—I have not seen it yet.

—Well, you really want to see this. The breastplate and the middle of the abdomen are smooth. I think she’s wearing some type of sleek armor, like the Amazons. Two large turquoise arteries are running down her sides behind large ribs. It’s as if part of her anatomy is exposed. There is a large-scale V-shaped armor piece carved into her back, going all the way to her waist. It’s magnificent, very humbling.

—I appreciate your attention to details. I am not blind to the aesthetics of the device. Some of its parts are indeed striking. You convey your appreciation for this particular piece in a very eloquent manner…

—It’s pieces, plural. The chest and abdomen are separate pieces. They were just joined together when you found them.

—Thank you for correcting me. I was saying that I would prefer if you focused on the functionality of these pieces, plural.

—As I said, you need to see them. You can’t ask about the Sistine Chapel and expect me not to mention the ceiling. The aesthetics aren’t merely a side note, they’re as important as anything else. You can’t look at this thing and not know it was built to intimidate. Anyone who came face-to-face with this thing was meant to be awed and terrified at the same time. Form follows function.

—That the life is recognizable in its expression. That form ever follows function. That is the law.

—Who said that? Was it Frank Lloyd Wright?

—His mentor. I apologize for my previous comment. I should know better than to question your judgment.

—It’s OK. I get a bit carried away. But the torso is magnificent, and very large.

—How large?

—Very large. It’s…big. Roughly the size of a six-story building. We had to relocate.

—Yes, this is an impressive structure. I got lost in the tunnels after they showed me in. It took nearly twenty minutes before a security guard found me and brought me here.

—This place was completely empty before we moved in. Security’s a little thin once you get past the front door.

—What can you tell me about this facility?

—They call it the Ark. We’re right beneath Denver International Airport. It was built at the height of the Cold War as an alternate command center in the event of nuclear war. It also houses living spaces for nearly five thousand people, and it holds the world’s largest underground storage facility.

—It sounds like a description of Cheyenne Mountain.

—Pretty much. Apparently, since Cheyenne Mountain was seen in just about every sci-fi movie you can think of, it would probably be high on a target list and might not withstand a direct hit from modern missiles. They built this facility in the late eighties to be used as a command site and long-term shelter when the Continuity of Government plan is invoked.

We’ve been given access to the storage area. It’s over a hundred thousand square feet with a three-hundred-foot-high ceiling. If we manage to put her back together, she’ll have room to walk around; now that we know she can walk.

—You can give me a tour later. I assume you found the opening.

—Yes, there’s a hatch at the top of her back, right between her shoulder blades. You can barely notice it, but there is a handprint carved into the door that responds to body heat. When you press your hand onto the handprint, the door slides in. Of course, you know all this since your men already went in.

—I sense a bit of frustration in your tone.

—I don’t know if you want to call it frustration, but I was told I was in charge of this project. Then you tell me you had teams searching the Arctic without my knowledge, using my formula. So, no, I’m not entirely happy, and I’m wondering what else you haven’t told me.

—I wanted to let you finish the search on US soil. I suppose I could have told you before. I am telling you now. You are no longer in charge of the search effort. Everything else is your domain.

I want you to focus on making it work. It is much closer to your area of expertise and it is where you have excelled in the past. I hate to have to remind you, but you are not a military strategist. You almost lost your pilot when you hit your first road bump. Believe me, things are going to get very unpleasant once we take this search onto foreign territory.

—Look, I really don’t care if I run the search or not. I just want you to be straight with me. I’ve never asked for anything since we started all of this. I’m asking now. Don’t go behind my back.

—I will keep that in mind. Now tell me about the torso.

—Behind the hatch, there’s a small tunnel, about four feet across that leads to another small door with a similar handprint—it’s made of a material I can’t identify. This one leads to a spherical chamber, about nine meters wide. That’s about thirty feet.

—I am familiar with the metric system. Thank you.

—The chamber rotates inside the torso based on its incline. Basically, it’s a big gyroscope. The concept is beautifully simple. The sphere is heavier at the bottom, and it floats in some sort of liquid. Gravity does the rest. If you tilt the body, the inner sphere stays level. The sphere appears to be translucent. You can see the dark metal through the milky substance it floats in. The interior is dimly lit though there is no apparent light source. There are no windows of any kind.

The floor of the chamber is flat, split into two crescent-shaped decks. The rear one is raised about three feet, with two steps on each side to get down to the front section. It seems designed to accommodate two people, two pilots. I call them animators. I like the puppet analogy better since it’s not really a ship.

The upper deck is very minimalist. There is a beam that descends from the ceiling about halfway through. Attached to the end of it is a black helmet—like a scooter helmet, with a dark, opaque visor—and what looks like an armored straitjacket. It has metal braces that close over the forearms and upper arms and it’s articulated at the shoulders and elbows. It also has a wide brace that wraps around the chest. There are glove-like devices at the end of each arm. Standing right in front of it is a small metallic round column, about three feet high.

—Have you determined its purpose?

—We have no idea what it does, but we really haven’t tried anything yet.

The bottom deck is much more elaborate. There’s a crescent-shaped console, about two meters wide, with maybe two dozen symbols carved onto it. Some of them are the same curvy ones we found on the panels in the hand chamber, others we haven’t seen before. In front of the console, where you’d expect a chair, there is a round circle. I wouldn’t call it a pool because it’s only half an inch deep, but it’s filled with some milky liquid. It’s very smooth, very silky, like liquid Teflon. Rising from the floor, right in the middle of it, is a shaft, about three feet high. There is another black helmet attached to that shaft, and a matching set of leg braces with stirrups hanging about an inch from the liquid floor.

It would appear that one person operates the arms and trunk, while another controls the legs, plus whatever else one can do from the console. That’s where it gets interesting.

—Before you go on, have you decided who will control the upper body and who will work the legs?

—I haven’t decided yet. The leg station is the one that controls locomotion and every other function on the console so there’s an argument for Kara sitting there, standing there, whatever. On the other hand, I believe it may be physically harder to move the legs and Ryan is a very strong man. We’ll probably try both and see what feels more natural.