.#.#.##..#                                          ..##..##.#
.#.#..#.##                                          .#.#.#.#.#
.#.#.##..#                                          .#.#.#.#.#
.#.#..#.##                                          .#.#.#.#.#
.#.#.##..#                                          .#.#.#.#.#
.#.#..#.##        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.  .#.#.#.#.#
.#.#..#.##                                          .#.#.#.#.#
.#.#.##..#                   -----                  .#.#.#.#.#
.#.#..#.##                                          .#.#.#.#.#
.#.#.##..# 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.     .#.#.#.#.#
.#.#..#.##                                          .#.#.#.#.#
.#.#.##..#                                          .#.#.#.#.#
.#.#..#.##                                          .#.#.#.#.#
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