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Summer Break - Part 3

written by Jeroen de Jong

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About this story

Published: 1997 | Size: 61 KB (11753 words) | Language: english | Rating: PG-13
Average: 3.0/5   3.0/5 (8 votes)
Abstract:
MSCL / X-Files Crossover

based on stories and characters created by Winnie Holzman

SCENE 1

Interior Scully’s bedroom. The sun is shining through the closed curtains. Scully and Angela are still asleep. The camera focuses on Angela, who is lying on her back. She blinks her eyes and looks to her right, where Scully lies, her eyes closed, sound asleep. Angela smiles, almost in a caring way.

ANGELA VO: I used to love sleepovers. Like, before things got complicated. Not that they were wild or anything. Most of the time it was just Sharon and me. And Brian, when we were younger. We just told each other goofy stories we made up our selves. Brian and I always made up the most scary stories and Sharon would be begging us to stop, saying she’d have terrible nightmares. Of course we didn’t listen to that and made up stories with even more blood and chopped off heads and limbs. After those stories Sharon was so afraid, that she would crawl under my sheets and sleep in my bed. And that was probably why I told her those scary stories in the first place. [pauses] The sleepovers I had *this* year weren’t that great at all. To say the least.

Angela gets carefully out of bed, trying not to wake Scully. She succeeds and walks silently into the living room. She looks out of the window into the street, where nothing is going on.

ANGELA VO: It’s weird to walk around somebody else’s house like this. Like it’s forbidden or something.

She walks over to a shelf with Scully’s CD-collection and reads the titles. Then the doorbell rings extremely loud and Angela jumps up a little with fear. Immediately after the doorbell has rung, somebody starts knocking softly at the door. Angela looks scared again. Scully comes walking into the room.

SCULLY: [to Angela, a little amused] Don’t look so afraid. It’s just the doorbell. And some impatient idiot.

She walks over to the door. Angela looks relieved. Scully looks through the peak hole and opens the door in surprise.

SCULLY: Frohike?

FROHIKE: Yes. I’m sorry to bother you, but this couldn’t wait. [looks at her outfit] By the way, nice PJ’s, agent Scully.

SCULLY: Well, yeah. Come in. [sees Gregg standing behind Frohike] Who’s this?

FROHIKE: This is Gregg, [smiling] reason for all pain. But in a nice way. [to Gregg] Don’t be shy, come on in.

Scully lets Frohike and Gregg in. Then Frohike sees Angela, still standing a little surprised in the middle of the room.

FROHIKE: Hi, dear. We’re here to make your trip a little more exciting.

ANGELA: O.

SCULLY: [firm] What’s going on, Frohike?

FROHIKE: Right. Excuse me for being not as to the point as usual. But we haven’t slept at all tonight.

Scully points at the couch. Frohike and Gregg sit down on the couch. Scully takes place in front of them. Angela just lingers around for a while and then she picks a chair too.

FROHIKE: The short version is that we found proof for the fact that the government has created bees that can spread the smallpox-virus. Gregg and some of his friends found it out and last night we tried to make this proof hard. At our place they’re still working on that. Gregg gave a disk with these data to Mulder, Mulder gave it to us and we went to Gregg. But somehow some people from the government know about it too, and they broke into Mulder’s office, Gregg’s room and Mulder’s apartment to find that disk. Since they didn’t find anything, we figured that they might come over here and pay you a visit.

Scully takes a moment to let all this information settle. Angela looks stunned at the two men. Gregg looks really tired.

FROHIKE: Mulder is coming back this afternoon.

SCULLY: [surprised] He does? How did you reach him?

FROHIKE: He took his cell-phone with him. Just in case the disk was important.

SCULLY: Well, that’s not what I heard. [pauses, looks at Angela, then at Frohike] First I want to see Mulder’s apartment, then we go over to your place and look at that proof you’ve got. You’re sure that they don’t have all the information you’ve got?

FROHIKE: As good as sure.

SCULLY: I just hope this is all worth it. [to Angela] I’m sorry about this, Angela.

Angela is still looking a little shocked. She nods as to say she totally understands it.

ANGELA: [softly] That’s ok. [grasping a little of what's going on, slowly speaking in voice over] Welcome to the Real World. Capital R, capital W.

SCULLY: Frohike, you come with me to Mulder’s apartment. Gregg, you take Angela for some breakfast and then you go back to your friends. We’ll meet you there. [pauses, to Angela] Come on Angela, we have to get dressed.

Angela looks up from her thoughts and gets up.

 

SCENE 2

Interior diner. Angela and Gregg are sitting across a table. Gregg has a big mug of coffee; Angela is drinking orange juice and eating a chocolate muffin. Angela is amused by something Gregg said.

ANGELA: I can't believe it. It’s *so* like a totally made up adventure-story. [pauses, looks around the diner] But I guess we’re not supposed to talk about it right now.

GREGG: Not really. It’s just too weird. I can’t even imagine it’s real anymore.

ANGELA: I know, like it’s too intense to be actually happening? Like you never suspected the reality would be this umm.. [pauses, looking for a word]

GREGG: [laughing] Real?

ANGELA: [laughing] Yes. [pauses] So, *Gregg*, do you like, write letters?

GREGG: Letters? What do you mean?

ANGELA: You know, as in the song. [singing voice] Gregg he writes letters –

GREGG: [slightly singing too] And burns his CD’s.

ANGELA &

GREGG: [looking surprised at each other, then singing softly together, hesitating at first, then more secure]

They say you were something in those formative years

Hold on to nothing as fast as I should can

Well, still a pretty good year

Aa-ah a pretty good year

They both smile.

GREGG: Tori it is.

ANGELA: It’s one of my favourite Tori songs. I’ve been wanting to say that line so much for almost a year now. Fortunately, I finally found a Gregg. And one who knows the song, too.

GREGG: It certainly is an original approach to the phenomenon "pick-up line".

ANGELA: [firm voice] Hey, I wasn’t saying that it was a pick-up line. How old are you anyway?

GREGG: Twenty-five. And I wasn’t thinking you were. But I might use it sometime. You know, like with girls my own age.

ANGELA: [laughing a little] As in "So, you never were a cornflake girl?" [pauses, bites her muffin, full mouth] I never was.

GREGG: [smiling] We’d better get going.

ANGELA: Yeah, I’d like to meet your friends.

Angela drinks the last bit of orange juice and takes the half-eaten muffin with her. They stand up and leave.

 

SCENE 3

Interior Mulder’s apartment. It's still a terrible mess, Frohike is sorting some stuff out. Scully gets out her phone and dials a number.

SCULLY: [in phone] Just remember this is my well-deserved vacation.

CUT to interior airport arrivals. Mulder is standing at the baggage claim, waiting for his backpack. During conversation, the shots go from Scully to Mulder.

MULDER: [in phone] Oh, hi Scully. Well, I wouldn’t have want you to miss this. And I know that somewhere deep down you’re extremely grateful.

SCULLY: Right, Mulder. I'd suggest you pay Skinner a little visit before you get over to the Bat Cave. This is too big for just the two of us and a bunch of freestyle co-workers.

MULDER: [picks up backpack, walks towards the exit] Fine. I bet he is going to be thrilled.

SCULLY: The proof will thrill him, alright. And by the way, they broke into your apartment. I'm there right now.

MULDER: I figured that would happen. Did they take anything valuable?

SCULLY: [smiling] Frohike checked your video-collection and that seems to be complete.

MULDER: Good, a friend had just sent me five tapes with original, uncensored Jerry Springer footage. Wouldn't have wanted to miss that.

SCULLY: Sure. I guess they couldn’t find the disk and messed your place up for that.

MULDER: [walking over to the long-term parking lot] Well, I’ll call in the cleaning troops. I’ll see you in about two hours. That girl Angela is probably having a great time, right.

SCULLY: She sure is. And she’s a far better shot than you are, Mulder. Like, really.

MULDER: Ooh – you’re even starting to sound like a highschool sophomore. Like, really.

SCULLY: Definitely. Just be cool around Skinner.

MULDER: [reaches his car] I will. Bye.

SCULLY: Bye.

Mulder puts the phone away and gets in his car. As he closes the door, we CUT to the new scene. The sound closing the door rings a little in the first seconds of the new scene.

 

SCENE 4

Interior Lone Gunmen’s place. It looks a little like a large room in a warehouse. Gregg and Angela stand in an opened door. Beyers, Langley and Karen are working. Beyers and Langley standing next to a color-printer, looking at a print. Karen is behind a microscope. Brian is not at the scene. As Gregg and Angela enter, they all look up. Angela looks a little uncomfortable. She tucks her hair behind an ear.

GREGG: [to the others] This is Angela. [to Angela] This is Langley, Beyers and Karen.

Langley and Beyers look not very interested, maybe even a little irritated. Karen smiles a little.

BEYERS: [to Gregg] Could you look at this graph again, it some how isn't right. It probably has something to do with the input data.

GREGG: OK. [to Angela] I'm afraid there's not much you can do.

LANGLEY: [to Angela, trying to be friendly] You could make some more coffee. [pointing at an opened door] The kitchen is over there.

ANGELA: [insecure] Sure.

Gregg is looking at the print with Beyers and Langley. Karen is staring in the microscope again. They all seem to have lost their attention for Angela.

ANGELA VO: Great.

She walks over to the little kitchen, as she enters she sees Brian cleaning some test tubes in the sink. His back is turned to her. Angela's mouth opens wide in surprise.

ANGELA: [real surprised] *Brian*?

Brian turns around, a nervous smile on his face.

BRIAN: Hi, Chase.

ANGELA: [still very surprised] You are a part of this?

BRIAN: [mumbling] Well, sort of, yeah. [more secure] Yes, I am.

ANGELA: But you were going to France.

BRIAN: [awkward smile] Yeah, as in France, D.C.

ANGELA: [surprise turning in disbelief] What kind of dark, secret double life are you leading?

BRIAN: Well, it's not *that* dark and secret. It’s just something I got involved in.

ANGELA: [disbelief turning into hint of beautiful smile] Brian, you don't just get involved in something this big.

BRIAN: [taking her remark the wrong way, little angry] Well, maybe I just do. It’s like a sick habit or something. But is important, you know.

ANGELA: [pleading] Bri-an, I didn’t mean to -

BRIAN: [angry, interrupting] No, of course not. [starts to walk away] Excuse me.

Brian leaves the kitchen, leaving Angela behind. Totally alone. She looks sad.

ANGELA: [softly] Great again.

She opens some cupboards and finds filters and coffee. She puts coffee in the filter and turns on the coffee maker. Then she looks around for a little pan. She finds one, puts milk from the fridge in it and puts in on the stove.

 

SCENE 5

Exterior park. It’s a beautiful, warm day. Some kids are playing soccer, using broken off branches as goals. A little further on in field a ten-year-old girl is doing braids in another girl’s hair. The camera moves to a bench on which the Cigarette Smoking Man is looking at these children. He is smiling and - of course - smoking. After a few peaceful moments - one of the soccer kids scores and is extremely happy - the other old man comes walking through the field, towards the bench. He sits down next to the Cigarette Smoking Man. For a while they don't speak and if we didn’t know better, these men could have been ordinary grandfathers looking at their playing grandchildren. Then the Cigarette Smoking Man lets his cigarette fall on the ground and crushes it with his well-polished shoe.

CSM: [smiling superior] So, you haven’t found the disk?

OLD MAN: [flat voice] No. Not even at his partner’s apartment. But we might have figured who has it.

CSM: Might? Might have figured?

OLD MAN: Two men came to Scully’s house, one of them was the college kid. We were waiting for Scully to leave her place. One guy took Scully to Mulder’s apartment, the college kid took this young girl for a ride. Maybe she was Scully’s sister or niece or whatever. She looked a little like Scully. We followed Scully of course. When she left Mulder’s, she noticed she got followed. She managed to lose us. Not for long, though. We know where she is now and my man is checking this place out.

As the old man talks, the Cigarette Smoking Man takes his time to light up a new cigarette.

CSM: [exhaling, as talking to an eight-year old] Well, well, well. Finally you get some results. Get me the specifics as soon as you can. [pauses] And now you’re gonna have to excuse me, I have to make some phone calls.

OLD MAN: What are you going to do?

CSM: Well, what do you do when you’ve got an insect problem? [pauses, smiling] You call the exterminators.

 

SCENE 6

Interior Lone Gunmen’s place. Scully and Frohike are back. Scully is discussing something with Gregg and Langley. Frohike and Beyers are sorting out different kinds of prints and Brian and Karen are working with the microscope. (very similar to the Delia/Brian thing in "Life of Brian"). All of them are working hard and looking stressed. Angela is sitting at a table, a little aside from the stress. She is half-heartedly reading a comic with the title "The return of the Great Mutato". On the cover of the comic is a hideous, Frankenstein-like monster with two faces in one big head. She stares at the others.

ANGELA VO: This is the real world, in capitals and all, rubbed in my face. But somehow I just can’t manage to be an actual part of it.

Brian shows Karen something through the microscope. She looks through it and then she smiles at him. She looks again and squeezes Brian’s hand. Then she turns to the others.

KAREN: [loud, happy] Brian found it. A perfect example of the differences in the venom system of the smallpox-bees.

They all look at them. Gregg walks over to them and looks through the microscope. After him Scully looks through it.

GREGG: [sighs] Thank god.

SCULLY: [to Brian] Good job. Write a short description of this and put it with the other microscopic slides. And don’t forget to label it. [smiling] But I’m sure you won’t.

They start working again. Brian and Karen high-five quietly. Camera moves to Angela who’s looking expressionless at Brian and Karen.

ANGELA VO: And here I sit, craving to get noticed. I am such a shallow person. [pauses] I mean, all these people are doing something great and dangerous, even. Obviously, they have no time to chat up with me. [pauses, looks in the comic again, we see a large picture of the hideous Great Mutato, sighs] Well, I guess it's just you and me.

 

Angela starts reading again, but she can’t hold her attention to the comic. She looks at Scully who is talking to Frohike. Suddenly they look at her, and Angela looks a little caught. Scully and Frohike walk towards her.

SCULLY: [apologizing] I’m sorry I brought you here, Angela. But I thought it was the safest. You must have been feeling really bored.

ANGELA: [fast] No, no, not really. I’m just sorry I can't be of any help. [voice over] And for being dumb.

FROHIKE: Well, I guess you can. Be of any help.

SCULLY: It’s not going as fast as we want. We still have some more work to do. But that also means that others might find out where we are.

FROHIKE: We want you to watch the entrance of the building from agent Scully’s car.

Angela looks surprised and excited. But also a little afraid. Frohike hands her a cell phone. Angela takes it and looks at it.

FROHIKE: You call us when you see anything suspicious. Cars, people looking at the building. Anything. Don’t hesitate. Better twenty false alarms, then one you didn't call in. [points a button] Just push P1.

Gregg comes over to them.

GREGG: [to Frohike] I need your help on something.

FROHIKE: [to Gregg] Sure. [to Angela, smiling] Take care, dear.

ANGELA: [smiling] I will.

Frohike and Gregg walk away.

SCULLY: [hands Angela her car keys] Here are the keys. I’ll answer the phone. [concerned] You’re sure you want to do this?

ANGELA: [eager] Sure. I’m glad I can do *some*thing.

SCULLY: Good. But this is serious job, don’t think we’re doing this to keep you busy.

Scully says this a little too strict. Angela looks a little embarrassed, like Scully had heard her thoughts from before. Scully sees the expression on Angela's face.

SCULLY: [comforting smile] But I’m sure you don’t.

Angela smiles vaguely.

ANGELA: [insecure] I guess I’d better go then.

SCULLY: Yeah, good luck.

ANGELA: Thanks.

SCULLY: We’re right here. For you.

ANGELA: I know. [stands up] See you.

SCULLY: [smiling] See you.

Angela walks away through the door, Scully watches her leave. As the door closes, Scully turns around and sees Brian staring at the door with a worried look on his face. She avoids his look and walks over to Frohike.

 

SCENE 7

Interior Scully’s car. Angela is sitting in the driver’s street. The car’s frontdoor windows are open, probably because of the heat. Angela looks around. The entrance of the building is fifty feet away, across the street. All the buildings look like warehouses, the street is completely quiet. Angela looks carefully around, the phone is in her lap.

ANGELA VO: Even now I am really a part of this, it still doesn’t feel like it. It’s like that Thanksgiving-episode from "Friends". The one where they all go play football in the park. Rachel can neither throw nor catch, so they tell her to go long all the time. But they never throw her the ball. Of course. [pauses] Well, here I am, stuck in a car. I went long and the others are having a good time. [pauses, shakes her head in anger] Aargh. That’s *so* me. Shallow squared. [pauses, stares out of the window with a irritated look on her face for a few moments, then she smiles a little evil smile, looking in the rear view mirror] Didn’t Rachel make the deciding touchdown that episode?

Angela looks outside again, she sees Karen coming out of the window. She’s wearing sunglasses and a blue and white baseball cap. Her ponytail is coming through the hole in the back of the cap. Karen is carrying a small paper bag. She looks around and then she comes over to Angela. She walks around the car looks in through the passenger’s window. This looks somewhat similar to Angela walking over and looking in Jordan’s car in "Dancing in the Dark". Angela doesn’t seem too thrilled with this visitor.

KAREN: Hi, can I join you for a while?

ANGELA: [puts on a fake smile] Sure.

Karen opens the door and comes in.

KAREN: [hands the bag to Angela] I brought you a cream-cheese bagel.

ANGELA: [takes the bag, still fake-smile] Thanks. I was getting hungry.

In one way or another it becomes very clear that Karen is the adult and Angela is just fifteen. Karen tries to break the ice.

KAREN: I just had to get out of there for a minute. [pauses] I'm sorry we spoiled your vacation.

ANGELA VO: [little angry, opens the bag and gets the bagel out] Great. That's how far it has come. Now they all think they spoiled my trip. Like I'm incapable to understand that what they’re doing is like so much more important than my little vacation. Not that I don't blame them, I just wish it hadn’t showed that much or anything. [pauses, aloud] You didn’t. I mean - [hesitates]

KAREN: It’s ok.

They both stare out of the window, Angela takes a bite from her bagel.

ANGELA: So, what is going to happen now?

KAREN: Well, we’d be done in about two hours or so. Then Dana and agent Mulder will take the evidence to their boss at the FBI and then they’ll decide how they're going to bring the people responsible for all this to court.

ANGELA: It’s all so weird.

KAREN: Yeah. I can’t imagine that the three of us got all of this going. Just four months ago Gregg and I found these bees. Then Brian got involved. I mean, we never thought it would ever become this real. We were just three people working on something mysterious. We thought we were doing something cool and had a totally great time together. Spending the weekends in some university lab or out in the field to find more bees. [pauses] And now we’re here. It has become so real and dangerous that we even need you to watch our backs.

ANGELA: Are you afraid of what’s going to happen?

KAREN: [smiling] I know I should be. Agent Scully keeps saying how dangerous these guys are. But somehow I can’t manage to realize that. Are you? Afraid.

ANGELA VO: I knew I wasn’t. I knew that Dana would be there for me, like she said. But then I got this weird vision that Brian would not come out of this alive. And that no one was looking after him. And that gave me the shivers. [pauses] But that was probably just my need to be needed speaking. [aloud] No. Not really. And the others?

KAREN: I guess everybody is just too busy to be afraid. But I think Brian and Gregg far less cool than they pretend they are.

ANGELA VO: Brian pretending to be cool. That’s a new one. [aloud, curious] Not that it's any of my business, but are you and Gregg, ummm, like *together*?

KAREN: [laughing] No, no. There was a time I wished we were. That was when we first started to do some research together. He’s cute and funny. But sometimes his ego gets a little in the way. He's a good friend and all, but that's just it. [pauses, looks at Angela] Are you seeing anyone?

ANGELA VO: I should have seen that one coming. [aloud] Ummm, well, I *am* seeing someone, but these last couple of days - [hesitates, sighs] Actually, it's kind of a long story. [stares away]

They both stare out of the window for a few moments.

KAREN: Well, I’ve got to get back. Maybe we'll talk some more another time.

ANGELA: [looks relieved, smiling] Sure.

KAREN: [opens the car door] Be careful.

ANGELA: With what?

KAREN: With you.

They look at each other, smiling. Then Karen turns and gets out of the car. Angela watches her cross the street and enter the building again. Karen doesn't look back anymore. Angela takes the bagel from her lap and starts to eat it. Some relaxed MSCL-music start playing. Angela starts to look around again, the street is still very quiet. After a few moments Angela starts to play with the electric car window, up and down, changing very quickly. The camera focus on the digital car clock that indicates 1.28 p.m. CUT, exact same picture. The clock has changed to 2.46 p.m. Camera moves to Angela. She looks extremely bored, she's half-heartedly making a tiny braid in her hair. At the sound of a car approaching, she suddenly looks up and closes the windows. At the end of the street she sees a black van coming closer at a very low speed. She takes the phone and pushes the P1 button. Scully picks up immediately. The scene cuts back and forth from Angela to Scully. The Lone Gunmen’s place is a lot emptier than before. Everybody is putting things in boxes. The computers are disconnected. They're all running around walking in and out a door we haven't seen before. Brian and Gregg are carrying a heavy box together.

SCULLY: Angela?

ANGELA: [nervous] Yes. A black van is coming closer. It's moving very slowly, like they’re looking for something.

SCULLY: OK. Can you see who are in it?

ANGELA: [stares at the van] No, the windows are not see-through from here.

SCULLY: Well, we’re just leaving. We need five more minutes.

The van stops near the door of the building.

ANGELA: [fast] Hurry, Dana. The van has just stopped before the entrance.

SCULLY: [to the others, loud] We’ve got to leave *now*. Is everything packed?

LANGLEY: Yes. [pointing] Just these three boxes and that computer.

SCULLY: OK. [loud] Move it. [to Angela] We’re leaving in two cars from the back of the building.

ANGELA: [still looking at the van where nothing is happening, afraid] What do I do?

SCULLY: Just stay there and don’t let them see you. I’ll send Mulder to pick you up. [pauses for a short moment] Angela, there's a gun in the glove compartment. Just in case. Be careful.

Angela looks a little afraid. Then the back of the van opens and four men in black, unmarked uniforms and with guns, looking like a SWAT-team, come out and walk to the door.

ANGELA: [yelling in the phone, afraid] They're going in, they got guns. Run.

SCULLY: [running through the "new" door] Bye, Angela.

CUT back to Angela. Scully has hung up. Angela puts the phone away and watches the four guys kicking the door in. It takes them a little while, but then it opens and they all hurry in. Angela hides a little under the window, but keeps staring at the building. She hears three damped gunshots, which make her reach for the glove compartment and open it. In it is an automatic gun. It’s similar to the one she used in the practice hall the day before. Then she hears five or six more shots. Angela looks terrified.

ANGELA VO: Now I’m afraid.

She takes out the gun and holds it in both hands. Then she holds it the right way and unlocks the safety hatch slowly, making a real loud click-click sound. She stares out of the window again, now looking more angry than afraid. After a few moments one uniformed guy comes out and opens the back doors. Then two others come, one of them is holding his head. His face is covered with blood. At the end of the street two cars come out of a side street and drive away very fast. They're too far away to see who are in it. The uniformed guys get into the van. As soon as the doors are closed, the van starts and races off, in the same direction as the other cars. When it’s gone a very weird, uncomfortable silence takes the place of the loud sound of roaring engines and spinning tires. Angela takes some time to come to herself again. She looks puzzled.

ANGELA VO: So, one of the SWAT-guys is still inside. Probably wounded, or dead even. [pauses] Maybe one of us lies there too. [pauses] It's not that I have a choice or anything. [looks down at the gun] I have to do it. [stares at the open door of the building, to herself] You wanted to be a part of it. Well, this is it. Go for it. [sighs, aloud and firm] Now.

Angela puts the gun under her T-shirt between her jeans and her stomach. She looks around the street, but there’s nothing to bee seen. Then she sighs again and opens the door. She gets out, closes the door and locks it. She looks around the street again; it’s still empty. She puts the car keys in her pocket and crosses the street. The kicked-in door and the long, dark hallway behind it make a rather creepy picture. Angela steps over the remains of the door. As soon as she’s inside the building she takes the gun from under her shirt and holds it with one hand. At the end of the hallway is a staircase. Angela climbs the wooden stairs slowly; some of the stairs are cracking incredibly loud. She gets on the second floor and turns around, looking down the stairs. Her face shows some fear, but she has also a determined look. She turns around again, and starts to climb the stairs to the third floor. She holds the gun in front of her now, with both hands. She reaches the third floor and immediately sees that the door leading to the Lone Gunmen's lab-place is kicked-in too. She walks towards it and looks quickly around the corner. Her face is totally filled with fear again. She hold the gun even more firmly in front of her and walks into the badly lit room, keeping the wall against her back. She’s breathing heavily. The place is very empty, only the tables and chairs are left. Angela steps further in the room and sees the Great Mutato comic lying on the table, that she was sitting on before. Her face shows a slight hint of a smile. As she looks up again, she notices the other door, through which the others left. She walks towards it. It’s half-opened and behind it is another staircase. As she looks down the stairs, she frightens like hell. The camera changes to Angela’s point of view and then we see the fourth uniformed guy, lying on his stomach. His blond hair is covered with blood and there are two red holes between the shoulder. It’s clear that he’s dead. Angela turns her head and walks back into the room. She still looks frightened and is breathing heavily; the gun is pointing to the ground.

ANGELA VO: [whispering] I can’t take this. [pauses, deep sigh] Maybe I’ll settle for the real world without the capitals. That should be real enough.

Then she hears some sound from the little kitchen. She immediately points the gun again and approaches the kitchen from the side. As she stands next to the door, with her back to the wall, she hears mugs falling to the ground and breaking into pieces.

ANGELA VO: [firm] At three. One. Two. [takes a deep breath] Three.

At three she steps into the opening of the kitchen door, pointing the gun in front of her. Angela immediately sees Karen half-lying/half-sitting on the floor with a big bloodstain on her left shoulder. They both look scared and surprised at each other and then Karen manages to laugh a little.

KAREN: [smiling] OK, the bagel was from yesterday. Please, don’t shoot me.

Angela smiles and puts the gun away. In spite of her smile, she looks worried at the big bloodstain.

ANGELA: Are you all right?

KAREN: [softly] Not really. The pain is awful. I tried to get up, but then I broke some of Frohike’s china collection. [looking at the remains of some mugs] Now everything in this kitchen is in shatters.

Angela bends down.

ANGELA: We’ve got to get you out of here. [pauses] I’ll move you to the room, there’s more light and then I can make some bandage. [looks around the kitchen, sees a stack of kitchen towels] With these towels.

KAREN: [softly, reaching out for her hand] Thank you. I’m really glad you’re here. [smiling] By the way, that gun really looked good on you. But you have to work on your expressions. You weren’t exactly cool or anything.

Angela laughs and she starts to cry. Finally all the tension finds an exit. Karen starts to cry too. They look at each other and then they cry and laugh at the same time. After a little while they come to themselves again and Angela puts her arms around Karen’s waist from behind. At Karen’s back there's also blood and there's a hole in the T-shirt. Karen moans with pain.

ANGELA: It looks like the bullet went straight through your shoulder.

KAREN: [moaning] That's good, isn't it?

ANGELA: [uncertain] I believe so.

Angela slowly drags Karen into the other room. Karen’s face is filled with pain. Angela moves her on a good spot under a lamp. There’s not a lot of light, but it’s better than in the kitchen. Angela walks back to the kitchen and gets the towels and a glass of water. She gets down on her knees next to Karen. Due to the moving, the wound has started to bleed more. Angela lets Karen drink a little.

ANGELA: It's not that I paid a lot attention during the First Aid-lessons at school. But we'll see. And agent Mulder should be here any minute.

Angela looks a little embarrassed at Karen.

ANGELA: I have to tear your T-shirt apart.

KAREN: Of course. Just don’t make any stupid remarks on my cute blue daisies bra.

ANGELA: [smiling] I won’t.

Angela slowly tears Karen's T-shirt apart, starting at the bottom. The tearing makes a very loud noise. As the cloth is pulled off the wound Karen screams. Angela removes the T-shirt and a huge bloodstain with a dark center decorates Karen's shoulder. Angela lifts Karen up, removing all of the T-shirt and putting a few towels to the exit-wound. Then she puts Karen down again. Angela puts a towel firmly to the wound, causing Karen a lot of pain.

ANGELA: [softly] Sorry.

KAREN: Never mind.

ANGELA: Can you hold this, so I can make a bandage?

KAREN: Sure.

Karen holds the towel to her shoulder. Angela starts to tear some towels.

ANGELA: You know, when I was younger I used to think I would fall in love nursing a blind soldier, who got wounded in battle. Or maybe while I was rescuing someone in the middle of a blizzard. You know, seconds before the avalanche hits.

KAREN: And somehow things never exactly end up the way you imagined.

ANGELA: [laughing, tearing another towel apart] You can say that again.

KAREN: When I was in junior high, for years I had this crush on the guy who worked in the pet shop. He probably was thirty or something. In the shop he had this real big talking parrot, an ara. I always imagined that bird came flying to my window and tell me that Bill, that was this guy’s name, was in love with me. Of course that bird couldn't fly, so it was pretty silly of me to think it.

ANGELA: May-be, but I like that. Silly fantasies. [pauses] And now bite your tongue.

Angela puts some of the rags over the towel that Karen is still holding. Angela lifts her up a little, trying to make good bandage. Angela puts some rags around Karen’s shoulder and ties them together. When she’s done, it looks like a rather decent bandage. And, due to the towels, colorful.

ANGELA: [looks happy with her job] And now I’d like to know what happened.

KAREN: [painful face] It went all so fast. Agent Scully was telling us to get away immediately. Everybody ran away, I was the last one. Then the guys with the guns ran in and started to shoot. I got hit right away and fell down. The others ran down the stairs. They probably thought I was dead. [pauses] That’s what I thought too. I couldn’t move anymore and it all turned black. I guess I fell unconscious for a second. When I opened my eyes again I saw the three men coming up again, without the others. So I figured they got away. [worried look] They did got away, right?

ANGELA: Yes, they did.

Then they hear someone coming up the stairs – the stairs that Angela took the first time. Angela gets up immediately and runs to the kitchen. She comes back with the gun. Because of the bad light in the room, she can’t see too well. She gives Karen a quick frightened look and then she walks towards the half-opened door. Angela stands ten feet from the door, on a dark spot, where whoever is going to enter can’t see her quite well. The door opens a little and Angela points the gun. Then we see a man’s arm in the door opening, holding a gun. Angela has her finger at the trigger, ready to shoot. Then we hear a real familiar voice from behind the door.

MULDER: [off-screen] Scully, it’s me. Put the gun down.

Angela recognizes the voice and lets her arms fall down. She sighs and is close to tears again.

MULDER: [off-screen] Scully?

ANGELA: [trembling voice] It’s Angela Chase.

Mulder comes in, looking surprised.

MULDER: Gee, you fooled me. I spotted your shadow and I really thought you were Scully. [walks towards her, puts his hand on her shoulder] Where are the others?

ANGELA: They got away, I think they’re all right.

Angela starts to cry and lets the gun fall down to the ground. Mulder puts his arm around her shoulders and hugs her a little.

MULDER: [softly] It’s ok now.

Angela cries to his shoulder for a moment. Then she breaks the hug and walks over to Karen, who’s still lying on the floor. Karen smiles at Angela.

KAREN: You looked cooler than before. I really thought you were going to shoot him.

Angela smiles back at Karen.

ANGELA: [softly] Thank god I didn’t. [to Mulder] We got to get her to a hospital. She’s been shot.

Mulder looks at Karen.

KAREN: [smiling, ironic] So, you must be the famous agent Mulder.

MULDER: [ironic] And you must be the famous shot-down girl with colorful bandage.

KAREN: Most people call me Karen.

MULDER: [takes out his cell phone] Well, Karen, I’m going to get one of those big cabs with sirens for you.

ANGELA: [quickly, pointing] There’s a dead guy over there, on the stairs.

Mulder and Karen look surprised.

ANGELA: [explaining voice] He was there before I got here. I guess Dana shot him.

Mulder walks over to the other door. He goes down the stairs. Karen looks at Angela.

KAREN: [softly] A dead guy?

ANGELA: I totally forgot about that.

KAREN: [surprised] You forgot about a dead guy?

ANGELA: Well, yeah.

Karen opens her eyes wide. Mulder comes back.

MULDER: He sure is dead.

Then Mulder’s phone rings. He picks it up.

MULDER: [in phone] Yes. – Hi, Scully. – I am here, but I guessed I missed the party. – They’re fine. Both of them. – Angela found her and took care of her. – I’m going to call an ambulance right away. – You did that, fine. – So the evidence is safe? – Thank god. – Meet you in the hospital. – Bye.

Mulder puts the phone away and looks at Karen and Angela. Angela is sitting on the floor next to Karen. They both look extremely tired. Mulder smiles.

MULDER: I guess we’re all having a pretty terrific vacation, right?

 

SCENE 8

Exterior building, street. Two ambulances are parked where the black van was before. Two paramedics are riding a brancard with Karen on it in the first ambulance. Angela is walking behind them. She gets into the ambulance with Karen. Then she looks back at Mulder, she smiles and waves. Mulder waves back. Then the ambulance door is closed and it pulls away. Two other paramedics come out of the building, carrying a brancard covered with a white blanket. Mulder watches them put the brancard in the ambulance and drive away. From the opposite direction comes a cab. It parks near Mulder and Scully gets out. She walks towards him.

MULDER: Hey partner.

SCULLY: Hey.

MULDER: I thought we’d meet at the hospital?

SCULLY: I had to pick up my car. [pauses, excited] And I guess we’d better get back to the Bureau as soon as we can. It’s great Mulder, if we’re fast we can really prove what’s going on. [pauses] What did Skinner say?

MULDER: He asked if we understood the concept of vacation. He told me to bring in the proof directly to him. And not to discuss this with anybody else. [pauses] He’s taking it serious.

SCULLY: He’d better.

Then another car comes driving through the street. They both look up. It stops near them and the Cigarette Smoking Man comes out of the passenger’s seat door. He slowly walks towards them.

MULDER: [angry] What do *you* want?

CSM: [smiling, slowly lighting up a cigarette] What’s mine.

SCULLY: Do you?

CSM: The dead body is never going to arrive in the hospital. [exhales smoke, looks at his watch] Right now the body is being transferred to another car.

SCULLY: We still have a case without the dead body.

CSM: Do you? [pauses] Just tell me what kind of case. You think people will buy that story about killer bees that can spread viruses? How naïve, agent Scully.

SCULLY: Not with the proof we have. You’d be surprised.

CSM: [smiling with contempt] We’ll see.

The Cigarette Smoking Man starts to walk away. He gets back into the car, it pulls away. Mulder and Scully watch the car leave.

 

SCENE 9

Interior hospital hallway. Angela is looking through an inside window into a hospital room where Karen is lying in a bed. Karen is sleeping.

ANGELA VO: As I watched Karen sleeping, so peaceful and quiet, I felt so alone. Alone in this big hospital, in this big city. I needed someone to hold me.

As soon as she has said this, a hand touches her shoulder. She turns around and looks in Brian’s pale and tired face.

BRIAN: Hi, Chase.

ANGELA: [with soft surprise] Hi.

She looks at him indecisively for a moment. They stare in each other’s eyes and just as we expect Angela to look away, her chin quivers and she puts her arms around him and holds him tight. Brian looks shocked, but then he awkwardly puts his arms around her. They stand there for a long time without saying anything. Brian gets one hand free and gently strokes Angela’s head. She buries her face even more in his shoulder. After a while she looks up, smiling a tired but beautiful smile. We can see she has been crying a little.

ANGELA: Karen is sleeping. You want to go out side for a while?

BRIAN: [hesitating] Well, yeah.

 

SCENE 10

Exterior hospital lawn. Angela and Brian are sitting on a bench near a pond with ducks. It reminds us of the scene in "Parazone" where Mulder and Scully were sitting on a bench in front of Three Rivers Memorial. It looks like they have been sitting there for a while, talking. They both look happy.

BRIAN: And now they’re probably going to check out the facilities where Gregg and Karen found the bees and bring the people responsible to justice.

ANGELA: I just can’t believe you got involved in this. [looks up at him] Brian, you did something really important.

BRIAN: Well, I guess. [pauses] You know, at first it didn’t look that important at all. I had to analyze some venom, big deal. But then I found out about the virus and things got bigger and bigger. But that’s not the whole part. Gregg said that I could butt out any minute, if I wanted to. And even though it got more serious every week, I didn’t want to butt out. I was afraid, oh yes. But I was around these great people doing something meaningful, something real. [smiling] I mean, the real world doesn’t come around too often in Three Rivers.

Brian stares away over the pond. Angela follows his gaze.

ANGELA: You know, I was going to write you this note, in case you came by to get the Salinger book back.

Brian looks at her.

BRIAN: Yeah, I came by the other day. I couldn’t believe how cleaned-up your room was.

ANGELA: So you did come by? [pauses] Anyway, I couldn’t write that note, because the things I wanted to write were too real. I wanted to write that somehow I am a lot like Franny, looking for some truth, but only in the wrong places. And it nearly killed her. [looks around] And now I am here in Washington and I found some real hard truth. Right in my face. At this moment, the questions start to come: why create smallpox-spreading bees?; why be prepared kill others that find out?; why, why, why? [pauses, then preventing Brian from interrupting] I don’t want to think about the answers yet. [laughing a little] Look at us. You discovered a governmental secret, I walked around a building holding a gun and finding a dead guy; we can’t go back to Three Rivers and pretend nothing happened.

BRIAN: [laughing] Well, denial *is* one of my few talents.

Angela looks at him, smiling. Brian looks back, insecure. They look in each other’s eyes.

ANGELA VO: It wasn’t just this beautiful smile in his tired face. I felt a connection, which took my stomach and turned it inside out, by force. In a good way.

BRIAN: [almost whispering] But I guess you’re right.

Angela moves her face closer to his.

ANGELA: [whispering] About what?

Brian moves his face a little closer too.

BRIAN: [whispering] About pretending nothing happened.

ANGELA: [barely hearable, slowly] Definitely.

Angela takes the final inches to Brian’s face and kisses him on his lips. Brian answers the kiss. She puts her hands on his face and they keep kissing. After a while they break the kiss and look at each other. They both smile a little insecure.

ANGELA: [softly] That was nice.

BRIAN: [insecure] You think so?

ANGELA: You didn’t?

BRIAN: Well, yes, of course. But it’s not that I have a lot of experience or whatever.

ANGELA: [smiling] You’ll catch up.

BRIAN: [surprised] I will?

ANGELA: [slightly upset] You think I do this with just any guy?

BRIAN: [fast] No, of course I don’t think that. [pauses, softly] It’s just that I want to be certain, of, ummm, you know. That it was real.

Angela moves closer and kisses him again. Brian seems a little more confident this time.

ANGELA VO: It was. Real. And I knew I wouldn’t screw it up. Not this time.

CUT. Same scene some time later. Brian and Angela are still sitting on the bench; empty soda cans are on the ground. Angela has put her head against Brian’s shoulder. Which makes a very unusual picture. She looks very comfortable and secure. Brian stares over the pond, a hint of happiness on his face. Then they hear their names being called from off-screen. They look back and there we see Scully, Mulder, Gregg and Karen walking over the lawn towards them.

GREGG: So here you are.

ANGELA: [to Karen] They let you go?

KAREN: [smiling] Yes. And they gave me compliments on the original bandage.

SCULLY: Angela, I’m sorry to say this, but agent Mulder and I have to leave for Atlanta in the morning. There might be another bee-site there. [pauses] So, tonight is going to be the last night of our vacation.

ANGELA: [not really disappointed, smiling] Sure. We could do it again some time.

SCULLY: Yes. I’d like that. [pauses]

MULDER: [to Angela] I will be in town whenever you come. Scully says you shoot better than me. Which is fairly impossible. I’ll arrange a private shooting competition.

GREGG: [excited] But the real cool thing is, that I got offered a job at the Bureau’s science department and therefore I’m taking you all for dinner and bowling tonight.

Scully, Mulder and Karen obviously knew about this and smile. Brian and Angela look really surprised.

BRIAN: [surprised] You got a job offer?

GREGG: Yes. And don’t feel left out Bri, ‘cause soon you’ll find some sort of educational proposal in your mailbox, just like Karen. I was at the FBI-building with agent Scully and then Assistant Director Skinner wanted to have a word with me. That’s it.

ANGELA: [excited and happy, not jealous this time] That’s so cool.

She looks at Scully, who smiles at her. Gregg keeps talking excited, but the sound of the voice fades. Angela looks at all of them.

ANGELA VO: This is good. They all got the credit they deserved. [pauses] I’ll take my time to get ready. The real world won’t go anywhere far.

 

SCENE 11

Interior bowling alley. There are about twenty lanes. During the scene "Carnival" by The Cardigans accompanies the sound of laughter, bouncing balls and falling skittles. They’re all there: Angela, Brian, Gregg, Karen, Mulder, Scully, Frohike, Beyers and Langley. Karen and Brian are behind the scoring table and take the scores of their two lanes. Beyers and Mulder are on and throw their ball at the same time. Mulder tries to bring more grace to the throw than he can manage. He slips and his ball bounces straight in the gutter. Frohike does a better job, he hits six skittles. He laughs at Mulder who is waiting for his ball to return. The camera moves to Scully and Angela who are sitting in the seats near the scoring table.

SCULLY: I had a real good time.

ANGELA: [smiling] Me too. Although I was pretty scared when I went in that building.

SCULLY: I’m supposed to say that you never should have done that. But I know you did the right thing. Karen needed you up there.

ANGELA: [insecure] Well, yeah.

SCULLY: So, you’re ok with us putting you on the Greyhound tonight?

ANGELA: O, yes. Brian and I have to go home. You and agent Mulder are leaving. Gregg is taking Karen to her parents. We have no reason and place to stay. [pauses] And besides that, I love riding in the dark. [smiling] And Brian and I have some talking to do.

SCULLY: [comforting] You won’t screw up.

ANGELA: [smiling] I know.

Then Mulder interrupts them. He bends over to them.

MULDER: You two have some throwing to do.

SCULLY: [casual] OK, Mulder. [gets up] So, your average is about five now?

MULDER: [fake-irritated] Don’t make me do things you don’t want me to do.

SCULLY: [casual] We’ll see about that.

Scully and Angela get a ball and concentrate. Scully throws first, she hits eight skittles. Then Angela throws. The ball bounces a few times on the floor and then it slowly rolls towards the skittles. It takes sometime, but then all the skittles go down. Angela turns around and does two little pirouettes. As they all applaud to that, she makes a little bow. As she does all this she looks happy and confident. Brian looks at her with a silly grin on his face. Frohike walks up to Angela, gives her his arm and escorts her back to her seat. Then Scully gets her ball back throws again and hits the two remaining skittles. They all applaud again and now Mulder imitates Frohike and escorts Scully back to her seat. Close-up of Mulder and Scully.

SCULLY: I bet you’ve always wanted to do this.

MULDER: We’ll see about that.

 

SCENE 12

Interior Chase home. It’s all dark. The phone is ringing. The camera focuses on the phone and the answering machine, after the fourth ring, the answering machine clicks on. The camera pans through the room again, showing the empty deserted version of the house we know so well. The out going message is spoken by Danielle.

DANIELLE: Hi. You’ve reached the Chase family. We’re not in right now. You can leave a message for Patty, Graham, Angela or me after the beep.

Then we hear a loud beep. And after that Angela’s voice. But the camera never goes to Angela, it just keeps showing us pictures of the dark and empty Chase house: the kitchen, the stairs, Angela’s room, Patty and Graham’s room.

ANGELA: [of screen] Hi. I totally forgot you were going away for a couple of days. I’ll be back some time tomorrow morning. Just like you, right? Don’t worry about me, nothing happened. It was just that something got in the way. Which turned out good after all. I had an amazing time. Can’t wait to tell you. Bye.

Angela hangs up and the screen fades to black.

 

SCENE 13

Exterior bus station. A shiny Greyhound is about ready to leave. Beside it are Angela, Brian, Gregg, Karen, Scully and Mulder. Gregg is putting Angela and Brian’s stuff into the luggage compartment. Karen and Angela are talking.

ANGELA: I’m sorry to leave like this.

KAREN: Don’t be. I’m leaving tomorrow morning. I’ll call you. Like a lot.

ANGELA: Long distance. [laughing] My parents are going to freak out.

KAREN: [puts her hand on Angela’s arm] Thank you.

ANGELA: [smiling] You’re welcome.

They a try to hug, but that doesn’t work out because of Karen’s bandage. They burst into laughter.

GREGG: You got to get going. [to Angela] I put a Tori tape in your backpack. Maybe Brian lets you use his walkman.

ANGELA: Thanks. Bye, Gregg.

Angela kisses him on the cheek. Then she goes to Mulder and shakes his hand.

ANGELA: That shooting contest stands.

MULDER: Maybe we could make it more exciting. With apples on heads, and stuff like that.

ANGELA: [laughing] Yeah, right.

BRIAN: We really got to get in the bus, Angela.

ANGELA: Three more seconds. [moves to Scully and hugs her] Thank you so much.

SCULLY: Thank *you*. [softly] And don’t be too jealous of the offers your friends got. Just take it easy. Your day will come.

ANGELA: [smiling] I know. [louder] And now I’ve got to get going, before the bus really leaves without me.

Brian looks relieved and they get in the bus. From the other’s point of view we see them pick a seat a little in the back of the bus. They wave at each other and then the bus takes off, with a loud roar of the engine. We watch it slowly disappear in the bright lights of the city.

 

SCENE 14

Interior bus. The bus drives on a fairly empty highway. The bus is pretty empty too. There are only five other people. Camera moves to Angela and Brian. Brian is sitting at the window. Angela has her hand on his knee. They’re looking tired but happy. When they talk, they do it quietly. So they don’t disturb the others. This makes the whole scene even more intimate.

BRIAN: You know that Simon and Garfunkel song, [thinks] what’s it called, ummm, there’s also a Greyhound in it. And Pittsburgh is in it, too.

ANGELA: [frowning] You like Simon and Garfunkel?

BRIAN: *No*, but my mother does. [thinking, mumbling the lyrics barely hearable] And we walked off, to look for America. [louder] That’s it, it’s called "America".

ANGELA: Isn’t that that song that miss Mitry taught us in sixth grade or something?

BRIAN: [smiling] Yes, I can’t believe you actually remember that.

ANGELA: How does it start again? Something like this. [singing voice] Na na, na na na, we boarded a Greyhound in Pittsburgh.

BRIAN: [interrupting] No, that’s later. Let me think. [pauses, bad singing voice] Let us be lovers, we’ll marry our fortunes together -

Angela recognizes the song and then she joins him. They sing quiet and a little out of tune.

ANGELA &

BRIAN: I’ve got some real estate here in my bag

So we bought a pack of cigarettes and mrs. Wagner pies

And we walked off to look for America.

They look at each other and laugh. Angela kisses him. Then she lays her head against his shoulder again. The music from actual song starts to play and slowly drowns the sound of the driving bus. Angela closes her eyes and Brian looks outside. Then Paul Simon starts to sing.

Toss me a cigarette I think there’s one in my raincoat

No we smoked the last one an hour ago

So I looked at the scenery, she read her magazine

And the moon rose over and open field

Shot of Gregg putting Karen in bed. He gently tucks her in, almost like a caring father. Karen smiles at him. Then Gregg leaves the room and turns the lights off. CUT to a shot of Mulder and Scully waiting in a departure hall of an airport. They’re drinking coffee and talking. Scully smiles one of her small, beautiful smiles, which she only shows when Mulder does something that surprises her in a good way. CUT back to the bus. Brian and Angela have changed seats. Brian seems to be asleep; Angela is staring out of the window. She’s holding his hand. The bus drives through a wooded area. The moon peaks through the trees. During her voice-over we hear the instrumental part of the Simon and Garfunkel song.

ANGELA VO: [thoughtful] I drove here with Jordan just two days ago. But it feels like two weeks, or two months even. And it probably wasn’t exactly here, on this road. [looks at her hand that holds Brian’s] How come this feels so right? And so non-unusual? I never felt this at ease with Jordan. [pauses] Or this in control. [pauses] ‘Cause that’s what it’s about too. About getting in control of my life. Getting a grip. And that’s what I’m doing now. [pauses] Just before I kissed Brian on that bench this afternoon, I felt that my life was actually going somewhere. Somewhere unforseen. [pauses, smiling]

She looks at Brian's sleeping face and then stares out of the window again.

ANGELA VO: And it is going to turn out good. [short pause] Real good.

Camera focuses on Angela's happy face. CUT to outside the bus. From above – bird’s eye view - we see the bus riding on the road. The camera moves more and more away, the bus gets smaller and smaller. The screen slowly turns to black. When the screen is black, the music keeps going on and then it fades too.

 

THE END

Some notes on the music I used:

"Pretty Good Year" by Tori Amos can be found on her 1993 album "Under the Pink", which also features "Cornflake Girl" and ten other beauties.

A good version of "America" by Simon and Garfunkel can be found on their 1982 (?) "Concert in the Park" album.

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“And, you know, with your hair like that? It hurts to look at you.”

Rayanne Graff, Episode 1: "My So-Called Life (Pilot)"