Nick and I did our best to prepare for Offred’s freedom. He had Mayday ready to come, but what we had been missing was an excuse to call them. We can’t bring Mayday without actually having a real circumstance against Offred or else suspicion will be sparked that the van does not belong to the Eyes.
Finally, we found the excuse we needed. I found out about Offred’s excursions with my husband the other night. Of course, he had done this with the last handmaiden. I never planned to call the Eyes on the last Offred, even though I envied the shallow connection she might have experienced with my husband. Unfortunately, the last Offred became so paranoid of me calling the Eyes on her that she hung herself. I realized then that my hard act must be very effective. I used to be a singer, but I’m thinking now that I also could’ve been an actress.
I know Offred would not commit suicide like the last handmaiden. She always moves and speaks like an oppressed woman, but she carries a fight in her eyes. I know she would be the perfect woman to rescue. It would be too risky for me to have direct contact with the underground rebellion, so only Nick has contact with Mayday. I make sure to confront Offred in front of Nick in order for him to see that we have our excuse to call the “Eyes,” or in reality, Mayday.
“She always moves and speaks like an oppressed woman, but she carries a fight in her eyes.”
“I trusted you,” I yelled at Offred. Nick stands behind Offred, but in front of me. He stops whistling, and I know that he is hearing me speak to Offred (287). “Just like the other one. A slut. You’ll end up the same” (288). It burned my insides to say these words, but I had to act the part for her sake and mine. Offred walked away “orderly and calm” (288). Nick and I hold eye contact for a second long enough to communicate our thoughts. Her reaction just confirmed everything: she is the perfect woman to rescue.