And thus it was that Tom Deedy came into our lives, and was destined to remain a part of them far longer than Anthony Whelan would. And RIVER STREET, when we finally got to read it in March, turned out to be nothing like what we’d imagined. It wsa, in fact, something like the mutant child of ‘Twilight Zone’ and ‘Twin Peaks’. Needless to say, we loved it, even if it was a little violent for our tastes. Tom Deedy wrote us his first letter on April 1st.
Dear Debora;
By way of introduction, I’m the knucklehead who cooked up the RIVER STREET series, Tom Deedy. Funny, my younger sister is named Debora. Sorry I haven’t written sooner, but life is ridiculously hectic here in the land of high taxation, Connecticut. One of my best friends lives in Aptos, near Santa Cruz. You might have heard of him; Paul Sanford, another knucklehead. Last July, he caused a bit of a ruckus at a White House press conference. We’re old college chums, used to play lacrosse and football together in college. I visit out there sometimes, so I’m sure we’ll meet.
In any event, hello, greetings and salutations! I’m assuming you’ve read some of the RIVER STREET material, and I hope you don’t think I’m a certified lunatic.
Much of my experience on the waterfront as been in New London, CT, the old whaling port, which in the 1840's was the second largest whaling port in the world. I staged original plays in the oldest tavern in town, a place where Eugene O’Neill threw up on the bar in the 1910's. A little known fact about New London is that Eugene’s famous father, a matinee idol of his day, once ran for Mayor. But I digress.
I haven’t had a chance to read your material. I want to say all the usual writerly stuff, but don’t want to bore you. You’ll find that I’m easy to work with. Anything that makes the story better is fine with me. Believe me, I’m always looking to make it tighter, stronger, more dramatic, more cinematic...whatever it takes to make solid tales with a beginning, middle and end. This series is going to take a lot of good writing. Well, let’s hope the financing comes through.
My day job is a stress-fest. I’m an inspector in the heavy construction/telecommunications industry. I slave for ATT (formerly SBC, and before that SNET) in Hartford, our capitol city. I’ve been there 10 years, and before that, worked every facet of road building and underground utility construction with my father’s company. I’m very used to dealing with blueprints which, in many ways, is what we’ll be making together among our group of writers...blueprints with characters and plots for the actors to sink their teeth into.
Well, I’m putting the cart before the horse. Let’s see if we get the funding, right? I hope you have a tremendous weekend, and feel free to call anytime.
Best Regards, Tom Deedy
I already liked this guy; he was a good writer, he was funny and he was twisted. My first letter to him was to be one of many.
Hello, Tom! So you’re a knucklehead, huh? We don’t think you’re strange at all...we’ve both read the pilot, and were delighted to find that you’re as weird as we are (when you have a chance to read some of our stuff, you’ll understand...)
We’re ready to start – the presentation to the investors is next week, and it looks good. Anyway, where do you see the series going after the pilot? Anthony has put me in charge of Concept Development and Sandra of Editing – Concept Development is what we did on Star Trek Deep Space Nine and Star Trek Voyager. I have always worked as a writer, mostly, except for high school when I worked in the box office of a regional theatre and college when I worked in Administration at San Francisco State. Sandra is the more experienced editor.
I have enclosed my biography following; Sandra will write to you separately and send her’s. We already have some ideas, but you will need to provide at least a sketchy idea of where you would like the first season to go – we can work on the specifics later. It’s going to be a lot of work for all of us, but we can do it!
We do get down to the Santa Cruz area frequently; we love the area and have close friends there. Probably, though, we’ll be meeting in Los Angeles during the summer – I know Anthony is planning to be here, and probably some more members of his staff as well.
Exciting stuff! I don’t know if Anthony has sent you any of our work to read, but I noticed you use Final Draft, as we do. What version do you have? Would you like to read something? Let me know!
Nice to hear from you!
Cheery bye, Debora
By the time Tom wrote to me again he had read my biography and the titles of my books and novels.
Hey Debora,
Just glanced at some of your book titles. I hope you’re into the rock and roll. I did some serious rock n rollin’ on the eastern seaboard during the 1980's and have lived to tell the tale. Do you know a band named THE REDUCERS from New London? They’ve played with my boys, THE RAMONES. How sad they’re all gone. I saw them over a dozen times. THE REDUCERS are some of my best friends in the world and are currently one of the hottest American bands in Japan. That’s what we did every weekend, man, go to rock n roll shows. Hence my sobriety. I haven’t had any alcohol in 19 years, and it’ll be 20 years on August 23, but fret not because I got every drop I was intended to get. In the wild years, we were rockin’ fools, saw Roy Orbison at Lupo’s Heartbreak Hotel in Providence RI, a bar that held 500 people, and when he broke into “Pretty Wonan”, it was like being in church. Patti Smith in Central Park in NYC was a very cool show...yup...Jerry Lee Lewis, Springsteen very early, Tom Waits, Bonnie Rait, Graham Parker, Commander Cody, Dr. Feelgood, all of ‘em, man. I should be dead a dozen times over. Music should play a very important role in our episodic saga, RIVER STREET. I always think of the line in the classic tune “I Don’t Wanna Hang Up My Rock n Roll Shoes” – people like to say I’ve got the devil in my soul, but that’s a bunch of shit, I just wanna rock n roll...all right, to work.
The remainder of this letter contained information regarding the pilot and first season layout of RIVER STREET. At the time Tom wrote me the letter, it wasn’t certain whether the series would be shot in the Eastern U.S. or in Ireland. Either would have worked, since there were major ports in both places. Anthony Whelan, of course, wanted to film in Ireland.
My response to him had to do both with his love of rock music, which I absolutely share, and the plans for RIVER STREET.
Tom;
This all goes pretty along the lines we were thinking except for a few REALLY twisted ideas we have that we’ll get into later, because...face it, we don’t even live on this planet, we just visit.
We did NOT get the treatment! Send us that, ‘cause we’re not getting all of the second half of your letter.
About my rock n roll past...very strange, indeed. It started when I was in high school and had already decided to become a professional writer – my cousin was a p.r. assistant for Bill Graham Presents. She allowed me to go to concerts and lie to people – tell them I was actually a graduate student at SF State – I mean, nobody wants to be interviewed by a 16 year-old, especially a rock star! My first two books were about San Francisco musicians and yep, I’ve met ‘em all, old and young. Some of the people I interviewed are dead now; they were about thirty years older than me!
I can’t drink alcoholic beverages – I’m actually allergic to ingested alcohol, can’t even have cough syrup with alcohol in it. So that was never a danger; even more remarkable for someone in the field so young, I’ve never taken drugs – not even smoked pot. This has more to do with my summer job in high school – I worked in the box office of a regional theatre in Marin County and saw a lot of drug problems from an early age; it was pretty alarming. I’ve lost two men I loved to AIDS – one of them when I was 28, because he was experimenting with heroin – his life is the subject of my film script, DEATH OF A SHINING STAR (it was approved for financing by Allied Artists in 2004, but that’s another story – Anthony has never forgiven the director on it for losing us that financing...).
My third book was published in England; I lived there in the mid-1980's, in London. It was about punk rock and New Wave, so yep, I knew THE RAMONES. Don’t know about your friends, but most of my experience came from the SF punk and New Wave scene...I left the business when I was 28 and moved on to fine arts and investigative journalism for about ten years before starting work in television and film – so Sandra and I came to it a little late, by Hollywood standards. That’s ok, we plan to make up for it! We’ve been writing novels for about 12 years now, together and apart...
Do send us that treatment!
Namaste, Debora Hill
Wondering where Frank Cmero went to? Oh, he was still around...still dicking around, I should say. He and Cathal were having some kind of a verbal sparring match regarding the financing of GO WEST, YOU IDIOT! On March 30th Frank wrote this letter to Cathal, not that we really understood it.
Cathal;
I’m not sure you know what I want from you regarding the loan contract. I will try to explain it again. I want to take a loan to finance the development. The lender is asking for collaterals. He wants the following as security for the loan:
“A first position security interest in all of the Borrower’s assets, but in no way limited to patents, copyrights, trademarks, film library, inventory, equipment and tangibles of any nature, now or hereafter owned or acquired by Borrower and/or its’ subsidiaries used in connection with Borrower’s business...”
I just wanted to know if I borrow the money from him under the above terms what implication it has to our rights as owners of the copyrights and future owners of the film. Is it going to have any negative impact on our negotiations with other investors? I know I can talk to my lawyer; however, he doesn’t specialize in the film industry and you have lots of experience in similar deals from the past.
Can we also offer the lender the position of Executive Producer? If yes, I believe it would be easier to negotiate with him and he might drop some of the above demands. I would appreciate it if you can send me your comments asap.
Regards, Frank
At least Cathal’s letter to Frank was a little easier to understand, a miracle when talking about our Irish cohorts.
Dear Frank;
ShadowHawk Films is the production company that will produce the script written by Lost Myths Ink with finances obtained by you. The investor will receive an Executive Producer’s credit along with a percentage of the profits made on the production. Also, as the investor he would own part of the copyright. Once your investor is willing to discuss an amount we can discuss the breakdown of layout. However, until you and he can agree upon this as borrower and lender we can do nothing more.
Regards, Cathal
On April 5th David Elliot submitted the RIVER STREET proposal to his investors. Cathal explained the process to us.
Hi, Deb;
David will have to submit the project to the Pyramid Film Group, and tell them that he is interested in producing the series. Depending on how strong they feel the project is going to be, they may part or completely finance it; then again, fearing the worst they may reject it. Should Pyramid pick up the project they will also request that one of the production companies involved in their list co-produce the project with United Film Productions International. I am sure you are aware that this procedure can take time. I am hopeful as I am sure we all are including David that we will receive the funds and that this project will go into production in the summer. I know the wait is a pain in the ass, but unfortunately there is nothing we can do about it.
Regards, Cathal
So there were two major projects in development, and there was little we could do to further them at that point. But we had nearly reached the end with both ShadowHawk and Frank Cmero; Sandra and I decided that if these two projects tanked like the ones in the past had, we would sever ties with both of them, cut our losses (which were becoming stupendous) and attempt to start over. That thought made me sick, gave me headaches and generally made me homicidal, but they’d all had enough time to come through. This was the last chance.
Even so, we thought it wouldn’t hurt to pursue other avenues. So on the 8th I wrote to Cathal.
Dear Cathal;
With everything that has been happening in the past week, I wasn’t sure Alan had a chance to talk to you about sending one or two of our scripts to David Elliott for reading. Now that the RIVER STREET material has been submitted to the investors, do you think he would have time to read for us?
We would like to start with FRUIT OF THE POISON TREE and DEATH OF A SHINING STAR, if you agree.
Cheers, Debora
After that, life became so much more confusing. If you think that’s not possible, you’ve never tried to work with people halfway round the world one way and halfway round the other way. In addition to River Street, Anthony decided to drag us into as many other projects as possible. Our own scripts seem to have fallen by the wayside for the present, which seemed acceptable at the time. The illusive David Elliot (yes, we had already started to suspect his involvement at any level, even with River Street). On the 10th we received this letter from Cathal,
Dear Debora,
When you first suggested this to Alan a few weeks back he arranged a meeting with Anthony and myself at which he presented a synopsis breakdown presentation that he felt I could forward to David Elliott. Pushing for success and always willing to do our best for the people we do business with I made this presentation to David, which included all of script synopsis.
David e-mailed back to say that his slate as full and that he had no interest in anything at the present time no matter how good it was. Responding to his mail I once again spoke very highly of Lost Myths Ink and it endeavours and asked David could he view and consider the materials within the next year. He asked me to speak with him again in September and I have a meeting already scheduled with Alan for early September in order to touch up the presentation before contacting David regarding. We are also currently reviewing what other options can be exploded.
From what I can see, David may sign River Street, we could have one or two animations signed up, Frank may finally could through with his new investor and we could be producing Go West, and Anthony and Saidbh are currently arguing with Eason's regarding the Irish distribution of at least one of your novels. This year is looking very good for us and I will gladly welcome all of these projects at once. Figures crossed that one of them happen quickly.
Anthony was still working on the marketing of our novels, but we weren’t ever very clear on what he was doing. On the 13th he wrote to me about an Irish distributor, which seemed strange since our distributor had a branch in England and worldwide distribution capability.
Debora,
Hope you had a pleasant weekend? Cathal mentioned in his e-mail this morning we have been trying to get Eason's which is the largest distributor of novels in Ireland to view your materials. After a face to face meeting today with Mary O' Donnell we have managed to get them to view and consider your materials. I will been sending a copy of Land of the Wand but will need two copies of our other three novels asap. Should Eason's decide to consider taking one or all of these novels we stand to make a large profit. Please put the novels in the mail as soon as you can and let me know if you want to add any information to the approach I will be making tomorrow by post.
Anthony.
The next day there were some strange circumstances surrounding the River Street production. At the time we thought the whole production was completely in the bag; what we hadn’t yet realized about the film industry was that the bag always has holes in it, and they’re difficult if not impossible to sew up before more erupt. If there actually was a David Elliott in our universe, he was clearly too smart to give too much power to ShadowHawk. Since ShadowHawk was our business partner, that was a little disconcerting. The first letter was from Anthony to Cathal. We didn’t really understand it when we received it.
Cathal,
You submitted River Street early this morning and just got an e-mail from Tyrone Pictures stating that they have no interest in River Street. They wish to bring nothing to the project and should it be picked up by Pyramid they will consider but will require terms and rights which will only lead to longer delays and possible legal disputes. I will look at another option and come back to you. I know David said in order for River Street to move into the next phase we need to do this quickly so I will asap respond.
Anthony.
I wrote back the same day to ask for clarification.
I don't think I'm quite understanding this. Why does David Elliott want another production company involved when you could do it yourselves? And why would you need them before Pyramid decides where to film? If they film in the states, you won't need an Irish production company...???
But Anthony had already decided he wanted to move River Street from Connecticut to Ireland. Never mind that the story and characters were uniquely American; Anthony wanted as much power and control as he could garner over any production whatsoever, and a production in Ireland put him on his home soil. His response to my query made sense on the surface, but was ultimately disturbing in its’ implication that the production was going to be controlled by a corporation in Japan.
Hi Deb,
We will be producing the series however Pyramid want a production company for them. Someone working directly for them. They haven't decided where to shoot yet so they want to see if we can recommend anyone for them for Irish production, and if not they will have to hire one of their partner companies to come in if they shoot here. We are going through a list today to see if any have interest. Ring me should you require more details.
Anthony.
It was clear that we had become demoralized enough to grasp onto anything. Frank Cmero was still working on the development money for GO WEST, but it seemed as far away as one of the outer planets at that point. So when Anthony came up with a new possibility, something that had nothing to do with our work but might actually make everyone some money we allowed ourselves to be pulled into it. We received this letter from Anthony on the 19th of April.
Tyrone Productions, Ireland largest television production company is looking for new and entertainment programs. They must be original and key strong. While we are considering this we are busy, busy with all that's going on. If you and Sandra want to development about three to five ideas based on a 300 word synopsis and not one word more we can submit them.
This can be for at least two part series to a complete drama series. If they accept it they will pay upfront fee for the scripts and then a fee for handing over. If you need more details please ring me.
Regards,
Anthony.
A few days later another letter arrived, with a completely different scheme.
Hi Gang,
I got an email today regarding an event that is taking place in England in July of this year. They are looking for an event coordination team who will provide on-location writing support. We have been given the chance to place a bid for the contract, and the lowest bid wins. It will be from a Thursday to a Sunday, arriving late Wednesday or very early Thursday and leaving on Sunday afternoon. Do you wish to be involved? If so please note that must add a flight cost and accommodation cost to your total as they only provide you meals. Please send the amount you are looking for, which I will add to our amount and forward to the event director.
Anthony
Upon consideration, we decided to turn down the latter offer. Flying coach class to London (nine hours from San Francisco) in order to work on a weekend event seemed like a losing proposition. Also, it was unlikely the people giving the event would be willing to pay for accommodations for three people from the U.S. when England has a huge pool of freelancers of their own to draw on.
We did submit a number of possibilities to Tyrone Productions which were rejected because they were not set in Ireland. I would have been nice to know that going in, but this was obviously one of Anthony’s problems; he never got all the facts about anything.
Anthony had taken to releasing a monthly newsletter. The May edition included this blurb about River Street:
ShadowHawk Films International have begun talks with Pyramid Entertainment for the production of Tom Deedy’s River Street series after they made a substantial offer this week. Plans to produce 14 one-hour episodes here in Ireland for the first series are being discussed. Over 300 cast and crew will be required for a five month period should the green-light be given. Pyramid Entertainment Executive Producer Yoshito Miyoshi said, “So far we are very interested in the River Street series. Over the next two months we will be speaking with ShadowHawk Producers and at this time we will decide the outcome. Exciting stuff.
We weren’t sure how Anthony convinced people in Japan that a series set in Connecticut should be filmed in Ireland, but it appeared he had done so. Or had he? Even at this late date, nothing seemed to be progressing, nothing was going right. It was all smoke and mirrors, and if there was any substance behind them we couldn’t find it. But as his sandcastle started to dissolve beneath him, Anthony’s need to organize everyone and everything around him came to the fore.
On May 2nd we received the following communication regarding River Street.
Hi Deb,
Just going to clear the air. David has approved and following and when we sign the contract it will be stated in full.
ShadowHawk Films will be the co-production company involved in River Street. David in partnership with Pyramid will create River Street Entertainment which will be the controlling body of the production. Pyramid will be the investing company and owner of the series and David will be the director of the company as well as the producer for the series. Through this company David will be hiring in contract with us. These are the onscreen credits as of now.
David Elliott Productions - David Elliott, Producer
Tom Deedy Productions - Tom Deedy, Created by, Written by, Directed by, Co-Producer
Lost Myths Ink:
Debora Hill, Executive Story Editor, Written by
Sandra Brandenburg, Senior Story Editor, Written by
Thomas Brandenburg, Associate Producer
Basically our contracts are with ShadowHawk Films, but instead of having all companies involved which would be an insurance nightmare it is going to be:
River Street Entertainment Presents, A ShadowHawk Films International Productions, “River Street”
Confirmed Writing/Story Department is:
Martin White, Co-Producer-responsible for meeting the deadlines of the producers and supervising script changes when in production.
Thomas Brandenburg, Associate Producer - responsible for helping Martin to do his job.
Tom Deedy, Creator/Responsible for writing at least four scripts and overseeing the development of the other ten.
Debora Hill, Executive Story Editor – Head of the Department, she is responsible for coordinating the development of the scripts.
Sandra Brandenburg, Senior Story Editor - responsible for editing complete scripts before they go to producers.
Anymore questions, please let me know. Thank you.
Anthony
Wow, that was impressive, wasn’t it? If Anthony had turned his minimal talent and intelligence to organizing a real business he might become a Vice President one day. As it was he just kept going, sending us more and more intricate communications during the month of May. The next was on the 8th.
Dear Colleagues,
I have had a meeting with Geraldine Whelan (a meeting with his mother? Must’ve been hard to set that one up) in relation to the operations of the network and would like to put forth the following information. As you all know, Whelan Enterprises is the corporate body for the network and we now feel that actions need to speak louder than words.
Hopefully starting this year we will begin having our yearly board meetings. At present the board is:
Anthony Whelan (Chairman)
Geraldine Whelan (Vice Chairman)
Cathal Byrne
Alan McNamara
Saidbh Byrne
Debora Hill
Sandra Brandenburg
The above will meet to discuss matters. In relation to contracts, Brian Tracy, Derek Furlong and Rosemary Campbell have the option to attend in relation to their businesses. If Brian does not attend, Cathal will control his sit (whatever that is supposed to mean), and if Derek and Rosemary do not attend, Alan will control their sits.
At this meeting each director: Cathal Byrne for ShadowHawk Films International, Alan McNamara for United Film Productions International and TV and Film Casting, Debora Hill and Sandra Brandenburg for Lost Myths Ink, Brian Tracy for Brian Tracy Recording Studio, Derek Furlong for DSF Design and Rosemary Campbell for A Thousand Faces International will be responsible for putting forth they suggests (I assume that was meant to be ‘their suggestions’) regarding improving their business within the network and overall network layout.
Once the director puts forth their suggestion they much (must?) Either have a majority vote or two yes votes and the supporting vote of the Vice Chairman, Geraldine Whelan in order for me to consider and give my final approval or disapproval as Chairman.
Outside of the boardroom I want to discuss command as we have a lot of upcoming projects and we NEED to land them. Cathal Byrne has been named Chairman of ShadowHawk Films International and Alan McNamara named his Vice Chairman. Alan McNamara has been named the Chairman of United Film Productions International, and Debora Hill has been named the Vice Chairman. Throughout the year these people are responsible for the running of each business. If either Chairman or Vice Chairman from SHFI or UFPI would like to make a command decision outside of the boardroom it is to be done as following:
Let’s say Alan McNamara wants to remove Saidbh Byrne as the director of legal and business affaris. He must have Debora’s approval. Just as Debora must have Alan’s approval for suggestions she makes. This also applies for Alan and Cathal. Should anyone of them ask their partner for approval and they reject, they can then go for a majority vote from the board, in which case I will have the final say. Please note that chairmen can request to have their Vice Chairmen removed, however Vice Chairmen do not have the right to request removal.
I am the only one who can change Chairmen and neither I nor Geraldine can be removed from our board positions as we have the controlling shares of the network. If any of the above is hard for you to understand please email or phone me. Thank you.
Positions are laid out as following:
Anthony Whelan
Chief Executive Officer, Whelan Enterprises
Managing Director of Operations, ShadowHawk Operations Group
Director of Operations, United Film Productions International
As CEO I work as the main producer on all of our projects, as MD of operations I oversee the operations of the company and finalize contracts. As director of operations for UFPI I work with the director of acquisition and distribution in securing product.
Geraldine Whelan
Chief Executive, Whelan Enterprises
Geraldine is responsible for the operations of Whelan Enterprises.
Cathal Byrne
Chief Executive Of Finance, ShadowHawk Films International
General Manager, ShadowHawk Animation Group
As chief executive of finance, Cathal is responsible for the overall budgeting and payments to the network and for negotiating prices. As the GM of the animation group he is the executive producer for overseeing new projects and bringing in new projects.
Alan McNamara
Chief Executive of Operations, ShadowHawk Films International
Chairman and Chief Operations Officer, United Film Productions International
General Manager, ShadowHawk Television and Motion Picture Group
Executive Director, TV and Film Casting
As chief executive of operations, Alan is responsible for developing the production of our network. As chief operations officer of UFPI he is responsible for overseeing the operations of the business. As GM of the television and motion picture group he is the executive producer for overseeing new projects and bringing in ew projects, and as the executive director of tv and film casting he controls the development.
Debora Hill
Chief Executive Officer, Lost Myths Ink
Vice Chairman and Director of Development, United Film Productions International
As the CEO of Lost Myths Ink Debora oversees the development of the business. As the director of development for UFPI Debora is responsible for providing Alan with business development plans.
Saidbh Byrne
President, Shadowhawk Administration Group
Director of Legal and Business Affairs, UFPI
As the president, Saidbh is responsible for the administration of the network and coordinates the legal and business affairs for UFPI as the director of legal and business affairs.
James Nolan
Executive Vice President, ShadowHawk Administration Group
As EVP of the group James is responsible for international marketing and for network billing.
Brian Tracy
General Manager, ShadowHawk Music Group
Executive Director, Brian Tracy Recording Studio
As GM of the music group he is the executive producer for overseeing new projects and bringing in new projects, and as the executive director of the Brian Tracy recording studio he controls the development.
Martin White
General Manager, ShadowHawk Management Development Group
As GM of the management development group he is the executive producer for overseeing new projects and bringing in new projects.
Sandra Brandenburg
Chief Operations Officer, Lost Myths Ink
Director of Acquisition, UFPI
As the CEO for Lost Myths Ink, Sandra works with Debora in developing the business. As the director of acquisitions, Sandra works with the director of operations in securing product.
Thomas Brandenburg
General Manager, Lost Myths Ink
Director of Distribution, UFPI
As the GN of Lost Myths Ink, Tom is responsible for running the business and as the director of distribution he oversees international distribution with the director of operations.
Derek Furlong
General Manager of Design, ShadowHawk Management Development Group
Executive Director, DSF Design
As GM of design for the management development group Derek is the executive producer for overseeing new projects and bringing in new projects, and as the executive director of DSF Design he controls the development.
Rosemary Campbell
Executive Director, A Thousand Faces International
The above are the key directors of our network. I have said it a million times before and I will say it again. We have the ability to succeed and we are going to. I now expect everyone to perform in the roles they have above and should they fail to do so, we will need to look at the situation as one person failing causes problems throughout the network.
People within our network have suggested that ShadowHawk is the cause of a number of losses. We in our operations can and will have materials sent to any possible investor. However, there is only so much we can do and the rest is up to the guys with the money. No possible production opportunity has not been looked at. I feel if we work together we will succeed in our overall objective. Please contact me if you wish to discuss anything within this email. Thank you.
Sincerely, Anthony Whelan, CEO
We realized immediately that the last paragraph referred to us. We were beginning to seriously question Anthony’s abilities and possibly his sanity. There was another letter that same day (we would later realize Anthony had no time to do anything except write these letters, day and night).
- Log in to post comments