Penthouse
The room creates people for her to interact with, amuse her, ridicule her, entertain her and lead her on. Some are controlled by the room and others, threatened by it and serve out its will. The most fragile characters tend to be influenced and frightenly paranoid, while the most confident, plainly comfortable with themselves and doing what they please to help or hurt the girl.
The girl has beautiful dark skin, with swatches and spatterings of dark freckles, like the burning points of a newspaper before eruption or the dregs remaining at the bottom of a white porcelain tea cup. Her eyes are a vivid hazel-green and features all neatly displayed on a broad palette of a face, rather plain. She is lanky and long-legged and keeps her rippling black hair off of her collarbone and in a knot.
The girl goes nameless throughout the production, as though the uncertainty evoked in the reader of who she is goes for the same with her and her opinions of herself. She plays a thousand roles, but in the heart, she is the one that is being used by the script. She can be contradictory or pleasant, vile or charming, rather selfish and self-demanding. She tries to be an individual and independent, but inside she knows she is weaker than that and does need interaction and guidance from others who know better than she.
The people she encounters include:
Lysander, a pale, freckly, conceited man who claims to control the room. Nerdy-voiced, long-faced, wears red-brown corduroy newsboy cap that covers a spill of curly hair. She takes much pride in bossing him around and occasionally influencing him by her seducing, silent thought waves.
Dorian, Lysander’s mother is a proper woman who wants her son to marry. When she visits, the room becomes a parlor filled with valuable, chic artifacts and the conversation of future is very promising. The girl secretly admires Dorian more than she lets on. Dorian makes the girl feel as though she holds a high place in society and someone’s thoughts.
Name, the love interest of the girl is carelessly, ruggedly handsome. A powdery brown mineral from a volcano, bassanite is found in traces everywhere: his cascading damp hair, his jacket, in between stubble flecks, even “in his breath.” He shows up unannounced and is cold-hearted. A basset hound is normally present before he is: in the stars, on a button, in the air.
Suege, the man who plays the idea of “law versus love,” does not ridicule the girl for enjoying Lysander’s company, but haughtily asks her to be weary of where she is at and the influence the room has over her. He does not know of the girl’s acquaintance of Name, but carries evidence the rest of the population knows him as an escaped convict and trouble-maker. [A brusque little man in heavy green tweed suits and a black bowtie, with combed hair and beady eyes, a bristly mustache, always carrying a shiny brown suitcase and thimble. Has a swan brooch engraved neatly ‘Satoria.’]
Calista, a fragile barista with pink curls (immediately replacing her thin mousy brown fringe-doo at the request of the girl) and a matronly wardrobe. Calista wants to hide behind all as she scrubs tables and the girl gives her a hard time. The girl wants to be updated in the latest political scrambles and news, internally vents to Calista and bullies her.
Khiry, appears in the folding waves as an oversized “sunset-colored” iguana, in the park as a shabby white terrier and finally as a crinkly old shepherd in the fields. He is always silent, but gives company and comfort when the girl feels lost.
Harlow, the first gnome to never be arrested with a ‘snakeskin’ of tattoos. Claims to have a lion in the trunk that is repeatedly heard snoring on Endless Road. Has a thing for light radio opera and anagrams.
Giannella and Adalee, dress as gypsies and story-tell very poorly, but are beautiful things to look at. Adalee chirps and clicks like a chickadee and Giannella moves her mouth like a wordless ape.
Zayley, the infant belonging to the girl, normally in a thick cocoon of blankets remains unseen for a time, and is a constant burden to the girl when in viewing distance. The child tears the girl apart, and is a symbol of reality and responsibility.
The room’s settings are constantly changing as well, and hold no account of day or night. They tend to represent the characters being shown, or when alone, the girl’s feelings. They include:
a cloudy room that started as an industrial space with nailed metal panels as ceiling, floor and walls. The panels flicker and one by one turn a robin’s egg blue. As this is being done, clouds form from a spoke in the ceiling and there is no more gravity. A contraption in the center of the room spins the objects in a circle around it. Suege shows the girl what writer’s block looks like here, when he is separated from his oak desk by a brick wall.
Endless Road, an asphalt pave that builds and breaks according to the passing vehicles, with jutting signs and potholes, and a vast fog that seems to clamor to the drivers.
a “yellow bug” elevator amidst a rusty room that smells like pennies. Once inside, there it is a lift with a windshield for viewing the outside. When the wiper starts, the girl can see all the other lifts and carriers, other elevators being pulled up and down: (one that carries grain, a burglar’s oversized sack of coin, an elephant statue made of books, flu vaccines, a bucket of Marie Antoinette shoes…)
a camping ground, darkened with fireflies and lights and pitched tents. Serves as a common room where the characters tend to sleep, sometimes running into each other and not even seeing or noticing the others’ existence. Giannella and Adalee forget each other here and become quite ghost like. Name likes the grounds and extinguishes the fire and lies in the pile of warm kindle, drawing with ash, asking the girl if it would get rid of the rock already on him, “clinging” to his skin.
a coffee shop (closing-in-the-morning)
a parlor (elegant and white)
a penthouse room with a long and thick purple curtain
a cottage with a grand piano, whose drawer contains several framed photos, “watch-points” as communicated by Lysander, that include: a park, an ocean, a field, a nursery. Lysander tells the girl the framed photos are “watch-points,” and after sifting through him, informs her that there is a character waiting at all three points (forgets the nursery where baby Zayley is being groomed by a shadow that is ‘the room’)
The girl will eventually have to come face to face with reality and accept her duties back home, in the process discovering what she sacrificed in order to gain access to the room.
The girl has beautiful dark skin, with swatches and spatterings of dark freckles, like the burning points of a newspaper before eruption or the dregs remaining at the bottom of a white porcelain tea cup. Her eyes are a vivid hazel-green and features all neatly displayed on a broad palette of a face, rather plain. She is lanky and long-legged and keeps her rippling black hair off of her collarbone and in a knot.
The girl goes nameless throughout the production, as though the uncertainty evoked in the reader of who she is goes for the same with her and her opinions of herself. She plays a thousand roles, but in the heart, she is the one that is being used by the script. She can be contradictory or pleasant, vile or charming, rather selfish and self-demanding. She tries to be an individual and independent, but inside she knows she is weaker than that and does need interaction and guidance from others who know better than she.
The people she encounters include:
Lysander, a pale, freckly, conceited man who claims to control the room. Nerdy-voiced, long-faced, wears red-brown corduroy newsboy cap that covers a spill of curly hair. She takes much pride in bossing him around and occasionally influencing him by her seducing, silent thought waves.
Dorian, Lysander’s mother is a proper woman who wants her son to marry. When she visits, the room becomes a parlor filled with valuable, chic artifacts and the conversation of future is very promising. The girl secretly admires Dorian more than she lets on. Dorian makes the girl feel as though she holds a high place in society and someone’s thoughts.
Name, the love interest of the girl is carelessly, ruggedly handsome. A powdery brown mineral from a volcano, bassanite is found in traces everywhere: his cascading damp hair, his jacket, in between stubble flecks, even “in his breath.” He shows up unannounced and is cold-hearted. A basset hound is normally present before he is: in the stars, on a button, in the air.
Suege, the man who plays the idea of “law versus love,” does not ridicule the girl for enjoying Lysander’s company, but haughtily asks her to be weary of where she is at and the influence the room has over her. He does not know of the girl’s acquaintance of Name, but carries evidence the rest of the population knows him as an escaped convict and trouble-maker. [A brusque little man in heavy green tweed suits and a black bowtie, with combed hair and beady eyes, a bristly mustache, always carrying a shiny brown suitcase and thimble. Has a swan brooch engraved neatly ‘Satoria.’]
Calista, a fragile barista with pink curls (immediately replacing her thin mousy brown fringe-doo at the request of the girl) and a matronly wardrobe. Calista wants to hide behind all as she scrubs tables and the girl gives her a hard time. The girl wants to be updated in the latest political scrambles and news, internally vents to Calista and bullies her.
Khiry, appears in the folding waves as an oversized “sunset-colored” iguana, in the park as a shabby white terrier and finally as a crinkly old shepherd in the fields. He is always silent, but gives company and comfort when the girl feels lost.
Harlow, the first gnome to never be arrested with a ‘snakeskin’ of tattoos. Claims to have a lion in the trunk that is repeatedly heard snoring on Endless Road. Has a thing for light radio opera and anagrams.
Giannella and Adalee, dress as gypsies and story-tell very poorly, but are beautiful things to look at. Adalee chirps and clicks like a chickadee and Giannella moves her mouth like a wordless ape.
Zayley, the infant belonging to the girl, normally in a thick cocoon of blankets remains unseen for a time, and is a constant burden to the girl when in viewing distance. The child tears the girl apart, and is a symbol of reality and responsibility.
The room’s settings are constantly changing as well, and hold no account of day or night. They tend to represent the characters being shown, or when alone, the girl’s feelings. They include:
a cloudy room that started as an industrial space with nailed metal panels as ceiling, floor and walls. The panels flicker and one by one turn a robin’s egg blue. As this is being done, clouds form from a spoke in the ceiling and there is no more gravity. A contraption in the center of the room spins the objects in a circle around it. Suege shows the girl what writer’s block looks like here, when he is separated from his oak desk by a brick wall.
Endless Road, an asphalt pave that builds and breaks according to the passing vehicles, with jutting signs and potholes, and a vast fog that seems to clamor to the drivers.
a “yellow bug” elevator amidst a rusty room that smells like pennies. Once inside, there it is a lift with a windshield for viewing the outside. When the wiper starts, the girl can see all the other lifts and carriers, other elevators being pulled up and down: (one that carries grain, a burglar’s oversized sack of coin, an elephant statue made of books, flu vaccines, a bucket of Marie Antoinette shoes…)
a camping ground, darkened with fireflies and lights and pitched tents. Serves as a common room where the characters tend to sleep, sometimes running into each other and not even seeing or noticing the others’ existence. Giannella and Adalee forget each other here and become quite ghost like. Name likes the grounds and extinguishes the fire and lies in the pile of warm kindle, drawing with ash, asking the girl if it would get rid of the rock already on him, “clinging” to his skin.
a coffee shop (closing-in-the-morning)
a parlor (elegant and white)
a penthouse room with a long and thick purple curtain
a cottage with a grand piano, whose drawer contains several framed photos, “watch-points” as communicated by Lysander, that include: a park, an ocean, a field, a nursery. Lysander tells the girl the framed photos are “watch-points,” and after sifting through him, informs her that there is a character waiting at all three points (forgets the nursery where baby Zayley is being groomed by a shadow that is ‘the room’)
The girl will eventually have to come face to face with reality and accept her duties back home, in the process discovering what she sacrificed in order to gain access to the room.