Delirium dt-1

by Lauren Oliver

  No guy in his right mind would ever choose me when there are people like Hana in the world: It would be like settling for a stale cookie when what you really want is a big bowl of ice cream, whipped cream and cherries and chocolate sprinkles included. So I’ll be happy to receive my neat, printed sheet of

  “Approved Matches.” At least it means I’ll end up with somebody. It won’t matter if nobody ever thinks I’m pretty (although sometimes I wish, just for a second, that somebody would). It wouldn’t matter if I had one eye.

  “In here.” The nurse stops, finally, outside a door that looks identical to all the others. “You can leave your clothing and things in the antechamber. Please put on the gown that is provided for you, with the opening to the back. Feel free to take a moment, have some water, do some meditation.”

  I imagine hundreds and hundreds of girls sitting cross-legged on the floor, hands cupped on their knees, chanting om, and have to stifle another wild urge to laugh.

  “Please be aware, however, that the longer you take to prepare, the less time your evaluators will have to get to know you.”

  She smiles tightly. Everything about her is tight: her skin, her eyes, her lab coat. She is looking straight at me, but I have the impression that she isn’t really focusing, that in her mind she’s already tick-tocking her way back to the waiting room, ready to bring yet another girl down yet another hallway, and give her this same spiel. I feel very lonely, surrounded by these thick walls that muffle all sounds, insulated from the sun and the wind and the heat, all of it perfect and unnatural.

  “When you’re ready, go on through the blue door. The evaluators will be waiting for you in the lab.”

  After the nurse clicks away I go into the antechamber, which is small and just as bright as the hallway. It looks like a regular doctor’s examination room.

  There’s an enormous piece of medical equipment squatting in the corner, emitting a series of periodic beeps, a tissue-paper-covered examination table, a stinging, antiseptic smell. I take off my clothes, shivering as the air-conditioning makes goose bumps pop up all over my skin, the fuzz on my arms standing up a little straighter. Great. Now the evaluators will think I’m a hairy beast.

  I fold my clothes, including my bra, in a neat pile and slip on the gown. It’s made of super-sheer plastic, and as I wrap it around my body, securing it at the waist with a knot, I’m fully aware that you can still see pretty much everythingincluding the outline of my underwear—through its fabric.

  Over. Soon it will be over.

  I take a deep breath and step through the blue door.

  It’s even brighter in the lab—dazzlingly bright, so the evaluators’ first impression of me must be of someone squinting, stepping backward, bringing her hand to her face. Four shadows float in a canoe in front of me. Then my eyes adjust and the vision resolves into the four evaluators, all sitting behind a long, low table. This room is very large, and totally empty except for the evaluators and, in the corner, a steel surgical table that’s been shoved up against one wall.

  Dual rows of overhead lights beat down on me, and I notice how high the ceiling is: at least thirty feet. I have a desperate urge to cross my arms over my chest, to cover myself up somehow. My mouth goes dry and my mind goes as hot and blank and white as the lights. I can’t remember what I’m supposed to do, what I’m supposed to say.

  Fortunately, one of the evaluators, a woman, speaks first. “Do you have your forms?” Her voice sounds friendly, but it doesn’t help the fist that has closed deep in my stomach, squeezing my intestines.

  Oh, God, I think. I’m going to pee. I’m going to pee right here. I try to imagine what Hana will say after this is over, when we’re walking through the afternoon sunshine, with the smell of salt and sun-warmed pavement heavy on the air around us. “God,” she’ll say. “That was a waste of time. All of them just sitting there staring like four frogs on a log.”

  “Um—yes.” I step closer, feeling like the air has turned solid, resisting me.

  When I’m a few feet away from the table, I reach out and pass the evaluators my clipboard. There are three men and one woman, but I find I can’t focus on their features for too long. I scan them quickly and then shuffle backward again, getting only an impression of some noses, a few dark eyes, the winking of a pair of glasses.

  My clipboard bobs its way down the line of evaluators. I squeeze my arms to my sides and try to appear relaxed.

  Behind me, an observation deck runs along the back wall, elevated about twenty feet off the ground. It is accessed through a small red door high up beyond the tiered rows of white seats that are obviously meant to hold students, doctors, interns, and junior scientists. Not only do the lab scientists perform the procedure, they do checkups afterward and often treat difficult cases of other diseases.

  It occurs to me that the scientists must perform the cure here, in this very room. That must be what the surgical table is for. The fist of anxiety starts closing in my stomach again. For some reason, though I’ve often thought about what it would be like to be cured, I’ve never really thought about the procedure itself: the hard metal table, the lights winking above me, the tubes and the wires and the pain.

  “Lena Haloway?”

  “Yes. That’s me.”

  “Okay. Why don’t you start by telling us a little about yourself?” The evaluator with the glasses leans forward, spreading his hands, and smiles. He has big, square white teeth that remind me of bathroom tiles. The reflection in his glasses makes it impossible to see his eyes, and I wish he would take them off.

  “Talk to us about the things you like to do. Your interests, hobbies, favorite subjects.”

  I launch into the speech I’ve prepared, about photography and running and spending time with my friends, but I’m not focusing. I see the evaluators nodding in front of me, and smiles beginning to loosen their faces as they take notes, so I know I’m doing fine, but I can’t even hear the words that are coming out of my mouth. I’m fixated on the metal surgical table and keep sneaking looks at it from the corner of my eye, watching it blink and shimmer in the light like the edge of a blade.

  And suddenly I’m thinking of my mother. My mother had remained uncured despite three separate procedures, and the disease had claimed her, nipped at her insides and turned her eyes hollow and her cheeks pale, had taken control of her feet and led her, inch by inch, to the edge of a sandy cliff and into the bright, thin air of the plunge beyond.

  Or so they tell me. I was six at the time. I remember only the hot pressure of her fingers on my face in the nighttime and her last whispered words to me. I love you. Remember. They cannot take it.

  I close my eyes quickly, overwhelmed by the thought of my mother, writhing, and a dozen scientists in lab coats watching, scribbling impassively on notepads. Three separate times she was strapped to a metal table; three separate times a crowd of observers watched her from the deck, took note of her responses as the needles, and then the lasers, pierced her skin. Normally patients are anesthetized during the procedure and don’t feel a thing, but my aunt had once let slip that during my mother’s third procedure they had refused to sedate her, thinking that the anesthesia might be interfering with her brain’s response to the cure.

  “Would you like some water?” Evaluator One, the woman, gestures to a bottle of water and a glass set up on the table. She has noticed my momentary flinch, but it’s okay. My personal statement is done, and I can tell by the way the evaluators are looking at me—pleased, proud, like I’m a little kid who has managed to fit all the right pegs in all the right holes—that I’ve done a good job.

  I pour myself a glass of water and take a few sips, grateful for the pause. I can feel sweat pricking up under my arms, on my scalp, and at the base of my neck, and I pray to God they can’t see it. I try to keep my eyes locked on the evaluators, but there it is in my peripheral vision, grinning at me: that damn table.

  “Okay now, Lena. We’re going to ask you some questions. We want you to a
nswer honestly. Remember, we’re trying to get to know you as a person.”

  As opposed to what? The question pops into my mind before I can stop it. As an animal?

  I take a deep breath, force myself to nod and smile. “Great.”

  “What are some of your favorite books?”

  “Love, War, and Interference, by Christopher Malley,” I answer automatically. “Border, by Philippa Harolde.” It’s no use trying to keep the images away: They are rising now, a flood. That one word keeps scripting itself on my brain, as though it is being seared there. Pain. They wanted to make my mother submit to a fourth procedure. They were coming for her on the night she died, coming to bring her to the labs. But instead she had fled into the dark, winged her way into the air. Instead she had woken me with those words—I love you. Remember. They cannot take it. — which the wind seemed to carry back to me long after she had vanished, repeated on the dry trees, on the leaves coughing and whispering in the cold gray dawn. “And Romeo and Juliet, by William Shakespeare.”

  The evaluators nod, make notes. Romeo and Juliet is required reading in every freshman-year health class.

  “And why is that?” Evaluator Three asks.

  It’s frightening: That’s what I’m supposed to say. It’s a cautionary tale, a warning about the dangers of the old world, before the cure. But my throat seems to have grown swollen and tender. There is no room to squeeze the words out; they are stuck there like the burrs that cling to our clothing when we jog through the farms. And in that moment it’s like I can hear the low growl of the ocean, can hear its distant, insistent murmur, can imagine its weight closing around my mother, water as heavy as stone. And what comes out is: “It’s beautiful.”

  Instantly all four faces jerk up to look at me, like puppets connected to the same string.

  “Beautiful?” Evaluator One wrinkles her nose. There’s a zinging, frigid tension in the air, and I realize I’ve made a big, big mistake.

  The evaluator with the glasses leans forward. “That’s an interesting word to use. Very interesting.” This time when he shows his teeth they remind me of the curved white canines of a dog. “Perhaps you find suffering beautiful? Perhaps you enjoy violence?”

  “No. No, that’s not it.” I’m trying to think straight, but my head is full of the ocean’s wordless roaring. It is growing louder and louder by the second. And now, faintly, it’s as though I can hear screaming as well—like my mother’s scream is reaching me from across the span of a decade. “I just mean… there’s something so sad about it…” I’m struggling, floundering, feeling like I’m drowning now, in the white light and the roaring. Sacrifice. I want to say something about sacrifice, but the word doesn’t come.

  “Let’s move on.” Evaluator One, who sounded so sweet when she offered me the water, has lost all pretense of friendliness. She is all business now. “Tell us something simple. Like your favorite color, for example.”

  Part of my brain—the rational, educated part, the logical me part—screams, Blue! Say blue! But this other, older thing inside of me is riding across the waves of sound, surging up with the rising noise. “Gray,” I blurt out.

  “Gray?” Evaluator Four splutters back.

  My heart is spiraling down to my stomach. I know I’ve done it, I’m tanking, can practically see my numbers flipping backward. But it’s too late. I’m finished—it’s the roaring in my ears, growing louder and louder, a stampede that makes thinking impossible. I quickly stammer out an explanation. “Not gray, exactly. Right before the sun rises there’s a moment when the whole sky goes this pale nothing color—not really gray but sort of, or sort of white, and I’ve always really liked it because it reminds me of waiting for something good to happen.”

  But they’ve stopped listening. All of them are staring beyond me, heads cocked, expressions confused, as though trying to make out familiar words in a foreign language. And then suddenly the roaring and the screaming surge and I realize I haven’t been imagining them all this time. People really are screaming, and there’s a tumbling, rolling, drumming sound, like a thousand feet moving together. There’s a third sound too, running under both of those: a wordless bellowing that doesn’t sound human.

  In my confusion everything seems disconnected, the way it does in dreams.

  Evaluator One half rises from her chair, saying, “What the hell…?”

  At the same time, Glasses says, “Sit down, Helen. I’ll go see what’s wrong.”

  But at that second the blue door bursts open and a streaming blur of cowsactual, real, live, sweating, mooing cows—come thundering into the lab.

  Definitely a stampede, I think, and for one weird, detached second feel proud of myself for correctly identifying the noise.

  Then I realize I’m being charged by a bunch of very heavy, very frightened herd animals, and am about two seconds from getting stomped into the ground.

  Instantly I launch myself into the corner and wedge myself behind the surgical table, where I’m completely protected from the panicked mass of animals. I poke my head out just a little so I can still see what’s going on. The evaluators are hopping up onto the table now, as walls of brown and speckled cow flanks fold around them. Evaluator One is screaming at the top of her lungs, and Glasses is yelling, “Calm down, calm down!” even though he’s grabbing onto her like she’s a life raft and he’s in danger of sinking.

  Some of the cows have wigs hanging crazily from their heads, and others are half-swaddled in gowns identical to the one I’m wearing. For a second I’m sure I’m dreaming. Maybe this whole day has been a dream, and I’ll wake up to discover that I’m still at home, in bed, on the morning of my evaluation. But then I notice the writing on the cows’ flanks: NOT CURE. DEATH. The words are written in sloppy ink, just above the neatly branded numbers that identify these cows as destined for the slaughterhouse.

  A little chill dances up my spine, and everything starts clicking into place.

  Every couple of years the Invalids—the people who live in the Wilds, the unregulated land that exists between recognized cities and towns—sneak into Portland and stage some kind of protest. One year they came in at night and painted red death skulls on every single one of the known scientists’ houses.

  Another year they managed to break into the central police station, which coordinates all the patrols and guard shifts for Portland, and move all the furniture onto the roof, even the coffee machines. That was pretty funny, actually—and pretty amazing, since you’d think Central would be the most secure building in Portland. People in the Wilds don’t see love as a disease, and they don’t believe in the cure. They think it’s a kind of cruelty. Thus the slogan.

  Now I get it: The cows are dressed up as us, the people being evaluated. Like we’re all a bunch of herd animals.

  The cows are calming down somewhat. They’re not charging anymore, and have begun to shuffle back and forth in the lab. Evaluator One has a clipboard in her hand, and she’s swooping and swatting as the cows butt up against the table, mooing and nipping at the papers scattered across its surface—the evaluators’ notes, I realize, as a cow snaps up a sheet of paper and begins to rip at it with its teeth. Thank God. Maybe the cows will eat up all the notes, and the evaluators will lose track of the fact that I was completely tanking. Half-concealed behind the table—and safe, now, from those sharp, stamping hooves—I have to admit the whole thing is kind of hilarious.

  That’s when I hear it. Somehow, above the snorting and stomping and yelling, I hear the laugh above me—low and short and musical, like someone sounding out a few notes on a piano.

  The observation deck. A boy is standing on the observation deck, watching the chaos below. And he’s laughing.

  As soon as I look up, his eyes click onto my face. The breath whooshes out of my body and everything freezes for a second, as though I’m looking at him through my camera lens, zoomed in all the way, the world pausing for that tiny span of time between the opening and closing of the shutter.

&nb
sp; His hair is golden brown, like leaves in autumn just as they’re turning, and he has bright amber eyes. The moment I see him I know that he’s one of the people responsible for this. I know that he must live in the Wilds; I know he’s an Invalid.

  Fear clamps down on my stomach, and I open my mouth to shout something I’m not sure what, exactly—but at precisely that second he gives a minute shake of his head, and suddenly I can’t make a sound. Then he does the absolutely, positively unthinkable.

  He winks at me.

  At last the alarm goes off. It’s so loud I have to cover my ears with my hands.

  I look down to see whether the evaluators have seen him, but they’re still doing their little tabletop dance, and when I look up again, he’s gone.

  Chapter Five

  Step on a crack, you’ll break your mama’s back.

  Step on a stone, you’ll end up all alone.

  Step on a stick, you’re bound to get the Sick.

  Watch where you tread, you’ll bring out all the dead.

  — A common children’s playground chant, usually accompanied by jumping rope or clapping That night, I have the dream again.

  I’m at the edge of a big white cliff made out of sand. The ground is unsteady.

  The ledge I’m standing on is starting to crumble, to flake away and tumble down, down, down—thousands of feet below me, into the ocean, which is whipping and snapping so hard it looks like one gigantic, frothing stew, all whitecaps and surging water. I’m terrified I’m going to fall, but for some reason I can’t move or back away from the edge of the cliff, even as I feel the ground sifting away from underneath me, millions of molecules rearranging themselves into space, into wind: Any second I’m going to fall.