Shades of Marilyn Monroe and Orson Welles! That's who lowlife journalist Igor Lopes tangles with in his return (following The Celluloid Gangs, 1990) to the Big House, that never-never-land movie studio of the dead. Iggy is in demand first as a screenwriter (with sodden Dash Hammett and Bill Faulkner) for Welles's all-dead Hamlet- -the first Big House project targeted for live audiences--and then as a technical assistant when cameraman Billy Bitzer discovers that only Iggy's hand on the camera allows the shades to be photographed. But Iggy soon finds himself framed for puncturing the essence of Welles's Hamlet, Humphrey Bogart (!)--a mess he can get out of only by helping Gary Cooper rewrite the ending of High Noon and surviving a party right out of Sunset Boulevard. The whole relentlessly cute affair smells like grave-robbery--as if human beings had been pressed into the cartoon roles of Roger Rabbit.