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Birds - Summer Break 2 - Part 2

written by Jeroen de Jong

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About this story

Published: 09 Nov 1999 | Size: 50 KB (9269 words) | Language: english | Rating: PG-13
Average: 3.8/5   3.8/5 (6 votes)
Abstract:
The so-called X-Files continue ...

based on stories and characters created by Winnie Holzman

 

SCENE 1

Exterior woods. Trees with a small, roaring brook. The sun is shining. Text appears on the screen: "Two weeks later". The camera pans across a row of pine trees along the brook and zooms in on one of them. It's almost as if the camera resembles somebody looking through binoculars. In the tree the camera focuses on a big raven with white feathers on its chest. The bird sits in a tree and its head moves slowly, it's looking around. The white chest makes a beautiful contrast with the total blackness of the rest of the bird. It makes the bird a little unreal. As the camera keeps focussed on the bird, we hear somebody whistle. It's a strange whistle, very low, long tone, no melody. The raven tilts its head, as if it's listening. Then it claps its wings and flies away. As it flies away, the camera changes to a shot of the flying bird across the brook. On the other side of the brook sits a girl, with short dark-brown, almost black hair, wearing jeans overalls and a black T-shirt. (** special guest star: Christina Ricci, resembling her role as Ely in the movie "Desert Blue" **). One of the straps of her overalls is unbuttoned. She's about eighteen years old. It's obvious that she makes the low whistle tone. The raven flies towards her and lands on a stone, three feet from the girl. It looks at her. The girl has three blackberries in the palm of her hand and offers them to the bird. With its thick beak, the bird gently picks out the berries one by one. The girl mumbles to the bird in a very low voice, we can't hear what she's saying. The whole scene has something unreal, almost fairytale-like. When the bird has eaten the berries, it hops from the stone on the girl's knee. In comparison to the girl the bird is really big. (** note: normal raven size: 25-30 inch./55-65 cm. from head to tail **). The girl pats the bird's head and strokes the white feathers on its chest. Then she lays back and uses a rock to support her head. The raven still stands on her knees, now looking around as if it's watching over her. The camera moves back to the girl, who has closed her eyes and seems relieved and peaceful. The camera takes the girl in a close shot (head and shoulders). Her lips make a faint smile. CUT to:

 

SCENE 2

Interior Angela's bedroom. Close shot (head and shoulders) of Angela lying in bed, identical to the last shot of the bird-girl. Her eyes are closed. We hear some relaxed MSCL music. Angela opens her eyes and immediately looks wide awake - alert even, like an animal that is startled by a noise.

ANGELA VO: [slowly] So, it *is* going to happen. [pauses] I am going on a hiking trip. With a tent, a stove and a compass. *And* Brian. [turns her head] Like really.

Angela gets out of bed and walks to the window. Her alarm clock reads 7.15. Angela is wearing a white very over-sized T-shirt. We see that everything is ready for the trip. At the end of her bed is a big backpack and a pair of hiking boots and on her desk are her clothes for today: a beige pair of shorts, a gray T-shirt and a typical hiking ("lumberjack") flannel blouse. Angela is hesitating to get dressed, she walks over to her desk and picks up the Calvin and Hobbes-comic "Weirdoes from another planet" by Bill Watterson. She flips through the book and smiles vaguely as she reads some things. Then we hear a loud bang on the door and Angela looks irritated. We hear Graham's voice.

GRAHAM: [off-screen, yelling] Angela, we're leaving in thirty minutes. Are you awake?

Angela walks over to the door and opens it. Graham looks surprised, but then he recovers to one of his happy-dad smiles.

ANGELA: [little irritated] Of course I'm awake. Geez, any one would be after one of your door bangs. [pauses] And if you'd just come in, you wouldn't have to yell.

GRAHAM: [not impressed by her irritation, joking] So, now I can come *in* again? Last time you were threatening with a restraining order. And that time I came in after three knocks.

Angela seems to try to think of something smart to say, but then she gives up. She walks away and falls on her bed again.

GRAHAM: [slightly worried, coming in four feet] Are you OK?

ANGELA: [looks up, slowly] Mwwaah, I think so.

GRAHAM: So, what's the matter?

ANGELA: [hesitating] Nothing? [pauses] I don't know.

Angela looks at Graham like she's going to tell her something that has been on her mind for a while. Graham gets this and tries to encourage her with a great "you can tell me"-look and walks a few feet further into Angela's room.

ANGELA: Well, you know -

Angela gets interrupted by Patty who walks in with a stressed look on her face.

PATTY: [stressed/angry] Why aren't you dressed yet? We're dropping you off at the bus station in twenty minutes. [to Graham] And you were putting her stuff in the car. Come on, that bus won't wait.

Angela and Graham say nothing. They both know that "their" moment is destroyed. Graham has a sad, disappointed look on his face. Angela looks a little uncomfortable.

PATTY: [impatient] Well?

Graham gets Angela's backpack and takes it out of her room. He tries to catch Angela's eyes, but she looks away.

PATTY: I want you downstairs in five minutes. You have to get a decent breakfast before you go on this trip.

Angela sighs, but doesn't resist.

ANGELA: OK.

PATTY: Of course.

Patty walks out of the room.

ANGELA: [loud, first to Patty's back, then to the open door] But I don't like that all-fiber super healthy thirty four vitamin cereal.

Patty has left and doesn't answer Angela's remark. Angela walks to her desk, picks up the T-shirt and looks at the cover of the Calvin and Hobbes-comic. The camera focuses on the comic. We see a picture of Calvin jumping into Hobbes' arms terrified by some small weird creature that is pretty terrified itself.

 

SCENE 3

Interior Chase kitchen. Angela is standing at the table, eating a muffin. She is wearing the shorts, the T-shirt, the boots and the shirt unbuttoned. She looks tougher, than we're used to see her. In front of her are a half-full glass of milk and a shiny green apple. Danielle is dancing around, singing an unidentifiable song. Then she sees Angela's blank face and she stops singing.

DANIELLE: [irritated] Why can't you just be happy for once in your life. I wish *I* was going on a hiking trip.

ANGELA: [fast, surprised by the ring of truth in Danielle's words] I am happy. I look forward to this trip. Just shut up. You wouldn't understand it anyway.

Danielle looks insulted and walks away.

DANIELLE: You'd be surprised.

Graham comes in as Danielle leaves the kitchen. Angela quickly puts a happier face.

GRAHAM: Are you ready, honey? We're about to leave.

ANGELA: I'm ready.

Angela finishes the milk and takes the apple. Graham looks at her carefully.

GRAHAM: Nothing you want to tell me?

ANGELA: [smiling] No. It's just that it's a little weird to go on this trip just with my friends. [VO] And Brian. [aloud] And I'm curious how it's going to work out.

GRAHAM: I'm sure it's going to work out fine. You've been preparing everything to the last possible detail.

ANGELA: [smiling] Well, Sharon and Rickie have.

GRAHAM: That'll suffice. I'm sure it's going to be fun. And you can use some of that. [smiling] Now, get into the car before your mother really freaks out.

Angela smiles to Graham and then she walks out of the kitchen. Graham looks around the kitchen, to see if he has everything and then he leaves too.

 

SCENE 4

Interior Mulder's office. Mulder is watching a videotape. It's an old movie, we see a children's playground with hundreds of crows all over it. The birds are sitting quietly on the climbing racks, the swings etc. Some of us might recognize the movie as Hitchcock's "The Birds". We hear a (off-screen) knock on Mulder's door and Mulder looks up. It's Scully. As she sees what he's watching she raises an eyebrow.

SCULLY: Your taste has improved.

MULDER: Yeah, [freezing the image with the remote] did you bring some popcorn?

SCULLY: No, but I'm sure there must be some left around here from two weeks ago here. When you were watching that Spice Girls-special. Doing research again?

MULDER: [nods] Indeed. [hands her some Xeroxed newspaper articles] Take a look at this.

Scully takes the papers, one of them is titled "Birds attack anglers", "Crazy Magpies Kill", "Can Birds Carry Rabies?".

SCULLY: What is it?

MULDER: Well, it seems that a large group of magpies have been attacking people for no good reason and that a three year old child was killed by those birds.

SCULLY: [surprised] And you believe these crappy papers?

MULDER: Yes, but I also called the Vineland police and they confirmed it.

SCULLY: And now you're watching Hitchcock for reference?

MULDER: Well [pauses], yeah. Birds don't attack people for nothing. And that's just what they've been doing.

SCULLY: I doubt that. You are right about birds not attacking people for no reason. And about this [points at one of the articles] birds don't carry rabies. Bats carry rabies. Dogs, foxes, wolves, maybe rabbits carry rabies. Those are all mammals, Mulder. Birds don't carry rabies.

MULDER: I don't think they do.

SCULLY: [surprised] You don't?

MULDER: No. According to those articles the magpies gathered together, forming groups, before they attacked. Almost like planning the attack. That doesn't fit my description of a rabies-infected Cujo, drewling white foam all over the place. The magpies weren't ill.

SCULLY: So, what *do* you think?

MULDER: I don't know. [gets up, smiling] But wouldn't you just love to find out?

Mulder turns off the TV-set with the remote and walks to the door, Scully looks at him with a "here we go again"-look on her face.

 

SCENE 5

Interior bus. The greyhound is half-full with people. On the left side of the bus Angela, Sharon, Brian, Rickie and Rayanne are getting into the seats. They all look a little weird in their shorts, T-shirts and hiking boots. Rayanne wears a T-shirt with a huge print of a bear-foot and through that the word "hike!" is written. Angela and Sharon sit next to each other, Brian and Rickie sit in front of them. Rayanne goes to sit in front of Brian and Rickie, but then she changes her mind. She walks over to the seats next to Sharon and Angela, bursting into some old people who are also changing seats. The old couple looks irritated. Rayanne puts on an over-done smile and as they turn their back, she makes a puking-expression. Then she falls into the seat.

RAYANNE: I still think we should have had similar outfits. I mean [to Sharon] at least you would have as looked as cool as I do.

The engine of the bus starts with a loud roar. Sharon makes a muffled excited noise. Angela looks at her disapprovingly.

RICKIE: Rayanne, get over here. They waving us good-bye.

Rayanne leans over Sharon's seat and they all wave. Rayanne, Rickie and Sharon are enthusiast, Brian and Angela a little embarrassed. Through the window we see Camille, Mr. Katimski, Patty, Graham and Danielle waving. The bus pulls up and Rayanne gets in her seat again. The old couple is right behind her and they look disapproving. Rayanne gives them an eye-roll and falls down on her seat.

RAYANNE: [half-loud] Too bad I forgot those pills, now I may get car sick after all.

SHARON: [little irritated] Just shut up. We got four hours in this bus, so cool it for a while.

RAYANNE: [sighs] Pff. Relax, *mom*. [pauses, looks for something in her plastic bag] Thank god I brought my walkman. Sharon, can I borrow your Mariah Carey tapes.

SHARON: *Hey*, you know I don't like Mariah Carey.

RICKIE: I've got this great BeeGees tape. Want to hear it?

RAYANNE: Naah, I'll just stick to the usual stuff.

Rayanne puts in her earplugs and pushes the play-button. The music fills the scene and drowns almost all the other noise. The engine of the bus is the only non-music sound that we keep hearing vaguely. The music is "Walk this world" by Heather Nova. It's an up-tempo, happy song with a strong bass-line. All our friends are leaning back in their seats, a little tired, but happy with excitement. During the music the shots change. (** note: the lyrics go with the shot described before it. **)

MUSIC: I've slept beside the river and the green is growing slow.

I've watched you find the places hidden by the snow.

I've tripped into a valley that is blue till you can see

I want you to come, walk this world with me

Shot of Rayanne sharing from a huge bag of candy. After she offered her friends some she turns to the old couple behind her, puts on her sweetest smile and offers them some. The old woman smiles and takes some lemonsweets, the old man is still irritated, probably just by Rayanne being there.

With the light in our eyes, it's hard to see

Holding on and on to what we believe

I'm not touched, but I'm aching to be

I want you to come, walk this world with me

Shot of Angela sleeping. With the others looking carefully, Sharon is touching Angela's nose with a little piece of plastic from a lolly, to prove that Angela is really sleeping. Then the bus goes over a bump and the piece of plastic gets in Angela's eyes for a second. She opens her eyes and looks not-understanding at Sharon's face. The others are laughing.

And I'm sucked in by the wonder and I'm fucked up by the lies

And I dig a hole to lie in and I build some wings to fly

And I think that I could love you 'cause you know how to be free

I want you to come walk this world with me

Shot from the bus that has stopped in a small mountain town. Brian gets out first and walks to the doors of the luggage compartment. The bus driver opens the doors and Brian points at some backpacks. After a few seconds there five blue, purple and green backpacks on the street. They all get their backpacks and - of course - Sharon has a little pink bear dangling on hers. Again it strikes us how strange it is to see these five people so far away from their usual environment, in these different clothes and with big backpacks. It seems weird for themselves too, they've put on their backpacks and just look at a little sheepish each other. Then Sharon points at a sign - reading Tourist Information Center and they start walking. As they walk off a black crow lands on the bus stop sign. When it had landed, it claps its wings a few times and then gets into a comfortable position on the sign.

With the light in our eyes, it's hard to see

Holding on and on to what we believe

With the light in our eyes, it's hard to see

I'm not touched, but I'm aching to be

I want you to come, I want you to come

I want you to come, walk this world with me

 

SCENE 6

Interior Gregg's office. Gregg is sitting at his desk, talking on the phone.

GREGG: OK. Thanks anyway. Sure, I'll let you know.

He hangs up and writes something on a small notepad. A copy of Hitchcock's "The Birds" lies on the corner of the desk. Somebody knocks on the door.

GREGG: [more firm than he wanted] Come in.

The door opens and Mulder and Scully come in.

GREGG: Hello again.

SCULLY: Hi, Gregg.

MULDER: [impatient] Well, did you find anything?

GREGG: [disappointed] No, except for the fact that Vineland Town is the crow-capital of America, which I already told you. The people I called didn't know anything about birds attacking people. [fast] But I have to say, since it's august a lot of people have taken a few weeks off.

SCULLY: Which is exactly what *we* should do. Again.

MULDER: And you're saying that on your first day at work after a ten-day trip to the Caribbean? Makes me wonder what you have been doing there.

SCULLY: I was there with my mother, Mulder. [pauses] I was just hoping that my first case after my vacation wouldn't be some weird, unexplainable stuff with nobody to arrest and bring to justice. Do you know how long it's been since I've actually said the word [monotone] "You have the right to remain silent, everything you say can and will be used against you in a court of law" ?

Scully looks at Mulder, looking for an answer.

MULDER: Relax. Here's what we'll do: we take the car and drive to Vineland Town. To spend some days in the open. [fake making up] And when we get back we'll do a normal case. With arrests, handcuffs and all that stuff.

Before Scully can say anything back, Gregg interrupts their little "discussion".

GREGG: [enthusiast] So, you're actually going to see the birds?

MULDER: [nods] A-ha.

Gregg wants so say something, but doesn't know how to put it. He looks at his desk. Scully watches him and then she smiles understanding.

SCULLY: [to Mulder] Maybe you should take a biologist with you. [pauses] Then I can stay here and get started on a real case. You know with handcuffs and all.

Mulder looks at Scully with a weird look on his face, like he can't believe she's talked herself out of this assignment. The he looks at Gregg.

MULDER: Yeah, maybe you should come. Killer-birds is probably more of a guy-thing anyway.

SCULLY: And you can have beers, shoot pool and get into fights in the local bar.

MULDER: [enthusiast] Cool.

Gregg smiles, happy he gets the job. Then we hear a knock on the half-opened door and assistant-director Skinner comes in. He looks a little surprised to see Mulder and Scully in Gregg's office.

SKINNER: It's good that I catch all of you here.

Mulder and Scully look surprised.

SKINNER: [to Mulder] We just got a call from the Vineland police. They want somebody to come over and investigate the bird-case, that you have been calling them about. An old man and an eight-year-old boy have been killed this morning. [real serious] Pecked to death. [pauses] I want the three of you to go there and get this solved a.s.a.p. Before we get any bird-hysteria. Like locals running around with rifles shooting at anything that flies.

SCULLY: Sir, do you really think it's necessary to go there with three agents?

SKINNER: Yes, agent Scully. You'll need to examine the dead bodies anyway. I'd suggest you all leave this afternoon. It's a four hour drive to Vineland Town. You'd be there by tonight and can start first thing tomorrow.

Skinner turns and walks out of the room. Mulder smiles at Scully.

SCULLY: [sighs] Great.

MULDER: [to Scully] We can still get into fights, if you want to.

 

SCENE 7

Exterior small cabin in the woods. The cabin is in an open space in the woods. An old Chevrolet pick up truck is parked on the track that leads to the cabin. The girl we saw with the raven is sitting in front of the cabin on a wooden bench made of tree trunks. She's carving something out of a piece of wood. It looks like a cup or something like that. Then suddenly she looks up and the big raven with the white chest flies towards her. It lands near the girl and she looks surprised at it. The raven's beak is covered with blood and there's also blood on the white feathers on its chest. The girl wants to take a closer look at the blood, but the raven walks a few feet away and starts to clean its beak by wiping it through the sand. The girl goes back to her carving job, but keeps watching the raven from the corner of her eyes. After a while she gets up and walks in the cabin. The raven is walking restlessly through the grass. A few seconds later she comes back with a bottle of beer and an iron bowl of water. She puts the bowl in front of the raven and it starts to drink immediately. The girl sits down on the bench, opens the bottle of beer, takes a sip and leans back in the afternoon sun. The carving knife is planted point-down in the bench.

 

SCENE 8

Exterior camp site. Five backpacks and some of their contents are scattered over a relatively small piece of grass. Rayanne is lying with her eyes closed in the middle of all the stuff, on sleeping mat. About twenty feet away there are a few tents and there is also a small building with faucets on the walls. It's probably the shower building. Angela and Rickie come walking towards Rayanne. They're both carrying a paper bag with groceries. Rayanne hears them coming and looks up. Angela and Rickie sit down in the grass and put the bags on the ground. Rickie is smiling.

RAYANNE: So, what are we having for dinner?

RICKIE: I'll tell you if you put up the tents.

RAYANNE: Yeah right, Vasquez. You'll have to give me more to do that. Like two hundred bucks.

Angela turns a little to watch the beautiful view of hills and mountains. She tucks her hair behind her ears and looks thoughtful.

ANGELA: [softly] Isn't this just amazing?

Rayanne and Rickie look at Angela and then at each other. They both frown. Angela sees the frowning.

ANGELA: What?

RAYANNE: Nothing. Just that you said that phrase or something like it about fifty-eight times since we've got off the bus. Hey, I think it's pretty nice here too, but I don't feel the need to out that feeling every other second.

Angela looks at the ground, a little embarrassed. Then she looks up again.

ANGELA: Not that I owe you an explanation or anything, but I just feel like somebody's taken some weight off my shoulders. [fast] Which is pretty ironic, concerning we are carrying at least twenty-five pounds on our backs. [pauses] And being here in this beautiful place, away from everything, it makes me feel good.

Angela sighs and looks at Rayanne, with a 'that should do it'-look.

RAYANNE: That's fair. I just hope that you're not confusing "wanting a feeling" with "having a feeling".

Angela looks at Rayanne, like she halfway knows what Rayanne's referring to. Then Sharon and Brian enter the scene. They're cheerful and laughing. Angela looks away from Rayanne and looks up at Brian and smiles at him. Brian manages to smile a decent smile himself.

SHARON: [excited, fast] You won't believe this. That guy in the camp site office, well I wouldn't call it an office, but anyway. That guy asked us when our parents came. I said "our parents?". He said "yes." Then Brian said we were on our own, just the five of us. And the guy wouldn't believe us. Then I explained the whole thing, that we were making a hiking trip and all. And then he said that this camp site was a family place and that he wouldn't allow just five kids with no adults to look after them. And then I totally freaked out, but Brian exaggerated like hell and said that we had been hiking twenty miles today and that we were too tired to make any noise after ten. The bought it and let us stay. He was so impressed by our twenty miles that he only charged us for four people.

Sharon takes a deep breath and sits down, next to Rickie. Brian had already taken a seat on Rayanne's sleeping mat.

RICKIE: Well, the money we saved with that, has already been spent in the mini-mini-market. Man, that was really expensive.

BRIAN: So, what are we having for dinner?

RAYANNE: Rickie tells you if you put up both tents.

Rickie, Angela and Rayanne laugh. Sharon gets up again.

SHARON: [enthusiast] Come on people, let's put up the tents now. The sooner it's done, the sooner we can totally relax.

RAYANNE: You're not gonna use that voice during the whole trip, are you?

SHARON: We'll see.

Rayanne sighs and gets up. The others get up too. Sharon points and then they all move the backpacks away and get the tent stuff out. Some happy MSCL-music starts. The next minute, the shots change fast, showing each a next stage in the rise of the tents. First we see two inner-tents lying on the ground. They are dome-tents, so the flexible poles have to be inserted through certain holes on top of the tent cloth. Rickie and Brian are working on one tent, Rayanne and Angela on the other, bigger one. Sharon is giving instructions. Next shot: the inner tents are up and now they're fighting with the outer-tent, pulling it in the right way over the inner-tent. Angela and Rayanne get it right pretty fast, but Rickie and Brian are really being clumsy. The girls go and help the boys. They're all holding the cloth of the outer-tent, Brian and Rickie on one side of the tent, Angela and Rayanne on the other side. Then Brian and Rickie pull a little too hard and Rayanne and Angela fall on the tent, which collapses. Angela and Rayanne are choking with laughter, while Rickie and Brian look somewhat perplexed. Shot of two standing tents and they're all putting the tent pins in the ground. Final shot: our five happy hikers are looking proud at the standing tents with the mountains and hills in the background.

 

SCENE 9

Exterior camp site. Rickie and Angela are sitting a little apart from the others in front of a camping stove. Rickie is stirring in a pan, while Angela is cutting onions. Her eyes are a little teary from the onions. Around them are white plastic bags with vegetables and a pack of spaghetti.

ANGELA: Do you see the olives somewhere?

Rickie looks in two or three plastic bags and then he gets out a small tin of olives. He opens it and hands it to Angela.

RICKIE: Here, have some.

Angela eagerly takes some.

ANGELA: Thanks, I'm starved. [eating, full mouth] Mmm. Better than I expected.

Angela hands him the onions and Rickie puts them in the pan. Then he looks at her, smiling a little. Angela frowns.

RICKIE: [smiling, softly] Hey - [hesitates]

ANGELA: [curiously smiling] What?

RICKIE: [slowly] Well, I know we never discussed, but I'm sure that if you want to switch tents one of these days -

ANGELA: [choking on the olives, interrupting, half-laughing] *What*?

RICKIE: You know, to be alone with Brian.

ANGELA: [recovering from the choke] I know what you mean.

RICKIE: Well, then -

ANGELA: [interrupting, astonished] You'd think I'd sleep with Brian on a trip like this, with you all ten feet away?

RICKIE: [smiling] I said to be *alone* with Brian. You told me he fell asleep on your shoulder in the bus when you came back from Washington. [sighs] That was *so* romantic. Now you are together and he totally gives up everything that has been blocking him. It's amazing.

ANGELA: [sighs, happy] Yeah.

RICKIE: [more serious] And that's why I'm a little bit worried about you.

ANGELA: [surprised] Huh?

RICKIE: Yeah, you're acting a little weird again. Like what Rayanne said about you wanting it to be great. That had some ring of truth, you know.

Angela looks away, she stares in the flame of the stove.

ANGELA: [soft] I don't know. [pauses, looks up at Rickie, soft] Just let it go for now, ok? I just want to have some uncomplicated fun these couple of days. [pauses, wicked smile] Maybe we *should* switch tents one of these days.

Rickie smiles and nods. Angela takes a courgette from one of the bags and starts cutting it.

 

SCENE 10

Interior car. Mulder is driving, Scully has a map in her lap. Gregg is sleeping in the backseat. The car radio is playing Buffalo Springfield "Something's happening here, what it is ain't exactly clear." Mulder is humming along. They're passing a sign reading "Welcome to Vineland Town, West Virginia." A dead magpie is hanging upside down on the sign.

SCULLY: [relieved] Finally. I'm starved.

After a few seconds they enter the town center. It's a small town, with the town hall, police building, church, a small hotel and some shops gathered around a square with a big fountain.

MULDER: [looking around, parking the car] This is some town, Scully.

SCULLY: Well, I don't care. As long as I get some decent food and a bath. I think that hotel [pointing] is better than the lousy roadside motels we usually get to spend our field-trip nights in.

Mulder turns the engine off and then he turns around to Gregg.

MULDER: [loud] Hey. Vineland Town welcomes you.

Gregg opens his eyes wide, he blinks a few times with surprise. Scully turns around too.

SCULLY: We've arrived.

MULDER: Just beware of the birds.

 

SCENE 11

Interior hotel. The hotel is small, has a fire-place (which is not burning, since it is summer). The hotel looks a lot like the hotel in MSCL-episode "Weekend". Mulder, Scully and Gregg are sitting at a dinner table. Half-empty beer glasses are in front of them. Scully says something to Gregg. Then a man walks over to their table. He's wearing glasses, has a stubble and his clothes are a little shabby. In his hand he has a blue and white baseball cap with the word "Titanic" on it. He looks at Mulder.

MAN: You came for the birds right?

MULDER: Ooh, news travels fast around here.

MAN: I'm Vince, can I join you for a moment?

MULDER: [pointing at the fourth chair] Take a seat.

VINCE: [sits down] Thanks.

MULDER: Well, Vince, this is agent Scully, agent Thomas [they're nodding] and I'm agent Mulder. We're with the FBI

VINCE: Yeah, I know. [fast, soft] I saw this coming. The birds had to go crazy sooner or later.

SCULLY: [leaning over a little] What do you mean?

VINCE: [almost whispering] Vineland Town has been famous for it's big colonies of crows and magpies in the woods. That goes back hundreds of years. In spring, when they are nesting, busloads of biologists and ornithologists come over to see the nests.

GREGG: [nodding] I'm a biologist. A friend of mine went here two years ago. I called her this morning and she said that even though the colonies were much bigger than she'd thought, the birds weren't aggressive at all. Like their number protected them from any possible enemy.

Vince looks Gregg right in the eyes.

VINCE: Yes. And that's how it's always been. Until now. They're taking over and there's nothing we can do about it.

SCULLY: What do you mean, they're taking over?

Vince turns his face to Scully. He has a pretty scared look on his face.

VINCE: The killings. One kid being killed by a bunch of birds is a terrible accident, two is a tragedy. And three [pauses, slowly] is war.

MULDER: [unbelieving] So, you're actually saying that these birds are consciously attacking people?

VINCE: Yes. And so do you. Or your bosses. Otherwise you wouldn't be here. [eye-roll] Sweet Jesus, three FBI-agents. You'll outnumber the local police force.

Vince leans back and looks at the ceiling.

GREGG: Do you know why the birds are behaving like this?

Vince puts his Titanic-cap on and looks approving at Gregg.

VINCE: *Now* you're asking the right question. [pauses] Some people say it's that these magpies have evolved into vicious predators that are just discovering their capabilities. Others say that they're under the spell of an voodoo-magician who used to live here. [sighs] The police say that these birds are sick, suffering from some sort of bird-rabies.

MULDER: What do *you* think?

VINCE: Well, one thing that's for sure is that the police don't know what they're talking about. The fact that they asked you to come over says enough. They're glad to put it in somebody else's lap. The sad thing is that you can do nothing about it either.

SCULLY: Why are you so sure about that, Vince?

Vince takes some pictures out of his back pocket and throws them on the table. The pictures show trees covered with nests, tree trunks painted white with bird-droppings and branches filled with crows and magpies. The number of the birds shown in the pictures is enormous. Scully, Mulder and Gregg are impressed. Scully looks up at Vince.

VINCE: [slow] That is why. There are too much of them.

Suddenly Vince gets up. He seems a bit nervous.

VINCE: [fast] You can keep the pictures. I gotta go now.

GREGG: Where can we find the nests?

VINCE: [walking away] Just ask anyone. But I wouldn't go there unprotected.

Vince walks away rather fast. Scully and Gregg watch him leave, Mulder is still looking at the pictures. When Vince has left, the waiter comes to take their orders. The waiter leans a little forward.

WAITER: [soft] You wouldn't want to listen too much to Vince. He was pecked by a raven when he was a kid. Those birds have been scaring the hell out of him for over twenty years. We all think he's a little overreacting to this tragedy.

Mulder looks up.

MULDER: [thoughtful] You're calling three deaths a tragedy?

WAITER: [surprise] Yes, of course. What would you call it?

MULDER: [frowning] A war?

 

SCENE 12

Exterior camp site, it's semi-dark. Angela is lying on her sleeping mat looking in the sky. The others are not there. She watches small bats flying around in weird patterns, following the invisible insects they are chasing. Angela is not smiling, but her face shows a hint of a happy expression. She is at ease now.

ANGELA VO: Maybe Rickie and Rayanne were right. But not completely. The beauty of the mountains and the woods really strikes me. Over and over. [pauses] Being surrounded by all this nature is so overwhelming. It makes me feel tiny and unimportant.

Two bats almost hit each other, but at the last possible moment one flies up and the other goes down. Angela takes a deep breath.

ANGELA VO: Being here frees me. [pauses] From Jordan, but even more from myself.

We hear some footsteps and Angela turns her face to see who is coming. It is Brian. He sits down next to her. She remains lying and puts her hand on his hand.

BRIAN: [soft] Hey.

ANGELA: [soft] Hey.

BRIAN: So, having deep thoughts?

ANGELA: [smiling] No, just watching bats.

BRIAN: [insecure] Look, when I was doing the dishes with Sharon, eeh - [hesitating] Well, she brought up that maybe you wanted to switch tents -

ANGELA: [sighs, interrupting] Why is everybody trying to put us in one tent?

BRIAN: [fast] I don't know. [pauses, soft] So, you don't want to?

ANGELA: [embarrassed] I don't know. [pauses]

BRIAN: [soft] Me neither. [pauses, slowly] You know, somewhere along the line things got confused. I mean, now that I am, [hesitating] you know, kissing you and all, I am realizing that all I ever wanted was maybe not to kiss you, but just to be near you. Like, you know - [pauses] And that kissing you and all is nice, but it's not what I really want to do. It confuses me. [pauses] If that makes any sense to you.

Brian looks at the ground. Angela looks at him in surprise, but she's not knocked off her feet or anything. She gets up and pays close attention to Brian's words. Then he looks up again.

BRIAN: You know, people who go through traumatic experiences together, can develop an intense relationship immediately. [smiling] Maybe we overdid it.

ANGELA: [smiling] Maybe. [pauses] You know, this morning part of me didn't feel much like going on this trip. Like there were all these expectations of how I should be around you, around the others.

Brian nods. Angela tucks her hair behind one ear.

ANGELA: But I'm glad I came. And all I want right now is just to be here, smell the trees and feel tired of walking all day. [pauses] I'm still recovering from Washington and I'm sure *you* are.

Brian nods again, he smiles.

ANGELA: And that I broke up with Jordan affects me more than I want to. [pauses, looks at Brian] I just need to be around somebody who understands me and who puts an arm around me once in a while. [pauses] Is that ok with you?

BRIAN: [slow] Yes. [relieved] I was thinking you might become really mad at me. And that I would ruin this trip.

ANGELA: [laughing] Yeah, right. Like I would *let* you ruin this trip. [pauses] It all went too fast. Let's just take it easier from now on.

BRIAN: OK, so did I just break up with you?

ANGELA: [laughing] In your dreams, Krakow. I'd say you asked permission to dump me. And [hesitating] well, you got it.

Angela laughs and falls down on the sleeping mat again. Peaceful MSCL-music starts. Brian looks at her, sort of giggling himself. Angela stops laughing and looks at the bats again, without looking she takes Brian's hand and squeezes it. The small bats are still flying around.

ANGELA VO: Sometimes it's ok to take things as they come and go with them. [pauses] Give up control and roll with it.

 

SCENE 13

Exterior campsite. Angela, Brian, Rickie, Sharon and Rayanne are sitting in a circle by their tents. It is almost completely night, but in their middle are three candles burning, so we can still see (well, more or less) their faces. They are all a little quiet, tired but comfortable. Rickie passes a bag of Doritos.

RAYANNE: So, tomorrow is the big day, huh?

SHARON: Well, yes, we planned to walk sixteen miles. Which is like, a lot. But we've got all day.

ANGELA: Nobody's setting an alarm, right?

SHARON: Oh, come on Angela, we've discussed this at home. [looks at Rayanne] Even Rayanne agreed in getting up before nine.

RAYANNE: [looks at Angela, evil smile] Yeah, and since you and Mr. bee-expert [makes quotation marks in the air] broke up, you should have no problem getting up in the morning.

ANGELA: [irritated, dirty look] Just shut up.

RICKIE: [fast] I've got the alarm. And I'm always up early. I'll make breakfast tomorrow and wake you when I'm ready.

Angela has the bag of Doritos and takes some. Then she puts the bag together and throws it fast to Rayanne (who sits in front of her). Rayanne didn't see that one coming and the bag lands on her face. Rayanne looks really surprised. Angela gives her an evil smile.

ANGELA: Nice catch, Graff.

RAYANNE: Ooh, now you're getting yourself into big trouble, Chase. [pauses] Pretty soon you wish you'd remembered when you threw that bag that I'm sleeping beside you tonight. [evil laugh]

BRIAN: Hey, shouldn't we be telling each other scary stories?

SHARON: Oh, please, we've outgrown that silly stuff, right?

BRIAN: [to Sharon] Don't you remember we used to tell each other horror stories at sleep-overs?

RAYANNE: [surprised] *You* had sleep-overs with Cherski?

ANGELA: The three of us. Like when we were in fifth grade or something.

RAYANNE: [to Rickie] We can't wait to hear more about that, right?

RICKIE: Oh, yeah.

ANGELA: It's not much of a big deal or anything. We had sleep-overs, told each other goofy scary stories and Sharon'd freak out.

SHARON: I *didn't* freak out.

BRIAN: You *so* did.

SHARON: Well, maybe just a little. I was only eight or nine or so.

ANGELA: I think you're still pretty scared. How come you *so* protested when we wanted to rent Scream 2. When was that somewhere in May, or something. We ended up watching Armageddon, which is like *the* lamest movie in the world.

BRIAN: Or when like Mr. Katimski had these lessons on Edgar Allen Poe. And we had to write a paper on one of his stories. Geez, you asked me like four times for the least scary one.

SHARON: [irritated] I can't believe you all remember that. It's such an obvious waste of brain cells. [gets up] Anyway, I'm not going to hear any of your crappy stories 'cause I'm going to brush my teeth and get into my sleeping bag.

RICKIE: We all should do that. [looks at his watch] Since it's like ten thirty.

RAYANNE: Party pooper. [looks at Sharon] Just remember Cherski, you can run, but you can't hide. Terror will find you. [makes scary ooh-ooh noise].

Sharon looks irritated, the others laughs. They all get up and start looking for their toothbrushes in the tents. Some slow acoustic guitar music sets in. It's the intro of 'Waiting' by The Devlins.

 

SCENE 14

Music continues throughout the whole scene. It's slow acoustic first, but in the second half it gets a little electric and the pace goes a little faster. Lyrics goes with the scene described *after* them. The only sound we hear is the music.

MUSIC: Waiting at the station, waiting for the right moves

Waiting in the basement, waiting for the right cues

Waiting in a day dream, waiting in the right bars

Waiting in the right shoes, waiting in a fast car

Interior bathroom-building campsite. Shot of Angela, Rayanne and Sharon brushing their teeth. Then suddenly the lights go out, and after a second they go on again, but now flickering (on-off-on-off). In the doorway are Brian and Rickie, fooling around with the light switch, making scary faces. Sharon - scared to death - throws her tube of toothpaste at them.

MUSIC: Waiting in the air ports, waiting for my airmiles

Waiting in slow motion, coming through the turnstiles

Interior tent. Shot of Brian and Rickie getting in sleeping bags. Rickie has a flash light and when they're finally comfortable in their sleeping bags, he turns it off.

MUSIC: And if you ever change your mind, you know I'm not far behind

And if you ever need someone... I'll still be waiting

Interior tent. Shot of Angela, Rayanne and Sharon sleeping. The tent isn't that big, so they are really close to each other. Angela has her hair all over her face, Rayanne is lying on her back with a hint of smile on her face, Sharon's face is completely invisible, she dug herself in her sleeping bag.

MUSIC: Waiting with the orphans, waiting for the bee stings

They tell me that success brings

Waiting in the half light, waiting for an ideal

Interior hotel room. Morning. Shot of Scully opening her curtains and looking out on a real beautiful morning. Scully looks a little worried. We get a quick look on her alarm clock, it is 6.30. She opens the window and leans out a little, breathing in the cool morning air.

MUSIC: A low deal, a no deal, to play your stereotype

And if you ever find the time, you know I'm not far behind

And if you ever need some one... I'll still be waiting

Exterior campsite. Angela gets carefully out of the tent. The campsite seems quiet and is covered with morning dew. She puts on her flannel blouse and takes a seat on a tree trunk. She looks away in the distance and smiles a little.

MUSIC: Just waiting for a friend, I said it's alright

It's alright, it's alright my friend... just waiting

Exterior cabin. The bird-girl comes out of the cabin with an iron mug of hot coffee and a waffle. She sits down on the bench and closes her eyes. The raven is nowhere to be seen. In the short shots of Scully, Angela and the bird-girl we notice a hint of similarity (also because of the lyrics and the music) between the three of them, but it's only a very vague feeling.

TO BE CONTINUED...

 

 

some notes on the music I used...

"Walk this world" by Heather Nova can be found on her amazing must-have album "Oyster" (1995).

"Waiting" by The Devlins is taken from their debut album "Waiting" (1997) - not just another guitar band.

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Birds - Summer Break 2 - Part 3 by Jeroen de Jong
Published: 09 Nov 1999 | Size: 65 KB (12381 words) | Language: english english | Rating: PG-13
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“I cannot bring myself to eat a well-balanced meal in front of my mother.”

Angela Chase, Episode 1: "My So-Called Life (Pilot)"