Lilly’s dark eyes glittered behind her glasses. “Oh, she did, did she?” She didn’t look surprised.

“I really am sorry, Lilly,” I said, meaning it. “You would have made a way better Rosagunde than me.”

“Whatever,” Lilly said with a sniff. “I’ll be fine with my part. Really.”

I could tell she’s just being brave, though. Inside, she’s really hurting.

And I don’t blame her. None of it makes any sense. If Grandmère wants her show to be a success, why wouldn’t she want the best actress she could find? Why would she insist on the part being played by ME, basically the worst actress in the whole school—with the possible exception of Amber Cheeseman?

Oh well. Who knows why Grandmère does half the things she does? I imagine there’s some kind of rationale to it.

But we mere humans will never understand what it is. That is a privilege reserved only for the other aliens from the mothership that brought my grandmother here from the evil planet she was born on.

Friday, March 5, Earth Science

Just now Kenny asked me if I would recopy our mole-mass worksheet, because last night, while completing it, he got Szechuan sauce on it.

I don’t know what got into me. Maybe it was residual meanness left over from my conversation with Grandmère. I mean, like, maybe some of HER meanness rubbed off on me, or something. I don’t know of any other way to explain it.

In any case, whatever it was, I decided to apply economic theory to the situation. I just thought, Why not? The whole self-actualization thing hasn’t worked out for me. Why not give old Alfred Marshall a try? Everyone else seems to be doing it. Like Lana.

And SHE always gets what SHE wants. Just like GRANDMÈRE always gets what SHE wants.

So I told Kenny I wouldn’t do it unless he did tonight’s homework, too.

He looked at me kind of funny, but he said he would. I guess he looked at me funny because he does our homework EVERY night.

Still. I can’t believe it has taken me this long to catch on to how society works. All this time, I thought it was Jungian transcendence I needed in order to find serenity and contentment.

But Grandmère—and Lana Weinberger, of all people—have shown me the error of my ways.

It’s not about forming a base of roots such as trust and compassion in order to reap the fruits of joy and love.

No. It’s about the laws of supply and demand. If you demand something and can provide proper incentive to get people to hand it over, they’ll supply it.

And the equilibrium remains stable.

It’s sort of amazing. I had no idea Grandmère was such an economic genius.

Or that LANA would ever teach ME something.

It sort of casts everything in a new light.

And I do mean everything.

HOMEWORK

PE: GYM SHORTS!!! GYM SHORTS!!!! GYM SHORTS!!!!!

U.S. Economics: Read Chapter 9 for Monday

English: Pages 155–175, O Pioneers

French: Vocabulaire 3ème étape

G&T: Find that water bra Lilly bought me that time as a joke. Wear it to the party.

Geometry: Chapter 18

Earth Science: Who cares? Kenny’s doing it! HA-HA-HA-HA

Friday, March 5, the Grand Ballroom, the Plaza

For the first rehearsal ever of Braid! we had what Grandmère called a “read-through.” We were supposed to read through the script together as a group, each actor saying his or her lines out loud, the way he or she would if we were performing the show onstage.

Can I just say read-throughs are very boring?

I had my journal tucked up behind my script so no one could see that I was writing instead of following along. Although it was kind of awkward to shift the script out from behind my journal when one of my cues came up.

A cue is the line before you are supposed to say yours. I am finding out all sorts of theater-y stuff today.

Like, Grandmère, while she may have written the dialogue for Braid!, she didn’t write the MUSIC. The music was composed by this guy named Phil. Phil is the same guy who was playing the piano to accompany us at the audition yesterday. Grandmère, it turns out, paid Phil a ton of money to write music to go with her lyrics for all the songs in Braid!

She says she got his name off the employment board at Hunter College.

Phil doesn’t look like he’s had much time to enjoy his newfound cash windfall, though. Basically, he pulled an all-nighter to compose the music for Braid!, and it also looks like he still hasn’t really caught up with his sleep. He seemed to be having a lot of trouble staying awake during the read-through.

He wasn’t the only one. Señor Eduardo didn’t open his eyes ONCE after the play’s first line (uttered by Rosagunde: “Oh, la, what a joy it is to live in this sleepy, peaceful village tucked against the seaside.” CUE: FIRST SONG).

Possibly, Señor Eduardo’s dead.

Well, that wouldn’t be so bad. Everybody could be all, “He died doing what he loved best,” like they did in that horrible TV movie where the girl fell out of a tree and broke her neck the day she got a new horse.

Oh, no, wait, he just snored. So he’s not dead after all.

Shoot, my line:

“Oh, Gustav, dare not call yourself a peasant! For the shoes you make for our horses lend strength to their step, and the swords you forge for our people lend courage to their fight for freedom against tyranny!”

Then it was J.P.’s turn to say his line. You know, J.P.’s not a bad actor. And I can’t help noticing that he had HIS Mead composition notebook tucked up in front of HIS script!