Emile, who sat beside him, asked, “What do you think?”
Dane had to force himself to look at Emile’s creation, the conical top of a volcano about 15 feet across and 6 feet high, the right size to dominate center stage and incinerate a pod dropped down its throat from 150 feet. Had he the presence of mind he would have said it drew curiosity, looked big budget, created anticipation, would be fun to watch, brought thrill to the stunt … but he couldn’t find the words.
He could see her through the blackening glass, crumpled over the steering wheel, the deflated airbag curling at the edges, melting into her face.
The volcano was setting afire the disposable fake trees near the crater’s edge. The effect was meant to frighten and add an element of danger. It worked. Dane looked away from the flames. “Impressive, Emile. I mean, reallyimpressive.”
Emile had to speak up over the simulated, amplified roar of the eruption. “As good as I could do for the money. I told Vahidi it didn’t have to be this big, but he’s concerned about the other volcano in town. He wanted something that would compete. Are you okay?”
The heat, the sound, even the smell …
Her hair crinkling, vaporizing down to her scalp … steam and smoke rising through her blouse.
“Well, let’s give it a go,” he said, just wanting to get it over with.
Emile radioed the crane operator, “Let her go.”
One hundred and fifty feet above the volcano, a dummy test pod hung from the cable. When the crane operator released the hook, the pod fell—it seemed to fall forever—and landed in the volcano with a carefully engineered crash and explosion that produced a ball of fire and a shower of fireworks. The pod was incinerated, just like that.
Just as planned, without a hitch. Dane felt sick. “Can you turn it off, please?”
“Sure.” Emile spoke into his radio, “Okay, kill the volcano.”
The volcano died with a smoky mutter, the shards and splinters of the fallen pod still flaming in its throat.
Here and there around the stage and bleachers, cast and crew applauded. Dane only wished he could have been stronger.
Emile must have read his face. “Dane. It’s okay. It’s going to work out.”
Of course, he thought, she won’t be in the pod. She’ll be long gone.
They’d run everything, starting at two o’clock, and the whole show took twenty minutes from Mandy’s magical appearance in the maw of the volcano—no fire at the time—to her soft-as-a-feather landing back on the stage in her hang glider, her doves circling about her. Turning on and testing the volcano came afterward just in case something unforeseen occurred that would have posed a danger. Nothing unforeseen happened.
Not that it couldn’t.
Mandy, out of her costume and back in her jeans and jacket, came back on the stage. With an assist from Andy, she inspected the smoldering embers of the dummy pod in the volcano. When she looked up at Dane, he could tell it was for reassurance. He could only send her a thumbs-up and mouth Emile’s words “It’s going to work out.”
They were ready to roll.
The night before Mandy’s premiere …
Mandy returned with Parmenter to the canopy in the desert, the 35.76 concrete blocks, and Parmenter’s preoccupied rattling about Bakers and Kileys and numbers that meant nothing to her. Dane was not there, on purpose. They all agreed, even though it pained her, that having him close quelled her tension, eased her longing, blunted that particular edge of unrest that she needed to … how did Parmenter put it?
“Remember,” he said, helping her tape the sensors in place once again, “we need to reproduce as closely as we can the conditions of that day. Anything you can recall, any feelings you may have had, you need to bring those back because they are what brought you within reach of the Machine’s timeline.”
That daywas the day she was ambushed but escaped and, in a drugged stupor, fled to Dane’s ranch—at least that’s what she understood to have happened. Having been in a drugged stupor, she just plain didn’t remember it, and that was the problem—and yes, they had considered drugging her again to reproduce that condition; but decided that wasn’t the prime condition, being ambushed and in danger of death was.
All she could do was her best, just try to be scared, as if a killer were chasing her. It sounded like Method acting, something she hadn’t quite mastered.
“Now remember,” Parmenter was saying, “until the Machine is recalibrated, you have primary control. It will change its settings to accommodate whatever you’re doing. The real challenge will come during the retrace. The Machine will be recalibrated and you’ll be on your original timeline, but you’ll still have to control the Machine from there, which is going to be trickier.”
“Got it,” she said, not wanting to hear it all over again.
“We’re ready.” He said it again into his headset, as if Moss needed to be told separately, “Loren, we’re ready.”
Back in the lab, Moss was at his station, watching the graphs and readings on the monitors. “And … may we have a word in private?”
“Yes, I’m on the headset. Go ahead.”
“I suppose her vitals are what we want: her blood pressure’s up, her heart is racing. But I’m getting nearly flat readings from the Machine. She’s not getting through.”
“Any suggestions?”
“I suggest you stop yakking so much and just let the kid work it out.”
“Oh. Yeah, you might be right.”
Mandy stood facing the stack of blocks, trying not to calm down in any general sense, but in one particular sense. She had to have singleness of mind and will, but at the same time be agitated and, if possible, distraught. Verrrry simple.
Parmenter sat down and just smiled at her. “Go ahead. I’ll be quiet.”
One goal of tonight’s session was to manipulate the blocks, all 35.76 of them, at the same time and see what that felt like, ifshe could even do it. She pretended they were doves and reached for the first block just as she reached for Carson while in flight. There. That was easy. As she and Parmenter watched, it lifted off the stack. It felt heavy to her, just like a big ugly concrete block, but it was floating, moving wherever she wished it to go, back and forth, turning on an axis.
Okay, now for the second one. No problem. She’d done this with hula hoops, microphones, bottles, spinning quarters, tennis balls.
She kept going, lifting three at once, then four, then five. Eventually she had ten of them circling the remainder of the stack like old movie Indians attacking a wagon train. Parmenter was excited as he watched, but he kept his promise and stayed quiet.
Thirty-two blocks all swarming around like bees was wild, very crowded, and scary enough to make Parmenter back away. The biggest trick was to keep them swarming without hitting each other, which got to be like that old rub-your-tummy-and-pat-your-head game, a lot to keep track of. It helped to keep splitting her mind into subminds that rode on the back of each block as if she, she, she, she, she, and all the other shes were driving ugly, 42.5-pound bumper cars.
After 32, then 35.76 were no bigger deal.
Now. Could she control all these blocks and be distraught? She kept driving the blocks and driving the blocks as she let one more thought come in, that of dangling at the end of a cable 150 feet off the ground. That didn’t make her distraught, just nervous. She thought of Dane, the aspens, the white fence, the big ranch house on the hill …
Oh, brother.She could sense her Deltas and Bakers and Candlestick Makers falling off.
Yep. Parmenter was frowning as he watched his monitor and listened to his headset.
“No, no,” said Moss, “she’s holding steady on the accumulated mass, but her corridor isn’t moving. She still has a discrete timeline.”