.-=**@&@## ##@&@**=-.
..-=**@&@# #@&@**=-..
.-=**@&@## ##@&@**=-.
..-=**@&@# #@&@**=-..
.-=**@&@## ##@&@**=-.
..-=**@&@# 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. ##@&@**=-.
..-=**@&@# #@&@**=-..
.-=**@&@## ##@&@**=-.
..-=**@&@# #@&@**=-..
.-=**@&@## ##@&@**=-.
..-=**@&@# #@&@**=-..