Dial M for Matrimony
by Michael Lister
One by one film students are finding themselves in familiar scenes from Psycho, Rear Window, Notorious, Frenzy, Rope, Strangers on a Train, and Dial M for Murder—the final scenes, in fact, for the roles of the characters they are unwittingly playing.
The killer, a promising filmmaker, is meticulously recreating some of the most memorable murders in movie history.
But why? Why go to such elaborate extremes just to kill a few film students? Is this about more than just murder? Does he agree with the philosophy of the murderers in Rope that “Murder is—or should be—an art, and as such, the privilege of committing it should be reserved for those few who are really superior individuals?”
Does he see himself as a superior artist blurring the lines between fact and fiction, fantasy and reality, life and art?
If he does see himself working on a masterpiece worthy of the master himself, he’s met his match in Hitch.
Kelly “Hitch” Reville is a student putting herself through film school by working as a crime scene videographer for the Lake County Sheriff’s Department in north Florida. Of all the students in the North Florida University School of Film and Television, she is the most knowledgeable about and appreciative of her favorite director and nickname sake Alfred Hitchcock. Most everyone knows her nickname has something to do with him, but only her fellow film students can truly appreciate the fact that the only female filmmaker in the NFU program is referred to exclusively by the first part of the macabre master’s name—she is Hitch without the cock.
From crime scenes to the classroom to a small deserted island for a weekend wedding, Dial M for Matrimony is a thrilling whodunit with a fascinating film motif that pits genius against genius in the fine art of movies and murder.
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