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update from sparkleup

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Madison Scott-Clary 2021-12-29 09:50:10 -08:00
parent 200c3af8dd
commit 8ebfc13115
2 changed files with 9 additions and 5 deletions
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12
writing/post-self/ge-cast-fountain.html
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@ -343,6 +343,7 @@ The handle turns.</p>
<p>The sound of a door opening</p>
<p>NARRATOR 1
You fall through.</p>
<p>EXT. A ROLLING PRAIRIE</p>
<p>Sudden silence, a bit of wind.</p>
<p>NARRATOR 1
It&rsquo;s a strange sensation to step from a cramped, crowded, loud, dark, and smoky room into such a space as this.
@ -490,6 +491,8 @@ You lose track of time.
Eventually, you hear voices from the side of the building. Familiar voices. Your friends. Yourself. Still dirty from the cave, you despair.
(pause)
So you quit.</p>
<p>INT. BACK IN THE SMALL ROOM</p>
<p>The same bang.</p>
<p>NARRATOR 2
But, ah, there was more than one choice made that night, wasn&rsquo;t there? You forked again, didn&rsquo;t you? You, rascal that you are, followed that fennec, but you also did not.</p>
<p>NARRATOR 1
@ -511,8 +514,9 @@ The intensity within this room is overwhelming, and you find yourself shrinking
A few others seem to have the same idea, shifting their ways toward the walls of the room. They&rsquo;re met with little resistance.
In fact, the instances of Dear seem to be encouraging it, growling and barking and yelling as they herd the audience to the outsides of the room.
You make it to the wall with relatively little trouble, only to be jabbed in the back with a doorknob.
Keeping an eye on the action and the aggressive instances of the artist, you slip a hand back behind you to turn the knob.
A door opening.</p>
Keeping an eye on the action and the aggressive instances of the artist, you slip a hand back behind you to turn the knob.</p>
<p>A door opening.</p>
<p>INT. A LARGE, QUIET ROOM</p>
<p>NARRATOR 1
The room you find yourself in could not be more different. It&rsquo;s a room where one might feel quite bad shouting and hollering, and most of the audience gets that at once, quieting down.
It helps, of course, that the combative instances of Dear remain behind in the previous room, only herding the remaining audience members toward the door. It&rsquo;s a curious dichotomy of violence in one room and in the other, well&hellip;</p>
@ -648,7 +652,7 @@ You move to comply, then pause, tilting your head. </p>
You finish the motion and brushing your fingertips over the back of one of the ears once. Then again and again. Dear wasn&rsquo;t kidding about the softness. You suspect it was a selfish request on its part, as the fox ducks its chin to tilt its head toward your hands, leaning in closer.</p>
<p>DEAR
(muffled)
&lsquo;We&rsquo;, yes.&rsquo; The Ode clade is quite old.</p>
&lsquo;We&rsquo;, yes. The Ode clade is quite old.</p>
<p>YOU
(pause)
You describe them as romantic, but talk of moving past romantic ideas of self.</p>
@ -673,7 +677,7 @@ Moving gracefully, it leans forward, up onto its knees, and then in against your
<p>DEAR
But I am not <em>not</em> coming on to you.</p>
<p>NARRATOR 2
You&rsquo;re at a loss for words.</p>
You&rsquo;re at a loss for words. What <em>could</em> you say?</p>
<p>NARRATOR 1
(distantly)
I&rsquo;m flattered, but&ndash;</p>

2
writing/post-self/ge-cast.html
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@ -785,7 +785,7 @@ dd p:first-of-type {
<dt>Narrator 1</dt>
<dd>You finish the motion and brushing your fingertips over the back of one of the ears once. Then again and again. Dear wasn&rsquo;t kidding about the softness. You suspect it was a selfish request on its part, as the fox ducks its chin to tilt its head toward your hands, leaning in closer.</dd>
<dt>Dear</dt>
<dd>(muffled) &lsquo;We&rsquo;, yes.&rsquo; The Ode clade is quite old.</dd>
<dd>(muffled) &lsquo;We&rsquo;, yes. The Ode clade is quite old.</dd>
<dt>You</dt>
<dd>(pause) You describe them as romantic, but talk of moving past romantic ideas of self.</dd>
<dt>Dear</dt>