#...#.#... ..##.##..#
#..##.#... .#.#..#.#.
#.#.#.#..# ##.#.##.#.
#.#.#.#.#. .#.#..#.#.
#.#.#.#.#. ##.#.##.#.
#.#.#.#.#. 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. ##.#.##.#.
#.#.#.#.#. .#.#..#.#.
#.#.#.#.#. ##.#.##.#.
#.#.#.#.#. .#.#..#.#.
#.#.#.#.#. ##.#.##.#.
#.#.#.#.#. .#.#..#.#.