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Faces to Let
By
Max E. Harris and Valentina LaScala
Copyright 2012 Max E. Harris
FADE IN:
INT. LARGE PANELED OFFICE - DAY
Closeup shot of a dueling pistol being held and the hammer being pulled back by a man’s hand. The man pulls the trigger.
POP! (O. S.)
The camera recedes to show 2 men in suits. One has the pistol in his hand. The other has a champagne bottle spewing champagne onto the floor.
LARRY
Damned, Victor! Did you have to do that just as I pulled the trigger? You almost scared the piss out of me.
VICTOR
(laughing robustly)
But Larry, that was my intention. You need something to get you out of this depression you’ve been in. And if anybody should be excited it should be you. After all, the judge just awarded you a huge sum of money and gave you the film rights you were entitled to. So lighten up and enjoy yourself.
Victor goes to his desk intercom and buzzes his secretary.
VICTOR
Angela, please bring some paper towels in here. I seem to have had an accident.
ANGELA (O.S.)
Yes, Mr. Ross. Just a moment.
The door opens and tall, beautiful Angela enters the office with a roll of paper towels. She sees the spilled champagne and begins to clean up the spill.
VICTOR
Thank you, Angela. Let me introduce you to Larry Sullivan. I am sure you recognize him even without his makeup or costumes. Larry and I have been friends for many years and he usually enters through my private entrance. Larry, this is my new, temporary, but possibly permanent secretary who is standing in for Rose while she is recuperating from her fall. Angela, dear, please join us in celebrating another successful battle against the forces of greed and iniquity.
Victor pours 3 small glasses of champagne and hands one to Larry and Angela. They touch the glasses together and sip the champagne.
ANGELA
Thank you, sir, and I am very pleased to meet you Mr. Sullivan. I have always enjoyed your films.
LARRY
(laughing)
Yes, thank you, I am sure you have enjoyed them but I can see that you are thinking, He is much shorter and thinner than he looks in his films. Well, my dear, it is really amazing what those wizards can do with makeup and costumes.
ANGELA
(blushing)
No, sir, you are very handsome even
if...
LARRY
Even if I am shorter than your 10 year old kid brother?
ANGELA
No, sir, I don’t have a brother. Please excuse me. There is no one in the outer office. Thank you for the champagne, Mr. Ross and it has been a pleasure to meet you, Mr. Sullivan.
Angela places her champagne glass on the table, turns, and leaves the office.
VICTOR
Larry, what’s the problem? This should be a very happy day for you, after all the time and trouble this suit has been.
LARRY
No, I’m very pleased with the outcome of the suit, not so much for the money as for having my proper credit. It’s something different. My mother died last week and it has got me to thinking.
VICTOR
Yes, I saw the obituary. But your mother was 95 and had been in failing health for some time.
LARRY
That’s correct. But it made me think of my son Frank that I have not seen in years. After my wife and I split up, he blamed me and we have never reconciled. I would like to change that but I don’t think he wants to see me. And I have heard from family that he could use help.
VICTOR
What kind of help are we talking about? You could certainly give him more money than he could ever need.
LARRY
Not money. He wanted to be an artist and was never successful. He envies my success in acting but I can’t get close to him.
VICTOR
Maybe I can help. Do you think he would accept help from you if he did not know it was you?
LARRY
Possibly, what do you have in mind?
VICTOR
I have had clients who needed or wanted to disappear, change their identity, for various reasons. Years ago I met a man with a business that enabled them to do this. The business was called Faces to Let. A catchy name but it is not in the phone book. If you wish I can contact him and put him in touch with you.
LARRY
Faces to Let? It sounds like some kind of bloody modeling agency. Let me think about it.
VICTOR
I assure you the name does not do it justice. They are really quite extraordinary.
LARRY
Alright, Victor, you’ve sold me. I can at least talk to them. And thank you, Victor, I appreciate your help, as always.
INT. LARGE PANELED OFFICE - MORNING, TWO MONTHS LATER
Victor is seated at his desk when his intercom buzzes.
BUZZ!
VICTOR
Yes, Rose, what is it?
ROSE (O.C.)
Mr. Sullivan is here to see you, sir.
VICTOR
By all means show him in,
Rose. And bring us the tea tray please.
ROSE (O.C.)
Yes, sir, right away.
Victor rises from the desk to welcome Larry. They shake hands.
VICTOR
Larry, you’re looking so much better than the last time you were here.
LARRY
I’m feeling so much better, thanks to you and the people you referred me to.
VICTOR
That would be ...
LARRY
Yes, Faces to Let. Do you have a few minutes?
VICTOR
For you, Larry, I have hours. Tell me all about it.
Rose brings in the tea tray and serves the men tea. Then she leaves and closes the door.
LARRY
(leaning forward)
You know my son Frank and I had been estranged for a number of years and I wanted to help him but I thought he would reject my direct approach. I was just going about my normal affairs until about a week after we had met.
FLASHBACK TO
INT. LIBRARY OF HOUSE - NIGHT
Telephone on desk rings. Larry answers.
LARRY
Hello.
Ambrose is seen standing in the dark next to a tree across the street from Larry’s house. He is speaking on his cellular phone.
AMBROSE (O.C.)
Good evening, Mr. Sullivan. Mr. Ross asked me to contact you about the hire or purchase of some cosmetic equipment.
LARRY
Yes, that’s right. When can we meet?
AMBROSE (O.C.)
Is later this evening convenient for you? Say in two hours?
LARRY
Yes, that would be fine. Where should I meet you?
AMBROSE (O.C.)
For this meeting it should be at your residence, otherwise, we should reschedule for another date.
LARRY
No, my place in two hours is fine.
EXT. DARK WOODED AREA ACROSS FROM HOUSE - NIGHT
Ambrose disconnects and places his phone in his inside pocket. He continues to stand in the dark and watch the house.
2 HOURS LATER
INT. ENTRANCE AREA OF HOUSE - NIGHT
Door bell CHIMES.
Larry goes to door and opens it. Standing outside is a nondescript man with a briefcase.
AMBROSE
Good evening, Mr. Sullivan. My name is Ambrose.
LARRY
Come in Mr. Ambrose.
AMBROSE
Just Ambrose, please. And thank you.
Ambrose carrying BRIEFCASE enters the door and extends his hand to Larry. They shake hands.
LARRY
Pleased to meet you, Ambrose. Come have a seat and we can discuss my desires and what you can offer. Let me take your coat. Ambrose removes his COAT an
d hands it to Larry who hangs it on a hanger in a cupboard of the entrance way.
INT. LIBRARY OF HOUSE - NIGHT
The two men enter the library and Larry indicates for Ambrose to be seated on a SOFA. Larry sits on a CHAIR facing the sofa.
LARRY
Can I offer you something to drink?
AMBROSE.
That’s very kind of you, Mr. Sullivan, but no thank you. I would like to explain to you the services we have to offer and then tell you what we would need from you.
LARRY
Fine, let’s proceed.
AMBROSE
Although the name may seem trivial, Faces To Let is actually quite a serious and thorough venture. We have been in operation for a long while and serve not only individuals and business but also various governments and their agencies. As we serve these governments we remain independent of them, but can call upon them for support services not available to many private companies. I will illustrate this in a moment. Our primary function is to offer changes of identity for various ranges of time, from one week to a lifetime. Naturally, the process for a permanent change is much more elaborate, and expensive, than for a short duration. Also, the short term changes are easily removed while the long term changes may involve difficult reconstruction. Do you have any questions?
LARRY
No, please continue.
AMBROSE
Have you considered for how long you would like to change your appearance?
LARRY
Initially I think a week or two should be sufficient.
AMBROSE
Fine. For that type of operation the changes are purely cosmetic and easily removed. We can easily make you a couple inches taller and make you appear shorter by just altering your posture. Similarly, simple stage prosthetics can add the appearance of weight. Certain clothing will make you look thinner. With cosmetics we can remove ten to twenty years of age but it is much easier to add age. Also, an older appearance generally attracts less attention to a person.
LARRY
I see. I think I would like to appear at least twenty years older.
AMBROSE
That should be no problem and we can possibly do it in a matter of a day.
LARRY
Is this done at my house or do I need to go someplace?
AMBROSE
All our interventions are done at our facilities as we must make certain medical tests to ensure there are no allergic reactions. On that subject, I would like you to list for me any medications you are taking and any allergies you have. Please complete this form for me now.
Ambrose takes a SHEET of paper on a CLIPBOARD from his BRIEFCASE and hands it to Larry. Larry takes a PEN from his pocket and begins completing the form.
LARRY
Does this include food allergies?
AMBROSE
Yes, it should include those as some cosmetics may contain components similar to those in foods you are allergic to.
Larry ticks boxes on the form and writes in some words. Then he hands the clipboard back to Ambrose who scans it quickly and returns it to his BRIEFCASE.
AMBROSE (cont’d)
That’s fine then. Communications. We will generally contact you on your telephone or cellular phone. We will not leave any messages. For you to contact us you must send a short sentence to an email address which I will send as a text message to your cellular phone. Anyone seeing this message and address will think it is a joke or spam. We will then contact you. As I said, we have government cooperation and consequently our communications are extremely secure. You should not be concerned about being recorded or overheard by anyone but us. I will give you a common nickname that you should always use with us. In this case we have chosen Lawrence of Moravia. It will sound like a joke to anyone who overhears it and you can explain it as a college nickname amongst friends. Money. You will pay us by having the required funds in your bank account. When we have agreed upon a payment, the funds will be removed from your account much as banks use verification systems for testing account links.
LARRY
You mean you just take the money from my account?
AMBROSE
Always after receiving your authorization. You are trusting us to perform operations on your body, possibly permanent. Surely, money is less important that physical alteration.
LARRY
Yes, I understand.
AMBROSE
Do you have any questions?
LARRY
No, not for now.
AMBROSE
Then I will be leaving. You can expect the text message within an hour and the price of the operation within a day assuming my colleagues approve of the medical information you have given me.
LARRY
Thank you, Ambrose.
AMBROSE
It’s been my pleasure, Mr. Sullivan. And by the way, Mr. Sullivan, all our representatives will identify themselves to you as Ambrose, even the women.
The men rise and walk out the door of the library.
INT. LIBRARY OF HOUSE - EVENING, THREE WEEKS LATER
Larry is seated in his lounge chair when his cellular phone rings. He answers the phone and he hears a new voice.
LARRY
Hello.
PHONE VOICE (O.S.)
Is this Lawrence of Moravia?
LARRY
Yes.
PHONE VOICE (O.S.)
The financial matters have been settled satisfactorily. I have just sent you a text message with an address you are to go to. If there are any critical drugs you require make a list of them and place it in your pocket. We will provide them. Carry nothing in your hands. You will stand next to a fire hydrant there and a limousine will arrive immediately upon your arrival. The driver will address you and you will get in the back seat. You must give your cellular phone to the driver. Bring no other electronics as they may be damaged. Is that clear?
LARRY
Yes, I understand.
The phone line goes dead and Larry hears the signal of an incoming message from his cellular phone. He picks it up and reads the message then turns out the lights and leaves the house.
EXT. STREET CORNER NEAR FIRE HYDRANT - NIGHT
Larry walks up to the corner looking at the street signs. He stands next to a fire hydrant near the corner. A large dark limousine pulls up in front of him. The passenger side window rolls down.
DRIVER
Good evening, Mr. Sullivan. Please get in the back seat.
Larry opens the back door and climbs in, closing the door behind him.
INT. BACK SEAT OF LIMOUSINE - NIGHT
The driver opens the partition
DRIVER
Please give me your cellular phone and any other electronic devices you have such as cameras, digital watch, calculators. They will all be returned to you unharmed. There is a mini bar in front of you. Please help yourself. There is a temperature control above you in case you are too cool or warm.
Larry hands his cellular phone and watch to the driver.
The driver closes the panel.
Larry feels sweat forming on his forehead and unbuttons his collar. He looks at the thermometer on the air conditioning control and turns the temperature down. The ventilators start to blow cooler air but Larry becomes drowsy and leans against the seat falling asleep.
INT. HOTEL BEDROOM - MORNING
Larry is lying on his back on a bed with his clothes on but his shoes removed. He slowly wakes up and sits on the side of the bed. There is a knock on the bedroom door.
KNOCK.
LARRY
(in a sleepy voice)
Yes, what is it?
ATTENDANT
This is room service. Would you like you breakfast served now?
LARRY
Yes, I would like that.
The bedroom door opens and a muscular young man brings in a tray which he sets on a table near the window.
ATTENDANT
If you would like anything else
, just dial 11 on your telephone. Ambrose said to tell you he would be along shortly.
LARRY
Thank you.
Larry goes to the table and eats the breakfast. As he finishes there is another knock on the door.
KNOCK.
AMBROSE, YOUNGER (O.C.)
Mr. Sullivan, this is Ambrose. May I come in?
LARRY
Yes, Ambrose, please come in.
Another young man enters. He is not the same Ambrose who visited Larry’s house.
AMBROSE, YOUNGER
Good morning, Mr. Sullivan. Did you sleep well?
LARRY
Yes, very well thank you but I don’t remember the trip here at all.
AMBROSE, YOUNGER
Yes, I am told you fell asleep in the car rather suddenly and had to be helped to your bed when you arrived.
LARRY
As I said, I don’t remember any of it. You are not the same Ambrose who came to my house.
AMBROSE, YOUNGER
No, I am not. Most of the people you meet here will be named Ambrose. It makes remembering names much simpler if there fewer names.
LARRY
(laughing)
Yes, I guess it would. But how do I differentiate?
AMBROSE, YOUNGER
Like you just did it, sir. You said the Ambrose who came to your house and I am the Ambrose who came to your room this morning. Now if we may begin your program. It will be quite a full day and we hope to have you home again tonight. If there are any medications you require that you did not list, please list them on this pad. You will find standard toiletries in the bathroom as well as a change of undergarments. In the closet is a sportswear outfit in your size as well as some leisure shoes. If you require anything that you don’t see, list it on the pad.
Ambrose hands Larry a pamphlet.
AMBROSE, YOUNGER)
This will give you all the standard information about our facility in the introduction. The second part tells the particulars of your treatment which will take place this afternoon. As you said earlier, it will be much easier to add 20 years to your appearance. You as an actor can probably alter your voice and posture to appear older, but we will give you some lozenges which will also age your voice for a few hours. You will be given a small cosmetic kit to take with you. It contains compounds in standard theatrical cosmetic packages but these compounds are more potent so please dispose of them after you have removed the exterior cosmetics from your body. We will also supply you with personalized prosthetics for your shoulders and midriff to give a more aged appearance. You may keep these or dispose of them as you wish. Now I will leave you to read. When you are ready for lunch, ring 11 on your phone. There is a menu on the bedside table from which you may order. I will return promptly at 1 pm.
Ambrose leaves the room and Larry begins the pamphlet.
INT. HOTEL BEDROOM - EARLY AFTERNOON
Larry has eaten lunch and the dishes are still on the dining table. There is a knock on the door.
LARRY
Yes?
AMBROSE, YOUNGER
It’s Ambrose, may I come in?
LARRY
Yes, let’s begin.
A woman in a nurse’s uniform pushes a covered cart in the door.
AMBROSE, YOUNGER
Mr. Sullivan, this is Jean. Jean is more than a makeup artist although she is very accomplished at that. She will make the arrangements to your face, neck, arms, hands, hair and any other areas which may appear uncovered. As the pamphlet explains, these changes will adhere for up to two weeks and are resistant to normal washing. The removal kit we will give you will restore you to your normal appearance.
LARRY
I’m pleased to meet you, Jean.
JEAN
Likewise, Mr. Sullivan. We will begin with your hair color so please dress yourself in the lounge ware we have provided. When you are ready, I will color your hair in the bathroom.
AMBROSE, YOUNGER
I will leave you now and return in a few hours.
LARRY
Thank you, Ambrose.
Larry goes to the closet and takes out the lounge ware and then goes into the bathroom.
INT. HOTEL BEDROOM – EVENING
There is a knock on the door.
LARRY
(hoarse, older voice)
Come in, come in!
A twenty year older Larry stands next to the dining table which has the remnants of a meal and an empty bottle of wine. Ambrose, YOUNGER, enters the room and smiles at the appearance of Larry.
AMBROSE, YOUNGER
I see Jean has done her usual excellent work. Are you happy with what you see?
LARRY
Well, Ambrose, I would not like to be like this forever, but for what I have in mind it is perfect.
AMBROSE, YOUNGER
And your dinner was satisfactory?
LARRY
The dinner was excellent as was the wine. That wine is one of my regular selections but tonight there was something special about it. It made me feel even better.
AMBROSE, YOUNGER
I’m most pleased to hear that, sir, and I will pass your compliments along to the cook.
LARRY
(laughing)
Whom I supposed is named Ambrose?
AMBROSE, YOUNGER
(laughing)
Well, no, sir, in fact the cook is named Gene
Both men laugh and Ambrose offers his hand to Larry.
AMBROSE, YOUNGER
I’ll will be saying good night and good bye to you now, sir. Your driver will be here in a few moments to take you to to your home. You have the kit for the removal of the effects when you wish. We hope your endeavors will be successful and look forward to doing business with you again in the future. You know how to contact us.
LARRY
Yes, I do. And thank you for your work.
Ambrose leaves the room and Larry collects his case containing the cosmetic removal tools and hangs it over his shoulder.
EXT. LIMOUSINE IN DRIVEWAY OF SMALL HOTEL - NIGHT
The driver walks next to Larry to the back door of the car. Larry climbs in the back seat. The driver climbs in the front seat with the separating panel open.
LARRY
This car is so hot inside.
DRIVER
Yes, sir, I’m sorry about that, sir. When these dark cars sit in the sun they tend to become warm inside even on cool days. Please set the temperature to a more comfortable setting. Please fasten your safety belt, sir.
EXT. ENTRANCE TO LARRY'S HOUSE - NIGHT
The driver holds Larry’s arm as they walk to the door. The driver is using a small torch.
DRIVER
I’ve taken the liberty to put your watch and your cellular phone back in your pocket, sir.
Larry searches his pocket for his house keys and opens the door.
LARRY
Ah, yes, thank you, driver. I’m still feeling a bit drowsy. It must have been the meal or the wine. I will just go up and go to bed.
BACK TO PRESENT
INT. LARGE PANELED OFFICE - DAY
Larry has just finished telling Victor about the change of his appearance.
VICTOR
So you had no problem with becoming older? Weren’t you concerned someone else might see you?
LARRY
No, I rose early the next morning and packed a suitcase for a week. Then I closed the house up and drove into the city and parked the car in a garage. I took a cab to a small hotel. I was just another old man with a suitcase. I took a small room and paid for everything in cash.
FLASHBACK TO
INT. SMALL HOTEL ROOM - DAY
Larry is sitting on the side of the bed and talking on the telephone.
Yes, that’s right. There is a courier delivery for Frank Sullivan but it cannot be delivered until 7 pm. If he will not be there to receive it, it will have to wait till another day.
Larry waits for the other party to r
eply. Larry nods and smiles as he listens to the telephone.
LARRY
Fine, then, please tell Mr. Sullivan the delivery will be made at 7 pm in the main lobby of his building. He should just wait at the guard’s desk. Thank you, good bye.
EXT. OUTSIDE LARGE OFFICE BUILDING WITH PLAZA - 7 PM
A DELIVERY MAN carrying a large envelope enters the lobby of the office building and approaches the guard at the desk. Standing in front of the guard is Frank awaiting the delivery. The two men speak and Frank signs a receipt for the delivery. He opens the package and removes a large book. He looks at the front and back and then opens the cover to see if there is any identification of the sender. Seeing nothing he returns the book to the package, smiling broadly. He takes his shoulder bag and leaves the building. After he has gone about twenty paces Larry emerges from the shadows behind him and approaches Frank from behind.
LARRY
Excuse me, young man, but you seem to have dropped this money.
Frank, in good spirits from having received the book, stops and turns to face Larry.
FRANK
What’s that? I dropped what?
LARRY
I saw this banknote fall from your pocket.
FRANK
(surprised)
Bu....t how could I have done that?
LARRY
I used to do it all the time. Someone gives you change for a larger note and you are in a hurry so you just shove the change in your pocket. Once my daughter was following me when I dropped both a five and a ten. Luckily for me she was there. There’s no telling how much I’ve lost all these years.
Frank accepts the note. He looks at it and then shoves it back in his pocket.
LARRY
I say, sir, there you go shoving it in your pocket so you can just lose it again. Better to spend it than to lose it I say.
FRANK
You’re quite right mister...?
LARRY
Rayburn, John Rayburn. Pleased to meet you mister ...?
FRANK
I’m Frank Sullivan. This is turning out to be a good evening for me, Mr. Rayburn. First I receive a wonderful gift from someone then I have twenty pounds that I would have lost returned to me. Care to join me for drink to celebrate?
LARRY
Well, I don’t mind if do, but I can only be a bit. I have an appointment for later.
EXT. URBAN STREET - EVENING
The men walk along and come to a bar which they enter.
INT. BAR – NIGHT
The men go to a small table and are seated. A waiter comes from behind the bar.
WAITER
So what will it be, gentlemen?
LARRY
I’ll have a pint of ale, please.
FRANK
Yes, the same for me, thank you.
So what is it you do, Mr. Rayborn was it?
LARRY
No, RayBURN like the prominent American politician from the last century. There is even a large office building in Washington with my name on it. Ha, ha.
FRANK
You were related to this politician?
LARRY
No, not that I know of. I was an engineer when I worked, but I’ve been retired quite a few years. Now I am a watercolor painter.
FRANK
Oh, an artist. That is what I would like to be, a sculpture.
LARRY
So you are a sculpture?
FRANK
(laughing)
No, I’m afraid not. I am an accountant. My father pushed me to do something that would earn me a good living so I became an accountant. But what I would have really liked to have done would have been was a sculpture, like Rodin.
LARRY
I see. Do you have any pictures of your sculptures with you?
FRANK
Yes, I have a few here on my cellular phone. But I am afraid the few sculptures I have sold have hardly paid for the materials much less my time.
Frank takes out his cellular phone and opens the picture viewer to a photo of a sculpture. He holds the phone out to Larry. Larry takes the phone and looks at the photo for a moment.
(LARRY
What is the size of this sculpture, Mr. Sullivan?
FRANK
It’s 35 centimeters, a little over a foot tall.
LARRY
There’s the problem, Mr. Sullivan. These days people are only willing to pay large sums for large objects, whether its sculptures or watercolors. That is unless you have a famous name, which at this point you don’t. But that can change. What you need to do is think on a grander scale. Let me show you what I mean.
Larry takes a WHITE NAPKIN from the table and a PEN from his pocket. He sketches on the napkin. Now let’s say this is your sculpture. You say it is a foot tall. Now let me draw in some people next to it, just stick figures but you get the idea, and a large building behind it. You see, your sculpture is now thirty feet tall, in the plaza before a large building.
FRANK
Yes, I see what you mean. But how do I get a commission like that?
LARRY
You take this photo of your sculpture which is very good but very small. You use some photo retouch software to draw in some models of people next to the sculpture as if the sculpture were thirty feet high. Then you find a photo of one of the more recent works by Raymond Borges, the architect. You place a very faint image of that building behind the sculpture and the people as if your sculpture were in the plaza. The building should only be slightly recognizable so Mr. Borges is attracted by his own work. I want you to change the surface of you sculpture to appear as though it were Carrara marble. Make a print of this picture and send it by overnight delivery to the office of Mr. Borges. Include a handwritten note saying that you had met a previous associate of his, myself, who thought the concept would be of interest to him for the plaza in front of one of his new buildings.
FRANK
But are you sure he will remember you, Mr. Rayburn?
LARRY
He may or he may not, but at least he will look at your picture and he will see something appealing in the background.
FRANK
(excited)
I will do just that, sir! Tonight. And how can I get in touch with you, sir, to let you know how it goes?
LARRY
(laughing)
There is no need for that. If it is unsuccessful, no one will hear of the sculpture or you. But, if as I suspect, it is successful, I will read about it in the press, and especially the journals on architecture and sculpture. Now I am afraid I must be going. Thank you for the beer.
FRANK
It was the twenty pounds you found that paid for it, so thank you, sir, and thanks even more for the advice and the reference. Good night, sir.
BACK TO PRESENT
INT. LARGE PANELED OFFICE - DAY
Victor and Larry are still seated talking.
VICTOR
How did you know about this engineer John Rayburn?
LARRY
There is no John Rayburn, or not in the sense that you mean. I made him up and gave him a name with enough recognition to an architect that he would think maybe he had known a John Rayburn and worked with him in the past.
VICTOR
And your son?
Larry leans over and takes an architectural magazine from his briefcase. He opens it to an inside article announcing the appointment of Frank Sullivan to provide the large plaza sculpture for Borges’s new building complex. A photo shows Borges with his arm around Frank’s shoulders and a large sketch of the sculpture and building on an easel next to them.
VICTOR
I am very pleased to see that. Now I guess you will return to your regular career?
LARRY
No, Victor, that exercise was most rewarding and I think with different appearances there are many other goals I can accomplish. However, some of them are going to require me to be more fit and have some rigorous training so that i
s what I am going to do for the next few months.
FINAL FADE OUT
******
About the Author
In his first life Max E. Harris was a computer system specialist living mainly in Houston but for periods in Scotland, Holland, Brunei and the even more remote wild lands of Sacramento, California. In his second life he moved to Como, Italy, where he walks in the woods with his dog Orso wondering what happens next. Harris wonders, Orso knows.
Confessions of a Drone Pilot -- Fiction of the Present and Near Future
Harris can be contacted at [email protected].
The Jeweler's Loupe Page 13