On location in the Carolina Appalachians, in a production good enough to save his career, and a budget low enough to have hired him, Logan repels a blackmail attempt by the beautiful and ambitious Crystal Beller. Too late, he learns that Crystal is a member of a local crime family. She powers her way into a job on the set, doubling the star in the shower scene.
Logan has other worries: his ex-wife Nancy, just married to her divorce lawyer, wants him to sign an adoption realease so that her husband can adopt Michaella. An established Star visits the set, a potential replacement for Logan. Halla McKee, the actress playing the bitch in the movie, turns down his romantic overtures. And Crystal Beller turns up dead in his dressing room closet, naked and strangled with his tie.
Kaufman gives this character a voice of ruthless honesty and a true actors sense of playfulness. Logan describes his fist: Its a big fist, scarred, with one bone that never healed straight after three resettings. Pike should have been impressed, except he knew that the only fights Ive ever won were choreographed.
The plot is character-driven. Although the killers identity may not come as a great surprise, the killers motive is a forehead-slapper. Kaufman plays fair throughout. Every clue is available, hidden in plain sight, obscured with some masterful red herrings. At one point early on, the killer is identified, the motive is propounded, and nobody recognizes the solution.
The dialogue is swift and fresh. Using rhythm, word choice and syntax rather than phonetic respellings, Kaufman gives each character a unique voice. Local characters dialects vary according to their education and backgrounds. Transplants like Logan and other members of the movie colony speak in voices reflecting a variety of backgrounds; the producer is not American, but has mastered the language with a few oddities; Logan, the son of a State Department official, colors his English with some Britishisms; Halla, transplanted from up North, has absorbed local expressions; Matts lawyer, an Ivy-League graduate, retains her mountain phrasing.
Perhaps Kaufmans strongest ally is her respect and liking for the characters who people this novel. Logan makes no secret of his flaws, which hide a core of unexpected strength. Michaella is the prize that Logan and his ex-wife (and her husband) fight over, but the child flatly rejects the role of helpless pawn. Halla guards her independence so fiercely that her own fears ambush her. These people tend to stick around, long after we have read the last letter to Mouse.
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