FREE SAMPLE CHAPTERS OF A NEW SUSPENSE NOVEL.

These two sample chapters are from the novel Box Cutter Killer and are used for these promotional purposes only with permission by the publisher; Wheelman Press.  This material is under copyright (2013) by Curt Wiser and all rights and restrictions still apply; any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review.

     This is a work of fiction.  Any resemblance to persons living or dead, or any similarity of events depicted herein to real life incidents, are purely coincidental.

  [ There are some formatting issues in this posting, I apologize and will work to correct it. ]

        CHAPTER 14

I am jostled out of sleep, my cell phone rings on the coffee table.  I hear some generic version of a pop song that I hate.

_{That’s the ring tone I use for any calls that come from numbers not}

programmed into my phone.

I close my eyes, the bright morning sun pierces through my eyelids.  My head aches and all I want to do is go back to sleep.  I turn on my side, nestle my face into the back of the couch.  It doesn’t _{do any good.  That damn phone is still ringing; it vibrates so hard that it} moves up against one of the empty beer bottles, it lets out a high pitched jingle.

I don’t want to answer the phone, everyone knows not to call me this early.  Fine, I’ll just get rid of this, turn my ringer off and pass out in my bed.

_{“Hello,” I answer.} 

“It’s time to wake up,” The Caller says.     The Caller’s voice, his voice is strange.

It sounds altered, like a voice on TV when they interview someone who wants to conceal their identity.

“If you’re a fox maybe.... who is this?” I ask.

I recline on the couch and rub the sleep out of my eyes. “Someone who enjoys watching you,” The Caller says.

I sit up, that gave me the chills, the way he said it.  Don’t hang up Ges.

This has to be that deranged client of mine.     The guy who threatened to kill me.

_{“You’re going to have to be more specific man, I’m popular in}

that regard,” I say.

Need to know who this is, this could be my only chance.     “My, what a pretty voice you have,” The Caller says.

Wish I could say the same for you buddy, he sounds like a robot on crack.

_{“I’m hanging up now,” I say.}

“That would be a mistake,” he says urgently.       On my feet now, I’ve had enough.

_{“Give me one reason?” I ask.}

“I’d ask what you’re wearing but I can see for myself,” The

Caller says.

I look all around the living room.  Nothing is out of place, no sign of break in.

“Don’t believe you,” I say.

This is just some prank; he’s just trying to scare me.  I’m not scared, don’t give him anything he wants.

“Pink and white elastic pants and a ‘Screw U’ T-shirt,” The

Caller says in his deep voice.

I’m scared now, try to contain it Ges.

My shirt has a design with the letter ‘U’ and a giant screw going through it.

How could he know that?

Quickly, I move to my front door and check the dead bolt.     It’s locked.

The Caller laughs.

I listen closely as I stand by the door, motionless.

“Do you know how easy it is to bump a lock?” He asks.

I am against the wall now, in the narrow passage by the front door. Think Gessica. He can see you, how?

What the hell does he want and why would he call me like this to get it?

_{Brace yourself.}

You have to be prepared for anything. Because anything can surely come.

_{My baby.}

I run as fast my legs can manage toward the baby’s room.

In the commotion it’s hard to hear my phone but it sounds like he’s laughing again.

I near the open door to the baby’s room.  Baby Girl is there, she is alright.

The window in the room, good, it’s locked.

My baby sleeps soundly, completely innocent and unencumbered.    What now?

“I always wanted to ask you girls,” The Caller says.

I have to check the windows in the living room, make sure the place is secure.

“I see that you have the word ‘GIRL’ printed on the ass of your pants,” he says.

I enter the living room and reach down toward my butt.  I can feel the smooth lettering that is ironed into the back of my sweatpants.  The soft

_{thick cotton material of the pants set the letters apart.}

“Is the point of that to get strangers to look at your ass, or do you think putting it there is the only way they’ll get the message?” The Caller asks.

I stare out the large sliding glass doors that lead to the patio, the blinds are wide open.  All I can see is a vast grass field and the wide enclosure of woods.

It is one giant green void with patches of darkness between the trees, too many to count.  If he is out there, he could be anywhere.

“What no reply?” The Caller asks.  “That’s right,” I answer back.

“You’ll learn to obey me soon enough,” he says.

Calmly, I step back further into the living room.  This way I’m not in plain sight from that patio window.

“How did you get my number?” I ask.

“They say the best thing about the internet is also the worst, anyone can use it,” The Caller says.

Maybe this guy is not really out there.  He could have put cameras in here somehow.  I could get my daughter, drive off in my car and go straight to the police.

He may have messed with my car.

It could have cinder blocks for wheels.

Only one way to find out.

I walk toward the front door.

I reach out to unlock the dead bolt.

“Don’t touch that door,” The Caller says so loudly it distorts the sound of his voice even more.

_{I retract my hand and turn around.}

How did he see me?

I can see out the sliding glass doors from here, that must be it.         I cannot take this anymore.

This vulnerability, the not knowing what’s really going on here.

He has full control over this situation.     It’s time to change that.

_{You can do this Ges.}

Do it.

I charge for the glass doors so I can close the blinds.

Then I’ll grab the cordless house phone and call the cops from my baby’s room to make sure she’s safe.

_{I fumble with the long plastic rod to shut the blinds.}

Got it, I start to slide the blinds to the left to close --

-- I hear the muffled sound of a gunshot.

 I dive away from the window, shards of glass fall around me.          I hear everything and feel nothing.

Is this me on the floor?

Can this really be happening?

     A single shiver runs from my neck down my spine.

My heart beats so fast I can feel the blood course through the arteries on the sides of my neck.

This must be what they call fight or flight.  I remember learning about it in tenth grade health class but never thought I would be forced to experience it.  The whole thing about it making time slow down is bullshit.

My cell phone sits on the carpet about a foot in front of me.

I turn my head to look back; the slats of the blinds are open and only cover part of the window.

The sliding glass door on the left is shattered.  Jagged sections of the glass still cling to the corners of the frame.

The blinds sway back and forth, they make a soft clapping sound as they knock into each other.

    Well now I know he’s armed.  So I better move my ass.  I’m not scared anymore, I’m terrified.  Try to contain it Ges.  At least you’re still alive.  

     CHAPTER 15

I grab my cell phone off the carpet as I go into a crouching position against the wall to take cover behind the mini fridge.  My hand trembles as I bring the phone to my ear.

_{“That almost scared the silicone out of ya’ didn’t it sweetcakes?}

The Caller asks.

“Why are you doing this?” I ask.

“Glad you asked, would you be interested in changing your internet provider?” He asks with a laugh.

My mind races.  My whole body feels supercharged, like I could run a marathon but I can’t go anywhere.

_{“If you want to live, listen carefully to my rules,” The Caller says.} 

I stand, my back slides against the wall. “Rules?” I ask.

I don’t believe I’m hearing this.

Two loud clicks echo in my ear from the other end, it’s the unmistakable sound of a rifle cocking.

_{“I thought I said listen, see that’s when I talk and you don’t,” he says.}

I swallow instead of speaking. My throat is dry, probably from all that beer last night.

“First rule, all the blinds stay open,” he says.

The Caller’s ominous voice is still altered, guess I’ll have to get used to it.

I feel something, not pain but some sense that I’m hurt.

“You had to learn that one the hard way, consider it a warning shot,” he says.

Then I see it, I look down in a state of shock.  A cut about the length of a clothes pin runs diagonally across my upper right arm.

“Second, you can’t hang up on me until the game is over,” he says.

It’s a thin wound, the bleeding isn't too bad.  I see what looks like a small piece of glass wedged into the bloody bit of exposed skin.

My eyes are fixed upon the cordless phone sitting in a charger on the pass through counter of the kitchen.  The phone sticks up at attention waiting for me to grab it.  I move for it.

“Third, slide that cordless phone in front of the window,” he says.

The Caller said that the instant I grabbed the phone.  I’m standing in front of the large dining room window.  It’s like I’m living in a glass house.

_{“Do it now,” The Caller says forcefully.}

I slide the house phone on the dining room table then raise my free hand and step away from it.

That’s it, let him think you will play by his rules.  He’ll let his guard down, then you’ll get your chance.
      _{“That phone stays there as long as you’re not on it.... and yes,} I'll ask you to make some calls with it,” The Caller says. He’s enjoying this; I can hear it in his voice.

“The last rule, the game is not over until you call all of your

ex-boyfriends since high school and confess the ways you used and manipulated them,” he says.

“What?” I reply.

“If you succeed and they don’t hang up on you, I’ll leave you alone and you can call the police,” he says.

“Maybe I’ll just call them now,” I say.

I look down at the phone, ready to grab it and duck under the table.

“The best response time is four to six minutes,” The Caller quickly adds.

_{My attention turns to the window in front of me and The Caller’s voice.}

“I can break in there and take care of you before they’d even be on the way, besides; you wouldn't want to leave your baby motherless would you?” The Caller asks.

That shakes me to the core.  I stand there, my mind and body are filled with violent rage.  I wish this guy was in front of me, right here, right now.

“Hello, you still with me?” He asks.

      “Stay the fuck away from my child,” I yell.

I move up to the window as if I was face to face with him.  The bright sun constricts the pupils in my eyes, I’m wide awake now.

_{“And in rare form I see, do you have any questions before we}

begin?” He asks in a calm composed tone.

“Yeah just one, why me, why are you doing this?” I ask.       “That was two questions,” he says.

_{I hit the glass window, hard.}

“Talk,” I say.

“I picked you because you made yourself available, you’re not exactly an introvert,” he says.

I start to slump as my captor’s voice continues, he does not stop.       “As for why I’m doing this, I hope you’ll learn that on your

own,” he says.

Okay Ges, you just have to stay strong.        “Now, let’s make some calls,” he says.

[ END SAMPLE ]

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            Box Cutter Killer is Published by WheelMan Press.

ATTACHING TALENT TO YOUR SCREENPLAY

     “Sure you can attach me,” she says.  Now, if you do not work in film or television this attachment business might sound like a parasitic relationship; it is far from it.  Being able to mention recognizable actors who agree to play a role in your script is usually a game changer and I would add by saying the casting process is the most important part of producing any performance driven art form.  The best writing in the world could fall flat if it is put in the wrong actor's hands, but a talented, dedicated actor who is the right fit for a role can elevate any lofty script to even greater heights.  It is ultimately up to the actors to make the story believable, that is their craft, the seamless magic trick that never ceases to amaze an audience when it is done right.  I have witnessed this myself.  When I was behind the camera and watched actress Erin Nicole Cline cry on cue during the most dramatic scene in Cam-Girl; a thriller that I wrote and directed.

     There is a larger truth at work here; the first thing most distributors look at when they consider a film is which actors are in it.  Can we sell this movie?  That is a distributors primary concern and one of the easiest ways to achieve these results is by having the iconic face and legendary name of a known actor on the cover of a DVD case or movie poster.  All you need to do is browse the shelves of a retail store or look closely at the movie posters as you walk toward the box office of your local movie theater before you plunk down twelve dollars for your ticket.  These actors along with the title; become the brand of the movie.  In some ways we benefit from the power these stars have.  Do you think a film like Fight Club would have been made if Brad Pitt was not in it?  Whether independent filmmakers choose to except this or not, your casting choices carry a lot of weight.

     That is why when it came time to start casting actors for my Romantic Comedy spec script 30 Night Stand, I wanted to find an actor or two who was not only perfect for the part but also had some name recognition.  The lead role of Sheila seemed like the best place to start because it is the sort of complex and interesting character an actor would want to bring to life.

30 Night Stand is about a woman who is cunning enough to turn a one night affair into an opportunity to live with a man rent free.

So who did I seek out to attach to this screenplay?  I was able to get the script to Annika Marks through Sarah Okun; the make-up artist who worked with me on Cam-Girl.  Sarah knew Annika from another production and I am thankful for that because Annika not only agreed to play the part but also gave valuable notes on the script that improved the story.  It can sometimes be hard for writers to take notes but when you get truly valid suggestions as I did, that is the best part of having someone else read your work and giving their objective point of view.  They can sometimes show you something that was right in front of your face the whole time.  It is the job of the writer to take that observation and come up with a creative solution that adds to the characters and the story.  After a re-write the 30 Night Stand script is in great shape and Annika Marks said I could officially attach her to the production.  Annika Marks is best known for her roles in films such as The Sessions and Mona Lisa Smile.  The Sessions is a critically acclaimed film based on the true story of Mark O'Brien; a poet-journalist who seeks out a sex therapist to show what his body is capable of because he is paralyzed and confined to an iron lung since childhood.  Annika Marks won an Audience Award along with the rest of the cast when it screened at the Sundance Film Festival where it also earned a Special Jury Prize.  Helen Hunt was nominated for an Academy Award as best performance by an actress in a supporting role.  Even though Annika Marks's character was not the focus of The Sessions; she clearly made a lasting impression as her character.  Alexandria Symonds of Interview Magazine put it this way; “It's a credit to Marks, whose career to this point has mostly been in theater, that she's able to find the subtleties in her character: she portrays Amanda as a conflicted, whole human being even as she is Mark's fantasy.”

     Attaching Annika to this project was only the beginning; months later I was thinking about who could possibly play the Sister of Annika's character and then an idea hit me.  Annika Marks has worked on the short film Skypemare; which also starred Horror icon Cerina Vincent (Cabin Fever).  When I brought up the idea to Annika that Cerina would be great for it, she agreed and got me in touch with Cerina.  Now Cerina Vincent has joined the cast and I am feeling better than ever about the possibilities of 30 Night Stand and what lies ahead.     

     Filmmaking is all about getting those small victories, sometimes they are hard earned or just dumb luck but if you have enough of these come together you will end up with a great movie.  There are many more decisions that need to be made before we go into production; like casting an actor to play the male lead for instance, yet I am looking forward to it because of the endless possibilities they hold.

- Curt Wiser is a filmmaker, animator and author, his suspense novel Box Cutter Killer is published by Wheelman Press.