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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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