In the Sleep of the Monster, Nike Hatzfeld is thirty-three years old when his legendary hypertrophied memory refers him to the very first days of his own birth. It's 1993. Yugoslavia is dying, the Bosnian-Serb shells rain on the hospital in Sarajevo. This is where Nike shares her bed and her first days of life with Amir and Leyla, orphans like him. His destiny changes when he remembers swearing, at the age of eighteen days, to find them and protect them forever. Between his memory of 1993 and his contemporary reality of 2026, Nike Hatzfeld suffered a sudden contraction of time, which led him into a whirlwind of obscurantist religious apocalypse, as if the genes of his future of 2026 were inscribed in his first breath of 1993. A macabre ball shakes the planet, sweeps the world and its democracies, orchestrated by a self-proclaimed Optus Warhole: Incarnation of supreme evil. Nike and Leyla are here. Amir, for his part, straddles with Sacha, a dirty girl, fourth piece brought back from an ongoing puzzle. Thirty-two December sees Optus Warhole, the duplicator of humans, moving into the Artist of Supreme Evil, quick to play and play with the infinitely great, including an abyssal opening on the unknown of the cosmos, or the infinitely small, including four human destinies, it is true, not quite ordinary, because simply his favourites: Nike, Leyla, Amir and Sacha. The title Rendez-Vous à Paris would thus indicate Nike's quest, his promise to rebuild the trio of orphans of Sarajevo 1993, is about to come true? Unless it's a fourth and final act.