"Hi, guys! We'll start each day with continuity shots of each of you a few photos to show exactly what you are wearing, how your hair is styled and how you are made up, in case we have to re-shoot a scene or do a pickup on Thursday or Friday," Sandy explained, holding up a digital camera. "Please remember not to change your hairstyle or color, or your manicure until we have wrapped for the week. You can fix your hair differently tomorrow as long as you don't do anything irreversible, but I would suggest that you don't. The viewers need to get to know you, and if you keep your hair the same, it will help them. At the end of the day today, please put your outfit, including any accessories, in the garment bag marked 'Day 1' that you will find in your closet. Place your shoes in the bag as well. If you want to wear them again on Tuesday or Wednesday, that's fine, but return them to the 'Day 1' bag." She gestured to the three screens lined up off to the side. "If all of you would just step over here, one apartment to each screen, we'll get started. Put your EliteBooks in the containers. We'll take them to the workroom for you. Then just stand on the mark and follow the photographer's instructions." The designers moved to the designated area. "After you are finished, please find your chair by the runway. Jon will be waiting to explain how we shoot the first scene."

Kurt let the girls go first, so he was one of the last to find a chair. He was glad to see he was seated beside Jen, on the risers behind Marisol and Annie. As soon as they were assembled, Jon began. "Welcome, everyone. I'm Jon. We're going to shoot in order today, but there may be an occasion when we will shoot this scene on a different day because Heidi is unavailable. If that becomes necessary, you will need to bring your 'Day 1' wardrobe to the set with you. Your assistant will notify you if that's the case. If you watch Runway, and I'm sure you all do, you know that there are two camera angles for this scene -- one on Heidi, and the reaction shot focused on the designers. We're going to shoot the reaction first. Your job during both shots is to focus on Heidi, listen to what she is saying, and react appropriately. She'll enter from behind the screen, so start by looking in that direction. When she says 'Hello', you should respond. This is pretty simple, so we should get the whole thing in two takes. It's not the end of the world if we don't. Sometimes someone sneezes and ruins the take. It happens. Of course, all of you now have the urge to sneeze, don't you?" The designers nodded and laughed. "No matter what happens, remember the cameras still roll until the director says 'cut' so stay in place and in character. Have we gotten all the continuity shots, Sandy? Yes? Okay, then. Here we go."

All the designers turned to face the translucent, back-lit screen. Heidi passed behind it, her silhouette clearly visible. She emerged and walked down the runway to face the designers. "Hello," Heidi said cheerily, the pitch of her voice rising on the first syllable and falling on the second. There was a general chorus of responses. "It's time for your first challenge. Tim is waiting in the workroom to give you the details. Good luck and I'll see you on the runway." She wiggled her fingers in a small wave. "Bye, everybody." She walked away and the director said 'cut'. They reset the scene, and Heidi repeated her flawless performance.

"Okay, good job everyone. We'll go to the workroom now. We'll be using multiple hand-held cameras, as we often do in the workroom. Do your best to ignore them. Focus on Tim, and be sure you understand the challenge. It's okay to ask questions if you need clarification of something. We want you to behave as naturally as possible. Sandy, will you lead the way?"

Kurt was nervous, confident, eager, and reluctant all at once. Here we go! He exchanged glances with Marisol. 'Good luck,' he mouthed silently as the designers filed out for their first look at the place where they would be spending so many long hours.

"Welcome, Designers!" Tim greeted them as they entered. "Before we start filming, let me give you a quick tour. This area is for cutting, fitting and handwork. Each of you has been assigned a table and a mannequin. The mannequin has already been configured to your model's measurements."

The workroom was spacious and brightly lit. It would be a luxury for all of them to have access to the large tables set at the correct height, so much better than cutting fabric at the kitchen table or on the floor. I can work all day and my back won't hurt! Kurt could see that the mannequins were labeled with names. He knew his would be one of the four that had legs. That's odd. One of the female mannequins is plus-sized.

"If you'll come this way, I'll show you the Brother sewing room," Tim continued. "We don't have a dedicated machine for each of you, but we've found that really isn't necessary. There are six professional-grade sewing machines, six sergers, a cover stitcher and a blind hemmer. You'll find machine needles in the drawers of the tables, along with the extra feet and tools that accompany each machine. Thread is in the cabinets along the wall. We keep the door closed to cut down on the noise in the other room. If you prefer to do your hand-sewing in this room, you may." He gave the designers time to walk around the room and examine the equipment before going on.

As soon as the designers entered the sewing room, Jon delivered some last minute instructions to the cameramen. "Phil, when the designers open their grab bags, I want you follow the person who gets bag #1. Get his reaction to the fabrics, and any trades he makes. Juan, I want you to survey the room and get vignettes of everyone else. Try to get a mix of single shots and interactions. You know the drill."

"Now, for the most important information," Tim said with a smile. "The restrooms are down this hall to the left, and the break room and lounge are to the right." The designers laughed appreciatively. "As Heidi told you, we encourage you to take breaks when you need them. The lounge has couches and the lighting is fairly dim. If you take power naps or need to rest your eyes, the lounge is the place to do so. The break room is well-stocked, but if you would like something else, just let me know and we'll take care of it. Within reason, of course. No lobster or champagne." Tim led the way back to the workroom where Jon positioned them in a double line and reminded them to focus on Tim and not the cameras.

"Welcome, Designers," Tim began. "For this challenge, each of you will receive a grab bag." He indicated the row of numbered Mood bags displayed on the front table. "Each bag contains at least two pieces of fabric, and a total of 10 yards. You must use at least one fabric from the bag in your design. You may trade fabrics with other designers, but you must use any fabric you receive in a trade, and be sure to keep at least one of ones you started with. You will have 15 minutes to trade and 30 minutes to sketch on your HP Elitebooks before we go to Mood, where you will have $100 to spend on additional fabric and notions. You will be creating a weekend look for your model. I'm sure you remember the button bag."

Like all the other designers, Kurt laughed at each of Tim's jokes. He does that to relax us, and I think it's working, at least for me. Even when his jokes aren't that funny, it feels good to laugh. Tim reached into the bag and pulled out the first button. "Ernesto! You get bag #1! Please take it to your workstation, but don't look inside yet. We'll all look at the same time." I love the way Tim sounds so happy when he draws a name. Tim continued to call names until everyone had fabric. "Designers, you may open the bags. Your 15 minutes starts now."

Kurt eagerly opened his bag and placed the yardage on his table. He had a three-yard piece of bottom-weight navy cotton twill that would be great for pants, two yards of purple silk, another three-yard piece of light brown woven wool, and two yards of a multi-colored print in the jewel tones he wanted to use for Lars. Overall, it was a nice assortment that gave him several options.

The first piece Ernesto pulled out of his bag was a beautiful turquoise silk jacquard with a subtle pattern of hearts in the weave. He frowned, trying to remember what the fabric reminded him of. Oh, that's right. His mother. I said I would stop worrying, but I wouldn't forget. This is my chance. He put the silk back and took the whole bag to Kurt's table. "Hey, Kurt, want to trade? I have something I can't use." He surveyed the fabrics spread out on the table in front of him. "If you'll give me the purple," he said casually, "I'll give you this." He extracted the turquoise silk from his bag and placed it on the table.

Kurt touched it reverently before turning to face Ernesto. "Thank you! You have no idea what this means to me. Oh, yes, you do," he said slowly, realization dawning. "You know exactly what it means to me. Are you sure you want to give it up? It's beautiful, and I'm sure you could make something really lovely from it."

Ernesto decided to drop the pretense. "Is it the right shade?"

Kurt nodded. "It's perfect. And it has hearts."

"To me, it's only a pretty piece of fabric and the purple is just as nice. To you, it represents your mother. It was meant for you. Please take it."

Kurt blinked back tears. "Thank you. You know this requires a hug, right?" He suited the action to the words. "I owe you one. If you ever need anything, just ask, okay?"

Tim made it a practice to sound cheerful and enthusiastic when he announced a designer's name, but he really had been delighted that Ernesto had gotten bag #1. The drawing hadn't been rigged, but the fabric had been chosen with the knowledge that Kurt would appreciate it if he ended up with it. At Nina's insistence, Tim and Michael had been told the full story of Kurt's unfair elimination, and it was Nina who had suggested including the turquoise jacquard in the grab bag. Tim sent her a quick text and added Ernesto to the list of color spots they needed.

Marisol was dismayed by the contents of her bag. She had 10 one-yard pieces of fabric in a riot of colors -- two shades of green, dark rose, magenta, orange, red, yellow, cobalt, cerulean, and purple. None of them was large enough to make a garment, and she didn't feel comfortable asking anyone to trade because her pieces were so small. There was a variety of fabrics and textures, but all of the colors were brighter than she liked, some of them bordering on garish. Oh, well. At least I only have to use one of them. The rose isn't too terrible, and I can get more fabric at Mood.

"Okay, Designers, your 15 minutes is up. Please return to your tables. Before you start sketching, we need to know what fabrics you ended up with. You may have noticed the stickers. Please pull them off your fabrics and place them on the sheet of paper that was at the bottom of your bag. If you traded for the fabric, write the name of the designer with whom you traded. Remember, you are required to use any fabric you got in trade. You don't have to use the entire yardage, but the fabric must be clearly visible as your look goes down the runway. The same goes for at least one of the fabrics that was originally in your bag. Are there any questions? Yes, Andrew?"

"Must we decide right now which fabric we will use? I'm a free spirit; I must be allowed to design as the fabric calls me. And right now, all is strangely silent, but I feel sure that it will talk to me if I give it a little time. It's just shy."

Tim suppressed a smile. The audience wasn't going to have any trouble identifying Andrew. His extravagant gestures and exaggerated way of talking made him instantly memorable, which was probably what he intended. "No, you can change your mind at any time, as long as you use at least one of the fabrics from your bag and any you traded for in the final product."

Jonny looked stricken. He hadn't been sure if he wanted blue or orange accents on his garment, so he had traded for both. Now he realized that he would need to work two colors that didn't go well together into his design. "Can we trade back?" he asked, holding up the two fabrics and making such a lugubrious face that the other designers had to laugh.

"I'm afraid you're stuck with what you have, Jonny. Make it work! And don't try hiding one in a facing or underlining.

"There are drawers in each worktable," Tim continued. "You'll find the notions order form in the left-hand drawer, along with a sketchbook and pencils, in case you don't want to use your Elitebook. You may use either or both, and may change at any time. For today only, Sandy and Jo will stay in the workroom in case you need help with the software. You may order your notions as you sketch if you wish, but you'll also have a few minutes after your design time is up. Okay, you have 30 minutes to sketch and then we'll go to Mood. Your time starts … now."

Kurt used the built-in camera to take photos of his fabrics, then imported the swatches into the design software. After he sketched his garments, he would be able to fill them in with the actual fabrics instead of using just a solid color. 'Weekend look' is pretty vague. They probably did that intentionally to give us some leeway for the first challenge. What would Lars like to do on the weekend? Hmmm ... He'd probably like to jump out of a plane or off a bridge or something, but I don't think that look would be very marketable. Sorry, Lars; you're going dancing. Several looks quickly took shape on the screen. He knew he wanted to use only a small amount of the turquoise. It was such a strong color that a little would go a long way, and he fully intended to include it in every look he created, even if it was only a little piece hidden inside, so he needed to conserve what he had. Either a scarf or a pocket square, or maybe a small amount of piping. The brown wool was a nicer fabric than the navy cotton, but the color didn't go well with the silk. Regretfully, he decided to save it for a future project.

He had drawn a basic pair of pants, tight through the seat and thighs, but not too tight, with tapered legs. I want you to look sexy, not slutty, Lars, and you need to be able to move if you're going dancing. He filled them with the navy twill, then drew in decorative zippers, both angled up and in, a purple one across the left thigh, a magenta one on the right shin, picking up the colors from the shirt fabric. Does it need more? I think it would be safer to edit myself a little. I'll buy several, but probably not use them all. He made a note on the notions sheet and went back to his drawing, adding buttons down the left outseam from the knee to the hem. The outfit needed another piece, but wasn't sure he would have enough time for a whole jacket, so he drew a jacket and a vest. He would save that piece for last, then decide which to make when the time came. It would be better to have one or the other to tone down the multi-colored shirt fabric, but if time ran out, Lars could walk the runway in just the shirt and pants. The voice of his junior high computer teacher echoed in his head. 'Do the essentials first. Which is better: a web page with a beautiful background and no content, or a web page with no background but plenty of useful content?' He stopped to hold the turquoise up against the shirt fabric. Oh, those work well together. I could use the turquoise for the right cuff to balance the buttons on the left leg, and that would be faster than making a scarf. Lars had very nice arms, but Kurt had opted for the dressy look of long sleeves. He drew the shirt, leaving the neckline open to show off Lars' tanned chest. Mood would have the fabric for the jacket. There was enough navy to make a vest and pants, but that would be too "matchy-matchy", to use Nina's term.

Tim was roaming the room, checking on the designers, accompanied by Juan and his camera. "And how is Kurt doing?"

"Perfect timing, Tim! I have a question." He showed Tim the drawing of the shirt with one turquoise cuff. "If I do this shirt with a jacket over it, will that still count as the cuff fabric being visible on the runway or should I do a vest instead?"

Tim examined the drawing carefully, tilting it so Juan's camera could capture it. "I like what you've done here. As long as you have your model remove the jacket and throw it over one shoulder when he gets partway down the runway, you should be fine. That will also ensure that the judges get a good look at your shirt. Of course, a vest would be fine, too." Tim turned to address the room. "Designers, your time is up. Please put your sketchbooks and Elitebooks down. Finish filling out your notion sheets now. Jo will be around in a minute to bring the lunch menus. Do you have any questions? Annie?"

"I don't see interfacing listed. Should we just write it in?"

"We decided to provide interfacing for everyone, since it is used in nearly every garment. We've ordered an assortment of bolts which should be delivered while we're at Mood. Now, Jo tells me she has an announcement for you."

Jo moved to the front of the room. "I'm sure you are all going to be sick of the workroom by the time this is over, but Heidi wanted me to let you know that we have made arrangements to open the workroom and sewing room to you when filming is over for the week, if some of you want access for personal use. You may use the thread and needles provided, but you will need to supply anything else. If you need to shop, let me know and we'll schedule it. For simplicity's sake, I'll be your contact for this. We've gotten the new system configured so you can send e-mail to all the staff members, and we can e-mail you. You may also e-mail each other. The addresses will pop up by themselves if you type the first few letters of the person's name. I don't need to remind you that you may not e-mail outsiders. The system blocks outside e-mail, but it is a violation for you to attempt it. Please check your e-mail at least twice a day. Since you don't have phones, we'll use e-mail as the main means of communication. We'll do paper lunch orders today," she said as she passed them out, "but in the future, you'll receive an e-mail every evening before a workroom day. Just reply to it to place your order. I believe we're in the process of setting up the grocery orders the same way. Okay, that's all I have. Just leave your lunch orders on your worktables, and hand your Mood orders to me on your way out. I'll fax them to Mood, and they'll have calculated how much you have left to spend by the time you've walked over there."

The designers began the short walk to Mood, clutching their Elitebooks or sketchbooks and swatches of their fabrics. Kurt had been so surprised by Ernesto's gift and so wrapped up in his sketching that he hadn't noticed what fabrics the other designers had received. He looked at the swatches those around him were carrying. "Wow, Marisol, that's quite a handful! How many fabrics did you get, anyway?"

"Ten! One yard of each, and all brights. I don't know what I'm going to do with them. I just hope I can find something at Mood." Her anxiety was plainly written on her face and in the set of her shoulders.

"This reminds me of our trip to the quilt shop, when you bought a yard of every New York fabric they had. That was fun, wasn't it?" Marisol suddenly stopped walking, her eyes enormous. "Are you okay?" Kurt asked, his voice filled with concern.

"I'm fine." She sounded a little dazed. "Oh, Kurt, thank you!" she said exuberantly. "I know what to do now! This fabric will be perfect!"

"Which one?" Kurt was confused by the sudden change in her demeanor.

"All of them!" Kurt's words had triggered a memory for Marisol. When she was eight, she had stayed with her grandmother for the summer. They had spent the long hot days working on a beautiful quilt together. Some of the blocks were shadow appliqué, a technique in which shapes were cut out and layered beneath a sheer fabric. The way the colors changed and muted never ceased to amaze her, and although the technique usually called for a white overlay, they had played with a number of different colors, just to see what would happen. Her favorite had been a very bright, almost nauseating, green which became very elegant when layered beneath black. I'll have to scrap my design and start over, but this could be really nice. She began to plan her look.

The first task on Blaine's to-do list for the day was to contact Burt with the details of Kurt's present. He brought the information up on his computer screen so he could answer any questions Burt had and placed the call.

"Blaine! It's good to hear your voice!" Burt liked Blaine and enjoyed talking to him, but he also missed Kurt, and he welcomed the chance for news of him. "How's Kurt?"

"It's good to talk to you, too, Burt. Kurt's great. We've been working on his act for the talent show. They're taping the first challenge this morning." Blaine looked at his watch. "They should be headed to the workroom for the first time just about now."

"Any luck with the present?"

"Yes, the essay you sent gave me an idea." He outlined the details. "So, do you think he would enjoy that?"

"That sounds perfect, Blaine. I know he would. Did I send enough to cover it?"

"The tour is $40 each, and we can do Dim Sum in Chinatown for about $15 - $20 per person. The designers all have Metro passes, so if we take the subway, there won't be any cost, but we can earmark $50 for taxis, so if he takes a friend, that's about $170. I'll send the rest back."

"No, don't do that. If you use the subway, five people can go. That's Kurt, three friends, and the chaperone or whatever you guys are calling it. I'd like you to go if you can, Blaine, but I'll understand if you aren't comfortable or you have something else to do that night."

"It shouldn't be a problem. Standing in the cold for hours and playing human sardine in Times Square has never appealed to me, and neither does the bar scene. I'd much rather accompany Kurt, but you don't have to pay for me."

"It's the least I can do, and I insist. I dumped all this on you, and I really appreciate your taking care of it. Kurt's going to love it; it's much better than anything I could have come up with."

"Okay, I'll run it by Heidi when she gets back from the taping. If she okays it, I'll get the tickets."

"Great! Talk to you later, Buddy."

When Blaine got off the phone, he turned to Amy who was manning Sandy's desk while Sandy was at the taping. "Heidi should be back any minute. I'm going to run down for her coffee."

"Shouldn't I be doing that, Blaine? You've got seniority here," she pointed out. Like many of the staff, she found Blaine quite attractive and wished he would share a little more of his personal life. Somehow he managed to be completely open and friendly, and still keep her at arm's length. He didn't flirt, even when given obvious openings, and never talked about himself. It was frustrating. She knew there was something beyond his public persona, but she had been unable reach it at any time during the three months she had worked at Runway.

"No, you're Sandy, at least for a little while longer, so you outrank me. I'll go." He went downstairs, got the coffee, gave George a quick wave, and pressed the elevator button.

"Once again, your timing is impeccable, Blaine," Heidi said as she joined him in front of the elevator bank. "I assume that coffee is for me." The doors opened and they entered the elevator. Blaine selected the floor.

"I need to talk to you, Heidi, and the elevator ride isn't enough time."

"And you don't want Amy to know because her propensity for spreading gossip is only exceeded by her proclivity for embellishing it. I understand. Give me a minute to get into my office. Then you can bring the coffee." The doors opened and Heidi exited.

"Hi, Amy. Thank you for taking over for Sandy. Any calls?" Heidi asked. Amy shook her head. She found Heidi somewhat intimidating. "Where is Blaine?"

"He went to get your coffee. He should be back any moment."

"Thank goodness! I'm ready for my caffeine fix this morning. Ask him to bring the budget report when he comes in, and please hold my calls while we go over it." She went into her office. When Blaine returned, Amy delivered Heidi's message. Blaine extracted a folder from his desk drawer and entered Heidi's office.

"Please close the door, Blaine, so we can concentrate on that report," Heidi instructed. Blaine didn't miss the frown that flitted across Amy's face when she realized she wasn't going to overhear their conversation.

"Amy didn't like that," Blaine said as he handed Heidi the folder and set her coffee on the desk.

"Tough," Heidi said succinctly. "Come around to this side of the desk so we can both look at this report and talk to me." Blaine told her about Burt's letter, Kurt's essay, the idea he had come up with, and all that Burt had said, Heidi nodding her head but not speaking until he was finished. "This actually solves a problem for us. Obviously, we were going to need to make special arrangements for Kurt. Do you think three of the others will want to go along?"

Seriously? Blaine raised an eyebrow. "With Kurt? Are you kidding? … Oh, sorry. That was rude. What I meant to say was 'Yes, Heidi, I'm sure I can find someone to go with him’.” Did I just say that? I've got to get a grip!

Heidi frowned. "If you're Andy Sachs, who does that make me? Better watch it, Blaine. Good looks, rapier wit, and powerful intellect will only get you so far."

What? Blaine realized his mouth was hanging open and shut it with a snap.

"Just kidding, Blaine. Not about the compliments -- just the irritation. Are you willing to go along, or would you rather I draft someone else?"

"I'll gladly go, but not on the clock, of course."

"So I need to send someone else with you? … No, I didn't think so. If you're representing Runway, you're on the clock. If you job happens to be enjoyable, then that's just a bonus. Now, is there anything else?"

"I was wondering if we still had the video cameras the designers used -- what was it? -- two seasons ago. "

"I'm not sure. Why do you ask?"

"I thought it might be nice if I could send one to Burt so he could record a Christmas message for Kurt to go with the gift. We could do it through Skype, but if he had a camera, he would have more flexibility."

Heidi sat very still for several seconds. I can almost see the wheels turning. I wonder what she's thinking about. "That was only four cameras -- it wouldn't be enough," Heidi said slowly.

Okay, now you've lost me. "I'm sorry?"

"We're going to let the designers call home for Christmas, of course, but a video would be a nice surprise. If you start right now, you should be able to get cameras to all the families by tomorrow afternoon. Draft a cover letter so they know what is going on, and include a label so they can overnight the cameras back. Tell them to put the cameras in the mail by Thursday, and apologize for the short notice. Bring me the letters. I want to sign them. Do you see any problems with that?"

Wow! No wonder she's been so successful. "The only two difficulties I can think of are Annie's family in England and Marisol's fiancé, whose ship has left port already. I can call the Pearsons. Maybe they already have a video camera and can upload the files to YouTube. If that won't work, perhaps I can purchase a camera that they can pick up locally. Marisol gave me the contact information for the ship's Family Liaison Officer. I'll call and see if they have any suggestions. Henri is the only person on her call list, so I don't think there's any other family. Oh, maybe I should call everyone and get the best address for shipping since we're short on time."

"Yes, do all of that. Let me know if you run into anything you can't handle."