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from our DIK review: In 1933, Wes Cooper was shot and killed by his lover, Michael.  But Michael’s sister was a witch and, unable to accept what her brother had done, cast a spell to bring Wes back to life - but not only did it resurrect him, it made him immortal, something that’s changed his life in lots of small ways as well as the one  big one.  Wes will never age physically and because of this, he never – well, almost never - embarks upon close friendships or relationships, knowing there’s only so long he can use the excuse of having good genes to explain away his unchanging appearance.  He’s had to move around and change his identity every ten years or so in order to stop people wondering about him, and his only real friends have been the generations of witches from the family who brought him back from the dead.  Even so, he’s flesh and blood; he lives in the world as we know it, but he also retains a link to the otherplane, the place where the dead go before moving on, and where some of them linger, usually in hopes of concluding unfinished business. Wes uses his ability to slip between the planes of existence to earn a living, sneaking into people’s private spaces as a ghost to recover items for interested parties – heirlooms they want back, contracts they shouldn’t have signed and even information they can use for blackmail.  He’s treading a fine line; technically he’s committing theft, although he prefers to think of it as ‘retrieval’, but because of the nature of what he does, he has a very strictly defined set of business practices designed to protect him and his identity; clients come to him via a sophisticated set of referrals and anonymous messages, and he never meets directly with any of them.  And their targets are usually shady types, people who’ve done things that are not-so-nice, making them dangerous to be around. When Wes is in the otherplane, he isn’t able to see clearly into the living world, seeing instead a series of shapes and shadowy images that don’t allow him to pick out any details, which is why he’s slow to realise he’s witnessing the final stages of a murder.  He’s on a job at the home of a famous actress, realises too late what’s going on and is rooted to the spot by fear and indecision.  The murderer has a shadow like nothing Wes has ever seen – dark grey, with jagged edges and surrounded by an aura of danger – all of it signalling this is something he does not want to mess with. Still, he feels guilty and ashamed that he did nothing to help the victim, and this eventually compels him to try to help bring the killer to justice.  But where to start?  Going to the police will reveal his presence at the murder scene – but maybe there’s a way to approach them through… unofficial channels.  In the 1980s, Wes dated a cop, Hudson Rojas, for five years, and okay, they split up a bit acrimoniously – mostly because of Hudson’s unwillingness to put his relationship before his job - but he’s one of the few people Wes ever told about his abilities and if he’s still around, perhaps he’d be willing to use Wes’ information in the investigation. After thirty-three years, their reunion is – unsurprisingly – an awkward one.  At fifty-eight, Hudson is still gorgeous, a fit, hot, silver-fox, but he’s grown up in a way that Wes still hasn’t, for all that Wes is over a hundred years old.  Hudson listens carefully to Wes’ story, but makes it clear he’s not interested in catching up or making small talk; his dismissive attitude irritates Wes, but even so, Wes agrees to help by accompanying (as a ghost) Hudson as he interviews suspects, looking for anyone whose silhouette matches that of the killer. As they work together, Wes and Hudson have to navigate the tricky waters of their shared past and deal with all the baggage that still lies between them, and… let’s just say that there are some big surprises in store.