Technology
Alive 20
In this episode of 'Alive,' Captain Zander and his companions confront a mysterious black room that comes to life with vibrant lights and voices. As they navigate their fears and the weight ...
Alive 20
Technology ā¢
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Interactive Transcript
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Welcome to the serial audiobook Alive, an unabridged podcast of book one in the Generations
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trilogy, written by Scott Sigil, performed by Emma Galvin.
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This novel is available in print, ebook or as a full-length audiobook.
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For links to Amazon, Barnes and Noble, who are audible, please visit scotsiglurk.com
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Slash Alive.
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42.
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I don't know what I expected to see, but I did not expect a blank room.
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There is nothing in here, nothing but a black sparkly floor and four black sparkly walls.
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This can't be right.
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What have I done?
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I walk in.
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There has to be something here.
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There has to be.
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There is not.
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I turn to the others.
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Spingate and Gaston are standing in the doorway looking around.
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Bishop still holds the monster that is myself.
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There is nothing here, I say.
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What do we do now?
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I feel lost.
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I let everyone here.
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I have made a horrible mistake.
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This shuttle must be where the monsters wanted us to go.
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Until dethricked me, the monsters will catch us.
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Take us away.
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We will all die.
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We will all be overwritten.
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Our brief fear-filled lives will cease to exist.
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Gaston smiles.
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Not his arrogant smile.
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Not the joking grin he has when he tries to annoy Bishop.
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This smile is genuine.
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It is sweet.
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It is a smile of pure wonder.
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The smile of a twelve-year-old boy who remembers something truly astounding.
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He walks forward.
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The room comes alive.
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Lights flash everywhere.
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Not just on the walls and floor and ceiling, but in the air itself.
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Streams and streaks of color swell and move.
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Turn and twist.
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Red and blue and green and yellow lines and dashes glowing dots.
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It overwhelms my senses.
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A new voice speaks from nowhere and everywhere all at once.
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A voice that is neither male nor female.
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Welcome, Captain Zander.
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Gaston walks up to me.
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He has never been this handsome.
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Joy radiates from him.
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Makes me want to hug him.
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Kiss his cheeks.
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Lights play across his face.
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Glowing dots dance on his eyebrows.
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His lips moving when he moves as if they are a part of him.
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He takes my hand and squeezes it tight.
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Em.
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You did it, he says.
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His eyes gleam.
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He looks at me like I am his hero.
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You saved us.
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Spingate and I will take it from here.
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What does he mean?
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Iā¦
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Gaston.
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I don'tā¦
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Zander, he says.
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My name is Zander.
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He raises his right hand above his head.
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Yellow and green lines bathe his fingers and palm as if he is wearing a glove woven from
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light.
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He again flashes that stunning smile at me, gestures to the room that has come alive.
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Em.
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You got us here, he says.
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No one knew what to do, but you did.
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The madness of this room makes no sense to me.
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Shouldn't I understand some of this?
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O'Malley sees my dismay and speaks for me.
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You're right Gaston.
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Em got us here.
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Do you know what to do next?
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The glowing boy shrugs.
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Not yet, but I have some ideas.
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I think I know how to fly.
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I just have to remember.
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Spingate stands next to him.
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She too is pinked in light.
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All helps, Zander, she says.
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I look at my hands and see that they're normal.
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There are no lights on me.
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There are none on O'Malley either or on Bishop.
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Spingate looks tired and drained, but elated as well.
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She glows like a living torch.
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She is so happy it's impossible not to fall in love with her all over again from simply
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looking at her face.
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Go talk to the others, Em.
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She says, tell them everything will be okay.
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Tell them.
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Tell them that we're going home.
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Home.
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She's right.
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The zoloto with its garden and its coffin rooms, its pigs and grownups and butchery.
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This place is not ours.
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Neither is the dead planet the monsters left behind so long ago.
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Those places were never our homes.
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We were created to live on the planet below.
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We were made to walk on O'Malley.
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An arm around my shoulders, O'Malley guiding me out of the strange room.
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I walk with him.
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I stop at the wheel door and look back.
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Spingate and Gaston shine like a pair of angels.
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The black walls and black ceiling have vanished.
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In their place, I see many pictures floating free.
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So realistic you could reach into them.
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Touch whatever was there.
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One picture shows the chamber outside this shuttle.
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Another, the dark hallways we just walked through.
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Another, the brown and blue and green planet below.
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And yet another shows a long spinning copper cylinder.
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The massive ship we are still inside of.
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O'Malley pulls gently, gets me moving again.
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He guides me to the shuttle's entryway where Bishop is waiting.
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Matilda still cradled in his arms.
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The platform is empty.
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At the bottom of the ramp,
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El Saphani, coyote and Farah are stand guard.
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Bishop leans in close.
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O'Malley and I talked, he says.
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Do we do it in the new coffin room
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where everyone can see or outside the shuttle?
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Matilda has given up the fight.
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She lies limp, awaiting her fate.
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She looks at me.
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Her one good eye is swirling red jewel.
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My legs won't hold me up much longer.
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They shake from fatigue.
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I need to find some space in the aisle between the coffins.
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I need to lie down.
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I need to sleep.
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Wait, Bishop asked to question.
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Do we do it in the new coffin room?
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Do we do what exactly?
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He lifts Matilda slightly, answering my question
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by showing her to me a new.
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Yes, don't confide the shuttle, he says.
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So we don't need her anymore.
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Matilda's body shivers.
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I hear the sound of bones scraping on bone.
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Bishop is asking if you want to kill me quietly
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or execute me in front of the others.
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She says, do it in front of the others little leader.
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It is important you show people
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what happens if they cross you.
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The way she's speaking now, she thinks she's helping me.
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She thinks she's dying.
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I am her legacy, the part of her that will live on
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and she wants that part to succeed, to have power.
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Matilda is telling me what she would do
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if our positions were reversed.
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Some people do not approve of being sacrificed.
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That's what she wants.
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She wants me to sacrifice her, make an example out of her
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so that everyone will fear me, fear and obey.
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All the bodies, all the death, the massacre of the zolodal.
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How much of that was by her command?
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Matilda doesn't really think she murdered anyone
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at all.
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She thinks her butchery served a greater purpose.
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If this woman is me, how did she become like this?
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Did something happen to her after her 12th birthday
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that turned her into an obscenity?
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She is an appalling creature that shouldn't be allowed
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to exist.
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If anyone deserves to die, it is Matilda.
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But if I give that order, will it end with her?
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Who might be next and for what crimes?
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Matilda today for mass murder and because she is a threat
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to us, if Eremovsky challenges my leadership again,
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does that make him a threat?
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The question isn't if I have the power to order death
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because I obviously do.
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The question is, if I use that power now, will I use it again?
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The answer terrifies me worse than anything I've seen
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or experienced so far because I can't deny the hard truth.
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The answer is yes.
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I shake my head.
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I am not her.
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I am not Matilda.
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I am M and M has a choice to become something better.
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I point down the ramp.
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Leaver in the chamber.
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She led us to the shuttle.
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She did what we asked so we let her live.
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O'Malley and Bishop stare at me like I'm crazy.
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She is our enemy, Bishop says.
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She wants to erase you.
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O'Malley nods vigorously.
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Bishop's right.
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Matilda has to die.
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They agree?
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The two boys don't agree about anything.
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And they find common ground when it comes to murdering a prisoner?
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Bishop, I get.
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He sees things in simple terms.
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Kill or be killed terms.
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But I thought O'Malley was more complex.
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Disappointment riggles uncomfortably in my chest.
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I said no.
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We're getting away.
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No one else dies.
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Once we're down in the surface, she can't follow us.
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She won't be able to hurt us anymore.
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My decision is final.
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Matilda nods understanding.
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I'd forgotten.
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She says.
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Sacred Sintioto bless me.
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I'd forgotten how idealistic I once was.
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I'm sparing her life.
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And she's mocking me.
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A scream.
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A battle cry.
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Makes me jump.
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El safani racing away from the base of the ramp,
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leaving Farah and Coyote to stare.
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The red grey cake twins.
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Screaming, waving bone clubs over their heads,
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sprinting toward the archway.
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There, a pair of wrinkled, co-black monsters,
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walking in each step, a twitching, jittering, painful effort.
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One monster carries an axe.
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The other a jeweled scepter.
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They have found us.
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El safani, come back!
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My shout echoes through the room.
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But if the twins can hear me over their own violent howls,
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they don't respond.
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I start down the ramp, make it two steps,
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before a boy's hand locks down in my arm.
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Omali, holding me, but I yank my arm free,
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and hear my shirt-sleeve rep.
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The ramp's hard points dig into my running feet.
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Bishop thunders down the ramp behind me.
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I'm halfway down when Spingate shout stops me.
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She leans out of the shuttle entrance.
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Em, get everyone inside.
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We can see the hallway.
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More of them are coming.
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Gaston thinks the shuttle will protect us.
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Down the ramp, my feet slap against the metal floor.
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El safani halfway to their target.
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I look to the archway.
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My heart turns to ice.
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The two monsters weren't alone.
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Hundreds of them pour through.
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Their movement's still did and halting,
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as if each step brings a bolt of agony.
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An army of ancient darkness,
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of diseased bodies that should have died centuries ago.
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And on some of their arms,
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silver bracelets with a long point that ends at their wrist,
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I stop.
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Bishop stops next to me,
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Matilda still in his arms.
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It's about damn time.
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She says,
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her voice full of appreciation and,
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possibly, hope that she might live through this after all.
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Captain Zander finally broke out the guns.
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Bishop's roar makes my best sound like a whisper.
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El safani, stop.
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His voice echoes off the floor, the ceiling,
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the walls, and again, the twins don't hear.
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They charge, bellowing, brandishing their clubs.
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The pieces click together with a nearly audible snap.
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We beat the grownups in the garden because they didn't bring the weapons,
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because they wanted to take us alive.
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But now we've got the shuttle.
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They're only way to reach Omeokan.
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How could I have been so stupid?
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They would rather kill most of us than let us strand them here forever.
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The monsters raise their arms.
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Bracelets glow with a white heat.
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The twins almost make it.
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A crackling sound I've never heard before,
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like a living animal boiled in oil,
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then narrow cones of shimmering energy blaze from the bracelet tips.
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A white flash, silhouettes El safani.
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Their backs are black shadows against a blinding light.
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I see this for a split second.
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Then I can see through their backs.
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The El safani battle cry ends forever.
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A hundred bloody pieces scatter across the floor,
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rolling and flopping to a wet stop at the monster's feet.
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A howl rips from my lungs,
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launched so hard and so instantly that my throat shreds and burns.
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Those butchers murdered my friends.
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Tears well up, despair crushes me, compresses me,
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but I clinch my teeth and force it away.
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There is no time.
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I grab Matilda's rest, yank her out of Bishop's arms.
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The ancient creature falls hard to the floor.
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Everyone back inside.
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I sprint up the ramp.
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The circle stars are so fast they pass me by.
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Omali and I rush in.
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As soon as I'm through the door, I scream to my right.
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Gaston, get us out of here.
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Coyote and Farah run to the coffin room.
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Bishop and Omali stay with me in the corridor.
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The floor vibrates.
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Shuttle doors closing.
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Through them, at the base of the ramp,
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I see Matilda's savage.
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She's lying on one hip, looking at me with her single swirling red eye.
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My creators stumbling, shambling people close in.
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They point their arms at me.
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The white glow of their bracelets building to a blinding shimmer.
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The shuttle doors hiss closed.
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One second, I am at the edge of death.
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The next, there are red metal walls,
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a hands-width from my face.
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I hear something hit the shuttle with a sizzling sound,
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but nothing comes through.
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Gaston's voice booms from everywhere and nowhere at once.
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Comes from the shuttle itself.
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Get in those coffins.
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Get in and vice still.
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I'm being pulled.
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Bishop drags me toward the big room.
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I won't go into the darkness again.
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I can't.
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My hand is a fist.
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My punch drives square into Bishop's eye.
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I think of Lotu in the fraction of a second before Bishop grabs my forearm so hard,
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I feel bones bend.
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Gaston's voice roaring.
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Hang on, we're going home.
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Get in the coffins or you'll die.
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I try to yank my hands free,
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but Bishop's grip might as well be the metal bars that held me in my coffin.
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Bishop, let me go.
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I can't go in there.
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I can't.
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I am lifted, thrown over his wide shoulder.
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He carries me into the coffin room.
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I punch at him, try to kick him.
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I rake his back with my fingernails.
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Don't you dare, Bishop.
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Don't you leave me in the dark.
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I rake him again, feel his body on my fingers.
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I'm in the aisle now.
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Coffins on my left and right.
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People who aren't already in coffins are scrambling to find empty ones.
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Hands grab my wrists.
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It's omali.
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Em, stop it.
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It will be alright.
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I lift my head, see deep blue eyes drowning in helpless fear.
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I feel my face twist into a wicked snarl.
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I hurl my hate at him.
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O Mally killed Bishop.
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He's trying to trap me in the dark and I'll die.
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I can't go back there.
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I fight and kick and twist, but the two boys are far stronger than me.
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Why don't they understand?
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Things bite in the darkness.
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The shadows want to hold me down and suffocate me.
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I'll be trapped again, trapped forever.
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This is a trick of brewers.
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He's working with Matilda to capture us all,
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to capture me and erase my mind.
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They will overwrite me, but that's not enough for them.
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They are going to put me in the dark first to punish me and...
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The world spins.
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It takes me a second to realize what's happening,
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to understand what the padding under my back means.
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My friends put me in a coffin.
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Hands hold me in place.
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I'm thrown to the left, smashed up against the padded wall.
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That wasn't the boys.
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It was the shuttle itself, moving.
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An instant of realization cuts through my blinding terror.
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Let's me think straight for a brief moment.
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Gaston and Spingate, the shuttle is leaving the solodal.
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They are getting us out of here.
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Bishop and O'Malley pin me down,
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using only enough strength to stop me from sitting up or lashing out at them.
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I'm in a coffin.
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I'm going into the darkness.
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My friends have betrayed me.
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I have to fight.
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I have to kill.
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A face close to mine, peering in at me.
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A small face.
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A girl.
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She's wearing a clean shirt.
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She has dark skin, jet black hair,
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dark eyes.
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There is a tooth circle on her forehead.
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It's Subiri.
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Em.
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It's going to be okay, she says.
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Don't be afraid.
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She smiles.
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The girl is so calm.
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None of this frightens her.
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I am older than she is.
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Shouldn't I be the one comforting her?
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I can't be in here.
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I say to Subiri, as if the tiny girl can overpower Bishop or give orders to O'Malley.
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I can't be in a coffin again.
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Tell them.
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I want my voice to sound angry.
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Dangerous and threatening.
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But what comes out is a pathetic wine.
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I'm not commanding anybody.
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I'm begging.
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Subiri shakes her head.
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It's not a coffin, Em.
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It's a bed.
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You have to be in it right now.
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Do you know what G-forces are?
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I don't.
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I've never heard those words.
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I shake my head.
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It means that if you're not safely protected,
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you'll be thrown all over this cabin.
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Subiri's voice is soothing.
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She isn't worried at all.
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Not even a little bit.
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When this shuttle flies Em,
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if you're not safe inside the coffin,
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you will probably die.
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She wants to help me.
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But to let her help me,
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I have to stay in this nightmare box.
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I look at Bishop.
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He's still Em.
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He says, it will be all right.
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I look at O'Malley.
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You're safe.
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He says, you got us out.
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Now lie back so we can leave.
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I don't want you to die up here
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when we're so close to O'Mailcan.
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O'Mailcan.
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We're going down to the planet.
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That's what we were made for.
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The world lurches again so violently
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that O'Malley Bishop and Subiri tumble away,
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fall over and slide into other coffins.
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For a moment, no one is holding me down.
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I could run, but I do not.
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If I don't stay here, in this coffin,
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they will try to catch me.
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If Subiri is right, the boys could die trying to keep me safe.
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Better I go mad in the darkness
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than see any harm come to Bishop and O'Malley.
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I close my eyes and force myself to stay still.
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The coffins padded sides press in on me.
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My neck tingles, waiting for the needle sting
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that I know is moments away.
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This time, it won't be clogged.
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The poison will give me a fever cleaver,
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and I will die burning and screaming.
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But I remain still.
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Gaston's voice rips the air.
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Last warning, people, we're leaving.
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I hear O'Malley scramble into the coffin on my right.
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Bishop lunges into the one on my left.
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On either side of me, a boy's hand reaches over the coffin's edge.
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My fingers seek out theirs.
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They intertwine.
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O'Malley holds my right hand.
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His skin is warm and soft.
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Bishop holds my left.
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His hands are rough and blistered.
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He squeezes so tight it hurts.
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But I don't mind.
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It makes me feel protected.
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I hear something.
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Lift my head to sea.
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A lid is sliding up from the foot of the coffin.
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Slowly sealing me in.
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It moves past my knees.
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My thighs.
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My hips.
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I let go of both boys.
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I rest my hands on my chest.
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Left over right.
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The lid slides over my face.
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All is dark.
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There is a click.
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Then a hiss.
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The coffin presses into my sides.
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My back.
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My chest and my face.
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A scream builds up inside me.
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Unstoppable.
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The product of my body's instant and futile need to move.
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To fight my way free.
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Then I smell something odd.
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Almost instantly.
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My body starts to relax.
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The world shifts again.
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No.
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Not the world.
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The shuttle.
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I feel a hard pull to the right.
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Then left.
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Then up.
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If the coffin wasn't pressed tight against me.
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I would sail through the room.
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Smash.
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So hard against a wall or a door.
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Or the ceiling that my bones would shatter.
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Zubiri was right.
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The coffins once promised death.
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Now.
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Their life itself.
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The pulling sensation eases.
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Then.
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It's gone.
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We are floating.
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My eyes droop.
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It smells.
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It's nice.
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I'm not stressed anymore.
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I'm tired.
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So very tired.
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I blink or try to.
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But once I close my eyes, they won't open again.
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There's a moment before sleep takes me.
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A moment where the events of my impossibly short life
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play back in my head.
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We saw so many horrors.
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I killed young.
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We lost lot to.
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We lost bellow.
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We lost El Sifani.
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Tears flow from my dead friends.
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There is nothing I can do now.
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No reason to battle against the waves of despair
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coursing through me.
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They are dead.
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And I will never see them again.
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But despite our losses,
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our tragic and stupid losses at the hands of creatures
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who should not exist.
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I know my friends didn't die for nothing.
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I am proud of them all.
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And the survivors as well.
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Because together,
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we won.
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We woke up in a prison.
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We were made to be erased.
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The grown-ups said we were property.
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They said we weren't people.
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We showed them they were wrong.
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The grown-ups, or monsters,
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or cherished, or whatever they are.
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Don't care about us.
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They don't care what we believe in.
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What we stand for.
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They don't care what we like.
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Or who we love, or what we think.
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They just want copies of themselves.
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They would kill the children so they could live forever.
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We were made to be like them.
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But we've earned a different path.
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They can't follow us.
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We can be whoever we want to be.
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We can make a new future now.
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If we make mistakes,
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at least those mistakes will be ours.
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As the darkness within my head swells to match the darkness without.
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One last thought fills me with peace.
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Before I drift away,
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we are the birthday children.
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We are on our way to a male can.
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We fly.
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You have been listening to A Live,
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Book One in the Generations trilogy.
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Written by Scott Siggler,
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performed by Emma Galvin,
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produced by Adrian Galvin,
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and engineered by Steve Rickeyberg.
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Follow Scott on Twitter and Instagram,
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where his handle is at Scott Siggler,
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SCOTSIGRE,
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one word or join our Facebook group
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at facebook.com slash Scott Siggler.
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The music is the song Unseen Horrors by Kevin McCloud.
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There are vampires out there.
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They walk among you,
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shoulder to shoulder in the dark,
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heading to work, heading home,
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going to the bar.
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It's a life just like anyone else's,
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and I have grown used to it,
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to the darkness,
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to the moon,
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to the taste of blood on my tongue.
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But vampires are dying out.
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We are a fading kind,
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and I am the first one created in so long,
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and that is a dangerous thing to be.
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Those who came before me,
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elders of all stripes,
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they do not want to see our kind gone,
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and they will do anything to keep their power.
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And for myself,
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and for grace who created me,
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that is a sword that hangs above our heads.
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And the worst person of all carries our secret,
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and he will use it,
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however he sees fit.
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Who do you look to when things are at their darkest?
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From the creators of Park Del Haude comes Woodbine,
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a podcast about monsters, dreams,
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and changes,
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those you want,
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and those you never saw coming.
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Season 2 arrives at 10th, 24th,
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distributed by Realm.
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It was the dawn of a new era of spaceflight.
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We're in a flight as new rocket.
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Never been flown before,
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and we got people on it.
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You know that there are a lot of things that can go wrong.
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From the BBC World Service,
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13 minutes presents The Space Shuttle.
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I think we've got something that's really going to mean something
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to the country in the world.
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Listen on the BBC app,
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or wherever you get your podcasts.