Fired from his screenwriting stint at Empire Productions (Far From Heaven, 1997), Keith Moody’s settled down to marriage and a humdrum career as a novelist till WWII is over. But a chance encounter with Kurt Flowerdew, a fan who ends up robbing him at gunpoint and then demanding he collaborate on Kurt’s life story, is only the first sign that Keith’s life isn’t as placid as he thinks. In short order, the tenant at the old address Keith gave Kurt is murdered; devious Marvin Margolin, Empire’s head of production, hires Keith back to flesh out a bestselling spy novel for Empire’s newest sensation, suave Nigel Lawson; Keith’s wife Myra learns that the —worthless— stamp collection she’s inherited from her uncle is actually worth big bucks to philatelists, kidnappers, and Adolf Hitler; Kurt asks Keith if he’d please steal the corpse of Kurt’s Aunt Amanda from the nursing home that plans to sell her body to a freak show; and two dogs die in unrelated incidents. In fact, most everything that happens is unrelated to everything else, except as a setup for one final criminal spree that will pit Keith against the FBI, with neither side distinguishing itself. Lacking the shaky edge of Keith’s first appearance, this easy-riding sequel reads like an unedited brainstorming session on Empire’s aptly named Writer’s Block.