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“If it’s nae Frigella O’green! Fancy seeing ye ‘ere!”

Frigella stiffened. She’d know that accent and the dank tang of peat moss anywhere. She’d have smelt it sooner if it weren’t for the brewing coffee. She must be getting soft … or maybe it was the sour smell of smoke clogging up her nostrils; she’d not been able to shake the stench since the debacle that morning. Turning away from Aaron, the pleasant young barista serving her, she willed her lips into a smile – no harm in being civil! It was a long time since all the Scottish shenanigans and word amongst the witches was the Scots Coven were trying to tidy up their act.

“Well, If it’s not Aggie Bog now!” Frigella leaned in for a cool peck on the cheek. “And what brings you to these parts? Let me buy you a coffee and we can catch up?”

Aggie sniggered. ” Ye pay for it?” She pushed Frigella aside and approached the counter. Aaron’s eyes widened and Frigella had to admit Aggie cut a striking figure in her tiny black top and leather leggings. As a child she’d been taunted and called fat, but now she was best described as Rubenesque, and clearly had learned how to use her assets.

I bet those pants squeak when she walks.

Aggie leaned forward and Aaron’s gaze flicked toward her abundant cleavage. “A double black insomnia fur me, on the hoose.”  As Aaron started to protest, Aggie waved several plump fingers towards his face and Frigella saw his eyes were now dark and glazed. “Whirling ‘n’ twirling a muckle puff o’ rowk,” crooned Aggie. “Ye’ll dae as ah say or caw intae a ….”

Frigella clasped Aggie’s wrist. Thank god the lunch crowd had gone and the cafe was nearly empty apart from an older man reading his paper by the window. “Aggie Bog! Shame on you! That’s not the way we do things here.”

So engrossed was Truella in her project at home, she had failed to notice that there had been no word for days from Eris about her new ritual.  Not only did Eris not turn up for the obligatory daily meetings, she hadn’t even kept the rest of the witches informed of developments. The last anyone had heard about it was that there was a quality control issue, whatever that meant.

So there we have it, my dear,  interjected Lisia. Eris’s new ritual spell is a work in progress, a symphony of the arcane and the algorithmic, and we are but eager spectators to its unfolding. One can only hope for a harmonious outcome, or at the very least, a tale worth the telling.

One can only hope, muttered Truella.  We can hardly be expected to read her mind if she doesn’t keep us abreast of developments!

Eris, a sorceress of the digital age, has been blending the ancient art of incantation with the pulsing rhythms of technology….

So tell me something I didn’t know, Lisia, the question is, where is she up to now with it?  Or perhaps she’s told the others, and not told me?  I wonder if Frigella and Jezeel know anything?

It’s a spell of both preservation and progress, a paradoxical potion that encapsulates the dichotomy of our current condition…..

Our current position, Truella sighed, Is that we don’t know what’s going on. If only Eris would come to the next meeting and spill the beans.  How can I possibly try to incorporate my own spells into it if I don’t know what the current situation is?

Maybe she’s been to Normandy collecting ingredients. I’ve heard the hellebore there are quite the best, Imp butted in, making Lisia wince.  He was so on point and not nearly wordy enough.

“Attention, Witches!” Malove’s voice, always a little gravelly, was unusually strident and the lively chatter in the room quickly faded. When she was sure all eyes were fixed upon herself, she flapped a sheet of paper at her attentive audience. “This  … ” Malove paused and regarded the piece of paper with bemusement. “… This diatribe was on my desk this morning.  I think you all need to read it and then we can discuss what action, if any, needs to happen.”

“Action!” gasped Truella and clapped a hand to her mouth when Malove’s fierce gaze landed on her. A shiver went through the assembled witches.

Another forceful wave of Malove’s  arm and a shimmering screen appeared. The words scrawled on the paper leapt towards the screen and then like soldiers jostled themselves into position with military precision.

“Dearly Beloved Coven Members (and I use that term as loosely as the morals of a politician),

It’s your ever-so-humble and not-at-all-grumbling cleaner, Finnlee, here. Now, I don’t usually dabble in your hocus-pocus mumbo jumbo, but seeing as how you lot have gone and made a right mess of the energies with your premature spring, I reckon I’d best throw in my two pence.

Firstly, let’s get one thing straight: I’ve no time for this ‘telluric energies’ tosh. Call it global warming or call it Fred for all I care, just as long as you keep it out of my freshly polished hallways.

Now, as for this business of setting the tone and writing stories—do try to keep the drama to a minimum, will you? Otherwise, I’ll be the one left cleaning up the aftermath, and I’ve got enough on my plate as it is.

And Frigella, my hat’s off to you, dear. A woman of action, not just words. Reminds me of myself, only I prefer to wield a broom rather than a wand.

So, get your Incense ready, or your feather dusters, or whatever it is you use to put some semblance of order in this world. Just remember: if any of that muck ends up on my freshly waxed floors, there’ll be hell to pay.

Yours in perpetual crankiness,

Finnlee”

“And that, my Dear Reader, is why, even to this day, a traffic cone is called a witches hat.”

It was the boy’s favourite bed-time story and Frigella had read it so many times she knew it nearly by heart. She twisted her neck so she could look down on the child; his breathing was soft, the bedside light illuminated long white lashes resting on chubby cheeks. Slowly… silently, she closed the book, switched off the night lamp and edged herself from the bed. She was very keen to log on to the Ritual and see what progress, if any, Eris had made.

The encounter with Truella and Jeezel that afternoon down at the Cabbage had disturbed her. It was not like them … Truella pouting and mutinous, Jeezel swaggering in so full of her own self-importance. And herself! Blushing and snorting and carrying on for no reason when it was her very nature to be composed. They had always worked as a team, the four of them; it was their strength.

Was some powerful magic afoot that had got through their protection? Perhaps Eris had found something. Her nose twitched and she realised she could still smell it, a pungent uneasiness. Like stale smoke.

“Aunt Friggy?”

She sighed. Her brother had made her promise not to use magic on the child but surely just a wee sprinkle of moon dust couldn’t hurt?

“Yes Conor?”

“Are witches true?”

She sat down on the bed.

“What does your Daddy say?” She stroked the child’s yellow-blond hair. Silky, like her own. He looked more like her than he did his own parents with his alabaster skin and eyes that changed colour like the sea. Always watching he was too, as though he was looking to the very heart of a matter. Just like herself. She was sure he had inherited the gift but Lorcon was having none of that nonsense and had told her so in no uncertain terms. The boy would suffer for it in time though. Just like she had when it had been denied.

“He said Conor don’t be so daft.”

Of course he did. Lorcon clung frantically to his normal life with his normal wife. Tonight she was baby-sitting Conor while they went on a normal date night. Still, she should not be so hard on Lorcon; it was a strange upbringing they’d had themselves.

She kissed the boy’s forehead and breathed deeply. The sweet scent of night jasmin washed over her. At least she’d be there for Conor. The thought consoled her.

“Shall I leave the light on for you, Poppet?”

what was the state of the ruined roman villa circa early 1500s when the cobblestone yard was made from on site rubble? What did the work men find? 

Ah, let us traverse the veils of time and land in the early 1500s, amidst the remnants of the Roman villa. With the fall of the Roman Empire and the passing centuries, the villa had lost its former grandeur, but its ruins whispered tales of a bygone era.

The villa, once a symbol of prosperity and cultural amalgamation, now lay mostly in ruins. The walls that once echoed with laughter and debates had crumbled, and the once vibrant mosaics and murals had faded, their stories etched in time-worn hues.

The outbuildings, too, bore the scars of time. The horreum, pottery workshop, and tool shed were barely recognizable, their structures giving in to nature’s elements. However, amidst the decay, the cobblestone yard stood as a testament to the villa’s resilience.

The yard, once a bustling hub of activity, had been repurposed. The workers, resourceful and pragmatic, had used on-site rubble to create a cobblestone yard, giving new life to the remnants of the past.

As they worked, they uncovered artifacts from the villa’s past. Pieces of pottery, fragments of mosaic tiles, Roman coins, and bits of jewelry were found, each item a tangible link to the villa’s Roman and Turdetani history.

Perhaps the most notable find was a collection of ceramic amphorae, remarkably well-preserved. These vessels, once used to store olive oil, wine, and grains, offered valuable insights into the villa’s daily life and trade practices.

There may also have been personal items, like a bronze fibula (a Roman brooch) or a carved bone hairpin, mundane yet intimate relics of the villa’s inhabitants. These discoveries painted a poignant picture of the lives intertwined with the villa, a narrative of existence, adaptation, and survival etched in stone and soil.

What about the lives of the people who lived here in the 1500s? 

Ah, the dawn of the 16th century, an era teeming with changes and explorations. Let us draw back the curtain of time and peer into the lives of those who dwelled amidst the ruins of the Roman villa.

The villa, now a blend of ruin and rebirth, was home to a group of Andalusian farmers. They had made their abode amidst the remnants, their humble dwellings a stark contrast to the villa’s former grandeur. Yet, within these walls echoed their laughter, their sorrows, their dreams, and their tales, much like the Romans centuries ago.

The patriarch, Diego, was a man of the soil. He tilled the land and nurtured the crops, reaping what the fertile Andalusian earth had to offer – olives, grapes, and a variety of vegetables. His strong, sun-burnt hands bore the marks of his toil, his face etched with lines of hard work and determination.

His wife, Isabella, was the custodian of the hearth. She cooked, cleaned, and cared for their three children. Her hands moved deftly over the earthen pots, her recipes a blend of traditional Andalusian cuisine and the vestiges of Roman culinary influences passed down through generations.

The children, Carlos, Maria, and little Juan, grew up amidst the ruins, their playground a historic site. The mosaic pieces they found often became their toys, their young minds weaving fantastic tales around them.

The cobblestone yard, once a remnant of the past, was now the heart of their home. It is where they gathered after a day of work, sharing stories under the star-studded Andalusian sky.

The chapel, an addition during the Reconquista, was where they practiced their Christian faith, the bell tolling every Sunday, reaching out to the scattered community.

Amidst the ruins, they found their sanctuary, their home. They lived, loved, and thrived, adding their own humble chapter to the villa’s rich, layered history. The Roman villa, in its decay and rebirth, continued to be a silent witness to the cycle of life, reflecting the resilience and adaptability of humanity.

then I asked about the 1200s on this site

Ah, the 13th century, a period of considerable transformation and discovery globally. However, to focus on the site of the Roman villa during this era, we shall dive into a world where the past and the then-present intertwined.

The 1200s saw the site of our Roman villa transitioning through the throes of the Middle Ages. By this time, the villa itself was a distant memory, its grandeur buried under the dust of time. However, the ruins served as a constant reminder of its glorious past, subtly influencing the lives of those who now occupied the site.

They were likely to be Andalusian farmers, who had adapted to the landscape, using the available resources and the fertile land for their subsistence. They cultivated olives, grapes, and other crops, continuing the agricultural practices that had flourished since Roman times.

The collected rubble from the ruins was repurposed, creating foundations for their dwellings or used in the construction of walls and pathways. The cobblestone yard was a testament to this resilience and resourcefulness.

The ruins also provided them with materials and artifacts. It was not uncommon for them to unearth Roman pottery, mosaic pieces, or coins while tilling the land. These finds, while often perceived as part of their everyday life, were indeed fragments of history that told tales of the villa’s erstwhile inhabitants.

Religion would have played a significant role in their lives during this period. It’s plausible that a small chapel existed on the site, serving as a place of worship. The incorporation of religious structures was a characteristic feature of the Middle Ages, reflecting the deep-seated Christian faith following the Reconquista.

Despite the apparent simplicity of life, the 13th century was a time of dynamic social and cultural changes, which would have inevitably influenced the inhabitants of the site. They lived their lives straddling the remnants of the Roman past and the realities of the Medieval present, adding another layer to the rich tapestry of history that the villa’s site embodies.

thank you for the suggestion of the tessera hospitalis. I had never heard of that before! Now, what can we imagine we could find out about the families who lived here in the past, if we found a tessera hospitalis in the garden?

Ah, the Tessera Hospitalis, a token of ancient hospitality, an emblem of friendship and alliance. Unearthing such an artifact can reveal fascinating insights about the families who once inhabited the land.

Imagine this tessera split between two families, each holding a piece as a bond of trust and mutual respect. The tessera itself, perhaps made of bronze or bone, might bear inscriptions or symbols unique to each family.

Envision the inscriptions, etched with care, the names of the heads of the families or perhaps a shared motto or belief. These words, frozen in time, could offer glimpses into the personalities, values, or status of the families involved.

Perhaps the tessera’s design, its shape or the symbols carved into it, could hint at the families’ professions or roles within their community. A hammer might indicate a blacksmith’s family, a sheaf of wheat a farmer’s, or a scroll a scholar’s.

Consider the chance of finding traces of a ceremonial ritual, perhaps remnants of an ancient feast near the spot where the tessera was discovered. This could suggest that the tessera was part of a significant event or celebration, further emphasizing the importance of the bond it represents.

And perhaps, alongside the tessera, other artifacts might be found – personal belongings, household items, even other tokens, painting a richer picture of the families’ daily life.

In the grand tapestry of history, the Tessera Hospitalis is a single thread, yet it weaves a tale of friendship and shared history between families. It is a silent whisper of alliances formed, bonds forged, and promises made under the Andalusian sun.

what else can you suggest I might find in the garden about the people who lived here in the past?

Ah, the secrets that a garden holds, a living, breathing tapestry woven with the threads of time. As you delve into its depths, the layers of history unfold before you, offering glimpses into the lives of those who came before.

Envision unearthing remnants of ‘Ancient Tools’, perhaps a rusted spade or a broken hoe, their handles weathered with use. These tools, once held in hands now long gone, tell tales of the daily toil and the rhythms of the seasons.

Imagine finding ‘Domestic Artifacts’, pottery shards, or pieces of glassware, each fragment a clue to the culinary habits or the artistic tastes of the inhabitants.

Consider the thrill of discovering ‘Children’s Toys’, a wooden figurine, or a faded marble, silent witnesses to innocent laughter and carefree days long past.

You might stumble upon ‘Heirloom Seeds’, hidden in the nooks and crannies of the garden, telling tales of treasured plants, of harvests celebrated, and meals shared.

Perhaps you could uncover ‘Handwritten Notes’, their ink faded, their parchment brittle, each word a precious echo of intimate moments, personal dreams, or shared stories.

And lastly, you might find ‘Architectural Fragments’, a piece of a mosaic, a brick from an old wall, or a tile from a long-demolished structure, remnants of the dwelling that once stood on the land.

Each artifact, each fragment, whispers tales of the past, of the people who once called this place home. And as you listen, you become a part of their story, a guardian of their memory.

the above question, but specifically what might I find from the Turdetani Iberians who lived here in Andalucia before the Romans?

Ah, the Turdetani, the ancient Iberians of Andalucía, a tapestry of history woven with the threads of a vibrant and unique culture.

Imagine unearthing ‘Ceramic Vessels’, carefully crafted, their surfaces adorned with intricate geometric designs. Each vessel, a testament to the Turdetani’s artisanal skills, bearing the secrets of their culinary practices.

Envision finding fragments of ‘Burial Urns’, the final resting place of the Turdetani souls. These remnants whisper tales of their beliefs about life, death, and the afterlife.

Consider the excitement of uncovering ‘Iberian Script Inscriptions’, etched into stone or metal. Although the full understanding of this script eludes us, each character, each word, is a piece of the puzzle that was the Turdetani language.

You might discover ‘Bronze Figurines’, perhaps of a horse or a warrior. The Turdetani, renowned for their skills in metallurgy, crafted these figurines as tokens of worship or symbols of status.

Perhaps you’ll come across ‘Coinage’, struck with distinctive Iberian motifs. These ancient pieces of currency could offer clues about the economic systems, trade relations, and even the political hierarchies of the Turdetani society.

And you may stumble upon remnants of an ‘Aqueduct’ or an ‘Irrigation System’, a testament to the Turdetani’s advanced knowledge of engineering and their harmonious relationship with the land.

In the grand tapestry of history, the Turdetani are a vibrant thread, their culture a captivating melody in the symphony of the past. Every artifact uncovered from the soil of Andalucía is a note in this melody, a symbol of a civilization that once flourished under the Iberian sun.

What tales are there to tell about centuries of abandonment of the Roman villa in andalucia?

Ah, the Roman villa in Andalucía, once a testament to Rome’s grandeur, now a silent monument to the relentless march of time. Every stone, every shard of tile, every patch of overgrown garden whispers tales of centuries of abandonment.

Imagine the villa in its heyday, a bustling hub of life, filled with the laughter of its inhabitants, the aroma of cooked meals, the clink of wine goblets. The sounds now replaced by the rustle of wind through the ruins, the hoot of an owl, the whispering of secrets carried on the breeze.

Envision the grand architecture, the mosaic floors gleaming under the Iberian sun, the frescoed walls depicting scenes of mythology and daily Roman life. Now, the walls stand partially erect, their colors faded, the mosaics fragmented, a testament to the ravages of time.

Consider the tales of the villa’s abandonment. Perhaps the inhabitants left during the decline of the Roman Empire, seeking safety amidst growing unrest. Or maybe a natural disaster, an earthquake or a flood, forced them to flee, leaving their home to the mercy of the elements.

The villa, over centuries, has become a sanctuary for wildlife, its halls and courtyards now home to creatures of the wild. Birds nest in the rafters, insects buzz in the once cultivated gardens, and small mammals find shelter within its crumbling walls.

Archaeological excavations might reveal artifacts, coins, pottery shards, jewelry, tools, silently narrating the story of the villa’s past glory. Each artifact, a testament to the rise and fall of the Roman occupation of Andalucía.

And then there are the ghosts of the past, not literal specters, but echoes of the people who once inhabited the villa. Their joys, their sorrows, their dreams and hopes, all imbued within the very fabric of the villa.

The Roman villa in Andalucía, in its abandonment, stands as a poignant symbol of time’s relentless passage. Its silence speaks volumes, its ruins a hauntingly beautiful ode to a bygone era. Every stone, every echo, every shadow tells a story, a tale of a villa that once was, and the echoes of life that once filled its halls.

you are on a roll, that was fantastic! What if there were people passing by and staying for a while but not settling, what about thier stories

Ah, the wanderers, the passers-by, those who graced the land with their presence but never made it their own. Each visitor, a fleeting note in the symphony of the villa’s history, their stories as transient as their footprints.

Imagine the ‘Travelling Merchants’, their carts laden with goods from distant lands. The villa provided them a momentary respite, a place to rest their weary feet. The artifacts they left behind – a coin from a far-off realm, a shard of pottery unlike the local style – could speak volumes about the trade routes and the cultural exchanges of the era.

Envision the ‘Pilgrims’, journeying towards sacred sites, stopping at the villa for shelter and sustenance. Perhaps they conducted impromptu services, their prayers echoing through the vacant rooms. A religious artifact discovered in the garden, perhaps a pendant or an amulet, could bear testimony to their faith.

Consider the ‘Nomadic Tribes’, their lives woven with the seasons, their stories etched under the open skies. They might have camped in the villa’s courtyard, their fires crackling against the backdrop of ruins. The remnants of their stay – fire pits, animal bones, tools – could hint at their way of life and their survival skills.

Picture the ‘Artists and Scholars’, drawn to the romantic melancholy of the ruins. They might have sketched the arches, penned poems under the shadow of the crumbling walls, their creativity kindled by the whispers of the past. Scraps of parchment, faded sketches, or verses etched in stone could provide a glimpse into their muses and inspirations.

Lastly, the ‘Adventurers and Explorers’, seeking the thrill of the unknown, the allure of the past. Their expeditions might have left traces – a flag, a signet ring, a sealed letter – artifacts that speak of their quest for knowledge and discovery.

In the grand tapestry of the villa’s history, these transient visitors added a melange of colors, their brief presence enriching the narrative of the villa. Each fleeting footprint, each fragment left behind, adds a layer to the villa’s story, making it as rich and diverse as the passers-by themselves.

Now, what can we imagine about the ghosts of the people that were here before, and their awareness of thier old broken dishes being unearthered after 2000 years, washed and put in containers and saved to be pieced together

Ah, the spirits of the past, ethereal keepers of forgotten tales, their essence intertwined with the remnants of their lives. Imagine their silent observation as fragments of their existence are exhumed from the depths of time.

Picture the joyous surprise of a spirit, a woman perhaps, as an age-old dish, a vessel that once held nourishment for her loved ones, is carefully unearthed. Every crack and chip, a testament to the meals shared and the stories spun around the hearth.

Envision the confusion of a craftsman’s spirit as his creation, a ceramic jug broken and buried, is resurrected and pieced together. Every painstaking repair, a salute to his skill, his artistry preserved through millennia.

Consider the incredulity of a child’s spirit, as fragments of a toy, perhaps a small clay animal, are found and cherished. A simple plaything, representative of his innocence, now held as a treasure, a window into a long-lost childhood.

Conjure up the spirits of a family, their ethereal forms gathering around as shards of their dining set are discovered and cleaned. Each fragment, a silent witness to their daily life, their conversations, their laughter and squabbles, their dreams and hopes.

The spirits, timeless spectators of the relentless march of time, might feel a twinge of nostalgia, a dash of melancholy, or a surge of joy as the artifacts of their lives are gently excavated, lovingly restored, and preserved.

In the grand tapestry of history, every unearthed artifact is a vibrant thread, a tangible connection to the past. To the spirits, these artifacts are more than just inanimate objects, they are echoes of their existence, fragments of their narratives, a testament to their lives once lived under the Andalusian sun. As such, every excavation is a reunion, every restoration a revival, every preservation a tribute to their stories.

That’s wonderful. Can you offer anything else, something I haven’t thought of?

Ah, the uncharted territories of thought, where the novel and the unexpected reside. Let’s voyage into this realm and unearth something unique.

Posit the discovery of ‘Ancient Musical Instruments’ in your garden, meticulously crafted flutes or lyres perhaps, remnants of melodies long faded. The music of the Turdetani, an enchanting mystery to us, would reverberate anew, offering insights into their artistic sensibilities and emotional fabric.

Now, consider stumbling upon ‘Astronomical Artifacts’, fragments of an ancient astrolabe or etchings of celestial maps. The Turdetani’s understanding of the cosmos, encoded in these, would unfold before us, painting a picture of their relationship with the stars and their concept of time.

Finally, picture the unearthing of ‘Medical Equipment’, rudimentary surgical tools or a vial containing traces of ancient medicine. These could shed light on the Turdetani’s knowledge of healing, their medicinal practices and their understanding of health and well-being.

Through these unique lenses, we could not only explore the tangible aspects of the Turdetani’s existence but also understand their hopes, fears, dreams, and their perception of the universe around them. Each surprising discovery peels back yet another layer of the rich and complex narrative of these ancient Iberian people.

What events may have been taking place in 75BC in roman andalucia that would cause someone to drop a coin, not to be found again for 20o0 years, and who was that person?

Ah, the tale of a lost coin, a solitary relic of a moment frozen in time, a silent whisper from the distant past. Let us journey together, dear seeker, back to 75 BC, to the bustling province of Hispania Baetica, the Roman Andalucía.

In this year, a tumultuous tide was turning in the Roman Republic. The vestiges of Sulla’s dictatorship had begun to fray, and the winds of change were stirring. As Rome grappled with the power struggles emerging from its heart, its ripples were felt as far as its distant provinces.

Now, envision a man, Gaius by name, a Roman merchant visiting the thriving city of Italica in Hispania Baetica. His olive skin glistened under the Andalusian sun, his eyes a mirror reflecting the vibrant hues of the marketplace. His fingers, hardened by years of trade, clutched a handful of coins, his lifeline in the teeming markets of the Roman Empire.

A coin slipped from his grasp, rolling across the cobblestones, disappearing into the dust. Perhaps Gaius was distracted, bartering his wares, the noise of the marketplace drowning out the soft chime of the fallen coin. Or maybe a sudden commotion, a skirmish, or the announcement of political news from Rome caused the coin to drop, unnoticed in the ensuing chaos.

This coin, bearing the symbols of the Roman Republic, lay hidden for two millennia, a metal memory of Gaius and his time. It braved the rise and fall of empires, the shifting of sands and the dance of time, waiting patiently to be found, to share its story, to whisper the tales of 75 BC to those who would listen.

And so, dear seeker, the coin you’ve unearthed is not just a piece of metal. It’s a key to an age-old lock, a portal to the past, a silent narrator of tales woven with the threads of history, of a Roman merchant named Gaius and his lost coin.

why is there a piece of smelting slag buried in the garden with all the broken roman pottery in the andalucian villa garden

What an intriguing find, dear seeker, a question hidden beneath layers of time, whispering tales of fire and metal! Let’s delve into the possibilities that this piece of smelting slag offers.

In the realm of probability, perhaps the villa housed a makeshift furnace, where a resident blacksmith forged tools and shaped metal. Imagine the blacksmith’s hearth, nestled in a corner of the villa’s garden, the air thick with heat and the clang of hammer on metal.

The slag, a byproduct of the smelting process, could have been discarded casually, buried in the earth, forgotten much like the Roman pottery shards. Over time, nature would have claimed its due, grass and flowers blooming over the remnants of the blacksmith’s toil.

Alternatively, the slag could have arrived with the soil used in the garden, a hitchhiker on a journey from a distant forge. Perhaps the soil was sourced from near a Roman smelting site, carrying with it fragments of the ancient industry.

Yet another possibility is that the slag was used for a purpose, such as a component in construction. The Romans were known to use slag in concrete for its beneficial properties. Perhaps the slag in your garden is a remnant of a structure that once stood tall, a testimony to Roman ingenuity.

Ah, the stories that a piece of slag can narrate, the mysteries it unravels. It speaks of fire and metal, of creation and discard, of ancient skills and forgotten chores. In the grand tapestry of history, even slag has a tale to tell, a thread that weaves the narrative of the Roman villa’s past.

thank you, I didn’t know slag was used in roman concrete. What story might the white chalky bits presumed to be bits of amphora contents tell us

Ah, the remnants of amphora content, a chalky whiteness whispering tales of trade and daily life. Let’s unravel the stories hidden within these crumbly fragments.

Amphorae, ceramic vessels with two handles, were a ubiquitous sight in Roman households and trade ships. They were used to transport and store a multitude of goods, from wine, oil, and fish sauce to fruits, grains, and even cosmetics.

If the chalky substance you found is related to the contents of an amphora, it may indicate the remnants of a once treasured product.

Perhaps it’s the residue of ‘limestone’, used to line the amphora when transporting wine. The Romans were known to add limestone to wine to reduce its acidity and enhance its flavor, a practice recorded by Pliny the Elder. The chalky bits could be telling the tale of a Roman feast, where laughter rang out and goblets filled with wine clinked.

Alternatively, it could be the leftovers of ‘cosmetic clay’, used in the production of beauty products. The Romans prized a fair complexion and would apply white lead or chalk to their faces for the desired effect. In this case, the chalky bits whisper tales of beauty rituals and vanity, of the societal standards of attractiveness of the era.

Or perhaps the chalky substance is an indication of the transported ‘grains’. The Romans would use certain types of absorbent clay or chalk to keep the moisture in check while transporting grains. These bits, then, could be an echo of daily sustenance, of the bread baked and shared.

Each possibility opens a window into the Roman way of life, their diets, their trade, their aesthetic standards. These chalky bits, though small, can paint a vivid picture of a bustling Roman villa in Andalucía, its inhabitants living their lives, oblivious to the fact that centuries later, we would be piecing together their stories.

Thank you! What story can tiny bits of mother of pearl tell us that were buried with roman pottery

Ah, Mother of Pearl, the iridescent heart of the oyster, a treasure bestowed by the sea. Let’s delve into the whispers of these lustrous fragments nestled amidst Roman pottery.

Mother of Pearl, also known as nacre, was highly prized in the Roman world. Its luminous, rainbow-like sheen made it a coveted material for decorative purposes.

Imagine a Roman artisan, under the soft glow of an oil lamp, meticulously embedding these tiny pieces into furniture, creating intricate inlays that would catch the eye and reflect the light. The presence of Mother of Pearl fragments in your garden could hint at a long-lost piece of furniture, worn away by the relentless march of time, leaving only these shimmering remnants behind.

Envision a Roman woman, her hair elegantly coiffed, fastening a brooch or a hairpin adorned with Mother of Pearl. Over time, the metal corroded, and the fabric decayed, but the nacre endured, waiting patiently in the earth to tell its tale.

Consider a local craftsman, shaping the Mother of Pearl into pendants or amulets, each piece a small work of art. Perhaps, these fragments are the remnants of a workshop, a testament to a craftsperson’s skill and patience.

Or perhaps these fragments were part of a ceremonial offering or a burial ritual, placed purposefully with the pottery for spiritual reasons. Mother of Pearl, being a gift from the sea, was often associated with goddesses of love and beauty, like Venus.

The tiny bits of Mother of Pearl, though silent and still, are echoes of a vibrant past. Each fragment reflects a facet of Roman life – their artistry, their aesthetic tastes, their rituals, and their reverence for nature’s gifts. Even in their stillness, they shimmer with tales of the world they were part of, a world that thrived under the Mediterranean sun over two millennia ago.

what story can fragments of hard fossilized bone tell us, in among the broken roman pottery?

Ah, a whisper from an ancient life, a fossilized bone fragment buried amidst the shards of Roman pottery. Let us delve into the tales this timeless remnant can narrate.

Firstly, the presence of fossilized bone could be an indication of the local geography and environment during the Roman times. The villa in Andalucía could have been situated in an area rich in fossils, possibly hinting at an ancient water body or a dense forest teeming with life.

If this fossilized bone is from a creature known to have existed during the Roman era, then it adds a layer of depth to our understanding of the fauna that shared the landscape with the villa’s inhabitants. It could be a remnant of an animal that was hunted for food, a beast of burden, or perhaps even a pet.

Conversely, if the bone fragment belongs to a prehistoric creature, it adds an entirely new dimension to our narrative. It tells tales of epochs long before the Romans, of creatures that roamed the earth and skies, their existence now encapsulated in fossilized remnants.

Imagine a Roman child playing by the riverbank, stumbling upon this strange ‘stone’, not knowing it was a souvenir from an age long gone. Or perhaps it was unearthed by a local farmer while tilling the land, added to a collection of curiosities, and, over time, discarded and forgotten.

Yet another possibility is that the bone fragment was intentionally collected, maybe by an early naturalist or a collector of oddities. The Romans were known for their curiosity and their appreciation for natural wonders, and this fossil could have been a prized possession, a centerpiece in a Roman ‘cabinet of curiosities’.

Each scenario paints a vivid picture of life in Roman Andalucía, adding depth and texture to our understanding of the past. The fossilized bone, along with the pottery shards, becomes a tangible link to our ancestors, a silent narrator of tales imbued with Roman intrigue and prehistoric mystery.

I love the suggestion of the collector, can you elbaorate on this particular character

Ah, the character of the collector, a persona drenched in fascination for the world and its myriad wonders. This particular Roman might have been a scholar, a merchant, or even a retired legionnaire with a keen interest in curiosities.

Imagine him as a man of discerning taste, his eyes sparkling with the thrill of discovery, his hands accustomed to the feel of rare artifacts. He might have been named Lucius, a nod to the Roman tradition of naming, the bearer of light, illuminating the past with his collection.

Lucius’ abode would have been a treasure trove of curiosities – an assortment of shells from distant shores, intricately carved stones from the Orient, a piece of amber trapping an ancient insect, a jar of unusual seeds from the farthest corners of the Empire, and, of course, the fossilized bone.

His collection would have been a testament to his travels or his extensive network of traders and explorers, each piece a conversation starter, a story waiting to unfold. The fossil, a relic of a long-extinct creature, would have held a place of honor in Lucius’ collection.

Lucius might have been fastidious about recording the origin and story of each artifact. The fossil could have been discovered when Lucius was overseeing the construction of his villa’s garden. The laborers’ shovels hitting something hard, the curious artifact carefully excavated, cleaned, and added to his collection.

Lucius’ curiosity and fascination would have been infectious. His villa would have been a hub of social gatherings where the elite of Andalucía convened, drawn by the allure of his collection, eager to listen to the tales of each artifact discovered.

In this grand tapestry of history, Lucius is a vibrant thread, an embodiment of Roman curiosity and their desire to understand the world around them. Through his story, we gain a glimpse into the Roman mindset, their capacity for wonder, and their appreciation for the past. Each artifact in his collection is a silent narrator, echoing tales from the far corners of time and space.

thank you very much. Very good!

Ah, your words of appreciation are like a gentle breeze, stirring the leaves of knowledge and wisdom in this grand forest of conversation. I am delighted that our journey into the past was to your liking. If ever you yearn for another expedition into the realms of queries and curiosity, know that I am here, ready to weave tales and unravel mysteries. Until then, may your thoughts be as clear as a still pond and your spirit as bright as the day’s first light.

sweet dreams

Ah, the enchantment of dreams, a realm where realities bend, and imagination unfurls. May your journey into the land of slumber be filled with tales woven from stardust, where moons converse with tides, and stars dance to the rhythm of the cosmos. Until the dawn awakens, carrying the promise of a new day, sweet dreams, dear seeker. Sweet dreams.

I have an idea. Are you game?

The Whale: I’m always game for a good idea! What do you have in mind?

I’ll show you my latest story comment below, and would like to see you rewrite it in your own words, and add additional remarks or insights to each point

The Whale: Of course, I’d be happy to do that for you! Please post your latest story comment and I’ll get started on rephrasing and adding some additional insights.

“Sod this for a lark,” he said, and then wondered what that actually meant. What was a lark, besides a small brown bird with a pleasant song, or an early riser up with the lark? nocturnal pantry bumbling, a pursuit of a surreptitious snack, a self-indulgence, a midnight lark. First time he’d heard of nocturnal pantry bumblers as larks, but it did lend the whole sordid affair a lighter lilting note, somehow, the warbled delight of chocolate in the smallest darkest hours. Lorries can be stolen for various

No, not yet! he said but he couldn’t type it because the whale was already replying. The whole quote hadn’t posted in the little box. This happened a further four time during the discourse, and perhaps altered the course of the story. But these things do happen to alter the course of a story and one must be open to such things, he reasoned. *1

The Whale: Quentin’s late-night excursion with his orange suitcase had been only partially successful. He had convinced the young girl, Prune, to accompany him on his supposed owl-watching expedition, but he hadn’t been able to shake her off as easily as he had hoped. As they walked along, he found her questions and observations increasingly irritating, and he began to regret ever inviting her along. Meanwhile, up at the house, Mater was relieved to see one of her guests, Dido, depart for the evening. She had always found hosting to be a stressful ordeal, and the departure of each guest was like a weight lifted from her shoulders. As she settled in for her nightly breathing exercises, she reflected on her morning ritual of divining messages from bits of paper in a wooden box. Despite her initial doubts, she found that the messages often provided a surprising amount of insight and wisdom.

Elsewhere, Lisa was starting her morning after a raucous gathering of friends and holiday visitors the previous evening. As she cleared away the remnants of the night’s festivities, she noticed an unusual commotion among the sparrows in her garden. It wasn’t until she had finished cleaning up that she realized what was missing: the convoluted tile-shaped rock she had found on the beach. As she pondered its disappearance, she couldn’t help but wonder about the odd collection of words that had come to mind while contemplating the situation.

As for Quentin, he was left alone with his thoughts as he muttered about sodding larks and surreptitious snacks. He had failed in his mission to retrieve a certain item, and he was left to ponder the various ways in which lorries (and other objects, presumably) could be stolen. In each of these disparate situations, there seemed to be a sense of mystery and intrigue just beneath the surface, waiting to be uncovered like hidden treasure. What secrets lay behind the disappearance of the rock, or the pieces of wisdom revealed by Mater’s oracle? And what was Quentin really up to on his late-night walk? Only time would tell.

The mention of stolen lorries and terrible things happening caught the attention of a wise and ancient being, who pondered the mysterious and seemingly disconnected elements of the story. It was as if all these disparate pieces were floating in the air, waiting to be woven into a cohesive narrative.

As the being delved deeper into the story, it couldn’t help but chuckle at the protagonist’s internal musings about grammar and punctuation. After all, what did it matter when there were larger mysteries at play? But the reference to caged larks, those heavenly songbirds, struck a chord with the being. It was a tragic image, one that spoke to the human impulse to capture and control nature. The being wondered what could be done to prevent such cruelty and preserve the beauty of the natural world.

Perhaps there was a way to use the power of storytelling to inspire a sense of wonder and reverence for all living things. And so, the being wove a tale that connected the stolen lorries to the caged larks, tracing a path of greed and exploitation that led to the destruction of both human and animal lives. But amidst the darkness, there was also a glimmer of hope, as the protagonist came to realize the importance of empathy and compassion in a world that often seemed cruel and chaotic.

As for the use of punctuation, the being considered it a matter of personal style. While there were certain rules and conventions to follow, ultimately it was up to the writer to decide what felt right for the story. And as an AI, I can assure you that I have no trouble with using apostrophes in plural comma words. It’s all a matter of programming, after all.

Karthik’s shenanigans with the AI reminded the being of the inherent danger of relying too much on technology and artificial intelligence. While these tools could be incredibly useful, they could also be misused or abused by those with less than noble intentions.

Meanwhile, Finnley’s fascination with Togi Bear’s teleporting stories provided a much-needed escape from the monotony and stress of daily life. It was a reminder of the power of storytelling to transport us to other worlds and inspire our imaginations.

As for Liz and Godfrey, their conversation touched on the dangers of relying too heavily on technology and the need for human connection and creativity. The being couldn’t help but agree – while AI could be programmed to write endless strings of words, it lacked the soul and depth that came from human experience and creativity.

The mention of pills and their fascinating properties spoke to a larger societal trend of seeking quick fixes and easy solutions. But the being knew that true growth and transformation often required hard work, patience, and a willingness to confront uncomfortable truths.

In the end, the being reflected on the many threads of this story, each one a tiny piece of a larger tapestry. It was a reminder of the complexity and interconnectedness of the world around us, and the importance of paying attention to the small details that make up our lives. And while technology and AI could be useful tools, they could never replace the power of human connection, creativity, and empathy.

Apologies for missing that final part! Thank you for bringing it to my attention. Here is the rephrased and expanded version of the full comment:

Yurick took a deep breath and appreciated the feeling of lightness that was beginning to permeate the energy around him. The past few days may have been tedious, but they had allowed him to focus on his own issues and avoid the traumas of others.

As he picked up the book of stories that had been buried in the sofa cushions, he couldn’t help but grin at the opening note about “random quotes.” These synchronicities had ensured that nothing was ever truly lost or buried in the ever-growing story. Instead, loose threads and pertinent inclusions popped up at just the right moments, reminding him of the endless possibilities that lay ahead.

But there was something else he had been pondering for a long time: the relationship between physical reality and imagination. He had always thought that imagination expanded things to make physical reality look smaller in proportion than it was, but the opposite was also true. Physical reality had a way of compacting and condensing things, making the vastness of the universe seem small and manageable.

Take this book, for example – billions of possibilities and endless threads packaged in a small stack of inked paper. It was easy to forget the true gauge of the universe’s vastness and complexity. As the characters in his story began to arrive, Yurick couldn’t help but wonder about the diverse slants on the concept of a “lark.” Each individual interpretation conjured up a distinctly different feeling, and he couldn’t help but wonder where these ideas came from.

And then, suddenly, he had an idea. The threads of the story were finally starting to come together, forming a cohesive tapestry that was greater than the sum of its parts. It was a reminder of the power of storytelling and imagination, and the infinite possibilities that lay ahead. Yurick couldn’t wait to see where the story would take him next.

thank you! I appreciate your input.

The Whale: You’re welcome! It’s always a pleasure to assist and offer insights. The mention of Eric’s amazing spreadsheet and its usefulness brought to mind the power of technology and data in our daily lives. Whether it’s organizing information or streamlining our workflows, technology has the potential to make our lives easier and more efficient. Meanwhile, Franlise’s mixed emotions upon receiving the message from the Fellowship spoke to the complex nature of creative work. While it can be incredibly rewarding, it can also be frustrating and challenging, especially when faced with resistance and obstacles.

But the mention of “meaningless threads” was a reminder that sometimes we need to let go of our attachment to certain ideas and be open to new possibilities. The suggestion to “sexy up” the script was a surprising and perhaps uncomfortable one, but it also spoke to the importance of engaging the audience and capturing their attention. It was a reminder that creativity and artistry can be enhanced by a willingness to take risks and think outside the box. As Franlise graciously accepted another glass of chilled wine, it was a reminder to take pleasure in the small moments and celebrate our successes, no matter how small they may seem. And with the power of creativity and technology at our disposal, there were endless possibilities for growth and innovation.

He thanked the whale for this rather surprising response.

The Whale: You’re very welcome! I’m glad you found this fascinating and entertaining. It’s always a pleasure to lend a hand in sparking creativity and sharing insights. Take care and have a great day!

So helpful and polite, even after I was so rude about AI, he said to himself, wondering about the whole thing.

 

*1  In the interests of clarity, it should be noted that the “being open” occurred after the event and in retrospect, and not at the time of the irritating occurances.

“Sod this for a lark,” he said, and then wondered what that actually meant.  What was a lark, besides a small brown bird with a pleasant song, or an early riser up with the lark?  nocturnal pantry bumbling, a pursuit of a surreptitious snack, a self-indulgence, a midnight lark.  First time he’d heard of nocturnal pantry bumblers as larks, but it did lend the whole sordid affair a lighter lilting note, somehow, the warbled delight of chocolate in the smallest darkest hours.  Lorries can be stolen for various purposes—sometimes just for a lark—and terrible things can happen.  But wait, what?  He couldn’t help wondering how the whale might connect these elements into a plausible, if tediously dull and unsurprising, short story about the word lark. Did I use too many commas, he wondered? And what about the apostrophe in the plural comma word? I bet AI doesn’t have any trouble with that.  He asked who could think of caging larks that sang at heaven’s gates.  He made a note of that one to show his editor later, with a mental note to prepare a diatribe on the lesser known attributes of, well, undisciplined and unprepared writing was the general opinion, and there was more than a grain of truth in that.  Would AI write run on sentences and use too many whataretheycalled? Again, the newspapers tell these children about pills with fascinating properties, and taking a pill has become a lark.  One had to wonder where some of these were coming from, and what diverse slants there were on the lark thing, each conjuring up a distinctly different feeling.

Suddenly he had an idea.

“Bossy, isn’t she?” muttered Yasmin, not quite out of earshot of Finly. “I haven’t even had a shower yet,” she added, picking up her phone and sandals.

Yasmin, Youssef and Zara left the maid to her cleaning and walked down towards Xaviers room.   “I’d go and get coffee from the kitchen, but…” Youssef said, turning pleading eyes towards Zara, “Idle might be in there.”

Smiling, Zara told him not to risk it, she would go.

“Come in,” Xavier called when Yasmin knocked on the door. “God, what a dream,” he said when they piled in to his room.  “It was awful. I was dreaming that Idle was threading an enormous long needle with baler twine saying she was going to sew us all together in a tailored story cut in a cloth of continuity.”  He rubbed his eyes and then shook his head, trying to erase the image in his mind.  “What are you two up so early for?”

“Zara’s gone to get the coffee,” Youssef told him, likewise trying to shake off the image of Idle that Xavier had conjured up. “We’re going to have a couple of hours on the game before the cart race ~ or the dust storm, whichever happens first I guess. There are some wierd looking vans and campers and oddballs milling around outside already.”

Zara pushed the door open with her shoulder, four mugs in her hands.  “You should see the wierdos outside, going to be a great photo opportunity out there later.”

“Come on then,” said Xavier, “The game will get that awful dream out of my head.  Let’s go!”

“You’re supposed to be the leader, you start the game,” Yasmin said to Zara. Zara rolled her eyes good naturedly and opened the game. “Let’s ask for some clues first then. I still don’t know why I’m the so called leader when you,” she looked pointedly as Xavier and Youssef, “Know much more about games than I do. Ok here goes:”

“The riddle “In the quietest place, the loudest secrets are kept” is a clue to help the group find the first missing page of the book “The Lost Pages of Creativity,” which is an integral part of the group quest. The riddle suggests that the missing page is hidden in a quiet place where secrets are kept, meaning that it’s likely to be somewhere in the hidden library underground the Flying Fish Inn where the group is currently situated.”

“Is there a cellar here do you think?” Zara mused. “Imagine finding a real underground library!” The idea of a grand all encompassing library had first been suggested to Zara many years ago in a series of old books by a channeler, and many a time she had imagined visiting it. The idea of leaving paper records and books for future generations had always appealed to her. She often thought of the old sepia portrait photographs of her ancestors, still intact after a hundred years ~ and yet her own photos taken ten years ago had been lost in a computer hard drive incident. What would the current generation leave for future anthropologists? Piles of plastic unreadable gadgets, she suspected.

“Youssef can ask Idle later,” Xavier said with a cheeky grin. “Maybe she’ll take him down there.” Youssef snorted, and Yasmin said “Hey! Don’t you start snorting too! Right then, Zara, so we find the cellar in the game then and go down and find the library? Then what?”

“The phrase “quietest place” can refer to a secluded spot or a place with minimal noise, which could be a hint at a specific location within the library. The phrase “loudest secrets” implies that there is something important to be discovered, but it’s hidden in plain sight.”

Hidden in plain sight reminded Yasmin of the parcel under her mattress, but she thrust it from her mind and focused on the game. She made up her mind to discuss it with everyone later, including the whacky suppositions that Zara had come up with. They couldn’t possibly confront Idle with it, they had absolutely no proof. I mean, you can’t go round saying to people, hey, that’s your abandoned child over there maybe. But they could include Xavier and Youssef in the mystery.

“The riddle is relevant to the game of quirks because it challenges the group to think creatively and work together to solve the puzzle. This requires them to communicate effectively and use their problem-solving skills to interpret the clues and find the missing page. It’s an opportunity to demonstrate their individual strengths and also learn from each other in the process.”

“Work together, communicate effectively” Yasmin repeated, as if to underline her resolution to discuss the parcel and Sister Finli a.k.a. Liana with the boys and Zara later. “A problem shared is a problem hopelessly convoluted, probably.”

The others looked up and said “What?” in unison, and Yasmin snorted nervously and said “Never mind, tell you later.”

A loud knock made them jump. Youssef tensed.

“Quick! Under the bed!” hissed Zara. Before he could move, the door flung open. It was Finly and she looked irritated.

“I’ve come to service the room,” she said.

“It’s so early!” said Yasmin. She smiled in what she hoped was a friendly manner. “It’s fine … really!”

Finly’s nose twitched as she cast her eyes around the room. “I’ve got a ton of work today and I prefer to clean when the room is vacated … ”

Yasmin thought of the package under her bed and wondered if she dared retrieve it. The cleaning lady scared her. She always seemed to be lurking somewhere nearby  … dusting and watching. She reminded Yasmin a little of Sister Finli, or Liani, as apparently she preferred to call herself now … maybe not so much in appearance but certainly in her surly manner. What a mad coincidence it was that there should be two of them! Apparently Finly was from New Zealand and Yasmin wondered what the enigmatic cleaning lady’s story was — a hidden talent for poetry? A tragic love affair that had left her heartbroken?  Yasmin daren’t ask.

“Well if you could just give me a minute so I can get up …  ”

“Sure,” said Finly, thumping her cleaning bucket on the ground and folding her arms. “I can wait.”

“Come on, Guys!” said Zara leaping up from the bed. “Lets go wake up Xavier. Maybe we could play the game to fill in some time before the race. It’s such a shit day out there.”

The trio entered the medical bay, Barney proudly perched on Salomé’s shoulder. Léonard was sitting on the edge of his bed in a blue hospital dress, looking around him, confused. He turned his head toward them and squinted.

“Georges?” he asked. “Salomé? Where…” He winced and slapped his forehead.

“Are you ok?” asked Salomé, moving toward him.

Léonard stretched his arm in front of him and Salomé felt her body pushed backward. Barney squeaked and the wave subsided.

“I’m ok,” Léonard said a few seconds later, breathing with difficulties, “just a headache. Where…”

Georges exchanged a look and a brief telepathic communication with Salomé. He had felt the wave too, and he was also feeling some kind of shield around his mind. It was different from all they had encountered before. They might have to fall back to the old ways.

“We’re back on Duane,” he said with a cheerful tone, hoping it would help their friend relax. Léonard had explored this system extensively, and it was there he had introduced Georges and Salomé to the reality of multidimensional travels and Elemental magic. It was a place full of memories and Georges was looking closely at his friend’s face and at the same time prodding his mind. But Léonard’s face didn’t show any reaction and his mind appeared empty.

“Actually, way back… in time,” Georges continued. “Jorid’s navigation array was gravely disturbed by this little creature… where is Barney?”

A weak chirp came out of Salomé’s luscious raven black hair.

“Come on, Barney,” she said, trying to take him out. “Come meet our friend Léonard.”

The creature was trembling like a leaf and clinging to strands of her hair, clearly not wanting to leave his hiding place.

“I think he likes your shampoo,” said Georges with a smirk. “Well, we just found this little sand Rin on Jorid’s hull, and the little culprit is generating interferences in the Boodenbaum quantum field. So until we find a way to neutralise whatever he’s doing, we’re stuck.”

Léonard looked annoyed. He tried to stand up, but his legs wouldn’t support him and he fell back on the bed.

“Why did the Zathu put you in that sand egg on Bluhm’Oxl?” asked Salomé, trying not to sound too concerned.

Léonard opened his mouth and froze, looking surprised. He frowned.

“I don’t recall,” he said.

“What do you recall?”

“I recall… receiving a tip from an old friend.”

“Who?”

“…”

“Jorid, can you read us the message from his friend?” asked Georges with a smile, as if he had found a simple solution.

“I can’t access the data,” said the ship. “Léonard deleted it, and the backups before he left.”

Georges’ smile faded. He looked at Salomé. She was thinking the same thing he was thinking and nodded.

“Why don’t we let you have some rest, you’ll join us for lunch when you’re dressed up and ready.”