.:=^†&@# #@#&&†^=:.
..:=^†&@ @#&&†^=:..
.:=^†&@# #@#&&†^=:.
..:=^†&@ @#&&†^=:..
.:=^†&@# #@#&&†^=:.
..:=^†&@ 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. #@#&&†^=:.
..:=^†&@ @#&&†^=:..
.:=^†&@# #@#&&†^=:.
..:=^†&@ @#&&†^=:..
.:=^†&@# #@#&&†^=:.
..:=^†&@ @#&&†^=:..