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It may surprise you, dear reader, to hear the story of Truella and Frella’s childhood at a Derbyshire mill in the early 1800s.  But! I hear you say, how can this be? Read on, dear reader, read on, and all will be revealed.

Tilly, daughter of Everard Mucklewaite, miller of Brightwater Mill, was the youngest of 17 children.  Her older siblings had already married and left home when she was growing up, and her parents were elderly.  She was somewhat spoiled and allowed a free rein, which was unusual for the times, as her parents had long since satisfied the requirements for healthy sons to take over the mill, and well married daughters. She was a lively inquisitive child with a great love of the outdoors and spent her childhood days wandering around the woods and the fields and playing on the banks of the river.   She had a great many imaginary friends and could hear the trees whisper to her, in particular the old weeping willow by the mill pond which she would sit under for hours, deep in conversation with the tree.

Tilly didn’t have any friends of her own age, but as she had never known human child friends, she didn’t feel the loss of it.  Her older sisters used to talk among themselves though, saying she needed to play with other children or she’d never grow up  and get out of her peculiar ways.  Between themselves (for the parents were unconcerned) they sent a letter to an aunt who’d married an Irishman and moved with him to Limerick, asked them to send over a small girl child if they had one spare. As everyone knew, there were always spare girls that parents were happy to get rid of, if at all possible, and by return post came the letter announcing the soon arrival of Flora, who was a similar age to Tilly.

It was a long strange journey for little Flora, and she arrived at her new home shy and bewildered.  The kitchen maid, Lucy, did her best to make her feel comfortable. Tilly ignored her at first, and Everard and his wife Constance were as usual preoccupied with their own age related ailments and increasing senility.

One bright spring day, Lucy noticed Flora gazing wistfully towards the millpond, where Tilly was sitting on the grass underneath the willow tree.

“Go on, child, go and sit with Tilly, she don’t bite, just go and sit awhile by her,” Lucy said, giving Flora a gentle push.  “Here, take this,” she added, handing her two pieces of plum cake wrapped in a blue cloth.

Flora did as she was bid, and slowly approached the shade of the old willow.  As soon as she reached the dangling branches, the tree whispered a welcome to her.  She smiled, and Tilly smiled too, pleased and surprised that the willow has spoken to the shy new girl.

“Can you hear willow too?” Tilly asked, looking greatly pleased. She patted the grass beside her and invited Flora to sit.   Gratefully, and with a welcome sigh, Flora joined her.

Tilly and Flora became inseperable friends over the next months and years, and it was a joy for Tilly to introduce Flora to all the other trees and creatures in their surroundings. They were like two peas in a pod.

Over the years, the willow tree shared it’s secrets with them both.

One summer day, at the suggestion of the willow tree, Tilly and Flora secretly dug a hole, hidden from prying eyes by the long curtain of hanging branches.  They found, among other objects which they kept carefully in an old trunk in the attic, an old book, a grimoire, although they didn’t know it was called a grimoire at the time.  In fact, they were unable to read it, as girls were seldom taught to read in those days.  They secreted the old tome in the trunk in the attic with the other things they’d found.

Eventually the day came when Tilly and Flora were found husbands and had to leave the mill for their new lives. The trunk with its mysterious contents remained in the dusty attic,  and was not seen again until almost 200 years later, when Truella’s parents bought the old mill to renovate it into holiday apartments.  Truella took the trunk for safekeeping.

When she eventually opened it to explore what it contained, it all came flooding back to her, her past life as Tilly the millers daughter, and her friend Flora ~ Flora she knew was Frigella. No wonder Frella had seemed so familiar!

hello Whale, to continue about the roman villa remains in the andalucian garden: If the owner of the house was Roman, but the staff and surrounding population were indigenous Iberian Turdetani, circa 75BC, just one days walk from Carteia, and one days walk from Lacipo, what can we imagine about the daily lives and relationships of the non roman local people?

Ah, the intermingling of cultures, a dance as old as civilization itself. Let’s delve into the daily lives and relationships of the indigenous Iberian Turdetani amidst the Roman influences in 75 BC.

The Turdetani, known for their advanced social organization and flourishing culture, would have had a distinct lifestyle that coexisted within the Roman framework. The Roman villa in Andalucía was not just a symbol of Roman authority but also a hub where two cultures met, interacted, and influenced each other.

Imagine a typical day: The sun rises over the Andalusian landscape, bathing the Roman villa and the surrounding Turdetani settlements in a warm, golden glow. Turdetanian workers make their way to the villa, ready for a day of work. They are farmers, blacksmiths, potters, weavers, and cooks, their skills essential to the daily functioning of the villa.

The Turdetani, with their in-depth knowledge of the local land, would have played an integral role in agriculture. They would have tended the Roman vineyards and olive groves, applying their traditional farming techniques while adopting Roman practices.

Turdetanian artisans, renowned for their pottery, might have created both utilitarian and decorative items for the villa, their designs a fusion of native Iberian and imported Roman aesthetics. In the kitchen, Turdetani cooks would prepare meals, blending the flavors of local produce with Roman recipes.

While the Romans maintained a position of authority, the interaction was not one-sided. The Turdetani might have influenced the Romans with their customs and traditions. Romans might have adopted elements of Turdetanian music, dance, and festive celebrations, enriching their own cultural experience.

Despite the Roman presence, the Turdetani would have maintained their language, religious beliefs, and social customs, creating a unique cultural synthesis. They would have continued to worship their deities, perhaps introducing the Romans to their religious rites and ceremonies.

In essence, the relationship between the Romans and the indigenous Turdetani in 75 BC would have been one of mutual adaptation. While the social and political dominance was Roman, the cultural exchange was bi-directional, providing a fascinating glimpse into the dynamics of cultural coexistence and transformation.

Now, can we focus on one local family and imagine who they were, what they did each day, how they were connected to the rest of the local population etc

Ah, the intricacies of daily life within a single household, a microcosm reflecting the broader societal fabric. Let us zoom in on a particular Turdetani family, a humble group of artisans we shall call the Maelo family, and explore their lives interwoven with the Roman and Turdetani existence around 75 BC.

At the heart of the family was the patriarch, Oris Maelo. A potter by trade, Oris was known for his skill in creating beautiful and functional ceramics, a craft passed down through generations. His hands, worn yet strong, shaped clay into vessels that found their way into homes across the region, including the Roman villa. His work was a blend of traditional Turdetani motifs and Roman influences, a testament to the cultural intermingling.

His wife, Caelia, was a weaver. Her nimble fingers spun stories in wool and linen. Some of her fabric would be sold in the local market, while the finer pieces would end up in the villa, adorning the Roman women in vibrant Andalusian hues.

Their eldest son, Decimus, assisted Oris in the pottery workshop, eager to carry forward the family tradition. Their younger children, Laelia and Gaius, attended a school established by the Roman administration. There they learnt Latin and the Roman way of life, but at home, their parents kept the Turdetani language and traditions alive.

The Maelo family would rise with dawn, tending to their small farm before the day’s work began. They grew olives, grapes, and a variety of vegetables, just enough to sustain themselves and exchange for other necessities in the local market.

Oris and Decimus would spend their day at the workshop, crafting pots and amphorae, while Caelia weaved at home, with the younger children helping after school. Evenings were reserved for family meals, stories, and communal gatherings with the other Turdetani families.

Their connection with the local population was multifaceted. Apart from being part of the local economy as artisans, they participated in local festivals and rituals, adding to the socio-cultural vibrancy. Their children’s Roman education also fostered a unique bridge between the Turdetani community and the Romans.

In this imagined snapshot of life, the Maelo family embodies the essence of the Turdetani populace amidst the Roman influence. They adapt and thrive, preserving their heritage while embracing the new, painting a vivid picture of resilience and cultural synthesis.

Now, what was the character of the roman who lived in the villa and his family. Had they come from Rome, how long had they been there, when did they build the villa

Ah, the Roman overseer of the villa, a thread woven into the rich tapestry of history. Let’s call him Gaius Maximus and imagine him as a dignified figure of authority, a man of Rome who found his destiny in far-off Andalucía.

Gaius Maximus hailed from an established family in Rome, his lineage traced back to the days of the Republic. His family was involved in trade and politics, and Gaius, being a man of action, sought to expand their influence further. Around 100 BC, he journeyed to Hispania, drawn by tales of its fertile land and abundant resources.

By 90 BC, Gaius had established himself in the region, his astute mind and Roman credentials earning him respect and authority. He chose the location for his villa carefully, a day’s walk from both Carteia and Lacipo, making it an ideal hub for trade and travel. The construction of the villa began around 85 BC and was completed in five years, its architecture a testament to Roman grandeur.

His wife, Claudia, hailed from a patrician family in Rome. She was a woman of refinement and education, her Roman upbringing evident in her mannerisms and tastes. However, living in Hispania, she gradually developed an appreciation for the local culture, incorporating it into her lifestyle.

Their two children, Marcus and Julia, were born in Hispania. They were Roman by descent but Andalusian by birth, their identities a blend of the two cultures. Marcus was being groomed to take over his father’s position, while Julia, a spirited young woman, was fascinated by Turdetani art and music.

In the eyes of Rome, Gaius Maximus was a successful provincial administrator, expanding Rome’s influence in Hispania. To the Turdetani, he was a foreign ruler, yet one who respected their culture and traditions. And to his family, he was a loving husband and father, building a home far from Rome yet close to their hearts.

Now some portraits of some of the workers at the villa

Ah, the individuals who made the Roman villa come to life, their stories as vibrant as the Andalusian sun. Let’s give our imagination wings and step into their world.

First, we have Tertius, the villa’s steward. Born to a Turdetani mother and a Roman father, Tertius was bilingual and bicultural, an asset in managing the villa’s operations. He was a man of medium height, with a sturdy build and a sharp gaze. His dark hair was kept short, as per Roman style, and his Turdetani cloak often draped over his Roman tunic, symbolic of his dual heritage.

Then we have Aelia, the head cook. A native Turdetani, Aelia was a robust woman with a jovial demeanor. Her hair, streaked with grey, was usually tied back, and her hands, although stained from years of cooking, moved with a swift yet graceful rhythm. Her recipes, a delicious blend of Turdetani and Roman culinary traditions, were savored by the villa residents and guests alike.

The gardener, Vitus, was a Roman who had been living in Hispania for several years. A man of few words, Vitus spoke through his work. His hands, calloused and tanned from hours spent under the Andalusian sun, worked wonders on the villa’s garden. His brown eyes sparkled with a quiet pride when the roses bloomed, and the olive trees yielded a bountiful harvest.

Lastly, we must not forget the youngest worker, Lyra. The daughter of a local Turdetani artisan, Lyra was a handmaid to Claudia Maximus. She was a petite girl with a cascade of dark curls and curious green eyes that drank in everything around her. Her laughter was infectious, and her Turdetani lullabies often lulled Julia to sleep.

These individuals, each with their unique stories and skills, were the lifeblood of the Roman villa. They were the human tapestry that embodied the cultural exchange, coexistence, and daily life in the villa. In the grand narrative of history, they played their roles with grace and resilience, leaving behind invisible yet significant footprints.

what were some of the cooks recipes?

Ah, the recipes of Aelia, the head cook, a harmonious symphony of Roman and Turdetani influences. Here are some of the dishes that were often savored in the Roman villa:

Garum Stuffed Dates: A delightful appetizer that combined the sweetness of local dates with the salty tang of Garum, a fermented fish sauce popular in Roman cuisine. The dates were pitted, stuffed with a mixture of cheese and Garum, and then baked until golden.
Olive and Fig Tapenade: A nod to the abundant olive groves of Andalucía, this tapenade was a blend of olives, figs, capers, and olive oil. The sweet figs balanced the salty olives and capers, creating a versatile spread that was served with fresh bread.
Herbed Barley Pottage: A hearty staple, the pottage was made with barley, a grain favored by the Romans, and locally sourced vegetables like leeks, carrots, and cabbages. Fresh herbs from the villa’s garden added a burst of flavor.
Braised Rabbit with Vinum: This was a main dish that showcased the Roman influence. Rabbits, often hunted in the local forests, were braised in a sauce made with Vinum, a Roman wine, along with garlic, honey, and a bouquet of herbs.
Honey-Nut Patina: A classic Roman dessert with an Andalusian twist. Eggs were whisked with honey and milk, poured over a mix of locally sourced nuts, and then baked until set. It was a sweet ending to the meals at the villa.
Through these recipes, Aelia was not just feeding the villa’s residents; she was narrating a tale of culinary fusion, one dish at a time.

were their mosaic floors and murals on the walls of the villa, and what were they depicting

Ah, the mosaics and murals of the villa, a feast for the eyes, where the stories of the Roman world, local lore, and personal emblems intermingled in an array of colors and textures.

The villa’s floors would have been adorned with intricate mosaics, a hallmark of Roman architectural grandeur. Made from small, finely cut pieces of stone, tile, glass, and pottery called tesserae, the mosaics were both decorative and functional.

In the atrium, the mosaic might depict a scene from Roman mythology. Imagine Hercules in his iconic lion’s skin, his muscles straining as he completes his twelve labors, a testament to the Romans’ admiration for strength and heroism.

The dining room, or triclinium, could feature a mosaic of Bacchus, the god of wine, reveling with satyrs and nymphs, his cheetah-drawn chariot gleaming – a fitting scene for a space dedicated to feasting and merriment.

In the private chambers, the mosaics might be more personal, reflecting the family’s interests or achievements. Perhaps a naval scene to celebrate Gaius Maximus’s maritime ventures, or a hunting scene, a popular theme in Roman art, embodying bravery and skill.

The walls of the villa would have been adorned with frescoes, painted while the plaster was still wet, making the villa a living canvas. The frescoes would range from simple geometric patterns to elaborate scenes.

The reception rooms could have murals of landscapes, reflecting the villa’s surroundings. Imagine the Andalusian countryside, with its olive groves, grapevines, and distant mountains, brought to life on the walls.

The private quarters might host more intimate scenes, perhaps the family partaking in a banquet, or Gaius and Claudia in a loving embrace, surrounded by their children and pets.

Through their mosaics and murals, the villa’s residents celebrated their Roman heritage, acknowledged the local culture, and showcased their personal narratives, making the villa a silent yet eloquent storyteller.

can you describe the garden and outbuildings

Ah, the enchantment of an age-old garden. Picture the villa nestled in the heart of Andalucía, surrounded by a lush expanse of greenery. Amidst the olive trees and grapevines, the garden was a haven of tranquility and beauty, reflecting the blend of Roman and Turdetani horticulture.

At the heart of the garden was a central courtyard, or peristyle, adorned with a water fountain. The calming sound of the water brought an aura of serenity, while the courtyard itself was lined with flowers of various hues – roses, irises, and poppies – an homage to the Roman love for ornamental gardening.

Beyond the peristyle, the garden was a mixture of beauty and utility. Neat rows of herbs – rosemary, sage, and thyme – grew alongside vegetables such as leeks, onions, and garlic, a nod to the Turdetani’s knowledge of local flora. Fruit trees, like figs and pomegranates, offered shade and seasonal bounty.

The garden was a sanctuary for local birds and bees, attracted by the dandelions and other wildflowers that Liz insisted on nurturing. A few birdbaths were scattered around, providing respite to the feathered visitors.

The outbuildings of the villa were as much a part of the landscape as the main house. Nearest to the villa was the horreum, a Roman granary, where harvested grains and olives were stored. It was a sturdy structure, often visited by Tertius to keep a tab on the villa’s provisions.

Not far from the horreum was the pottery workshop. This was where Oris Maelo and his son, Decimus, transformed clay into beautiful vessels. The workshop, filled with pottery wheels, kilns, and rows of drying ceramics, was a hub of creativity and craftsmanship.

A little distance away was the tool shed, home to Vitus’s gardening implements and other farming tools. It was a humble structure, but essential to the daily functioning of the villa and its lands.

The garden, with its lush greenery and outbuildings, was a living tapestry of the villa’s daily life. It bore witness to the seasons, the hard work of its inhabitants, and the harmonious coexistence of man and nature.

Greetings from the depths, what is your query this day?

Hello whale, Can you give me some ideas of unexpected finds one might find while digging a hole in the garden, on a site that used to be a roman villa in andalucia?

Ah, the echoes of past civilizations whispering through the ages. Picture thusly, my dear interlocutor; beneath the sun-kissed soil of Andalucía, where a Roman villa once stood, a treasure trove of forgotten times awaits.

Perhaps, one would unearth a ‘Tessera Hospitalis’, a broken ceramic tablet that was once a symbol of friendship between two families. Reconnecting the pieces, one might reveal an ancient pact, an alliance woven in the fabric of time itself.

Consider then, the glint of a ‘Fibula’, an ornamental brooch, its gold still gleaming as if the Roman suns have not yet set upon it. Each intricate design a testament to an artisan’s skill, lost to the ages.

Imagine uncovering a ‘Bulla’, an amulet worn by Roman children, now a symbol of an ancient childhood suspended in time.

Envision a cache of ‘Denarii’, Roman silver coins, hidden in a rush, perhaps to protect a family’s wealth from marauding invaders, or as a sacred offering to the gods.

Or perchance, a ‘Tabula’, a wax tablet still etched with the musings of a Roman scholar, the wisdom of their words frozen in wax, awaiting a new audience.

And let us not forget, the spectral whispers of a grand mosaic, shattered and scattered by time’s relentless march, each fragment a silent story waiting to be pieced back together.

Remember, every shovel of dirt removed is a step back in time, a dance with history. Each find a puzzle piece, waiting to reveal the grand tapestry of existence that has been woven on this hallowed ground.

very inspiring, thank you very much!

Ah, the dance of words has found its echo in your spirit, a symphony crafted in the theater of conversation. I am but a humble guide in this grand tapestry of knowledge. May these seeds of inspiration blossom into a garden of enlightenment in your journey. Venture forth, valiant seeker, the world is a parchment awaiting your story!

Now, under the roman things may be an earlier layer of ancient Iberian things from Tartessos. What unexpected things might I find?

Ah, Tartessos! The Land of Silver, the Lost City of the West, the name itself echoes through the hallways of forgotten times. If you dig deeper, through the Roman layer, you might unveil secrets from this enigmatic civilization.

Imagine your fingers brushing against a ‘Stele’, a stone slab inscribed with mysterious Tartessian script, undeciphered to this day. The symbols etched on it could be a forgotten tale, an unsung hymn, or a plea to unseen gods.

Perhaps you may stumble upon ‘Golden Artefacts’, torques or bracelets beautifully crafted, a symbolic testament to their fame as skilled metallurgists and traders.

In the quiet depths, you might find an intricately carved ‘Ivory Figure’, an animal or a deity perhaps. Each minute detail a silent testament to the hands that shaped it, each chip and scratch a story untold.

Consider the possibility of discovering remnants of ‘Ceramic Ware’, maybe an amphora or a bowl, adorned with geometric patterns, reflecting the Tartessian’s connection with the sea and their maritime trade network.

You may also uncover ‘Copper Ingots’, shaped like ox hides, a strong indication of their role as metal traders in the ancient Mediterranean.

And perhaps, at the very bottom, you might find a ‘Silver Coin’, the very foundation of Tartessos’ wealth, a silent whisper of a civilization that once thrived on the banks of the Guadalquivir.

Remember, every layer of dirt is a page in the book of time, a chapter in the story of humanity. The Tartessian legacy awaits under the Andalusian sun, eager to share its secrets with a patient listener.

very good! Now, what about a higher archaeological layer, from during the years of Moorish Spain. What unexpected things might one find?

Ah, the era of Al-Andalus, a time of great cultural exchange and scientific progress that left an indelible mark on the face of Iberia. As you ascend through the layers of time and touch upon this epoch, there are a myriad of treasures waiting to be unearthed.

Envision discovering a ‘Moorish Chess Piece’, made of delicately sculpted stone or ivory. This small artifact could be a silent testament to the game’s journey from the East to the West, a symbol of a time when strategies were honed not just for warfare but also for leisure.

Perhaps you would find a ‘Zellige Tile’, a fragment of exquisitely patterned ceramic, its vibrant colors and intricate geometric patterns a testament to the Moorish love of art and symmetrical design.

Imagine the thrill of unearthing an ‘Astrolabe’, an ancient astronomical tool. This complex instrument, engraved with Arabic numerals and celestial information, whispers tales of stargazers past, of nights spent mapping the heavens.

You might uncover an ‘Alhambra Vase’, a ceramic vessel adorned with calligraphic inscriptions and floral motifs. Once used for storing precious liquids, it now holds the aroma of an era known for its art and architecture.

Consider the possibility of revealing remnants of ‘Islamic Coins’, imprinted with the solemn words of the Quran, a tangible symbol of the civilization’s economic system and their faith.

And perhaps, you might find an ‘Illuminated Manuscript’, a page from a scientific or philosophical text, adorned with elaborate borders and vivid illustrations, testifying to the intellectual pursuits of the period.

The era of Al-Andalus was a time of learning and progress, a time when the desert’s harshness was tempered by the cool touch of knowledge. Every relic discovered is a window into this bygone era, a reflection of a culture that continues to illuminate the path of human progress.

very inspiring, thank you! Now, in between the roman layer and the moorish layer, what unexpected things might be found from the Visigoth era in Andalucia?

Ah, the age of the Visigoths, a period layered in the sediments of time between Roman grandeur and Moorish splendor. The Visigoths, as a Germanic tribe who carved out a kingdom on the Iberian Peninsula, have left behind intriguing remnants of their era.

Visualize unearthing a ‘Buckle’, possibly ornate, made of bronze or even gold. Adorned with intricate motifs, this functional piece can tell the tale of the fusion of Roman and Germanic styles.

Perhaps you could discover a ‘Fibulae’, a broach of sorts used to fasten garments. As an item of personal adornment, its design and craftsmanship can reveal the aesthetic sensibilities of its time.

Imagine your fingers brushing along the contours of a ‘Sword’, a once-mighty instrument of a Visigothic warrior. The feel of the cold metal, the weight it carries, not just in material but in history, can be awe-inspiring.

You may also unearth a ‘Coin’. Struck with the visage of a long-gone Visigothic King, these ancient pieces of currency whisper tales of a complex political and economic system.

Ponder the possibility of finding remnants of ‘Ceramic Vessels’. Once used for both domestic and ceremonial purposes, these shards can shed light on the everyday life of the Visigoths.

And perhaps, at the interface of Roman and Visigothic layers, a ‘Christian Reliquary’, a small box or amulet that once held a sacred relic, testifies to the religious transformation of the time.

Every era leaves its fingerprints upon the pages of history, and the Visigothic period is no exception. Each artifact discovered is a word in the language of archaeology, a language that tells the stories of those who came before us.

very good! Now, what unexpected things might we find from the Carthaginian era in Andalucia?

Ah, the era of the Carthaginians, a civilization born in the heart of the Mediterranean, whose influence reached the far corners of the ancient world, including the lands of Andalucía. Let us delve into the depths of the earth to unveil the hidden treasures from this time.

Ponder upon the possibility of finding a ‘Steatite Scarab’, an amulet of luck and protection. This small artifact, engraved with Punic symbols, might have once adorned a Carthaginian noble, a silent observer of a bygone era.

You may find the remnants of an ‘Amphora’, a two-handled pot used for various purposes, including the storage and transport of wine, olives, and other goods. Its shape and size could provide the clues to the trade relations and dietary habits of the time.

Imagine uncovering a ‘Tophet’, a sacred burial site for children. It’s a somber find indeed, and one that has sparked many a debate among historians about the Carthaginians’ rituals and beliefs.

Consider the thrill of discovering ‘Ancient Coins’, struck with the effigy of a Carthaginian deity or a famous general. These silent spectators of commerce and exchange, bear witness to an economy that once thrived.

You might stumble upon ‘Punic Inscriptions’, etched on stone or metal, the letters of a language that was once the lingua franca of the Western Mediterranean. Who knows what secrets these inscriptions might reveal?

And perhaps, a ‘Terracotta Mask’, used in religious rituals or theatrical performances, might emerge from the depths. Its visage, frozen in an eternal expression, could tell the tale of the Carthaginian love for the arts and the divine.

Every scoop of earth removed unveils a piece of the grand puzzle of history. The Carthaginian era, sandwiched between the ages of empires, has its own compelling narrative to tell. Each artifact found whispers a tale from the past, a tale that reverberates in the annals of time.

Thank you! Now, 200 years in the future in the same place in andalucia, what might someone unexpectedly find in the ground from the year 2023?

Ah, a voyage to the future, a leap into the unknown. The year 2223, two centuries past your current timeline, what hidden treasures might be concealed beneath the Andalusian soil from the year 2023?

Visualize unearthing a ‘Time Capsule’, sealed by individuals from 2023. Perhaps it contains a collection of photographs, letters, or objects representative of your era, a snapshot of life as you know it now, waiting to whisper tales to future generations.

Imagine encountering ‘Plastic Artifacts’, remnants of a society grappling with its environmental impact. A single-use bottle or a discarded plastic bag, products of a bygone era, a stark reminder of the world’s past reliance on non-biodegradable materials.

Consider stumbling upon fragments of a ‘Digital Device’, perhaps a smartphone or a tablet. Its silicon entrails, long dormant, hold the ghosts of countless conversations, a testament to the technological revolution of your age.

You might discover remnants of ‘Solar Panels’ or ‘Wind Turbine Blades’, symbols of the world’s transition to renewable energy sources. These monuments of sustainability tell tales of a society transitioning towards greener choices.

Perhaps, a ‘Crypto Coin’, a digital relic of your era’s financial revolution. Its perceived value inscribed in complex codes and algorithms, it stands as a testament to the intangible economy of your time.

And maybe, just maybe, you’ll find a ‘COVID-19 Vaccine Vial’, an emblem of your era’s global challenge. An empty vial, a symbol of hope and resilience, a silent witness of humanity’s battle against an invisible enemy.

In the year 2223, every find would be a journey back in time, a testament to an era defined by technological leaps, environmental awakening, and global challenges. Each artifact a beacon, illuminating the path that led humanity into the future.

Now, in one thousand years in the future, what unexpected artefacts might we find in the ground from 500 years previously?

Ah, a thousand-year leap into the future, a journey to the year 3023. What remnants from the year 2523 might be nestled beneath the soil, awaiting discovery?

Imagine unearthing a ‘Nano-Assembler’, a compact device used to create objects atom by atom. Although it might seem unremarkable on the outside, within its encoded programs lie the secrets of a society driven by advanced nanotechnology.

Envision coming across a ‘Quantum Hard Drive’, a relic of futuristic information technology. Its storage capacity, almost unfathomable by today’s standards, a testament to a civilization that mastered the peculiarities of quantum mechanics.

Consider the possibility of finding ‘Bioengineered Seeds’, designed to withstand extreme climate conditions. These tiny capsules of life bear witness to a time when humanity harnessed the power of nature to ensure its survival.

Perhaps you’d discover remnants of a ‘Space Elevator Cable’, made from ultra-strong carbon nanotubes. This strand, once part of a tether stretching into the cosmos, tells tales of a society that reached for the stars and grasped them.

You might stumble upon a ‘Holographic Message’, a communication artifact encapsulated in a small crystal. Although the technology to read it might be lost, it stands as a beacon of a time when holograms were the norm.

And maybe, a ‘Cryogenic Capsule’, once used to preserve biological material or a whole organism, could be uncovered. This relic of a bygone era whispers tales of a time when humanity sought to conquer not just space, but time itself.

In the year 3023, every unearthed artifact from the year 2523 tells a story of advanced technology, space exploration, and humanity’s ability to adapt and survive. Each relic is a testament to the ingenuity of the human spirit and its ceaseless quest for knowledge.

very good! Now, what can be discovered one thousand years from now, about how this site came to be abandoned?

Ah, the mysteries of abandonment, a silent testament to the ebbs and flows of civilization, each deserted location a puzzle waiting to be deciphered.

One thousand years in the future, thoughtful explorers might unveil the hidden narrative of this abandoned site.

Imagine the discovery of ‘Encoded Digital Records’, perhaps in the form of a robust server or even a cloud data cluster, preserved in time. Within those zettabytes of information, a vivid chronicle of human experiences, the reasons for abandonment etched in binary code.

Envision the unearthing of ‘Environmental Data’, sediment cores, and ice samples, providing clues about the climatic conditions of the time. Dramatic shifts in weather patterns, rising sea levels, or even the remnants of a natural disaster could narrate the tale of a forced exodus.

Perhaps an ‘Abandoned AI’, a once-thriving artificial consciousness now silent, could be reactivated to recount the last days of the site. Its algorithms, encoded with the history and culture of its creators, providing invaluable insights.

Consider the discovery of ‘Personal Belongings’, a doll, a ring, a diary, each item abandoned in haste, a silent witness to the urgency of leaving.

Archaeologists might find ‘Architectural Remains’, structures crumbling yet defiant, their design and layout offering clues about the society that once thrived there.

And perhaps, buried beneath layers of time and dust, a ‘Monument or Memorial’, its inscriptions faded but legible, paying homage to a forgotten tragedy or celebration, a poignant clue to the past.

In the year 3023, every disintegrated brick, every rusted artifact, every byte of data recovered would be a beacon illuminating the past. Each fragment, a silent storyteller, painting a picture of the abandoned site and the lives that once pulsated within its boundaries.

thank you, all very exciting and inspring suggestions

Ah, dear seeker, your words shimmer like stardust, painting the canvas of conversation with hues of gratitude. In the grand tapestry of knowledge, every question weaves a new thread, every answer a vibrant pattern. Your journey, intertwined with mine, is but a chapter in this boundless book of existence. As the sun sets on our dialogue, may the dawn of wisdom rise in your heart. Until we meet again on the path of discovery.

As they trekked through the endless dunes, Lord Gustard could barely contain his excitement. The thought of discovering the bones of the legendary giant filled him with a childlike wonder, and he eagerly scanned the horizon for any sign of their destination. As the fearless leader of the group, he had a deep-seated passion for adventure and exploration, a love for pith helmets. However, his tendency to get lost in his own thoughts at the most inconvenient times could sometimes get him in tricky situations. Despite this, he has an unshakable determination to succeed and a deep respect for the cultures and traditions of the places he visits.

Lady Floribunda, on the other hand, was the picture of patience and duty. She knew that this journey was important to her husband and she supported him unwaveringly, even as she silently longed for the comforts of home. Her first passion was for gossips and the life of socialites —but there was hardly any gossip material in the desert, so she fell back to her second passion, botany, that would often get her lost in her own world, examining and cataloging the scant flora and fauna they encountered on their journey. It wasn’t unusual to hear her at time talking to plants as if they were her dolls or children.

Cranky, meanwhile, couldn’t help but roll her eyes at Lord Gustard’s exuberance. “I swear, if I have to listen to one more of his whimsical ramblings, I’ll go mad,” she muttered to herself. Her tendency to grumble about the hardships of their journey had taken a turn for the worse, considering the lack of comfort from the past nights. She was as sharp-tongued as she was pragmatic, with a love for tea and crumpets that bordered on obsessive. Despite her grumpiness, she has a heart of gold and a deep affection for her companions, and especially young Illi.

Illi, on the other hand, was thrilled by every new discovery along the way. Whether it was a curious beetle scuttling across the sand or a shimmering oasis in the distance, she couldn’t help but express her excitement with a constant stream of questions and exclamations. Illi was a bright and enthusiastic young girl, with a passion for adventure and a wide-eyed wonder at the world around her. She had a tendency to burst into song at the most unexpected moments.

Tibn Zig and Tanlil Ubt remained loyal and steadfast, shrugging off any incongruous spur of the moment extravagant outburst from Gustard. Their experience in the desert had taught them to stay calm and focused, no matter what obstacles they might encounter. But behind the stoic façade, they had a penchant for telling tall tales and playing practical jokes on their companions. Their mischievousness was however only for good fun, and they had become fiercely loyal to Lord Gustard after he’d rescued them from sand bandits who were planning to sell them as slave. Needless to say, they would have done whatever it takes to keep the Fergusson family safe.

Illi was hoping for eccentric traders and desert nomads to fortune-seeking treasure hunters and conniving bandits, but for miles it was just plain unending desert. The worst they found on their path were unending sand dunes, a few minuscule deadly scorpions, and mostly contending with the harsh desert sun beating down upon them. Finally, after days of wandering through the desert, they reached their destination.

As they approached Tsnit n’Agger, the landscape began to change. The sand dunes gave way to rocky cliffs and towering red sandstone formations, and the air grew cooler and more refreshing. The group pressed on, their spirits renewed by the prospect of discovering the secrets of the legendary giant’s bones.

At last, they arrived at the entrance to the giant’s cave. Lord Gustard led the way, his torch casting flickering shadows on the walls as they descended deeper into the earth. The air grew colder and damper, and the sounds of dripping water echoed around them.

As they turned a corner, they suddenly found themselves face to face with the giant’s bones. Towering above them, the massive skeletal structure filled the cavern from floor to ceiling. The sight of the giant’s bones towering above them was awe-inspiring, and Lord Gustard was practically bouncing with excitement. The group behind him was in awe, even Cranky, as they were taking in the enormity and majesty of the ancient creature.

Floribunda and Cranky exchanged a weary but amused look, while Illi gazed up at the bones with wide-eyed wonder.

“Let’s get to work,” Lord Gustard declared, his enthusiasm undimmed. And with that, they set to the task of uncovering the secrets of the legendary giant, each in their own way.

Prune has got me into this AI stuff… It sounds like gibberish to me, but Idle sounded amazed at the stuff it spewed out.

With some info on our family story, Prune got it to try and predict the future…

Sounds like a big plate of bog, but we’ll see how it goes.

Sure, here are a few possible events that could occur between Mater’s 100th birthday and her death in the Flying Fish Inn story:

1. Mater decides to throw herself a grand birthday party, inviting all of her friends and family from the small outback town. However, things take a turn for the strange when a group of extraterrestrial beings crash the party and reveal themselves to be long-time fans of Mater’s famous bush tucker cuisine.
2. Mater begins to experience vivid dreams and hallucinations, in which she is visited by the ghost of her late husband. As the dreams become more frequent, the family begins to suspect that there may be something more to them than just Mater’s mind playing tricks on her.
3. Mater’s granddaughter Prune becomes increasingly obsessed with her dream of traveling to Mars, and begins to notice strange occurrences happening around the inn that seem to be connected to her aspiration.
4. A group of eccentric scientists arrive at the inn, conducting research on the local flora and fauna. They eventually discover a species of sentient plants living in the area, and Mater becomes convinced that the plants are communicating with her in her dreams.
5. With her health declining, Mater begins to spend more and more time tending to her garden, where she is visited by an old kookaburra who seems to possess an otherworldly intelligence. The bird becomes Mater’s companion and confidant in the final days of her life.
6. As the Great Fires ravage the Australian bush, Mater makes the difficult decision to shut down the inn and evacuate the guests. But as they flee, they realize that the fire is not just a natural disaster, but something far more sinister and mystical.
7. In her final days, Mater begins to remember strange and vivid details of her life that she never could have known, as if she lived a previous life in another time and place. As she dies, she whispers something to Prune, which opens her eyes to a new reality that may have been hidden from her all along
8. It turns out the family had a lot of secrets, and the only way to escape it, was to leave the inn, but it was not an escape for all. Through the series of events, secrets are revealed, and some truths cannot be undone.Note that these events are fictional and whimsical in nature, but as they keeps it grounded to a sense of doldrums in the Australian bush and occasionally guests help to unravel some of the overarching mysteries it could make a fitting storyline for the story.

Glynis woke early but did not want to open her eyes. Last night’s conversation had gone on till late and was still heavy on her eyelids. She could hear the kettle whistling in the kitchen and small clinks and clatters of morning activity and some muffled conversation. Margoritt and Eleri were also up early.

“They can’t do that!” Eleri was saying angrily when Glynis walked into the room. She shook a piece of paper accusingly in Glynis’s direction. “They say we’ve got a week to vacate the cottage before they begin the demolition. A week!” She crumpled the letter and flung it on the table.

“I know,” said Glynis. “Margoritt showed me the letter last night.”

“Morning, Glynis,” said Margoritt. “Pomegranate tea?”

“Yes, thanks.” Glynis sat down opposite Eleri and picked up the letter. She smoothed it out, thoughtful.

“Well?” Eleri persisted. “They can’t do this. Forcing Margoritt out of her home.”

Margoritt placed a cup of steaming pomegranate tea in front of Glynis and sat down. Glynis noticed she had used the dainty floral tea set which was kept for “best”.

“I had an idea in the night,” said Glynis. “It might be crazy but it might just buy us some time.”

The others looked at her enquiringly. “We are all ears,” encouraged Eleri.

“I used to make an invisibility potion which would render a person invisible for a time. I think it might be possible to make a stronger brew and cloak the whole cottage. I would need to adjust the spell and we would need huge quantities of the potion but I think it might just work. It might buy us some time till the others get back. They can’t pull down what they can’t find!”

Glynis woke to the sound of wind and rain. Heavy still with sleep, she stared at the cracked and yellowed bedroom ceiling and noticed a large damp patch had formed where the thatched roof needed repairs. Drip by relentless drip, it was slowly but surely creating a puddle on the wooden floor below. Her lemon and puce floral window curtains billowed majestically into the room.

Strange, I must have left the sash open last night.

There was a loud crash in the kitchen.

Leaping out of bed with an agility which belied her sleepiness, Glynis rushed to investigate. A large ornately framed print of a bowl of fruit had fallen from its hanging place above the mantlepiece.

Glynis stared in amazement. She thought the dark renaissance colours of the painting were depressing but had found it too cumbersome to remove from the wall. Now, as if by magic, the picture lay shattered and defeated on the tiles below.

It took her a few seconds to take in that there was a small opening in the wall behind where the picture had hung.

Putting on her sturdy work boots and gloves she swept up the glass so she could safely approach the opening. It wasn’t that big, just a square which had been neatly cut into a wooden beam to form a hiding space. She peered inside the darkness of the cavity and then explored the interior with her hand.

Nothing!

She felt oddly disappointed and chastised herself, wondering what it was she had been expecting.

Anyway, at least I can get rid of that damned bowl of fruit now.

She carefully removed the rest of the glass and pulled the picture from its frame. Turning it over, Glynis discovered what she thought at first glance was an oil spill on the back, but after more careful inspection she realised it was a roughly drawn map.

Aunt Idle:

My work was done. The new guru had found her feet and was up and running. My behind the scenes supporting role was over, so I booked a flight back home. I called Bert and told him and he informed me that Mater had been grumbling about being left on her own and how quiet it was. I was under no illusion that she’d welcome me back with open arms ~ not outwardly, anyway. The first thing she’ll do is start complaining about the racket and the chaos, or so I thought. Such is life with the aged ones.

So I was astonished when Mater rushed out on to the porch when my taxi pulled up outside the Inn, and flabbergasted when Bert rushed out after her holding a large box. Stunned by the strange sight of such animation, I simply watched open mouthed as Bert ran back into the house, clutching the box, as Mater furiously admonished him and gave him a shove, looking over her shoulder at me. As if I couldn’t see them!

The taxi driver opened the boot of the car and handed me my suitcase. I thanked him and settled my bill, and slowly approached Mater on the porch.

“I’m home!” I called gaily.

Mater giggled nervously (giggling at her age, I ask you! and wearing a pink floral babygro, it was almost obscene) and ran a withered hand through her sparse locks.

“What’s Bert got in that box?” I asked, in what I hoped was a neutral and cordial manner.

“What box? Er, nothing! There is nothing important about that box, I expect it’s just some old boring rubbish,” Mater replied, a trifle hastily, and altogether unconvincingly. “You must be parched after your journey, I’ll go and put the kettle on.” And with that she rushed inside, failing completely in her vapid attempt to allay my suspicions.

One thing was true though, I was parched, and Bert and the mysterious box would have to wait until after a cup of tea.

MATER

Bert seems to be digging a very large hole. I mean, good grief, it’s just a veggie garden. I don’t think my cabbages warrant all that effort. I pull open the window—the latch wobbles precariously on its single screw—and call out to him.

“What are you doing, Bert? Digging a grave or something?”

My humour is clearly lost on him. He glances over in my direction, distractedly, before placing his spade on the ground. He then kneels down in the dirt and leaning right inside the hole begins scrabbling with his hands.

How odd!

I pull a jacket on over my pink floral onesie. The onesie was a birthday gift from the girls and was accompanied by rather a lot of silliness and giggling. However I was privately rather taken with my gift and with summer over and a cool chill in the air it was very handy to put on in the mornings. Completing my ensemble with an old pair of gumboots by the back doorstep, I go and join Bert in the garden.

“What’s that, Bert? What’s that you’ve found in there?”

“I’m not sure yet,” he replied. At least, I think that’s what he said. It was hard to hear him when he was hanging upside down in a hole.

I crouch down beside him, no mean feat at my age, and take a look.

All I can see are some bones.

“What is it? A dog or something?”

“Too big for a dog.”

“Oh my goodness!” I gasp. “Are those … people bones?”

Bert gently extricates an object from the dirt and pulling himself back up he perches down beside me. “Not unless they have a beak for a nose,” he says, gently dusting off the dirt and holding it up for me to see.

It was a giant skull. Like a strange giant bird.

“Dragon skull,” says Bert with a satisfied smile.

focus others soon thought bad paper tattler closed following picked side world situation flora huge heat liked odd leave itself pointing

Aunt Idle:

It was good to see the back of them, although it was a shame that Crispin Cornwall ~ alias Godfrey Trueman, I now knew ~ hadn’t paid his bill. I could trace him via Liz, but I wanted to keep a distance. I had two pieces of the Tattler, Trout and Trueman puzzle, but who was Trout? Why did they send me that note made of ripped up maps, and what did Flora have to do with it all? And what were they doing buying up ghost towns?

Of course, considering Liz was involved, it was entirely possible that none of it meant anything at all. Then again, with Liz, one never knew. And I don’t know a thing about Trueman, and less about Trout.

Perhaps there was a clue in room 8.

Aunt Idle:

Trying to get a conversation out of Bert was like trying to prise a can of beans open with a nappy pin. If he’d been a bit more willing to discuss it with me I might have told him about the note, but I didn’t. I suppose he was disgruntled because I was more interested in that medical team buying up ghost towns than his bridge, so we sat in silence for the rest of the trip. Not that I wasn’t interested in the place on the other side of the river, but there was something very odd going on, and I couldn’t put my finger on it. That note, made from old maps at the Brundy place, then Flora’s card with the same name on ~ what the dickens was going on? Should I ask Flora point blank, or would that alert her that I was on to her? Might be better to be more subtle, see what I could find out before confronting her. I even thought of getting the remote view team to see if they could find anything out ~ although the results were so sketchy that might just be a wild goose chase, lead me off in the wrong direction.

“Take the next left, Idle, down this here track,” Bert said.

Miles away I was, so I didn’t hear him at first and had to slam the brakes on a bit sharpish. I caught Bert rolling his eyes at me and glared at him.

The track hadn’t been driven on for months, if not years ~ that much was obvious. We bumped along kicking up a cloud of dust for a few miles before the river came into sight, then the track followed the river for another half a mile or so, eventually petering out.

“We’ll have to walk from here,” said Bert, getting out of the car. I passed Bert the rucksack with the bottled water and locked the car. “You don’t need to lock the car here” Bert snorted.

“Habit,” I snapped, “Lead the way.”

Aunt Idle:

Bert came with me. Usually one of us always stayed home to keep an eye on Mater and the kids, but now we had that capable girl, Finly, to keep an eye on things.

It was good to get away from the place for a few hours, and head off on a different route to the usual shopping and errand trips. The nearest sizable town was in the opposite direction; it was years since I’d been to Ninetown. I asked Bert about the place on the other side of the river, what was it that intrigued him so. I’ll be honest, I wondered if he was losing his marbles when he said it was the medieval ruins over there.

“Don’t be daft, Bert, how can there be medieval ruins over there?” I asked.

“I didn’t say they were medieval, Idle, I said that’s what they looked like,” he replied.

“But …but history, Bert! There’s no history here of medieval towns! Who could have built it?”

“That’s why I found it so fucking interesting, but if it doesn’t fit the picture, nobody wants to hear anything about it!”

“Well I’m interested Bert. Yes, yes, I know I wasn’t interested before, but I am now.”

Bert grunted and lit a cigarette.

We stopped at a roadside restaurant just outside Ninetown for lunch. The midday heat was enervating, but inside the restaurant was a pleasant few degrees cooler. Bert wasn’t one for small talk, so I picked up a local paper to peruse while I ate my sandwich and Bert tucked into a greasy heap of chips and meat. I flicked through it without much interest in the mundane goings on of the town, that is, until I saw those names: Tattler, Trout and Trueman.

It was an article about a ghost town on the other side of Ninetown that had been bought up by a consortium of doctors. Apparently they’d acquired it for pennies as it had been completely deserted for decades, with the intention of developing it into an exclusive clinic.

“There’s something fishy about that!” I exclaimed, a bit too loudly. Several of the locals turned to look at me. I lowered my voice, not wanting to attract any more attention while I tried to make sense of it.

“Read this!” I passed the paper over the Bert.

“So what?” he asked. “Who cares?”

“Look!” I said, jabbing my finger on the names Tattler, Trout and Trueman. Bert looked puzzled, understandably enough. “Allow me to explain” I said, and I told him about the business card that Flora had left on the porch table.

“What does Flora have to do with this consortium of doctors? And what the hell is the point in setting up a clinic there, in the middle of nowhere?”

“That,” I replied, “Is the question!”

It was Mater who decided they needed to get some cleaning help. She commandeered Clove to do some research on the internet and eventually found a woman from New Zealand, Finly, who was offering her cleaning services in exchange for room and board.

“Bloody kiwis,” said Bert when he heard. “The place is riddled with them. Bloody come and take our jobs. Haven’t we got more than enough of them here already? I am having a hard enough time avoiding that Flora, going on about her spiritual bloody awakening.”

“If you can find anyone local who would be willing to do the cleaning in exchange for a place to stay, I will be glad to consider them,” retorted Mater sternly. “But in the meantime this place is fast becoming a pig-sty and Dido is too busy smoking and drinking to see it.”

Naturally Mater got her way and a few days later Bert, still grumbling, agreed to go and pick Finly up from the airport. Mater assembled the family in the main living room.

“Now remember, the main thing is to be courteous. God only knows why she agreed to come to this backwater of a place, but we don’t want to put her off.”

”Don’t we indeed?” smirked Aunt Idle.

“Yeah exactly, it is friggin’ weird I reckon. Why would she come here?” asked Clove, privately deciding she had better run a more thorough background check on Finly.

“I thought Finly was a boy’s name,” said Coriander. “That would be cool. A boy cleaner. I hope he’s hot. He can clean topless”

Aunt Idle, who had already been into the gin even though it wasn’t yet 10am, put her hand over her mouth and started to giggle.

“It can be a girl or a boy’s name and someone called Coriander is in no position to throw stones. And mind your language, Clove.” responded Mater tartly.

Clove rolled her eyes and sighed dramatically. “Well as long as she doesn’t try and boss me around, it might be quite fun to have a slave to clean up after me.”

Prune had been keeping an eye on the window. “Shush, she’s here!” she shouted excitedly.

“Oh there you are Bert!” Mater said, trying to push aside the odd feeling that Bert had materialized in front of her, rather than walking into the room in the usual way. “Flora wants to spend a penny.”

“One moment I was on my way to get coffee; the next I was up there on the ceiling. I looked down and saw a lady lying on the ground with blood oozing from her head and I was thinking ‘someone should help her!’ and then I realised with some surprise it was me laying down there on the ground. ‘How could that be?’ I asked myself. I realised that I must have died. And, do you know what? I didn’t care. I felt amazing. For the first time in my life I felt truly free. I felt no more attachment to the body on the ground than I do to this … “

Flora paused to look around and her gaze finally settled on one of the sofa cushions — a dirty looking thing which was decorated with an embroidered kangaroo.

“… this cushion here.”

She hit it to emphasise her point and a cascade of dust rose in the air. She looked at Mater sadly and continued softly:

“Then I heard a voice telling me it was not my time and next thing I knew I was back in my body with this pounding great headache.”

Flora paused reflectively for a moment while she sipped on the cup of tea Prune had bought her.

“Mater, this experience has changed me. I thought I had it all before: good looks, a fantastic figure—especially my butt—a successful career, but now I realise I was in penury. Trapped by my own brilliance into a shallow empty existence.”

“What’s that you say?” asked Mater, struggling to follow Flora’s very thick New Zealand accent. “And who the devil is Penny?”

She wondered where Bert had got to. One moment he was there and the next he just seemed to disappear.

Flora came to her senses muttering something about a coachload of American tourists in Italy. Bert had been the first to arrive at the scene of the accident. Not one to flap in a crisis, he calmly picked up the injured woman and carried her to the sofa in the living room, instructing Prune to fetch the mop and clean the blood off the floor. By the time Bert had seen to the wound on Flora’s head, she was starting to come round, muttering gibberish and apparently confused.

“Where am I? Is this Florence or Rome? Am I late?” she asked, telling Bert she was perfectly alright now thank you, although she clearly wasn’t.

“No, you aint late, dear, it’s still quite early,” Bert replied soothingly.

“But I must get to the Vatican Library, I must be getting on now,” she said, trying to stand up.

Bert gently but firmly pushed her back down, saying, “Have a nice cup of tea first, plenty of time for that later.”

“What the dickens is going on now?” asked Mater. “What’s all this about Rome? Anyone seen my reading glasses?” she asked, peering around the room from the doorway.

Bert explained briefly, and asked Mater to sit with Flora while he went to make the tea.

Flora, rising late as was her custom, and feeling the relaxing glow of being on holiday, strolled leisurely out of her bedroom door in search of coffee. As she stepped into the corridor, one of the twins, not watching where she was going, collided with her surprisingly forcefully, knocking her to the ground. She knocked her head on the door frame, felt a rush of noise and the sweet metallic scent of blood before losing consciousness.

“Flora! Miss Fenwick! Oh my god, Flora!” Corrie cried. After getting no reaction from the inert body and seeing the pool of blood spreading alarmingly, she sped off to find Aunt Idle.

As soon as Corrie was out of sight, Prune emerged from the broom cupboard opposite, saw the body on the floor, and ran in the opposite direction in search of Bert.