Franco's Fortune: Redemption Book 2
by Cara Marsi
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"When a female bodyguard is hired to protect a rich playboy, she finds saving his life is easier than protecting her heart."
When the past and present collide...
Somebody wants rich playboy Franco Callahan dead. When security expert Josephine Fortune arrives on his doorstep thanks to his sister Doriana, Franco finds it hard to refuse. He's had a secret attraction for the diminutive bodyguard since they met at Doriana's wedding five years before.
But attraction is all it is. Combat boot-clad Jo is not the kind of woman Franco usually loves and leaves. Which makes the ruse that Jo is his new live-in girlfriend just that until Jo gets a makeover. Suddenly seduction is on his mind and Franco has all the time in the world to pursue it—and Jo.
Martial artist Jo can take down men twice her size without blinking, but Franco's appeal outmaneuvers her emotional defenses. Jo's tough exterior hides a dark past, and Franco seems determined to learn her every secret. But he has secrets of his own.
The more Franco gets to know Jo, the more he realizes he needs her in his life, and not as his bodyguard. But as the threats to Franco escalate, Jo must use every one of her combat skills to protect him.
Can Jo keep both Franco and her heart safe, or will they pay the ultimate price for love?
Logan's Redemption (Redemption Book 1), Doriana and Logan's story
Luke's Temptation (Redemption Book 3), Anita and Luke's story
Discussion questions for Franco's Fortune: Redemption Book 2
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- 1
Jo is described as having a "tough exterior" that hides a "dark past." How does this juxtaposition define her character, and what challenges does it present for her personally and professionally?
- 2
Franco is initially portrayed as a "rich playboy" who "loves and leaves" women. How does his perception of Jo, and his pursuit of her, challenge or redefine his understanding of love and commitment?
- 3
The description mentions Jo getting a "makeover," which shifts Franco's perception from just attraction to seduction. What does this suggest about the role of appearance in shaping our initial judgments, and does the book ultimately subvert or reinforce these notions?
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