Part 3 Chapter 22 Portland Noir Instructions for ANTICS3D

Portland Noir - Instructions for Antics3D1

Each scene is a package of a scene identifier (1) scenexx.kan and (2) GreenScreenStagexx.kan. The first (1) is a backdrop for the scene. Notice on scenes 02 to 20 there is an outline of Yours Truly, Y.T. as an avatar or icon for Alexandra Hay, an actress now dead. She symbolizes the Metaverse. 2

The scenes take place "Somewhere in Oregon", a blurry picture of a Swiss Abbey on location. A clearer picture of an Oregon Abbey in Mt. Angel is on location from Portland, Oregon. The second (2) is a multiple use stage. Under its DISPLAY option, unCheck LIGHTING displays the BIGBROTHER image of the Principal Manager. Check WIREFRAME displays the doppelganger in fight scene with O. H. UnCheck WIREFRAME gives the O. H. Character.3

Scenes XX4

01 Paranoid Park
02 Somewhere Swiss
03 Abbey Mt. Angel
04 Map Portland
05 FALCON Street
06 Abbey Flowers
07 Cinema 215

08 Clayton
09 Smoky
10 Abbey Trees
11 Bogart/Astor
12 Spade/Edie
13 Abbey Arches
14 Abbey Arch6

15 Abbey Tower
16 Abbey Tree
17 Abbey Window
18 Clayton
19 Clayton Hat
20 Clayton White
21 Abbey Mt. Angel7

Scene08. O. H. is a man fighting with demons only he can see. Hence his fight with an opponent from the Metaverse scenes 17-19 are unseen by us, unless we select check WIREFRAME in ANTICS3D. He is like a drunken man with delirious tendencies. Nightmares in daylight. Memories from his darkened past. An oldster, he has outgrown his Scout and Dill days. He walks in darkness into the daylight. His meeting with Y.T. Sceen04 becomes a way out of the tunnel of darkness. He is shadow-boxing his way through a bloody life in the ring. He strikes out; he kicks at his demons. He says in dialogue, "I hit him?" "I missed him?" Like a blind man who asks which way is the bank so he can swim to it. He is drowning in his doubts and in his dreams. She is reaching out for him from the bank, calling for his hands upon hers. "You hit him." To our sorrow she is only seeking to drown him in her own dreams, her own designs, her own willful wiles.
Scene10. Sex is a weapon for her hunting. Sex is a trophy for his hunting. But he is striding blinded by ambitions, while she is gliding unblinded by her ambitions. She sees his struggling, his flailing arms and feet. She hears his calls to the avatar - Alexandra! Alexandra is Yours Truly! Only he does not know it yet. She knows Y. T. will be Alexandra! He is an Alexander searching for an Alexandra. Hey, he is going find her, but she is not what he thinks. She is his doppelganger in reality - his double mirrored image. Out of the Metaversal reversal into the symmetry of his reality. Over-shadowing this milieu of mystery is the nostalgia of NOIR. The other scenes focus on the MALTESE FALCON, Mt. Angel Abbey and surroundings - a representation of Italy in Y. T.'s mind. It is a dark contrast between O. H. and Y. T., between two types of illusion and disillusion - ment. We see a slightly tarnished O. H. scene19, meeting a tainted Y.T. scene09. Disillusioned young oldster and an ill-used old youngster. Will they both do 'stir'?
The NOIR genre of this film portends doom to this duo- deadly duet - a double couple in jeopardy. At her hands he will take the fall. The boxing metaphor nightmare in daylight makes us expect a fall of the hero and a fallen heroine. What we do not expect is a redemption.
There is a discontinuity or singularity about the scenery and the story, about the staging and the dialogue; about the NOIR genre and O. H.'s redemption. There is an overall tension about the conflict in O. H. scene19. His demons nightly, his dreads daylight, literally hundreds of horrors. He is fighting in the Metaverse to preserve his sanity in reality. Meeting Y. T. scene19 brings these tensions and conflicts into symmetry for them both. In his head swims memories that usually conflict with the audio voiceover and the dialogue. These multiple messages strike the audiences in ever changing reflections. We see the terror that dogs him, O. H. His haunted visions in Metaversal visual reality. It is difficult to storyboard this calamity. There are cross currents and eddies in this meandering stream of consciousness. All of the voiceover spoken in a woman's voice of a man's story, about a paranoid and painful recollections of Y. T. scene19. And of her impending doom and his likely suicide from his pistol. Would Y. T. be his O. H.'s pistol-moll?
But the actual character dialogue is much more hopeful. It is a contrast that is obvious with the scenes shot in daylight, yet the greenstage is in darkness. The final shoot is in man-made shadows. Out of the Metaverse, he walks away from us with his back to us, beckoning us to travel with him to the next scene. We hear the voiceover explaining O. H. and Y. T. as a parody of Snow Crash. It is a phantom arrangement between the shadows of the overhead balloon lighting. A helium blimp elevates our BIGRED camera for black-and-white 16 mm film converted from digital camera flash memory. A cameraman elevates the camera on the balloon to produce shadows under a overhead lamp. In between Antics 3 D and BIGRED is a small min GreenScreen stage with robot cameraman and a snake cam as a head so BIGRED can see the stages the same as the director, the principal manager.
Getting our mind around our fallen Hiro becomes most difficult as we read about Paul - Eve was deceived by Satan, but Adam choose to be cast out of the Garden of Eden with her. [I Timothy 2:14] He fell by choice and hence, made open the way for his own redemption, and through Christ Jesus, the redemption of Eve and us, all of his fallen posterity. It is only when we see how easily annoy of all of us, including Y. t. can taste of the bitter fruit of sin, and feel the remorse of our fallen nature, forever to doop in sin. We are all cast out, castaway on this fallen planet - ever waddling and wallowing in a parent's mistaken mishap. What joy, then our only hope in Christ Jesus! Hallelujah! But O. H. has not seen the way out of the fog of his brain. He is still fighting dragons and demons in dungeons. Her offer to him is a false crutch to lean upon in Couch Park.
It is somewhat of a surprise to both the screen writer and the readers that this is a morality tale. Fall you must; rise you may. Y. T. , having done another to death - done murder dripping with another man's blood has O. H. in her plans. He will take the fall for her. "I will not do it!: he says to her unbelieving eyes. Now she looks in fear for what is unavoidable - the noose on her neck. Hammett helps us see and feel the doom awaiting her - the drop from sin's droop. Life as she knows it - nasty, brutish and soon for so short!
All of his parents have passed upon him death. What is it to meet it sooner rather than postponing the later? He might have the early enjoyment of . No more pain of conscious for his sins. No more pain - physical, mental, nightly, daily. Why not? Let it do, O. H.
Her offer is Satan's offer. Make this life of probation shorter. End it all now. It is unavoidable. It is inevitable. Nothing better awaits you. But you might even change. You might ever rise to the better of it You might ever become Christ like your self. Turn her over O. H. Give her up, Let her go. Your engagement, so brief was so momentary, so trivial, so emptying. That sleep so short can be eternal. Close it off. Leave it be. And so his is the choice again. She must pay the price of sin. She must go over. But you O. H. you know that you will judged and redreamed for doing the right thing. What is the right thing? What is life? Is it the stuff things we dream of? Is out time here on Earth just a few moments? then What?8