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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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