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«Licence Renewed», John Gardner

In memory of Ian Lancaster Fleming


I would like, especially, to thank the Board of Directors of Glidrose Publications Ltd, the owners of the James Bond literary copyright, for asking me to undertake the somewhat daunting task of picking up where Mr Ian Fleming left off, and transporting 007 into the 1980s. In particular, my thanks to Mr Dennis Joss and Mr Peter Janson-Smith; also to H.R.F.K., who acted as the original 'Go-Between'.

We have become so used to James Bond gadgets which boggle the mind that I would like to point out to any unbelievers that all the 'hardware' used by Mr Bond in this story is genuine. Everything provided by Q Branch and carried by Bond — even the modifications to Mr Bond's Saab — is obtainable on either the open, or clandestine, markets. For assistance in seeking details about such equipment I am especially indebted to Communication Control Systems Ltd and, more particularly, to the delicious Ms Jo Ann O'Neill and the redoubtable Sidney.

As for the inventions of Anton Murik, Laird of Murcaldy, only time will tell.

1981, John Gardner


Passenger for flight 154

The man who entered the airport washroom had light hair, cut neatly to collar length. Stocky, and around five feet three inches in height, he wore crumpled jeans, a T-shirt and sneakers. A trained observer would have particularly noted the piercing light blue eyes, above which thin brows arched in long curves that almost met above the slim nose.

The man's face was thin in comparison with his body, and the complexion a shade dark in contrast to the colour of the hair. He carried a small brown suitcase, and, on entering the washroom, walked straight towards one of the cubicles, stepping carefully past a dungareed cleaner who was mopping the tiled floor with a squeegee, though without enthusiasm.

Once inside, the man slid the bolt and placed the suitcase on the lavatory seat, opening it to remove a mirror which he hung on the door hook before starting to strip as far as his white undershorts.

Before removing the T-shirt, he slid his fingers expertly below the hairline at his temples, peeling back the wig to reveal close-cropped natural hair underneath.

With a finger and thumb he grasped the corner of his left eyebrow and pulled, as a nurse will quickly rip sticking plaster from a cut. The slim eyebrows disappeared together with what seemed to be some of the flesh — leaving black, untrimmed, thick lines of natural hair in their place.

The man worked like a professional — with care and speed, as though he was trying to beat a clock. From the suitcase he took a canvas corset, wrapping it around his waist, pulling tightly at the lacing, giving the immediate twin effect of slimming the waistline, and an illusion of more height. Within a few seconds the latter illusion was strengthened. Carefully folding the jeans and T-shirt, the man pushed his socks into his abandoned sneakers, and pulled on a new pair of dark grey socks, followed by well-cut lightweight charcoal grey trousers and black slip-on shoes, into which were built what actors call 'lifts': adding a good two inches to his normal stature.

Adjusting the mirror on the door, he now donned a white silk shirt, and knotted a pearl grey tie into place, before opening an oblong plastic box that had been lying — held in place by the shoes on either side-directly beneath the corset, socks, trousers and shirt, in the suitcase.

The plastic box contained new components for the man's face. First, dark contact lenses, and fluid, to change those distinctive light blue eyes to a deep, almost jet, black. Next, he inserted small, shaped foam rubber pads into his cheeks which fattened the face. While they were in place he would not be able to eat or drink, but that mattered little compared with achieving the desired effect.

The piece de resistance was a tailor-made short beard and moustache, sculpted from real hair on to an invisible, adhesive, Latex frame — genuine bristles overhanging the flexible frame which, when he set it correctly in place on his chin and lower lip, gave the impression of complete reality, even at very close range. The beard had been made specially, in New York, by an expert who dubiously claimed distant kinship with the famous nineteenth-century Wagnerian singer, Ludwig Leichner, inventor of theatrical greasepaint.

The man smiled at the unfamiliar face now looking back at him from the mirror, completing the new picture with a pair of steel-framed, clear-glass lensed, spectacles. Leichner's unproven relative apart, the unrecognisable person looking out from the mirror was a make-up expert and disguise artist in his own right. It was part of his stock-intrade — probably the least lethal part — and he had studied under top men and women in Hollywood, as well as being almost encyclopaedic in the personal knowledge he had culled from all the famous works, such as Lacy'sArt of Acting,the anonymousPractical Guide to the Art of Making Up, by 'Haresfoot and Rouge', and the other standard works by Leman Rede, С. Н. Fox, and the great S. J. A. Fitzgerald.

Now he closed the oblong box, removed a jacket, which matched the trousers, from the case, filled his pockets with an assortment of items-wallet, passport, travel documents, handkerchief, loose change and notes — and took a final look at himself in the mirror. He then packed everything with extreme care, clipped a gold digital watch around his left wrist and removed a final item from a pocket in the lid — a tightly fitting cover, which, when slipped into place over the suitcase, gave it an outer skin: changing the colour from brown to a glossy black. Lastly, he closed up, slid the new skin around the case, and spun the numbered safety locks.

Taking a final look around, the man checked his pockets and left the cubicle, completely unrecognisable as the person who had entered. He walked straight to the exit, then out, across the concourse, to the check-in desk.

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