The extraction does not feel like rescue.
It feels like a stage change — the machinery of one act grinding to a halt and the machinery of the next lurching into motion before anyone has had the courtesy to lower the curtain. There is a sound first: a low, pressurized groan from somewhere beneath the stage floor, hydraulics engaging, and then the amphitheater's remaining architecture begins to separate from itself in clean, predetermined ways that prove the collapse was never structural failure but stagecraft. The walls do not crumble so much as fold. The catwalks retract. The dust that Hamlet has been breathing for seventeen days lifts in a single choreographed exhalation as ventilation systems he never knew existed open in the floor and ceiling simultaneously.
He is still holding the knife.
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