Edited by Orson Scott Card
Most writers are pretty ordinary-looking people, not worth describing. When we look unusual it's usually on the side of gawkiness or geekishness, for ours is a profession that doesn't require us to make a strong personal impression; rather it requires us to hole up for days and weeks on end with no one but a forgiving family and a typewriter or computer for company.
But some writers do choose to present themselves with a degree of flamboyance. Some festoon themselves like cockatoos; others collect an audience by being loud, outrageous, or otherwise entertaining. Still others use their costume to declare allegiance--or at least association--with a group or movement that rejects ordinary, conventional dress.
Pat Murphy presents herself with hair cropped punkishly short, with a slender rat-tail slithering down her back. An air of cocky confidence, almost a swagger as she walks. Somehow you know at once that she'll never write a sentence like: "With heaving bosom and quavering voice she said. 'Long have I waited for you to speak of your feelings, my beloved Malcolm, so I could utter mine.'"
But her writing is passionate, and not with the angry posing we have learned to associate with the punk look. Her work is touched with neither nihilism nor rejection of society; far from being universally angry, she writes with a tough kind of compassion. The star of her stories is never herself, never the strutting writer demanding that we notice how clever and socially aware she is. Her focus is absolutely on a character in pain--in pain, but not ready to surrender.
Indeed, in one sense her fiction often follows in one of the strongest traditions in science fiction--the hero who relies on his own brains and guts to get out of his predicament. But many of these traditional "competent man" heroes are so smug you want to grab them and strangle them while shouting, "Look, Bozo, I could look just as smart as you if I had a writer making the rest of the world fit in with my plans!" Murphy's heroes arouse, not my resentment, but my sympathy, my admiration.
"Rachel in Love," though, is something extraordinary, even for a writer of such obvious talent. It won the Nebula for best novelette of 1987, but that doesn't begin to suggest what this story achieves. What "Nightfall" has been to Isaac Asimov, what "The Star" has been to Arthur C. Clark--that is what "Rachel in Love" will surely be to Pat Murphy. I suspect she'll come to curse this story in the future, as readers say to her over and over again, "Why don't you ever write anything like 'Rachel' anymore?" But she will never really regret having written it, just as you will never regret reading it. Once you have lived through this experience of losing everything and everyone you love, losing even your own body, becoming an alien creature in your own land, and yet finding new love and new hope, it will remain part of you forever.
It is a Sunday morning in summer and a small brown chimpanzee named Rachel sits on the living room floor of a remote ranch house on the edge of the Painted Desert. She is watching a Tarzan movie on television. Her hairy arms are wrapped around her knees and she rocks back and forth with suppressed excitement. She knows that her father would say that she's too old for such childish amusements--but since Aaron is still sleeping, he can't chastise her.
On the television, Tarzan has been trapped in a bamboo cage by a band of wicked Pygmies. Rachel is afraid that he won't escape in time to save Jane from the ivory smugglers who hold her captive. The movie cuts to Jane, who is tied up in the back of a jeep, and Rachel whimpers softly to herself. She knows better than to howl: she peeked into her father's bedroom earlier, and he was still in bed. Aaron doesn't like her to howl when he is sleeping.
When the movie breaks for a commercial, Rachel goes to her father's room. She is ready for breakfast and she wants him to get up. She tiptoes to the bed to see if he is awake.
His eyes are open and he is staring at nothing. His face is pale and his lips are a purplish color. Dr. Aaron Jacobs, the man Rachel calls father, is not asleep. He is dead, having died in the night of a heart attack.
When Rachel shakes him, his head rocks back and forth in time with her shaking, but his eyes do not blink and he does not breathe. She places his hand on her head, nudging him so that he will waken and stroke her. He does not move. When she leans toward him, his hand falls limply to dangle over the edge of the bed.
In the breeze from the open bedroom window, the fine wisps of gray hair that he had carefully combed over his bald spot each morning shift and flutter, exposing the naked scalp. In the other room, elephants trumpet as they stampede across the jungle to rescue Tarzan. Rachel whimpers softly, but her father does not move.
Rachel backs away from her father's body. In the living room, Tarzan is swinging across the jungle on vines, going to save Jane. Rachel ignores the television. She prowls through the house as if searching for comfort--stepping into her own small bedroom, wandering through her father's laboratory. From the cages that line the walls, white rats stare at her with hot red eyes. A rabbit hops across its cage, making a series of slow dull thumps, like a feather pillow tumbling down a flight of stairs.
She thinks that perhaps she made a mistake. Perhaps her father is just sleeping. She returns to the bedroom, but nothing has changed. Her father lies open-eyed on the bed. For a long time, she huddles beside his body, clinging to his hand.
He is the only person she has ever known. He is her father, her teacher, her friend. She cannot leave him alone.
The afternoon sun blazes through the window, and still Aaron does not move. The room grows dark, but Rachel does not turn on the lights. She is waiting for Aaron to wake up. When the moon rises, its silver light shines through the window to cast a bright rectangle on the far wall.
Outside, somewhere in the barren rocky land surrounding the ranch house, a coyote lifts its head to the rising moon and wails, a thin sound that is as lonely as a train whistling through an abandoned station. Rachel joins in with a desolate howl of loneliness and grief. Aaron lies still and Rachel knows that he is dead.
When Rachel was younger, she had a favorite bedtime story.--Where did I come from? she would ask Aaron, using the abbreviated gestures of ASL, American Sign Language.--Tell me again.
"You're too old for bedtime stories," Aaron would say.
--Please, she'd sign.--Tell me the story.
In the end, he always relented and told her. "Once upon a time, there was a good little girl named Rachel," he said. "She was a pretty girl, with long golden hair like a princess in a fairy tale. She lived with her father and her mother and they were all very happy."
Rachel would snuggle contentedly beneath her blankets. The story, like any good fairy tale, had elements of tragedy. In the story, Rachel's father worked at a university, studying the workings of the brain and charting the electric fields that the nervous impulses of an active brain produced. But the other researchers at the university didn't understand Rachel's father; they distrusted his research and cut off his funding. (During this portion of the story, Aaron's voice took on a bitter edge.) So he left the university and took his wife and daughter to the desert, where he could work in peace.
He continued his research and determined that each individual brain produced its own unique pattern of fields, as characteristic as a fingerprint. (Rachel found this part of the story quite dull, but Aaron insisted on including it.) The shape of this "Electric Mind," as he called it, was determined by habitual patterns of thoughts and emotions. Record the Electric Mind, he postulated, and you could capture an individual's personality.
Then one sunny day, the doctor's wife and beautiful daughter went for a drive. A truck barreling down a winding cliffside road lost its brakes and met the car head-on, killing both the girl and her mother. (Rachel clung to Aaron's hand during this part of the story, frightened by the sudden evil twist of fortune.)
But though Rachel's body had died, all was not lost. In his desert lab, the doctor had recorded the electrical patterns produced by his daughter's brain. The doctor had been experimenting with the use of external magnetic fields to impose the patterns from one animal onto the brain of another. From an animal supply house, he obtained a young chimpanzee. He used a mixture of norepinephrine-based transmitter substances to boost the speed of neural processing in the chimp's brain, and then he imposed the pattern of his daughter's mind upon the brain of this young chimp, combined the two after his own fashion, saving his daughter in his own way. In the chimp's brain was all that remained of Rachel Jacobs.
The doctor named the chimp Rachel and raised her as his own daughter. Since the limitations of the chimpanzee larynx made speech very difficult, he instructed her in ASL. He taught her to read and to write. They were good friends, the best of companions.
By this point in the story, Rachel was usually asleep. But it didn't matter--she knew the ending. The doctor, whose name was Aaron Jacobs, and the chimp named Rachel lived happily ever after.
Rachel likes fairy tales and she likes happy endings. She has the mind of a teenage girl, but the innocent heart of a young chimp.
Sometimes, when Rachel looks at her gnarled brown fingers, they seem alien, wrong, out of place. She remembers having small, pale, delicate hands. Memories lie upon memories, layers upon layers, like the sedimentary rocks of the desert buttes.
Rachel remembers a blond-haired fair-skinned woman who smelled sweetly of perfume. On a Halloween long ago, this woman (who was, in these memories, Rachel's mother) painted Rachel's fingernails bright red because Rachel was dressed as a gypsy and gypsies like red. Rachel remembers the woman's hands: white hands with faintly blue veins hidden just beneath the skin, neatly clipped nails painted rose pink.
But Rachel also remembers another mother and another time. Her mother was dark and hairy and smelled sweetly of overripe fruit. She and Rachel lived in a wire cage in a room filled with chimps and she hugged Rachel to her hairy breast whenever any people came into the room. Rachel's mother groomed Rachel constantly, picking delicately through her fur in search of lice that she never found.
Memories upon memories: jumbled and confused, like random pictures clipped from magazines, a bright collage that makes no sense. Rachel remembers cages: cold wire mesh beneath her feet, the smell of fear around her. A man in a white lab coat took her from the arms of her hairy mother and pricked her with needles. She could hear her mother howling, but she could not escape from the man.
Rachel remembers a junior high school dance where she wore a new dress: she stood in a dark corner of the gym for hours, pretending to admire the crepe paper decorations because she felt too shy to search among the crowd for her friends.
She remembers when she was a young chimp: she huddled with five other adolescent chimps in the stuffy freight compartment of a train, frightened by the alien smells and sounds.
She remembers gym class: gray lockers and ugly gym suits that revealed her skinny legs. The teacher made everyone play softball, even Rachel who was unathletic and painfully shy. Rachel at bat, standing at the plate, was terrified to be the center of attention. "Easy out," said the catcher, a hard-edged girl who ran with the wrong crowd and always smelled of cigarette smoke. When Rachel swung at the ball and missed, the outfielders filled the air with malicious laughter.
Rachel's memories are as delicate and elusive as the dusty moths and butterflies that dance among the rabbit brush and sage. Memories of her girlhood never linger; they land for an instant, then take flight, leaving Rachel feeling abandoned and alone.
Rachel leaves Aaron's body where it is, but closes his eyes and pulls the sheet up over his head. She does not know what else to do. Each day she waters the garden and picks some greens for the rabbits. Each day, she cares for the animals in the lab, bringing them food and refilling their water bottles. The weather is cool, and Aaron's body does not smell too bad, though by the end of the week, a wide line of ants runs from the bed to the open window.
At the end of the first week, on a moonlit evening, Rachel decides to let the animals go free. She releases the rabbits one by one, climbing on a stepladder to reach down into the cage and lift each placid bunny out. She carries each one to the back door, holding it for a moment and stroking the soft warm fur. Then she sets the animal down and nudges it in the direction of the green grass that grows around the perimeter of the fenced garden.
The rats are more difficult to deal with. She manages to wrestle the large rat cage off the shelf, but it is heavier than she thought it would be. Though she slows its fall, it lands on the floor with a crash and the rats scurry to and fro within. She shoves the cage across the linoleum floor, sliding it down the hall, over the doorsill and onto the back patio. When she opens the cage door, rats burst out like popcorn from a popper, white in the moonlight and dashing in all directions.
Once, while Aaron was taking a nap, Rachel walked along the dirt track that led to the main highway. She hadn't planned on going far. She just wanted to see what the highway looked like, maybe hide near the mailbox and watch a car drive past. She was curious about the outside world and her fleeting fragmentary memories did not satisfy that curiosity.
She was halfway to the mailbox when Aaron came roaring up in his old jeep. "Get in the car," he shouted at her. "Right now!" Rachel had never seen him so angry. She cowered in the jeep's passenger seat, covered with dust from the road, unhappy that Aaron was so upset. He didn't speak until they got back to the ranch house, and then he spoke in a low voice, filled with bitterness and suppressed rage.
"You don't want to go out there," he said. "You wouldn't like it out there. The world is filled with petty, narrow-minded, stupid people. They wouldn't understand you. And anyone they don't understand, they want to hurt. They hurt anyone who's different. If they know that you're different, they punish you, hurt you. They'd lock you up and never let you go."
He looked straight ahead, staring through the dirty windshield. "It's not like the shows on TV, Rachel," he said in a softer tone. "It's not like the stories in books."
He looked at her then and she gestured frantically.--I'm sorry. I'm sorry.
"I can't protect you out there," he said. "I can't keep you safe."
Rachel took his hand in both of hers. He relented then, stroking her head. "Never do that again," he said. "Never."
Aaron's fear was contagious. Rachel never again walked alone the dirt track and sometimes she had dreams about bad people who wanted to lock her in a cage.
Two weeks after Aaron's death, a black-and-white police car drives slowly up to the house. When the policemen knock on the door, Rachel hides behind the couch in the living room. They knock again, try the knob, then open the door, which she had left unlocked.
Suddenly frightened, Rachel bolts from behind the couch, bounding toward the back door. Behind her, she hears one man yell, "My God! It's a gorilla!"
By the time he pulls his gun, Rachel has run out the back door and away into the hills. From the hills she watches as an ambulance drives up and two men in white take Aaron's body away. Even after the ambulance and the police car drive away, Rachel is afraid to go back to the house. Only after sunset does she return.
Just before dawn the next morning, she wakens to the sound of a truck jouncing down the dirt road. She peers out the window to see a pale green pickup. Sloppily stenciled in white on the door are the words: PRIMATE RESEARCH CENTER. Rachel hesitates as the truck pulls up in front of the house. By the time she has decided to flee, two men are getting out of the truck. One of them carries a rifle.
She runs out the back door and heads for the hills, but she is only halfway to hiding when she heard a sound like a sharp intake of breath and feels a painful jolt in her shoulder. Suddenly, her legs give way and she is tumbling backward down the sandy slope, dust coating her red-brown fur, her howl becoming a whimper, then fading to nothing at all. She falls into the blackness of sleep.
The sun is up. Rachel lies in a cage in the back of the pickup truck. She is partially conscious and she feels a tingling in her hands and feet. Nausea grips her stomach and bowels. Her body aches.
Rachel can blink, but otherwise she can't move. From where she lies, she can see only the wire mesh of the cage and the side of the truck. When she tries to turn her head, the burning in her skin intensifies. She lies still, wanting to cry out, but unable to make a sound. She can only blink slowly, trying to close out the pain. But the burning and nausea stay.
The truck jounces down a dirt road, then stops. It rocks as the men get out. The doors slam. Rachel hears the tailgate open.
A woman's voice: "Is that the animal the County Sheriff wanted us to pick up?" A woman peers into the cage. She wears a white lab coat and her brown hair is tied back in a single braid. Around her eyes, Rachel can see small wrinkles, etched by years of living in the desert. The woman doesn't look evil. Rachel hopes that the woman will save her from the men in the truck.
"Yeah. It should be knocked out for at least another half hour. Where do you want it?"
"Bring it into the lab where we had the rhesus monkeys. I'll keep it there until I have an empty cage in the breeding area."
Rachel's cage scrapes across the bed of the pickup. She feels each bump and jar as a new pain. The man swings the cage onto a cart and the woman pushes the cart down a concrete corridor. Rachel watches the walls pass just a few inches from her nose.
The lab contains rows of cages in which small animals sleepily move. In the sudden stark light of the overhead fluorescent bulbs, the eyes of white rats gleam red.
With the help of one of the men from the truck, the woman manhandles Rachel onto a lab table. The metal surface is cold and hard, painful against Rachel's skin. Rachel's body is not under her control; her limbs will not respond. She is still frozen by the tranquilizer, able to watch, but that is all. She cannot protest or plead for mercy.
Rachel watches with growing terror as the woman pulls on rubber gloves and fills a hypodermic needle with a clear solution. "Mark down that I'm giving her the standard test for tuberculosis; this eyelid should be checked before she's moved in with the others. I'll add thiabendazole to her feed for the next few days to clean out any intestinal worms. And I suppose we might as well de-flea her as well," the woman says. The man grunts in response.
Expertly, the woman closes one of Rachel's eyes. With her open eye, Rachel watches the hypodermic needle approach. She feels a sharp pain in her eyelid. In her mind, she is howling, but the only sound she can manage is a breathy sigh.
The woman sets the hypodermic aside and begins methodically spraying Rachel's fur with a cold, foul-smelling liquid. A drop strikes Rachel's eye and burns. Rachel blinks, but she cannot lift a hand to rub her eye. The woman treats Rachel with casual indifference, chatting with the man as she spreads Rachel's legs and sprays her genitals. "Looks healthy enough. Good breeding stock."
Rachel moans, but neither person notices. At last, they finish their torture, put her in a cage, and leave the room. She closes her eyes, and the darkness returns.
Rachel dreams. She is back at home in the ranch house. It is night and she is alone. Outside, coyotes yip and howl. The coyote is the voice of the desert, wailing as the wind wails when it stretches itself thin to squeeze through a crack between two boulders. The people native to this land tell tales of Coyote, a god who was a trickster, unreliable, changeable, mercurial.
Rachel is restless, anxious, unnerved by the howling of the coyotes. She is looking for Aaron. In the dream, she knows he is not dead, and she searches the house for him, wandering from his cluttered bedroom to her small room to the linoleum-tiled lab.
She is in the lab when she hears something tapping: a small dry scratching, like a wind-blown branch against the window, though no tree grows near the house and the night is still. Cautiously, she lifts the curtain to look out.
She looks into her own reflection: a pale oval face, long blonde hair. The hand that holds the curtain aside is smooth and white with carefully clipped fingernails. But something is wrong. Superimposed on the reflection is another face peering through the glass: a pair of dark brown eyes, a chimp face with red-brown hair and jug-handle ears. She sees her own reflection and she sees the outsider; the two images merge and blur. She is afraid, but she can't drop the curtain and shut the ape face out.
She is a chimp looking in through the cold, bright windowpane, she is a girl looking out; she is a girl looking in, she is an ape looking out. She is afraid and the coyotes are howling all around.
Rachel opens her eyes and blinks until the world comes into focus. The pain and tingling have retreated, but she still feels a little sick. Her left eye aches. When she rubs it, she feels a raised lump on the eyelid where the woman pricked her. She lies on the floor of a wire mesh cage. The room is hot and the air is thick with the smell of animals.
In the cage beside her is another chimp, an older animal with scruffy dark brown fur. He sits with his arms wrapped around his knees, rocking back and forth, back and forth. His head is down. As he rocks, he murmurs to himself, a meaningless cooing that goes on and on. On his scalp, Rachel can see a gleam of metal: a permanently implanted electrode protrudes from a shaven patch. Rachel makes a soft questioning sound, but the other chimp will not look up.
Rachel's own cage is just a few feet square. In one corner is a bowl of monkey pellets. A water bottle hangs on the side of the cage. Rachel ignores the food, but drinks thirstily.
Sunlight streams through the windows, sliced into small sections by the wire mesh that covers the glass. She tests her cage door, rattling it gently at first, then harder. It is securely latched. The gaps in the mesh are too small to admit her hand. She can't reach out to work the latch.
The other chimp continues to rock back and forth. When Rachel rattles the mesh of her cage and howls, he lifts his head wearily and looks at her. His red-rimmed eyes are unfocused; she can't be sure he sees her.
--Hello, she gestures tentatively.--What's wrong?
He blinks at her in the dim light.--Hurt, he signs in ASL. He reaches up to touch the electrode, fingering the skin that is already raw from repeated rubbing.
--Who hurt you? she asks. He stares at her blankly and she repeats the question.--Who?
--Men, he signs.
As if on cue, there is the click of a latch and the door to the lab opens. A bearded man in a white coat steps in, followed by a clean-shaven man in a suit. The bearded man seems to be showing the other man around the lab. "...only preliminary testing so far," the bearded man is saying. "We've been hampered by a shortage of chimps trained in ASL." The two men stop in front of the old chimp's cage. "This old fellow is from the Oregon Center. Funding for the language program was cut back and some of the animals were dispersed to other programs." The old chimp huddles at the back of the cage, eyeing the bearded man with suspicion.
--Hungry? the bearded man signs to the old chimp. He holds up an orange where the old chimp can see it.
--Give orange, the old chimp gestures. He holds out his hand, but comes no nearer to the wire mesh than he must to reach the orange. With the fruit in hand, he retreats to the back of his cage.
The bearded man continues, "This project will provide us with the first solid data on neural activity during use of sign language. But we really need greater access to chimps with advanced language skills. People are so damn protective of their animals."
"Is this one of yours?" the clean-shaven man asks, pointing to Rachel. She cowers in the back of the cage, as far from the wire mesh as she can get.
"No, not mine. She was someone's household pet, apparently. The county sheriff had us pick her up." The bearded man peers into her cage. Rachel does not move; she is terrified that he will somehow guess that she knows ASL. She stares at his hands and thinks about those hands putting an electrode through her skull. "I think she'll be put in breeding stock," the man says as he turns away.
Rachel watches them go, wondering at what terrible people these are. Aaron was right: they want to punish her, put an electrode in her head.
After the men are gone, she tries to draw the old chimp into conversation, but he will not reply. He ignores her as he eats his orange. Then he returns to his former posture, hiding his head and rocking himself back and forth.
Rachel, hungry despite herself, samples one of the food pellets. It has a strange medicinal taste, and she puts it back in the bowl. She needs to pee, but there is no toilet and she cannot escape the cage. At last unable to hold it, she pees in one corner of the cage. The urine flows through the wire mesh to soak the litter below, and the smell of warm piss fills her cage. Humiliated, frightened, her head aching, her skin itchy from the flea spray, Rachel watches as the sunlight creeps across the room.
The day wears on. Rachel samples her food again, but rejects it, preferring hunger to the strange taste. A black man comes and cleans the cages of the rabbits and rats. Rachel cowers in her cage and watches him warily, afraid that he will hurt her, too.
When night comes, she is not tired. Outside, coyotes howl. Moonlight filters in through the high windows. She draws her legs up toward her body, then rests with her arms wrapped around her knees. Her father is dead, and she is a captive in a strange place. For a time, she whimpers softly, hoping to awaken from this nightmare and find herself at home in bed. When she hears the click of a key in the door to the room, she hugs herself more tightly.
A man in green coveralls pushes a cart filled with cleaning supplies into the room. He takes a broom from the cart, and begins sweeping the concrete floor. Over the rows of cages, she can see the top of his head bobbing in time with his sweeping. He works slowly and methodically, bending down to sweep carefully under each row of cages, making a neat pile of dust, dung, and food scraps in the center of the aisle.
The janitor's name is Jake. He is a middle-aged deaf man who has been employed by the Primate Research Center for the past seven years. He works night shift. The personnel director at the Primate Research Center likes Jake because he fills the federal quota for handicapped employees, and because he has not asked for a raise in five years. There have been some complaints about Jake--his work is often sloppy--but never enough to merit firing the man.
Jake is an unambitious, somewhat slow-witted man. He likes the Primate Research Center because he works alone, which allows him to drink on the job. He is an easy-going man, and he likes the animals. Sometimes, he brings treats for them. Once, a lab assistant caught him feeding an apple to a pregnant rhesus monkey. The monkey was part of an experiment on the effect of dietary restrictions on fetal brain development, and the lab assistant warned Jack that he would be fired if he was ever caught interfering with the animals again. Jake still feeds the animals, but he is more careful about when he does it, and he has never been caught again.
As Rachel watches, the old chimp gestures to Jake.--Give banana, the chimp signs.--Please banana. Jake stops sweeping for a minute and reaches down to the bottom shelf of his cleaning cart. He returns with a banana and offers it to the old chimp. The chimp accepts the banana and leans against the mesh while Jake scratches his fur.
When Jake turns back to his sweeping, he catches sight of Rachel and sees that she is watching him. Emboldened by his kindness to the old chimp, Rachel timidly gestures to him.--Help me.
Jake hesitates, then peers at her more closely. Both his eyes are shot with a fine lacework of red. His nose displays the broken blood vessels of someone who has been friends with the bottle for too many years. He needs a shave. But when he leans close, Rachel catches the scent of whiskey and tobacco. The smells remind her of Aaron and give her courage.
--Please help me, Rachel signs.--I don't belong here.
For the last hour, Jake has been drinking steadily. His view of the world is somewhat fuzzy. He stares at her blearily.
Rachel's fear that he will hurt her is replaced by the fear that he will leave her locked up and alone. Desperately she signs again.--Please please please. Help me. I don't belong here. Please help me go home.
He watches her, considering the situation. Rachel does not move. She is afraid that any movement will make him leave. With a majestic speed dictated by his inebriation, Jake leans his broom on the row of cages behind him and steps toward Rachel's cage again.--You talk? he signs.
--I talk, she signs.
--Where did you come from?
--From my father's house, she signs.--Two men came and shot me and put me here. I don't know why. I don't know why they locked me in jail.
Jake looks around, willing to be sympathetic, but puzzled by her talk of jail.--This isn't jail, he signs.--This is a place where scientists raise monkeys.
Rachel is indignant.--I am not a monkey, she signs.--I am a girl.
Jake studies her hairy body and her jug-handle ears.--You look like a monkey.
Rachel shakes her head.--No. I am a girl.
Rachel runs her hands back over her head, a very human gesture of annoyance and unhappiness. She signs sadly,--I don't belong here. Please let me out.
Jake shifts his weight from foot to foot, wondering what to do.--I can't let you out. I'll get in big trouble.
--Just for a little while? Please?
Jake glances at his cart of supplies. He has to finish off this room and two corridors of offices before he can relax for the night.
--Don't go, Rachel signs, guessing his thoughts.
--I have work to do.
She looks at the cart, then suggests eagerly,--Let me out and I'll help you work.
Jake frowns.--If I let you out, you will run away.
--No, I won't run. I will help. Please let me out.
--You promise to go back?
Warily he unlatches the cage. Rachel bounds out, grabs a whisk broom from the cart, and begins industriously sweeping bits of food and droppings from beneath the row of cages.--Come on, she signs to Jake from the end of the aisle.--I will help.
When Jake pushes the cart from the room filled with cages, Rachel follows him closely. The rubber wheels of the cleaning cart rumble softly on the linoleum floor. They pass through a metal door into a corridor where the floor is carpeted and the air smells of chalk dust and paper.
Offices let off the corridor, each one a small room furnished with a desk, bookshelves, and a blackboard. Jake shows Rachel how to empty the wastebaskets into a garbage bag. While he cleans the blackboards, she wanders from office to office, trailing the trash-filled garbage bag.
At first, Jake keeps a close eye on Rachel. But after cleaning each blackboard, he pauses to refill a cup from the whiskey bottle that he keeps wedged between the Saniflush and the window cleaner. By the time he is halfway through the second cup; he is treating her like an old friend, telling her to hurry up so that they can eat dinner.
Rachel works quickly, but she stops sometimes to gaze out the office windows. Outside, moonlight shines on a sandy plain, dotted here and there with scrubby clumps of rabbit brush.
At the end of the corridor is a larger room in which there are several desks and typewriters. In one of the wastebaskets, buried beneath memos and candybar wrappers, she finds a magazine. The title is Love Confessions and the cover has a picture of a man and woman kissing. Rachel studies the cover, then takes the magazine, tucking it on the bottom shelf of the cart.
Jake pours himself another cup of whiskey and pushes the cart to another hallway. Jake is working slower now, and as he works he makes humming noises, tuneless sounds that he feels only as pleasant vibrations. The last few blackboards are sloppily done, and Rachel, finished with the wastebaskets, cleans the places that Jake missed.
They eat dinner in the janitor's storeroom, a stuffy windowless room furnished with an ancient grease-stained couch, a battered black-and-white television, and shelves of cleaning supplies. From a shelf, Jake takes the paper bag that holds his lunch: a baloney sandwich, a bag of barbecued potato chips, and a box of vanilla wafers. From behind the gallon jugs of liquid cleaner, he takes a magazine. He lights a cigarette, pours himself another cup of whiskey, and settles down on the couch. After a moment's hesitation, he offers Rachel a drink, pouring a shot of whiskey into a chipped ceramic cup.
Aaron never let Rachel drink whiskey, and she samples it carefully. At first the smell makes her sneeze, but she is fascinated by the way that the drink warms her throat, and she sips some more.
As they drink, Rachel tells Jake about the men who shot her and the woman who pricked her with a needle, and he nods.--The people here are crazy, he signs.
--I know, she says, thinking of the old chimp with the electrode in his head.--You won't tell them I can talk, will you?
Jake nods.--I won't tell them anything.
--They treat me like I'm not real, Rachel signs sadly. Then she hugs her knees, frightened at the thought of being held captive by crazy people. She considers planning her escape: she is out of the cage and she is sure she could outrun Jake. As she wonders about it, she finishes her cup of whiskey. The alcohol takes the edge off her fear. She sits close beside Jake on the couch, and the smell of cigarette smoke reminds her of Aaron. For the first time since Aaron's death she feels warm and happy.
She shares Jake's cookies and potato chips and looks at the Love Confessions magazine that she took from the trash. The first story that she reads is about a woman named Alice. The headline reads: "I became a go-go dancer to pay off my husband's gambling debts, and now he wants me to sell my body."
Rachel sympathizes with Alice's loneliness and suffering. Alice, like Rachel, is alone and misunderstood. As Rachel slowly reads, she sips her second cup of whiskey. The story reminds her of a fairy tale; the nice man who rescues Alice from her terrible husband replaces the handsome prince who rescues the princess. Rachel glances at Jake and wonders if he will rescue her from the wicked people who locked her in the cage.
She has finished the second cup of whiskey and eaten half Jake's cookies when Jake says that she must go back to her cage. She goes reluctantly, taking the magazine with her. He promises that he will come for her again the next night, and with that she must be content. She puts the magazine in one corner of the cage and curls up to sleep.
She wakes early in the afternoon. A man in a white coat is wheeling a low cart into the lab.
Rachel's head aches with hangover and she feels sick. As she crouches in one corner of her cage, he stops the cart beside her cage and then locks the wheels. "Hold on there," he mutters to her, then slides her cage onto the cart.
The man wheels her through long corridors, where the walls are cement blocks, painted institutional green. Rachel huddles unhappily in the cage, wondering where she is going and whether Jake will ever be able to find her.
At the end of a long corridor, the man opens a thick metal door and a wave of warm air strikes Rachel. It stinks of chimpanzees, excrement, and rotting food. On either side of the corridor are metal bars and wire mesh. Behind the mesh, Rachel can see dark hairy shadows. In one cage, five adolescent chimps swing and play. In another, two females huddle together, grooming each other. The man slows as he passes a cage in which a big male is banging on the wire with his fist, making the mesh rattle and ring.
"Now, Johnson," says the man. "Cool it. Be nice. I'm bringing you a new little girlfriend."
With a series of hooks, the man links Rachel's cage with the cage next to Johnson's and opens the doors. "Go on, girl," he says. "See the nice fruit." In the cage is a bowl of sliced applies with an attendant swarm of fruit flies.
At first, Rachel will not move into the new cage. She crouches in the cage on the cart, hoping that the man will decide to take her back to the lab. She watches him get a hose and attach it to a water faucet. But she does not understand his intention until he turns the stream of water on her. A cold blast strikes her on the back and she howls, fleeing into the new cage to avoid the cold water. Then the man closes the doors, unhooks the cage, and hurries away.
The floor is bare cement. Her cage is at one end of the corridor and two walls are cement block. A door in one of the cement block walls leads to an outside run. The other two walls are wire mesh: one facing the corridor, the other, Johnson's cage.
Johnson, quiet now that the man has left, is sniffing around the door in the wire mesh wall that joins their cages. Rachel watches him anxiously. Her memories of other chimps are distant, softened by time. She remembers her mother; she vaguely remembers playing with other chimps her age. But she does not know how to react to Johnson when he stares at her with great intensity and makes a loud huffing sound. She gestures to him in ASL, but he only stares harder and huffs again. Beyond Johnson, she can see other cages and other chimps, so many that the wire mesh blurs her vision and she cannot see the other end of the corridor.
To escape Johnson's scrutiny, she ducks through the door into the outside run, a wire mesh cage on a white concrete foundation. Outside there is barren ground and rabbit brush. The afternoon sun is hot and all the other runs are deserted until Johnson appears in the run beside hers. His attention disturbs her and she goes back inside.
She retreats to the side of the cage farthest from Johnson. A crudely built wooden platform provides her with a place to sit. Wrapping her arms around her knees, she tries to relax and ignore Johnson. She dozes off for a while, but wakes to a commotion across the corridor.
In the cage across the way is a female chimp in heat. Rachel recognizes the smell from her own times in heat. Two keepers are opening the door that separates the female's cage from the adjoining cage, where a male stands, watching with great interest. Johnson is shaking the wire mesh and howling as he watches.
"Mike here is a virgin, but Susie knows what she's doing," one keeper was saying to the other. "So it should go smoothly. But keep the hose ready."
"Sometimes they fight. We only use the hose to break it up if it gets real bad. Generally, they do okay."
Mike stalks into Susie's cage. The keepers lower the cage door, trapping both chimps in the same cage. Susie seems unalarmed. She continues eating a slice of orange while Mike sniffs at her genitals with every indication of great interest. She bends over to let Mike finger her pink bottom, the sign of estrus.
Rachel finds herself standing at the wire mesh, making low moaning noises. She can see Mike's erection, hear his grunting cries. He squats on the floor of Susie's cage, gesturing to the female. Rachel's feelings are mixed: she is fascinated, fearful, confused. She keeps thinking of the description of sex in the Love Confessions story: When Alice feels Danny's lips on hers, she is swept away by the passion of the moment. He takes her in his arms and her skin tingles as if she were consumed by an inner fire.
Susie bends down and Mike penetrates her with a loud grunt, thrusting violently with his hips. Susie cries out shrilly and suddenly leaps up, knocking Mike away. Rachel watches, overcome with fascination. Mike, his penis now limp, follows Susie slowly to the corner of the cage, where he begins grooming her carefully. Rachel finds that the wire mesh has cut her hands where she gripped it too tightly.
It is night, and the door at the end of the corridor creaks open. Rachel is immediately alert, peering through the wire mesh and trying to see down to the end of the corridor. She bangs on the wire mesh. As Jake comes closer, she waves a greeting.
When Jake reaches for the lever that will raise the door to Rachel's cage, Johnson charges toward him, howling and waving his arms above his head. He hammers on the wire mesh with his fists, howling and grimacing at Jake. Rachel ignores Johnson and hurries after Jake.
Again Rachel helps Jake clean. In the laboratory, she greets the old chimp, but the animal is more interested in the banana that Jake has brought than in conversation. The chimp will not reply to her questions, and after several tries, she gives up.
While Jake vacuums the carpeted corridors, Rachel empties the trash, finding a magazine called Modern Romance in the same wastebasket that had provided Love Confessions.
Later, in the Janitor's lounge, Jake smokes a cigarette, sips whiskey, and flips through one of his own magazines. Rachel reads love stories in Modern Romance.
Every once in a while, she looks over Jake's shoulder at grainy pictures of naked women with their legs spread wide apart. Jake looks for a long time at the picture of a blonde woman with big breasts, red fingernails, and purple-painted eyelids. The woman lies on her back and smiles as she strokes the pinkness between her legs. The picture on the next page shows her caressing her own breasts, pinching the dark nipples. The final picture shows her looking back over her shoulder. She is in the position that Susie took when she was ready to be mounted.
Rachel looks over Jake's shoulder at the magazine, but she does not ask questions. Jake's smell began to change as soon as he opened the magazine; the scent of nervous sweat mingles with the aromas of tobacco and whiskey. Rachel suspects that questions would not be welcome just now.
At Jake's insistence, she goes back to her cage before dawn.
Over the next week, she listens to the conversations of the men who come and go, bringing food and hosing out the cages. From the men's conversation, she learns that the Primate Research Center is primarily a breeding facility that supplies researchers with domestically bred apes and monkeys of several species. It also maintains its own research staff. In indifferent tones, the men talk of horrible things. The adolescent chimps at the end of the corridor are being fed a diet high in cholesterol to determine cholesterol's effects on the circulatory system. A group of pregnant females are being injected with male hormones to determine how that will affect the female offspring. A group of infants is being fed a low protein diet to determine adverse effects on their brain development.
The men look through her as if she were not real, as if she were a part of the wall, as if she were no one at all. She cannot speak to them; she cannot trust them.
Each night, Jake lets her out of her cage and she helps him clean. He brings treats: barbecued potato chips, fresh fruit, chocolate bars, and cookies. He treats her fondly, as one would treat a precocious child. And he talks to her.
At night, when she is with Jake, Rachel can almost forget the terror of the cage, the anxiety of watching Johnson pace to and fro, the sense of unreality that accompanies the simplest act. She would be content to stay with Jake forever, eating snack food and reading confessions magazines. He seems to like her company. But each morning, Jake insists that she must go back to the cage and the terror. By the end of the first week, she has begun plotting her escape.
Whenever Jake falls asleep over his whiskey, something that happens three nights out of five, Rachel prowls the center alone, surreptitiously gathering things that she will need to survive in the desert: a plastic jug filled with water, a plastic bag of food pellets, a large beach towel that will serve as a blanket on the cool desert nights, a discarded plastic shopping bag in which she can carry the other things. Her best find is a road map on which the Primate Center is marked in red. She knows the address of Aaron's ranch and finds it on the map. She studies the roads and plots a route home. Cross country, assuming that she does not get lost, she will have to travel about fifty miles to reach the ranch. She hides these things behind one of the shelves in the janitor's storeroom.
Her plans to run away and go home are disrupted by the idea that she is in love with Jake, a notion that comes to her slowly, fed by the stories in the confessions magazines. When Jake absent-mindedly strokes her, she is filled with a strange excitement. She longs for his company and misses him on the weekends when he is away. She is happy only when she is with him, following him through the halls of the center, sniffing the aroma of tobacco and whiskey that is his own perfume. She steals a cigarette from his pack and hides it in her cage, where she can savor the smell of it at her leisure.
She loves him, but she does not know how to make him love her back. Rachel knows little about love: she remembers a high school crush where she mooned after a boy with a locker near hers, but that came to nothing. She reads the confessions magazines and Ann Landers' column in the newspaper that Jake brings with him each night, and from these sources, she learns about romance. One night, after Jake falls asleep, she types a badly punctuated, ungrammatical letter to Ann. In the letter, she explains her situation and asks for advice on how to make Jake love her. She slips the letter into a sack labeled "Outgoing Mail," and for the next week she reads Ann's column with increased interest. But her letter never appears.
Rachel searches for answers in the magazine pictures that seem to fascinate Jake. She studies the naked women, especially the big-breasted woman with the purple smudges around her eyes.
One night, in a secretary's desk, she finds a plastic case of eyeshadow. She steals it and takes it back to her cage. The next evening, as soon as the Center is quiet, she upturns her metal food dish and regards her reflection in the shiny bottom. Squatting, she balances the eye shadow case on one knee and examines its contents: a tiny makeup brush and three shades of eyes shadow--INDIAN BLUE, FOREST GREEN, and WILDLY VIOLET. Rachel chooses the shade labeled WILDLY VIOLET.
Using one finger to hold her right eye closed, she dabs her eyelid carefully with the makeup brush, leaving a gaudy orchid-colored smudge on her brown skin. She studies the smudge critically, then adds to it. Smearing the color beyond the corner of her eyelid until it disappears in her brown fur. The color gives her eye a carnival brightness, a lunatic gaiety. Working with great care, she matches the effect on the other side, then smiles at herself in the glass, blinking coquettishly.
In the other cage, Johnson bares his teeth and shakes the wire mesh. She ignores him.
When Jake comes to let her out, he frowns at her eyes.--Did you hurt yourself? he asks.
--No, she says. Then, after a pause.--Don't you like it?
Jake squats beside her and stares at her eyes. Rachel puts a hand on his knee and her heart pounds at her own boldness.--You are a very strange monkey, he signs.
Rachel is afraid to move. Her hand on his knee closes into a fist; her face folds in on itself, puckering around the eyes.
Then, straightening up, he signs,--I liked your eyes better before.
He likes her eyes. She nods without taking her eyes from his face. Later, she washes her face in the women's restroom, leaving dark smudges the color of bruises on a series of paper towels.
Rachel is dreaming. She is walking through the Painted Desert with her hairy brown mother, following a red rock canyon that Rachel somehow knows will lead her to the Primate Research Center. Her mother is lagging behind: she does not want to go to the center; she is afraid. In the shadow of a rock outcropping, Rachel stops to explain to her mother that they must go to the center because Jake is at the center.
Rachel's mother does not understand sign language. She watches Rachel with mournful eyes, then scrambles up the canyon wall, leaving Rachel behind. Rachel climbs after her mother, pulling herself over the edge in time to see the other chimp loping away across the wind-blown red cinder-rock and sand.
Rachel bounds after her mother, and as she runs she howls like an abandoned infant chimp, wailing her distress. The figure of her mother wavers in the distance, shimmering in the heat that rises from the sand. The figure changes. Running away across the red sands is a pale blonde woman wearing a purple sweatsuit and jogging shoes, the sweet-smelling mother that Rachel remembers. The woman looks back and smiles at Rachel. "Don't howl like an ape, daughter," she calls. "Say Mama."
Rachel runs silently, dream running that takes her nowhere. The sand burns her feet and the sun beats down on her head. The blonde woman vanishes in the distance, and Rachel is alone. She collapses on the sand, whimpering because she is alone and afraid.
She feels the gentle touch of fingers grooming her fur, and for a moment, still half asleep, she believes that her hairy mother has returned to her. She opens her eyes and looks into a pair of dark brown eyes, separated from her by wire mesh. Johnson. He has reached through a gap in the fence to groom her. As he sorts through her fur, he makes soft cooing sounds, gentle comforting noises.
Still half asleep, she gazes at him and wonders why she was so fearful. He does not seem so bad. He grooms her for a time, and then sits nearby, watching her through the mesh. She brings a slice of apple from her dish of food and offers it to him. With her free hand, she makes the sign for apple. When he takes it, she signs again: apple. He is not a particularly quick student, but she has time and many slices of apple.
All Rachel's preparations are done, but she cannot bring herself to leave the center. Leaving the center means leaving Jake, leaving potato chips and whiskey, leaving security. To Rachel, the thought of love is always accompanied by the warm taste of whiskey and potato chips.
Some nights, after Jake is asleep, she goes to the big glass doors that lead to the outside. She opens the doors and stands on the steps, looking down into the desert. Sometimes a jackrabbit sits on its haunches in the rectangles of light that shine through the glass doors. Sometimes she sees kangaroo rats, hopping through the moonlight like rubber balls bounding on hard pavement. Once, a coyote trots by, casting a contemptuous glance in her direction.
The desert is a lonely place. Empty. Cold. She thinks of Jake snoring softly in the janitor's lounge. And always she closes the door and returns to him.
Rachel leads a double life: janitor's assistant by night, prisoner and teacher by day. She spends her afternoons drowsing in the sun and teaching Johnson new signs.
On a warm afternoon, Rachel sits in the outside run, basking in the sunlight. Johnson is inside, and the other chimps are quiet. She can almost imagine she is back at her father's ranch, sitting in her own yard. She naps and dreams of Jake.
She dreams that she is sitting in his lap on the battered old couch. Her hand on his chest: a smooth pale hand with red-painted fingernails. When she looks at the dark screen of the television set, she can see her reflection. She is a thin teenager with blonde hair and blue eyes. She is naked.
Jake is looking at her and smiling. He runs a hand down her back and she closes her eyes in ecstasy.
But something changes when she closes her eyes. Jake is grooming her as her mother used to groom her, sorting through her hair in search of fleas. She opens her eyes and sees Johnson, his diligent fingers searching through her fur, his intent brown eyes watching her. The reflection on the television screen shows two chimps, tangled in each others' arms.
Rachel wakes to find she is in heat for the first time since she came to the center. The skin surrounding her genitals is swollen and pink.
For the rest of the day, she is restless, pacing to and fro in her cage. On his side of the wire mesh wall, Johnson is equally restless, following her when she goes outside, sniffing long and hard at the edge of the barrier that separates him from her.
That night, Rachel goes eagerly to help Jake clean. She follows him closely, never letting him get far from her. When he is sweeping, she trots after him with the dustpan and he almost trips over her twice. She keeps waiting for him to notice her condition, but he seems oblivious.
As she works, she sips from a cup of whiskey. Excited, she drinks more than usual, finishing two full cups. The liquor leaves her a little disoriented, and she sways as she follows Jake to the janitor's lounge. She curls up close behind him on the couch. He relaxes with his arms resting on the back of the couch, his legs stretching out before him. She moves so that she presses against him.
He stretches, yawns, and rubs the back of his neck as if trying to rub away stiffness. Rachel reaches around behind him and begins to gently rub his neck, reveling in the feel of his skin, his hair against the backs of her hands. The thoughts that hop and skip through her mind are confusing. Sometimes it seems that the hair that tickles her hands is Johnson's; sometimes, she knows it is Jake's. And sometimes it doesn't seem to matter. Are they really so different? They are not so different.
She rubs his neck, not knowing what to do next. In the confessions magazine, this is where the man crushes the woman in his arms. Rachel climbs into Jack's lap and hugs him, waiting for him to crush her in his arms. He blinks at her sleepily. Half asleep, he strokes her, and his moving hand brushes near her genitals. She presses herself against him, making a soft sound in her throat. She rubs her hip against his crotch, aware now of a slight change in his smell, in the tempo of his breathing. He blinks at her again, a little more awake now. She bares her teeth in a smile and tilts her head back to lick his neck. She can feel his hands on her shoulders, pushing her away, and she knows what he wants. She slides from his lap and turns, presenting him with her pink genitals, ready to be mounted, ready to have him penetrate her. She moans in anticipation, a low inviting sound.
He does not come to her. She looks over her shoulder and he is still sitting on the couch, watching her through half-closed eyes. He reaches over and picks up a magazine filled with pictures of naked women. His other hand drops to his crotch and he is lost in his own world.
Rachel howls like an infant who has lost his mother, but he does not look up. He is staring at the picture of the blonde woman.
Rachel runs down dark corridors to her cage, the only home she has. When she reaches her corridor, she is breathing hard and making small lonely whimpering noises. In the dimly lit corridor, she hesitates for a moment, staring into Johnson's cage. The male chimp is asleep. She remembers the touch of his hands when he groomed her.
From the corridor, she lifts the gate that leads into Johnson's cage and enters. He wakes at the sound of the door and sniffs the air. When he sees Rachel, he stalks toward her, sniffing eagerly. She let him finger her genitals, sniff deeply of her scent. His penis is erect and he grunts in excitement. She turns and presents herself to him and he mounts her, thrusting deep inside. As he penetrates, she thinks, for a moment, of Jake and the thin blonde teenage girl named Rachel, but then the moment passes. Almost against her will she cries out, a shrill exclamation of welcoming and loss.
After he withdraws his penis, Johnson grooms her gently, sniffing her genitals and softly stroking her fur. She is sleepy and content, but she knows she cannot delay.
Johnson is reluctant to leave his cage, but Rachel takes him by the hand and leads him to the janitor's lounge. His presence gives her courage. She listens at the door and hears Jake's soft breathing. Leaving Johnson in the hall, she slips into the room. Jake is lying on the couch, the magazine draped over his legs. Rachel takes the equipment that she has gathered and stands for a moment, staring at the sleeping man. His baseball cap hangs on the arm of a broken chair, and she takes that to remember him by.
Rachel leads Johnson through the empty halls. A kangaroo rat, collecting seeds in the dried grass near the glass doors, looks up curiously as Rachel leads Johnson down the steps. Rachel carries the plastic shopping bag slung over her shoulder. Somewhere in the distance, a coyote howls, a long yapping wail. His cry is joined by others, a chorus in the moonlight.
Rachel takes Johnson by the hand and leads him into the desert.
A cocktail waitress, driving from her job in Flagstaff to her home in Winslow, sees two apes dart across the road, hurrying away from the bright beams of her headlights. After wrestling with her conscience (she does not want to be accused of drinking on the job), she notifies the county sheriff.
A local newspaper reporter, an eager young man fresh out of journalism school, picks up the story from the police report and interviews the waitress. Flattered by his enthusiasm for her story and delighted to find a receptive ear, she tells him the details that she failed to mention to the police; one of the apes was wearing a baseball cap and carrying what looked like a shopping bag.
The reporter writes up a quick humorous story for the morning edition, and begins researching a feature article to be run later in the week. He knows that the newspaper, eager for news in a slow season, will play a human-interest story up big--kind of Lassie, Come Home with chimps.
Just before dawn, a light rain begins to fall, the first rain of spring. Rachel searches for shelter and finds a small cave formed by three tumbled boulders. It will keep off the rain and hide them from casual observers. She shares her food and water with Johnson. He has followed her closely all night, seemingly intimidated by the darkness and the howling of distant coyotes. She feels protective toward him. At the same time, having him with her gives her courage. He knows only a few gestures in ASL, but he does not need to speak. His presence is comfort enough.
Johnson curls up in the back of the cave and falls asleep quickly. Rachel sits in the opening and watches dawnlight wash the stars from the sky. The rain rattles against the sand, a comforting sound. She thinks about Jake. The baseball cap on her head still smells of his cigarettes, but she does not miss him. Not really. She fingers the cap and wonders why she thought she loved Jake.
The rain lets up. The clouds rise like fairy castles in the distance and the rising sun tints them pink and gold and gives them flaming red banners. Rachel remembers when she was young and Aaron read her the story of Pinocchio, the little puppet who wanted to be a real boy. At the end of his adventures, Pinocchio, who has been brave and kind, gets his wish. He becomes a real boy.
Rachel had cried at the end of the story and when Aaron asked why, she had rubbed her eyes on the backs of her hairy hands.--I want to be a real girl, she signed to him.--A real girl.
"You are a real girl," Aaron had told her, but somehow she had never believed him.
The sun rises higher and illuminates the broken rock turrets of the desert. There is a magic in this barren land of unassuming grandeur. Some cultures send their young people to the desert to seek visions and guidance, searching for true thinking spawned by the openness of the place, the loneliness, the beauty of emptiness.
Rachel drowses in the warm sun and dreams a vision that has the clarity of truth. In the dream, her father comes to her. "Rachel," he says to her, "it doesn't matter what anyone thinks of you. You're my daughter."
--I want to be a real girl, she signs.
"You are real," her father says. "And you don't need some two-bit drunken janitor to prove it to you." She knows she is dreaming, but she also knows that her father speaks the truth. She is warm and happy and she doesn't need Jake at all. The sunlight warms her and a lizard watches her from a rock, scurrying for cover when she moves. She picks up a bit of loose rock that lies on the floor of the cave. Idly, she scratches on the dark red sandstone wall of the cave. A lopsided heart shape. Within it, awkwardly printed: Rachel and Johnson. Between them, a plus sign. She goes over the letters again and again, leaving scores of fine lines on the smooth rock surface. Then, late in the morning, soothed by the warmth of the day, she sleeps.
Shortly after dark, an elderly rancher in a pickup truck spots two apes in a remote corner of his ranch. They run away and lose him in the rocks, but not until he has a good look at them. He calls the police, the newspaper, and the Primate Center.
The reporter arrives first thing the next morning, interviews the rancher, and follows the men from the Primate Center as they search for evidence of the chimps. They find monkey shit near the cave, confirming that the runaways were indeed nearby. The news reporter, an eager and curious young man, squirms on his belly into the cave and finds the names scratched on the cave wall. He peers at it. He might have dismissed them as the idle scratchings of kids, except that the names match the names of the missing chimps. "Hey," he called to his photographer. "Take a look at this."
The next morning's newspaper displays Rachel's crudely scratched letters. In a brief interview, the rancher mentioned that the chimps were carrying bags. "Looked like supplies," he said. "They looked like they were in for a long haul."
On the third day, Rachel's water runs out. She heads toward a small town, marked on the map. They reach it in the early morning--thirst forces them to travel by day. Beside an isolated ranch house, she finds a faucet. She is filling her bottle when Johnson grunts in alarm.
A dark-haired woman watches from the porch of the house. She does not move toward the apes, and Rachel continues filling the bottle. "It's all right, Rachel," the woman, who has been following the story in the papers, calls out. "Drink all you want."
Startled, but still suspicious, Rachel caps the bottle and, keeping her eyes on the woman, drinks from the faucet. The woman steps back into the house. Rachel motions Johnson to do the same, signaling for him to hurry and drink. She turns off the faucet when he is done.
They are turning to go when the woman emerges from the house carrying a plate of tortillas and a bowl of apples. She sets them on the edge of the porch and says, "These are for you."
The woman watches through the window as Rachel packs the food into her bag. Rachel puts away the last apple and gestures her thanks to the woman. When the woman fails to respond to the sign language, Rachel picks up a stick and writes in the sand of the yard. "THANK YOU," Rachel scratches, then waves good-bye and sets out across the desert. She is puzzled, but happy.
The next morning's newspaper includes an interview with the Born in Richland, Washington in 1951, Orson Scott Card grew up in California, Arizona, and Utah. He lived in Brazil for two years as an unpaid missionary for the Mormon Church and received degrees from Brigham Young University (1975) and the University of Utah (1981). The author of numerous books, Card was the first writer to receive both the Hugo and Nebula awards for best novel two years in a row, first for Ender's Game and then for the sequel Speaker for the Dead. He lives with his wife and children in North Carolina.