We’ve been here before with writers and filmmakers like Elmore Leonard and Quentin Tarantino (quotes from both of whom lead off this novel). But that doesn’t mean it’s not worth another trip through So-Cal Neo-Noir, especially when we’re in the hands of a talented storyteller, and based on this debut novel (or so I assume it to be), that’s precisely what Philip Elliott is.
Action-filled stories like Nobody Move’s plot are hard to summarize, but I’ll give it a try: What ought to be a routine collection call by a couple of low-level enforcers goes bad, resulting in a pervy narcotics distributor and his innocent wrong-place-wrong-time mistress shot dead, their bodies none too well hidden (and promptly discovered) in the hills. And that results in the dead man’s much-more-dangerous brother arriving from Texas and out for vengeance, and a world-weary single mother homicide detective assigned to the case. Meanwhile, an enigmatic young woman shows up, hunting for the half-sister gone missing from their South Dakota Oglala Reservation home (who was the murdered mistress, of course), and the crime lord who initiated the whole affair is determined to silence everyone involved…permanently. Bottom line: Everyone’s looking for Eddie, the inept crook who stupidly pulled the trigger and set things in motion. Colorfully quirky characters provide ample cannon fodder for the sudden bursts of explosive violence that erupt on cue in Elliott’s (thankfully) straightforward linear narrative: A retired gay porn star (now pre-op trans) turning traitor, a sleazy lawyer, a strip club dancer, a Puerto Rican hitman and other assorted thugs among them. The characters’ multiple paths converge, sometimes violently, sometimes humorously, and ultimately in a harrowing daylight bank robbery and then a major shoot-out. If this is Elliott’s debut novel, then he handles a complex multi-character plot handily and keeps everything moving along at a fast-paced clip. People toss the term ‘page turner’ around a lot (myself included) but this one really was, at least for me.
If you give Nobody Move a try, I challenge you to not picture your own dream cast for each character’s role, or to constantly visualize Elliott’s well laid out scenes in the quirky, jump-cut violence-filled big screen version it ought to be. Philip Elliott is the editor in chief of the print and online literary magazine, Into The Void, and this novel is from their small press publishing operation. That suggests no literary agent was involved, but I sure hope the author has someone working overtime to drop this novel onto appropriate Hollywood producers’ desks.