In the same way Raymond Lao has a posse, imposing their games and rules onto his reality, the reader of the script has a posse of unreliable, ghostly choristers. In the vein of Hollywood’s Mulholland Drive esq unreliable narrator, different realities are vested with their own personality.
Like different keys to a symphony, strings indicated by letters, each bearing their own cadence and cantor would describe what reality they see as if they’re a character themselves. These choristers are not present in the actual production of the play; they are only in the script to indicate the different directions the actions in a given situation of divergent narratives will unfold.
The unreliable narrators are characters, thereby safekeeping the action text as the spine of unchangeable reality.
Yet these keys can break the fourth wall of screenplay format, commenting on the God-like action sentences with their grievances or fears to give a sense of their agenda and level of faith in the actual characters participating in the scene.
The reasoning of formatting these after music sheets is power different notes bear to indicate the tone of a scene. The deeper, lower pitches such a G will bear a darker view on the situation, anticipating characters to loose games, choose the worst of the options presented, or rat out other participants for the sake of their own gain. The higher pitches such as E will be overly optimistic, seeing participants winning their game-shows, gaining quick insight into the devious intentions of the Zoot suiters.
