Teaser, the sequel to Inside Passage, takes Corey and Abe into the interconnected worlds of private school kids and the runaways who roam Seattle's streets. Billy attends the Olympic Academy, where two friends, Maisie and Aaron, are experimenting with sex and drugs. They've become close to Star, a streetwise seductress who leads them down a treacherous path. Despite the best efforts of Abe and Corey, Maisie is abducted by the diabolical “Teaser,” a man determined to take revenge on her father, his former cellmate. Teaser is a mystery to everyone except Abe and Corey, who alone realize what they must do to rescue Maisie. They contrive a plan that shocks even them.
A stunning, fast paced thriller that took me on an intense ride and kept me on the edge of my seat the entire way through.
It took me a while to get to know the characters, but once I did I was sucked into this dark, twisted game of lies and deceit. Teaser, even though a frightening character, had to be admired for his brilliant mind. He played an excellent game, outsmarting everyone, even Corey who seemed to have one up on him at one point.
This story was suspenseful and intriguing with exciting plot twists that were never predictable. The characters were all well written and the story had plenty of depth. If you love beautifully executed thrillers that will play with your mind as well as your heart, this is the book for you.
ABOUT THE AUTHOR
Burt Weissbourd writes character-driven thrillers. Reviewers describe his work as “brilliantly detailed, evocative … thrillingly suspenseful.” “His descriptions are luscious.” “An incredibly strong and intelligent female protagonist.” “[His] dark characters rank with some of Koontz’s and King’s worst imaginaries.”
Burt began his career producing movies, working closely with screenwriters, then writing his own screenplays.
A newcomer to Hollywood, he approached writers whose movies he loved — movies such as “Klute,” “Two for the Road,” and “Ordinary People” — and worked with those writers and others, including working with Ross Macdonald, a legend in crime fiction, on his only screenplay.
This was the “New Hollywood” (1967 – 1980), and he found writers whose work grabbed viewers viscerally, not with explosions but with multi-dimensional characters who would draw you into a deeply moving story.
Savvy actors wanted to play finely drawn characters in compelling stories, and before long, Burt was developing screenplays, working directly with Robert Redford, Lily Tomlin, Goldie Hawn, Sally Field, and Jill Clayburg, among others.
As a producer developing a screenplay, he looked 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. This is exactly what he tries to create for the books he writes.