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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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