Harry here, and this is PART II of Quint's Adventures with Mouth on the set of GHOSTS OF MARS!!!! Click Here For Part One!!! Read on

We re-entered the KNB trailer to see our good friend with the bald cap now almost completely made up. We find out that he is a stunt performer that is going to be fighting with Natasha that day. His name onset was "Mean Looking Bastard of a Warrior" and he lived up to that name tenfold.

He had vicious looking "take a piece of semi-sharp metal and jam it through your skin" type piercings and some blood-red face paint that divided his head into two colors. They drew a horizontal line from the corners of his lips that basically drew a circumference around his head. The bottom lip and below was completely blood-red. The top lip and above was pasty pale white. He also had some vicious looking, filed to points teeth, too, if I remember correctly.

Apparently they shot the end of the fight scene the day before and John noticed his archenemy had snuck in front of the camera’s lens. That’s right, dude. The bald cap wrinkle made an appearance the day before where the head meets the neck on the Mean Looking Bastard of a Martian and John gave the KNB guys the task of making sure we didn’t see that again today. Greg ended up cutting a piece of leather from the costume of another Martian that had seen his screentime already and used that as a flap that connected with piercing above his ears on both sides of the head and hung down over the back of his neck, thus covering the evil bald cap wrinkle.

Mouth remembers this being his idea, but I don’t remember it that way. I might be senile, but I seem to remember Greg coming up with that one. Anyway, Greg ran off to set to get the flap appliance approved by Carpenter and left us to sit in the KNB trailer. We noticed some videos like Abbot and Costello Meet Frankenstein and various other, mostly horror themed, movies. We’d only been there for an hour at this point and Mouth and I basically just geeked out about how cool this was already!

Greg came back and told Craig Reardon (the make-up man, remember?) that John gave the thumbs up on the idea and to go ahead attach the sucker. Greg came over to us, looked at Harry’s head propped up and resting comfortably in a corner and said how of all the decapitated heads, he thinks his own and Harry’s are the best of the bunch. I had to agree, but then again I hadn’t seen any other decapitated heads. Greg smiled and said, "Do you want to see ____’s head?" You see, he pulled out one of the main star’s decapitated head from under the bench where we were sitting. I can’t give away who’s head it was, but it looked very nice. Harry’s head still looked better, though.

All right. We met Natasha Henstridge, saw Cube and even caught a glimpse of that Lock, Stock and Two Smoking Barrels guy. Who did we miss? Ms. Pam Grier, for one. Greg said she had done some stuff in New Mexico, but will meet up with the production when it moved back to LA. Curses! No Big Doll House, Big Bird Cage, Coffy, Foxy Brown...

Who else wasn’t shooting that day? Clea Duvall, who I got to know from my time on the set of Faculty. Damn. Oh well. At least I met her before! After that goodness, we followed Greg, Craig and the Mean Looking Bastard of a Warrior back to set. We met a couple cool chicks when we got back to set. One, Amanda, was one of the wardrobe chicks that everybody on set, from Greg to Natasha, seemed to know. The other was Dana, who was Natasha’s stunt double.

Amanda was really cool, but she didn’t understand the coolness of her surroundings. We soon found out she hadn’t seen any John Carpenter flicks. "Have you seen Big Trouble in Little China?" "Umm... no..." "What about The Thing?" "Nope..." "They Live? Escape From New York?" "Wait... I... no... I haven’t seen those." "Halloween!?!?" "Yeah, I think I saw that once." She was knitting on set. She had in her possession at all times two knitting needles and she didn’t see the John Carpenter/Halloween connection. It was still unknown if she ever even saw the movie in the first place. Then again, maybe it was a good thing that everybody on the set weren’t as fevered John Carpenter worshipping geeks as Mouth and myself.

The first shot of the day was underway. The shot was of Cube running down the interior of the train set. He had something in his hand. From far away it kinda looked like a stick of dynamite, but I could be mistaken. He was looking for something. No dialogue. They did a few takes of that then started setting up the next shot which was to involve Natasha and Cube in the train.

There was some dialogue here, but the only lines I could hear was Cube saying, "How we doing?" and Natasha came back with, "Say your prayers." It was around this time that I saw the Mean Looking Bastard of a Warrior and Natasha’s stunt double practicing their choreography for the fight scene coming up. They were moving very slow, making sure each knew their stuff. I really couldn’t tell how the fight scene was going to turn out, but knowing Carpenter’s fight scene history, I was sure it wasn’t going to suck.

Also around this time I started talking to Craig Reardon and found out he was the head effects guy on Dreamscape, that he even recorded a commentary track for the DVD. Too cool! He’d had a hand in everything, just about. I was talking to him about his work in Poltergeist (the guy ripping his face off scene) when Greg walks up to the group that had formed. "Let me see the condom," he said. I forked it over and he walked off. About 5 minutes later he comes back and hands me the condom once more, telling me that it had now been touched, blessed, by Natasha Henstridge.

Apparently, after I handed the prize over to Greg, he took it to Amanda, the costume girl who hadn’t seen any Carpenter flicks, to gauge her reaction and get her opinion on Natasha’s potential reaction since Amanda and Natasha were pretty friendly with each other. Greg didn’t say how Amanda reacted, but I’d imagine she told Greg he had to show it to Natasha because that’s exactly what he did next.

So, Greg then goes up to Natasha and hands her the condom and says (and I’m paraphrasing of course), "My friends that you met earlier, they brought this along with them and wanted to show it to you." Apparently, she had no idea this promotional item existed. She took it well, I heard, but was joking about getting her agent on the phone and "Did the studio think I’d endorse this," etc.

Mouth is in hysterics at this point and I’m blushing like mad. That beautiful woman now thinks I’m a pervert for traveling 1400 plus miles to show her a green condom. What a world! Carpenter continues the scene with Natasha and Cube, yelling "Beautiful" and "Great" after every take then, "One more. Give me one more like that."

After he gets what he wants, all the crew people run about like crazy. Craig, Greg, Mouth and myself were in a semi-circle, talking about Rick Baker and how Craig had done some early work with Rick on Planet of the Apes when Natasha wanders over to our side of the stage to pick up a small bucket full of sand, I guess for Carpenter to use as an ashtray. Of course, she looks over and I’m embarrassed once more. She stops in her task for the sand and looks me dead in the eyes and says, "Remember. Don’t mate on the first date!" She then grabs the bucket and starts walking off.

But there’s more! She turns around and says, "God knows I’d want a guy to enter me wearing a green condom!" then walks away. All of our mouth’s are hanging open. Greg starts giggling, I turned an almost ungodly deep shade of red and Mouth just stood there. Just change the tone of that sentence from sarcastic to sultry... I’m telling you... there will never be a lonely night ever again... in Mouth’s case, of course.

Anyway, lunch is called. Hmmm... food. It was terrific! Fajitas and a fine Mexican food selection from a caterer named Mario’s, believe it or not. I sat, double fajitas, salad, soda, beans, etc. in hand, with Greg and Amanda sitting across from me and Mouth sitting to my right. Not more than a minute into our grub and conversation, Greg looks over my shoulder to the front of the tent that housed the catering and benches and says, "Well, there’s Clea." I turned around and yes indeed. It was Clea Duvall. Cool.

We continue our conversation, I believe about some of Greg’s previous films like Evil Dead 2, Day of the Dead and the like, when Clea walks over, tray in hand and greets Greg and Amanda. Greg introduces Clea to me and Mouth. She was sitting down to my left when it came to be my turn to shake her hand. I told her that we hung out a bit when she was in Austin shooting the Faculty, that we talked some on set. Her eyes went huge and she squealed, "Oh, my God! I totally remember you! How’s it going?" It was really awesome talking to her again. I mean, for one summer I saw her just about every day, talked with her briefly a few times a week and then The Faculty was finished shooting and we haven’t seen each other since. It was great to play a little catch up.

After we finished our yummy food, Greg had to run to the KNB trailer and do some special effects god type stuff. He turned to us and said, "Guys. Behave yourselves. Don’t get into trouble." Mouth and I both crossed our fingers behind our backs and assured Greg we wouldn’t do anything mischievous. He looked doubtful, but left anyway.

Knowing that during the 30 minutes of lunch on any production, no matter what picture it is or the size of the budget, there is nobody on set, Mouth and I bid Clea a farewell and adieu and took off to set, to wander alone. We wanted a closer look at that train! As we were sneaking our way back onto set, I noticed Mouth’s crotch was moving and bulging. Oh, Christ, I thought and nearly threw up. "What the fuck is wrong with your nads, dude?" Mouth blushed and reached in his shorts. He withdrew his hand and out came Fluffy, the elderly seamen’s Octopus. "I’m sorry, Quint, but he just looked so sad when we were leaving... He’s a good Octopus... he doesn’t make any sounds... plus I taught him a few tricks..."

Our window of being sneaky onset was rapidly closing, so I put off Mouth’s beating until our trip home. We entered the warehouse once more and sure enough it was completely deserted. We went up into the train, careful not to move anything or bump into shit that would fuck up the continuity. It was very cool. Everything had a dark tan color and looked very, very worn. I knew it would be hard to describe, so I grabbed one of the Polaroid cameras that was laying about and had Mouth pose at the head console on the train.

He then took a pic of me sitting in the captain’s chair.

We had to hurry! Lunch was over in mere moments! What would Carpenter do to us if he found us taking snapshots of each other on set using the production’s Polaroid, no less? I didn’t want to find out, so we started to exit the train. That’s when we saw it. It seemed Mouth and I saw it at the same time. We both stopped dead in our tracks and looked at each other and noticed we both had the same sly smile on our faces. We had to get a pic of us with this. As Mouth is posing, I notice the camera has one more Polaroid left in it. The hell I was going to waste it on Mouth!

We started to argue about who got to take their picture with this perfect onset item when we heard rumblings outside. The lunch was over. The crew was just about to enter! But Mouth still wouldn’t budge. I was about to impale him with my machete and feed him intravenously to my shark when I felt a cold, wet sensation on the hand that was holding the camera. It was a tentacle. Fluffy! I turned to Mouth and said, "Can you get Fluffy to take this picture?" Mouth smiled and said, "I can get Fluffy to do anything I want to with a flick of my tongue." Benito was right, there was no time to argue, so I set Fluffy and the camera on a sturdy, flat tabletop, aimed the Polaroid at us and posed with Mouth. He flicked his tongue, Fluffy’s tentacle pulled the lever and we were covered in a blinding light for an instant.

We put the marker back, jumped off the elevated train set, put the now empty camera down on a nearby table and ran to the exit door that was opposite of the one that led directly to the catering area. Just exploded out the door, the crew began entering the warehouse via the opposite door. We walked around the warehouse, catching our breath, laughing at how crazy that was. We turned a corner and bumped right into Greg. He took one look at Mouth and me, saw we were out of breath and sweaty, then glanced down at Fluffy who was now wrapped comfortably (and pretty damn tightly, I might add) around Mouth’s left thigh and saw I had some Polaroids in my hand. We all stared at each other for a second, then Greg said, "I don’t even want to know" and walked off.

I made Mouth drop Fluffy off in the Orca. It was tough, he was crying... just a big mess. It was almost touching in a sad and disgusting kind of way. We returned, nonchalantly, to the set. No one, but Greg, was any wiser. Carpenter was doing a continuing shot from the one they were doing before lunch, with Cube and Natasha. He was now instructing the steadicam operator on how to work the camera the way he wanted it. From the monitors it looked like they were trying to get an explosion look down by shaking the camera. Indeed, that turned out to be true. When the shot was up, Carpenter would yell "BOOM" at the right point and both Cube and Natasha would lurch and the camera would shake. It’s a fairly well known and simple effect, but damn did it look good on the monitor. It took a few tries to get it perfect, though. When Carpenter was happy, Cube and his three big, scary bodyguards took off, finished for the day.

Clea was hanging out, talking to Greg and Natasha. Cool. She did the same thing on Faculty. I remember at one point during the final days of shooting on The Faculty Clea had finished her scenes and I was on the set with Harry and was supposed to hand out invites to one of Big Red’s 16mm backyard parties. I handed one to Jordana Brewster who was pissed she couldn’t make it because her stuff was finished and she had to jet to her next role. Clea was happy, though. "I’m finished shooting, too, but I got nothing better to do than haunt the set and hang out."

Maybe it’s a habit she’s gotten into. Or maybe she was just off for the day and wanted a free lunch (dinner). Anyway, back to the shooting. It turned out, much to her stunt double’s chagrin, Natasha was going to tackle the majority of the fight sequence herself. She got a little padded up and went off to rehearse a bit. Greg grabbed the prop weapon that the Mean Looking Bastard of A Martian was going to be wielding in the next few scenes. It was a crude, hand held steel claw. You see, you held it in your hand, made a fist and it was made so when you held it like that the 3 big, sharp steel claws came through the cracks between your fingers. Very gnarly looking.

For the remaining shots of the day, they needed to replace the break-away wall which they did via a mini-forklift. Mouth and Greg are talking about Predator. Mouth apparently wanted some info on how to build his own Predator suit and figured he’d ask a special effects god. Well, he got more than he bargained for because Greg WORKED on Predator and helped build the original suit. "You know the scene in the movie where the Predator is holding the dead scorpion and it’s all in Predator-Vision?" Greg asked. "You know, it’s his hands holding the scorpion. Those were my hands." Unbelievable! Greg was saying how the best way to make the Predator’s dreadlocks for a homemade suit was to buy a handful of those rubber snakes at the supermarket and cut the heads and tails off when the Mean Looking Bastard of a Martian came over, fully outfitted, made up and ready to kill. He wanted his Claw.

The Mean Looking Bastard of a Martian took his Claw and headed off toward Carpenter. I left Greg and Mouth to talk about how to make the Predator’s cod-piece or whatever and went up to Amanda who was knitting. We bullshitted for a while and I found out she hadn’t seen Star Wars or Empire Strikes Back. I started to doubt her coolness when she asked me if I’d like to see a couple of her books of Polaroids of costumes. I jumped on that offer and before I knew it I got detailed pictures of each of the main stars in their costumes. Then I got a look at all the Martian costumes... too cool! The main group’s costumes were generally exactly like Natasha’s as described above. Just like the Cops of this world, their uniforms differed very little. I saw Pam Grier, the Lock Stock and Two Smoking Barrels guy again, more Natasha (like I could ever get enough) and some of Clea in costume, too. Clea looked damn sharp, I tell you.

Amanda then told me how she and Clea had talked about me when we were off fucking around on the set during lunch. She didn’t believe Clea could remember me from 2 years ago, that Clea was just putting me on and Clea had to swear she wasn’t lying. What can I say? The ladies remember me... I wonder if she remembers the restraining order? Hmmm...

The wall was secured, steadicam operator ready and Natasha was in place. The shot called for Natasha to open a sliding door on the moving train. Did she hear something? Is she looking for someone? I don’t know. But what I do know is there was a little trouble synchronizing a light that blinked on with when she pulled the door handle. Carpenter got a little upset after about the 3rd or 4th take and went to go investigate the problem. I got a look at the outside setup in the minute of calmness. There were a few guys set up to the right of the door with a handheld smoke machine and a fan. The Mean Looking Bastard of a Martian was on the left side of the door, actually hanging on the side of the train and on cue he was to swing at Natasha.

Everything goes forward, problem seemingly fixed. The next take, everything works perfectly. On the monitor I see what the steadicam operator is shooting: Natasha’s back to the camera, angled out the open door with the smoke whisping by quickly and lots of wind. She slowly approached the open door then Carpenter yelled "NOW!" and the clawed hand whooshed into frame and punctured the ceiling of the train, missing Natasha’s head (seemingly) by inches. Then the Mean Looking Bastard of a Warrior jumped down into the train and started hand to hand combat with Natasha.

They did this shot a few times. It was amazing watching Carpenter trying out varying lengths for the jump scare. It seemed to me he was relishing the suspense. Door opened.... closer.... closer still.... move a little closer to the opening... closer.... NOW! It was great. The first part of the fight scene was pretty intense. Natasha was taking a beating. Her action was mostly barely blocking the Martian’s attacks and getting enraged enough to hit him once or twice, but mostly it was her receiving most of the blows.

After Carpenter was happy with the first shot, he went about setting up the next one and Natasha took a seat. She was getting quite a few claps on the back for a job well done. She was talking with Clea when I realized Mouth had disappeared from my side. An "Oh Shit!" look must have come over my face as I realized where he was. He was standing beside Natasha. This was going be a level of geekiness that she had never experienced before.

I HAD NO IDEA THAT NATASHA HENSTRIDGE’S ACTION AS A MARTIAN POLICE OFFICER WAS GOING TO LOOK THIS GOOD. JOHN CARPENTER HAS A HISTORY OF GREAT ACTION THAT HAS DEFINITELY WORKED ITS WAY INTO GHOSTS OF MARS. SO INSPIRED I WAS THAT AT ONE POINT (AND HERE IS WHY THEY CALL ME MOUTH) I FELT IT NECESSARY TO LET NATASHA HERSELF KNOW HOW GOOD SHE LOOKED BEATING UP THIS ONE UGLY WARRIOR. I TOLD HER, "YOU ARE THE BIGGEST ASS-KICKER IN A JOHN CARPENTER FILM SINCE ROWDY RODDY PIPER IN ‘THEY LIVE’!" SHE REALLY PERKED UP AT THIS WITH A RESOUNDING, "REALLY?!? YOU THINK SO?" FOLLOWED SHORTLY BY CLEA DUVALL QUICKLY INTERJECTING, "BUT YOU HAVEN’T SEEN ME YET!" LADIES, LADIES- THERE’S ENOUGH MOUTH TO GO AROUND.

I quickly ran over and apologized profusely, but Natasha and Clea were smiling and laughing and pointing... They didn’t seem too offended by Mouth, so I once again put off his public flogging until after we were off the set. I guess he’s good for a little circus freak style entertainment. Greg walked up to see what was going on and Clea declared she was off for the night and wasn’t going to spend it with us losers on set. She got her food and that was all she needed! She shook Mouth’s hand and gave me a little hug and a smooch on the cheek. Woo-hoo! I’ve gotten kissed by both Clea DuVall and Laura Harris! All I need is Jordana Brewster to round out my Faculty babe smooch collection!

Mouth seemed a little disgruntled that he didn’t get a smooch. Greg was trying to calm him down and said something to likes of, "Keep in mind, Quint has met her before. Next time you meet Clea, you’ll get a kiss on the cheek... and Quint’ll get, like, ________." That seemed to make Mouth happy and we all got out of everybody’s way while they set up for the next shot, the continuation of the fight scene.

We were all getting tired at this point, so Greg, Mouth and myself sat down in some vacant cast chairs. They had started the next shot. We couldn’t see a damn thing from where we were sitting, but God were they beating the hell out of each other. Carpenter would yell "Action" then you’d hear Natasha scream and make some grunting sounds you’d associate with blocking a punch/kick and/or throwing a punch/kick and all the while the set was shaking like mad. You could also hear shit getting broken and/or being thrown into the wall or on the floor.

After the second or third take, Natasha came out of the train set and wandered over to the cast chairs. She sat two chairs down from me and began to roll up her (I think) right sleeve to reveal a huge blue bruise she had just received. This sucker was at least as big as my palm. Greg leaned over and told us we should relocate because Carpenter is probably going to be coming over to talk to her because she just got injured during the scene. We did and he did.

Everything was winding down at this point, call sheets for the next day were being handed out and the last shot was being set up. Natasha’ stunt double finally got to do one shot and seemed to be trying to top Natasha by taking the hits just as hard and even harder than Natasha did.

Then I got handed a pic from shooting out in the New Mexico desert a few days prior of Clea, in full Martian Police glory, firing off two pistols, one in each hand and looking like the ultimate badass. Maybe she was right, maybe she is cooler than Natasha. I don’t know. Try as I might, Greg refused to let me look at the script, fearing for his job. I’ve been trying to track one down for a while, but have been unsuccessful.

Damn! Natasha’s stunt double just got thrown into a wall! This is some balls to wall shit right here. Carpenter seemed happy and yelled cut.

And then it was over. Day 24 of 51 was wrapped. We followed Greg back to his trailer to pick up Harry. We ended up staying for a little while longer and bullshitting. We asked about the weird-ass Plan 9 looking computer things in the warehouse and Greg said he had no idea where they were from or what they were for. The computer thingies were there when they got there, apparently. We were talking long enough that the Mean Looking Bastard of a Martian was able to transform back into a human being before we said good night. We said farewell to Craig and Greg, grabbed Harry and made our way back to the Orca. What a fucking day!

Is that the end of the story, you ask? Not at all. You forget Mouth and I had Harry’s decapitated head in our possession and a 1400 mile trip back to Austin.

We slept solidly at the Grandparent’s shack and were ready to leave early afternoon Tuesday as to return to Austin early morning Wednesday. We bid the family a fond farewell and adieu and boarded the Orca, both of us dreading the long, long, long trip back to Austin. It was more a combination of dread and excitement, though. We did have Harry and a totally unused 27 exposure disposable camera to play with on the way back.

Our first stop on the way home was at a little town outside of Albuquerque dedicated to everybody’s favorite senile professor, so much so that the town was named after him. We stopped in the town of Moriarty, NM with Harry’s head laying in the backseat looking for some location or backdrop that would be perfect for a picture. We found this:

The Moriarty Museum was closed (of course, who would want to pay to see the dear professor’s old baby booties and collections of his old back hair?), but just as interesting as the museum was the POLICE STATION that was right across the street. Needless to say, the Orca was a little conspicuous, so I hit the magic button next to the wheel and transformed The Orca into a regular looking, small automobile. We didn’t need to draw attention to ourselves. Mouth quickly snapped the picture and we hit the highway. Once we were safely away from Moriarty, I hit the magic button again and The Orca was good as new.

Then we hit Roswell. Now the thought of being arrested for carrying around an incredibly lifelike decapitated head did occur to us, so we took Mouth’s Star Wars pillow case (Jabba on one side, Bobba Fett on the other), took the pillow out and put Harry in. Here’s Harry visiting Roswell’s UFO Museum:

Now, I had told Mouth about that cool as hell sign from the beginning of our epic journey that he slept through. Remember the one? Warning Do Not Pick Up Hitch-Hikers sign? Well, I told you we would have fun with that one. Check out this pic:

We were speeding Eastward, getting closer and closer to the state line. The sun was beginning to drop in the sky when we hit a small town about 75 miles from the Texas state line and spotted an odd thing. There was what seemed to be a mini-park with hollowed out WW2 fighter plane sitting there, just off the road. We couldn’t pass it up. A park and a hollowed out plane?

We quickly jumped back in the Orca and took off for the state line. The sun was gone when we finally got to Texas. That didn’t stop Harry from having fun, though.

Now it got pretty boring. It was pitch black and even when it wasn’t there was nothing around to stop and take a picture with. Mouth was going a little stir crazy and started being a little bitch. About two hours after the state line, Mouth started talking gibberish. Three hours after the state line he began thinking he was John Carpenter movie characters. First he was Snake, then he was the Duke of New York, then he was The Duke’s Bitch from Escape from New York (this was the closest to his own personality) and then the ungodly happened. He thought he was Jack Burton. The Orca has a CB and the moment he saw that thing he picked it up and started talking about making the pillars of the heavens shake and about how he mailed a check to some crooked eyed guy in a bar or something. It was driving me insane!

So, I did what any sane seaman would do. I ran into the Orca’s cabin, bat held high and smashed the fuck out of the CB. I had to run back up steering column, so I handed the bat to Mouth and excused myself. I heard him smashing things behind me as I left and screamed after me that I was certifiable or some shit. I was just happy he didn’t think he was Jack Burton anymore.

The Kamikaze Deer didn’t come out that night and the rest of the trip was fairly uneventful. We arrived in Austin pre-Dawn, safe and sound and tired as all hell. Mouth actually had a day of One Eyed Willy-ing around to do, so he was fucked, but I got to sleep in late, bruthas! I kept my word and delivered Harry his head, at a movie theater no less, after telling him I briefly saw it on set and it looked all right. "I might be getting a picture of it... maybe..."

There you have it, my fellow travelers. My epic tale of geekiness and debauchery... well, I’m half right. My apologies to those Butt-Numb-A-Thon-ers who saw the fictionalization of the final act of the travels during the last fest. Tom Joad heard how worried I was about getting pulled over in Butt-Fuck West Texas Nowhere and having a cop who didn’t even know what a movie is find Harry’s decapitated head in the backseat and decided to make a short out of it.

I’d also like to thank Greg for getting us out there and working hard to let me write this up. I’d also like to give my unending thanks to John Carpenter for not kicking our geeky asses off his set and to Sandy King for letting me share my adventures with you fine squirts out there. And, of course, to you readers for reading this fucking novel I just wrote. I’m sorry. I’ll keep it shorter next time. hehehe

Keep yer eyes on the horizon, squirts. I got a few cool interviews comin’ yer way in the very, very near future, including one with everybody’s favorite Deadite hunter. ‘Till then, this is the ever crusty seaman bidding you all a farewell and adieu.

-Quint

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