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Quintessence – Looking for the 5th — A concept film trailer… 

The scene begins in reverse motion at the Parisian café at dusk, vibrant with life as four friends sit together, laughter and connection tangible. The scenes fades backward into a flashback sequence, unraveling across time and space. Brief flashes rewind through their lives:

• Lucien, the artist, sketching furiously in his studio, charcoal dust flying as he creates a labyrinth of faces.
• Darius, a traveler, striding through sunlit banana trees in Guadeloupe, the dappled light casting moving patterns on his determined face.
• Amei, the fabric artist, flipping through a stack of vibrant postcards at her cluttered desk, her fingers brushing over familiar textures.
• Elara, the rebel scientist, chalking spiraling equations and shapes on a blackboard, her eyes alight with discovery.

The threads coil faster, converging in reverse at a vibrant field in the verdant South of France. The sun streams across open land dotted with wildflowers, a faint outline of a shared dream—a co-housing project—lingering in the golden light. The scene ends on an empty but inviting promise, the land glowing with warmth and possibility.

March 2024

The phone buzzed on the table as Lucien pulled on his scarf, preparing to leave for the private class he had scheduled at his atelier. He glanced at the screen and froze. His father’s name glared back at him.

He hesitated. He knew why the man called; he knew how it would go, but he couldn’t resolve to cut that link. With a sharp breath he swiped to answer.

“Lucien”, his father began, his tone already full of annoyance. “Why didn’t you take the job with Bernard’s firm? He told me everything went well in the interview. They were ready to hire you back.”

As always, no hello, no question about his health or anything personal.

“I didn’t want it”, Lucien said, his voice calm only on the surface.

“It’s a solid career, Lucien. Architecture isn’t some fleeting whim. When your mother died, you quit your position at the firm, and got involved with those friends of yours. I said nothing for a while. I thought it was a phase, that it wouldn’t last. And I was right, it didn’t. I don’t understand why you refuse to go back to a proper life.”

“I already told you, it’s not what I want. I’ve made my decision.”

Lucien’s father sighed. “Not what you want? What exactly do you want, son? To keep scraping by with these so-called art projects? Giving private classes to kids who’ll never make a career out of it? That’s not a proper life?”

Lucien clenched his jaw, gripping his scarf. “Well, it’s my life. And my decisions.”

“Your decisions? To waste the potential you’ve been given? You have talent for real work—work that could leave a mark. Architecture is lasting. What you are doing now? It’s nothing. It’s just… air.”

Lucien swallowed hard. “It’s mine, Dad. Even if you don’t understand it.”

A pause followed. Lucien heard his father speak to someone else, then back to him. “I have to go”, he said, his tone back to professional. “A meeting. But we’re not finished.”

“We’re never finished”, Lucien muttered as the line went dead.

Lucien adjusted the light over his student’s drawing table, tilting the lamp slightly to cast a softer glow on his drawing. The young man—in his twenties—was focused, his pencil moving steadily as he worked on the folds of a draped fabric pinned to the wall. The lines were strong, the composition thoughtful, but there was still something missing—a certain fluidity, a touch of life.

“You’re close,” Lucien said, leaning slightly over the boy’s shoulder. He gestured toward the edge of the fabric where the shadows deepened. “But look here. The transition between the shadow and the light—it’s too harsh. You want it to feel like a whisper, not a line.”

The student glanced at him, nodding. Lucien took a pencil and demonstrated on a blank corner of the canvas, his movements deliberate but featherlight. “Blend it like this,” he said, softening the edge into a gradient. “See? The shadow becomes part of the light, like it’s breathing.”

The student’s brow furrowed in concentration as he mimicked the movement, his hand steady but unsure. Lucien smiled faintly, watching as the harsh line dissolved into something more organic. “There. Much better.”

The boy glanced up, his face brightening. “Thanks. It’s hard to see those details when you’re in it.”

Lucien nodded, stepping back. “That’s the trick. You have to step away sometimes. Look at it like you’re seeing it for the first time.”

He watched as the student adjusted his work, a flicker of satisfaction softening the lingering weight of his father’s morning call. Guiding someone else, helping them see their own potential—it was the kind of genuine care and encouragement he had always craved but never received.

When Éloïse and Monsieur Renard appeared in his life years ago, their honeyed words and effusive praise seduced him. They had marveled at his talent, his ideas. They offered to help with the shared project in the Drôme. He and his friends hadn’t realized the couple’s flattery came with strings, that their praise was a net meant to entangle them, not make them succeed.

The studio door creaked open, snapping him back to reality. Lucien tensed as Monsieur Renard entered, his polished shoes clicking against the wooden floor. His sharp eyes scanned the room before landing on the student’s work.

“What have we here?” He asked, his voice bordering on disdain.

Lucien moved in between Renard and the boy, as if to protect him. His posture stiff. “A study”, he said curtly.

Renard examined the boy’s sketch for a moment. He pulled out a sleek card from his pocket and tossed it onto the drawing table without looking at the student. “Call me when you’ve improved”, he said flatly. “We might have work for you.”

The student hesitated only briefly. Glancing at Lucien, he gathered his things in silence. A moment later, the door closed behind the young man. The card remained on the table, untouched.

Renard let out a faint snort, brushing a speck of dust from his jacket. He moved to Lucien’s drawing table where a series of sketches were scattered. “What are these?” he asked. “Another one of your indulgences?”

“It’s personal”, he said, his voice low.

Renard snorted softly, shaking his head. “You’re wasting your time, Lucien. Do as you’re asked. That’s what you’re good at, copying others’ work.”

Lucien gritted his teeth but said nothing. Renard reached into his jacket and handed Lucien a folded sheet of paper. “Eloïse’s new request. We expect fast quality. What about the previous one?”

Lucien nodded towards the covered stack of canvases near the wall. “Done.”

“Good. They’ll come tomorrow and take the lot.”

Renard started to leave but paused, his hand on the doorframe. He said without looking back: “And don’t start dreaming about becoming your own person, Lucien. You remember what happened to the last one who wanted out, don’t you?” The man stepped out, the sound of his steps echoing through the studio.

Lucien stared at the door long after it had closed. The sketches on his table caught his eyes—a labyrinth of twisted roads, fragmented landscapes, and faint, familiar faces. They were his prayers, his invocation to the gods, drawn over and over again as though the repetition might force a way out of the dark hold Renard and Éloïse had over his life.

He had told his father this morning that he had chosen his life, but standing here, he couldn’t lie to himself. His decisions hadn’t been fully his own these last few years. At the time, he even believed he could protect his friends by agreeing to the couple’s terms, taking the burden onto himself. But instead of shielding them, he had only fractured their friendship and trapped himself.

Lucien followed the lines of one of the sketches absently, his fingers smudging the charcoal. He couldn’t shake off the feeling that something was missing. Or someone. Yes, an unfathomable sense that someone else had to be part of this, though he couldn’t yet place who. Whoever it was, they felt like a thread waiting to tie them all together again.
He knew what he needed to do to bring them back together. To draw it where it all began, where they had dreamed together. Avignon.

Mon. November 25th, 10am.

The bell sat on the stool near Lucien’s workbench, its bronze surface polished to a faint glow. He had spent the last ten minutes running a soft cloth over its etched patterns, tracing the curves and grooves he’d never fully understood. It wasn’t the first time he had picked it up, and it wouldn’t be the last. Something about the bell kept him tethered to it, even after all these years. He could still remember the day he’d found it—a cold morning at a flea market in the north of Paris, the stalls cramped and overflowing with gaudy trinkets, antiques, and forgotten relics.

He’d spotted it on a cluttered table, nestled between a rusted lamp and a cracked porcelain dish. As he reached for it, she had appeared, her dark eyes sharp with curiosity and mischief. Éloïse. The bell had been their first conversation, its strange beauty sparking a connection that quickly spiraled into something far more dangerous. Her charm masking the shadows she moved in. Slowly she became the reason he distanced himself from Amei, Elara, and Darius. It hadn’t been intentional, at least not at first. But by the time he realized what was happening, it was already too late.

A sharp knock at the door yanked him from the memory. Lucien’s hand froze mid-polish, the cloth resting against the bell. The knock came again, louder this time, impatient. He knew who it would be, though the name on the patron’s lips changed depending on who was asking. Most called him “Monsieur Renard.” The Fox. A nickname as smooth and calculating as the man himself.

Lucien opened the door, and Monsieur Renard stepped in, his gray suit immaculate and his air of quiet authority as sharp as ever. His eyes swept the studio, frowning as they landed on the unfinished painting on the easel—a lavish banquet scene, rich with silver and velvet.

“Lucien,” Renard said smoothly, his voice cutting through the silence. “I trust you’ll be ready to deliver on this commission.”

Lucien stiffened. “I need more time.”

“Of course,” Renard replied with a small smile that didn’t reach his eyes. “We all need something we can’t have. You have until the end of the week. Don’t make her regret recommending you.”

As Renard spoke, his gaze fell on the bell perched on the stool. “What’s this?” he asked, stepping closer. He picked it up, his long and strong fingers brushing the polished surface. “Charming,” he murmured, turning it over. “A flea market find, I suppose?”

Lucien said nothing, his jaw tightening as Renard tipped the bell slightly, the etched patterns catching the faint light from the window. Without care, Renard dropped it back onto the stool, the force of the motion knocking it over. The bell struck the wood with a resonant tone that lingered in the air, low and haunting.

Renard didn’t even glance at it. “You’ve always had a weakness for the past,” he remarked lightly, turning his attention back to the painting. “I’ll leave you to it. Don’t disappoint.”

With that, he was gone, his polished shoes clicking against the floor as he disappeared down the hall.

Lucien stood in the silence, staring at the bell where it had fallen, its soft tone still reverberating in his mind. Slowly, he bent down and picked it up, cradling it in his hands. The polished bronze felt warm, almost alive, as if it were vibrating faintly beneath his fingertips. He wrapped it carefully in a piece of linen and placed it inside his suitcase, alongside his sketchbooks and a few hastily folded clothes. The suitcase had been half-packed for weeks, a quiet reflection of his own uncertainty—leaving or staying, running or standing still, he hadn’t known.

Crossing the room, he sat at his desk, staring at the blank paper in front of him. The pen felt heavy in his hand as he began to write: Sarah Bernhardt Cafe, November 30th , 4 PM. No excuses this time!

He paused, rereading the words, then wrote them again and again, folding each note with care. He didn’t know what he expected from his friends—Amei, Elara, Darius—but they were the only ones who might still know him, who might still see something in him worth saving. If there was a way out of the shadows Éloïse and Monsieur Renard had drawn him into, it lay with them.

As he sealed the last envelope, the low tone of the bell still hummed faintly in his memory, echoing like a call he couldn’t ignore.

Sat. Nov. 30, 2024 – before the meeting

The afternoon light slanted through the tall studio windows, thin and watery, barely illuminating the scattered tools of Lucien’s trade. Brushes lay in disarray on the workbench, their bristles stiff with dried paint. The smell of turpentine hung heavy in the air, mingling with the faint dampness creeping in from the rain. He stood before the easel, staring at the unfinished painting, brush poised but unmoving.

The scene on the canvas was a lavish banquet, the kind of composition designed to impress: a gleaming silver tray, folds of deep red velvet, fruit piled high and glistening. Each detail was rendered with care, but the painting felt hollow, as if the soul of it had been left somewhere else. He hadn’t painted what he felt—only what was expected of him.

Lucien set the brush down and stepped back, wiping his hands on his scarf without thinking. It was streaked with paint from hours of work, colors smeared in careless frustration. He glanced toward the corner of the studio, where a suitcase leaned against the wall. It was packed with sketchbooks, a bundle wrapped in linen, and clothes hastily thrown in—things that spoke of neither arrival nor departure, but of uncertainty. He wasn’t sure if he was leaving something behind or preparing for an escape.

How had it come to this? The thought surfaced before he could stop it, heavy and unrelenting. He had asked himself the same question many times, but the answer always seemed too elusive—or too daunting—to pursue. To find it, he would have to follow the trails of bad choices and chance encounters, decisions made in desperation or carelessness. He wasn’t sure he had the courage to look that closely, to untangle the web that had slowly wrapped itself around his life.

He turned his attention back to the painting, its gaudy elegance mocking him. He wondered if the patron who had commissioned it would even notice the subtle imperfections he had left, the faint warping of reflections, the fruit teetering on the edge of overripeness. A quiet rebellion, almost invisible. It wasn’t much, but it was something.

His friends had once known him as someone who didn’t compromise. Elara would have scoffed at the idea of him bending to anyone’s expectations. Why paint at all if it isn’t your vision? she’d asked once, her voice sharp, her black coffee untouched beside her. Amei, on the other hand, might have smiled and said something cryptic about how all choices, even the wrong ones, led somewhere meaningful. And Darius—Lucien couldn’t imagine telling Darius. The thought of his disappointment was like a weight in his chest. It had been easier not to tell them at all, easier to let the years widen the distance between them. And yet, here he was, preparing to meet them again.

The clock on the far wall chimed softly, pulling him back to the present. It was getting late. Lucien walked to the suitcase and picked it up, its weight pulling slightly on his arm. Outside, the rain had started, tapping gently against the windowpanes. He slung the paint-streaked scarf around his neck and hesitated, glancing once more at the easel. The painting loomed there, unfinished, like so many things in his life. He thought about staying, about burying himself in the work until the world outside receded again. But he knew it wouldn’t help.

With a deep breath, Lucien stepped out into the rain, the suitcase rattling softly behind him. The café wasn’t far, but it felt like a journey he might not be ready to take.

Lucien pulled his suitcase through the rain-slick streets of Paris, the wheels rattling unevenly over the cobblestones. The rain fell in silver threads, blurring the city into streaks of light and shadow. His scarf, already streaked with paint, hung heavy and damp around his neck. Each step toward the café felt weighted, though he couldn’t tell if it was the suitcase behind him or the memories ahead.

The note he sent his friends had been simple. Sarah Bernhardt Café, November 30th , 4 PM. No excuses this time! Writing it had felt strange, as though summoning ghosts he wasn’t sure were ready to return. And now, with the café just blocks away, Lucien wasn’t sure if he wanted them to. Five years had passed since the four of them had last been together. He had told himself he needed this meeting—closure, perhaps—but a part of him still doubted.

He paused beneath a bookstore awning, the rain tracing fractured lines down the glass. His suitcase leaned against his leg, its weight pressing into him. Inside: a crumpled heap of clothes that smelled faintly of turpentine and the damp studio he had left behind, sketchbooks filled with forgotten drawings, and a small bundle wrapped in linen. Something he wasn’t ready to let go of—or couldn’t. He hadn’t decided yet if he was coming back or going away.

Lucien reached into his pocket and pulled out his last sketchbook. Flipping absently through its pages, he stopped at an old drawing of Darius, leaning over the edge of a rickety bridge, hand outstretched toward something unseen. He could still hear Darius’s voice: If you’re afraid of falling, you’ll never know what’s waiting. Lucien had scoffed then, but now the words lingered, uncomfortable in their truth.

The café came into view, its warm light pooling onto the wet street. Through the rain-speckled windows, he saw the familiar brass fixtures and etched glass, unchanged by time. He stepped inside, the warmth closing around him, and made his way to the corner table. Their table.

Setting the suitcase down, he folded into the chair and opened his sketchbook to a blank page. His pencil hovered. Outside, the rain fell softly, its rhythm steady against the glass. Inside, Lucien’s chest felt heavy. To make it go away, he started to scratch faint lines across the page.

I started reading a book. In fact I started reading it three weeks ago, and have read the first page of the preface every night and fallen asleep. But my neck aches from doing too much gardening so I went back to bed to read this morning. I still fell asleep six times but at least I finished the preface. It’s the story of the family , initiated by the family collection of netsuke (whatever that is. Tiny Japanese carvings) But this is what stopped me reading and made me think (and then fall asleep each time I re read it)

“And I’m not entitled to nostalgia about all that lost wealth and glamour from a century ago. And I am not interested in thin. I want to know what the relationship has been between this wooden object that I am rolling between my fingers – hard and tricky and Japanese – and where it has been. I want to be able to reach to the handle of the door and turn it and feel it open. I want to walk into each room where this object has lived, to feel the volume of the space, to know what pictures were on the walls, how the light fell from the windows. And I want to know whose hands it has been in, and what they felt about it and thought about it – if they thought about it. I want to know what it has witnessed.” ― Edmund de Waal, The Hare With Amber Eyes: A Family’s Century of Art and Loss

And I felt almost bereft that none of the records tell me which way the light fell in through the windows.

I know who lived in the house in which years, but I don’t know who sat in the sun streaming through the window and which painting upon the wall they looked at and what the material was that covered the chair they sat on.

Were his clothes confortable (or hers, likely not), did he have an old favourite pair of trousers that his mother hated?

There is one house in particular that I keep coming back to. Like I got on the Housley train at Smalley and I can’t get off. Kidsley Grange Farm, they turned it into a nursing home and built extensions, and now it’s for sale for five hundred thousand pounds. But is the ghost still under the back stairs? Is there still a stain somewhere when a carafe of port was dropped?

Did Anns writing desk survive? Does someone have that, polished, with a vase of spring tulips on it? (on a mat of course so it doesn’t make a ring, despite that there are layers of beeswaxed rings already)

Does the desk remember the letters, the weight of a forearm or elbow, perhaps a smeared teardrop, or a comsumptive cough stain?

Is there perhaps a folded bit of paper or card that propped an uneven leg that fell through the floorboards that might tear into little squares if you found it and opened it, and would it be a rough draft of a letter never sent, or just a receipt for five head of cattle the summer before?

Did he hate the curtain material, or not even think of it? Did he love the house, or want to get away to see something new ~ or both?

Did he have a favourite cup, a favourite food, did he hate liver or cabbage?

Did he like his image when the photograph came from the studio or did he think it made his nose look big or his hair too thin, or did he wish he’d worn his other waistcoat?

Did he love his wife so much he couldn’t bear to see her dying, was it neglect or was it the unbearableness of it all that made him go away and drink?

Did the sun slanting in through the dormer window of his tiny attic room where he lodged remind him of ~ well no perhaps he was never in the room in daylight hours at all. Work all day and pub all night, keeping busy working hard and drinking hard and perhaps laughing hard, and maybe he only thought of it all on Sunday mornings.

So many deaths, one after another, his father, his wife, his brother, his sister, and another and another, all the coughing, all the debility. Perhaps he never understood why he lived and they did not, what kind of justice was there in that?

Did he take a souvenir or two with him, a handkerchief or a shawl perhaps, tucked away at the bottom of a battered leather bag that had his 3 shirts and 2 waistcoats in and a spare cap,something embroidered perhaps.

The quote in that book started me off with the light coming in the window and the need to know the simplest things, something nobody ever wrote in a letter, maybe never even mentioned to anyone.

Light coming in windows. I remeber when I was a teenager I had a day off sick and spent the whole day laying on the couch in a big window with the winter sun on my face all day, and I read Bonjour Tristesse in one sitting, and I’ll never forget that afternoon.  I don’t remember much about that book, but I remember being transported. But at the same time as being present in that sunny window.

“Stories and objects share something, a patina…Perhaps patina is a process of rubbing back so that the essential is revealed…But it also seems additive, in the way that a piece of oak furniture gains over years and years of polishing.”

“How objects are handed on is all about story-telling. I am giving you this because I love you. Or because it was given to me. Because I bought it somewhere special. Because you will care for it. Because it will complicate your life. Because it will make someone else envious. There is no easy story in legacy. What is remembered and what is forgotten? There can be a chain of forgetting, the rubbing away of previous ownership as much as the slow accretion of stories. What is being passed on to me with all these small Japanese objects?”

“There are things in this world that the children hear, but whose sounds oscillate below an adult’s sense of pitch.”

What did the children hear?

Working at the gas station gave me the possibility to not only be confined at home but also at work. At least I could enjoy the transit between places, that’s what I told me everyday. And better go to work than turn around all day in the studio I rented since I left the Inn.

You can’t imagine how many people need gas during the confinement. It looks like in this part of the country people don’t have as many dogs as them in the big cities, so they do all sorts of crazy things to be able to get out.

A man came to the station this morning. I’m sure it was to give the equivalent of a walk to his brand new red GMC Canyon, you know, treating his car like she needed fresh air and to get some exercise regularly. From behind the makeshift window made of transparent wrapper, I asked him how was his day. You know, to be polite. He showed me the back of his truck. I swear there was a cage with two dingos in it.

The guy told me he captured them the other day in case the cops stopped him in the street with no reason to be out. At least, he said, I could still say I’m giving them a walk. I told him them being in a cage would hardly pass as a walk but he answered me with a wink and a big grin that cops weren’t that intelligent. I’m glad we have makeshift windows now, at least seeing his teeth I didn’t have to smell his breath. I’m not sure who’s the less intelligent in absolute terms, but in that case I’d rather bet his IQ would fail him.

Well that’s probably the most exciting thing that happened before I went home after work. As soon as I got home I received a phone call from Prune. On the landline. It’s like she has some magical means to know when I’m there.

Anyway, she asked me if I washed my hand. I told her yes, though I honestly don’t recall. But I have to make her think all is ok. She started to talk again about Jasper. Each time she mention the subject I’m a bit uncomfortable. I’m not sure I fancy having a brother, even if it’s kind of being in a TV series. She said she had looked for him on internet, contacted some adoption agencies, even tried a private called Dick. That’s all that I remember of the private’s name. Dick, maybe that’s because he never answered her calls. Might be dead of the pandamic I told her. PandEmic, She corrected. I know, I told her, I said that to cheer you up.

We talked about Mater too. That made me laugh. Apparently Idle saw her in a fuschia pink leotard. Prune half laughed herself when she mentioned the leotard, but she said : Truth is I don’t know what Dido had taken when she had seen Mater outside. I suspect the om chanting was simply snoring.

There was a silence afterward. Maybe Prune was thinking about age and the meaning of life, I was merely realising I was hungry. I swear I don’t know what crossed my mind. I have a tendency to want to help my sister even if I think there is no hope. You know, I told her, about Jasper we could still go and ask that woman in the bush. It’s like she already knew what I was going to say. Tiku?  I knew by her tone that all the conversation was fated to lead there. Yeah. I can drive you there after work tomorrow. 

Of course, we didn’t even have to go there after all.

Eleri gave the bowler hat on her head a little pat of appreciation as the light pools appeared illuminating the path. She could see Glynis up ahead, stumbling less now, and striding more purposefully. But where was she going in such a hurry? What would she do when she got there, where ever it was, and what would she, Eleri, do about it? What, in fact, was she doing following Glynis; didn’t she have a path of her own?

She stopped suddenly, struck by an idea. Making the cottage invisible was Glynis’s path, Glynis’s method. But Eleri had her own methods, her own skills and her own magic. She could turn Leroway into a statue, and even all his followers, if need be, although she suspected they would disperse readily enough once the leaders booming personality and voice was permanently stilled. She couldn’t have done it if her friend Jolly was still with him, of course. But things were different now. Drastic measures were called for.

Eleri tapped the bowler hat meaningfully, and immediately a trail of flickering pools of light appeared down a side path off to the left. I have the ingredients I need at home, Home! Eleri snorted with laughter at herself. I’d forgotten all about home, ever since that terrible flu! I’ve just been following everyone else, trying to remember everyone’s names and keep up with everyone elses events and I’d forgotten I have a home of my own, and my own skills, too. I have my own magic ingredients, and my own magic methods. And now, I have an idea to execute. She winced slightly at the word ~ was turning a man to stone the same as an execution in the usual sense? Best not to think about that, it was for the greater good, after all. And it wasn’t as if Leroway was going to be removed, buried and hidden underground: he would hate that. He was going to be immortalized into a timeless memorial, for all to see for ever more. Eleri felt sure that in the wider picture he would heartily approve.

First, she must go home to her cottage and studio for the required ingredients. Then she had to seduce Leroway. She needed a little time with him to apply the method, it couldn’t be done is a flashy abracadabra kind of way. Now that Jolly was out of the way, Eleri found that she was quite looking forward to it.

Shawn-Paul lived in a studio apartment, crammed with bookshelves full of books and trinkets that he gathered during his many walks around the city while looking for inspiration. He hadn’t read all of the books, but he always had the intention to do it one day. One day easily became two and three, and so many.
Someone with OCD could dust date the different purchases by measuring the thickness of the layer of dust on the books.

That day, Shawn-Paul was drinking a hot chocolate at his computer on the small desk where some books lied open or closed on top of each others. The top one’s cover claimed in bold red letters “NARRATIVE COACHING, The Definitive Guide to Bring New Stories to Life”. Shawn-Paul had bought it thinking it was a coaching book for writers but it apparently aimed at teaching coaches to tell good stories. The book had proved interesting and especially another occasion to enrich his knowledge about the world or in one word procrastinate.

Shawn-Paul took a sip of the hot chocolate, which was now more lukewarm than hot and felt the impulsion to open his browser and watch a video about narrative coaching on U-stub. That’s when it all went wrong and myriads of ads popped up and covered the screen and his newly bought writer software were the first word of his novel still waited to appear.

At first, he panicked and his sudden movements back and fro almost broke the fragile equilibrium of the desk clutter. But then he shrugged, took his phone to call his friend Jeremiad for help and remembered how that went last time when he had to listen to his friend’s imaginary problems, just like imaginary friends but worse. He put the phone back in the clutter and looked at the last ad. A girl with sensuous cherry red lips winking at him with a packet of granola cookies spinning around her head.

Unaware of what was happening, Shawn-Paul felt hungry and considered his lukewarm chocolate. He smiled as he thought he could make another one and enjoy dipping some cookies in it.
He went to the kitchen and foraged through the clutter of dirty dishes and empty cookie packets. There were none left. The effect of hunger on Shawn-Paul was square grumpiness. Not round, not rectangular. Square. And it didn’t fit the curves of his stomach.

Shawn-Paul put his writer’s jacket and cap on, added a wool scarf because he had a sensitive throat, and it looked cool on him and he winked at his reflection on the mirror hanging on the main door.
He left, unaware of the smile of the granola girl.

Gustave Butterworth cackled delightedly. The crowd control custard gas formula experiments were looking promising. The first batch, all being well, should be ready for a trial run in time for the bake sale at Lemoine Meringue Hall. If only he could deduce that vital missing ingredient in time!

Gustave looked at his watch and decided to call it a day. He was the last one in the laboratory as usual; before turning the lights out and locking the door, he made a quick tour of the lab rats accommodation. There were no cages like in the old days: scientists in this partially enlightened age were not allowed to keep rats and beagles against their will, and only volunteer creatures were used in modern laboratories. Thus, no actual physical abuse was administered, but the energy the creatures reflected off the experiments, and the scientists themselves, was monitored; and human “animal whisperers” were employed to communicate directly. Gustave was a scientist, not a whisperer, but he had been developing his whispering skills secretly, while observing the staff.

Most of the rats has nestled down for the night in their miniature studio apartments, but one comfortable little abode was empty. “I say, Rodean,” said Gustave to the neighbouring occupant, “Has Penelope gone for an evening stroll again?”

Rodean shuffled around in his tiny bean bag chair to look at the scientist.

“What, gone to visit her cousin Patty, you say?”

“Aha!” Ann exclaimed, “So that’s it”. Ann had been pondering the symbology of the ‘out of order’ entry — well, truth be told, she had forgotten all about it until she reviewed the latest pages, and then it suddenly hit her: In the Rembrandt book she’d been reading, the dead artist had remarked that the conversations that had taken place in the latter part of the 20th century had actually occurred one day while he was still alive, daydreaming or slipping off to sleep while in his studio in Amsterdam.

“I suppose I should type out the relevant parts of the book to include in this entry” Ann thought, but she had an urge to go for a quick nap instead. Suddenly she could hardly keep her eyes open.