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This is the last of Hack’s “Harvey” trilogy in which the ghost of Harvey, the murderous six-foot tall invisible rodent, comes back from the dead in search of human blood and makes Elwood P. Dowd his mind slave. Dowd is placed in an asylum for the criminally insane as Harvey slaughters and then feeds on the population of the small town where Dowd lives until they are the only ones left. Harvey finally comes into the asylum with Dowd thinking that Harvey will free him, but it eats him instead.
Hack’s novelization of the play “Harvey” was so successful that he wrote this sequel where, after the hero Elwood P. Dowd finally frees himself of being the savage rodent’s mind slave and destroys in by feeding it into a gigantic meat grinder, Harvey’s ghost comes back for revenge. After that, it plays out pretty much exactly like it did in the first book.
When Hack heard that his idol French Stewart was starring with his wife Vanessa in the play “Harvey” about an invisible rabbit, he assumed that the titular transparent bunny was a murderous giant rodent who manipulated his mind slave Elwood P. Dowd into killing people to give him fresh flesh to feed on. When Hack was informed that it was actually a gentle fantasy, he wrote this novelization of his concept to set things right.
When Hack discovered that there was a small theater across the street from the Shakey’s where he worked as a janitor, he volunteered as a technician with the expectation that he would meet scatterbrained actresses who believed in Free Love. To his disappointment, they all turned out to be intelligent, mature women who found him as repellent as any other women do.
Hack wrote this when he was hanging around the small theater across the street from the Shakey’s where he works as a janitor and he became obsessed with one of the actresses who performed there. In the book, the rising starlet gets hooked up with mobsters who come to her dressing room after the show and her life goes into a rapid descent until she winds up as the night janitor at the Shakey’s across the street from the theater that she used to perform at.
When he first heard about the Me Too movement, Hack was horrified because he had a long history of masturbating in front of women for years. So he wrote this book in support of the crusade in the hopes that its leaders wouldn’t put him to death when they took over. His fear turned out to be for naught because his genitalia is so tiny that none of the women realized that he was playing with himself in their presence.
When his celebrity crush Frances Fisher appeared in a play called “Barbeque” in Los Angeles, Hack stole the title for a erotic trifle about a Frances Fisher-like actress who tempts all the males in the neighborhood with her luscious sweet meats. It eventually becomes known in the story that she’s pretty good at barbequing too.
When it appeared more and more like Actors’ Equity was working against the will of its members trying to destroy small theatre in Los Angeles, Hack wrote this last book on the theme to drive the final nail into the coffin. When it became obvious that AEA leadership was going to do what it wanted no matter what happened, Hack threw up his hands in frustration and went back to writing about anal sex.
Immediately after completing his run as Shakespeare’s Richard III, his cover artist Jonny M. appeared in a new play written by his friend Steve B. Green called “Timeshare.” Once again, Hack was so impressed that he decided to write a sequel in novel form but instead of doing it with a classic in public domain like “Richard III,” he did it with Green’s original play without obtaining the rights. When Jonny saw the manuscript, he had a heart attack and was rushed to the hospital where he was contractually obligated to make the cover art for the book. Fortunately, it all ended well as Green loved what Hack did with his characters and the two collaborated on an opera based on Green’s play “Three Really Offensive Scenes about the Founding Fathers.”
When he saw his cover artist Jonny M. give his definitive performance as Shakespeare’s Richard III, Hack was so impressed that he wrote this sequel where the hunchback king comes back to life and blows away all of his surviving enemies. Hack’s version remained surprisingly true to Shakespeare’s original except that while he was waiting in the afterlife, Richard seemed to have developed an insatiable desire for anal sex.