 
Ħ Ħ/ -Ħ ĦĦ Ħ X
Ħ ‘ Ħ Ħ 
 ĦGĦ   Ħ
Ħ/ >Ħ EĦĦ ĦĦ
 Ħ 
-Ħ  Ħ ĦĦĦ   Ħ Ħ
 
Ħ

EĦ Ħ  Ħ  Ħ  Ħ Ħ ĦĦĦ %


Ħ Ħ‘  Ħ
Ħ-ĦĦ
Ħ ĦĦ   -Ħ Ħ   Ħ Ħ   Ħ/ Ħ Ħ

Ħ UĦĦĦĦ
  -Ħ  Ħ 

ĦĦ XĦĦ X Ħ-ĦĦ Ħ 


6Ħ Ħ XĦ
Ħ

Ħ Ħ  Ħ

$2/L#I?L=512EDL%)A5)E5?=L
eĦĦ% ĦĦĦ Ħ/ŒĦ  ĦĦ Ħ  ĦĦ 
  Ħ 8I
"Ħ

IWa\t($t
gt CKW[P,ƒ`WyyWŒ !Cyahs‡`S
Mn ZJrwk‘ ‘

ź  źź Ŋź
F ĦĦ8Ħ!Ħ $Ħ Ħ ĦĦ Ħ Ħ
Ħ  Ħ ĦĦ "-Ħ
ĦĦ % $Ħ
% $ "Ħ "Ħ sĦ  Ħ  ĦĦ Ħ ĦĦdĦ…% ĦĦ es-Ħ
Ħ

Ħ/ Ħ
ĦĦĦ!-Ħ Š|  ĦĦ  Ħ Ħ

ź111ź3#źź ‰źUÍź ź
õĦ Ħ% $Ħ % $Ħ "Ħ "Ħ Ħ Ħ Ä  Ħ óĦ †% Ħ
‘-Ħ 
Ħ Ä6Ħ Ħ  Ħ Ħ
Ħ Ħ  ĦXĦĦĚ# ğĦĦ$Ħ— Ħ ĦĦĦ%Ħ Ħ

ź1 18ź m ź
U  &Ħ 
 ĦĦ 
ĦX
Ħ ĦĦ ™Ħ "Ħ"Ħ!8Ħ $Ħ

 4ź

}
3 E E k }? a E} " a E k }

EĦ đĦĦ Ħ Ħ


 Ħ
Ħ  ĦĦ  Æ  ĦWĦ

ź888ź m3ˆź#ź3ź‰#ź
!Ħ/ ĦĦ
#
Ħ ĦĦĦ  ĦĦ Ħ
? ÅĦ

ź3‰#ź‰4źˆź3ź ‰ ź źmź

QL—XźL ź&
źź*źź:źź''źź#ź:ź3ź
 ,
ź źź źź3ź3#ź ź ‰ź m źź#ź m3ź#ź mź‰#ź ź3‰4ź ‰ źˆźmź
‰4ź ź38ź
ź888źm źUÍźHź

Íź źUHź ÍźźU%Hź


EĦEĦ^ Ħ o #čĦ E# 

Ħ    Ħ / 6Ħ Ħ

 Ħ
Ħ Ħ  Ħ Š¥  ĦsĦĦ Ħ ĦĦ bĦ$IĦ

â m ź
/b Ħ Ħ Ħ 
Ħ Ħ M Ħ Ħ sĦ Ħ F›#bĦ #Ħ  -Ħ ĦĦ
Ħ Ħ 
ĦĦ %
 Ħ LĦ 
ĦM¥Ħ
 6Ħ # ĦĦĦĦ
ĦĦ$-Ħ  Ħ Y
ĦĒĦ
Ħ  Ħ Ħ LĦ˜sĦEĦ
Ħ#rĦ Ħ >µWĦ!%-ĦĦU  Ħ

Ħ ĝ  Ħ Ħ   ´Ħ

(ź8 m F?ź


00{

G˖ 
Ø  ĦĦĦĦ ?Ħ ĦĦ Ħ Ħ Ħ #Ħ Ħ Ħ
XĦ ĦĦ 0Ħ F›#Ħ #Ħ -Ħ 
 Ħ   Ħ ĦĦr
Ħ  Ħ Ħ # Ħ
ĦLĦ M¥  Ħ LĦ MĦĦÅĔĦĦ #  ĦLĦ bŒĦ Ħ Ħ"Ħ 6›#Ħ Ħ
ĦŒ ĦĦ  ĦĦĦĦ Ħ Ħ ĦĦĦ Ħ#bĦĦ Ħ  Ħ  Ħ
 Ħ Ħ ĆĦ  ĦĦLĦ IBĦ 6›  ĦĦ 

ĦM-Ħ 
 6Ħ  ĦĦ0Ħ
pĦ ĦĦ
Ħ


}
& dv} pd} 4 \ ?{} I? R a kp}
} Ħ

 ź

 Ħ
Ħ
ĦĦĦ ( 
Ħ Ħ  Ħ(Ħ +,Ħ .Ħ 3)Ħ ++Ħ ,˜,Ħ,H,Ħ +8Ħ"Ħ
3.Ħ +Ħ Ħ!Ħ +"Ħ RCĦ Ì(Ħ Ħ Ħ  ĦĦ +"Ħ3 8>Ħ +"Ħ   
Ħ Ħ ¸.Ħ3 8Ħ  )Ħ Ħ
em( 
; g(
-Ħ ‡

Ħ y Ħ 8,,)Ħ


ź+++źĤź ź©ź Bźźź

źź%ź źźź
m Ħ (
% Ħ (Ħ 
 Ħ Ħ  ĦĦ (Ħ(Ħ

QL^XźL źźź:.ź"/"*ź&:
:ź:+źG
ź
źź

ź
 r"źźź/ź
ź &>źź"'ź"
ź.źź/ź4ź ź s >ź
:ź"&ź
źź &ź
źź% 
iź&źź
ź4dr"+ź
y((-Ħ Ħ  Ħ  Ħ(Ħ + + 3 +8Ħ!.CĦ 
ĦĦ Ħ(
Ħ Ħ (Ħ

 Ħ Ħ +Ħ !)Ħ
Ħ (Ħ  Ħ ( Ħ Ħ  ĦĦ 
(
Ħ ;Ħ
źź ź
<

ĦĦ
} Ħ!Ħ 
 Ħ Ħ
ĦĦ(  Ħ Ħ  ĦĦĦĦ(Ħ (
Ħ
 Ħ 
Ħ
(ĦĦĦ(Ħ 
Ħ Ħ Ħ )Ħ Ħ BĦ=0Ħ
ź- ź / ź ź ź
‡Ħ/ Ħ Ħ  ĦĦ -Ħ-Ħ+"ĦRCĦ Ħ +"ĦĦ!.•Ħ  ĦĦ % Ħ Ħ
Ħ ( ;?( Ħ ĦĦ Ħ (Ħ LĦ  Ħ ‡Ħ

 -Ħ  Ħ Ħ Ħ ( ėēĦ  j


( Ħ (Ħ / ĦĦ (Ħ -Ħ Ħ(Ħ ¸.ĦBĦ!% Ħ  Ħ Ħ ((Ħ +Ħ % Ħ Ħ 8©
?(Ħ Ħ
Ħ (
Ħ &Ħ d(Ħ%
-Ħ 
 Ħ  Ħ 
ĦĦ ( Ħ 
 ĦĦ ġ

Ħ  Ħ Ħ 
Ħ Ħ .CĦ  Ħ   
Ħ "-Ħ Ħ ( Ħ ĦĦ  Ħ (ĦĦ/ Ħ 
Ħ
Ħ

Ħ ĦĦ ĦĦ(
-Ħ Ħ Ħ (ĦĦ Ħ Ħ
ĦĦĦĦ
Ħ ĦĦĦ   ĦĦ ( ;?(Ħ (Ħ Ħ
Ħ LĦ  ĦĦ Ħ   Ħ

}
3EEk}? a E } " a E k }

LGaYźG  ź
ź
.&ź/ź&,ź
"
"ź
źs ź/ź% 
iź5Ó
r"ź &ź/źź5
źi
ź*.źź/ź'5źó 
źźź{
:ź&
*ź:
.+ź
ź+++źgź ź źźź
/ Ħ Ħ Ħ Ħ(ĦĦ  (Ħ?(-Ħ ( ĦĦ
 Ħ( Ħ(ĦĦ
Ħ 
Ħ  Ħ Ħ Ħ  Ħ Ħ.Ħ  Ħ Ħ  BĦ
;4ź+++ź- ź ź 4ź s4ź źs4?ź
<Ħ(Ħ ((ĦĦ +)Ħ%.-Ħ  Ħ
 Ħ
Ħ (“Ħ Ħ( ĦĦĦ Ħ

 Ħ +)ĦĦ )Ħ +0Ħ !Ħ =0-Ħ (Ħ ĦĦ(Ħ
 Ħ  Ħ  Ħ Ħ

ĦĦ ÀĦ Ħ
 (Ħ ĦĦĦ(Ħ Ħ +)Ħ   !
Ħ )Ħ +0Ħ  Ħ .Ħ EĦ +@Ħ "Ħ .CRĦ ĦĦ (   Ħ
(  -Ħ   Ħ8,Ħ %.Ħ "Ħ 8+Ħ %Ħ!Ħ 88Ħ .Ħ  "Ħ Ħ  Ħ Ħ

ź+++źgź ź 4ź (ź s ?ź
g(  ĦĦIĦ ĦĦ
 
Ħ
  ĦĦ/ ZĦ((Ħ ĦĦY
(-Ħ Ħ ĦĦ Ħ(  Ħ ‡ Ħ (Ħ +@Ħ "-Ħ (   Ħ Ħ  Ħ Ħ .-Ħ
+@ĦBĦ=  0CĦ  ĦĦ (( 
Ħ (Ħ Ħ8,ĦĦ=% CĦ 8+Ħ 3% Ħ 0Ħ Ħ Ħ  Ħ
?ĦĦĦ Ħ ?(Ħ Ħ
ĦĦ4  Ħ Ħ ĦĦ -Ħ Ħ
Ħ ĦĦ Ħ k ›
EĦ 8,Ħ)
 Ħ-ĦĦ (Ħ 8,Ħ BĦ=0Ħ   Ħ (Ħ ĦĦ(ĦĦ8+B =%)CĦEĦ

 Ħ 
ĦĦ LĦ
%(ĦĦ
  Ħ Ħ  Ħ(Ħ  (  ĦĦ Ħ (
Ħ  ZĦ
Ħ Ħ  Ħ  Ħ 8+Ħ  Ħ = 0Ħ 88Ħ)Ħ= 0Ħ

(ź+++ź Bźź-sBź
EĦ
ĦĦ Ħ( ĦĦ (Ħ !Ħ
 ĦĦĦĦ(Ħ(

ź+++ź3sź źźźź

źź  ź ź%ź


/ Ħ ĦĦ$RĦ 
 Ħ 
Ħ Ħ BĦ.Ħ

}
&dv}od} 4 ] ?{} I? P a ko}
} Ħ

 ź+++ź ––ź

5ĦĦ }  ĦĦ Ħ *+ .PĦ**ĦĦ3PĦ *Ħ! .QĦ»0Ħ*"Ħ!)QĦ37)Ħ*_Ħ
7)Ħ =7.Ħ *Ħ 7.Ħ =0Ħ *)ĦĦ PĦ GĦ Ħ Ħ / Ħ ĦĦ Ħ AĦ ĦĦ
&
 ģ Ħ Ħ Ħ Ħ Ħ Ħ Ħ ĦĦ Ħ  >Ħ *0Ħ  Ħ *Ħ *@Ħ =hĦ = 0PĦ G7Ç
á

ÿö  Ħ 5Ħ 5Ħ n >Ħ ,ĦĦ GĦ Ħ Ħ  Ħ  Ħ i>Ħ,ĦW WĦ= *Ħ  Ħ 
5Ħ
  ĦĦĦ ĦĦ  Ħ  ĦĦ+tt t=7*Ħ

ź––ź
/ Ħ 
Ħ  Ħ ĦĦ Ħ **Ħ! 0QPAĦ  Ħ Ħ Ħ 5ĦĦ0Ħ Ħ Ħ H
ĦĦ0Ħ /›**Ħf WĦ^0Ħ Ħ Ħ Ħ  
Ħ  Ħ ĦĦ’Ħ  Ħ*Ħ !)–Ħ^ 0Ħ *"Ħ
!7QAĦ 
Ħ **Ħ BĦ7"Ħ *Ħ 370Ħ ĦPĦ FĦ Ħ ĦĦ  Ħ Ħ Ħ ĦĦ ;

Ħ

;   Ħ5ĦĦ0Ħ Ħ   ĦĦ


ĦĦ Ħ  Ħ ĦĦPĦ

)
VĦ  ĦĦ Ħ
  Ħ Ħ ĦĦ ĦĦĦ  Ħ 0Ħ  Ħ Ħ
Ħ"Ħ Ħ Ħ n Ħ 5AĦĦĦĦ
Ħ
ĦĦ  Ħ Ħ
5Ħ
 Ħ 
 ĦĦĦ*+¬B.P  Ħ

ź+++ź0 ź

„ Ħ GĦĦĦ
ĦĦ5ĦP>Ħ Ħ
 Ħ
5Ħ ĦĦ}  Ħ
 AĦ ĦĦ 5ĦĦ iĦ Ħ  Ħ  ĦĦ Ħ 
 ĦĦ 7 Ħ Ħ VĦ  Y
 ĦĦĦ ź ź/ źźź źź /9ź0 ź ź ź/ źź9ź źĶ ź
ź ź(ź9źźź / 9ź0 źe ź

&25E/L@:(KDLL0L.!LL/!L
<Ħ ź  ź źź /źźź  źĦ  Ħ Ħ  ĦĦ ™Ħ.AĦ ĦĦ/ Ħ ĦĦ ”


Ħ ĦĦ   )  Ħ  Ħ "Ħ"Ħ 7"Ħ .Ħ Ħ Ħ.Ħ "Ħ FZĦ 
ĦĦ Ħ Ħ Ħ
  
ĤAĦ  Ħ Ħn½ĦĦ ÷Ħ ĦĦ Ħ Ħ  Ħ Ħ Ħ Ħ
Ħ

ø5ĦĎĦ ĦĦn Ħ

ĦĦ ĦH Ħ Ħ w±Ħ


ZĦ  Ħ Ħ

Ħ
 Ħ ź+ ++źĖźUVź İź

/ ĦĦĦ  ĦĦ €Ħ.Ħ Ħ"Ħ*AĦĦĦ FĦ


5Ħ
5ZĦ  ĦĦ
"ĦW fĦ.Ħ _Ħ"Ħ"PRĦ UVźtź 
  Ħ Ħ ĦAĦ Ħ  ĦĦĦ ěPĦ )Ħ7.Ħ
=7.ĦĦĦ Ħ<o
 5Hā&wç±5AĦ d 5Ħy 5Ħ*,,)Ħ/ ZĦ’Ħ

Ħ Ħ  Ħ Ħ  
ĦĦÁ  Ħ H "Ħ Ħ
Ħ  
œĦ 0Ħ Ħ
3) @Ħ,;,Ħ!Ħ +,Ħ"ĦGĦ +,Ħ 7"Ħ!7.Ħ ++Ħ 7 .Ħ=7 .Ħ
5Ħ Ħ   Ħ

Ħ Ħ Ħ
Ħ ĥ  )

ĦĦ  Ħ .;Ħ  Ħ  Ħ Ħ ĦĦ>Ħ +,Ħ Ħ.PĦ
f
Gć n Ħn½Ħ ĘĦĦĦ’ Ħ  Ħ>Ħ ++Ħ =hĦ ! )Ħ +*Ħ iĦ ! Ħ +Ħ Ħ
3) +"Ħ3*Ħ. i.Ħ m› ! ) +Ħ! *Ħ!. +)Ħ"RĦ 7  h0Ħ37 Ħ7*–Ħ,H+&Ħ

F Ħ"Ħ "Ħ .Ħ_ĦĦ3


 ĦĦ ĦĦ Ħ
Ħ Ħ Ħ < Ħ o Y

 Ħ/ Ħ Ħ Ħ Ħ Ħ_Ħ 7_1Ħ Ħ
5Ħ Ħ 
Ħ ìĦ _Ħ&&Ħ7_ĦĦ
 Ħ!Ħ)ĦĦ GnĦ)Ħ,H,Ħ
5ĦĦ )ĦĦĦĦ/ Ħ
Ħ Ħ ĦĦ
5Ħ
 ĦĦ   Ħ ĦÙ>Ħ )ĦWĦ! )Ħ0Ħ"Ħ G ĦĦ
Ħ ĦĦĦ
Ħ  Ħ 
5Ħ ĦĦ Ħ  Ħ   ĦĦ 0Ħ ,H,Ħ ! Ħ @Ħ =hĦ 3) +,Ħ

}
3EEk}?aE} "aEk}

7 Ħ 7 PĦ + + Ħ"Ħ ,;, +*Ħ Ħ!) +Ħ! *Ħ !.Ħ Ħ …w 5;¾


AĦ yj
Ħ +@)>Ħ 0Ħ WĦĦ @Ħ.Ħ!.Ħ GĦ 5 Ħ Ħ Ħ Ħ Ħ  AĦ Ħ / ZĦ 5 Ħ
Ħ iĦ Ħ Ħ
Ħ ĦĦĦĦ Ħ Ħ Ħ Ħ ĦĦ   Ħ >Ħ +, ,H,Ħ=0Ħ + + Ħ
 " Ħ! Ħ UVź ź+*ĦĦ.Ħ +Ħ7.Ħ =7.Ħ +"Ħ Ħ 3) +.Ħ=hĦ !"Ħ+  Ħ3*Ħ ,;,Ħ GĦ
Ħ 
Ħ Ħ 
 Ħ  Ħ Ħ / Ħ   Ħ Ħ Ħ5Ħ
Ħ
5ĦĦ 

Ħ
 Ħ  Ħ  >Ħ + ) Ħm› Ħ  Ħ  ĦĦ  Ħ 5 Ħ Ħ iĦ Ħ 5  Ħ Ħ ĦĦ

AĦ 
5ĦĦ  Ħ Ħ …w5;¾
AĦ üĦ +@)0fĦ

VźźU%ź Vź źU%ź


„
M Ħ Ħ Ħ 
5ZĦ 5 Ħ  Ħ 

( A/L /,?=.L?H/DL
<Ħ źź ź/ĦĦĦĦ 
Ħ íĦ
>Ħ *Ħ"Ħ .ĦĦ7 .Ħ 7 .Ħ "Ħ "ĦĦ  Ħ ĦĦ Ħ ĦgĦVĦ / ĦĦ
 Ħ Ħ L Ħ  Ħ "Ħ 7 .AĦ Ħ   Ħ Ħ 
5Ħ ZĦrĦĦ Ħ
ĦsĦ Ħ"ĦW tĦ37 .RĦ  Ħ
Ħ ĦĦ_Ħ !AĦĦ 
Ħ Ħ Ħ

îĦ "ĦW WĦ!PĦ .Ħ.–Ħ GĦ Ħ
5AĦ Ħ .Ħ!Ħ!7 .Ħ ĦĦ ĦĦ >Ħ .Ħ WĦ! )Ħ
Uź(źĦ!Ħ PRĦGĦĦ
5Ħ ~Ħ Ħ   Ħ Ħ )Ħ"Ħ.Ħ0Ħ*Ħ)Ħ
Ħ0ĦéĦ!_AĦ
Ħ)Ħ*Ħ!Ħ’ 5
Ħ  ĦĦĦ ĦĦ  Ħ >Ħ )Ħ
7 )QĦ37 )Ħ0Ħ!Ħ !7 .Ħ @Ħ,H,Ħ GĦ@Ħ!.Ħ!7PĦ +,Ħ7Ħ3 . i i Ħ,;,Ħ >Ħ )ĦBĦ) è,Ħ
=hĦ !7 + + Ħ 7Ħ,;,Ħ Ħ
5ĦĦ Ħ  Ħ Š ĦĦ ĦMĦmBºj
…ˆ ÍĦ g} Ħ*,,.&Ħ

>Ħ *Ħ"Ħ Ħ ĦĦĦĦ 


Ħ ĦĦ  Ħ 
Ħ ĦĦĦ^  6Ħm Ħ
Ħ Ħ  Ħ þĦĦĦ Ħ ĦĦĦĦ_Ħ Ħ 5AĦ Ħ ZĦĦ  Ħ
Ħ Ħ 
Ħ ĦĦ 5&Ħ 
5Ħ Ħ Ħ Ħ  
Ħ dĦ 
Ħ Ħ
*Ħ &Ħ .Ħ Ħ.Ħ .AĦ 5  Ħ   ĦĦ Ħ ĦĦ/ ĦĦ  Ħ *; "Ħ

}
&dv}nd} 4 ] ?{} I? P a kn} t F  }

 > ĦEĦ Ħ Ħ*Ħ$Ħ Ħ2


 Ħ ĦĦ  ĦU  Æ-Ħ Ħ ĦĦ
 Ħ
 
Ħ 2#ĦĦ  ĕĦĦ EĦ 2Ħ
ĦĦ
  Ħ ĦĦ  LĦ
*Ħ fĦ -Ħ Ħ
Ħ ĦĦĦĦ   Ħ Ħ Ħ#Ħ Ħ 2Ħ ĦĦLĦ Ħ Ħ Ħ
 -Ħ Ħ Ħ*Ħ Ħ$-Ħ  ĦĦĦ Ħ Ħ *I "-Ħ ĦĦĦ!Ħ FĦ
Ħ Ħ
Ħ  Ħ ĦLĦ  Ħ2 ĦĦ Ħ Ħ  Ħ $Ħ

>ĦEĦ Ħ Ħ*ĦĦ $ĦĦ*Ħ ź ź ĦĦ # Ħ / Ħ
Ħ
Ħ"I2Ħ Ħ2 -Ħ   ĦĦ   Ħ ĦĦ Ħ Ħ %"Ħ $Ħ!Ħ!Ħ Ħ3*Ħ ĦĦ
  Ħ2 #ĦĦĦ Ħ Ħ? Ħ 
 Ħ <Ħ
-Ħ Ħ Ħ   ĦĦ
2Ħ ĦIĦ2
ĦĦ Ħ
#  ĦĦ 22Ħ2
Ħ Ħ ĦĦ”
 Ħ  Ħ EĦ Ħ Ħ!CĦ Ħ  ]Ħ

ź(ź%ź ź ź 


/ Ħ Ħ ĦĦ Ħ $Ħ EĦ 2ĦpĦĦ2Ħ  

+>Ħ !Ħ"Ħ$RCĦ ! )Ħ Ħ  Ħ Ħ/ ĦĦĦĦ Ħ Ħ 2Ħ Ħ 6Ħ
22ĦĦĦ ?
ĦĦ$Ħ "Ħ $Ħ Ħ

*>Ħ EĦ  # 
Ħ # Ħ ĦĦ"Ħ% $Ħ % $Ħ$Ħ 3*QĦ EĦ$Ħ Ħ3)ĦĦ%Ħ %Ħ

Ħ
Ħ 
 Ħ Ħ 
 Ħ 2-Ħ Ħ$Ħ   
Ħ CĦ Ħ-Ħ  ĦĦ 
Ħ  ]Ħ

*K>Ħ / Ħ ‹Ħ Ħ2Ħ  ĦĦ#Ħ ? -Ħ Ħ


 Ħ ĦĦ Ħ
 Ħ Ħ

2]ĦĦ%2
-ĦĦ3$QĦ! )Ħ)Ħ3%)Ħ=0Ħ0Ħ 3%)Ħ$Ħ@Ħ3Ħ ,I,Ħ eĦ
Ħ *˜2Ħ Ħ Ħ -Ħ  Ħ 2
Ħ 
2Ħ Ħ Ħ  ĦĦ/ ]Ħ +,Ħ!Ħ=0Ħ
KKĦ *Ħ $Ħ Ħ#Ħ Ħ  Ħ6Ħ2ĦĦĦĦ+*Ħ¿I¿RĦ= +Ħ3$Ħ=%*Ħ
 ĦĦ 2Ħ

**>Ħ<LĦ22ĦĦ/ Ħ ĦĦ ĦĦ ĦĦĦ Ħ ĦĦ!Ħ $Ħ


)Ħ! $Ħ Ħ  

ĦĦ!Ħ $Ħ )Ħ! $-ĦĦ
 Ħ‹Ħ

Ħ 
]Ħ )Ħ  ,I,CĦ
Ħ ¹
ź ź0Ħ!%Ħ%Ħ!Ħ@Ħ3%QRĦ »0Ħ
ĦĦĦĦ  ĦĦ/ Ħ Ħ Ħ
ĦĦ  Ħ Ħ *Ħ  Ħ Ħ ĦĦK,ĦĦ=0Ħ e-Ħ @Ħ!Ħ$CĦ Ħ 2
Ħ Ħ

}
3EEk}?aE} #aEk}


 -Ħ  Ħ  Ħ@Ħ "ĦGĦ Ħ€  $>Ħ
Ħ @Ħ Ħ"QÈĦ G  Ħ/ Ħ  ĦĦ ? Ħ
 Ħ
Ħ Ħ 
Ħ Ħ $Ħ Ħ  Ħ Ħ ĦĦ 2ĦĦ*>Ħ +,ĦĦ  Ħ EĦ

Ħ2  Ħ Ħ Ħ  Ħ 2 Ħ Ħ Ħ
ĦĦ Ħ 
 Ħ  Ħ*ĦĦ  ĦĦ
*ĦĦ ĦĦ 2I2 Ħ

ź ź%ź ź ź%ź



 Ħ 
2Ħ 2
Ħ !Ħ Ħ  Ħ  Ħ

( A/LA.L?H/DL
<Ħ źź6źźź#ź / ĦĦ   Ħ    ĦĦ "I2Ħ ĦĦRCĦ %" "Ħ
! *Ħ !ĦĄ
ĦĦ -ĦĦ$Ħ-Ħ2  ĦĦĦ2 Ħ 
2Ħ
”

 ĦĦĦ# Ħ ĦĦH


ĦĦ$Ħ   
Ħ %Ħ Ħ! %-Ħ
 ĦĦĦ Ħ j
2Ħ$Ħ Ħ! $CĦ ź ź Ħ
 Ħ/ 6Ħ 2Ħ  H? Ħ
 2Ħ<ĦĦ3*Ħ $CĦ )Ħ %$Ħ !%Ħ0Ħ3%Ħ3$Ħ @ĦĦ%$Ħ +,Ħ 3%"Ħ)Ħ
 ĦĦ


ĦĦ Ħ mI ºò
-Ħo
  Ħ *,,)Ħ F Ħ $Ħ Ħ Ħ Ħ 
ĦĦ
/ -ĦĦ
 Ħ Ħ Ħ
Ħ Ħ Ħ
Ħ2  Ħ ĦĦ#
ĦĦĦ ¶Ħ^%ĦĦ
$Ħ ­Ħ )]Ħ Ħ%2
-Ħ Ħ Ħ )Ħ)Ħ *ĦĦ 0Ħ3*Ħ! )Ħ@Ħ!*Ħ  ĦĦ  Ħ
Ħ Ħ m! IĂ<22
-Ħ y  Ħ +@0@Ħ

EĦ #Ħ 2ĦĦĦ#  Ħ  -Ħ Ħ Ħ ź Äź ĦĦĦ 2



Ħ ”
ĦĦ /Ħ2Ħ Ħ 22Ħ "Ħ  Ħ Ħ 2Ħ Ħ ĦĦ 2  Ħ Ħ
 Ħ Ħ *ĦĦ -Ħ Ħ #Ħ ĦĦ  ĦĦ Ħ ]Ħ Ħ 2Ħ
Ħ Ħ  ĦĢ

Ħ Ħ 2ĦĦĦ 
   Ħ Ħ   Ħ 
ĦĦĦ2-Ħ  ĦĦ Ħ Ħ
   ĦĦ‹ĦĦĦĦ Ħ 2
ĦĦ$Ħ Āp# 
Ħ 2  -Ħ Ħ
Ħ 2
Ħ Ħ 
 Ħ ĦĦ Ħ$CĦ ĦĦ"Ħ % $Ħ % $Ħ Ħ 
 Ħ ?6Ħ 2Ħ Ç
Ħ Ħ‹ -Ħ  #ĦĦ  Ħ  2Ħ   Ħ Ħ Ħ Ħ ĦĦ$Ħ  #Ħ 2Ħ

Ħ Ħ 


Ħ Ħ Ħ Ħ ĦĦ ! *Ħ $Ħ"Ħ % $Ħ % $Ħ $Ħ! Ħ !Ħ Ħ$Ħ

}
' dv} nd} 4 ] ?{} I? Q a ln}
} F}

#Ħ#-Ħ ĦĦ [-KWb #Ħ N Ħ # Ħ #ĦĦ N# ĦĦĦ $RĦ ň˖ F3‰Ħ%Y
9#ĦĦĦ#Ħ= Ħ·¼Ħ† Ħ9Ħ #ĦĦ N # Ħ#ĦĦ Ħ9 9Ħ
9 ĦĦ Ħ
 ĦE99ĦĦ BĦ$ ùŒ-Ħ #ĦFZĦ#Ħę Ħ FĦĦ9ĦĦ
99# -Ħ Ħ  #ĦN Ħ#Ħ #9ĦLĦ N#“# Ħ 9ĦĦ  
Ħ %"Ħ"Ħ%"Ħ !-Ħ
 Ħ NNĦ 9Ħ #Ħ  Ħ #Ħ Ħ 9Ħ Ħ# 9 Ħ # -Ħ ď Ħ / #Ħ ĦĦ Ħ
#Ħ Ħ #Ħ%  Ħ9Ħ Ħ  #Ħ ‰NĦ #Ħ# |Ħ$ĦĦ $Ħ Ħ!8Ħ !CĦ Uź
Äź Ħ9Ħ#ĦĦ#Ħ#Ħ 99ĦĦ)ĦN Ħ
Z#Ħ9Ħ 9  ĦĦ

# ĦĦĦĦ#9Ħ# Ħ-Ħ ĦĦ #Ħ ĦĦ  ĦN]Ħ9Ħ %N-Ħ
)ĦĦ % "ĦžĦ%QĦ%Ħ@Ħ3% "Ħ3% "Ħ K,Ħ% "Ħ$Ħ KKĦ %Ħ %Ħ K8Ħ!Ħ= žĦ KĦ !"Ħ
) K"Ħ,Ú,Ħ) K$ĦĦ,I,I,Ħ
#ĦN Ħ9Ħ # Ħ  Ħ Ħ#Ħ Ħ#Ħ #Ħ ĦĦ
 9I9# Ħ#Ħ Ħ<~  ÛñeN-Ħ †#Ħ8,,8Ħ

ź ź¢ź ź ź


<Ħ99Ħ ĦĦ   Ħ"Ħ ‰99  Ħ "Ħ

·  Ħ  -Ħ / #Ħ Ħ NĦ #9  Ħ $Ħ $-Ħ#Ħ #9Ħ $Ħ BBĦ)Ħ Ħ Ħ $Ħ )Ħ!8Ħ !CĦ / #Ħ
Ħ   Ħ Ħ |Ħ Ħ 9##Ħ  # ĦN
  ĦžĦĦ % "Ħ @Ħ %QĦ %Ħ K,Ħ !% "Ħ 3 $Ħ
K K Ħ!Ħ  K8Ħ 3% $Ħ % $Ħ Ħd â= ĐI<‰9~ -Ħ N Ħ8,,,Ħ 6› #Ħ%N-Ħ
/ #Ħ Ħ  Ħ Ħ9Ħ#Ħ|Ħ# Ħ#ĦÀ# Ħ  | Ħ #ĦĦ ĦĦ 9Ħ#Ħ

 Ħ  #BĦ

}

You might also like