dancing with spies @Goddess
A tale of hidden pasts, sensual dances, and Cold War secrets reborn in Havana.
Francis Billingsley’s novel weaves espionage and romance into a world where every rhythm hides a mission—and every spy still remembers how it felt to fall in love.
ABOUT THE AUTHOR
Francis Billingsley
Francis Billingsley doesn’t write like someone trying to entertain you. He writes like someone trying to remember. With Dancing with Spies @Goddess, he invites you into a world where people talk in circles, flirt with danger, and cling to the last thing that made them feel alive. His characters carry history in their eyes. His dialogue—half-whispered, half-wounded—sounds like something you once overheard but weren’t supposed to. He doesn’t care for neat endings or perfect heroes. He cares about the truth, even if it hides in a smirk or a slow dance. His Havana isn’t a postcard—it’s a stage. And everyone on it is dancing toward something: revenge, forgiveness, maybe love. This story was never about spies. It’s about what we carry when the mission ends. Francis doesn’t just write that. He feels it. And by the time you finish the book, you’ll feel it too.
ABOUT THE BOOK
dancing with spies @Goddess
This isn’t just a spy story. Dancing with Spies @Goddess is a return to the kind of love that doesn’t disappear—even when everything else does. William Fagan, long out of the game, finds himself drawn back into a world he thought he left behind. Havana isn’t just beautiful. It’s complicated, full of movement, secrets, and people who still know how to lie with a smile. When Olga appears, a woman he once loved and never forgot, the rules begin to shift. In a dance studio wrapped in mystery, where every beat hides a message, William must navigate romance, danger, and unfinished business. Behind the laughter, behind the lessons, something else is unfolding. A plan. A mission. A truth no one wants to say out loud. This book moves with rhythm, breathes with tension, and aches with everything we wish we’d said. Sometimes, the dance never ends. And sometimes, it’s not just a dance.
“Way back, when he was called Frankie, the young lad in the circa 1957 Somers photo, it’s easy to understand even back then his hometown’s inspiration and influence. But now let’s fast forward to 2025 as the ACTOR MASTER SHOWMAN screenplay describes in Act Four a vaguely historic and far more fictional tale of 1826-27 Somers with Hachaliah Bailey returning home with his circus and screenwriter’s dreamed up circus entertainers. Soon, (imaginatively that is) on that July 4th, Hack will celebrate their arrival with a grand parade and Showman’s Ball at his landmark Elephant Hotel.”
However, there is a possible warning as to AMS (which won ten film festival awards for Best Unproduced Screenplay). You see ACTOR MASTER SHOWMAN (or AMS) contains African American slave portrayals that ‘may’ be unsettling for its 1820s time, especially as to fictionalized Charleston and Asley River, South Carolina material.
Still as mentioned later in the second half of the script, Francis describes the exciting and sometimes shockingly original Early American Circus fictionalized story inspired by the old hometown.
But now like a circus ringmaster might announce…
“Ladies and Gentlemen as to your further enjoyment and interest, celebrating its success, the writer includes ACTOR MASTER SHOWMAN on this website, available to read free of charge using [AMS Script] link.”
https://drive.google.com/file/d/1soRz-jp1K_DawgnwsVbe4rMcB_J6tbOc/view?usp=sharing