"What," he said when I came in. But not in an unfriendly way.
"Hey, Dad," I said. "Douglas says I have to tell you I got hit by lightning today."
My dad looked up. He had his reading glasses on. He looked at me over the tops of them.
"Is Douglas having an episode?" he asked. That's what the shrinks call it when Douglas's voices get the better of him. An episode.
"No," I said. "It's really true. I did get struck by lightning today."
He looked at me some more. "Why didn't you mention this at dinner?"
"Because, you know," I said, "it was a celebration. But Douglas said I have to tell you. Ruth, too. She says I could have a heart attack in my sleep. See, look."
I stretched out the neck of my sweatshirt again. It was okay, because the scar was way above my boobs, up by my collarbone. My dad's been kind of weird about my boobs, ever since I got some. I think he's afraid they'll get in the way of my swing when I haul off a right hook at somebody.
He looked at the scar and went, "Were you and Skip playing with firecrackers again?"
I think I mentioned before that Skip is Ruth's twin brother. He and I used to have a thing about firecrackers.
"No, Dad," I said. "Jeez. I'm way over firecrackers." Not to mention Skip. "That's from the lightning."
I told him what had happened. He listened with this very serious look on his face. Then he went, "I wouldn't worry about it."
That's what he always used to say when I'd wake up in what seemed like the middle of the night—but was probably only about eleven—when I was a very little kid, and I'd come down and tell him my leg, or my arm, or my neck hurt.
"Growing pains," he'd say, and give me a glass of milk. "I wouldn't worry about it."
"Okay," I said. I was just as relieved as I'd been back then, when I was little. "I just thought I should tell you. You know, in case I don't wake up tomorrow morning."
He said, "You don't wake up tomorrow, your mother will kill you. Now go to bed. And if I hear anything about you seeking shelter under metal again during a thunderstorm, I'll wear you out."
He didn't mean it, of course. My dad doesn't believe in spanking. That's because his older brother, my uncle Rick, used to beat the tar out of him, my mom says. Which is why we never go to visit Uncle Rick. I think that's also why my dad taught me how to punch. My dad thinks you have to learn to defend yourself from all the Uncle Ricks of the world.
I went back upstairs and practiced my flute for an hour. I always try to play my best when I practice ever since this one morning, back before Ruth got her car and we used to take the bus to school, Claire Lippman saw me with my flute case, and went, "Oh, you're the one," in this meaningful voice. When I asked her what she meant, she said, "Oh, nothing. Just that we always hear someone playing the flute around ten o'clock every night, and we never knew who it was." So I was totally mortified and turned bright red, which she must have seen, since she went, in this nice voice—Claire, in spite of being an exhibitionist, is really pretty nice—"No, no, it's not bad. I like it. It's like a free concert every night."
Anyway, once I heard that, I started treating my practice hour like a performance. First I warm up with scales, but I do them really fast to get them over with, and kind of jazzy, so that they don't sound boring. Then I work on whatever we're doing in Orchestra, but at double-time, also to get it over with. Then I do some cool medieval pieces I dug up last time I went to the library, some really ancient versions of Green-sleeves and some Celtic stuff. Then, when I'm totally warmed up, I do some Billy Joel, since that's Douglas's favorite, though he'd deny it if you asked him. Then I do some Gershwin, for my dad, who loves Gershwin, and finish up with some Bach, because who doesn't love Bach?
Sometimes Ruth and I will practice together on the few pieces we've found for flute and cello. But we don't practice from the same house. What we do is, we open our bedroom windows and play from there. Like a little mini-concert for the neighborhood. That's pretty cool. Ruth says if some conductor walked by our houses, he'd be like, "Who are those incredible musicians? I need them in my orchestra immediately!" She's probably right.
The thing is, I play much better at home than I do at school. Like, if I played as well at school as I do at home, I'd definitely be first chair, instead of third. But I mess up a lot at school on purpose, because, frankly, I don't want to be first chair. First chair is way too much pressure. I get enough grief as it is from people trying to challenge me for third.
Karen Sue Hanky, for instance. She's fourth chair. She's challenged me ten times already this year. If you don't like your chair, you can challenge the person ahead of you, and move up if you win. Karen Sue started out as ninth chair, and challenged her way up to fourth. But she's been stuck at fourth all year, because one thing I won't do is let her win. I like third chair. I'm always third chair. Third chair, third kid. You get it? I'm comfortable being third.
But no way am I going to be fourth. So whenever Karen Sue challenges me, I play my best, like I do at home. Our conductor, Mr. Vine, always gives me this lecture afterward, when Karen Sue's gone off in a huff, which she always does, because I always win. Then Mr. Vine goes, "You know, Jessica, you could be first chair, if you'd just challenge Audrey. You could blow Audrey away, if you just tried."
But I have no desire to blow anybody away. I don't want to be first chair, or even second chair.
But I'll be damned before I let anybody take third chair away from me.
Anyway, when I was done practicing, I took a shower, and then went to bed. Before I turned out the light, though, I felt the place on my chest where the scar was. I couldn't really feel it. It wasn't raised, or anything. But I could still see it, when I'd looked in the mirror coming out of the shower. I hoped it wouldn't still be there the next day. How else was I going to wear my scoop-necked T-shirt?
C H A P T E R
5
When I woke up the next morning, I knew two things right away. One, I had not died of a heart attack in the night. And two, Sean Patrick O'Hanahan was in Paoli, while Olivia Marie D'Amato was in New Jersey.
That's three things, I guess. But the second two were totally random. Who the hell was Sean Patrick O'Hanahan, and how did I know he was in Paoli? Ditto the stuff about Olivia Marie D'Amato.
Crazy dreams. I'd been having some crazy dreams, that was all. I got up and took another shower, since the red mark was still there, and I couldn't wear the scoop neck. I decided to go for clean hair instead. Who knew? Maybe Rob Wilkins would offer me another ride, and when we were at a stop sign or something, he'd turn his head and smell me.
It could happen.
It wasn't until I'was eating breakfast that I realized who Sean Patrick O'Hanahan and Olivia Marie D'Amato were. They were the kids on the back of the milk carton. You know, the missing ones. Only they weren't missing. Not anymore. Because I knew where they were.
"You don't think you're actually wearing those jeans to school, do you, Jessica?"
My mom was way disenchanted with my ensemble, which I had put together very carefully, with Rob Wilkins in mind.
"Yeah, really," Mike said. "What do you think this is? The eighties?"
"Like," I said, "you know anything about fashion, science boy. Where's your pocket protector, anyway?"
"You cannot," my mother said, "wear those jeans to school, Jessica. You'll shame the family."
"There's nothing wrong with my jeans," I said. 1-800-WHERE-R-YOU. That was the number you were supposed to call if you knew where Sean Patrick O'Hanahan or Olivia Marie D'Amato were. I'm not kidding. 1-800-WHERE-R-YOU. Cute. Very cute.