Part 1 Chapter 4 Portland Noir Dialogue with Scenes from The Maltese Falcon

PORTLAND NOIR1

A 16mm film2

Entry for FFW3

ProfessionallcFilm4

Italy: voiceover. (1 minute) Portland Noir Dialogue5

Our Hiro is basking in the Italian Sun and thinking back upon the dark and mean and ugly business in Portland Noir. His Yours Truly is very much on his mind. It is not a happy story, sad but true.6

Portland: Part One. (3 minutes) Portland Noir Dialogue7

Our Hiro leaves his office in the Acme building alone headed for a clandestine meeting at Powell's Book.8

In a shadier and seedy neighborhood passing by, he is set upon by a bunch of brothers seeking rumble.9

In this fight, he bests the biggest man, and the others leave the scene. He returns to his office.10

Green Hills of Africa by Ernest Hemmingway. (paper, 1996)11

Our Hiro: "I was sure you hit him." (p. 43)12

Yours Truly: "I still think you hit him."13

Our Hiro: "I'm sure I missed him."14

Yours Truly: You hit him.15

Snow Crash by Neal Stephenson. (paper, 1992, 2003)16

Our Hiro: "I was thinking we should be partners."17

Yours Truly: "The same thing occurred to me." (p.93)18

Our Hiro: "But I have to think how it would work." 19

Portland: Part Two. (four minutes with dialogue)20

DISSOLVE TO:21

17. INT. HALLWAY - OUR HIRO APARTMENTS - CLOSE SHOT - 22

YOURS TRULY 23

pressing the buzzer of Apartment 1001. 24

YOURS TRULY,25

in a belted BLACK crepe dress; 26

HIRO opens the door immediately.27

Her face is flushed. 28

Her BLACK hair parted on the left side sweeping29

back in loose waves over her right temple, is somewhat tousled.30

OUR HIRO31

(taking off his BASEBALL hat WORN SIDEWAYS)32

Good morning.33

YOURS TRULY34

(lowers her head35

-- then in a hushed36

timid voice) May I come in?37

OUR HIRO38

Come in, Ms. Truly.39

18. INT. LIVING ROOM40

Several bags stand open on the floor.41

YOURS TRULY and OUR HIRO42

enter from the hall.43

YOURS TRULY44

Everything is upside-down.45

OUR HIRO46

{aside} {I haven't even finished unpacking.}47

He lays his hat on a table, sits down on a walnut settee.48

YOURS TRULY49

She sits on a brocaded oval-backed chair, facing him.50

She looks at her fingers, working them together. Then:51

OUR HIRO52

Come in, Ms. Truly.53

{aside} {Everything's upside down.}54

I haven't finished unpacking.55

YOURS TRULY56

Mr. Hiro, I've a terrible, terrible57

confession to make.58

OUR HIRO59

He makes a polite smile.60

YOURS TRULY61

That -- that story I told you62

yesterday was all -- a story.63

(she stammers,64

looks at him65

with miserable66

frightened eyes)67

OUR HIRO68

Oh, that...69

(lightly)70

We didn't exactly believe your story,71

Miss -- Miss -- is your name Truly72

or Yours?73

YOURS TRULY74

(working her fingers again)75

It's really Y.T. for Yours Truly.76

OUR HIRO77

We didn't exactly believe your story,78

Miss Y.T. 79

We believed your80

two hundred dollars.81

YOURS TRULY82

You mean...83

OUR HIRO84

I mean, that you paid us more than85

if you had been telling us the86

truth...87

(blandly)88

...and enough more to make it all89

right.90

YOURS TRULY91

(bites her lip)92

Mr. HIRO , tell me...93

(her face becomes94

haggard, eyes95

desperate)96

Am I to blame -- for last night?97

YOURS TRULY98

(her voice thin99

and tremulous)100

OUR HIRO, do they know about me?101

OUR HIRO102

Not yet. I've been stalling them103

until I could see you.104

YOURS TRULY105

Must they know about me at all,106

OUR HIRO? Couldn't you somehow107

manage to shield me from them?108

So I won't have to answer their109

questions?110

OUR HIRO111

Maybe. But I'll have to know what112

it's all about.113

She rises, puts a timid hand to his coat sleeve.114

YOURS TRULY115

I can't tell you -- I can't tell116

you now -- later I will -- when I117

can. You must trust me OUR HIRO.118

Oh, I'm so alone and afraid!119

I've got nobody to help me if120

you won't help me.121

(begging)122

Be generous, OUR HIRO. You're123

strong. You're brave. You can124

spare me some of that strength125

and courage, surely.126

(she drops to her127

knees, her hand128

touching his, clings129

pitifully)130

Help me, OUR HIRO! I need help131

so badly. I've no right to ask132

you but I do ask you. Help me!133

OUR HIRO empties his lungs with a long sighing exhalation.134

OUR HIRO135

You won't need much of anybody's136

help. You're good. It's chiefly137

your eyes, I think, and that throb138

you get in your voice when you139

say things like "Be generous, OUR HIRO."140

30.141

She jumps to her feet. Her face blanching painfully, but142

she holds her head erect and she looks OUR HIRO straight in143

the eye.144

YOURS TRULY145

(voice chilled)146

I deserve that. But -- Oh -- the147

lie was in the way I said it and148

not at all in what I said.149

(lips trembling150

slightly, but151

head still erect)152

It's my own fault that you can't153

believe me now.154

OUR HIRO's face darkens. He looks down at the floor.155

OUR HIRO156

(muttering)157

Now you are dangerous.158

comes back and stands in front of him, holding the hat159

for him to take if he wishes. Her face is thin, haggard.160

OUR HIRO161

(looking at his hat)162

I've got nothing against trusting163

you blindly except that I won't164

be able to do you much good if I165

haven't some idea of what it's all166

about.167

YOURS TRULY168

She puts his hat on the table, slips down onto the settee169

again. YOURS TRULY shakes her head and says nothing. {aside}170

I deserve that. But the lie was in the way I said it, not at all in what I said. It's my own fault if you can't believe me now.171


OUR HIRO
{aside} Now, you are dangerous.172

49.173

OUR HIRO174

That's good -- coming from you.175

What have you given me besides176

money? Have you given me any of177

your confidence? Any of the truth?178

Haven't you tried to buy my loyalty179

with money and nothing else?180

YOURS TRULY181

I've given you all the money I have.182

(tears glisten183

in her eyes,184

her voice is185

hoarse, vibrant)186

I've thrown myself on your mercy --187

told you that without your help I'm188

utterly lost.189

(she turns on190

him suddenly --191

cries in a192

vibrant voice)193

What else is there that I can buy194

you with?195

OUR HIRO takes her face between his hands, kisses her mouth196

roughly and contemptuously, then releasing her, he sits197

back. She sits, holding her face where his hands left it.198

OUR HIRO gets up, takes two steps towards the fireplace,199

halts. YOURS TRULY doesn't move. He turns to face her.200

OUR HIRO201

I don't care what your secrets are202

-- but I can't go ahead without more203

confidence in you than I have now.204

You've got to convince me that you205

know what it's all about -- that you206

aren't simply fiddling along hoping207

it'll all come out right in the end.208

YOURS TRULY209

Can't you trust me a little longer?210

OUR HIRO211

How much is a little? And what are212

you waiting for?213

She bites her lip, looks down.214

71.215

YOURS TRULY216

I don't know.217

OUR HIRO218

(casually)219

Your are a liar.220

She gets up and stands at the end of the table looking221

down at him with dark abashed eyes.222

YOURS TRULY223

I am a liar. I've always been a224

liar.225

OUR HIRO226

(good-humoredly)227

Don't brag about it. Was there any228

truth at all in that yarn?229

YOURS TRULY230

(lowers her head231

slightly -- whispers)232

Some... Not very much.233

OUR HIRO rises, crosses to her. He puts his hand under her234

chin, lifts her head. Her eyes are damp. He laughs into235

them.236

OUR HIRO237

We've got all night before us. I'll238

put some coffee on and we'll try239

again.240

YOURS TRULY241

(her eyelids droop)242

Oh -- I'm so tired.243

(then tremulously)244

So tired... of lying and thinking245

up lies and not knowing what is a246

lie and what is the truth. I wish247

I...248

She puts her hands up to OUR HIRO's cheeks, her mouth hard249

against his mouth -- her body flat against his body.250

OUR HIRO's arms go around her, holding her to him. Muscles251

bulge his sleeves as his hand cradles her head, his fingers252

lost among her hair.253

FADE OUT.254

Yours Truly knocks on his door radiantly beautiful. They embrace. They kiss. They leave together. And so begins the gentle slid down to hell for both of them. 255

She is his double self: that portent of his doom. She is the fem fatal and he is the fatal mal. Him dead meat. She is the siren song of Homer's dream. 256

What one fatal woman can do to entirely ruin your day. It makes a fatal man rue the day he was born.257

146.258

OUR HIRO (CONT'D)259

... and good luck.260

OUR HIRO slowly replaces the receiver on the prong. He fills261

his chest with air and exhales. His eyes are glittering262

between narrowed lids. He turns, takes three swift steps263

toward YOURS TRULY The girl, startled by the264

suddenness of his approach, lets her breath out in a little265

gasp. OUR HIRO, face to face with YOURS TRULY, looks at her hard266

of jaw and eye.267

OUR HIRO268

--269

… about us. We're sitting on dynamite.270

We've only got minutes to get set…. Give me all of it fast.271

She starts to speak, hesitates, bites her lip. OUR HIRO takes272

her by the shoulder, cries angrily:273

OUR HIRO274

Talk.275

YOURS TRULY276

(uncertainly)277

Where... shall... I... begin?278

OUR HIRO279

The day you first came to my office...280

YOURS TRULY281

I told you, , Our Hiro … 282

and I wanted to283

find out.284

OUR HIRO285

That's a lie! 286

Isn't that so?287

YOURS TRULY lowers her eyes shame-facedly.288

OUR HIRO289

What was your scheme?290

149.291

YOURS TRULY292

S -- something -- like -- that.293

OUR HIRO294

Right?295

She nods mutely.296

OUR HIRO297

so you came back to me.298

She puts her hands up around the back of his neck pushing299

his head down until his mouth all but touches hers.300

YOURS TRULY301

Yes, but -- Oh, sweetheart, it302

wasn't only that. I would have303

come back to you sooner or later.304

From the very first instant I saw305

you I knew...306

He puts his arms around her holding her tight to him.307

OUR HIRO308

(tenderly)309

You Angel! Well, if you get a310

good break, you311

can come back to me then.312

She draws away from him slightly, throws her head far back313

to stare up at him, uncomprehending.314

OUR HIRO315

(tenderly)316

I hope they don't hang you, Precious,317

by that sweet neck.318

He puts his hand up and caresses her throat. In an instant319

she is out of his arms back against the table crouching,320

both hands spread over her throat. Her face is wild-eyed,321

haggard. Her mouth opens and closes.322

150.323

YOURS TRULY324

(in a small,325

parched voice)326

You're not?...327

(she can get no328

other words out)329

OUR HIRO's face is damp with sweat now. His mouth smiles330

and there are smile wrinkles around his glittering eyes.331

OUR HIRO332

(gently)333

I'm going to send you over. The334

chances are you'll get off with335

life. That means you'll be out336

again in twenty years. You're337

an angel! I'll wait for you.338

(he clears his339

throat)340

If they hang you, I'll always341

remember you.342

YOURS TRULY drops her hands, stands erect. Her face becomes343

smooth and untroubled except for the faintest of dubious344

glints in her eyes. She smiles back at him.345

YOURS TRULY346

Don't, OUR HIRO. Don't say that -- even347

in fun. Oh, you frightened me for348

a moment. I really thought -- you349

do such wild and unpredictable350

things...351

She breaks off, thrusts her head forward and stares deep352

into his eyes. The flesh around her mouth shivers and fear353

comes back into her eyes. She puts her hands to her throat354

again. OUR HIRO laughs. His laugh is a croak.355

OUR HIRO356

Don't be silly. You're taking357

the fall.358

YOURS TRULY359

But -- but, OUR HIRO, you can't! Not360

after what we've been to each361

other. You can't!362

(she takes a long363

trembling breath)364

You've been playing with me -- only365

pretending you cared -- to trap me366

like this. You didn't -- care at367

all. You -- don't -- l -- love me.368

151.369

The muscles holding his smile stand out like walls.370

OUR HIRO371

I think I do. What of it? I372

won't play the sap for you.373

YOURS TRULY374

(tears come to her eyes)375

You know it is not like that! You376

can't say that!377

OUR HIRO378

I am saying it. You've never played379

square with me for half an hour at380

a stretch since I've known you.381

YOURS TRULY blinks her tears away, takes a few steps backward,382

stands looking at him, straight and proud.383

YOURS TRULY384

You know, down deep in your heart385

you know that in spite of anything386

I've done, I love you.387

He puts his hand back on her shoulder, the hand shakes and388

jerks.389

OUR HIRO390

I don't care who loves who. I'm391

not going to play the sap for you.392

… you're going over for it.393

She takes his hand from her shoulder, holds it close to her394

face.395

YOURS TRULY396

Why must you do this to me, OUR HIRO?397

--398

He is no longer smiling. He pulls his hand away from her.399

His wet face is set hard and deeply lined. His eyes burn400

madly.401

OUR HIRO402

Listen... This won't do any good.403

You'll never understand me but I'll404

try once and then give it up.405

Listen... 406

(MORE)407

OUR HIRO (CONT'D)408

It doesn't make any difference what409

you thought … you're supposed to do something410

about it. 411

YOURS TRULY412

You don't expect me to think that413

these things you're saying are414

sufficient reason for sending me to415

the...?416

OUR HIRO417

Wait till I'm through. Then you can418

talk. Third. I've no earthly419

reason to think I can trust you and420

if I did this and got away with it,421

you'd have something on me you could422

use whenever you wanted to. Next:423

since I've got something on you, I424

couldn't be sure you wouldn't decide425

to put a hole in me some day.426

Fifth. I wouldn't even like the427

idea of thinking that there might be428

one chance in a hundred that you'd429

played me for a sucker. And sixth:430

But that's enough. All those are on431

one side. Maybe some of them are432

unimportant. I won't argue about433

that. But look at the number of434

them. Now, on the other side we've435

got what? All we've got is that436

maybe you love me and maybe I love437

you.438

YOURS TRULY439

(whispers)440

You know whether you love me or not.441

OUR HIRO442

Maybe I do.443

He looks hungrily from her hair to her feet and up to her444

eyes again.445

OUR HIRO446

What of it? Maybe next month I won't.447

I've been through it before. I'll448

have some rotten nights after I've449

sent you over but that'll pass.450

(he takes her451

by the shoulders,452

bends her back453

leaning over her)454

If all I've said doesn't mean455

anything to you, forget it and we'll456

make it just this. I won't because457

all of me wants to -- regardless of458

consequences -- and because you've459

counted on that with me the same as460

you counted on that with the461

others...462

(he takes his463

hands from464

her shoulders,465

lets them fall466

to his side)467

She puts her hands up to his cheeks, draws his face down468

toward her again.469

YOURS TRULY470

Look at me and tell me the truth.471

Would you have done this to me and you472

had been paid your money?473

OUR HIRO474

Don't be too sure I'm as crooked475

as I'm supposed to be. That kind476

of reputation might be good business477

bringing in high-priced jobs and478

making it easier to deal with the479

enemy.480

She looks at him, says nothing. 481

OUR HIRO moves his shoulders482

a little.483

OUR HIRO484

But a lot of money would have been485

at least one more item on your side486

of the scales.487

YOURS TRULY488

(whispers)489

If you loved me, you'd need nothing490

more on that side.491

OUR HIRO492

(his voice a493

hoarse creak)494

I won't play the sap for you.495

She puts her mouth to his slowly and is in his arms when496

the doorbell RINGS. Before he releases her he calls:497

OUR HIRO498

Come in.499

123. MED. SHOT - ROOM - ANGLE ON DOOR500

OUR HIRO501

Swell... Here's another one for you.502

(he pushes YOURS TRULY forward)503

YOURS TRULY's face and movements 504

are like a sleepwalker's.505

OUR HIRO506

Your OUR HIRO's a detective.507

YOURS TRULY508

Cut it out, OUR HIRO. 509

What is it?510

The stuff that dreams are made of.511

Notes to the Screenwriter512

Your task is to insert the dialogue below into the stage directions above. Portland Noir is a parody of Snow Crash with Our Hiro and Yours Truly acting out the stage directions of The Maltese Falcon using the dialogue of Stephenson, Cather, and Hemmingway.513

My Antonia by Willa Cather (paper 2006) 514

(An' -ton -ee -ah) (p. Xf)515

"the best days are the first to flee." 516

("The Big Read," NeftA) (pp. 3, 14) (p. 233)517

"Now read me a chapter in 518

'The Prince of the House of David." (p. 77)519

[In the house of Da5id.]520

Our Hiro: "He [Da5id] don't like this [country]." (p. 76)521

Yours Truly: "… [he] ought to stay at home."522

Our Hiro: {aside} "… [she] wants other people's things."523

Yours Truly: "Why not help [me]?"524

Our Hiro: {aside} " [as] If I got [everything] …525

Yours Truly: {aside} "… like you [have], …."526

Our Hiro: " … I [would] make [things] much better." (p. 75)527

Yours Truly: "I never made anything…" 528

Our Hiro: {aside} "… with my eyes." (p. 144)529

Yours Truly: "Your are quite comfortable here, … (p. 229)530

Our Hiro: "I am in business for myself."531

Yours Truly: "I have made a really good start."532

Our Hiro: "Perhaps it’s your clothes…"533

Yours Truly: "You like my new suit?" 534

Our Hiro: "I have to dress pretty good in this business."535

Yours Truly: {aside} "… aren't you?" 536

Our Hiro: " that makes the difference."537

Yours Truly: Look at you. You owe me. (p. 239)538

Our Hiro: {aside} "'Look, all of you, I owe this woman nothing.'" 539

Yours Truly: "Look at me." (p. 230)540

Our Hiro: What a prince am I!541

Yours Truly: " … won't you make Prince behave?" (p. 246)542

Our Hiro: "This old chap will be proposing to you someday." (p. 249)543

Yours Truly: "Oh, he has -- often!" 544

Our Hiro: "Every handsome girl like you marries." (p. 250)545

Yours Truly: {aside} "Of course!"546

Our Hiro: {aside} "Nonsense!"547

Yours Truly: "Haven't I been nice to you?"548

Our Hiro: "You are going."549

Yours Truly: "… but you haven't gone yet, have you?"550

Our Hiro: "You were such a funny kid!" (p. 252)551

Yours Truly: "Not me." (p. 250)552

Portland: Part Three. (1 minute) Portland Noir Dialogue553

Our Hiro finds Yours Truly dead of a dose. He cannot forget her. He pines for her love. She is gone gone. {She is not gone; just dozing.}554

The Sun Also Rises by Ernest Hemmingway. (paper 1986)555

Our Hiro: " [there] Isn't … 556

Yours Truly: " … anything we can do about it?" (p. 26)557

Our Hiro: "There is not a damn thing we can do."558

Yours Truly: "We better keep away from each other."559

Our Hiro: "I have to see you."560

Yours Truly: "That's my fault."561

Our Hiro: "Don't we always pay….562

Yours Truly: "… for the things we do, though?"563

Our Hiro: "I'm paying for it all now."564

Yours Truly: {aside} "I never think about it."565

Our Hiro: {aside} "Oh no. I'll lay you don't."566

Yours Truly: "I laughed about it, too, myself…"567

Our Hiro: "Once…"568

Yours Truly: "No… (p. 27)569

Our Hiro: "Nobody ever knows anything."570

Yours Truly: "I think it's hell on earth."571

Our Hiro: "Don't you want to?572

Yours Truly: "I have to."573

Italy: voiceover (1 minute) Portland Noir Dialogue574

Our Hiro's suicide from a fatal head wound began when he let his heart take over his head. 575

{His attempt failed. He is just dozing.}576

He should have been wiser; she should have been wiser. But they both wound up dead; both he and his other self. {Their attempts both failed; just dozing.}577

An Alexander and Alexandra Hay Mystery Series Film578

Alexander Hay was an actor and director on television. 579

Undercover (1983) (as Alex Hay) .... Show Director 580

Date of Birth 31 December 1919, London, England, UK 581

Date of Death 22 July 1987, Sydney, New South Wales, Australia 582

Alexandra Hay was an actress on television. (photo above)583

Invitation to a Murder (1970) TV episode .... Eadie Parker584

Date of Birth:585

24 July 1944, Los Angeles, California, USA more 586

Date of Death:587

11 October 1993, Los Angeles, California, USA 588

Notes: This is a marketing script. Yes, a shameless plug, trying to sell.589

The best image of marketing is that of the train conductor, going from car to car, punching tickets. Into the far future, and from the far distant past, he is riding through time, making cookie cutter images of himself. No man is an island; no man stands alone. John Dunne.590

SNOW CRASH by Neal Stephenson (c. 1992, paper, 2003)591

Part One: Rumble (p. 1) "Nothing but trouble."592

Part Two: Boy meets Girl (pp. 16, 18, 50) "Yours Truly."593

Part Three: Metaverse-all (pp. 24, 26) "Not … live at all."594

Part Four: Avatars (pp. 35, 38, 41, 42) "try some snow…?"595

Part Five: Black-and-white (pp. 63, 65, 66) "Adam and Eve."596

Part Six: Da5id (pp. 60, 61, 67, 71, 72, 74, 75, 77) "white."597

Parody598

The word parody comes from two Greek words: para and ode, meaning another story, usually meant to be humorous.599

The story of Adam and Eve is set in a tragic and dramatic scene in the Garden of Eden, which is metaversal or universal in the telling of a parable, or sharpened tale. In the Greek, Parousia means a judgement of the world. (Bible dictionary) "… she took the fruit thereof, and did eat, and gave also unto her husband with her, and he did eat. And the eyes of them both were opened…. Sent him forth from the Garden of Eden…. (Gen. 3:6, 7, 23)600

By the use of Antics3d, the director of Professionallcfilm Company, creates a Metaverse-all set giving directions to actors in the real world of Reality. Adam and Eve in the Metaverse are prototypes of the genetic actors in Reality.601

What Snow Crash lets us see with our eyes opened is the giving of white noise or snow to Da5id to bring about his fall from the pride of the world. It is done through a woman.602

There are two men: Hiro and Da5id. There are two women.603

Juanita and Yours Truly. This adaptation combines the men in one man Hiro, our Adam, and combines the women in one woman Yours Truly, our Eve. The story is the seduction of Adam by Eve, who herself was seduced by the dark one.604

The white one in the black-and-white tale is the Origin.605

The director has taken the Noir story of Reni Fou, age 16.606

He has replaced the name of Sam Spade with Our Hiro.607

He has replaced the name of Eadi Parker with Yours Truly.608

Noir is a condensed version of The Maltese Falcon (1941)609

or Dangerous Woman (1931) by Dashell Hammitt. It could be a statement of this entire genre of film. Man doing his thing just getting by but getting there. He meets her, the she devil, who persuades him through feminine wiles (sex), to do her murderous pursuits (kill). This brings him down to ruin.610

In the Eden version, man is sent into the wilderness to die. He has woman to give him children, some of who kill. We loose focus that it was meant by the Origin to bring about his redemption. He willingly took of the fruit; she was seduced.611

In Noir, Yours Truly has already taken drugs, which drive her to suicide. Our Hiro's longing for her memory takes his life.612

In Portland Noir, Yours Truly was drug-free when she meets Our Hiro. She is radiant, beautiful, unspoiled, and pristine. It is the meeting of Our Hiro, which inflames her passions to see the possibilities of making him the fall guy. Together their eyes are opened and they see an opening. They both take it. Her ending is left ambiguous; she has left him for Italy. He follows her to Italy to his disappointment. His demise is left ambiguous. (There is room for a return.)613

The finality of drug overdose and of gun shot is implied.614

Some of deeds they have done provoke others to kill.615

We can take a parable from modern physics: there is a community of fish living on the top of a waterfall. If a fish swam too close to the lip of the falls, it would never be heard from again, because the speed of sound is slower the water. The other fish will hear no cries for help. This point of no return is like death. So far we hear no cries from the other side. In this Reality, we make mistakes: some are fatal.616

Physicists substitute light for sound with the black hole. The shades are not just black-and-white, but charcoal gray. Around every shower hole, there are sounds coming back, warning us of danger. A whirlpool or a charcoal-gray hole.617

Each has a kind of radiation of sound or light returning, warning us of danger, death, darkness, with some light.618

This is what this parable or pointed story, Portland Noir, tells us. Beware of woman and man. It is a deadly situation. Both of you were going great in your way. He was Mars; she was Venus. Together you made a new constellation; new stars.619

She saw the good in him as well as the potential of evil. Whatever she wanted, she wanted it more than just him. She wanted to make him the fall guy. But it drove her to thirst after other drinks other fruit. 620

We are left with the moral:621

Why did the Origin do that to our lives? Why to theirs? Is there any hope? (Perhaps in the trailer or the series?) The plot thickens. More parodies of Snow Crash? Just what am I selling said the dark one? Is it black-and-white or gray?622

Wanted: A ending for Our Hiro and Yours Truly. Will they get together? Will the same happen to Our Hiro as did Da5id? Will Yours Truly do drugs or push drugs or dose drugs?623

This black-and-white 16mm film will be entered into FFW. This is your chance to make an ending, a trailer or a series.624

Screenwriter: The New Yorker, May 26, 2008.625

Woody Allen, "Shouts and Murmurs" , p. 38626

Calvin Tomkins, "Profiles" 'Shadow Player', p. 40627

Humor in the Shadows depends upon your perspective of what is dark and what is light, what is crime and what is criminal, what is noir and what is far-out. If this sounds like West Side Story or Romeo and Juliet, it is only that the star-crossed lovers almost commit suicide, but both fail in their attempt. The Snow Crash Parody of Our Hiro and Yours Truly attempts to see the comic in the tragic and the tragic in the comedy. You have to make that happen with your script revision. 628