sticks, the crane releases the arms and legs until I can see that they belong to a girl.
The largest girl I’ve ever seen.
“Told you,” Dusty says.
The sky is bright and blinding. It’s like I’ve never seen it before, and oh, it’s so beautiful and I’m alive! I’m alive! If I die right now, at least I’ve seen the sky like this—all blue and brilliant and new.
My chest is still clenching, but some of the clenching releases and it’s because these nice men and women are here and I’m not dead and I’m not going to die in there, in that house. Not to say I won’t die here in the yard, but at least the air is fresh and I can breathe and there are trees and sky and birds and over there a cloud, a fluffy one, and there is the smell of something, flowers maybe. I want to say
Look at me, Dean, Sam, Cas! I’m out here just like you.
And then I think how they’re my only friends, even though they don’t know it. And oh my God, I’m crying again, but then I must pass out because when I wake up I’m being bumped all around, and I’m in the back of a truck, not even an ambulance like a regular person. I stare up at dingy metal instead of blue, and all at once I feel humiliated. How many people did it take to break me out?
I try to ask my dad, who sits back against the rattling metal wall, head jostling up and down, but his eyes are closed, and I can’t speak and suddenly I think,
What if I never speak again?
Dad opens his eyes and sees me staring at him, and he smiles, but he’s not fast enough. My chest is clenching tighter and tighter, and I don’t want to be here in this truck. I want to be in my bed, in my room, in my house. I don’t want to be out here, in this world.
I want to say
Take me home, please, if there’s anything left of it,
but then something sweeps over me, and it’s this kind of quiet, peaceful feeling, and that’s her, that’s my mom. I breathe slower, to try to make it last, to try to keep her with me.
Live live live live…
I think it as hard as I can before everything goes black, and as I drift off I remember.
Rappaccini’s daughter.
Beatrice.
Her name was Beatrice.
When I get home from school that day, a security vehicle is parked in front and a guard sits behind the wheel, sound asleep. I check to see if anyone is looking and then I walk right in.
There’s only half a living room. The sofa is oversize and drooping in the middle like a hammock. A framed picture lies faceup on the floor, and it’s of a man and a woman and a little girl. The girl is out of focus, and you can tell she’s laughing. In the photo, she’s just a regular-size kid.
The kitchen is a typical kitchen. For the most part, it’s intact, only a little dust. I go to the fridge first because I can’t help it, I want to see what’s in there. I expect a banquet suitable for Henry VIII, but it’s just your run-of-the-mill stuff—eggs, milk, deli meat, cheese, diet sodas, juice. On the outside of the door is a single magnet: OHIO WELCOMES YOU.
I walk through the whole house. It’s smaller than ours, and it doesn’t take me long to find her bedroom. Even though part of the front wall is missing, I don’t go in because it doesn’t feel respectful. Instead, I stand in the doorway. The walls—the ones that are left—are lavender, and there are bookshelves, floor to ceiling, on every single one. The books look like they might spill out and overtake the room, maybe the whole house.
The bed is the focal point of the room and looks specially built. It’s a king-size bed that pretty much fills all the space. It sits on top of this metal—steel?—platform, and beside it is a single pair of slippers. It’s the slippers that get me. They look delicate, like they were made for a girl Dusty’s age. The sheets have daisies on them, and they’re thrown all around, as if a tornado’s blown through. One of the pillows lies on the floor. A stack of books sits by the bed, and it takes me a second to see
The largest girl I’ve ever seen.
“Told you,” Dusty says.
The sky is bright and blinding. It’s like I’ve never seen it before, and oh, it’s so beautiful and I’m alive! I’m alive! If I die right now, at least I’ve seen the sky like this—all blue and brilliant and new.
My chest is still clenching, but some of the clenching releases and it’s because these nice men and women are here and I’m not dead and I’m not going to die in there, in that house. Not to say I won’t die here in the yard, but at least the air is fresh and I can breathe and there are trees and sky and birds and over there a cloud, a fluffy one, and there is the smell of something, flowers maybe. I want to say
Look at me, Dean, Sam, Cas! I’m out here just like you.
And then I think how they’re my only friends, even though they don’t know it. And oh my God, I’m crying again, but then I must pass out because when I wake up I’m being bumped all around, and I’m in the back of a truck, not even an ambulance like a regular person. I stare up at dingy metal instead of blue, and all at once I feel humiliated. How many people did it take to break me out?
I try to ask my dad, who sits back against the rattling metal wall, head jostling up and down, but his eyes are closed, and I can’t speak and suddenly I think,
What if I never speak again?
Dad opens his eyes and sees me staring at him, and he smiles, but he’s not fast enough. My chest is clenching tighter and tighter, and I don’t want to be here in this truck. I want to be in my bed, in my room, in my house. I don’t want to be out here, in this world.
I want to say
Take me home, please, if there’s anything left of it,
but then something sweeps over me, and it’s this kind of quiet, peaceful feeling, and that’s her, that’s my mom. I breathe slower, to try to make it last, to try to keep her with me.
Live live live live…
I think it as hard as I can before everything goes black, and as I drift off I remember.
Rappaccini’s daughter.
Beatrice.
Her name was Beatrice.
When I get home from school that day, a security vehicle is parked in front and a guard sits behind the wheel, sound asleep. I check to see if anyone is looking and then I walk right in.
There’s only half a living room. The sofa is oversize and drooping in the middle like a hammock. A framed picture lies faceup on the floor, and it’s of a man and a woman and a little girl. The girl is out of focus, and you can tell she’s laughing. In the photo, she’s just a regular-size kid.
The kitchen is a typical kitchen. For the most part, it’s intact, only a little dust. I go to the fridge first because I can’t help it, I want to see what’s in there. I expect a banquet suitable for Henry VIII, but it’s just your run-of-the-mill stuff—eggs, milk, deli meat, cheese, diet sodas, juice. On the outside of the door is a single magnet: OHIO WELCOMES YOU.
I walk through the whole house. It’s smaller than ours, and it doesn’t take me long to find her bedroom. Even though part of the front wall is missing, I don’t go in because it doesn’t feel respectful. Instead, I stand in the doorway. The walls—the ones that are left—are lavender, and there are bookshelves, floor to ceiling, on every single one. The books look like they might spill out and overtake the room, maybe the whole house.
The bed is the focal point of the room and looks specially built. It’s a king-size bed that pretty much fills all the space. It sits on top of this metal—steel?—platform, and beside it is a single pair of slippers. It’s the slippers that get me. They look delicate, like they were made for a girl Dusty’s age. The sheets have daisies on them, and they’re thrown all around, as if a tornado’s blown through. One of the pillows lies on the floor. A stack of books sits by the bed, and it takes me a second to see
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