“I was able to get a trace on that phone number,” Dornan informed Martin as he bit into his swordfish sandwich.
“What phone number is that?” Martin wanted to know. He also wanted to
know why they had to park themselves in the corner booth of one of
D.C.’s finer restaurants every time Dornan had something to tell him.
“The number in the ad for the ’59 Caddy.”
“I’ll have to ask you not to refer to it as a Caddy. It’s a Cadillac.”
Dornan looked at him, obviously not understanding the difference. “It’s
a pre-paid cell phone. I’ll get the owner’s name, but I’ll lay eight to
five it’s a phony.”
“Just so we find the guy. I want that car.”
Martin wondered to himself how many times this guy needed to be told
something before it sank in. “I don’t care what his name is or what he’s
done with his life to date. I want that car.”
“What’s so special
about it? I’d think you’d have had your fill of old Caddys by now.”
Martin ignored the detective’s impertinence and changed the subject.
“When are you going to deal with Rrina?”
“Whenever she shows up again at her place.” Dornan signaled the waiter for another sandwich.
“What are you talking about? She’s there all the time. The woman hasn’t got a friend in this world.”
“You don’t have to tell me.” Dornan shot back. “I’ve been a cop for
longer than I care to remember and I’ve never had anyone talk to me like
that bitch.” Martin wondered if he should take offense, though he
certainly couldn’t disagree with the detective’s assessment.
“How long has she been away?” Martin figured the answer would be counted in hours.
“About a week now. You didn’t kill her, too, did you?”
“To tell you the truth, I’ve thought about it. I think we’re all better off just giving her mind a retread.”
Dornan nodded his agreement.
“Soon as she shows up, we’ll grab her,” Dornan affirmed as he finished off his third single malt scotch.
Martin was glad to see that, finally, the detective seemed to have gotten with the program.
How to Shoot a Feature Film in 15 Days (And Survive to See Profits)
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Examples of Responsive Reactions
Click photo to see example clips from Stephen's movies
Action/ReAction at Stella Adler
Point of Departure
A Series of ONE...
Stephen and Dragonuk
Stephen Mitchell webinar for Stage 32
Ferrari GTO 3987 at speed by Yan denes
Ray D. Shosay's Journal
Dispatches from a (junior) suite in Paris
Ray D. Shosay's Journal (excerpt)
"Saturday, January 27, 2007
They say you can fool some of the people all of the time. Accordingly, I think we should concentrate on this group initially. We can move on to the people you can only fool some of the time at a later date if we deem it necessary. I hope to hear back from my agent about this as soon as he's out of rehab, as I don't think my messages have been getting through."
Ignorance is Bliss by Stephen Mitchell
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Exerpt from Ignorance is Bliss
"Out of the corner of his eye, Martin saw Martha shift in her seat. She leaned forward, as though something was about to be decided. This caused her breasts to push up against the neckline of her dress in a way that couldn't be fully appreciated out of the corner of one’s eye. So, Martin turned his head to look directly into the abyss of her cleavage. He was vaguely aware that Murray was talking again."
Carrera Panamericana (1950-54)
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Ferrari GTO 3987
Elysée Wednesday: Drive!
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“You ought to meet Steve. The two of you have the same kind of Ferrari.”
Ferrari Berlinetta Lusso
One evening, I was enjoying a John le Carré novel and a glass of Bordeaux...
L'art de l'automobile
My first Lusso prior to restoration
It was only after Sinatra was gone...
Once upon a time...
Meeting Enzo Ferrari
I came across this on a late night stroll in Paris near the Louvre.
I bought Bentleys in England and Ferraris & Maseratis in Italy to re-sell in Los Angeles as a teenager. I met Enzo Ferrari, Juan Fangio and Steve McQueen. I 'grew up' on the set of Mission: Impossible and other episodic TV series of the era. For a few years, I owned a Ferrari GTO that is owned by Ralph Lauren today and valued at approximately $52M. I began my film career by writing, producing and directing Montmartre in Paris in French. I founded and ran a repertory company for film & TV for 20 years in Los Angeles. I created a TV series which had fans that included Marlon Brando. I authored the first new acting technique--Action/ReAction--that was not based on Stanislavski's Method. I am currently writing my third novel and shooting my spy thriller Exigence. If you can't make movies, live your life as though you were in one...