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,.-*%&£### SEVERAL CENTURIES AFTER IT HAD LAST ###£&%*-.,
,,.-*%&£## BELONGED TO US, WE WENT ON AN OUTING TO ##£&%*-.,,
,,,.-*%&£# THE GLASS FACTORY THAT BORE OUR FAMILY #£&%*-.,,,
,,,,.-*%&£ NAME. IT HAD CHANGED OWNERS MANY TIMES £&%*-.,,,,
,,,,,.-*%& SINCE OUR ANCESTORS DEATH, AND THEN &%*-.,,,,,
,,,,.-*%&£ STOOD ABANDONED FOR A LONG WHILE. £&%*-.,,,,
,,,.-*%&£# FINALLY, THE NATURAL END STATION FOR #£&%*-.,,,
,,.-*%&£## THE BUILDINGS THAT SURVIVE: A MUSEUM, ##£&%*-.,,
,.-*%&£### AND A GIFT SHOP. ###£&%*-.,
,,.-*%&£## ##£&%*-.,,
,,,.-*%&£# THERE'S A LONG TIME SINCE MY FAMILY #£&%*-.,,,
,,,,.-*%&£ MADE ANYTHING. BY MANY, WE WOULD BE £&%*-.,,,,
,,,,,.-*%& CONSIDERED POOR. &%*-.,,,,,
,,,,.-*%&£ £&%*-.,,,,
,,,.-*%&£# THERE ARE TWO MAIN FACTORY BUILDINGS, #£&%*-.,,,
,,.-*%&£## DOMED THINGS OF SEVERAL FLOORS, MADE IN ##£&%*-.,,
,.-*%&£### YELLOW BRICK. LARGE BUT NARROW WINDOWS, ###£&%*-.,
,,.-*%&£## REMINESCENT OF SOME CATHEDRAL. ##£&%*-.,,
,,,.-*%&£# CUSTOM-MADE GLASS, OF COURSE, LARGE AND #£&%*-.,,,
,,,,.-*%&£ LEADED, AND ASHEN. A BIT TOO DARK TO BE £&%*-.,,,,
,,,,,.-*%& PRACTICAL. ON THE EASTERN BUILDING, &%*-.,,,,,
,,,,.-*%&£ SOME ARE SHATTERED. £&%*-.,,,,
,,,.-*%&£# #£&%*-.,,,
,,.-*%&£## THE OTHER ONE IS PUBLICLY OPEN. THERE'S ##£&%*-.,,
,.-*%&£### A MUSEUM, WITH WAX FIGURES OF MY GREAT ###£&%*-.,
,,.-*%&£## GREAT GREAT GRANDFATHER, OR SOMETHING. ##£&%*-.,,
,,,.-*%&£# VARIOUS TOOLS (OR REPLICAS) LAID OUT ON #£&%*-.,,,
,,,,.-*%&£ TABLES, WITH EXPLAINING TEXTS. A LOT OF £&%*-.,,,,
,,,,,.-*%& GLASS OF VARYING THICKNESS. &%*-.,,,,,
,,,,.-*%&£ £&%*-.,,,,
,,,.-*%&£# %% #£&%*-.,,,
,,.-*%&£## %% %% ##£&%*-.,,
,.-*%&£### ------- % % ------- ###£&%*-.,
,,.-*%&£## %% %% ##£&%*-.,,
,,,.-*%&£# %% #£&%*-.,,,
,,,,.-*%&£ £&%*-.,,,,
,,,,,.-*%& I QUICKLY SNEAK OUT, AND CLIMB INTO THE &%*-.,,,,,
,,,,.-*%&£ OTHER BUILDING. THE CONTRAST IS £&%*-.,,,,
,,,.-*%&£# OVERWHELMING. IT MUST HAVE STOOD #£&%*-.,,,
,,.-*%&£## DERELICT FOR A LONG TIME, WINDOWS ##£&%*-.,,
,.-*%&£### BROKEN, METALLIC TRASH AND POOLS OF ###£&%*-.,
,,.-*%&£## DARK GLASS ALL OVER THE FLOOR. NO ##£&%*-.,,
,,,.-*%&£# ELECTRIC LIGHTS, BUT I CAN SEE BY THE #£&%*-.,,,
,,,,.-*%&£ LIGHT THAT SHINES IN WHEREVER THE DARK £&%*-.,,,,
,,,,,.-*%& WINDOWS ARE MISSING A PANE. &%*-.,,,,,
,,,,.-*%&£ £&%*-.,,,,
,,,.-*%&£# HOWEVER, THE GREATEST DIFFERENCE IS THE #£&%*-.,,,
,,.-*%&£## HIGHER FLOORS: THIS BUILDING HAS NONE. ##£&%*-.,,
,.-*%&£### IT IS ONE MASSIVE HALL, STRETCHING AWAY ###£&%*-.,
,,.-*%&£## INFINITELY ABOVE ME. SOMEWHERE UP THERE ##£&%*-.,,
,,,.-*%&£# IS SOME GREAT IRON LATTICEWORK, FROM #£&%*-.,,,
,,,,.-*%&£ WHERE CHAINS ARE SUSPENDED, AND PARTS £&%*-.,,,,
,,,,,.-*%& OF MACHINERY HAS BEEN FALLING DOWN. &%*-.,,,,,
,,,,.-*%&£ £&%*-.,,,,
,,,.-*%&£# THERE IS, IN THE MIDDLE OF THE GREAT #£&%*-.,,,
,,.-*%&£## HALL, A THIN SPIRAL STAIRCASE THAT ##£&%*-.,,
,.-*%&£### LEADS UP THERE. I SNEAK OVER THERE, AND ###£&%*-.,
,,.-*%&£## TAKE A FEW RELUCTANT STEPS. AFTER JUST ##£&%*-.,,
,,,.-*%&£# A REVOLUTION, I NOTICE THAT FOR EACH #£&%*-.,,,
,,,,.-*%&£ STEP THE BUILDING STARTS TO GLOW, THE £&%*-.,,,,
,,,,,.-*%& BRICKS TURNING A DARK RED, AND THEN &%*-.,,,,,
,,,,.-*%&£ ORANGE, ALL THE PILED UP DEBREE BEING £&%*-.,,,,
,,,.-*%&£# LIT FROM BEHIND. #£&%*-.,,,
,,.-*%&£## ##£&%*-.,,
,.-*%&£### I STOP READY TO RUN DOWN AND OUT, BUT ###£&%*-.,
,,.-*%&£## THERE'S SOMEONE ELSE ON THE STAIRCASE ##£&%*-.,,
,,,.-*%&£# WITH ME NOW, PRESSED CLOSE. HE'S #£&%*-.,,,
,,,,.-*%&£ LOOKING LIKE ME, SHORT HAIR AND THIN £&%*-.,,,,
,,,,,.-*%& ARMS, BUT WITH EARS FROM SOME ANIMAL, &%*-.,,,,,
,,,,.-*%&£ AND MORE DISTURBINGLY, COMPLETELY MADE £&%*-.,,,,
,,,.-*%&£# OF DARK LIQUID GLASS. #£&%*-.,,,
,,.-*%&£## ##£&%*-.,,
,.-*%&£### %% ###£&%*-.,
,,.-*%&£## %% %% ##£&%*-.,,
,,,.-*%&£# ------- % % ------- #£&%*-.,,,
,,,,.-*%&£ %% %% £&%*-.,,,,
,,,,,.-*%& %% &%*-.,,,,,
,,,,.-*%&£ £&%*-.,,,,
,,,.-*%&£# MY FEAR HOLDS ME IN PLACE WHILE HE #£&%*-.,,,
,,.-*%&£## STARTS OPERATING LEVERS AND DIALS SET ##£&%*-.,,
,.-*%&£### IN THE CENTER OF THE STAIRCASE. SLOWLY, ###£&%*-.,
,,.-*%&£## IT STARTS SPINNING, CIRCLING UPWARDS. ##£&%*-.,,
,,,.-*%&£# IT'S AN ELEVATOR! I START TO RUN #£&%*-.,,,
,,,,.-*%&£ DOWNWARDS, BUT NOW THE LIQUID BOY £&%*-.,,,,
,,,,,.-*%& CREATURE GRABS HOLD OF ME. I TRY TO &%*-.,,,,,
,,,,.-*%&£ SHAKE HIM OFF, BUT HE'S TOO STRONG, AND £&%*-.,,,,
,,,.-*%&£# PULLS ME BACK UP BESIDE HIM. #£&%*-.,,,
,,.-*%&£## ##£&%*-.,,
,.-*%&£### THIS TIME, I TURN ANGRY INSTEAD. WHAT ###£&%*-.,
,,.-*%&£## THE HELL? WHO IS THIS GUY, ACTING LIKE ##£&%*-.,,
,,,.-*%&£# THIS? I REACH OUT MY FREE ARM AND SLAM #£&%*-.,,,
,,,,.-*%&£ A RANDOM LEVER. SOME METAL BAR IS £&%*-.,,,,
,,,,,.-*%& SUDDENLY RELEASED BETWEEN US, HITTING &%*-.,,,,,
,,,,.-*%&£ HIM ON THE ARM, FORCING MY RELEASE. I £&%*-.,,,,
,,,.-*%&£# SHOVE HIM OFF OF ME, AND HE FALLS INTO #£&%*-.,,,
,,.-*%&£## THE LEVERS, MESSING THEM UP. ##£&%*-.,,
,.-*%&£### IMMEDIATELY, A THIN RUSTY CHAINMAIL ###£&%*-.,
,,.-*%&£## CURTAIN IS DROPPED AROUND ME. BUT THE ##£&%*-.,,
,,,.-*%&£# ELEVATOR ALSO SPEEDS UP SIGNIFICANTLY. #£&%*-.,,,
,,,,.-*%&£ £&%*-.,,,,
,,,,,.-*%& THE WALLS ARE FLARING NOW, YELLOW, &%*-.,,,,,
,,,,.-*%&£ WHITE, ALMOST BLUE. I CLOSE MY EYES AND £&%*-.,,,,
,,,.-*%&£# CURL INTO A BALL. BUT THEN, THE GLASS #£&%*-.,,,
,,.-*%&£## BOY SCREAMS, A PIERCING SOUND THAT ##£&%*-.,,
,.-*%&£### FORCES MY EYES BACK OPEN. I WATCH AS HE ###£&%*-.,
,,.-*%&£## BECOMES TOO LIQUID, HIS BODY POOLING ##£&%*-.,,
,,,.-*%&£# DOWN IN HIS NOW MASSIVE TAIL, AND THE #£&%*-.,,,
,,,,.-*%&£ TIP OF IT SUDDENLY BREAKS OF IN A GLASS £&%*-.,,,,
,,,,,.-*%& DROP THAT FALLS TOWARD THE FACTORY &%*-.,,,,,
,,,,.-*%&£ FLOOR. £&%*-.,,,,
,,,.-*%&£# #£&%*-.,,,
,,.-*%&£## HE'S CRAWLING ON THE STAIRS, UNABLE TO ##£&%*-.,,
,.-*%&£### KEEP HIS BODY UPRIGHT. CAN'T REACH THE ###£&%*-.,
,,.-*%&£## LEVERS, CLAWS AT MY CHAINMAIL CAGE, ##£&%*-.,,
,,,.-*%&£# WHILE HIS BODY IS TURNING INTO DARK #£&%*-.,,,
,,,,.-*%&£ PEARLS. FINALLY, HE'S LOST TOO MUCH OF £&%*-.,,,,
,,,,,.-*%& HIMSELF AND THE SCREAM IS CUT SHORT. &%*-.,,,,,
,,,,.-*%&£ THE LAST OF HIM RAINS DOWN. £&%*-.,,,,
,,,.-*%&£# #£&%*-.,,,
,,.-*%&£## I STILL CAN'T REACH THE LEVERS FROM ##£&%*-.,,
,.-*%&£### WITHIN MY CAGE. LOOKING UP, I TRY TO ###£&%*-.,
,,.-*%&£## MAKE OUT THE CEILING, BUT IT'S ALL A ##£&%*-.,,
,,,.-*%&£# WHIRLING SEA OF COLOURS. BELOW ME GLOWS #£&%*-.,,,
,,,,.-*%&£ THE HELLFIRE OF THE FACTORY WALLS, BUT £&%*-.,,,,
,,,,,.-*%& VERY FAINT. I SIT DOWN, CURL BACK UP, &%*-.,,,,,
,,,,.-*%&£ BECOME STILL. £&%*-.,,,,
,,,.-*%&£# #£&%*-.,,,
,,.-*%&£## %% ##£&%*-.,,
,.-*%&£### %% %% ###£&%*-.,
,,.-*%&£## ------- % % ------- ##£&%*-.,,
,,,.-*%&£# %% %% #£&%*-.,,,
,,,,.-*%&£ %% £&%*-.,,,,
,,,,,.-*%& &%*-.,,,,,
,,,,.-*%&£ A LARGE CLUNK SHAKES MY ENTIRE BODY, £&%*-.,,,,
,,,.-*%&£# AND SNAPS ME BACK INTO REALITY. I'M #£&%*-.,,,
,,.-*%&£## BACK AT THE FACTORY FLOOR, BUT THE ##£&%*-.,,
,.-*%&£### STAIRS ARE STILL MOVING SLIGHTLY, ###£&%*-.,
,,.-*%&£## CLICKING IN PLACE, CARRYING ME THE LAST ##£&%*-.,,
,,,.-*%&£# FEW CENTIMETERS. I CAME FROM BELOW, #£&%*-.,,,
,,,,.-*%&£ SOMEHOW. THE CHAINMAIL IS RETRACTED, £&%*-.,,,,
,,,,,.-*%& AND I SLOWLY DISMOUNT THE STAIRS. &%*-.,,,,,
,,,,.-*%&£ £&%*-.,,,,
,,,.-*%&£# SHAKING AND CRYING, I MAKE MY WAY OVER #£&%*-.,,,
,,.-*%&£## THE FACTORY FLOOR, WADING THROUGH DARK ##£&%*-.,,
,.-*%&£### GLASS MARBLES. A QUICK GLANCE DOWN, AND ###£&%*-.,
,,.-*%&£## I SEE THERE'S SOMETHING FAINT INSIDE ##£&%*-.,,
,,,.-*%&£# THEM. EMBRYOS? ARE THESE EGGS? #£&%*-.,,,
,,,,.-*%&£ £&%*-.,,,,
,,,,,.-*%& I SHUDDER, AND CLIMB BACK OUT. &%*-.,,,,,
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