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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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