Tree's face, and her gasp, should have told me that I couldn't hide the truth. But she recovered herself quickly and helped me navigate over to the shower stall. She was uncomfortable around me; I was no longer like her but was other than.

I think the way I survived in the early hours after the rape was by spiraling the obsession of how not to tell my mother over and over again in my brain. Convinced it would destroy her, I ceased thinking of what had happened to me and worried about her instead. My worry for her became my life raft. I clung to it, coming in and out of consciousness on my way to the hospital, during the internal stitches of the pelvic exam, and while the psychiatrist gave me the prescription for the very pills that had once made my mother numb.

The shower was in the corner of the room. I walked like a wobbly old lady and Tree steadied me. I was concentrating on my balance and so did not see the mirror to my right until I looked up and I was almost right in front of it.

"Alice, don't," Tree said.

But I was fascinated, the way I had been as a child when, in a special room with low light, I saw an exhibit at the University of Pennsylvania's Museum of Archaeology. It was nicknamed Blue Baby and it was a mummy, with the disintegrated face and body of a child who had died centuries ago. I recognized something alike in it-I was a child as this Blue Baby had been a child.

I saw my face in the mirror. I reached my hand up to touch the marks and cuts. That was me. It was also an undeniable truth: No shower would wipe the traces of the rape away. I had no choice but to tell my mother. She was too savvy to believe any story I could now fashion. She worked for a newspaper, and she took pride in the fact that it was impossible to pull the wool over her eyes.

The shower was small and made of white tile. I asked Tree to turn on the water. "As hot as you can," I said.

I took off the hospital gown and handed it to her.

I had to grip the tap and a handle on the side of the shower to stay upright. This left me unable to scrub myself. I remember telling Tree I wished I had a wire brush but that even that wouldn't be enough.

She drew the curtain and I stood there, letting the water beat over me.

"Can you help me?" I asked.

Tree pulled the curtain back a few inches.

"What do you want me to do?"

"I'm afraid I'll fall down. Can you take the soap and help wash me?"

She reached through the water and got the large square brick of soap. She drew it down my back, nothing but the bar of soap touching me. I felt the rapist's words, "worst bitch," as I would feel them almost constantly for years when I undressed in front of other people.

"Forget it," I said, unable to look at her. "I'll do it myself. Just put the soap back."

She did, then pulled the curtain closed, before leaving.

I sat down in the shower. I took a washcloth and lathered it up. I scrubbed hard with the rough towel, under a tap so hot my skin had already turned beet red. The last thing I did was put the towel over my face and with both hands rubbed it back and forth over and over again until the cuts and their blood turned the small white towel pink.

After the hot shower, I dressed in clothes that Tree and Diane had hurriedly selected from the few clean clothes I had. They had forgotten any underwear so I had no bra or underpants. What I did have was a pair of old jeans that I had embroidered flowers on while still in high school and then, when the knees ripped open, had sewn intricate handmade patches on-long strips of pleated paisley and deep-green velvet. My grandmother had labeled them my "rebel" pants. On top, I wore a thin white-and-red-striped blouse. I left the shirttails out, hoping to hide as much as possible of the jeans.

The heat of the shower and the Demerol worked together to make me groggy during the drive to the police station. I remember seeing the resident advisor, a sophomore named Cindy, outside the security door on the third floor of the police station, called the Public Safety Building. I wasn't prepared to see anyone with such a bright face, such an all-American-coed presence.

Mary Alice stayed outside with Cindy as police officers led me through a security door. I met a plainclothes detective inside. He was short, with longish black hair. He reminded me of Starsky from Starsky and Hutch, and seemed different from the other policemen. He was nice to me but his shift was ending. He assigned me to Sergeant Lorenz, who had not yet arrived at the station.

In hindsight I can only imagine how I appeared to them. My face was swollen, my hair wet, my clothes-the "rebel" pants especially and the lack of a bra-and on top of this, the Demerol.

I made a composite from microfilm features. I worked with an officer and was frustrated because none of my rapist's features seemed to be among the fifty or so noses, eyes, and lips. I gave exact descriptions but when nothing was acceptable to me among the tiny black-and-white features I could select, the policeman decided on what was best. The composite that went out that night looked little like him.

The police then took a series of pictures of me, never knowing another series had been taken earlier that night. Ken Childs, a boy I liked, had shot almost a whole roll of film, snapping candids of me in various poses throughout his apartment.

Ken had a crush on me, and I knew that he was taking the pictures to show to people at home over the summer. I knew the photos would be judged. Was I pretty? Did I look smart? Would his friends be reduced to "She seems nice"? Or, worse still, "That's a nice sweater she's wearing"?

I had gained weight, but the jeans I wore were still too big for me, and I'd borrowed my mother's white oxford-cloth shirt and a tan cable cardigan sweater. The word that comes to mind here is frumpy.

So, in the "before" photos taken by Ken Childs, I am at first posing, then giggling, then laughing openly. For all my self-consciousness, I also got lost in the giggling silliness of our crush. I balance a box of raisins on my head, I stare at the writing on the back as if it were a gripping text, I prop my feet up on the edge of his dining table. I smile, smile, smile.

In the "after" photos the police took, I stand shocked. The word shock, in this context, is meant to mean I was no longer there. If you have seen police photos of crime victims, you will know that they appear either bleached or unusually dark. Mine were of the overexposed variety. There were four types of poses. Face. Face and neck. Neck. Standing with identity number. No one tells you at the time how important these photos will be. The cosmetics of rape are central to proving any case. So far, in appearance, I was two for two: I wore loose, unenticing clothes; I had clearly been beaten.

Add this to my virginity, and you will begin to understand much of what matters inside the courtroom.

Finally, I was allowed to leave the Public Safety Building with Cindy, Mary Alice, and Tree. I told the officers in the station that I would return in a few hours and could be counted on to give an affidavit and look through mug shots. I wanted them to see I was serious, I wouldn't let them down. But they were working the night shift. Even when I did come back-and in their minds, it was far from certain that I would-they wouldn't be there to see I'd kept my word.

The police drove us back to Marion Dorm. It was early in the morning. Light had begun to creep up over Thorden Park at the top of the hill. I had to tell my mother.

The dorm was deathly quiet. Cindy went into her room at the top of the hall and Mary Alice and I agreed we would meet her there momentarily. Neither of us had a private phone.

We went to my room, where I found a bra and underwear to put on under my clothes.