Danger in Plain Sight
by Burt Weissbourd
on Tour June 1-30, 2020
It took fourteen years to construct a safe world for her and her son–and only one night for her ex to unravel it.
Celebrated Seattle restaurateur Callie James is more than a little thrown when her ex-husband, French investigative reporter Daniel Odile-Grand, shows up after fourteen years asking for her help. Even more disturbing: as she throws him out, Daniel is deliberately hit by a car, hurled through the front window of her restaurant–broken, bloody and unconscious. He flees from the hospital and breaks into Callie’s apartment, where he passes out. Reluctantly, Callie hides him. When she gets back to her restaurant, two assassins walk in, insisting that she find Daniel for them by tonight or pay the consequences.
Overwhelmed and hopelessly out of her depth, Callie hires the only man she knows who can help her: Cash Logan, her former bartender, a man she had arrested for smuggling ivory through her restaurant two years earlier, and who still hasn’t forgiven her.
The assassins blow up her restaurant. It’s Callie’s nightmare. And the worst is yet to come as she and her unlikely, incompatible ally discover that the most perilous dangers are far closer to home than they’d imagined.
Published by: Blue City Press
Publication Date: September 8th 2020
Number of Pages: 224
ISBN: 1733438211 (ISBN13: 9781733438216)
Series: A Callie James Thriller, 1
Purchase Links: Amazon | Barnes & Noble | Goodreads
Burt Weissbourd is a novelist and former screenwriter and producer of feature films. He was born in 1949 and graduated cum laude from Yale University, with honors in psychology. His book, Danger in Plain Sight, published on May 15th 2020, is the first book in his new Callie James thriller series. His earlier books include Inside Passage, Teaser, Minos, and In Velvet, all of which will be reissued in Fall 2020.
How Screenplays and Movies Influenced my Novel Writing
KLUTE – an example
Between 1975 -1987 I was a film producer in Hollywood. My initial focus, and eventually my specialty, was developing screenplays. I worked with writers whose work grabbed viewers viscerally, not with explosions but with multi-dimensional characters that would draw you into a deeply moving story. I spent countless hours working out the stories and shaping the people in them. I worked with the following screenwriters, some of their most famous works noted in parentheses: Frederick Raphael (“Two for the Road”), Alvin Sargent (“Ordinary People”, “Julia”), Andy Lewis (“Klute”), Joe Esterhas (”Basic Instinct”), Ron Bass (“Rain Man”), Stewart Stern (“Rebel Without a Cause”). William Wittliff (“Lonesome Dove,” Raggedy Man”), Larry D. Cohen (“Carrie,” “Ghost Story”), etc. These writers’ film credits are for identification purposes with the exception of “Raggedy Man” and “Ghost Story,” as I did not work on these films.
I’ve just finished my fifth novel. All are character-driven thrillers. I love to write well drawn, complicated people who eventually are able to do unexpected things. I learned to do this from working on screenplays and studying movies. I’d like to describe one movie and screenplay that profoundly impacted me:
KLUTE — screenplay by Andy and Dave Lewis, directed by Alan Pakula, starring Jane Fonda and Donald Sutherland
People still argue about whether KLUTE is a thriller or a love story. The answer, I believe, is both, and it makes my point about character-driven stories. In KLUTE, Jane Fonda (Bree Daniels) is a conflicted call girl trying to change her life. Donald Sutherland plays a small-town police detective, (John Klute), who is trying to find a missing man, a friend, from his town who was one of her clients. Eventually, the detective learns that his friend was killed, and discovers that the killer is stalking Bree. That’s the entire plot. What grabs you, makes you care viscerally about the outcome, and is finally deeply moving, is the growing, often ambivalent relationship between these two people. The director, Alan Pakula, is also very psychologically minded and between him and the writers, they manage to keep the tension, the frustration between them, even the angry clashes, grounded in their respective emotional realities. The encounters between Bree and her therapist still set the standard for meaningful, authentic treatment interactions in film.
Their evolving relationship is multi-faceted and at one point she fights with him and goes back to her pimp. By then, you’re routing for her getting together with this small town, soft-spoken, very smart and sensitive detective. By then, you’ve understood that she’s also very smart and becoming more and more self-aware as she struggles to get out of the call girl life. In the end, he saves her life when the killer attacks her. The final scene has both of them in her apartment. She’s packing up to go with him back to his small town. There’s no certainty that they’ll succeed together, but the audience is hoping mightily that they will. The reason you feel that they have a chance is the way they’ve grown, learned, separately and together about each other and what they both know that they could have together. This self-knowledge is earned the hard way, and this hard-earned character development gives us hope for their life together. I did not work on the screenplay for Klute, but I worked with Andy Lewis on four other screenplays, and in every single one he pays the same careful attention to the people.
Working with screen writers was a great experience. As a producer developing a screenplay, you learn to look for stories with strong, complex characters and a “rich stew” — that is to say a situation with conflict, emotional intensity, and the potential to evolve in unexpected ways. That is exactly how I approach the books that I write, and I learned how to do that as a producer working on screenplays.
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