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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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