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= THE GLASS FACTORY. =
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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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