438 words is not a great deal of words in which to create a story and you have done well to do what you have done. My only gripe would be that I have no idea what 'he' is like. Perhaps you would consider taking the word count up to 500 and use those 62 words to put the flesh on the bones for your readers? I'll look out for newer versions; thanks.

'Claudia walks over to Rose’s' - I thought her name was Rosa? There's no mention of the cigarette before Claudia taps the body with it. This gives the impression the cigarette just materialised from nowhere. 'His dusk blue, sinful eyes meet Claudia’s' - to me this reads as if Claudia has dusk blue sinful eyes as well as Will. 'cheek bone with her heals' - heels 'William stands up.' - he has been Will up to now. 'Going up the stairs of El Palasio, she looks down.' - we have no idea who 'she' i...

A writer should not be told what to write but there is scope for suggesting how someone else might put words down. You like to use two verbs 'travelling and traversing', 'rewind and untangle' and 'crisscross and intersect'. Just using one would be sufficient and improve the flow. 'detached from living' - did you mean from the living? This piece jumps around and as such does not makes me, as a reader, feel that comfortable. I would therefore not want to read on. Having said that with a little ...

'His interest in the last possible Earthling was strong. Especially such a unique one' - As last possible Earthling he has to be unique. There is no need for the second sentence. 'whose possession I’m in' - this is ambiguous with the different definitions of possession and makes the sentence feel clumsy. 'His growing attachment' - I can't help get the image of an attachment to the father that is either growing or whose purpose is to make things grow. I'm a pedant who can't help himself! 'Kela...

This reads more like a screenplay than a novel. Have you any experience with writing screenplays? After the lights go out the sense of place and motion feels vague and I think you could improve this with a little work. Claudia feels like a dangerous woman, I'l cross the street if I meet her! Keep writing.

If only my life was as interesting as yours! Inspired and very funny. More please.

The short staccato sentences with missing words makes for an interesting if fractured read which set me wondering whether English was your first language. The tenses in the sentences shift occasionally from past to future, but I think most people are guilty of that until the second or third draft. The description of the power stations failing was great but it got me to focus on the machine rather than the characters and, for me at least, took something away from an otherwise interesting piece...

'had stopped It was' - missing a full stop 'I DON”T see' - I'm not sure emphasising don't is necessary. I will admit not having read any previous chapters so I will comment on what is written here. The style is fluid and engaging with the reader as one half of the conversation, though I would have liked more 'real' dialogue between your characters if only to add breaks into the greater conversation. But then I have come in at an advanced stage in the story.

A limerick should contain just four lines. This reads more like protest poetry. For me this doesn't work as a limerick but as a piece of political satire it does.

'We’re apart of the same world' - this is not possible either physically or grammatically. 'Life is so unfair' - beware the cliché!! This chapter feels like a catch up for the reader, an opportunity for the writer to stop, think and let the reader know where they are. What's more I'm coming 6 chapters in and reading cold. The overriding verbal image I walk away with is the name Audi, whih reminds me of the car manufacturer.