.:-\*£&¶## ##¶&£*\-:.
..:-\*£&¶# #¶&£*\-:..
.:-\*£&¶## ##¶&£*\-:.
..:-\*£&¶# #¶&£*\-:..
.:-\*£&¶## ##¶&£*\-:.
..:-\*£&¶# 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. ##¶&£*\-:.
..:-\*£&¶# #¶&£*\-:..
.:-\*£&¶## ##¶&£*\-:.
..:-\*£&¶# #¶&£*\-:..
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