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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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