Among the Living

Table of Contents

 

 

Praise for THE QUICK and THE NEXT
by International Horror-Guild Award Nominee DAN VINING

“Eerie . . . supernatural noir.”—
Los Angeles Times

 

“Dan Vining has reinvented the hard-boiled detective genre and given it a supernatural twist . . . A hip, high-octane plunge through L.A. noir.”

—Jeff Long, author of
The Descent

 

“Strange, haunting, cool—and very hard to put down.”

—Michael Marshall, author of
The Straw Men
and
Blood of Angels

 

“Such a breath of fresh night air. An extremely cool story rendered by a guy who really knows how to sling the language to maximum effect.”

—Rockne S. O’Bannon, creator of
Alien Nation

 

“A great, cynical, hard-boiled L.A. PI novel featuring a fun cast of sleaze monkeys and a great view of the city. Then about halfway through came a curve, no, a knuckling slider—the most surprising plot twist I’ve ever read maybe anywhere . . . And it worked. From there, [it] went somewhere I never expected. And when it was over, it felt like it was still going somewhere else. Very cool.”—Flint Dille, screenwriter,
Constantine

 

“Deft, dazzling, and mercurial. The high concept aside, it’s the characters who linger long after the last page is turned: vivid and real if not exactly alive.”—Davin Seay, author of
Take Me to the River

 

“Fans of Jim Butcher’s supernatural noir Dresden Files series will enjoy this unusual work. A great read.”—
Library Journal

 

“[A] Chandleresque style and atmosphere [and] . . . a great twist. Smart, fast-paced, entertaining. I didn’t want it to end.”

—Kevin Jones, screenwriter

 

“Different, quirky, and scary.”—
Midwest Book Review

 

“The book has a real voice, style, a graceful blend of caustic observation, nostalgia, humor, and, yes, poetry . . . Revelatory. Readers of mysteries . . . are certainly going to get more than they bargained for.”

—William Mickelberry, screenwriter,
Black Dog

 

“Vining successfully weaves together two very different stories . . . [His] neo-noir prose sports a refreshing twenty-fi rst-century hipness.”

—
Publishers Weekly

 

“A private eye book with a supernatural twist . . . fascinating characters and a really cool woo woo element . . . A noirish, haunting mystery.”

—
Spinetingler Magazine

 

“Dark, surreal . . . If this were a movie, it’d probably be shot in black and white . . . [but] this isn’t your ordinary murder mystery. It demands that you think, that you become involved. A final word or two of advice: be wary of Sailors. And stay home on the night of a blue moon.”

—
Round Table Reviews

 

“Dan Vining is one of the few authors who can consistently write great urban noir with a supernatural twist . . . So very entertaining.”

—
Futures Anthology Mystery Magazine

THE BERKLEY PUBLISHING GROUP
Published by the Penguin Group
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Penguin Books Ltd., Registered Offices: 80 Strand, London WC2R 0RL, England

 

This book is an original publication of The Berkley Publishing Group.

 

This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, business establishments, events, or locales is entirely coincidental. The publisher does not have any control over and does not assume any responsibility for author or third-party websites or their content.

Copyright © 2009 by Dan Vining.

 

All rights reserved.

No part of this book may be reproduced, scanned, or distributed in any printed or electronic form without permission. Please do not participate in or encourage piracy of copyrighted materials in violation of the author’s rights. Purchase only authorized editions.

BERKLEY
^®
is a registered trademark of Penguin Group (USA) Inc.
The “B” design is a trademark of Penguin Group (USA) Inc.

 

PRINTING HISTORY
Berkley trade paperback edition / December 2009

 

Library of Congress Cataloging-in-Publication Data

 

Vining, Dan.
Among the living / Dan Vining.—Berkley trade paperback ed.
p. cm.

eISBN : 978-1-101-15170-9

1. Private investigators—Fiction. 2. Los Angeles (Calif.)—Fiction. I. Title.
PS3622. I56A83 2009
813’.6—dc22
2009036407

 

 

A rugged malibu canyon, a clear night. The smooth black road ahead, unstriped, wound through slow turns, the headlights igniting the underbrush. There was a song on the radio over the low rumble of the engine. The windows were down, the air sweet with something that picked that night to bloom. For now, Jimmy Miles was just eyes in the mirror. The half-moon came into the corner of the frame, dancing with the vibration of the motor, full of intent, hung up there like a spotlight over the scene. Jimmy watched it until it slid away again.

A few more turns and there was an iron gate flanked by a pair of fifty-foot-tall jacarandas, like purple fireworks against the night sky. On up the canyon there was a dome of glow and noise, but the house wasn’t even visible from here.

A guard stood next to a fat white plain-wrap Chevy.

Jimmy was ready for him. “What’s the square root of eighty-eight?” he said.

The guard didn’t have an answer, just waited, keeping whatever he thought off his face.

Jimmy held up his engraved invitation.

“Thank you, sir,” the rented cop said and stepped back, and the Porsche—it was a ’64 Cabriolet, a ragtop, black—passed through the gates, nice and slow, behaving itself, and up the drive. The guard watched until it went around the next bend then leaned back against the door of the Chevy. The moon flushed, the shadows changed. The guard looked up at the half-round light high out over the water, but didn’t think a thing about it. After a minute, a raggedy coyote crept out of the manzanita. There was a plate of chicken
sate,
or what was left of it, on the dash of the Chevy. The dog lifted his nose at it from twenty yards out. The guard squatted, picked through the gravel until he found just the right-sized rock and sent it back into the night.

The big house was all glass and steel and hard edges, like a cruise ship rammed into the back of the canyon, the bridge facing the Pacific, all the lights burning as if there was some enormous emergency. Tall black doors stood open. Music and laughter. Jimmy got out of the car, said something in Spanish to one of the valet car parkers that got an honest laugh and went aboard.

In the foyer, he tossed the invitation onto a side table and walked toward the noise. The card read:

The party was two hours in. Here was a crowd of fairly ordinary people wearing the best clothes they owned, except maybe for the guy in Bermuda shorts, flip-flops, and a Cuban guayabera. They all had drinks in their hands, trying to hold them the right way, and they were a little loud, as if they felt out of place in the big rich house, which inside looked more like a Beverly Hills bank than a ship. Money trumped smarts, at least when you were in the middle of it, even smart people knew that.

Everyone turned as Jimmy stepped down into the main room. There was an Oscar on the piano so there was always the chance a movie star would show. Jimmy was a bit of a clotheshorse. Tonight it was a charcoal suit, a white shirt, a black tie—and pastel suede shoes he somehow made work. There was something about him that was pre-acid sixties, a little Peter Gunn, smoky jazz, cool. He was nice to look at but he wasn’t a movie star so the party people went back to their smart conversations.

The host, Joel Kinser, who produced movies, sat on the arm of a white couch, his finger to his chin as he listened to a woman a foot taller than he was.

Jimmy caught his eye. Kinser winked at him.

A waiter came past with a silver tray of martinis, an actor
playing
a waiter actually, in black and white, more waiter than any real waiter. It was the way with movie people, they rewrote their lives to look like movies, cast them like movies, spoke dialogue, saw their houses as sets, their clothes wardrobe, their bodies things to be reworked perpetually by backstage craftsmen. Jimmy went along with the gag, took a martini, let the waiter bow at the waist, didn’t giggle. He waded into the crowd. He walked past the guayabera guy just as he was delivering the punch line to his story.