Jason Keltner and his friends live in a dilapidated apartment house, seldom have steady jobs and drive junker cars. But don't call this band of twentysomethings "slackers." Robert is an aspiring actor, Martin wants to be a graphic artist and Jason composes electronic music, picking up occasional jam sessions.

With the rent due, Jason accepts what seems like a simple, paying job from ex-spy Norton Platt: Just keep an eye on Paul Reno, an obnoxious braggart who has been hanging around a new crowd "a little seedier and a little more serious than his usual."

Platt's first request is to take Reno to a party given by computer expert Huey Benton to see what happens. What happens is Benton drops dead, Paul disappears and soon Jason, Robert and Martin are being chased by Taurus-driving criminals looking for a "dongle," which the trio think has to do with computer software.

In Coffin's Got the Dead Guy On the Inside, Keith Snyder delivers a witty, savvy caper that is his generation's equivalent of those lighter works by Donald E. Westlake, Lawrence Block and Laurence Shames.

Snyder usually keeps his tongue is firmly in his cheek, such as a car chase with the heart-pounding of Bullitt, although, in this case, one automobile is so old it literally falls apart.

The dialogue is as fresh and smart as Snyder's young heroes. Despite its odd title (which is a musicians' joke), Coffin's continues the legacy of capers by keeping the threat of violence higher than the actual violence.

-- Oline Cogdill