#...#.#...                                          ..##.##..#
#..##.#...                                          .#.#..#.#.
#.#.#.#..#                                          ##.#.##.#.
#.#.#.#.#.                                          .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
#.#.#.#.#.        THE SKYSCRAPER THAT MOVES         .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
#.#.#.#.#. TAINARON  IS   A   BUILDING  OWNED   AND .#.#..#.#.
#.#.#.#.#.  OPERATED BY AMATA TEXNOLOGIYASI PLACED  ##.#.##.#.
#.#.#.#.#. CLOSED  TO  THE  HARBOR IN  MALMÖ.  IT'S .#.#..#.#.
#.#.#.#.#. ROUGHLY  SIXTY  FLOORS HIGH (REAL NUMBER ##.#.##.#.
#.#.#.#.#.    UNKNOWN), DARK BLUE AND COMPLETELY    .#.#..#.#.
#.#.#.#.#.    RECTANGULAR. IT FEATURES NO SIGNS,    ##.#.##.#.
#.#.#.#.#. LIGHTS,   OR  ORNAMENTS,  APART  FROM  A .#.#..#.#.
#.#.#.#.#. HELIPAD  ON   TOP.   MOST  FLOORS   HAVE ##.#.##.#.
#.#.#.#.#. EXTERIOR WALLS COMPLETELY MADE OF GLASS. .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
#.#.#.#.#. IN LATE  EVENINGS, SHROUDED  BY  MALMö'S .#.#..#.#.
#.#.#.#.#. SIGNATURE FOG  ROLLING IN FROM THE  SEA, ##.#.##.#.
#.#.#.#.#. THE BUILDING COMES TO LIFE: IT  MOVES ON .#.#..#.#.
#.#.#.#.#. A  THOUSAND  ROBOTIC  LEGS  TO   ANOTHER ##.#.##.#.
#.#.#.#.#. (SECRET)  PART OF TOWN, OR  PERHAPS  OUT .#.#..#.#.
#.#.#.#.#. TO  SEA.  THIS  SIGNALS A  NEW  AND MORE ##.#.##.#.
#.#.#.#.#.      VISCIOUS PHASE OF THE TAINARON      .#.#..#.#.
#.#.#.#.#.                ECOSYSTEM.                ##.#.##.#.
#.#.#.#.#.                                          .#.#..#.#.
#.#.#.#.#. THE  GUESTS  ARRIVING DURING  THE  EARLY ##.#.##.#.
#.#.#.#.#. EVENING ARE TREATED  TO FOOD AND  DRINK, .#.#..#.#.
#.#.#.#.#. LIVE  MUSIC,  BEATUTIFUL  VIEWS,  AND  A ##.#.##.#.
#.#.#.#.#.    COMFORTABLE BUT MAZE-LIKE INTERIOR    .#.#..#.#.
#.#.#.#.#.    STRUCTURE (THE BUILDING FEATURES A    ##.#.##.#.
#.#.#.#.#.  MULTITUDE OF STAIRWELLS AND ELEVATORS,  .#.#..#.#.
#.#.#.#.#. PLACED SEEMINGLY  AT RANDOM, NONE  GOING ##.#.##.#.
#.#.#.#.#.        FURTHER THAN A FEW FLOORS).       .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
#.#.#.#.#. AS TIME GOES ON, THE  LIGHTS SLOWLY DIM, .#.#..#.#.
#.#.#.#.#. UNTIL THE AIR INSIDE  HAS  TAKEN ON  THE ##.#.##.#.
#.#.#.#.#. SAME QUALITY AS  THE  SURROUNDING  MIST: .#.#..#.#.
#.#.#.#.#. BLUE-GRAY, SPRINKLED WITH  THE SMALL RED ##.#.##.#.
#.#.#.#.#. DOT'S BY DOOR LOCKS  AND CONTROL PANELS. .#.#..#.#.
#.#.#.#.#. IF  YOU  WOULD LOOK THROUGH THE  WINDOWS ##.#.##.#.
#.#.#.#.#. YOU WOULD  SEE THE MIST  ROLLING BY, AND .#.#..#.#.
#.#.#.#.#. PERHAPS   THE  OUTLINE   OF  SOME  OTHER ##.#.##.#.
#.#.#.#.#.           BUILDING, FAR BELOW.           .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
#.#.#.#.#. DURING THE  NIGHT,  AFTER  TAINARON  HAS .#.#..#.#.
#.#.#.#.#. STARTED MOVING,  THE  LOWER  FLOORS  ARE ##.#.##.#.
#.#.#.#.#. SHUT OFF, PREVENTING  ENTRY OR  EXIT FOR .#.#..#.#.
#.#.#.#.#. THE GUESTS.  FOOD IS  NO LONGER  SERVED, ##.#.##.#.
#.#.#.#.#. BUT THE DRINKS BECOME  MORE EXTRAVAGANT. .#.#..#.#.
#.#.#.#.#. IT'S AT THIS  POINT THAT THE  SECOND SET ##.#.##.#.
#.#.#.#.#. OF   GUEST  ARRIVES,  VIA  HELICOPTER  - .#.#..#.#.
#.#.#.#.#.  AMATA TEXNOLOGIYASI AND THEIR FRIENDS.  ##.#.##.#.
#.#.#.#.#.                                          .#.#..#.#.
#.#.#.#.#.                  «««««                   ##.#.##.#.
#.#.#.#.#.                                          .#.#..#.#.
#.#.#.#.#. IN MY DREAM I AM INVITED AS A FRIEND  OF ##.#.##.#.
#.#.#.#.#. ONE OF  THE  SERVERS,  AND THUS SAFE. WE .#.#..#.#.
#.#.#.#.#. SIT   IN  ONE  OF   THE  LARGE  WINDOWS, ##.#.##.#.
#.#.#.#.#. LOOKING  THROUGH   THE  MIST   FOR   ANY .#.#..#.#.
#.#.#.#.#. LANDMARKS TO  PIERCE THROUGH  THE  MIST. ##.#.##.#.
#.#.#.#.#. SHE TELLS ME THAT APART  FROM COMING AND .#.#..#.#.
#.#.#.#.#. GOING  FROM  WORK, SHE'S  NEVER SEEN THE ##.#.##.#.
#.#.#.#.#. BUILDING FROM THE OUTSIDE. WE BOTH SIGH. .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
#.#.#.#.#. THE NEXT DAY I  AM INVITED TO THE PUBLIC .#.#..#.#.
#.#.#.#.#.     DEMONSTRATION OF THE EXOBUBBLE.      ##.#.##.#.
#.#.#.#.#.                                          .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
#.#.#.#.#.                                          .#.#..#.#.
#.#.#.#.#.                                          ##.#.##.#.
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