This is the news roundup from Nan Dibble and Helpers' Network. Call the Central Hotline at 513-961-3317 or the East Hotline at 201-779-6040.
Darlene Sullivan called to our attention two more films in which Ron is involved, currently being offered for distribution: a thriller called Double Exposure, in which he stars. Other cast members are Ian Buchanan and Deedee Pfeiffer, and it's described as, "A vengeful man seeks to gain control of his young wife's love." There's a photo of Ron scowling and aiming a gun. The other film is a SF flick called Juggernaut in which "a prehistoric man is unleashed on modern Los Angeles." Think about it: Ron Stars: maybe somebody ELSE is playing the caveman for a change! He also has an additional film in pre- production for release next year--it's called Silhouette.
April 13th is Ron Perlman's birthday. If you'd like to send birthday greetings, you can send them c/o The Gersh Agency, PO Box 5617 Beverly Hills CA 90210.
Darlene Sullivan also notes that Steven McHattie (Gabriel) has an upcoming film offered for distribution: it's a canadian SF movie called The Dark, and it sounds interesting: "A cop and a scientist battle to control a dark force." In addition to now- released Guarding Tess with Nicholas Cage, Edward Albert (Elliot Burch) will be in a thriller called Hard Drive, in which "sexual fantasies lead to death and deception"; Royal Affair, about the death of Grace Kelly; and Sexual Malice, in which Albert stars, in which "a woman in a dying marriage conducts an affair with a mysterious stranger until her lover becomes her tormentor and she seeks help from her husband." And Lance Henricksen (Snow) is in a film starring Rae Dawn Chong called Boulevard.
According to Ron Silver, one of the three stars, Roy Dotrice's series of TV movies, The Good Policeman, was supposed to begin April 1st. It's not listed for anytime the first week of April; we'll keep an eye out for it.
The "TV Update" column of the TV Guide mentions two upcoming appearances by Jo Anderson (Diana). Her appearance in a two-part Sisters, in which she plays Dr. Charlotte Bennett (!!!???), a previously unsuspected half-sister to the titular characters, will air April 23 and 30th, on NBC. Jo will also play the prosecutor, probably a substantial role, in a CBS TV movie, Deadly Games, based on the parent-killing Menendez brothers. No air date for that movie was listed.
There's been speculation that the man who fires Chevy Chase from the Doritos commercial is Jay Acovone. Nan can't tell. The voice is right, but...bald, fat, and in sunglasses? If so, why? Your guess is as good as ours....
SFC Again Showcases B&B
On April 9th and 10th, the SF channel will have a special program, "Final Curtain," featuring the final episodes of a number of series including Quantum Leap, The Bionic Woman, The Prisoner, and B&B. It will be hosted by Lindsay Wagner, star of The Bionic Woman.
The B&B episode to air will be "Legacies," alone: until Jana Ondrechen tactfully pointed out the fact, the people at SFC didn't realize B&B's final episode was the second part of a two- parter. They'll do a brief introduction scripted from material supplied by Jana.
The times are 7 pm and 11 pm on the 9th, and 10 am and 2 pm on the 10th. And in answer to a number of people who have called the hotline and asked, when this present run of the whole series concludes, it will begin all over again for another complete run. The SF channel is hoping, next year, to get access to another satellite which will allow them to air the series at a more reasonable time for the west coast than they're able to now, with only the one satellite.
B&B Scripts for Sale
From Judith Marietta comes news of a place, Script City, which has for sale scripts of all episodes of Beauty and the Beast, including two whose names Nan's not familiar with: "Night Must Fall" and "Prodigal," and also early drafts of some scripts. With the exception of the pilot, whose script is $19.95, each script is $14.95.
To order, with credit card, you can call 1-800-676-2522. You'll need the number and name of the episode whose script you want to buy. For their catalog, call 213-871-0707 or write to Script City, 8033 Sunset Blvd., Suite 1500, Hollywood CA 90046.
Wanna Write Some Letters...AGAIN?
From Lyn Musaccio, of the New England hotline, comes a report, later amplified by Darlene Sullivan, that an executive at Spelling Entertainment (now merged with Republic) is actively considering the prospect of making a B&B movie. This doesn't mean it's a proposal that's going to be voted up or down on a specific date: it just means that this executive is aware of the series and the possibility of making a TV movie based on it. In other words, it's something she's thinking about, every once in awhile, on an ongoing basis. Nan Dibble thinks that getting a lot of letters would help her think about it even harder.
This is the first time since cancellation we've had a specific person to write to who potentially has the power to do something if she judges the project (A) is possible and (B) would have an audience. We can't do anything about (A), possible, but we certainly can let her know about (B). Nan urges everybody to write this executive a letter a day for two weeks, then stop. Don't phone, please: that only annoys people to no purpose. If you can, vary your stationary and the signatures; but if that would be a hassle, don't bother: we're not trying to fool anybody, just let them know a lot of people feel very strongly about this.
Nan asks, please, that your letter say simply that you very much hope Spelling will decide to make a B&B movie...and leave it at that. No ifs, ands, or buts. Quantity, here, is more important than quality. 14 simple letters will have more impact than 1 long one giving the history of everything B&B has meant to you. Please, keep it simple.
Write to Spelling Entertainment, ATT: Marcia Basichis, Senior VP of Development, 5700 Wilshire Blvd., Los Angeles CA 90036. Please relay information about this new letter campaign to any B&B friends you have contact with. Networking pays!
A New B&B Album!
In an article in Starlog relayed by Gloria Handley, news that Don Davis has a new album, Hyperspace, including 45 minutes of previously unrecorded music he did for B&B (and for which he won an Emmy). It's a Belgian label, Prometheus, and the number is PCD-120. According to informant Laura Beth Cook, the B&B material is called "Beauty and the Beast: a Symphonic Suite" conducted by Jacob Wells (!!!???) and includes themes for shows from all three seasons.
Nan is trying to order it through a local imported recordings store in Cincinnati. If you have such a store in your area, you might make inquiries too. If Nan can get copies, she'll let you know and you can order through Helpers' Network. IF!!! The Starlog article suggests two sources. On the west coast, it recommends Intrada Records, 1488 Vallejo St., San Francisco CA 94109, (415) 776-1333. On the east coast, it recommends Footlight Records, 113 E. 12th St., NY NY 10013, (212) 533-1572. At least two people Nan knows of have ordered the album by phone from Footlight, by credit card; you may be able to do the same.
Updating news about the new books from Cinemaker, Nan finds she underestimated the time it was going to take to publish her new book, Bright Spirit Descending. Before it's printed, Ed Gross needs to know how many copies his distributors order to know know how large the print run should be. That adds another month Nan didn't allow for. So this novelization of "The Alchemist" and "To Reign in Hell," together with an original account of the founding of the tunnel community, should be out sometime either in late May or early June. If anybody's absolutely dying of Vincent deprivation, just can't wait, and wants a foretaste of the book, for $2, Nan will send the first three chapters (send to Helpers' Network, check payable to Nan).
Jana Ondrechen's The Official B&B Annotated Guidebook should be out sometime in June, it now seems. For Bright Spirit Descending, Nan's accepting preorders at $11.45 (s/h included); for the Guidebook, the prepublication price of $22.45 is still good, and you can preorder that too. Perlman and the Beast hasn't yet been published, but it's getting there; and whether or not it comes out in hardback, anybody who ordered an autographed copy will get one, Ed Gross assures Nan, and a credit for the difference between hardback and paperback price if there's no hardback edition. That decision hasn't yet been made but should be soon.
Nan also fulfills back orders for existing books (Beyond Words, Beyond Silence or Lost Yesterdays, Impossible Tomorrows) if sent a copy of the order and of the canceled check or whatever.
Nan is still waiting for information from Ed about the availability of Cinemaker books at/through Barnes & Noble/ B. Dalton outlets. Right now, there are problems Nan hopes will be sorted out soon, but no other information is available at this point.
"Cronos" Speaks Two Languages
by Doris Tourmaline
NEW YORK--In an unprecedented effort to more effectively market a film to both art-house and Spanish-language theaters, October Films will dub the English-language portions of its Mexican award-winning thriller Cronos for a day-and-date release to the two niche markets in Los Angeles. While the art- house version of writer-director Guillermo Del Toro's film, which stars Ron Perlman, Federico Luppi and Claudio Brook, has a prologue and patches of dialogue in English, October's other market version will be entirely in Spanish. Del Toro will dub Perlman's voice, Brook will dub his own voice and the film's original Spanish-language voice-overs will be restored. Following the film's bow March 24 and 26 at the prestigious New Directors/New Films series at New York's Museum of Modern Art and the commercial debut on two of New York's Angelika screens, Cronos will open April 22 in Los Angeles at two Westside art houses and, in the all-Spanish language dubbed version, at a Spanish-language theater to be determined. October will then roll out to other Spanish-language markets, including New Mexico and San Antonio.
[Ed: the article concludes with a discussion of marketing Spanish-language films. So the import is, one version will be partly in English (Ron's part, in particular); but an all-Spanish version will also be released in April. Thanks to helper Vivian Liebgold for relaying this article from the Hollywood Reporter for March 14th.]
The Gazette: On America On-Line
Thanks to the ingenuity and enterprising imagination of Lisa Howard, the text of each issue of the Gazette (minus photocopied freebies and add-ins) will hereafter be carried on the computer Bulletin Board, America Online, joining such special interest groups (SIGs) as the Science Fiction Channel. On this, its first anniversary (nearly: the first issue was published 4/93), the Helpers' Network Gazette takes to the information highway in a low tech way: by sending the text on disk to Lisa, who will then put it on the B&B BB (Beauty and the Beast Bulletin Board). If you subscribe to America Online, the keyword is scifi; then Star Trek/TV/Star Wars board; then Television. You understand that? Great!
Lisa offers to sign up any "friend" who asks her. Such signed-up friends will get ten free hours of usage plus free software (you have to already have a modem attached to a phone line, as well as a computer). After the signup period, the cost is $9.95/month with five free hours of use time, then $3.50/hour for use beyond that.
If you'd like to be signed up, send Lisa your name, address, phone number, and whether you use Windows or DOS, (both IBM/compatibles) or Apple or Macintosh, and what size and density disks your machine can use. You'll get your membership kit in about two weeks. Lisa Howard's address is: 200 Marguerite Drive, Texarkana, AR 75502.
Dialing for dilithium crystals
Want to find out more about the voyages of the Starship Enterprise? Dying to learn more about the "Star Wars" trilogy? Just sign up with the America Online (AOL) Computer network and send a message to Paul Van de Kamp, an on-line coordinator for Sci-Fi Channel who operates the network's new computer bulletin board. In just one week of operation, that bulletin board has posted 1,000 messages from science fiction fans looking to communicate with Van de Kamp and other fans. It is the latest in a growing number of cable network bulletin boards appearing on AOL and other on-line computer services, including Prodigy and CompuServe. The cable networks do not have to pay to participate--in the case of Sci-Fi, for example, the cable network provides the content and splits with AOL any revenue from merchandise sales and on-line charges. Sci-Fi Channel executives say the service is helpful in building awareness within a very desirable demographic group. And, if all goes according to plan, the network hopes to use the service as an additional advertising opportunity. --RB
[Thanks to helper Laura Hardy for relaying this interesting snippet from a trade magazine.]
Edward Albert & Paulette Edwards: Together at last!
Nan asked Paulette Edwards, one of the organizers of Great Expectations, for an update on the letter-writing campaign she'd started in support of Edward Albert's becoming a recurring character on "Dr. Quinn, Medicine Woman," reprising the character he played in a two-hour episode last fall. That's still unknown, but in her reply, Paulette passed on some interesting news. She said, "In December, Edward Albert asked me to start serving as his Personal Assistant. As such, I will now be serving as the sole booking representative and contact for his convention appearances and will also be heading up his official state-side fan club. We will have the fan club in operation before TunnelCon III and it is really going to have some terrific membership opportunities." Paulette says she'll let us know more about the club as it gets organized. So more things than we knew have developed out of Great Expectations!
A Conversation with Jena Ondrechen--Part 1 by Paula Vitaris
Jana Ondrechen, author of the upcoming The Official Beauty and the Beast Annotated Guidebook (Cinemaker Press), visited Atlanta in late January. This interview is part of the transcript of her taped dinner conversation with Paula.
PAULA: What exactly is The Official Beauty and the Beast Annotated Guidebook?
JANA: Well, it's not your average TV book. In fact, so far as I know, there's never been anything quite like it and I don't mean that in an egotistical sense. I just meant that I don't tend in life to follow other people's formats. I kind of make up my own as I go along. So, what the book is...there is some introductory material, there's a look at the Beauty and the Beast legend as far as how it developed, and it touches on how the TV show was similar to, yet different from, the Beauty and the Beast story. It touches a little bit on the mythic aspects of the show, although I'm not a "mythopoetic nazi." There's some people that want to cram every story into it.
PAULA: I like that phrase, "mythopoetic nazi."
JANA: It's a terrible thing to say and my apologies to people who might be offended by it. I just meant that I don't see everything within the mythopoetic structures, but I just suggested some ways it follows some mythopoetic patterns, such as that Catherine in the mythopoetic sense can be viewed as the heroine of the story and that she's the person who ventures into another realm and comes back changed, and in that sense then Vincent is like an agent of the supernatural who comes to her aid, and he's also, at the same time, kind of in a reversed role of being the support person.
PAULA: The Beauty and the Beast story has always been "the girl's story." The one fairy tale for girls, in which the girl has been the active figure.
JANA: It's not a passive princess waiting to be saved by the handsome and brave man. It's in fact a helpless man waiting for a brave and beautiful woman to save him.
PAULA: And she is the one who has to transform.
JANA: Yes. The significant transformations are internal for both of them in this story, in the television series.
PAULA: What else is in your book?
JANA: Each episode is a chapter and it reads like a story. But kind of spare stories in the sense that I try to leave as much up to the imagination as possible. I don't tell what people are thinking except a few times, when I had to extrapolate a little bit or things wouldn't have made sense. But whenever possible, I tried to leave it up to the viewer, because I do think the TV series, certainly at its best, is like myth and poetry in that there's lots of room for interpretation. I don't want to say this is exactly what was going on.
PAULA: So you basically retell the television series chapter by chapter, episode by episode. Exactly how have you annotated the book? JANA: I have footnotes at the bottom of the page. Each chapter begins with a literary quote. IN some episodes, such as "Nor Iron Bars a Cage" or "Down to a Sunless Sea," there's an obvious literary reference, and I drew from that. When there wasn't, I assigned something that fit well, that worked well. And so each chapter begins at the top with an introductory quote, then the name of the chapter/episode. I tell the original airdate and who wrote it. Sometimes there's a difference between who wrote the story and the teleplay. And so I indicate that. [Ed: the Guidebook also includes full production credits and a complete cast list for each episode, as well as photos.] And then it goes in reading like a story, but then along the way I've annotated literary references, classical music references, cultural things. I've translated foreign language phrases and explained what's going on when we're dealing with a different culture, especially in episodes like "Dark Spirit," "China Moon," the one about the gypsy boy [Ed: "Everything is Everything"]. There are things going on that hold water culturally that, even if these were not the very best episodes ever produced, it's interesting that they do. So I've commented on that. And then I also tried to comment on other things in the evolution of the series that I thought would be of interest. I don't tell you every time Catherine changes her headboard, or when there's weird costuming glitches--it's a little bit hard to follow some of that stuff and I didn't think that was important anyway--but I mention some things. The first time either of them says that they love the other person, or first kiss type stuff.
PAULA: So there is a bit of trivia, but not all that much in the way of factual details.
JANA: Occasionally when there's an interesting background story, I do tell it. I do have, in "Masques," the footnote that George R.R. Martin intended that to be an annual tradition of the two, of Vincent and Catherine going out together on Halloween. I explain why that didn't happen and why we only have the one Halloween episode. I have an amusing footnote on "To Reign in Hell" about how Irina Irvine, who played Jamie, and some of the other secondary characters had a bet that one of them was going to get killed off, and of course James Avery, who played Winslow, lost. And so there's a few things like that, information from either cast members or from people that were behind the scenes. A few things of interest like that, but I in no way attempted to be a TV book in the sense that I don't tell you what all people appeared. I do mention that in the season one episode, "No Way Down," there's an appearance by the actress Mayim Bialik. I do mention that because that was her first TV appearance and she's gone on to other things. I also explained that there's apparently more than one Ellie living in the tunnels. I don't think they had a quota on names.
PAULA: It's more of a cultural reference book than a book on who did what where and when.
PAULA: Have you included any critical analysis or judgment of how good or bad an episode is?
JANA: No, I decided to leave that to the imagination, on the feeling that some people that read the book may not have seen every episode or even be very familiar with the series but were always intrigued by it. I run into a lot of people that always knew there was something special about the show but don't know that much about it. In some ways I almost tried to see the story as a second chance of what would work. I did comment once or twice on some things that didn't quite work. There's a comment on a quote from George R.R. Martin about "Terrible Savior," about how in the original script a lot of the scenes with the slasher were supposed to be filmed in near darkness, where you really couldn't ell, and it was pretty obvious to the viewer from the beginning that the slasher was not Vincent. And he [Martin] was disappointed by that. So I commented on that. And then the old movie imagery, the roses and everything, that everyone hates in "Though Lovers Be Lost...." I did comment that it didn't really work.
PAULA: Ah, yes, what we fans sometimes call "the lava lamps."
JANA: Yes! That didn't quite work. I did comment on that. But except for a few rare instances, like a remark in "God Bless the Child" toward the end, when Lena's gone off to her old life and Catherine goes to retrieve her and they're having an argument while Lena gets ready to go out and be a streetwalker again, I didn't include the line but I footnoted that in the conversation, Catherine says something like "a week ago, you told me...." I said that was unfortunate that an otherwise good script had that line in it, because I don't think even a young woman like Lena could give birth, move to the tunnels, recover enough to try to seduce Vincent, and then return to a life of prostitution all in a week. They would have done a lot better to keep the timeframe vague because then for all you knew it could have been a long longer period of time. I did comment on a couple of things like that, only because I think they're fairly obvious and people are going to notice them.
PAULA: Do you have additional sections in the book, or appendices?
JANA: I have an annotated bibliography, partially annotated where, if people want to know where I got some of my information, they can get it. For example, there's a little bit of information about the historic Paracelsus, and I mention an excellent book that might be out of print but people might be able to find in a used book shop [Ed: or a library]. It's a wonderful book called Paracelsus: Magic into Science about the original alchemist. There's a little bit of comment on the philosophers Schopenhauer and Nietzsche whose works get quoted by Gabriel and Paracelsus. Little things like that. And then I've written introductions to each season that set up what's going on. There's a kind personal introduction that I did, called "Sub Rosa," which means that's something's being said in confidence: "under the roses." It just tells about how I came to do this and what my approach was to being the reteller and annotator of these stories. And then there's an introduction to each of the seasons, with a short prologue, so to speak, setting everything up that's happening. And then in addition to that, I've got the words to the prologue used in seasons one and two after the pilot and then the one they started using in season three after "Though Lovers Be Lost..." so people will have the words recorded. Those are the basic book parts, as far as I remember.
PAULA: In the process of writing the book, did you discover anything new as you went along? What struck you about the show that you hadn't realized before?
JANA: I was kind of writing the book and discovering the series as I went along. I discovered the series as it was going off the air, really. One of the things I mention in my personal introduction is that I tend to view popular culture through the lens of an outside observer. I grew up in a family that had three sets of encyclopedias and a lot of good books, but we didn't always have a working television set. It was not a high priority for us. I somehow managed to grow up with something fairly close to a tunnel education, in that I knew the works of Shakespeare a lot better than I did, say, the weekend TV lineup. So a lot of this stuff was very familiar to me. I'm not really a heavy researcher. It's going to look like that to some people, but I'm really not. I just happened to fall into something that happened to combine a lot of my interests--literature, music, cultural anthropology. A lot of it just sort of fell in my lap. So from the first time Beauty and the Beast was on the air and there were little articles about it in magazines, I was intrigued. I thought it was interesting, and I thought the characters seemed to work very well together. I think I saw bits and pieces here and there.
PAULA: So you weren't watching B&B from the beginning.
JANA: No, I wasn't. I think I saw something like "Chamber Music" and thought, this is interesting, but it's so sad. I think my husband had watched "No Way Down," in its first airing and he said, "Oh, this is awful. These thugs have got him and they're tormenting him, and I can't stand it." So we just had these little glimpses of it. But I always liked these pictures that I saw of Vincent and Catherine, and always sensed there was something special about the series. It had filtered through other people I had talked to that there were literary references in it, and I probably ought to be watching it. People started to ask me, "Who wrote 'Nor Iron Bars a Cage,'?" and things like that. And I would tell them, and I'd think, hmmm, if that's in that, there must be something to what people are saying. Then I remember reading an article just before the third season began, about what the plans were and that the Catherine character was being written out of the series and they were going to bring someone else in. I remember showing that to my husband, Jim, and saying, "Gee, this is going to be really hard to make this work, from what I know of the series and the past two years."
PAULA: That's what everyone said at the time.
JANA: I can see they had a challenge. I watched some of "Though Lovers Be Lost..." and it was absolutely making me sick but I was also fascinated. So I saw some of the third season but it was hard to get to it because at least in my area they were showing it on weird nights and seemed to be compressing it all together. But I got intrigued and I thought, you know, this is really interesting. I ought to be watching it. And then soon it went into syndication. There were the bowdlerized versions on Family Channel, but to anyone that complains about things in syndication being cut up, all I can say is, yes, it's a shame, but better cut up than not at all. Because I really came to appreciate it, [even] cut up. So I started watching it and my husband started watching with me. My husband, Jim Wible, is an artist. On the East Coast, he used to be guest artist at fantasy conventions like Balticon and Disclave and he's a lifelong lover of SF and fantasy and much more familiar with it than I am. We would be watching it together, and I'd say, well, this is interesting because this young man and his story is like the writer Blake, and his life parallels Blake's in very general ways. Or I'd say, this child keeps playing music by Chopin, and his life eerily parallels that of Chopin in some very interesting ways. Or I'd comment on other things I saw, or say, "This is a parallel of Shakespeare. It's not Shakespeare, but it sounds like Shylock's words," and so forth. Jim kept saying, "Jana, you should be writing all this down." And I said, "Oh, who would care?"
PAULA: Little did you know.
JANA: Well, he said, "Trust me. I know the SF and fantasy market, and a lot of people who will respond to this aren't going to know. They're going to know some of it, a lot of them, but they're not going to know the things that you're pointing out." I started writing things down as I watched the show, and instinctively I started writing them up as stories. Jim said, "No, that's now how you do an episode guide. You just do a short synopsis and you do a cast list and--" I said, "Trust me. This feels like how I ought to do it. I want to do something, so if somebody is like me and they missed a season, the original airings, they can catch up this way."
PAULA: Did you talk with anybody who worked on the show?
JANA: No. I did this strictly from watching episodes and from things that were available and in easily accessible sources, like Starlog. There are some wonderful interviews with George R.R. Martin, with Ron Perlman, with Ron Koslow, and of course Ed Gross [of Cinemaker Press], who wrote most of these articles, had no problem with me using them. That was one thing that I had to do. Another thing I had to do for the book was get permission to use these literary quotes. At the beginning of "Arabesque," there's that wonderful poem "You, Darkness" by Rilke. It's intercut with the scenes so beautifully that I couldn't have left that you. Many other things, too, I felt were very important. Thank God Shakespeare is public domain, so I was able to use that. Without sounding like a Ph.D. dissertation, I tried to give people a little bit more than just who wrote something. For example, a lot of people don't realize that the beautiful Wordsworth poem at the end of "Nor Iron Bars a Cage" was written by Wordsworth in memory of his little daughter Catherine, who had died when she was small. I included that kind of context, little bits of trivia like that. I have it noted that Catherine's surname means "candlemaker." I footnote that. Little things that I thought were interesting.
PAULA: I've always found Catherine's name significant. She brings the light into Vincent's world.
JANA: I'm not a big symbolism person. I try not to be really heavy-handed with symbolism. I used to hate it in English class when somebody picked to death a wonderful, perfectly innocent poem and assigned all these things. Occasionally I try to point things out I thought were interesting or symbolic. I think it's interesting, too, that in traditional fairy tales where it is the valiant knight that saves the helpless but beautiful lady, the names of the two main characters--Vincent meaning "conqueror" and Catherine meaning "pure one"--that would fit in a perfect line with the regular fairy tales. Of course, they're both very multi-dimensional characters.
[Ed: more of this interview will be included in the April Gazette.]
NOTICES & FACTOIDS
Besides the two excellent Classic novels by British zine writer Janet Kilbourne (Land of My Dreams and Darkness at Dawn), Therion Press has published pro Canadian writer Jena Snyder's B&B inspired novel, Kilkenny Cats. You may know Jena as the author of At the Mirk and Midnight Hour.
This present book, a mystery, is NOT straight B&B: Diana has become Megan, and Vincent has become Tomas, a normal- appearing man on the run from the IRA and from the police, who believe he's responsible for the car bombing that killed his wife and young child. Tomas is living in Central Park and has become a friend and protector to the down-and-outs of the bowery.
Megan is investigating the murders of several derelicts, and her first and strongest suspect is the elusive, mysterious Tomas. Although the book's spirit and dynamic is B&B, it's not precisely a B&B novel.
Nan also has a third Kilbourne book, Catch the Wild Wind, an original novel following from "To Reign in Hell." Each zine is $20 US, $22 CAN, $25 else (postage included) to Therion Press, 379 Amazon Ave., Cincinnati OH 45220-1148.
For information on joining Helpers' Network, or for a free copy of the Newcomer Flyer giving information on the fandom, send a request to Helpers' Network (address as for Therion Press, above.
The Winter Q-fer (Helpers' Network Quarterly Fanzine Review) is still available: $8 full, $5 update. Zines, ads, and swap shop listings for the Spring Q-fer are due by the middle of April. The Spring Q-fer will be published about the first week of May.
Get your Tunnelcon memberships in! For convention info and membership forms, send SASE to Barbara Hix, 1521 Everett St., Las Vegas NV 89101. Convention dates are July 8-10, at the Stardust in Las Vegas.
Free Classified ads, as space permits, for anything you can write on a 3x5 card. Send to Helpers' Network by the 15th of the month. Ads run once unless renewed.
Desperately seeking out-of-print zines Blind Justice and Refuge of the Brave by Peter J. Formaini. Will pay reasonable price. Phone Ruth Jones (612) 861-2354.