This final chapter examines how predramatic theatre challenged the forward impetus of performance in temporal terms, asking how its disordered timescapes undermined the closure of playworlds from spectators’ realities. The analysis is centred on the self-conscious layering, collapsing, gaps, and sometimes gulfs of time in predramatic theatre, arguing that a contained playworld with a linear temporal logic was not its aim. Following an analysis of the role of time in performance generally, we advance the argument that predramatic temporalities were often, and deliberately, in excess of containment within the time of their performance, and that these intentional effects disordered Christian linearity and destabilised the fixity of biblical time to produce particular spiritual effects. While the case studies considered therefore include a number of pageants from cycle drama, the findings are also applied to more secular plays such as Fulgens and Lucres, A Satire of the Three Estates, and Banns performances. These works demonstrate how the immersive temporal effects of biblical drama were retained and reconfigured in early sixteenth-century theatre. In both contexts, the goal remained the same however: to ensure that the plays’ ideas, along with the audience’s experience and memory of them, extended beyond the immediate performance.