Authors: Kurt Bartling
The tracer reappears across an open space populated with
several
more
pedestals
of various height and diameter
.
Michael bounds from
surface
to
surface
like a
checkerboard
to reach the
light
. The tracer disappears
,
reappear
ing
on another
very tall
pedestal
at
the far edge of the course
.
Launching
from his pedestal
, he
land
s
with one foot on a head high
rou
nd beam.
W
ithout stopping to balance himself, he skips across
three
additional beams of alternating height and varying shape
,
positioned parallel to each other, finally
leaping
off the last beam to land on a pedestal a man and a h
alf high, reaching the tracer.
The
red marker
reap
pears at the point he started.
Michael
drops
from the pedestal, around ten-
feet in the air to land on a n
arrow beam a foot off the floor.
W
ithout
hesitation,
he races down the beam over a waist high pedestal onto the
last
beam
,
finally
t
o the tracer.
T
he people watching from the floor start clapping
and cheering
.
Michael looks up to see t
he weight
lifting
area em
ptied, with all in the arena
now
watching him. He jumps off the beam t
o the floor, turning to
address
Waters
;
wearing a
stunned
look on his face
.
Ca
tching his breath, Michael asks,
“How’d I do?”
“I’ve never seen anyone do that.”
Waters remarks.
“Really?”
An exasperated Michael replies.
…
After Michael
’s departure
, Rena changes out of
the gown. H
er
makeup r
emoved and hair strai
ghtened, wearing only a skintight nude body stocking,
Reg
takes s
everal
stock
photos
from straight on and at both profiles
.
Ms. Smith
explain
s that the
images
act
as canvas, allowing them to
design various appearance
s
and wardrobe
on their computer
s
. It greatly reduces trial and error when designing an
immersion
. The
y
can even use the images to create 3D models of her face
and body
,
allowing them to
create
clothing and
artificial prosthetics
where
greater
augmentations
are
required
for immersion
.
Ms. Smith
has Rena
change into several
more
outfits
;
house cleaner
, w
aitress, flight attendant, swim
suit, business
-woma
n, security guard,
street walker,
cocktail waitress
and
others.
She
spends an additional hou
r and half in the dressing room
before Rodriguez returns.
Thanking
Ms. Smith
and her team for the ‘fun’
,
Rena changes into her
mundane
workout
attire
.
As she
follows
Rodriguez
out
,
“Where’re we going now?
” She
asks.
“We are headed to the Combine. A
lthough,
I don’t think you will be the center of attention today.”
He replies.
“
Excuse me
?
”
“From what I understand, Michael is putting on a show. Seems he’s blown away the coordination test course rec
ord. We should be arriving
just
in time to
catch his
agility test.”
Rena and Rodri
guez arrive at the arena,
pass
ing
through the double door
s
,
station
ing
just off the large ov
al
track.
Sounds of
exuberance,
clapping and
cheering
emanate
from a crowd assembled
at its
center
. Rena cannot see Michael
,
bu
t based on Rodriguez’s comments;
suspects
the
excitement
is his work.
As t
he
y
p
roceed
t
oward the
gathering
,
Rena
scan
s the
expanse
,
noticing the huge
,
odd looking, urban terrain construct at the far end. Looking over her shoulder, s
he sees the elevated seating area
, immediately identifying Commander Still and his Asian counterpart
,
both
standing
along the railing at the lower front edge of the
balcony
.
As she watches them, the Asian
departs, exiting
out a doorway located along the wall. Moments later, he enters the a
rena through the double doors.
Walking b
riskly toward the gathering,
approa
ching
from behind
her and Rodriguez,
he acknowledges
her briefly as he passes. His expressi
on
imperceptible,
she’
s
unable
to discern whether angered or
intrigued by the performance on display.
A
s he approaches
the gathering, s
everal spectators spot
him
,
h
is appearance
creating
nearly as much commotion a
s Michael’s performance.
Like the
Red Sea
, the
crowd
part
s
in front of him, creating a pathway through the crowd,
snaking its way
directly to Michael.
Rodriguez
,
seeing
the
opportunity
,
quickly directs
Rena
to follow in
Takada’s wake.
Takada comes to a stop near the
beginning of the course.
Rena
,
emerging
from
the crowd
behind
Rodriguez, spots
Michael
hunched over, catching his breath.
Having
removed his jacket and tee,
Michael
stand
s
bare
-
chested and
glistening with sweat
,
a broad smile
visible
on his face, exhilarated.
Her heart rate kicks up a notch.
Michael
stands upon identifying
Takada
,
the
smile immediately disappearing
, as do the sounds
of exuberance from the crowd.
Takada approaches, “
I believe
its Michael
, a
m
ost impressive
display.
”
“Yes
, thank you,
sir.” Michael replies nervously.
“
I was wondering if you might be
willing to indulge my curiosity
.
”
Takada inquires.
“Sure … I mean.
I’m at your disposal. This is pretty much your
party
, sir.”
“Excellent.” Takada tur
ns and addresses Rena, t
aking her by surprise. “Please
,
my dear, you should stand over here,
as
you have not
had
an opportunity to observe your
colleague’s
exploits
.”
n
odding to a spot next to him.
Rena
feeling a sense of dread at the invitation, steps past the cr
owd to the spot indicated, glancing
at Michael.
He briefly reciprocates the
sentiment
.
Takada addresses her, as a teacher would a student, “Your
friend
has been performing, to our pleasure, extraordina
ry feats of balance and agility
…
The
obstacle
course you see in front of you is designed to push the participant
’
s
skills
.
Let me explain.
A
tracer
light
,
project
ed
fro
m
the ceiling
,
identifies a destination
t
he
participant is meant to reach,
by
any means possible,
a
s
quickly as possibl
e
,
without touching the floor.
Once
attained
, the tracer relocates
,
identifying a new destination
. I must admit, the theory is a bit medieval, a mouse in a maze flavor to i
t, but it does an excellent job
id
entifying physical capabilities, creativity and determination
.
”
His explanation delivered
without malice
or impatience
.
“My dear, I must
apologize,
given your schedule, I do not envy you having
to follow Michael’s performance
t
oday.
Alt
hough
,
I must also admit
,
given you
r
resourcefulness
last even
ing, I
do
look forward to your performance
.”
Several
of the spectators express
concurrence
with
Takada’s
comment
.
“No
w that everyone is up to speed
…
Michael, I apologize for keeping you waiting. I would like to try a variation on the exercise.
Y
ou
will
again run the course
, but this time
I will
attempt to push you
considerably harder
. In addition to chasing the tracer, there will be several people, positioned around the course
…
throwing tennis balls at you.”
At this declaratio
n, several in the crowd react with
surprise and excitement.
Mic
hael
nods his acquiescence, acknowledging Taka
da’s creativity.
Takada reque
sts assistance from the crowd
as b
uckets of tennis balls
arrive
at
the course
.
Positioning
several volunteers around the
perimeter
with a bucket each,
he
instruct
s
them
to throw a ball at Michael
when h
e points at them. Their
objective
;
knock
him
from the course
.
Takada asks the crowd around the
perimeter
to refrain from excessive celebration. With all participants ready, he instruc
ts Michael to prepare himself.