Imagine a mysterious room. In the room there are three people waiting. The three people are deceased. The room then is a depiction of the afterlife. A character from Shakespeare’s Macbeth has spent a long time alone before eventually being joined by a short story character from the Imprints 11 anthology. Soon after, a character from Huxley’s Brave New World arrives. The characters are being punished by spending eternity locked in a room together – only one of them seems not to have figured that out yet. The room is plain, modern, no decorations. There is a subtle aroma of fresh lavender; there are no torture devices, no fire, no brimstone. The furniture is simple, a large square coffee table surrounded by a red leather sectional sofa. There is a door from which they all entered, but when any one of them attempts to leave alone, they cannot – turned back by a non-speaking genderless character whose distinguishing feature is that they have no eyelids. One of them sings to break the silence, one seems especially unwilling to admit to any wrongdoing, and the remaining one is relentlessly optimistic that there is a way for them all to escape.

Realize this idea as a narrative using very little dialogue or as a stage play with very little stage direction.