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Little Elvises (Junior Bender Series #2)

Little Elvises (Junior Bender Series #2)

3.8 11
by Timothy Hallinan

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LA burglar Junior Bender has (unfortunately) developed a reputation as a competent private investigator for crooks. The unfortunate part about this is that regardless of whether he solves the crime or not, someone dangerous is going to be unhappy with him, either his


LA burglar Junior Bender has (unfortunately) developed a reputation as a competent private investigator for crooks. The unfortunate part about this is that regardless of whether he solves the crime or not, someone dangerous is going to be unhappy with him, either his suspect or his employer.
Now Junior is being bullied into proving aging music industry mogul Vinnie DiGaudio is innocent of the murder of a nasty tabloid journalist he'd threatened to kill a couple times. It doesn’t help that the dead journalist’s widow is one pretty lady, and she’s trying to get Junior to mix pleasure with business. Just as the investigation is spiraling out of control, Junior's hard-drinking landlady begs him to solve the disappearance of her daughter, who got involved with a very questionable character. And, worst news of all, both Junior's ex-wife and his thirteen-year-old daughter, Rina, seem to have new boyfriends. What a mess.

Editorial Reviews

Publishers Weekly
Hallinan’s second Junior Bender mystery (after 2010’s Crashed) sends the L.A. burglar/PI on a journey into pop music’s supposedly innocuous 1950s past, mixing light and dark humor to enjoyable if uneven effect. Framed by LAPD Lt. Paulie DiGaudio for a residential robbery gone violently wrong, Bender finds he can restore his (relatively) good name by clearing DiGaudio’s uncle, Vinnie, a now retired, but still mobbed-up, music promoter, of a separate crime, the murder of tabloid hack Derek Bigelow. Junior discovers that Vinnie’s old lineup of faux-Elvis teen idols may be key to the crime, while he works on his testy relationships with Derek’s beguiling New Jersey widow, Ronnie; his own 13-year-old daughter, Rina; and the shadowy gangland powerbroker Irwin Dressler. The skewed, Runyonesque Southern California setting, epitomized by Junior’s home, the seedy but festively Yule-themed Marge ’n Ed’s North Pole motel, promises much for further outings, despite occasional lapses in taste and a shaky conclusion. Agent: Bob Mecoy, Bob Mecoy Literary. (Jan.)
Kirkus Reviews
In Hallinan's Los Angeles, where everyone leans on everyone else, investigator/thief Junior Bender gets leaned on good. Everyone knows that Junior didn't pull the Hammer job. Junior (Crashed, 2012) doesn't carry a gun, and the whole job wasn't his style. Still, Detective Paulie DiGaudio darkly intimates, Junior could end up in the frame if he's not willing to do a little favor for Paulie's Uncle Vincent. Like Junior, Vincent, a former Philadelphia music promoter who specialized in grooming Elvis Presley wannabes a generation ago, is suspected of a violent crime. Unlike Junior, Vincent is definitely a live suspect, since he'd threatened to kill low-rent British journalist Derek Bigelow over a little spot of blackmail shortly before Bigelow conveniently turned up dead on Hollywood Boulevard. Now, Vincent has troubles, which means that Paulie has troubles, which means that Junior has troubles. But the search for Bigelow's killer, which will bring Junior up against some people considerably more hard-bitten than the sometime-thief, isn't the extent of his troubles. Marge Enderby, his landlady of the month--for the past three years, Junior's been moving from one dead-end motel to the next to keep ahead of anyone who might be looking for him--wants him to find her daughter Doris, who shows signs of having run off with Lorne Henry Pivensey, aka Lemuel Huff, a man whose earlier experience with vanished women isn't at all encouraging. Junior, who tiptoes reluctantly into both cases prepared for the worst, is pleasantly surprised when Bigelow's widow, Ronnie, returns his interest with interest. Versatile Hallinan (The Fear Artist, 2012, etc.) provides a wealth of seamy types, past and present, and a thousand hard-boiled similes for his second-string Philip Marlowe.
From the Publisher
Praise for Little Elvises

"Splendidly entertaining."
—NPR Great Reads of 2013 Selection

"Could not stop laughing.  Tim Hallinan is sharp as a blade, has a wicked eye for human nature and keeps the reader guessing and rooting for Junior Bender all the way."
—Helen Simonson, New York Times bestselling author of Major Pettigrew's Last Stand

"Hallinan introduces us to a drugged-out, pain-impervious hit man, a nonagenarian puppet master who rules the L.A. underworld, a tabloid reporter who uses his job as a cover to blackmail the rich and the famous, and a host of other characters as dangerously outrageous as the murderous crew obsessed with obtaining the black bird in Hammett's 1930 masterpiece."
Associated Press

"Every now and then a writer comes along with the imagination and skill to make the whole thing feel fresh and new again. That's what veteran crime novelist Timothy Hallinan has accomplished."
Washington Post

"The first book in the series, 'Crashed' (2012), was great fun. The new one, 'Little Elvises,' is even better."
San Francisco Chronicle

"An intricate high-stakes plot [and] a compelling subplot."
Miami Herald


"As the story opens, Junior is in a fix, or rather, a bunch of them..."
Huffington Post

"Featuring Junior Bender, full-time Los Angeles burglar and part-time private eye-style fixer for the city's criminal element."
Seattle Times

"For decades I've been looking to scratch my Fletch itch, and Crashed gave me hope -- it’s a well-written mystery with a smart, funny protagonist. I cracked open this sequel both hopeful that it would be as good and scared that I'd be let down. It didn't... Throw out everything you think you know about genre writing. Every word in this book belongs exactly where you find it."
—Bill Barnes, Unshelved

"If Carl Hiaasen and Donald Westlake had a literary love child, he would be Timothy Hallinan. The Edgar nominee's laugh-out-loud new crime series featuring Hollywood burglar-turned-private eye Junior Bender has breakout written all over it... A must-read."
—Julia Spencer-Fleming, New York Times bestselling author of One Was a Soldier

“Rewarding.... Captures the SoCal milieu perfectly and impeccably.”
Seattle Post-Intelligencer

"Hugely,splendidly entertaining... Full of delightful characters, and dialogue that provides at least one good laugh on every page, the book is so hard to put down you’ll swear it’s been glued to your hands."
Booklist, STARRED Review

“Hallinan’s characters and dialog are top-notch, with a lively plot full of witty banter and comic scenes that will keep readers laughing.”
Library Journal

"Little Elvises begs comparison to Tom Doresey or Carl Hiaasen novels: It's quirky and hip, and often laugh-out-loud funny."
BookPage, TOP PICK

"One thing that immediately hits you about Timothy Hallinan’s writing is the clarity and snap of his prose. Junior Bender isn’t a gumshoe, but the cadence of his voice and his observations harken back to other great detectives who were expert at landing a crucial, devastating remark, as well as using their fists or a pistol. It’s a cliché, of course, to bring up Raymond Chandler’s Marlowe, but the similarities are nevertheless present in fitting ways."
—Derek Hill, Mystery Scene

"A nifty plot...[that] takes a surprising and satisfying twist in the final chapters."
—Tzer Island

Praise for the Junior Bender Series

"Junior Bender is today’s Los Angeles as Raymond Chandler might have written it. Tim [Hallinan] is a master at tossing out the kind of hard-boiled lines that I wish I thought of first."
—Bruce DeSilva, Macavity & Edgar Award-winning author of Rogue Island

"Timothy Hallinan's The Fame Thief has everything I've come to expect in a Hallinan novel: indelible, complex characters, fantastic plot, and moments of hold-your-breath suspense."
—Charlaine Harris, author of the New York Times bestselling Sookie Stackhouse series

"Loved loved loved Crashed, Tim Hallinan's first Junior Bender mystery. Great narrative voice, complex plot, 3-D characters. Hallinan’s deft comic tone and colorful characters have earned him comparisons to Donald Westlake and Carl Hiassen. Check it out now."
—Nancy Pearl

"Timothy Hallinan’s affable antihero, an accomplished thief but inept sleuth named Junior Bender, makes a terrific first impression in Crashed.... Bender’s quick wit and smart mouth make him a boon companion on this oddball adventure."
—New York Times
Book Review

“This is Hallinan at the top of his game. It's laugh-out-loud funny without ever losing any of its mystery. It’s a whole new style and I love it. Junior Bender—a crook with a heart of gold—is one of Hallinan's most appealing heroes, rich with invention, and brimming with classic wit. I can’t recommend it highly enough.”
—Shadoe Stevens, Late Late Show with Craig Ferguson

"This is one of those books you long for, wait for, and find once or twice a year"
—Beth Kanell, proprietor of Kingdom Books, Vermont

“Timothy Hallinan does everything a writer should do whose goal is to keep a reader entertained from the first sentence to the last.”
—Tzer Island

“The writing is intelligent, relaxed, and fun to read. Crashed is a pleasurable outing, without the personal risk, to the criminal underbelly of Los Angeles, where moral ambiguity fills the air.”
—Read Me Deadly

“If you're in the mood for a mystery that's just plain fun, this is the one for you... Timothy Hallinan knows how to write a smart aleck main character who has his own set of morals and a heart of gold.”
—Kittling Books

Praise for Timothy Hallinan
 “Hallinan has a genuine ability to write effective prose, engaging repartee, sharp and witty characterizations.”
Washington Post Book World
“Hallinan is a stunning talent.”
—Gregg Hurwitz, author of They're Watching

Library Journal
Junior Bender is a Los Angeles burglar who always seems to be doing a little sleuthing for other crooks in the city. He's got three rules: no mob guys, no murder cases, and no freebies. But when a crooked music industry mogul, a famed producer of the 1960s pop sensations deemed "Little Elvises," forces Junior to prove that he did not murder a tabloid journalist, Junior decides breaking two of his three rules would be okay, especially if he still gets paid. The case turns complicated, and Junior also has to deal with his heavy-drinking landlady's missing daughter. Then his ex-wife and teen daughter both turn up with new boyfriends. Can't a hard-working burglar-turned-detective ever catch a break? VERDICT In this second series outing (after Crashed), Hallinan's characters and dialog are top-notch, with a lively plot full of witty banter and comic scenes that will keep readers laughing. The author of the Thailand-set Poke Rafferty thrillers (The Queen of Patpong) first self-published this trilogy (next up is The Fame Thief) titles as ebooks.

Product Details

Soho Press, Incorporated
Publication date:
Junior Bender Series , #2
Product dimensions:
4.90(w) x 7.60(h) x 1.20(d)

Read an Excerpt

Little Elvises (Junior Bender #2)

By Timothy Hallinan

Soho Crime

Copyright © 2013 Timothy Hallinan
All right reserved.

ISBN: 9781616952778

The month’s motel was Marge ’n Ed’s North Pole at the north
end of North Hollywood. The advantage of staying at the North
Pole was that even the small number of people who knew I’d
lived in motels since my divorce from Kathy would never figure
I’d stoop that low. The disadvantage of staying at the North Pole
was everything else.
Generally speaking, motels have little to recommend them,
and the North Pole had less than most. But they made me a moving
target, and I could more or less control the extent to which
anyone knew where I was at any given time. I’d been divorced
almost three years, and the North Pole was my 34th motel, and
far and away the worst of the bunch.
I’d been put into Blitzen. In an explosion of creativity, Marge
’n Ed had decided not to number the rooms. Since Clement
Moore only named so many reindeer in “The Night Before
Christmas,” Marge ’n Ed had pressed Rudolph into service and
then come up with some names on their own. Thus, in addition
to the reindeer we all know and love, we had rooms named
Dydie, Witzel, Tinkie, and Doris.
Doris wasn’t actually being passed off as a reindeer. She was
Marge ’n Ed’s daughter. Marge, who grew confidential as the
evenings wore on and the level in the vodka bottle dropped, had
told me one night that Doris had fled the North Pole with someone
Marge referred to as Mr. Pinkie Ring, a pinkie ring being, in
Marge’s cosmology, the surest sign of a cad. And sure enough,
the cad had broken Doris’s heart, but would she come home?
Not Doris. Stubborn as her father, by whom I assumed Marge
meant Ed, whom I always thought of as ’n Ed. Ed was no longer
with us, having departed this vale of sorrows six years earlier. It
was probably either that or somehow orchestrate a global ban
on vodka, and death undoubtedly looked easier.
The string of Christmas lights that outlined the perimeter of
Blitzen’s front window blinked at me in no discernible sequence,
and I’d been trying to discern one for days. They sprang to life
whenever anyone turned on the ceiling light, which was the only
light in the room. I’d tried to pull the cord from the outlet, but
Marge ’n Ed had glued it in place.
“YouTube-dot-com,” Rina said on the phone. “Y-O-U-Tube,
spelled like tube. Aren’t you there yet?”
Something unpleasant happens even to the most agreeable of
adolescents when they talk to adults about technology. A certain
kind of grit comes into their voices, as though they’re expecting
to meet an impenetrable wall of stupidity and might have
to sand their way through it. Rina, who still, so far as I knew,
admired at least one or two aspects of my character, was no
exception. She sounded like her teeth had been wired together.
“Yes,” I said, hearing myself echo her tone. “I’ve managed
somehow to enter the wonderland of video detritus and I await
only the magical search term that will let me sift the chaff.”
Dad. Do you want help, or not?”
“I do,” I said, “but not in a tone of voice that says I’d better
talk really slowly or he’ll get his thumb stuck in his nostril
“Do I sound like that?”
“A little.”
“Sorry. Okay, the interview is called ‘Vincent DiGaudio
Interview.’ Have you got that?”
“Slow down,” I said. “Did you just ask me whether I can
follow the idea that the Vincent DiGaudio Interview is called
‘Vincent DiGaudio Interview’?”
“Oh.” She made a clucking noise I’ve never been able to
duplicate. “Sorry again.”
“Maybe I’m being touchy,” I said. “Thanks. Anything else?”
“Not on video. I’ll email you the links to the other stuff, the
written stuff. There’s not much of it. He doesn’t seem to have
wanted much publicity.”
“Wonder why,” I said. I figured there was no point in telling
her I was going to be getting involved with a mob guy. She might
She said, “But the FBI files are kind of interesting.”
“Excuse me?”
“Somebody used the Freedom of Information Act,” said my
thirteen-year-old daughter, “to file for release of a stack of FBI
files on the outfit’s influence in the Philadelphia music scene. Since
DiGaudio’s still alive and since he never got charged, his name is
blacked out, but it’s easy to tell it’s him because a lot of the memos
are about Giorgio. The files are on the FBI’s site, but I’ll send you
the link so you don’t have to waste time poking around.”
“The FBI site?” I said. “Giorgio?”
“Wake up, Dad. Everything’s online.”
Was I, a career criminal, going to log onto the FBI site?
“Who’s Giorgio?”
“The most pathetic of DiGaudio’s little Elvises. Really pretty,
I mean fruit-salad pretty, but he couldn’t do anything. Tone deaf.
He stood on the stage like his feet were nailed to the floor. But
really, really pretty.”
 “I don’t remember him in the paper you wrote.” I was taking
a chance here, because I hadn’t actually read all of it.
“I didn’t talk about him much. He was so awful that he kind
of stood alone. He wasn’t an imitation anything, really. He was
an original void.”
“But pretty.”
“Yum yum yum.”
“Thanks, sweetie. I’ll check it out.”
“You can look at Giorgio on YouTube, too,” she said.
“Although you might want to turn the volume way, way down.”
“Let me guess,” I said. “It’s under ‘Giorgio.’”
“Try ‘Giorgio Lucky Star.’ That was the name of his first hit.
‘Lucky Star,’ I mean. Little irony there, huh? If there was ever a
lucky star, it was Giorgio. If it hadn’t been for Elvis, he’d have
been delivering mail. Not that it did him much good in the long
run, poor kid. Anyway, search for ‘Giorgio Lucky Star.’ Otherwise
you’re going to spend the whole evening looking at Giorgio
“Is your mom around?”
A pause I’d have probably missed if I weren’t her father.
“Um, out with Bill.”
“Remember what I told you,” I said. “Whatever you do,
don’t laugh at Bill’s nose.”
“There’s nothing wrong with Bill’s nose.”
“Just, whatever happens, next time you see Bill’s nose, don’t
laugh at it.”
“Daddy,” she said. “You’re terrible.” She made a kiss noise
and hung up.
It was okay that I was terrible. She only called me Daddy
when she liked me.
I’ve had more opportunity than most people to do things I’d
regret later, and I’ve taken advantage of a great many of those
opportunities. But there was nothing I regretted more than not
being able to live in the same house as my daughter.
I’d wanted to stay in Donder, but it was taken.
“Donder” is a convincing name for a reindeer. “Blitzen”
sounds to me like the name of some Danish Nazi collaborator,
someone who committed high treason in deep snow. But Donder
was occupied, so I was stuck with either Blitzen or Dydie. I
chose Blitzen because it was on the second floor, which I prefer,
and it had a connecting door with Prancer, which was unoccupied,
so I could rent them both but leave the light off in one of
them, giving me a second room to duck into in an emergency, a
configuration I insist on. This little escape hatch that has probably
saved me from a couple of broken legs, broken legs being a
standard method of getting someone’s attention in the world of
low-IQ crime. And as much as I didn’t like the name “Blitzen,”
there was no way I was going to stay in Prancer. It would affect
the way I thought about myself.
Blitzen was a small, airless rectangle with dusty tinsel
fringing the tops of the doors, cut-outs of snowflakes dangling
from the ceiling, and fluffs of cotton glued to the top of
the medicine cabinet. A pyramid of glass Christmas-tree ornaments
had been glued together, and then the whole assemblage
had been glued to a red-and-green platter, which in turn
had been glued to the top of the dresser. Marge ’n Ed went
through a lot of glue. The carpet had been a snowy white
fifteen or twenty years ago, but was now the precise color
of guilt, a brownish gray like a dusty spiderweb, interrupted
here and there by horrific blotches of darkness, as though
aliens with pitch in their veins had bled out on it. The first
time I saw it, it struck me as a perfect picture of a guilty conscience
at 3 a.m.: you’re floating along in a sort of pasteurized
colorlessness, and wham, here comes a black spot that has
you bolt upright and sweating in the dark.
I have a nodding acquaintance with guilty consciences.
When Andy Warhol predicted that everyone in the future
would be famous for fifteen minutes, he was probably thinking
about something like YouTube. What a concept: hundreds of
thousands of deservedly anonymous people made shaky, blurry
videotapes of their pets and their feet and each other lip-synching
to horrible music, and somebody bought it for a trillion dollars.
But then all this idea-free content developed a kind of mass that
attracted a million or so clips that actually had some interest
value, especially to those of us who occasionally like to lift a corner
of the social fabric and peer beneath it.
Vincent DiGaudio Interview popped onto my screen in the
oddly saturated color, heavy toward the carrot end of the spectrum,
that identifies TV film from the seventies. Since I was going
to meet DiGaudio in about forty minutes, I took a good look at
him. In 1975, he’d been a beefy, ethnic-looking guy with a couple
of chins and a third on the way, and a plump little mouth that he
kept pursing as though he had Tourette’s Syndrome and was fighting
an outbreak of profanity. His eyes were the most interesting
things in his face. They were long, with heavy, almost immobile
lids that sloped down toward the outer corners at about a thirtydegree
angle, the angle of a roof. His gaze bounced nervously
between the interviewer and the camera lens.
Vincent DiGaudio had a liar’s eyes.
As the clip began, the camera was on the interviewer, a famished
woman with a tangerine-colored face, blond hair bobbed
so brutally it looked like it had been cut with a broken bottle,
and so much gold hanging around her neck she wouldn’t have
floated in the Great Salt Lake. “. . . define your talent?” she was
saying when the editor cut in.
 “I don’t know if it was a talent,” DiGaudio said, and then
smiled in a way that suggested that it was, indeed, a talent, and
he was a deeply modest man. “I seen a vacuum, that’s all. I
always think that’s the main thing, seeing in between the stuff
that’s already there, like it’s a dotted line, and figuring out what
could fill in the blanks, you know?” He held his hands up, about
two feet apart, presumably indicating a blank. “So you had Elvis
and the other one, uh, Jerry Lee Lewis, and then you had Little
Richard, and they were all like on one end, you know? Too raw,
too downtown for nice kids. And then you had over on the other
end, you had Pat Boone, and he was like Mr. Good Tooth, you
know, like in a kids’ dental hygiene movie, there’s always this
tooth that’s so white you gotta squint at it. So he was way over
there. And in the middle, I seen a lot of room for kids who were
handsome like Elvis but not so, you know, so . . .”
“Talented?” the interviewer asked.
“That’s funny,” DiGaudio said solemnly. “Not so dangerous.
Good-looking kids, but kids the girls could take home to meet
Mom. Kids who look like they went to church.”
“Elvis went to church,” the interviewer said.
DiGaudio’s smile this time made the interviewer sit back a
couple of inches. “My kids went to a white church. Probably
Catholic, since they were all Italian, but, you know, might have
been some Episcopalians in there. And they didn’t sing about a
man on a fuzzy tree or all that shorthand about getting—can I
say getting laid?”
“You just did.”
“Yeah, well that. My kids sang about first kisses and lucky
stars, and if they sang about a sweater it was a sweater with a
high school letter on it, not a sweater stretched over a big pair
of—of—inappropriate body parts.” He sat back and let his right
knee jiggle up and down, body language that suggested he’d
16 timothy hallinan
rather be anywhere else in the world. “It’s all in the book,” he
said. “My book. Remember my book?”
“Of course.” The interviewer held it up for the camera. “The
Philly Miracle,” she said.
“And the rest of it?” Di Gaudio demanded.
“Sorry. The Philly Miracle: How Vincent DiGaudio Reinvented
Rock and Roll.
“Bet your ass,” DiGaudio said. “Whoops.”
“So your—your discoveries—were sort of Elvis with mayo?”
“We’re not getting along much, are we? My kids weren’t animals.
I mean lookit what Elvis was doing on the stage. All that
stuff with his, you know, his—getting the little girls all crazy.”
The interviewer shook her head. “They screamed for your
boys, too.”
He made her wait a second while he stared at her. “And? I
mean, what’s your point? Girls been screaming and fainting at
singers since forever. But you knew if a girl fainted around one
of my kids he wouldn’t take advantage of it. He’d just keep singing,
or maybe get first aid or something.”
She rapped her knuckles on the book’s cover. “There were a
lot of them, weren’t there?”
DiGaudio’s face darkened. “Lot of what?”
“Your kids, your singers. Some people called it the production
“Yeah, well, some people can bite me. People who talk like
that, they don’t know, they don’t know kids. These were crushes,
not love affairs. The girls weren’t going to marry my guys, they
were going to buy magazines with their pictures on the front and
write the guys’ names all over everything, and fifteen minutes later
they were going to get a crush on the next one. So there had to
be a next one. Like junior high, but with better looking boys. Girl
that age, she’s a crush machine, or at least they were back then.
These days, who knows? Not much innocence around now, but
that’s what my kids were. They were innocence. They were, like,
dreams. They were never gonna knock the girls up, or marry them
and drink too much and kick them around, or turn out to be as
gay as a lamb chop, or anything like guys do in real life. They
were dreams, you know? They came out, they looked great, they
sang for two and a half minutes, and then they went away.”
“And they did go away. Most of them vanished without a
trace. Are you still in touch with any of them?”
It didn’t seem like a rough question, but DiGaudio’s eyes
bounced all over the room. He filled his cheeks with air and
blew it out in an exasperated puff. “That ain’t true. Some of
them, they’re still working. Frankie does lounges in Vegas. Eddie
and Fabio, they tour all over the place with a pickup band, call
themselves Faces of the Fifties or something like that. They’re
around, some of them.”
“And Bobby? Bobby Angel?”
“Nobody knows what happened to Bobby. Somebody must
of told you that, even if you didn’t bother to read the book.
Bobby disappeared.”
“Do you ever think about Giorgio?”
The fat little mouth pulled in until it was as round as a carnation.
“Giorgio,” he finally said. He sounded like he wanted to
spit. “Giorgio was different. He didn’t like it, you know? Even
when he was a big star. Didn’t think he belonged up there.”
“A lot of people agreed with him.”
DiGaudio leaned forward. “What is this, the Cheap Shot
Hour? Even somebody like you, after what happened to that
poor kid, even someone like you ought to think a couple times
before piling on. Who are you, anyway? Some local talent on a
TV station in some two-gas-station market. I mean, look at this
set, looks like a bunch of second graders colored it—”
“This is obviously a touchy topic for—”
“You know, I came on this show to talk about a book, to tell
a story about music and Philadelphia, about when your audience
was young, about a different kind of time, and what do
I get? Miss Snide of 1927, with your bleeping jack-o’-lantern
makeup and that lawn-mower hair—”
“So, if I can get an answer, what are your thoughts about
DiGaudio reached out and covered the camera lens with his
hand. There were a couple of heavily bleeped remarks, and then
the screen went to black.
“My, my,” I said. “Touchy guy.” I glanced at my watch.
DiGaudio lived in Studio City, way south of Ventura Boulevard,
in the richest, whitest part of the Valley. I had another thirty-five
minutes, and the trip would only take fifteen. I typed in Giorgio
Lucky Star.
And found myself looking at fifties black-and-white, the
fuzzy kinescope that’s all we have of so much early television,
just a movie camera aimed at a TV screen, the crude archival
footage that the cameraman’s union insisted on. Without that
clause in their contract, almost all the live television of the fifties
would be radiating out into space, the laugh tracks of the longdead
provoking slack-jawed amazement among aliens sixty light
years away, but completely lost here on earth.
Even viewed through pixels the size of thumbtacks, Giorgio
was a beautiful kid. And Rina was right: he couldn’t do anything.
He stood there as though he’d been told he’d be shot if
he moved, and mouthed his way through two minutes of prerecorded
early sixties crap-rock. Since the face was everything
and he wasn’t doing anything with the rest of himself anyway,
the cameras pretty much stayed in closeups, just fading from
one shot to another. No matter where they put the camera, he
looked good. He had the same classical beauty as Presley. Like
Presley, if you’d covered his face in white greasepaint and taken
a still closeup, you’d have had a classical statue, a cousin of
Michelangelo’s David.
But unlike the sculpted David, who stares into his future with
the calm certainty of someone who knows that God is holding
his team’s pom-poms on the sidelines, Giorgio had the look you
see in a crooked politician who’s just been asked the one question
he’d been promised he wouldn’t be asked, in the athlete
who’s been told he has to take the drug test he knows he’s going
to fail.
Giorgio was terrified.


Excerpted from Little Elvises (Junior Bender #2) by Timothy Hallinan Copyright © 2013 by Timothy Hallinan. Excerpted by permission of Soho Crime, a division of Random House, Inc.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Meet the Author

Timothy Hallinan is the Edgar- and Macavity-nominated author of thirteen widely praised books—twelve novels and a work of nonfiction—including the Poke Rafferty Bangkok thrillers and two other popular Junior Bender investigations, Crashed and The Fame Thief. In 2010, Hallinan conceived and edited an ebook of original short stories by twenty mystery writers, Shaken: Stories for Japan, with 100% of the proceeds going to Japanese disaster relief.

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Little Elvises 3.8 out of 5 based on 0 ratings. 11 reviews.
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TheReadingWriter More than 1 year ago
One picks up a book by Tim Hallinan to have fun. There’s a little murder, sure…sometimes a lot of murder…but it’s usually the bad guys that “get it” and we rest easy, knowing there is someone out there who’d rob us blind if he could, but who won’t take more than we can afford to lose. Hallinan’s creation, Junior Bender, is the kind of guy you might ask back to your house for a party, after he’d robbed it, just to ask how he did it. He’s that amusing. The Junior Bender series of books is based in Los Angeles and captures the vibration of southern California precisely. If you’ve ever found yourself missing the place, you might want to pick up one of Hallinan’s books for a cure. Hallinan lasers in on defining characteristics, and picks up those things we thought we’d fixed with botox, or managed to hide with designer advice. He is brilliant at describing environments, in this case an old art deco apartment building with a view of the city purchased by crooked Koreans. Crumbling and unkempt on the outside, it is gloriously restored on the inside, with secret escapes and hidden garages, just perfect for hiding ill-gotten gains or for a man on the run. Junior has a code of ethics that is not taught in any religion, but like many southern Californians, is just something he created out of whole cloth and “evolved” into. But we like this code, just as we like him. He is a thief, yes, but his heart is in the right place. Everyone wants his help at some time or another, even the cops, and if they don’t, well, mostly they want to lock him up or kill him. Which keeps Junior on his toes. Junior has a family, and in this episode, his thirteen-year-old daughter, Rina, shows she is growing up into someone he can admire. Do I need to say she has computer skills that put her father to shame? And while she is not old enough to have a boyfriend, she has a friend that is a boy who is as special and interesting as everyone else in the family. We yearn to see more of him, and watch him grow. Hallinan writes crime novels that defy the type. One can imagine finding a sprung-binding massmarket paperback of his with its delicious, distinctive single-color cover and woodcut silhouettes and opening to the first page…only hours later surfacing to reflect that one had found gold.
tedfeit0 More than 1 year ago
A pattern seems to be developing n the Junior Bender series. In the debut novel, “Crashed,” Junior, a professional burglar, was blackmailed, indirectly, by Trey Annunziato, the female head of a crime family, to steal a Klee. In this, the second book in the series, he is blackmailed by a detective to try to protect his uncle, Vincent Di Gaudio, from a murder rap. I guess we’ll have to wait for the third installment, expected in June, “The Fame Thief,” to find out whether the trend continues. Be that as it may be, there are two stories in the present novel. First is the murder of a gossip reporter, for which a prime suspect is Vincent DiGaudio, known for finding and promoting various boys known as the “Little Elvises” during the 1950’s. Then the owner of the motel in which Junior is living asks him to find her daughter, from whom she has not heard for some time. Apparently she was living with a man suspected of murdering several women. Just to add an additional touch of complexity and humor to the novel, Junior becomes involved with the journalist’s widow, while his ex-wife and 13-year-old daughter each have new boyfriends, complicating his life further. A hallmark of a Timothy Hallinan mystery novel are unusual situations and characterizations, and a whole lot of humor. “Little Elvises” is no exception. Junior continues to evolve in this book, and we find him becoming softer and more human, despite the bizarre confrontations he gets into. It’s a worthy follow-up, and we look forward to the next chapter in his life. Recommended.
Anonymous More than 1 year ago
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Anonymous More than 1 year ago
As a big fan of the Polk Rafferty series I think Hallinan missed the mark on this one; it was a slow read that may make it hard to pick up the next book in this series. E Roberts