Website & fanzine of the SF fan club USS Hudson Bay, Toronto, Canada






Pat Tallman
Jeff Willerth
at Toronto Trek,
July 16, 2000

[Transcribed by Karen Bennett.]

[Jeff Willerth comes on stage alone.]

Jeff: [Looking at the empty chair on stage] Look at this. John de Lancie sat right here. I'm taking that home. I can sell that on eBay.

There was a huge line over at the autograph table. We will take care of everybody. While we were making the transition, Patty is over there finishing up with them, so we can all talk about her real quick.

How many got to see Babylon Park yesterday? How many are going to see it today? How many bought it? You people are back on my Christmas list. I haven't heard one bad thing. You guys all love it, and I think that means we're on to something. We'll just keep refining it.

Let's just get right to some questions, and we'll spin this the way you guys would like to. Is there anything that you'd care to know?

What possessed you to make Babylon Park?

Jeff: We have a fearless leader, this Christopher Russo, who's really the twisted mind behind it. He needs more oxygen, I think. I'm glad he has come up with the concept, and Brian Roe has done a great job of pulling it together from a production standpoint. My part in the whole parade is to bring the product to Hollywood so that we can make them more readily available, make better programs and make a lot more of them. I think it'd be a hoot. No-one has really done this before like this, where you make a parody of sci-fi shows. As a rule, I swear to you, we will not let any sci-fi program ever get away from us.

Jeffrey, I understand that you are a racing-car fanatic. This weekend, the Molson Indy is on. In fact, the main race is on today, so my question is: What the hell are you doing here?

Jeff: I was in motorsports for many years. I can't think of a time in my whole life that I quite suddenly decided that I wanted to be in motorsports. It was just always there since I was a little baby Vorlon, a little Koshling. I always pursued it. I raced for many years of all different kinds. I got to drag-race and stock cars, and road racing I did a lot of, and formula cars. If it had wheels, I made it go. For a while I taught people how to race; I was an instructor at some of the biggest schools in the world. As you know, I sell that book now, as I have all this knowledge about racing schools and where people could go to have—whether they were serious about being racing drivers or they just wanted to go have a wild weekend. That's what these programs offer.

When I decided to get out of the unstable motorsport career—because it's like any professional sport: There are a lot of people out there who are really good at it, and there's just a tiny fraction of them who ever get to do it professionally. I was one of those who said, "No, Iím going to get out of this unstable career in motorsports and get into acting."

I canít think of anything else you can do in life that stimulates your mind more than motorsports does. The amount of information you process so quickly is what gives you the buzz. Thatís what makes it so exciting. Itís the best high there is.

Did you play the Kosh who flew in the air and rescued Sheridan?

Jeff: I was part of that. That was a very complex scene to shoot; it had many elements in it. There were three or four actors and a lot of computer graphics involved in that, and there was something called compositing, where you take live video images and you lay them in a different environment. My role in that process was to dress up in a tiny little Danskin thing, those things that girls wearóleotards. In fact, I remember, right before the scene started, the wardrobe people said to me, "Do you want a dance belt?" "I'm not going to dance; what do I need a dance belt for? I don't know what a dance belt even is." Once you put on the leotards, you realize why you want to have a dance belt. It puts all that where it needs to be and keeps it there.

So there I was, beltless, wearing my little white leotard. Then they threw this flowing material over me and asked me to stand up on a stage like this while they blew wind at me. Do you know what that does to your belted area? So I'm in front of all my working friends, my buddies, my pals, and they are just ripping me. It was so painful. Thank God that that image got shrunk down to a little bitty image.

Pat Tallman: I'm sorry I'm late, you guys. How many of you guys were here yesterday? We don't want to repeat ourselves too much. How many are just here for today? It's a great con. I applaud you.

What are you talking about? The leotard? I wasn't there that day. I heard about it, though.

Anybody have a question?

Did he finish the story?

Jeff: No, I think we covered it.

Did you like the masquerade last night?

Pat: The masquerade was amazing. That was so fun. Even the really stupid costumes were hysterical, because everyone had this wonderful comedic take on it. The serious ones were incredible. It was great.

Which was your favourite?

Pat: I don't know; there were so many good ones. I loved Tigger the Vampire Slayer [pictured left}. All the Queen Amidalas were amazing. They were all wonderful. I loved them all. I kissed a drag queen.

Jeff: Whoa—you did what?

Pat: Yes, I kissed a drag queen. It was Shania Twain, the famous singer. He danced for the whole number.

Jeff: And that compelled you to kiss him?

Pat: I don't know what happened. I wasn't even drinking.

Tell us about your part on Godzilla [1998].

Pat: What I did on Godzilla? What I did on Godzilla got reduced. We were in this café when Godzilla first starts tromping through the city, and I was a waitress in the café. The stunt gags were, as Godzilla stomps by, they had the cars all rigged to bounce into the air, to flip over and things like that. We're in the café. At first there's just thump, thump, and things shaking and glasses starting to break and we're freaking out. Then, when Godzilla comes by—of course, Godzilla wasn't in the movie at that point—they had rigged a big hydraulic slingshot to throw one of those newspaper vending machines that are sitting next to each other. Godzilla goes by and her tail flicks it and they go smashing through our plate-glass window. It was funny because at the end, all you see in the movie are these blurs of people. I'm a red blur. I think earlier you see me serving coffee. And we shot for a week, doing that.

Independence Day [1996] was the same thing. We worked nights. It was the evacuation of D.C. and everyone's driving out of the city and there's luggage on top of cars. The cars are swerving and luggage flies all over the freeway. We're pedestrians. All this chaos is going on. Jeff Goldblum and Judd Hirsch are driving against traffic and trying to get back into town. So there were these near-misses and crashes, and we never even saw that whole week of work in the movie.

It's amazing how much money gets spent on these things.

Last night, we was quite impressed with your singing at dinner. You guys were awesome.

Pat: You've got to be kidding me.

Jeff: The dinner was a hoot. We had a good time.

Pat: For those of you who weren't there, Robin [Atkin Downes], who is very mild-mannered and kind of reserved and shy—he got sat at the one table of everybody who was just like him. All of a sudden, at the beginning of dinner—we had not even gotten our soup yet, I think—the whole table stands up and sings The Addams Family.

We were like, "What?" Then they sit down and everyone is dead silent for a moment. So I said to my table, "This cannot go unanswered." Thus started the Singing Table Wars, and it got even more stupid as the night went on. It was fun.

Do you have any amusing anecdotes about working on Night of the Living Dead [1990]?

Pat: It was such a funny movie. The funniest stuff that happened was out of the fact that we were working nights, six days a week, and hadn't seen daylight in a month. We were working with people who not only looked disgusting, with their eyeballs falling out, but also kind of smelled bad, because the makeup had this very tangy, latex smell. It was really unpleasant.

Usually they have Winnebagos for actors—theyíre not really Winnebagos; they're called Starwagons. Each trailer has four rooms in it, so an actor has his own place to keep his stuff and change his clothes. We had a barn. It has an abandoned farmhouse they shot in. They took the barn and swept it out—how nice of them—and in the stalls they hung shower curtains so we could change. They found some old furniture, some motheaten couches and stuff and they stuck that in there. I took it upon myself to decorate the place with whatever I could find. Then we ran out of things to decorate with. They had put up plywood to keep the wind from wailing through, so we started drawing on the plywood. In the middle of the night you would get stupid from exhaustion, and you couldn't really take a nap because you wouldn't have quite enough downtime to relax enough to sleep. You've usually got to be working on your lines for the next scene anyway. We were in this kind of stupor.

Most of the cast was very tall. Tom Towles, who was Harry, was very tall, and [so was] Tony Todd. There was no place for them to lie down anyway, because they were so huge. Finally, the actors complained enough that they brought in an army cot, and we could take turns lying down on the army cot. At least it was clean; it didn't have fleas in it.

It was Tony's turn to lie down on the army cot, and I just couldn't stand it. I'd find ways to torture him. Inside the house, the previous owner had been a taxidermist, and there were some interesting things he left behind. They were pretty scary-looking. In fact, we used them in the movie. There are all these stuffed animals and heads, and I found this stuffed alligator whose stuffing was coming out. I'd be talking to Tony, and I had a big old jacket on and Iíd just work it down off my shirt, and all of a sudden this thing was bleah, coming out of my shirt. He thought I was just really odd.

Jeff: He's not alone.

How did you get involved in Babylon 5, and how did you like the way your characters developed? This is for both of you.

Pat: I auditioned. I had the script, and I thought it was really amazing and, "I'll never get hired for this. They're going to need a big name for this part." I was very excited about the audition anyway, just getting the chance to meet the producer. I'm standing to the side of the room, just talking to myself and saying my lines over and over in my head. There was one other actor in the room with me, and he's doing the same thing. All of a sudden this big, huge man—he was all in black; I remember that—runs into the room and he's so big, he fills up the entire door frame. He says, "Patricia Tallman!" I say, "Yes?" He says, "I'm Joe Straczynski. I wrote the part for you. Good luck," and he runs away again.

The rest of the audition is a blur. It turns out he'd seen Night of the Living Dead and he really liked what he saw in the character of Barbara, and he wanted that kind of a quality in Lyta. Yes, it was a trip.

[To Jeff] How did you get involved?

Jeff: I slept with Joe Straczynski. And there was another actor in the room. He wound up playing Garibaldi.

Pat: This is how rumours get started. This is how we end up in trouble.

Jeff: I know. This is what perpetuates—so that we can do these cons for decades.

It was a friend who got me in Babylon 5. They had just started production, and a childhood friend turned out to be one of the assistant directors on the show. I had just finished up Young Indiana Jones, and he said, "Why don't you come down?" I stepped on that plywood space station and never left. I stayed there the whole run. I worked my way up through the crowd.

Pat: People kept going, "You still here? Now what are you doing here?"

Jeff: And stayed on through Crusade until right before the bitter end. The writing was on the wall that things were not going well for Crusade and it was time to hit the Eject button.

I'm not sure that my character ever really developed.

Pat: I think that was one of Joe's gifts. I think he had a way of being inside his characters' heads. Maybe thatís why writers are so odd—because they have all these different people in their heads and they have to evolve with them. Joe was able to evolve the characters—all of them, I thought. It was a pleasure to do.

Lyta was a hard person to be inside. She didn't smile an awful lot. Finally when Robin joined us in the cast and I had a scene with Robin, I actually smiled. I realized it was the first time Lyta had ever smiled, in four years. Thatís kind of sad.

Some of the parts that you've auditioned for: Have you ever gone up against big-name actresses?

Pat: Not A-list actresses by any means, but I have gone up against actresses whose names you'd probably recognize, or at least faces you'd recognize. It's been tricky, too, because this past season I was auditioning with actresses for their stunt double. They'd be like, "Pat? What are you doing here?" "Man! I'm good enough to be auditioning with you, bitch, that's what Iím doing here."

It was a head trip at first, because when I did stunts I'd never talked about being an actress, and most of them didn't know I had a fairly decent resumé. Even while I was doing Babylon 5, whenever I could I did stunts because it paid better and I love doing it. So sometimes it came as a bit of a surprise for people.

You mentioned in Night of the Living Dead that the actors were really tall. I've noticed that the same could be said for Babylon 5. Jerry Doyle is about six feet. Have you ever been in a movie where there were lots of short people?

Pat: They don't hire me for those. A long time ago, when I was just getting started in the business and I was living in New York, I was auditioning for a Richard Dreyfuss film. There was a whole panel of people; I was going straight to producers. I was so excited, I was really well prepared, and I walked in and they went, "Oh, no." I go, "What is it?" They said, "You're over five four." I said, "Yes. It says so. See in the resumé where it says, 'Height: Five nine'?" That was it.

Yes, it's on the resumé, and I only get hired with taller people.

In this movie I just did with Claudia [Christian] I have a little romantic thing, and it turns out the actor they hired hits me right about here [chest height]. We are a walking sight gag. I can pick him up, put him on my hip and carry him like my son. He was such a good sport. Do any of you watch The Practice? His brother [Jason Kravits as D.A. Richard Bay] is a recurring regular on The Practice, and he's also a little guy. It was kinda fun, but I like being with Jeffrey because he doesn't make me feel so huge. But with Garth, I felt like a behemoth. It was funny, so as long as it's funny I guess it's okay.

How did you get into acting?

Pat: I always have been like this. I used to take my Barbie dolls and take the aluminum tin foil from gum wrappers and make little Star Trek outfits for them. Then I had an old Barbie who didn't twist and turn and I'd make her the Klingon. I also played Dark Shadows with my cousin.

I was thinking about this. It was really ironic to me that I spent my childhood re-enacting Star Trek and horror and stuff, and look what I'm doing now.

What film are you doing with Claudia?

Pat: The film that I just finished wrapping with Claudia is called Never Die Twice, and we shot it in San Francisco. We play a couple of detectives who are on the trail of a serial killer. When we go to the scene of the first crime, it turns out that the dead bodies lying there are ours. It's us, and we have to figure out what happened. "Who knows, it could happen again,and what does this mean?" It's kind of X-Files; weird.

Jeff: And wait till you see the costume Pat got to wear.

Pat: The trickiest part of the whole movie was shopping for this costume, because I'm not a little person. I'm a big girl. The outfits that Claudia and I ended up in—we are mind-tricked into going into a porn store.

Jeff: Oh, that was a real stretch.

Pat: We end up in these leather outfits. They found Claudia's pretty quickly, and finding mine was really hard. Finally we ended up having the vest that I wore made. I donít know if any of you ladies have been shopping lately. What is it with the sizes? You pick up a T-shirt and it's like, "Can I have the grownups', please? What is this? I can get one boob in here."

It was the same in the sex shop. I thought it'd be a little different in San Francisco because the men wear these things too. At least I'd be able to find something I could fit into, but no. So they took me to where the men shop, and it was called The Leather Zone. It's a mixed house here and I don't want to get too graphic, but when I was in there I saw some amazing things. I learned so much. "What is that? No." And I'm not sheltered, ladies and gentlemen. I've been around a bit, being in the theatre as long as I have. There was stuff I had no idea—I was there for two hours for this fitting while the ladies were fitting me. "How much cleavage do you want showing?" "I don't want any showing." The directors were going, "Oh no, this is what we want." Everything's all that belly stuff too. "Oh good. Thank you so much. Now I have a belly since I had a kid, and I don't want to be showing it." All these little T-shirts are these belly shirts, so I said, "No. I want this to come down. I want it to cover my navel and go over the top of my pants. I do not want to show skin." "Why don't you want to show skin? You look pretty good, considering some of the dykes I've been fitting lately." "Oh, thank you, and just make it longer, okay?"

It took me about 20 minutes just to get into the top every day. You'll see why. And we're in it for this whole shoot. At one point we end up in a haystack, and I had hay in the most interesting places because of this costume. Maybe you'll see it one day.

Jeff: Leather and hay is kind of bringing the animal out of me.

Go ahead; get us off of this subject. Ask another question.

Which of the B5 cast do you socialize with, and who did you invite to the wedding?

Pat: I think we invited them all.

Jeff: Yes, everybody was invited.

Pat: We see most of them fairly regularly, especially Mira [Furlan] and Claudia, and Rick [Biggs]. Peter [Jurasik] we used to see and he just moved out of state, so we're not going to see him as much. We were just at Bruce [Boxleitner]'s birthday party.

Jeff: I think the truth is, we don't have any friends. It's all our work buddies. We stay real close with them.

Pat: Robin we see all the time, and then we do conventions. I actually see Robin more than my best friend [Robin comes on stage at this point], because we do these conventions all the time and then it's hard for me to schedule time for my best friend.

Robin Atkin Downes: I just wanted to say one quick thing, because I didn't get a chance to thank all of you for having me here this trip. I've got to go do some interviews now. Thank you so much for having me up to Toronto. Please come visit my website. Just type in You can get to the Galactic Gateway [site] through my website, or you can go straight to the Galactic Gateway. But I mainly just came out to say thank you. Thanks, and I'll see you around.

What do you get back from doing conventions? What do you take home with you?

Pat: I take home a bunch of stuff that people give me. I like presents. I was in the dealers' room today. I just like to look around and see what I can find. I bought some jewellery. And I try to find stuff for my son, who's 5.

I donít mean the physical—

Jeff: I think I can answer the question for you.

Pat: Oh, good.

Jeff: Here's what it really comes down to. I can't think of any other job—and we all just have jobs, right? You work and you do your thing. We are so blessed, because for us it just becomes a job every day. But what job do you do where people thank you for doing your job, and you inspire them, and they're willing to travel long distances and pay huge dollars and wait in five-hour lines just to see you and say, "I love what you do. You did great work. Thanks for doing that"? Did you ever see that for an accountant, for a baker, for a lawyer, for a fireman? No way.

Pat: I love that it's science fiction too, because ER's a very hot show and you don't see people getting together in scrubs. This is a very special genre.

Jeff: This is unbelievably wonderful. It is rewarding beyond description just to be able to receive that accolade, but not selfishly—just to be able to say, "Well, thank you for watching, because I wouldn't be shit without you guys." It's a wonderful marriage. Kind of what we do at these cons is just celebrate that everybody got off on a show or a concept or a book or whatever it turned out to be. It's incredibly rewarding. I've come to find that the fans are really great people, and I like spending time with them and talking with them and I like that I get to meet each one of you. I'm glad that we donít have to rush through the lines. I think thatís why we B5 guys keep getting asked back.

I wanted to know, Pat, if you had any actors or actor when you were young that you looked at and it gave you the go to be an actress, because you are a great actress.

Pat: Thank you very much. You mean somebody who inspired me?


Pat: Yes. But it wasn't just actresses; it was also actors. I love old movies and I love Spencer Tracy and Katharine Hepburn and those kind of people. I think I'm still finding actors who inspire me. Gillian Anderson—I really admire her and what she's done. I love Lucy Lawless. You're always looking at things you like in your fellow actors.

I have a question about the CD that you and Claudia did. I was just wondering how you got involved in that and if there will be a place later on in the convention where I might be able to get it.

Pat: It's an audio book called Lives of the Cat. Thereís a company called the Radio Repertory Company of America—they're based out of New York or New Jersey. They approached us. They write the scripts and hire the actors and produce the product. We're taping the sequel to that in about two weeks. It's called Anne Manx and the Ring of the Minotaur. Claudia plays Anne Manx and I'm the bad guy.

Will there be a place in the convention where I could get it?

Pat: If not—I only had a few with me.

Because the table was already closed.

Pat: Yes, they did not give us enough time to sign and do all that stuff. Maybe they didn't anticipate it. If I have one, just come up to me later. I'll have to find out if we have one left. If not, you could go to

How did you get involved in a stunt career?

Pat: I got involved with stunts in a roundabout way. It was not something I was anticipating doing. I've always been interested in period sword technique and stage combat, so I had taken a lot of classes. In New York I just continued with the class. I met people in that class who were stunt people, and one time somebody needed an actress, five foot nine with red hair, to fall down some stairs on a soap opera for an actress, and would I be willing to do that? That's how I got started. I was working in Macy's and I had all these odd jobs, and this was just another kind of odd job. But the great thing about doing stunts for me was that I worked in my union, so I was gathering pension and health; it was great towards my insurance. It was an added benefit. And also I made a heck of a lot more money doing it than waiting tables or at Macy's. It was also kind of a wonderful thing to do because I was scared to death of everything, and that really made me step forward and challenge myself.

What role have you played that stretched you the most?

Pat: The thing about being on a series for five years is that you get a chance to really get into the character and grow with the character. That's where I think Joe did so well, from the pilot on. He gave us a really cool arc to go with. Otherwise it would be theatre work that I've done, and my acting classes, more than television work. Usually they hire, in television, something that you're pretty close to, especially with women, so you don't necessarily stretch so much. When you get a little more well-known you get a chance for better parts, and that really hasn't happened for me yet, except for Lyta.

Jeff was looking a little too comfortable there, so I had to come up with a question for him. For the Kosh suit, how long did it take to get into it and how hot was it?

Jeff: We shot Babylon 5 in a city called Sun Valley, and that's not because they have an abundance of shade trees there. The costume, surprisingly, only took about five minutes to get in or out of. It was not very complex. It took at least two people to help me get into it. They would hold it up and I could climb in. It was all based around a high-tech backpack, and I could slide into it and get it all hooked up. Once the guys got all the batteries working and the radio-controlled stuff, I put the helmet on and I was good to go.

How were you able to see?

Jeff: I didn't. I couldn't. It was acting by Braille. Usually I would rehearse the scenes without the helmet and I would count off the number of steps. The truth is, there were two tiny little air slots on the side that really did nothing because the thing was so small there was no room for air to pass in or out of. It was so tight around my head there was no room for air to move, but nonetheless these little slots were there. The only thing that could do for me was give me a little peripheral vision off to the sides somehow. So sometimes I would either put a mark on the floor or have some reference point so that I knew I was somewhere. But a lot of times I would just rehearse without the helmet, count off the steps; then I would rehearse with my eyes closed and try to get it all dialed in.

As for hot, you just can't believe it. As I said yesterday, fibreglass doesn't breathe. Who knew? It was brutal. And the minute you put the thing on, your body would start sweating like crazy, trying to cool down. It was excruciating.

You know what else they did to me? You know in that scene where I'm talking to Sheridan the first time and I say, "Learn," and I beam the eye? In that scene we were experimenting with the helmet on as to how to make the light work, and they said, "Oh, we'll just put a big bulb in there and we'll shine it through the eye." I said, "Where are you going to put that? What about me?" "What about you? Do you want the job or not?" It was kind of like a flashlight bulb that they had. I wound up taking this light socket and sticking it into my eyeball socket. I had to turn my head and jam my eyeball into it to get this thing in here like that so that I could beam—and after all that, and as painful as it was, and I even burned the inside of my eye and everything—they go, "Oh, it looks like shit. We'll do it in post[-production]; fix it with the computers."

But I loved all those effects when I was doing it with [Pat]—that "Open your mouth," and swapping spit. We still do that, too. That's how I hurt my back, actually.

I was wondering, with the end of Crusade, if that is the end of anything televised from the Babylon 5 universe—if there are going to be any more TV-movies or anything like that.

Pat: We don't know.

Jeff: There's nothing that I have knowledge of. I know there've been these rumours floating around that [Jerry] Doyle's concocting. I donít know anything about that. However, because Babylon 5 has now made the move over to the Sci Fi Channel in the U.S., I would like to think that maybe that would perpetuate the franchise a little bit; a whole new audience getting to see it in prime time, the way it was always meant to be seen, and this might create new life and pique some interest. Who's to say that Sci Fi Channel might not step up the plate and do their own movie—maybe do one more TV-movie? I don't think it's unreasonable to think that that could happen, but there's nothing I know of at this point. You are the sci-fi universe for Babylon 5 right now.

I have a question for Jeff. What was your first reaction when the producers came up to you and said, "You're wearing this"?

Jeff: The truth of the story is, it kind of worked the other way. I knew the costume was there; I knew the position was going to be available. So I chased them and said, "I'm the guy, I'm the guy," and they said, "You're not an actor." "I could be." They actually tried to get a real actor to go in there, and the costume didn't fit. "How con-vee-nient." So not being an actor is how I got the role, because my head wasnít swollen.

I wanted to know about those contacts you wore. Just how uncomfortable were they, and could you see anything?

Pat: The black contact lenses had a hole right over the pupil. So I could see straight ahead, but I didn't have any peripheral vision. I could see fine. It wasn't that. They were very painful. They were very large and they were completely circular. They had to be large enough to fill the inner and outer corner of my eye. They were huge. They weren't made for me. It was awkward and uncomfortable, and my eyes would tear and we'd have to shoot real fast. It was bad.

I saw this in the script, "Lyta's eyes turn black," and I'm thinking, "How are they going to do that? It must be a special effect they put in later." I go to Joe and I say, "You know, I had a real problem with contact lenses at one point. I can't wear them. I wish I could. What is this contact lens thing?" He said, "That's okay. You only have to do it once." Such a liar.

Your participation last night in the masquerade: Was that planned?

Pat: My participation in the masquerade was not planned. I was so exhausted I went upstairs. Jeffrey was hanging out with the fans, but I laid down for a while. Then I thought, "I really want to go see this thing." I knocked on Robin's door and I said, "I'm going to go on downstairs." It was about 8:30 or something by the time I got to the masquerade. Anyway, Robin said, "Yeah, maybe I'll see you down there." I sat over here on the floor. At one point I thought the masquerade was so much fun and everybody who participated was so funny and so great—the audience was into it so much that I couldn't help myself but get involved. What I was planning on doing was coming up and just giving Gord a hug, just for fun. And I saw this girl in a PsiCorps costume, and I went, "Uh huh." So I waited until she did her thing, and unbeknownst to me, Robin was backstage on the other side, and he put in his appearance. So it all worked out like that. Poor Security; we drove them crazy.

Thank you so much; I guess we have to go. You've been such a hot audience; we really appreciate it.

Jeff: This has been a fantastic convention, very well run. You guys are all wonderful. Stay in touch with us; find us on the Web. If we didn't get your autograph, weíll try to work something out.

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