"Go ahead, laugh!" snorted Nemur, who nearly bumped into me, "but if we don't find him, the whole experiment is in danger."
I pretended to be looking for Algernon under a waste basket. "Do you know something?" I said. "You've made a mistake. And after today, maybe it just won't matter at all."
Seconds later, half a dozen women came screaming out of the powder room, skirts clutched frantically around their legs.
"He's in there," someone yelled. But for a moment, the searching crowd was stayed by the handwriting on the wall—Ladies. I was the first to cross the invisible barrier and enter the sacred gates.
Algernon was perched on top of one of the washbasins, glaring at his reflection in the mirror.
"Come on," I said. "We'll get out of here together."
He let me pick him up and put him into my jacket pocket. "Stay in there quietly until I tell you."
The others came bursting through the swinging doors—looking guiltily as if they expected to see screaming nude females. I walked out as they searched the washroom, and I heard Burt's voice. "There's a hole in that ventilator. Maybe he went up there."
"Find out where it leads to," said Strauss.
"You go up to the second floor," said Nemur, waving to Strauss. "I'll go down to the basement."
At this point they burst out of the lathes' room and the forces split. I followed behind the Strauss contingent up to the second floor as they tried to discover where the ventilator led to. When Strauss and White and their half-dozen followers turned right down Corridor B, I turned left up Corridor C and took the elevator to my room.
I closed the door behind me, and patted my pocket. A pink snout and white fuzz poked out and looked around. "I'll just get my things packed," I said, "and we'll take off—just you and me—a couple of man-made geniuses on the run."
I had the bellhop put the bags and the tape-recorder into a waiting taxi, paid my hotel bill, and walked out the revolving door with the object of the search nestling in my jacket pocket. I used my return-flight ticket to New York.
Instead of going back to my place, I plan to stay at a hotel here in the city for one or two nights. We'll use that as a base of operations while I look for a furnished apartment, somewhere midtown. I want to be near Times Square.
Talking all this out makes me feel a lot better—even a little silly. I don't really know why I got so upset, or what I'm doing on a jet heading back to New York with Algernon in a shoebox under the seat. I mustn't panic. The mistake doesn't necessarily mean anything serious. It's just that things are not as definite as Nemur believed. But where do I go from here?
First, I've got to see my parents. As soon as I can.
I may not have all the time I thought I had….
PROGRESS REPORT 14
Our escape hit the papers yesterday, and the tabloids had a field day. On the second page of the Daily Press there was an old picture of me and a sketch of a white mouse. The headline read: Moron-Genius and Mouse Go Berserk. Nemur and Strauss are reported as saying I had been under tremendous strain and that I would undoubtedly return soon. They offered a five-hundred-dollar reward for Algernon, not realizing we were together.
When I turned to the later story on the fifth page, I was stunned to find a picture of my mother and sister. Some reporter had obviously done his legwork.
SISTER UNAWARE OF MORON-GENIUS' WHEREABOUTS
(Special to the Daily Press)
Brooklyn, N.Y., June 14—Miss Norma Gordon, who lives with her mother, Rose Gordon, at 4136 Marks Street, Brooklyn, N.Y., denied any knowledge of her brother's whereabouts. Miss Gordon said, "We haven't seen him or heard from him in more than seventeen years."
Miss Gordon says she believed her brother dead until last March, when the head of the psychology department at Beekman University approached her for permission to use Charlie in an experiment.
"My mother told me he had been sent to the Warren place," (Warren State Home and Training School, in Warren, Long Island) said Miss Gordon, "and that he died there a few years later. I had no idea then that he was still alive."
Miss Gordon requests that anyone who has any news about her brother's whereabouts communicate with the family at their home address.
The father, Matthew Gordon, who is not living with his wife and daughter, now operates a barbershop in the Bronx.
I stared at the news story for a while, and then I turned back and looked at the picture again. How can I describe them?
I can't say I remember Rose's face. Although the recent photograph is a clear one, I still see it through the gauze of childhood. I knew her, and I didn't know her. Had we passed on the street, I would not have recognized her, but now, knowing she is my mother, I can make out the faint details—yes!
Thin, drawn into exaggerated lines. Sharp nose and chin. And I can almost hear her chatter and bird-screech. Hair done up in a bun, severely. Piercing me with her dark eyes. I want her to take me into her arms and tell me I am a good boy, and at the same time I want to turn away to avoid a slap. Her picture makes me tremble.
And Norma—thin-faced too. Features not so sharp, pretty, but very much like my mother. Her hair worn down to her shoulders softens her. The two of them are sitting on the living room couch.
It was Rose's face that brought back the frightening memories. She was two people to me, and I never had any way of knowing which she would be. Perhaps she would reveal it to others by a gesture of hand, a raised eyebrow, a frown—my sister knew the storm warnings, and she would always be out of range whenever my mother's temper flared—but it always caught me unawares. I would come to her for comforting, and her anger would break over me. And other times there would be tenderness and holding-close like a warm bath, and hands stroking my hair and brow, and the words carved above the cathedral of my childhood:
He's like all the other children.
He's a good boy.
I see back through the dissolving photograph, myself and father leaning over a bassinet. He's holding me by the hand and saying, "There she is. You mustn't touch her because she's very little, but when she gets bigger you'll have a sister to play with."
I see my mother in the huge bed nearby, bleached and pasty, arms limp on the orchid-figured comforter, raising her head anxiously. "Watch him, Matt—"
That was before she had changed towards me, and now I realize it was because she had no way of knowing yet if Norma would be like me or not. It was later on, when she was sure her prayers had been answered, and Norma showed all signs of normal intelligence, that my mother's voice began to sound different. Not only her voice, but her touch, her look, her very presence—all changed. It was as if her magnetic poles had reversed and where they had once attracted now repelled. I see now that when Norma flowered in our garden I became a weed, allowed to exist only where I would not be seen, in corners and dark places.
Seeing her face in the newspaper, I suddenly hated her. It would have been better if she had ignored the doctors and teachers and others who were so in a hurry to convince her that I was a moron, turning her away from me so that she gave me less love when I needed more.
What good would it do to see her now? What could she tell me about myself? And yet, I'm curious. How would she react?
To see her and trace back to learn what I was? Or to forget her? Is the past worth knowing? Why is it so important for me to say to her: "Mom, look at me. I'm not retarded any more. I'm normal. Better than normal. I'm a genius?"