“Thursday!” said Isambard as we walked in. “What a very fortuitous happenstance-I trust you are wellhealthy?”

“Wellhealthy indeedly,” I replied.

Buñuel’s engineering skills were without peer-not just from a simple mechanistic point of view but also from his somewhat surreal method of problem solving that made lesser book engineers pale into insignificance. It was he who first thought of using custard as a transfer medium for speedier throughput from the books to the Storycode Engines and he who pioneered the hydroponic growth of usable dramatic irony. When he wasn’t working toward the decriminalization of class-C grammatical abuses, such as starting a sentence with “and,” he was busy designing new and interesting plot devices. It was he who suggested the groundbreaking twist in The Murder of Roger Ackroyd, and also the “Gally Threepwood memoirs” device in the Blandings series. Naturally, he’d had other, lesser ideas that didn’t find favor, such as the discarded U-boat-Nautilus battle sequence in Mysterious Island, a new process for distilling quotation marks from boiled mice, a method of making books grammasite-proof by marinating them in dew, and a whole host of farcical new words that only he used. But his hits were greater than the sum of his misses, and such is the way with greatness.

“I hope we are not in any sort of troublesome with Jurisfiction?”

“Not at all,” I assured him. “You spoke to Bradshaw about something?”

“My memory is so stringbagness these days,” he said, slapping his forehead with his palm. “Walk with me.”

We left the work hut at a brisk pace and walked toward the empty book, Thursday5 a few steps behind.

“We’ve got another seventeen clockchimes before we have to click it all back onwise,” he said, mopping his brow.

“Will you manage it?”

“We should be dokey,” replied Isambard with a laugh. “Always supposeding that Mrs. Bennet doesn’t do anything sensible.”

We walked up a set of wooden stairs and stepped onto the novel. From our vantage point, we could see the empty husk of the book laid out in front of us. Everything had been removed, and it looked like an empty steel barge several hundred acres in size.

“What’s happening over there?” asked Thursday5, pointing to a group of men working in an area where several girders joined in a delicate latticework of steel and rivets.

“We’re checklooking for fatigue splitcracks near the irony-expansion slot,” explained Isambard. “The ceaseless flexiblations of a book as readers of varying skill make their way through it can set up a harmonic that exacts stresstications the book was never blueprinted to take. I expect you heard about the mid-read fractsplosion of Hard Times during the postmaintenance testification in 1932?”

Thursday5 nodded.

“We’ve had to be more uttercarefulness since then,” continued Isambard, “which is why classics like this come in for rebuildificance every thirty years whether they require it or not.”

There was a crackle of bright blue light as the work gang effected a repair, and a subengineer supervising the gang waved to Isambard, who waved back.

“Looks like we found a fatigue crevicette,” he said, “which goes to show that one can never be too carefulphobic.”

“Commander Bradshaw told me you had something you wanted to say?”

“That’s true,” replied Buñuel. “I’ve done enough rebuildificances to know when something’s a bit squiddly. It’s the Council of Genres. They’ve been slicedicing bud gets for years, and now they ask us to topgrade the imaginotransference conduits.”

He pointed at a large pipe that looked like a water main. A conduit that size would take a lot of readers-far more than we had at present. Although in itself a good move, with falling Read-Rates it seemed a little…well, odd.

“Did they give a reason?”

“They said Pride and Prejudice has been added to twenty-eight more teachcrammer syllabuses this year, and there’s another silverflick out soon.”

“Sounds fair to me.”

“Posstruthful, but it makes nonsense. It’s potentious new books we should be cashsquandering on, not the stalnovelwarts who will be read no matter what. Besides, the costcash of the extra conduits is verlittle compared to the amount of custard needed to fillup all.”

“I’ll make some inquiries,” I told him.

We watched as the overhead crane gently lowered Darcy’s stately home of Pemberley back into its position in the book, where it was then securely bolted by a group of men in overalls wielding wrenches as big as they were.

“Spot-on-time-tastic,” murmured Isambard, consulting a large gold pocketwatch. “We might make the deadule after all.”

“Mr. Buñuel?” murmured a disembodied voice that sounded as though it came from everywhere at once.

“Yes, Horace?”

“Sorry to trouble you, sir,” came the voice again, “but Mrs. Bennet and Lady Catherine de Bourgh have locked antlers in the living room and are threatening to kill each other. What do you want to do?”

“No time to lose!” exclaimed Buñuel, reaching into his pocket. “I’ll have five guineas on Mrs. Bennet.”

Thursday5 and I walked out of the maintenance facility and back to the busy corridors of the Well of Lost Plots. I called TransGenre Taxis and was told that my cab was “stuck in a traffic jam in Mrs. Beeton’s” but would “be with you shortly,” so we walked toward the elevators. Buñuel had a point about the extra conduiting-but equally it could be just another of the bizarre accounting anomalies that abound at the council-they once refused to allocate funds for maintenance on Captain Corelli’s Mandolin, despite an almost unprecedented burst of popularity. By the time they agreed to some remedial construction work, it was too late-the first few chapters suffered permanent damage. On the other side of the coin, they had no problem issuing the Danvers with new black uniforms and designer dark glasses so they “looked nice on parade.”

“Is it true you have a chair at the Council of Genres?” asked Thursday5 with a sense of wholly unwarranted awe in her voice.

“And a table, too. As an Outlander I don’t have the strictures of the narrative to dictate my actions, so I’m quite good at forward planning and-Hang on a moment.”

Recalling Landen’s writer’s block, I ducked into a bric-a-brac store full of plot devices, props, backstories and handy snatches of verbal banter for that oh-so-important exchange. I made my way past packing cases full of plot twists and false resolutions and walked up to the counter.

“Hello, Murray.”

“Thursday!” replied the own er of the store, a retired gag-and-groan man who had worked the Comedy genre for years before giving it all up to run a used-plot shop. “What can I do you for?”

“A plot device,” I said somewhat vaguely. “Something exciting that will change a story from the mundane to the fantastic in a paragraph.”

“Bud get?”

“Depends on what you’ve got.”

“Hmm,” said the shop keep er, thinking hard and staring at the wall of small drawers behind him, which made it look a little like an apothecary’s shop. On each drawer there was a painted label denoting some exciting and improbable plot-turning device. “Tincture of breathlessness,” said one, and “Paternal root,” read another.

“How about a Suddenly a shot rang out? That’s always a safe bet for mysteries or to get you out of a scrape when you don’t know what to do next.”

“I think I can afford something better than that. Got anything a bit more…complex?”

Murray looked at the labels on the drawers again. “I’ve got a And that, said Mr. Wimple, was when we discovered…the truth.”

“Too vague.”

“Perhaps, but it’s cheap. Okay. How about a Mysterious stranger arriving during a thunderstorm? We’ve got a special on this week. Take the stranger and you can have a corrupt local chief of police and an escaped homicidal lunatic at no extra charge.”