| 171 |  |
The WANDERERS shout in protest. |
| 172 |  |
DIRK: What? --: Principles of narratology, Dirk— --: --you’ve blown every rule in the book. --: (sotto voce) And how’d you get into the Frame? |
| 173 |  |
DIRK: I
don’t see any difference between my stories and yours. --: (incredulous) Steve’s stories are about Man’s Quest for Human Truth! --: Shawn forges new territory in his story— --: (overlap) There’s an important, tragic figure in Kevin’s story— --: (overlap) —based on mythology— |
| 174 |  |
DIRK: My
stories are tragic! They’re all about love, passion… romance… --: Love? Ha! --: Steve’s story had love! STEVE: Oh, that part was a fairy tale. The rest was true. |
| 175 |  |
THOM:
Dirk--your stories are pointless. DIRK: What? THOM: The characters are stock-- DIRK: It’s Disco King! THOM: --they don’t change-- DIRK: They die! THOM: --there’s no development! I have a story about a journey-- DIRK: This whole discussion is meaningless. THOM: It’s a journey for meaning. Ultimate meaning. Good over evil. (pause) It’s a musical. --: A musical? |
| 176 |  |
THOM: And I
think this musical will clearly demonstrate your stories’ weakness. It’s about a
boy and his streams. --: Don’t you mean "a boy and his dreams"? THOM: No. I mean a boy and his streams. |
| 177 |  |
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| 178 |  |
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| 179 |  |
|
| 180 |  |
NARRATOR: (who is a bit perky this time) Our story begins in the gutters of a large, modern city. |