..@..@@..@ ...@@...@@
.@@.@.@.@@ ..@.@..@.@
..@.@.@..@ .@@.@.@@.@
.@@.@.@.@@ ..@.@..@.@
..@.@.@..@ .@@.@.@@.@
.@@.@.@.@@ 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. .@@.@.@@.@
.@@.@.@.@@ ..@.@..@.@
..@.@.@..@ .@@.@.@@.@
.@@.@.@.@@ ..@.@..@.@
..@.@.@..@ .@@.@.@@.@
.@@.@.@.@@ ..@.@..@.@