She is not as severe-looking as the young Dauntless I have seen. She has small, dark, angular eyes and wears a black blazer—like a man’s suit—and jeans. It is only when she turns to close the door that I see a tattoo on the back of her neck, a black-and-white hawk with a red eye. If I didn’t feel like my heart had migrated to my throat, I would ask her what it signifies. It must signify something.
Mirrors cover the inner walls of the room. I can see my reflection from all angles: the gray fabric obscuring the shape of my back, my long neck, my knobby-knuckled hands, red with a blood blush. The ceiling glows white with light. In the center of the room is a reclined chair, like a dentist’s, with a machine next to it. It looks like a place where terrible things happen.
“Don’t worry,” the woman says, “it doesn’t hurt.”
Her hair is black and straight, but in the light I see that it is streaked with gray.
“Have a seat and get comfortable,” she says. “My name is Tori.”
Clumsily I sit in the chair and recline, putting my head on the headrest. The lights hurt my eyes. Tori busies herself with the machine on my right. I try to focus on her and not on the wires in her hands.
“Why the hawk?” I blurt out as she attaches an electrode to my forehead.
“Never met a curious Abnegation before,” she says, raising her eyebrows at me.
I shiver, and goose bumps appear on my arms. My curiosity is a mistake, a betrayal of Abnegation values.
Humming a little, she presses another electrode to my forehead and explains, “In some parts of the ancient world, the hawk symbolized the sun. Back when I got this, I figured if I always had the sun on me, I wouldn’t be afraid of the dark.”
I try to stop myself from asking another question, but I can’t help it. “You’re afraid of the dark?”
“I was afraid of the dark,” she corrects me. She presses the next electrode to her own forehead, and attaches a wire to it. She shrugs. “Now it reminds me of the fear I’ve overcome.”
She stands behind me. I squeeze the armrests so tightly the redness pulls away from my knuckles. She tugs wires toward her, attaching them to me, to her, to the machine behind her. Then she passes me a vial of clear liquid.
“Drink this,” she says.
“What is it?” My throat feels swollen. I swallow hard. “What’s going to happen?”
“Can’t tell you that. Just trust me.”
I press air from my lungs and tip the contents of the vial into my mouth. My eyes close.
When they open, an instant has passed, but I am somewhere else. I stand in the school cafeteria again, but all the long tables are empty, and I see through the glass walls that it’s snowing. On the table in front of me are two baskets. In one is a hunk of cheese, and in the other, a knife the length of my forearm.
Behind me, a woman’s voice says, “Choose.”
“Why?” I ask.
“Choose,” she repeats.
I look over my shoulder, but no one is there. I turn back to the baskets. “What will I do with them?”
“Choose!” she yells.
When she screams at me, my fear disappears and stubbornness replaces it. I scowl and cross my arms.
“Have it your way,” she says.
The baskets disappear. I hear a door squeak and turn to see who it is. I see not a “who” but a “what”: A dog with a pointed nose stands a few yards away from me. It crouches low and creeps toward me, its lips peeling back from its white teeth. A growl gurgles from deep in its throat, and I see why the cheese would have come in handy. Or the knife. But it’s too late now.
I think about running, but the dog will be faster than me. I can’t wrestle it to the ground. My head pounds. I have to make a decision. If I can jump over one of the tables and use it as a shield—no, I am too short to jump over the tables, and not strong enough to tip one over.
The dog snarls, and I can almost feel the sound vibrating in my skull.
My biology textbook said that dogs can smell fear because of a chemical secreted by human glands in a state of duress, the same chemical a dog’s prey secretes. Smelling fear leads