Difference between revisions of "Re-Education"

CYRENE'S CENTRAL CROSSING AT DAY. THE SOUND OF TOWNSFOLK GOING ABOUT THEIR BUSINESS PERVADES THE SCENE. THE SET IS DOMINATED BY THE CYRENIAN CLOCK TOWER AT CENTRE STAGE, AND A STONE BENCH AND STONE PEDESTAL ARE ALSO VISIBLE.

CYRENE'S CENTRAL CROSSING AT DAY. THE SOUND OF TOWNSFOLK GOING ABOUT THEIR BUSINESS PERVADES THE SCENE. THE SET IS DOMINATED BY THE CYRENIAN CLOCK TOWER AT CENTRE STAGE, AND A STONE BENCH AND STONE PEDESTAL ARE ALSO VISIBLE.

TOWNCRIER STANDS BY THE PEDESTAL, RINGING OUT THE NEWS, AS CITIZEN ONE AND CITIZEN TWO SIT ON THE STONE BENCH IN QUIET CONVERSATION. CITIZEN THREE MILLS HITHER AND YON ON HIS BUSINESS.

TOWNCRIER STANDS BY THE PEDESTAL, RINGING OUT THE NEWS, AS CITIZEN ONE AND CITIZEN TWO SIT ON THE STONE BENCH IN QUIET CONVERSATION. CITIZEN THREE MILLS HITHER AND YON ON HIS BUSINESS.

DORN: Here is the offender, good man of the law.  I bit into this, next thing I knew I was peering into the Mother's Halls.

DORN: Here is the offender, good man of the law.  I bit into this, next thing I knew I was peering into the Mother's Halls.

TROUBADOUR PEERS UNSCRUPULOUSLY AT THE COOKIE, THEN AT THE XORANI TWINS. HE TAKES AN EXPERIMENTAL BITE OF THE COOKIE.  BLOOD BEGINS TO DRIP SLOWLY FROM TROUBADOUR'S NOSE.  TROUBADOUR TAKES A SIP FROM A SIMPLE OAKEN VIAL, AND WINCES AS THE VOYRIA IS BURNED FROM HIS SYSTEM.

TROUBADOUR PEERS UNSCRUPULOUSLY AT THE COOKIE, THEN AT THE XORANI TWINS. HE TAKES AN EXPERIMENTAL BITE OF THE COOKIE.  BLOOD BEGINS TO DRIP SLOWLY FROM TROUBADOUR'S NOSE.  TROUBADOUR TAKES A SIP FROM A SIMPLE OAKEN VIAL, AND WINCES AS THE VOYRIA IS BURNED FROM HIS SYSTEM.

TROUBADOUR: Voyria... Somebody poisoned this cookie. (to TOWNCRIER) Get the word out.

TROUBADOUR: Voyria... Somebody poisoned this cookie. (to TOWNCRIER) Get the word out.

ACT I, SCENE 3  

ACT I, SCENE 3  

A TIDY AND EFFICIENT OFFICE, HOUSING FIVE ELEGANT DESKS, WITH COMFORTABLE ARMCHAIRS PLACED AT EACH. THE OFFICE SEEMS VERY INFORMAL BUT IS CLEARLY A WORKSPACE.  A RUG LAID AT CENTRE STAGE BEARS THE HOUSE SEAL OF TY BEIRDD.

A TIDY AND EFFICIENT OFFICE, HOUSING FIVE ELEGANT DESKS, WITH COMFORTABLE ARMCHAIRS PLACED AT EACH. THE OFFICE SEEMS VERY INFORMAL BUT IS CLEARLY A WORKSPACE.  A RUG LAID AT CENTRE STAGE BEARS THE HOUSE SEAL OF TY BEIRDD.

YEMI SITS AT A DESK WRITING IN AN ORNATE MANUSCRIPT.

YEMI SITS AT A DESK WRITING IN AN ORNATE MANUSCRIPT.

YEMI: Finally, my treatise is complete, from the three-limb break to the five-step FuneralMass! Not a moment too soon either, we can now bolster up the CCG during the celebrations; none shall say that all Ty Beirdd contributed was the closing Chorale!

YEMI: Finally, my treatise is complete, from the three-limb break to the five-step FuneralMass! Not a moment too soon either, we can now bolster up the CCG during the celebrations; none shall say that all Ty Beirdd contributed was the closing Chorale!

A COUPLE SHARP RAPS EMANATE FROM THE DOOR TO THE OUT.

A COUPLE SHARP RAPS EMANATE FROM THE DOOR TO THE OUT.

YEMI: (aside) Who's this? Assassins and Bardlets are too rude to knock.  (ALOUD) Come, come!

YEMI: (aside) Who's this? Assassins and Bardlets are too rude to knock.  (ALOUD) Come, come!

FINGERS: Ta, lass.  But as I was saying, strange how folks like to dwell so much on things gone away, eh?  And equally, strange how time passes just like that!

FINGERS: Ta, lass.  But as I was saying, strange how folks like to dwell so much on things gone away, eh?  And equally, strange how time passes just like that!

FINGERS SNAPS HIS FINGERS BEFORE SEELYA'S EYES.  INSTANTLY, SEELYA REMOVES A PLAIN JOURNAL FROM A SAILOR'S KITBAG AND PUTS IT INSIDE THE TOP HAT, SEEMINGLY WITHOUT EVEN REALISING SHE HAS DONE SO.

FINGERS SNAPS HIS FINGERS BEFORE SEELYA'S EYES.  INSTANTLY, SEELYA REMOVES A PLAIN JOURNAL FROM A SAILOR'S KITBAG AND PUTS IT INSIDE THE TOP HAT, SEEMINGLY WITHOUT EVEN REALISING SHE HAS DONE SO.

SEELYA: You read my mind! But change and progress are oft times bed fellows.

SEELYA: You read my mind! But change and progress are oft times bed fellows.

Act I, Scene 5

Act I, Scene 5

A POST OFFICE. A PLETHORA OF BLUE-GREY FEATHERS ARE STREWN ACROSS THE TILED FLOOR. AT THE FAR WALL, AN INTRICATELY ORGANISED ARRAY OF SHELVES HOLDS ALL MANNER OF LETTERS, PARCELS AND PACKETS, AND LARGE BIRDS ARE VISIBLE WITHIN A PARADE OF WIRE CAGES. A COUNTER OF WHITE MARBLE RUNS THE FULL LENGTH OF THE ROOM, WITH STOOLS IN PLENTY FOR ANY WHO WISH TO SIT AND WRITE.

A POST OFFICE. A PLETHORA OF BLUE-GREY FEATHERS ARE STREWN ACROSS THE TILED FLOOR. AT THE FAR WALL, AN INTRICATELY ORGANISED ARRAY OF SHELVES HOLDS ALL MANNER OF LETTERS, PARCELS AND PACKETS, AND LARGE BIRDS ARE VISIBLE WITHIN A PARADE OF WIRE CAGES. A COUNTER OF WHITE MARBLE RUNS THE FULL LENGTH OF THE ROOM, WITH STOOLS IN PLENTY FOR ANY WHO WISH TO SIT AND WRITE.

SEELYA STANDS AT CENTRE STAGE, WITH CITIZEN TWO AND CITIZEN THREE AT THE COUNTER IN COMPOSITION.

SEELYA STANDS AT CENTRE STAGE, WITH CITIZEN TWO AND CITIZEN THREE AT THE COUNTER IN COMPOSITION.

ACT II, Scene 1

ACT II, Scene 1

AN OFFICE WITH ROUGH WOODEN WALLS, SEEMINGLY HOLLOWED OUT FROM WITHIN A TREE.  A LARGE WINDOW SHOWS, IN VISTA, ELEUSIS IN THE EVENING. SAWDUST IS STREWN LIBERALLY ON THE FLOOR. A LARGE DESK CENTRE STAGE, NEAR GROANING BENEATH A WEALTH OF TOMES.

AN OFFICE WITH ROUGH WOODEN WALLS, SEEMINGLY HOLLOWED OUT FROM WITHIN A TREE.  A LARGE WINDOW SHOWS, IN VISTA, ELEUSIS IN THE EVENING. SAWDUST IS STREWN LIBERALLY ON THE FLOOR. A LARGE DESK CENTRE STAGE, NEAR GROANING BENEATH A WEALTH OF TOMES.

GIANNA SITS BEHIND THE DESK.

GIANNA SITS BEHIND THE DESK.

ACT II, Scene 2

ACT II, Scene 2

CYRENE'S CENTRAL CROSSING AT DAY. THE SOUND OF TOWNSFOLK GOING ABOUT THEIR BUSINESS PERVADES THE SCENE. THE SET IS DOMINATED BY THE CYRENIAN CLOCK TOWER AT CENTRE STAGE, AND A STONE BENCH AND STONE PEDESTAL ARE ALSO VISIBLE.

CYRENE'S CENTRAL CROSSING AT DAY. THE SOUND OF TOWNSFOLK GOING ABOUT THEIR BUSINESS PERVADES THE SCENE. THE SET IS DOMINATED BY THE CYRENIAN CLOCK TOWER AT CENTRE STAGE, AND A STONE BENCH AND STONE PEDESTAL ARE ALSO VISIBLE.

ACT II, Scene 3  

ACT II, Scene 3  

WITHIN AN EXQUISITE FORGE, DOMINATED BY THE LARGE GRANITE FORGE PROPER AND IRON ANVIL AT CENTRE STAGE. A MASSIVE HOODED CHIMNEY LOOMS OVER THE FORGE, WHICH IS FULLY ABLAZE.  TWO RACKS OF GLEAMING WEAPONS FRAME THE SET, RESPECTIVELY AT STAGE RIGHT AND STAGE LEFT.

WITHIN AN EXQUISITE FORGE, DOMINATED BY THE LARGE GRANITE FORGE PROPER AND IRON ANVIL AT CENTRE STAGE. A MASSIVE HOODED CHIMNEY LOOMS OVER THE FORGE, WHICH IS FULLY ABLAZE.  TWO RACKS OF GLEAMING WEAPONS FRAME THE SET, RESPECTIVELY AT STAGE RIGHT AND STAGE LEFT.

GORMON STANDS AT THE ANVIL, SWEAT FLYING RHYTHMICALLY FROM HIS BROW AS HE METHODICALLY RAISES AND LOWERS THE FORGING HAMMER.

GORMON STANDS AT THE ANVIL, SWEAT FLYING RHYTHMICALLY FROM HIS BROW AS HE METHODICALLY RAISES AND LOWERS THE FORGING HAMMER.

ACT II, Scene 5

ACT II, Scene 5

A PLUSH, PINK BEDROOM, NEAT AND TIDY, AND IN A STATE OF FINE REPAIR. THE PINK COW-PRINT CURTAINS ARE THROWN OPEN, ALLOWING THE ROOM TO BE LIT WITH MOONLIGHT.  THE MOON, NEAR FULL, IS VISIBLE THROUGH THE WINDOW. CENTRAL, A FOUR-POSTER BED SWATHED IN NEW, ALLURING SILKS.

A PLUSH, PINK BEDROOM, NEAT AND TIDY, AND IN A STATE OF FINE REPAIR. THE PINK COW-PRINT CURTAINS ARE THROWN OPEN, ALLOWING THE ROOM TO BE LIT WITH MOONLIGHT.  THE MOON, NEAR FULL, IS VISIBLE THROUGH THE WINDOW. CENTRAL, A FOUR-POSTER BED SWATHED IN NEW, ALLURING SILKS.

ENTER SEELYA

ENTER SEELYA

SEELYA: Without doubt my hardest task yet, but Gormon had the full of it.  A Clan of proud women, fierce in love and loyalty, inconstant in mood and manner, as different as the phases of the-

SEELYA: Without doubt my hardest task yet, but Gormon had the full of it.  A Clan of proud women, fierce in love and loyalty, inconstant in mood and manner, as different as the phases of the-

SEELYA PAUSES, SEEING THE MOON THROUGH HER WINDOW. HER RAPIER RINGS OUT BRIGHTLY AS SHE DRAWS IT FROM A LEATHER SHOULDER SCABBARD. POINTING THE BLADE RESPECTFULLY AT THE MOON, SEELYA CURTSEYS SOLEMNLY, THEN CRISPLY RE-SHEATHES THE WEAPON.

SEELYA PAUSES, SEEING THE MOON THROUGH HER WINDOW. HER RAPIER RINGS OUT BRIGHTLY AS SHE DRAWS IT FROM A LEATHER SHOULDER SCABBARD. POINTING THE BLADE RESPECTFULLY AT THE MOON, SEELYA CURTSEYS SOLEMNLY, THEN CRISPLY RE-SHEATHES THE WEAPON.

SEELYA:     

SEELYA:     

ACT II, Scene 6  

ACT II, Scene 6  

A SECTION OF THE HIGHWAY, WHICH CONTINUES NORTH INTO THE BACKGROUND. THE BLACK FOREST AND, FURTHER, THE SAVANNAH, THE DAKHOTAS AND THE MHOJAVE ARE ALL VISIBLE IN THE DISTANCE. THE GRASSY FLOOR IS TRAMPLED FLAT BY THE MYRIADS OF FEET THAT GATHER HERE EACH MONTH.

A SECTION OF THE HIGHWAY, WHICH CONTINUES NORTH INTO THE BACKGROUND. THE BLACK FOREST AND, FURTHER, THE SAVANNAH, THE DAKHOTAS AND THE MHOJAVE ARE ALL VISIBLE IN THE DISTANCE. THE GRASSY FLOOR IS TRAMPLED FLAT BY THE MYRIADS OF FEET THAT GATHER HERE EACH MONTH.

ENTER SEELYA

ENTER SEELYA

ACT III, Scene 2  

ACT III, Scene 2  

CYRENE'S CENTRAL CROSSING AT DAY. THE SOUND OF TOWNSFOLK GOING ABOUT THEIR BUSINESS PERVADES THE SCENE. THE SET IS DOMINATED BY THE CYRENIAN CLOCK TOWER AT CENTRE STAGE, AND A STONE BENCH AND STONE PEDESTAL ARE ALSO VISIBLE.

CYRENE'S CENTRAL CROSSING AT DAY. THE SOUND OF TOWNSFOLK GOING ABOUT THEIR BUSINESS PERVADES THE SCENE. THE SET IS DOMINATED BY THE CYRENIAN CLOCK TOWER AT CENTRE STAGE, AND A STONE BENCH AND STONE PEDESTAL ARE ALSO VISIBLE.

TOWNCRIER STANDS BY THE PEDESTAL, RINGING OUT THE NEWS, AS CITIZEN ONE, CITIZEN TWO AND CITIZEN THREE SIT ON THE STONE BENCH IN QUIET CONVERSATION.

TOWNCRIER STANDS BY THE PEDESTAL, RINGING OUT THE NEWS, AS CITIZEN ONE, CITIZEN TWO AND CITIZEN THREE SIT ON THE STONE BENCH IN QUIET CONVERSATION.

TOWNCRIER: Hear ye, hear ye! Know ye that in this final month of the year 599 after the fall of the Seleucarian Empire, our ratman Jorj has been found guilty of murder most foul! Aye, our lawmen have found irrefutable evidence that Jorj is none other than the Cookie Killer, being guilty of the murder in the first degree of Raphella, and more than one count of serious assault with intent to kill on a number of other guests and citizens.  Hear ye, hear ye!  The Cookie Killer has been caught!

TOWNCRIER: Hear ye, hear ye! Know ye that in this final month of the year 599 after the fall of the Seleucarian Empire, our ratman Jorj has been found guilty of murder most foul! Aye, our lawmen have found irrefutable evidence that Jorj is none other than the Cookie Killer, being guilty of the murder in the first degree of Raphella, and more than one count of serious assault with intent to kill on a number of other guests and citizens.  Hear ye, hear ye!  The Cookie Killer has been caught!

ACT III, Scene 3  

ACT III, Scene 3  

THE COUNCIL CHAMBER OF THE CALIPH, IN THE CITADEL OF SHALLAM. A LARGE CHAMBER OF CRYSTAL, LIT FROM THREE MASSIVE, ARCHED WINDOWS FACING NORTH, EAST AND SOUTH. THE LIGHTING OF THE SET SUGGESTS ANOTHER, UNSEEN WINDOW AT THE FORTH WALL.  A LARGE DESK OF CRYSTAL RISES MAJESTICALLY FROM THE FLOOR, WITH NARY A SEAM TO SUGGEST THAT THEY WERE WROUGHT SEPARATELY. ABOVE THE DESK A SILVER CANDELABRUM ADDS TO THE PEACEFUL LIGHT OF THIS ROOM. THE SOUND OF FERVENT PRAYER AND THE BUSTLE OF THE CITY BELOW FUSE INTO A UNIQUE MURMUR THAT PERVADES THE SCENE.

THE COUNCIL CHAMBER OF THE CALIPH, IN THE CITADEL OF SHALLAM. A LARGE CHAMBER OF CRYSTAL, LIT FROM THREE MASSIVE, ARCHED WINDOWS FACING NORTH, EAST AND SOUTH. THE LIGHTING OF THE SET SUGGESTS ANOTHER, UNSEEN WINDOW AT THE FORTH WALL.  A LARGE DESK OF CRYSTAL RISES MAJESTICALLY FROM THE FLOOR, WITH NARY A SEAM TO SUGGEST THAT THEY WERE WROUGHT SEPARATELY. ABOVE THE DESK A SILVER CANDELABRUM ADDS TO THE PEACEFUL LIGHT OF THIS ROOM. THE SOUND OF FERVENT PRAYER AND THE BUSTLE OF THE CITY BELOW FUSE INTO A UNIQUE MURMUR THAT PERVADES THE SCENE.

EAMONN STANDS BEHIND HIS DESK, HEAD BOWED IN PRAYER. HE IS BEARING THE PERSONAL ARMS OF THE FAMILY GOODCHILD, BUT IS OTHERWISE BEDECKED IN THE REGALIA OF THE OFFICE OF CALIPH.

EAMONN STANDS BEHIND HIS DESK, HEAD BOWED IN PRAYER. HE IS BEARING THE PERSONAL ARMS OF THE FAMILY GOODCHILD, BUT IS OTHERWISE BEDECKED IN THE REGALIA OF THE OFFICE OF CALIPH.

ACT III, Scene 4  

ACT III, Scene 4  

THE GARDEN OF THE ARTS. A RIOT OF GREEN LEAVES AND VIBRANT RED FLOWERS IS DIZZYING ON THE EYE YET BRILLIANTLY UNIFIED, WITH THE SUGGESTION OF OTHER HUES BEGINNING AT THE STAGE'S PERIPHERIES. A FENCE, WHOSE PALES ARE SHAPED AS QUILLS, RUNS THE LENGTH OF STAGE LEFT, AND OFF INTO THE BACKGROUND. INCONSTANT SLIVERS OF MOONLIGHT ILLUMINATE THE SCENE TWIXTS DRIFTING CLOUDS.

THE GARDEN OF THE ARTS. A RIOT OF GREEN LEAVES AND VIBRANT RED FLOWERS IS DIZZYING ON THE EYE YET BRILLIANTLY UNIFIED, WITH THE SUGGESTION OF OTHER HUES BEGINNING AT THE STAGE'S PERIPHERIES. A FENCE, WHOSE PALES ARE SHAPED AS QUILLS, RUNS THE LENGTH OF STAGE LEFT, AND OFF INTO THE BACKGROUND. INCONSTANT SLIVERS OF MOONLIGHT ILLUMINATE THE SCENE TWIXTS DRIFTING CLOUDS.

SEELYA:     

SEELYA:     

NUNE: They come!

NUNE: They come!

FINGERS DRAWS A GLEAMING SWORD, WITH A LARGE PYTHON TWISTING ENDLESSLY AROUND THE BLADE. UPON THE POMMEL, A LARGE CROW IS PERCHED WITH WINGS FLARED. FINGERS SWINGS THE SWORD, TEARING A RIFT IN THE FABRIC OF THE GARDEN ITSELF, THROUGH WHICH A SWIRLING MIASMA IS VISIBLE.

FINGERS DRAWS A GLEAMING SWORD, WITH A LARGE PYTHON TWISTING ENDLESSLY AROUND THE BLADE. UPON THE POMMEL, A LARGE CROW IS PERCHED WITH WINGS FLARED. FINGERS SWINGS THE SWORD, TEARING A RIFT IN THE FABRIC OF THE GARDEN ITSELF, THROUGH WHICH A SWIRLING MIASMA IS VISIBLE.

EXIT NUNE AND DORN, THROUGH THE RIFT

EXIT NUNE AND DORN, THROUGH THE RIFT

::::: It seems that is the truth we each must learn.

::::: It seems that is the truth we each must learn.

SEELYA LOOKS BETWEEN THE GROANING FORM OF EAMONN AND THE PORTAL AS THE SOUND OF RUNNING BOOTS CRESCENDOS.  AS THE NOISE REACHES A PEAK, ALL LIGHTS EXTINGUISH.

SEELYA LOOKS BETWEEN THE GROANING FORM OF EAMONN AND THE PORTAL AS THE SOUND OF RUNNING BOOTS CRESCENDOS.  AS THE NOISE REACHES A PEAK, ALL LIGHTS EXTINGUISH.

CURTAIN

CURTAIN

END OF ACT III

END OF ACT III

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