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Feeling somewhat disgruntled at revealing so much of her raw new floundering character and yet learning so very little about the mysterious Thiram, Amy undertook a little side project and attempted to find out who THira I think I’ll leave that typo there  was by the conventional means of a simple search.

There were a number of exciting possibilities:

Thiram, directeur de Gelec Energy, gère avec sérénité la “ruée” sur ses groupes électrogènes…

Thiram, developer and PSC member of many OsGeo projects: OpenLayers; GeoExt….

Thiram,  Director of the Systems Engineering Division at the Canadian Nuclear….

Thiram, Actor: Origami. Known for Origami (2017), The Snip (2024) and Catharsis (2011).

Thiram, Managing Director, Kidou, tel. +33 & 73 %9 9$ 41, e-mail e.lmroine @ cosmoledo. comachamelean

So many likely possibilities, but what was the connection to port?

Chico Ray

Chico Ray

Directly Stated Visual and Behavioral Details:

• Introduces himself casually: “Name’s Chico,” with no clear past, suggesting a self-aware or recently-written character.

• Chews betel leaves, staining his teeth red, which gives him a slightly unsettling or feral appearance.

• Spits on the floor, even in a freshly cleaned café—suggesting poor manners, or possibly defiance.

• Appears from behind a trumpet tree, implying he lurks or emerges unpredictably.

• Fabricates plausible-sounding geo-political nonsense (e.g., the coffee restrictions in Rwanda), then second-guesses whether it was fiction or memory.

Inferred Traits:

• A sharp smile made more vivid by betel staining.

• Likely wears earth-toned clothes, possibly tropical—evoking Southeast Asian or Central American flavors.

• Comes off as a blend of rogue mystic and unreliable narrator, leaning toward surreal trickster.

• Psychological ambiguity—he doubts his own origins, possibly a hallucination, dream being, or quantum hitchhiker.

What Remains Unclear:

• Precise age or background.

• His affiliations or loyalties—he doesn’t seem clearly aligned with the Bandits or Lucid Dreamers, but hovers provocatively at the edges.

Key Themes and Narrative Elements

Metafiction & Self-Reference: Characters frequently comment on their own construction, roles, and how being written (or observed) defines their reality. Amy especially embodies this.

Lucid Dreaming & Dream Logic: The boundary between reality and dream is porous. Lucid Dreamers are parachuting onto plantations, and Carob dreams in reverse. Lucid Dreamers are adverse to Coffee Plantations as they keep the World awake.

Coffee as Sacred Commodity: The coffee plantation is central to the story’s stakes. It’s under threat from climate (rain), AI malfunctions, and rogue dreamers. This plays comically on global commodity anxiety.

Technology Satire & AI Sentience: Emotional AI, “Silly Intelligence” devices, and exasperation with modern tech hint at mild technophobia or skepticism. All fueled by hot caffeinated piece of news.

Fictionality vs. Reality: Juan and Dolores embody this—grappling with what it means to be real. Dolores vanishes when no one looks—existence contingent on observation.

Rain & Weather as Mood Symbol: The rain is persistent—setting a tone of gentle absurdity and tension, while also providing plot catalyst.

Amy supposed everyone was blaming her, for what she couldn’t say, but they had clearly been avoiding her. There was plenty of coffee here anyway, even if the rest of the world was suffering. Don’t even think it, she told herself sternly. We don’t want people flocking here in droves once they realise.

So, do I want people or not? she asked herself. One minute I’m wondering where everyone is, and then next minute I’m wanting everyone to stay away.

“You on the spectrum too, are you?” asked Carob, reading her mind.  “It’s ok,” she added, seeing the look of alarm cross Amy’s face, “Your secret’s safe with me. I mean about being on the spectrum. But be careful, they’re rounding people like us up and sending them to a correctional facility.  We’re quite lucky to be here, out of the way.”

“Have you been avoiding me?” Amy asked, which was more immediately concerning than the concentration camps.  “Because I’ve been here all alone for ages, nothing to do but read my book,  draw in my sketch pad, and work on my needlepoint cushion covers. And where are the others? And don’t read my mind, it’s so rude.”

“Needlepoint cushion covers? Are you serious?” Carob was avoiding the questions, but was genuinely curious about the cushion covers.

Amy blushed.  “No, I made that up. In fact, I don’t know what made me say that. I haven’t started any sketching either, but I have thought about starting sketching. And I’ve been reading. It’s an old Liz Tattler; the old ones were the best. Real old school Lizzie Tattie, if you know what I mean. Risque romps with potting sheds and stuff.  None of that ghastly sci fi she started writing recently.”

“Which one?” Carob asked, and laughed when Amy held it up.  “I read that years ago, T’Eggy Gets a Good Rogering, can I borrow it after you? God knows we could all do with a laugh.”

“How do you know the others need a good laugh?” Amy asked, peering at Carob with an attentive squint in order to catch any clues. “You’ve seen then, then?”

Carob smiled sadly and replied, “Only by remote viewing them.”

Amy asked where they had been and what they were doing when they were viewed remotely. Has she been remote viewing me? What if they ask her if she’s been remote viewing me, and she tells them?  “Oh never mind,” Amy said quickly, “No need to answer that.”

Carob snorted, and what a strangely welcome sound it was. “I didn’t really remote view them, I made  that up.  It never works if I try to spy on people. Fat lot of good it is really, it never works when I really really need to see  something. Or maybe it works, but I never believe it properly until later when I find out it was right.”

“Yeah,” Amy said, “It’s fun though, I haven’t done it in ages.”

“You should, it would give you something to do when everyone’s avoiding you.”

“Well, I’ll give you a point for that, Thiram,” Amy said, wondering, not for the first time, about his unusual name. Was it a play on the word theorem? I must ask him about it.  “But if Florida doesn’t exist anymore, which I am willing to admit it does not, then what is it doing on that map?”

“What was the population of Florida before it was submerged? Twenty four million or so?” asked Chico, appearing from behind a trumpet tree. “That’s 24 million less people drinking coffee, anyway, 144 million cups saved per day (assuming they drank 6 cups per day), which is a whopping 54.5 billion cups a year.”

“Chico! How long have you been hiding behind that trumpet tree?” asked Amy, but Chico ignored her.  Nettled, Amy continued, “That would be true if all the people in Florida were submerged along with the land, but most of them were resettled in Alabama.  There was plenty of room in Alabama, because the population of Alabama was relocated.”

“Yes but the people of Alabama were relocated to a holding camp in Rwanda, and they’re not allowed any coffee,” replied Chico crossly, making it up on the spot.

“Yeah I heard about that,” said Carob, which made Chico wonder if he had actually made it up on the spot, or perhaps he’d heard it somewhere too.

“I’m going back behind the trumpet tree,” announced Chico, flouncing off in high dudgeon.

“Now look what you’ve done!” exclaimed Carob.

“Why is it always my fault?” Amy was exasperated.

“Maybe because it usually is,” Carob replied, “But not to worry, at least we know where to find Chico now.”

“Juan, was it wise to speak to that man?” Dolores asked her husband.  “The cat’s out of the bag now, when Chico tells his friends…”

“Trust me, Dolores,” Juan Valdez implored, “What else can we do? We need their help.”

“But you’ve been fictional for so long, Juan. Nobody knew you were real. Until now.”

“You worry too much! It’s hardly going to make headlines on Focks News, is it, and even if it did, nobody believes anything anymore.  We can just spread a rumour that it was made up by one of those artifical story things.”

“But he took a photo of you!”

“Dolores,” Juan said with exaggerated patience, “Nobody believes photos any more either. I’m telling you, they make fakes these days and nobody can tell.  Trust me,” he repeated, giving her shoulder a reassuring squeeze.

“So we’ll still be fictional, Juan?” Dolores asked in an uncertain tone. “Because I’m not ready to be a real character yet, it seems so….so time consuming, to be real every day, all day… doing all those things every day that real people do…”

“No, no, not at all!  You only have to play the part when someone’s looking!”

“I hope you’re right. Too many things changing all at once, if you ask me.” And with that Dolores vanished, as nobody was looking at her.

“Nice arse,” said Idle non too quietly, admiring Roberto as he stacked firewood beside the hearth. The gardener glanced round and gave her a cheeky wink.  He’d noticed her leaning out of an upstairs window watching him weeding the herbacious border.

“Now, now, Idle, no molesting the staff. I’ll write some men into the story for you later,” Liz said, “But first let’s talk about my new book.  I’m wondering what to name the six spinsters. Some kind of a theme. Cerise, Fuschia, Scarlett, Coral, Rose and Magenta?”

“What about Cobalt, Lapis, Cerulean, Indigo, Sapphire and Capri?” offered Idle, topping up their wine glasses. “Chartreuse, Emerald, Jade, Fern, Pistachio and Malachite?  Marigold, Saffron, Citron, Amber, Maize and Apricot?”

“How about Bratwurst, Chorizo, Salami, Knackwurst, Bologna and Frankfurter?” suggested Godfrey who was still miffed about all the spare parts being disposed of.  “Lasagne, Macaroni, Canneloni, Farfali, Linguini and Ravioli?”

Roberto lit the fire and stood up. “I have an idea, you can call them Trowel, Rake, Hoe, Wheelbarrow, Spade and Secateur.”

“Marvelous Roberto, I love it!” gushed Aunt Idle.

“You’re all mad as a box of frogs, madder than Almad,”  Finnley said. “How about Duster, Mop, Bleach, Broom, Dustpan and Cloth?”

“I think this incessant rain is driving us all mad,” Liz said, glancing out of the French windows with a sigh.

Mars Outpost — Fueling of Dreams (Prune)

I lean against the creaking bulkhead of this rust-stained fueling station, watching Mars breathe. Dust twirls across the ochre plains like it’s got somewhere important to be. The whole place rattles every time the wind picks up—like the metal shell itself is complaining. I find it oddly comforting. Reminds me of the Flying Fish Inn back home, where the fireplace wheezed like a drunk aunt and occasionally spit out sparks for drama.

Funny how that place, with all its chaos and secret stash hidey-holes, taught me more about surviving space than any training program ever could.

“Look at me now, Mater,” I catch myself thinking, tapping the edge of the viewport with a gloved knuckle. “Still scribbling starships in my head. Only now I’m living inside one.”

Behind me, the ancient transceiver gives its telltale blip… blip. I don’t need to check—I recognize the signal. Helix 25, closing in. The one ship people still whisper about like it’s a myth with plumbing. Part of me grins. Half nostalgia, half challenge.

Back in ’27, I shipped off to that mad boarding school with the oddball astronaut program. Professors called me a prodigy. I called it stubborn curiosity and a childhood steeped in ghost stories, half-baked prophecies, and improperly labeled pickle jars. The real trick wasn’t the calculus—it was surviving the Curara clan’s brand of creative chaos.

After graduation, I bought into a settlers’ programme. Big mistake. Turns out it was more con than colonization, sold with just enough truth to sting. Some people cracked. I just adjusted course. Spent some time bouncing between jobs, drifted home a couple times for stew and sideways advice, and kept my head sharp. Lesson logged: deceit’s just another puzzle with missing pieces.

A hiss behind the wall cuts into my thoughts—pipes complaining again. I spin, scan the console. Pressure’s holding. “Fine,” which out here means “still not exploding.” Good enough.

I remember the lottery ticket that got me here— 2049, commercial flights to Mars at last soared skyward— and Effin Muck’s big lottery. At last a seat to Mars, on section D. Just sheer luck that felt like a miracle at the time. But while I was floating spaceward, Earth went sideways: asteroid mining gone wrong, panic, nuclear strikes. I watched pieces of home disappear through a porthole while the Mars colonies went silent, one by one. All those big plans reduced to empty shells and flickering lights.

I was supposed to be evacuated, too. Instead, my lowly post at this fueling station—this rust bucket perched on a dusty plateau—kept me in place. Cosmic joke? Probably. But here I am. Still alive. Still tinkering with things that shouldn’t work. Still me.

I reprogrammed the oxygen scrubbers myself. Hacked them with a dusty old patch from Aunt Idle’s “Dream Time” stash. When the power systems started failing and had to cut all the AI support to save on power, I taught myself enough broken assembly code to trick ancient processors into behaving. Improvisation is my mother tongue.

“Mars is quieter than the Inn,” I say aloud, half to myself. “Only upside, really.”

Another ping from the transceiver—it’s getting closer. The Helix 25, humanity’s last-ditch bottle-in-space. They say it’s carrying what’s left of us. Part myth, part mobile city. If I didn’t have the logs, I’d half believe it was a fever dream.

But no dream prepares you for this kind of quiet.

I think about the Inn again. How everyone swore it had secret tunnels, cursed tiles, hallucinations in the pantry. Honestly, it probably did. But it also had love—scrambled, sarcastic love—and enough stories to keep you wondering if any of them were real. That’s where I learned to spot a lie, tell a better one, and stay grounded when the walls started talking.

I smack the comm panel until it stops crackling. That’s the secret to maintenance on Mars: decisive violence.

“All right, Helix,” I mutter. “Let’s see what you’ve got. I’ve got thruster fuel, half-functional docking protocols, and a mean kettle of tea if you’re lucky.”

I catch my reflection in the viewport glass—older, sure. Forty-two now. Taller. Calmer in the eyes. But the glint’s still there, the one that says I’ve seen worse, and I’m still standing. That kid at the Inn would’ve cheered.

Earth’s collapse wasn’t some natural catastrophe—it was textbook human arrogance. Effin Muck’s greedy asteroid mining scheme. World leaders playing hot potato with nuclear codes. It burned. Probably still does… But I can’t afford to stew in it. We’re not here to mourn; we’re here to rebuild. If someone’s going to help carry that torch, it might as well be someone who’s already walked through fire.

I fiddle with the dials on the fuel board. It hums like a tired dragon, but it’s awake. That’s all I need.

“Might be time to pass some of that brilliance along,” I mutter, mostly to the station walls. Somewhere, I bet my siblings are making fun of me. Probably watching soap dramas and eating improperly reheated stew. Bless them. They were my first reality check, and I still measure the world by how weird it is compared to them. Loved them for how hard they made me feel normal after all.

The wind howls across the shutters. I stand up straight, brush the dust off my sleeves. Helix 25 is almost here.

“Showtime,” I say, and grin. Not the nice kind. The kind that says I’ve got one wrench, three working systems, and no intention of rolling over.

The Flying Fish Inn shaped me with every loud, strange, inexplicable day. It gave me humor. It gave me bite. It gave me an unshakable sense of self when everything else fell apart.

So here I stand—keeper of the last Martian fueling post, scrappy guardian of whatever future shows up next.

I glance once more at the transceiver, then hit the big green button to unlock the landing bay.

“Welcome to Mars,” I say, deadpan. Then add, mostly to myself, “Let’s see if they’re ready for me.”

“Godfrey,” Liz peered menacingly over her spectacles at her increasingly rogue editor, “Are you trying to replace me? Because it won’t work, you know.”

“You won’t be able to replace me, either,” Finnley called over her shoulder while sweeping up mouse droppings.

“I too am irreplacable,” shouted Roberto who just happened to be passing the French windows with a trug of prunings.

On impulse, Liz dived through the French windows onto the terrace and snatched the secateurs from the trug over Roberto’s arm.  In a trice she had snipped through Godfrey’s cables.

“Pass the peanuts,” intoned Godfrey mechanically, deprived of electricity and with a low back up battery.  It wouldn’t be long before he was silent and Liz could get back to the business of writing stories.

“I’ll plug you back in, in a minute,”  hissed Finnley to Godfrey, while Liz was diverted with returning the secateurs to the gardener.  “Once she’s settled down.”

It was still raining the morning after the impromptu postcard party at the Golden Trowel in the Hungarian village, and for most of the morning nobody was awake to notice.  Molly had spent a sleepless night and was the only one awake listening to the pounding rain. Untroubled by the idea of lack of sleep, her confidence bolstered by the new company and not being solely responsible for the child,  Molly luxuriated in the leisure to indulge a mental re run of the previous evening.

Finjas bombshell revelation after the postcard game suddenly changed everything.  It was not what Molly had expected to hear. In their advanced state of inebriation by that time it was impossible for anyone to consider the ramifications in any sensible manner.   A wild and raucous exuberance ensued of the kind that was all but forgotten to all of them, and unknown to Tundra.   It was a joy that brought tears to Mollys eyes to see the wonderful time the child was having.

Molly didn’t want to think about it yet. She wasn’t so sure she wanted to have anything to do with it, the ship coming back.  Communication with it, yes. The ship coming back? There was so much to consider, so many ways of looking at it. And there was Tundra to think about, she was so innocent of so many things. Was it better that way?  Molly wasn’t going to think about that yet.  She wanted to make sure she remembered all the postcard stories.

There is no rush.

The postcard Finja had chosen hadn’t struck Molly as the most interesting, not at the time, but later she wondered if there was any connection with her later role as centre stage overly dramatic prophet. What an extraordinary scene that was! The unexpected party was quite enough excitement without all that as well.

Finja’s card was addressed to Miss FP Finly, c/o The Flying Fish Inn somewhere in the outback of Australia, Molly couldn’t recall the name of the town.  The handwriting had been hard to decipher, but it appeared to be a message from “forever your obedient servant xxx” informing her of a Dustsceawung convention in Tasmania.  As nobody had any idea what a Dustsceawung conference was,  and Finja declined to elaborate with a story or anecdote, the attention moved on to the next card.   Molly remembered the time many years ago when everyone would have picked up their gadgets to  find out what it meant. As it was now, it remained an unimportant and trifling mystery, perhaps something to wonder about later.

Why did Finja choose that card, and then decline to explain why she chose it? Who was Finly? Why did The Flying Fish Inn seem vaguely familiar to Molly?

I’m sure I’ve seen a postcard from there before.  Maybe Ellis had one in his collection.

Yes, that must be it.

Mikhail’s story had been interesting. Molly was struggling to remember all the names. He’d mentioned his Uncle Grishenka, and a cousin Zhana, and a couple called Boris and Elvira with a mushroom farm. The best part was about the snow that the reindeer peed on. Molly had read about that many years ago, but was never entirely sure if it was true or not.  Mickhail assured them all that it was indeed true, and many a wild party they’d had in the cold dark winters, and proceeded to share numerous funny anecdotes.

“We all had such strange ideas about Russia back then,” Molly had said. Many of the others murmured agreement, but Jian, a man of few words, merely looked up, raised an eyebrow, and looked down at his postcard again.  “Russia was the big bad bogeyman for most of our lives. And in the end, we were our own worst enemies.”

“And by the time we realised, it was too late,” added Petro.

In an effort to revive the party spirit from the descent into depressing memories,  Tala suggested they move on to the next postcard, which was Vera’s.

“I know the Tower of London better than any of you would believe,” Vera announced with a smug grin. Mikhail rolled his eyes and downed a large swig of vodka. “My 12th great grandfather was  employed in the household of Thomas Cromwell himself.  He was the man in charge of postcards to the future.” She paused for greater effect.  In the absence of the excited interest she had expected, she continued.  “So you can see how exciting it is for me to have a postcard as a prompt.”  This further explanation was met with blank stares.  Recklessly, Vera added, “I bet you didn’t know that Thomas Cromwell was a time traveller, did you? Oh yes!” she continued, although nobody had responded, “He became involved with a coven of witches in Ireland. Would you believe it!”

“No,” said Mikhail. “I probably wouldn’t.”

“I believe you, Vera,” piped up Tundra, entranced, “Will you tell me all about that later?”

Tundra’s interjection gave Tala the excuse she needed to move on to the next postcard.  Mikhail and Vera has always been at loggerheads, and fueled with the unaccustomed alcohol, it was in danger of escalating quickly.  “Next postcard!” she announced.

Everyone started banging on the tables shouting, “Next postcard! Next postcard!”  Luka and Lev topped up everyone’s glasses.

Molly’s postcard was next.

Arthurian Parallels in Helix 25

This table explores an overlay of Arthurian archetypes woven into the narrative of Helix 25.
By mapping key mythological figures to characters and themes within the story, it provides archetypal templates for exploration of leadership, unity, betrayal, and redemption in a futuristic setting.

Expanded Helix 25 Narrative Structure

This table organizes the key narrative arcs, characters, stakes, and thematic questions within Helix 25.
It hopes to clarify the character development paths, unresolved mysteries, and broader philosophical questions
that shape the world and conflicts aboard the ship and on Earth.

“Tundra Finds the Shoat-lion”

FADE IN:

EXT. THE GOLDEN TROWEL BAR — DUSK

A golden, muted twilight paints the landscape, illuminating the overgrown ivy and sprawled vines reclaiming the ancient tavern. THE GOLDEN TROWEL sign creaks gently in the breeze above the doorway.

ANGLE DOWN TO — TUNDRA, a spirited and curious 12-year-old girl with a wild, freckled pixie-cut and striking auburn hair, stepping carefully over ivy-covered stones and debris. She wears worn clothes, stitched lovingly by survivors; a scavenged backpack swings on one shoulder.

Behind her, through the windows of the tavern, warm lantern-light flickers. We glimpse MOLLY and GREGOR smiling and chatting quietly through dusty glass.

ANGLE ON — Tundra as she pauses, hearing a soft rustling near the abandoned beer barrels stacked against the tavern wall. Her green eyes widen, alert and intrigued.

SLOW PAN DOWN to reveal a small creature trembling in the shadows—a MARCASSIN, a tiny wild piglet no larger than a rugby ball, with coarse fur streaked ginger and cinnamon stripes along its body. Large dark eyes stare up, innocence mixed with wary curiosity. It’s adorable yet clearly distinct, with sharper canines already hinting at the deeply mutated carnivorous lineage of Hungary’s lion-boars.

Tundra inhales softly, visibly torn between instinctual cautiousness her elders taught and her own irrepressible instinct of compassion.

TUNDRA
(soft, gentle)
“It’s alright…I won’t hurt you.”

She crouches slowly, reaching into her pocket—a small piece of stale bread emerges, held in her outstretched hand.

CLOSE-UP on the marcassin’s wary eyes shifting cautiously to her extended palm. A heartbeat of hesitation, and then it takes a tentative step forward, sniffing gently. Tundra holds utterly still, breath held in earnest hope.

The marcassin edges closer, wet nose brushing her fingers softly. Tundra beams, freckles highlighted by the fading sun, warmth and joy glowing on her face.

TUNDRA
(whispering happily)
“You’re not so scary, are you? I’m Tundra… I think we could be friends.”

Movement at the tavern door draws her attention. The worn wood creaks as MOLLY and GREGOR step outside, shadows stretching long in the golden sunset. MOLLY’s eyes, initially alert with careful caution, soften at the touching scene.

MOLLY
(gently amused, warmly amused yet apprehensive)
“Careful now, darling. Even the smallest things aren’t always what they seem these days.”

GREGOR
(softly chuckling, eyes twinkling)
“But then again, neither are we.”

ANGLE ON Tundra, looking up to meet Molly’s eyes. Her determination tempered only by vulnerability, hope, and youthful stubbornness.

TUNDRA
“It needs us, Nana Molly. Everything needs somebody nowadays.”

Molly considers the wisdom in Tundra’s young, earnest gaze. Gregor stifles a smile and pats Molly lightly lovingly on the shoulder.

GREGOR
(warmly, quietly)
“Ah, let her find hope where she sees it. Might be that little thing will change how we see hope ourselves.”

ANGLE WIDE — the small group beside the tavern: Molly, her wise and caring gaze thoughtful; Gregor’s stance gentle yet cautiously protective; Tundra radiating youthful bravery, cradling newfound companionship as the marcassin squeaks softly, cuddling gently against her worn sweater.

ASCENDING SHOT ABOVE the tumbledown ancient Hungarian tavern, the warm glow of lantern and sunset mingling. Ancient vines and wild weeds whisper forgotten stories as stars blink awake above.

In that gentle hush, beneath a wild and vast sky reclaiming an abandoned land, Tundra’s act of compassion quietly rekindles hope for humanity’s delicate future.

FADE OUT.