By Michaela Thompson
Florida transplant Georgia Lee Maxwell doesn't take to Paris in the beginning, even though she's no less than leaving a no-good guy and a hated task as a society editor. Now she's a Paris correspondent, thanks very much—a dream come real for any journalist.
There's only a mild down side—she arrives in freezing rain, will get stuck in a traffic congestion attributable to a bomb scare, and hates her house; however the genuine Bonjour is discovering herself face down on a museum flooring in the course of a theft. "Killed for a monotonous story!" she thinks. yet because it occurs, she isn't the one that dies. 3 terrifying masked gunmen shoot the unlucky protection guard.
They may have stolen the entire treasures of Monte Cristo's cave, in an effort to communicate, however it seems they've made off with just a reflect. precise, it as soon as belonged to the French seer Nostradamus, however it could be the museum's least worthwhile item.
Does it have a few prophetic skill? Does a person comprehend anything the gendarmes don't? Here's what Georgia Lee understands: If she unearths out first, she's a journalistic hero. If she doesn't, she's lifeless.
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Additional resources for Magic Mirror: A Parisian Mystery (Georgia Lee Maxwell, Book 1)
Example text
22. 16. 90 31 general unease in the American marketplace; the poor remuneration paid to domestic producers of series; and American co-producers’ fears of unofficial strike action. 96 Furthermore, many home-produced series had failed to achieve network status in Britain. ” 97 Lew Grade was well placed to ride this savage downturn. ITC derived the bulk of income from the distribution of American product whilst its reciprocal arrangement with Jack Wrather guaranteed the American distribution of two ATV-produced series a year.
16. 90 31 general unease in the American marketplace; the poor remuneration paid to domestic producers of series; and American co-producers’ fears of unofficial strike action. 96 Furthermore, many home-produced series had failed to achieve network status in Britain. ” 97 Lew Grade was well placed to ride this savage downturn. ITC derived the bulk of income from the distribution of American product whilst its reciprocal arrangement with Jack Wrather guaranteed the American distribution of two ATV-produced series a year.
44 In addition the savvier second feature producers streamlined their production strategies. J. Fancey’s Fantur production company were working to a three-week schedule. , “Nettlefold’s third stage takes shape”, Kinematograph Weekly, v. 29. 17. 27 respectively. 32. 21 By the mid-1950s more than two thirds of the generic corpus of cofeatures, second features and programme fillers were produced by fifteen production companies. However, not all studios or producers aspired to, or we able to aspire to, such advancements as those discussed above.