.,-/*@#£## ##£#@*/-,.
.,-/*@#### ####@*/-,.
...,/**#£# #£#**/,...
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.,-/*#£### ###£#*/-,.
,-/*@#£### 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. £#@***/-,.
.,-/*@#£## ##£#@*/-,.
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.,-/*#£### ###£#*/-,.
...,--*@@# 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. ##£#@*/-,.
.,-/*@#£## ##£#@*/-,.
...,,//*@£ £@*//,,...
...,-/**#£ £#**/-,...
.,-/*@#£## ##£#@*/-,.
.,-/*@@@## ##@@@*/-,.