Filament

The hair in the glass dome isn't dead. It has roots. And it's hungry.

Tobias Hirst lives in the grey, rain-swept town of Whitby, a place where the fog clings like a shroud. As a restorationist of "Sentimental Jewelry," he spends his days repairing Victorian mourning wreaths-intricate flowers and landscapes woven from the tresses of the dead. It is quiet, delicate work, until an anonymous estate sends him a commission: a massive "Family Tree" dated 1860, sealed in a vacuum-tight glass dome.

The horror begins with a sound. A dry, scratching noise from inside the glass. Tobias notices the "leaves" are changing position overnight. The hair is responding to the humidity of the room. When he accidentally cracks the dome, the wreath doesn't just deteriorate; it blooms.

Microscopic analysis reveals the terrifying truth: the strands have pulsing follicles. They were not harvested from corpses; they were ripped from the living to feed a single, mimicking organism. And as Tobias starts to cough up long, black filaments, he realizes the spores are already inside him, weaving a new design in the pit of his stomach.

The Weaver has found a new frame.