Clive Cussler - Thriller 2 - Stories You Just Can’t Put Down

“Bullshit. Two months ago you showed me a rough draft, with only one chapter to go. I know how fast you write, you could bang out the ending with your eyes closed.”

Jim selected one of the pencils and rolled it back and forth, trying not to look at the computer screen. “I don’t know how the story is going to end. Call it writer’s block if you-”

“Writers get blocked, brands don’t.” Carl steepled his hands together. “Besides, we know how it’s going to end. We already discussed it.”

“It doesn’t feel right.” Jim stole a glance at the screen. Emily had moved into the upper right quadrant. Her long brown hair was loose around her shoulders as she hefted the briefcase. “The characters wouldn’t-”

“Don’t start with that writer crap about the characters telling you what to do.” Carl looked as if all the acid reflux in the world was holding a convention somewhere deep in his esophagus. “The characters aren’t alive, but your wife is-for now.”

“This book will have my name on it,” Jim said deliberately. “No one else’s.”

“This is a thriller.” Carl’s nostrils flared. “Hero saves the day. The guy gets the girl, or the girl gets the guy, whatever. Oh, and the bad guy gets his comeuppance.”

“That doesn’t seem very thrilling.”

“You give the people what they want. That’s your fucking job.”

“Maybe they want something different. Something unexpected.”

“You’ve become a fantasy writer now? What world do you live in?”

“You write the damn ending.”

“Believe me, I would.” Carl pushed his wire-frame glasses up on his nose. “But like you said, this book will have your name on it. The one book a year that gets scrutiny from the critics, the one that sets the standard for all the books to come. And that book, my friend, that book needs your voice.” Carl said the last word as if it tasted bad, his own voice bitter around the edges. “Those jarring juxtapositions, those evocative metaphors that you’re known for.”

Jim felt sweat on his upper lip and looked at the computer screen. Emily was in quadrant three. As she walked, she brought her hands up and pulled her hair back away from her face, so Jim could clearly see her profile. He forced himself to breathe.

Carl sighed. “I’m not a writer, we both know that. I handle continuity, eliminate redundant phrases. Clean up the mess you leave on the page.”

Jim watched Emily step off a curb into traffic, her heels just visible beneath her slacks. He always wondered how women could walk in those things. He took a deep breath and turned his gaze back to Carl.

“I need a week.”

Carl shook his head. “We’re on deadline. And this time the emphasis is on the first half of that word.” He picked up a pencil and held it between his thumb and forefinger. “Finish the damn book.”

“It’ll feel forced.”

“Every month this book is delayed costs us-” Carl waved his arm around the room, a gesture that encompassed the known universe. “You, me, the publishing house, the chain stores. You think I’m ruthless, try negotiating with the chains. What’s the value of a human life when you’re operating on that scale? Every month costs us millions, Jim.”

“Millions.”

“This is the entertainment business, partner. Timing is everything.”

Jim kept his eyes on Carl’s fighting the urge to track Emily’s progress.

“You’re bluffing.”

“Excuse me.” Carl spun the computer around and tapped a few keys, then turned it back toward Jim. The four live screens had been replaced with an article from one of the daily newspapers, lifted off their Web site.

Despite himself, Jim began to read the headline out loud. “‘Local author kills himself after murdering-’”

“‘-his family.’” Carl shook his head. “Tragic. He was one of ours. Paranormal, gothic romance. We made a fortune during the vampire years.”

“Kill me-or Emily-and there’s no more books.”

“Actually, there’s one more.” Carl hit another key and an image of a book cover popped onto the screen. “I had the boys in the art department work this up. Whattaya think?”

Jim blinked at his own face, a publicity photo from last year. An easy smile next to lurid type, his name across the top in bloodred letters.

“It’s true crime, of course.” Carl shrugged. “Not as big a market, but it’ll cover our investment. After that, we turn someone else into a franchise.”

“Franchise.”

“You think you’re the only thriller writer in the world?” Carl tapped another key and the book cover disappeared. “Give ’em the shelf space, plenty of guys could sell a ton of books.”

Jim almost started laughing but the sweat on his palms made him stop. “How long have you been planning this?”

“Remember a few months ago, when we sent you with two other writers to that police firing range?”

“Research for the next book.”

“Exactly. How many rifles did you fire that day? Wasn’t there a hunting rifle with a scope, a sniper rifle, a couple of others. How many?”

Jim looked at the quadrants on the computer screen and felt his blood congeal.

“Four.”

“With your fingerprints all over them.”

“It’ll never hold up.”

Carl smiled, an expression that looked like it hurt. “Famous author of serial-killer novels. Writer known for gruesome torture scenes. Don’t you think a jury would agree that you fit the profile?”

“I’ll tell them the truth.”

“We’re talking about the law, here. The truth is irrelevant. Face it, Jim, you’re fucked. Finish the book, live happily ever after. You can’t seriously be thinking that if we don’t pull the trigger today, there won’t be tomorrow? Or the next day.”

“Have you read the book lately, Carl?”

The question momentarily disarmed the editor. “What do you mean?”

“The ending we talked about, it just won’t work. People will see it coming.”

“You haven’t changed in over ten years. People want to see it coming.”

“It won’t be believable.”

“Since when does that matter? Suspension of disbelief is the cornerstone of a thriller, buddy. You should know that better than anyone. You think James Bond can really survive all those explosions without messing up his tuxedo?”

“But this character-he’s different. He doesn’t always do the right thing.”

“Your books have a moral compass,” said Carl. “That’s what we’re selling. Reassurance. Faith in the outcome. So have a little faith and start writing, or we’ll kill your fucking wife.”

“Okay.” Jim lifted the manuscript and removed the bottom page, glancing nervously at the clock. “But I don’t think I can finish in time.”

“Show me something and I’ll go away. Just get a few words on the page and maybe I can buy you some time. We can always kill your wife-or someone else close to you-another day.”

“Let me show you what I’m talking about.” Jim turned the page around so it was facing his editor. He carefully selected one of his red pens and took the cap off, circled a paragraph near the top of the page. “Read that.”

Carl slid the laptop to one side, just as the image of Emily jumped to the lower right quadrant. Jim took a deep breath and held it, wondering if he loved his wife more than his characters. Thinking about all the things that had changed since he first sat down in his chair behind this scarred desk and started writing so many years ago.

He thought about continuity and the suspension of disbelief, and he wondered whether any of that mattered in the end as long as you told a good story.

“So what’s your point?” Carl adjusted his glasses as he looked up from the page. “I read it, it’s great. So what happens next?”