#unruhe

[bisexualfbiagents]

THE X FILES | DANA SCULLY in Unruhe (4.04)

[ragnarockz]

Got some new art cards in those VHS! 👽💚

[deathsbestgirl]

the thing about scully's horror at some of their cases. it's always something that strikes her deeply. either personally, professionally, or as a woman.

in irresistible, it's that pfaster desecrates the dead. the people she autopsies to tell their stories. to help them. it's too late to save them, but she can bring them justice. what she does is sacred. i think of this:

people don't stop mattering, don't stop needing help, just because they stop being alive.

-maura isles in "warm milk" by YoDrDeath

scully cares about the victims in the cases they investigate. they are the people who matter. preventing more deaths is the goal. and donnie pfaster is evil incarnate to her. it's something she can't fathom. then he takes it further, starts murdering to scavenge from women's dead bodies. so much violation. such hatred for women. a level of disrespect that cuts away at her. men take away women's autonomy all the time, that it should continue after death is unthinkable.

in 2shy, the man might have a biological imperative to kill. but he didn't simply kill. he targeted women specifically. preyed not only on their bodies, but their minds. he liked stalking them, softening them to him before brutally murdering them.

(tooms really seemed to kill as a biological imperative, but he did also seek revenge on scully + mulder)

in unruhe, she didn't care what schnauz's reasoning was. the result was still undue violence against women, stealing their minds & lives from them. in the end she "empathized" with him because she had to. she used everything mulder said about him, made the connection to his sister. the way gerry likened all these women to his sister. and the killings started shortly after his father passed, the man who abused his sister but gerry couldn't accept that. violence against women because men could never do anything wrong, or harm women. and he takes up the mantle in a very twisted way. violently, painfully lobotomizing them. as a doctor, she was sickened. medicine is meant to heal & improve quality of life. not steal people's minds & destroy any quality of life they could have.

then within the government/alien conspiracy. her abduction, the abductions of other women. having a chip implanted in them for untold reasons. to track them, to lure them to their deaths. cancer given to these women for reclaiming their autonomy. medical rape, ova stolen to create hybrids for a new race. autonomy & future children stolen. children sentenced to short, painful lives for science. and science is scully's strongest guide. it offers safety & answers, and at the same time, in the world she's entered with mulder, creates so much pain & loss & grief. violation after violation, all of it done against women by small, pathetic ego driven men with power & money they don't deserve and didn't earn. it sickens and terrifies her. it's a grim reality. it makes her distrust skinner. a man who has had their backs, a man she saved, the only one besides mulder who cared about melissa's case. she didn't know, but he also gave his life to csm to get the cure for her cancer. in the end, with mulder abducted, he was right there with her.

[thetruthbehindmynightmares]

Schon wieder ein Tag, an dem ich dich schrecklich vermisse. Manchmal vermisse ich dich so sehr, dass es körperlich weh tut. Ich würde dich so gerne wiedersehen, mit dir sprechen und mit dir lachen. Du fehlst mir so.

[carefulfears]

Can you compare the Irresistible hug and the Milagro hug please !!!!!!!!! I love Milagro so much

okay our best and brightest @scullysflannel already talked about this once but let's chat on it (+ unruhe because i watched it last night) just for you babes xxx

/ irresistible

irresistible is my favorite of the three, and my favorite scully trauma™ episode, as it's the most dedicated to the emotional progression.

this episode encapsulates an understanding that the x-files never shied from, that the scariest monsters are human men, it's pointless to pretend otherwise.

fresh off her abduction, a violation and loss of autonomy that she still doesn't understand, scully's reaction to the crimes of donnie pfaster is intimate: his victims are the dead, a group she's always been more connected with than most.

her grief and discomfort at the desecration of women that she's bearing witness to is so overwhelming, and it's something that she's alone in, as the men around her continue with business as usual.

as the investigation continues, scully decides to go back to washington, telling mulder that she'll "better drive this investigation" if she focuses on the evidence.

SCULLY: I'm not having trouble, Mulder.

MULDER: I'd understand, Scully. This isn't exactly easy to stomach.

SCULLY: I'm fine with it. Really. I just think we're a long way from catching this guy. If we could get a print, we'd have something to go on. Right now we're at a standstill.

MULDER: I think it's a good idea. I just don't want you to think you have to hide anything from me, Scully. I've seen agents with twenty years in the field fall apart on cases like this.

Scully: I'm fine, Mulder. I can handle it.

i love this scene. his response here is so perfect. apart from checking in and asking if she's okay a couple of times, he hasn't commented on her state of mind in this situation, but he knows she's having a hard time. he supports her decision to take a step back, playing along that it's a "good idea" for her to direct her attention to the tangible evidence, but encourages her to communicate how she's feeling.

and he tells her that to struggle with a case like this is understandable, it doesn't matter how much experience you have or your position, it's normal.

(another understanding that this show always had: to react emotionally to the brutality of the world and the exploitation of the vulnerable is human, it's the people who look at destruction unflinching who are wrong.)

back in D.C., scully sees her therapist. she tries, you guys. scully's "i'm fine" complex has never meant that she ignores a problem or shuts down, she tries to cope in a way that she's comfortable with. she removes herself from the scene. she goes where she'll be more useful. she schedules therapy.

MULDER: Are you staying on there, Scully?

SCULLY: No. I'm coming back tonight.

MULDER: Look, Scully. I know this is a pretty horrific case -

SCULLY: I'm okay with it, Mulder. Besides, you can use my help.

MULDER: Always.

after her session, scully decides to go back. she's okay with it. she's going to keep trying.

this is one of my favorite moments. she spends this entire episode putting on a front, he spends it meeting her exactly where she is; saying, "i see you," but only to comfort, not expose.

her "you can use my help," is one of their jokes. a way to say, "i'm okay, i'm ready," that's lighthearted and doesn't show too much. when he responds, "always," his voice has such a different tone. it's so earnest, and sweet. his response takes her very seriously, her contribution and state of mind and comfort.

she'd told her therapist, "i trust [my partner] as much as anyone. i trust him with my life...but i don't want him to know how much this is bothering me." he already knows.

(her smile on the phone, they are best friends)

i'm gonna borrow from the post linked up top for this next bit:

"Scully’s abduction is the major turning point in terms of how much the job affects her, and Irresistible is basically a replay of her abduction that gives her more control: she gets the catharsis of a fight, and she knows who she’s fighting (men)."

after being taken by pfaster, when she's found, she pulls out one more "i'm fine," but her suppression and image can't withstand confrontation. mulder gently lifts her chin, and the moment she meets his eye, she breaks down crying into his chest. she tries so hard, she has "always been the strong one," she did not want him to know that this was bothering her. but you can't survive it without facing it.

i didn't notice until today that her gag is still around her neck, she's still so ensnared. police are still making arrangements around them. it all just fades away though.

(he's whispering "it's alright," just for her to hear. when she moves her arms to hold onto him, pull him closer, his face breaks. he closes his eyes to keep from crying. he's so careful with her after her abduction, he's never had anyone come back before. this is a moment they're in together, a sort of catharsis after she returned. it's so foreign and painful to be needed, for the first time in so long.)

/ unruhe

unruhe, written by my beloved vince gilligan, is the most introspective that the x-files ever gets on the dichotomous reactions to gendered violence.

"She can hear him, still stomping around inside the trailer, no doubt looking through the pictures carefully, hoping for yet more insight into the depths of the now-dead serial killer’s mind. In the back of her throat, burning acid threatens to force its way up. The luxury of curiosity, she thinks."

-selbst

throughout unruhe, mulder is hyper-focused on gaining an understanding, attempting to find the killer (and at first, the abducted women) by looking into what has been left behind, and dismissing any other courses of action.

ultimately, nothing he does assists in the case at all, and it's scully's connections and discernments that locate schnauz, mulder and herself never on the same page. unlike irresistible's quiet contemplation and gentle understanding, they're consistently frustrated with each other.

(note that in this episode, scully is bound and held captive by a man obsessed with the loss of his sister. a dynamic that she is very aware of, as she asks schnauz, "why [do i need to be saved]? do i remind you of your sister?")

from the moment that schnauz's first victim resurfaces and they do the PET scan (something that only scully is able to read and understand, not mulder. something again rooted in her personal background), there is a shift in scully.

these women are being lobotomized, and they're being lobotomized incorrectly. schnauz is weaponizing medicine that he doesn't have proper knowledge of, and reducing these women into nothing. when mary lefante is found, she is unable to speak, except to repeat over and over the motivation of her captor ("unruhe," the german word for "unrest.")

things escalate when the body of the second victim is found, and in my favorite scene of the episode, mulder and scully quietly observe the remains in horror, before scully just walks off and gets back in the car (in the driver's seat, a rare occurrence).

MULDER: Hey, Scully, that word "unruhe", "unrest", is bothering me. Maybe he thought he was curing them somehow, saving them from damnation, from those things in the pictures, you know, he called them the "howlers."

SCULLY: It's over, Mulder.

MULDER: Well, then that photo wouldn't be his fantasy. It would be his nightmare.

SCULLY: What the hell does it matter?

MULDER: Because I want to know.

SCULLY: I don't.

(She starts the engine. Mulder stares at her for a second, then gets in the car.)

when mulder approaches the car to ramble about "unruhe," scully never looks over at him or makes eye contact. she doesn't wait for him to get in the car before putting on her seatbelt and starting it. it is over.

i've written about this before (in the previously linked post), but mulder always wants to believe that people who do evil things have a good reason, that they didn't really mean to. that they were just trying to help, or were just following a biological imperative. scully knows that it doesn't matter.

it's the ending of 2shy, when mulder is right, incanto is only killing women because he needs their fatty tissue to survive. and he looks at scully and says, "when you look at me, you see a monster, but i was just feeding the hunger." and scully answers, "you're more than a monster. you didn't just feed on their bodies, you fed on their minds."

what the hell does it matter?

ultimately, scully is forced to "empathize" with schnauz, to survive. she has to utilize the insights that mulder gleamed about him to forge a connection with him, and stall. (she is always listening, and she knows mulder is right. sometimes it just doesn't make things any better.)

as the situation progresses, when she hears mulder outside she's able to wrestle her arm out of its constraint and rip the tape off of her mouth. by the time mulder breaks in and shoots schnauz, she's all but freed herself.

mulder takes her hand and helps her up, and she bypasses him, walking out of the trailer into the light, with one last look back at schnauz. she leaves mulder with the body, as he's looking at the photos. (the luxury of curiosity.)

the only time that we see scully show emotion or vulnerability in this episode, is in the final frame. sitting alone in her apartment, she looks at the altered photos of herself, and her lip quivers as we cut to the ending credits.

where irresistible saw her actively trying to gain control, unruhe is more genuine. she's not trying to conceal anything, she's just tired, and she's alone.

/ milagro

ah, milagro. quintessentially season 6 in a way that i can never establish as positive or negative.

milagro is all about desire: a desire for attention, for approval, for relevance. it's only fitting that it should be so punishing.

ultimately, milagro is about voyeurism, and we have this represented through our monster-of-the-week: scully's stalker phillip padgett.

when scully meets padgett (who had recently moved into the apartment next to mulder) in a church, it's to observe the painting displayed there, "my divine heart."

as he reveals that he knew she would be there to see the painting, as well as many personal details that he has "noticed" about her, it's a heavily emotional discomfort to be so seen.

so much of this episode builds in padgett's apartment, just one door over from mulder. when scully knocks, she tells padgett she was on her way next door and just thought she'd stop and return the milagro charm that he'd given her (a symbol of a burning heart) because she "can't return the gesture."

we talked about this when we talked about small potatoes, but this episode is...embarrassing for her! the kind of attention that she craves is embarrassing to her.

when she comes into padgett's apartment, padgett remarks that it's because she's "curious." she notices things too.

SCULLY: Well, you lead a curious life.

PHILLIP PADGETT: It's not so different from yours I imagine-- lonely.

SCULLY: Loneliness is a choice.

loneliness is a choice, babes! the way that small potatoes ended in classification of mulder as a "loser by choice" (for all of the things he could have, and all of the things he chooses not to pursue), and scully absolving him of that criticism, milagro puts the agency of this mutual repression back onto scully.

(choice and agency is a very important reiterated theme in scully's character. this whole thing only works if she chooses to be here.)

and when mulder comes in to arrest padgett based on evidence found in the murder case, scully is in his bedroom by choice. (very very embarrassing for her)

like these tags said, "psychologist mulder taking two years to connect the dots scully laid out for him in never again."

god, this episode makes me so uncomfortable. it's also the only one of these three that i've never rewatched, so that's why i'm a little more lax in discussing it.

MULDER: No one can predict human behavior. No one can tell you what another person's going to do.

SCULLY: Well, isn't that what you do, Mulder, as a behavioral profiler? You … you imagine the killer's mind so well that you know what they're going to do next.

MULDER: If he imagines it, it's a priori-- before the fact. I think that's pretty clear from what he wrote about you.

laughs nervously...isn't that what you do!! don't you know people's minds and desires!!

when mulder tells scully that padgett's book ends with her having sex with the narrator, and asks, "i'm assuming that's a priori too?" it's so reminiscent of office desks and tattoo ink.

when she replies, "i think you know me better than that," they're both thinking of philadelphia, of something etched in her back that they've never put to words. that too, ended in fire, with desire punished.

(i'm always slack jawed at him asking her flat-out if she fucked the stalker. quintessential season 6, baby! eat your heart out!)

PHILLIP PADGETT: I made a mistake myself.

MULDER: What's that, Mr. Padgett?

PHILLIP PADGETT: In my book, I'd written that Agent Scully falls in love but that's obviously impossible. (looking at MULDER) Agent Scully is already in love.

agent scully is already in love, agent scully already desires so viscerally, (agent scully is making things personal, as mulder had rebutted in defense of diana, not long enough ago)

i know a lot of people love this line, but it just makes me want to weep for her. scully is such a discreet person, she values her privacy so much, and has so little of it left. it's the emotional equivalent of her physical exploitation, to have her most personal and intimate feelings exposed like this. 

loneliness is a choice, and that’s her’s to make, the way mulder’s choice was affirmed in small potatoes.

(padgett as a character is a stand-in, he represents the voyeurism of an audience, of projecting a persona onto someone for personal gratification. he isn't ascribed any motive. but this to me, feels like a power trip, even if unintentional. he's perhaps just being honest, but he's recognizing that he can't have her body, so he exposes her soul. he also doesn't know scully as well as he thinks he does.)

both never again and milagro are about a caricaturized self, embracing or rebuking who you are in someone else's eyes. whether scully is perceiving herself as mulder's loyal first mate who "always does as told" or padgett's lonely object of lust, she responds by leaning into that exposure, going where she's wanted, and continuing her ascribed "cycle" of devotion and rebellion.

the reveal in the end, is that this week's monster is not truly padgett, but a character that he's created, who is committing the murders described in his book.

like padgett himself, the killer is a personification of longing; it's him who declares that the only way for the book to conclude, is for scully to die.

but just as jerse did in never again, padgett throws himself in the fire to narrowly absolve scully of the fated ending, and sacrifices his heart for hers.

when mulder realizes what's happening and races back up into his apartment, the sight is bone-chilling. she actually looks dead, unconscious and covered in blood, from a wound that's now healing.

when she wakes up and sees him over her, she reaches for him as abruptly as she opens her eyes. she claws into him, her fingers never stop grabbing at him, pulling him closer and closer and sobbing into his neck.

so little of it actually matters. she almost died without him there. this is after tithonus, and she's remembering those lessons again. (what about love? you don't want to be around when it's gone.)

and just as in irresistible, mulder breaks too, feeling the weight with her.

/

anon, to compare the three, i would say they each represent the theme of their particular place in the narrative and scully's characterization.

irresistible is the fragile dependence of a post-abduction season 2: perceiving comfort as a weakness, fear as a burden, but needing it anyway. recognizing who you trust, what that means, and that wounds can't heal in detachment. from each other and from the brutalization of the world itself.

unruhe is the building isolation of season 4: going where someone can’t follow, whether in societal experience or the looming instability that’s close ahead.

and milagro is the painfully confrontational tension of season 6. having your heart ripped out of your chest, bleeding, in attempts to be understood. just clutching what you need, weeping, in the end: there’s no use fighting it. (or hiding it. loneliness is a choice, but there’s freedom in being stripped of options)

it is a growth, in a diminishment of pretense and self-consciousness. it just comes at a cost.

i also want to bring it back to @scullysflannel’s post on this topic, because she summarized another aspect of it that i didn’t touch on:

“Scully tells the therapist in Irresistible that she doesn’t want Mulder to think he has to protect her, and I feel like the end of Milagro is about Scully accepting his type of protection, and by extension his type of love. Padgett makes her want Mulder to pursue her in a way he’s never done, but Padgett also ultimately shows her the danger of being sought after like that, and it makes Mulder’s straightforward protectiveness look pretty good. it doesn’t matter right then if Mulder is giving her everything she wants. she needs him.”

milagro is about desire, and ultimately it’s about a relinquishing of desire. scully is drawn to padgett because he offers her something that mulder doesn’t (won’t?) give her, and she’s ripped to pieces because of it.

it is punishing, to want something so badly. ultimately, when she almost loses it all, she’s clinging to what she has.

(but mulder is learning too, and they’ll get there. they’ll get to all of it.)

[xlovexbombingx]

Du verdienst eine Liebe, die laut und deutlich ist, gib dich nicht mit Fragezeichen zufrieden.

[sleepyscully]

[randomfoggytiger]

Developed Psychic Ability and Death

Psychics in The X-Files aren't born with their ability-- they develop it:

Luther Lee Boggs, Beyond the Sea

Meeting the souls of his victims before his near death.

Clyde Bruckman, Clyde Bruckman's Final Repose

Obsessing over the chance death of a celebrity.

Robert Modell, Pusher

Dying from a sudden, aggressive brain tumor.

Gerald Schnauz, Unruhe

Cracking under the pain of his sister's (and father's) death.

John Lee Roche, Paper Hearts

Creating a connection with Mulder through his dead victims.

Harold Spuller and his boss, Elegy

Impending death allows them to see the spirits of their bowling customers.

Linda Bowman, Kitsunegari

Her dying brother's abilities connecting to and awakening her own.

Philip Padgett, Milagro

Hyperfixating on Dr. Naciamento's death (ala Clyde Bruckman) and his confusion and displacement (ala Bruckman's psychotic foe.)

Mulder, The Sixth Extinction

Breaking down and dying because of the over acceleration of his brain via an alien "source of life" artifact (though not technically caused by death, it's tied into the mytharc which is tied to Gibson Praise which is tied to psychic ability. To be explored in the future.)

And lest she be forgotten:

Scully, Beyond the Sea/The Blessing Way/Elegy/A Christmas Carol/All Souls/Orison/Within/This Is Not Happening/etc.

Being faced with her father's posthumous spirit; and being visited by dying, dead, or returning souls.

The principle applies for Maggie and Melissa Scully as well, though we are not privy to the inciting incidents behind both of their abilities.

This pattern remains the same throughout the series... with the glaring exceptions of Gibson Praise and William. Those exceptions, however, are the lynchpins ("the key to everything", if you will) that illustrate the connection between psychic ability in human beings and their shared but repressed alien DNA.

(Meta coming soon.)

Thank you for reading~

Enjoy!

[agent-troi]

mulder running after the van in unruhe is just so😭😭😭 i want to yell at him to just shoot the tires out bc he’s clearly not gonna be able to outrun it ffs

[foxwmulder]

More scenes from texting my friend about XF

[bisexualfbiagents]

Hey, Scully, that word unruhe, unrest, is bothering me. Maybe he thought he was curing them somehow, saving him from damnation. From those things in the pictures, you know, he called them the howlers.

THE X FILES GIF MEME [2/20] EPISODES Unruhe (4.04)

[all-eyes-lead-to-the-truth]

All Eyes Lead to the Truth | Unruhe (4x04)

TW: CSA

The night he lost his sister was the first time he felt the howlers. When he opened the bathroom door and saw her seizing in the tub, he felt their hands grip his throat. In his rush to get to her, he tripped over the power cord that was running across the floor and over the lip of the tub. He tried to catch himself against the porcelain, but it caused some of the water to slosh onto his skin. The water burned and he felt a stabbing sensation behind his eyes. That’s when they entered his body, causing him to fly back as the black, smoky howlers danced around him in a thick, suffocating plume — that’s when they started taunting him.

You should have saved her.

His father said she was a Jezebel with a guilty conscience.

His Freud-loving doctors said suicide was common after paternal sexual abuse.

His howlers said it was all his fault.

The howlers never slurred their words and he never needed an appointment to hear what they had to say.

***

Sometimes it felt like he spent every day resisting their efforts to drag him to hell. He knows other people can hear them… can see them. His skin stung from their claws digging into his flesh. He can’t shake them no matter what he does. Maybe they’re a part of him by now, maybe they always were.

After all, if it was really just “schizophrenia” then why did his father have them too?

“I don’t know why I do the things I do, Gerry.”

“She looked so pretty… just like her mama used to.”

“Something inside me just snapped. I had to show her what her life of sin would lead her to. If she wanted to act like a woman, I needed to treat her like one.”

He usually only talked about his howlers after a few drinks, but Gerry could see the regret in his eyes. Howlers could be very persuasive, especially when it was impossible to drown out their voices.

Gerry knew the howlers were why his father would go into her room every night. He knew that was the only reason why a father would lust after their daughter, why a man would seek release in a child.

You can save him.

He raped her.

He liked it.

Avenge her.

It was the howlers that told him where to find the axe.

***

When he was in the institution, his roommate told him all about Rosemary Kennedy. An icepick to the corner of her eyes, and she became a new person. She went from troubled to happy in a moment. That’s what he wanted.

Gerry thinks that if he could just forget those memories, his life would be better. He loved his sister, not as much as Father did, but he got sad every time he thought of her. He just wanted to savor the happy memories of her singing around the house with her nightgown trailing behind her.

But he couldn’t forget. He was plagued with unrest. It wasn’t until he saw that first troubled young woman that he realized if he couldn’t save his sister, he could save other women who were suffering. 

He wished he had thought of the twilight sleep before the first one, maybe then she wouldn’t have been so scared. When the metal of his tool caught on the skin of her bottom eyelid while he pulled the rod out, she let out a guttural groan that sounded like a strangled scream.

“Wie fühlen Sie sich?”

Her attention locked onto him, but all the earlier fear was replaced with something that looked like contentment. Her mouth opened and closed like she was going to say something but forgot what it was before she could find the words.

Trying again, he asked: “How do you feel?”

“Adjuh-juh,” she slurred, glassy eyes looking around the room.

He waited, allowing her a moment to collect her thoughts. When she blinked, it looked like a strained effort, but she didn’t seem bothered, even as the movement caused little rivulets of blood to trail down her cheeks and onto the fabric of her nightgown. Her head lolled onto her shoulder, and the suddenness of it made her lips quirk into a small smile.

You saved her.

“Für Sie wird es keine Unruhe mehr geben,” he reassured.

She looked up at him, blinking slowly. “U-un-ru-”

***

His face twitched and he closed his eyes shut until the howlers faded against his eyelids, floating into a familiar face before laughing at him.

They’d been getting louder. He spent so much time trying to forget, but this FBI woman and her partner were only egging the howlers on. 

“Gerry, help!”

“Daddy, stop!”

“It’ll only hurt for a second, baby.”

The taste of iron in his mouth made him cringe as he soothed the bite mark on his inner lip with his tongue. He had to do this. He needed to save enough women to make up for all the times he pretended he couldn’t hear what was happening on the other side of the wall.

Gerry knew she needed his help the moment they met. There was a howler inside of her head — a black mass invading her body and mind.

“Aufhören! Ich habe keine Unruhe. Ich habe keine Unruhe. Ich brauche nicht gerettet zu werden,” the woman pled.

She doesn’t know.

“Yes you do. Everybody does, but especially you,” he stated firmly.

Ihre Unruhe bringt sie um.

Sie liegt im Sterben.

For the other women, he always feared he might make a mistake and end up hurting them, but she was different. Not because she had his sister’s eyes or because she could speak in his father’s tongue, but because he’d never seen such malignant, cruel howlers. She may not be able to hear them, but she was being consumed from the inside out. He needed to help her before it was too late.

Read the rest of All Eyes Lead to the Truth on Archive of Our Own

@gaycrouton

[deathsbestgirl]

unruhe twitter edition

[freckleslikestars]

The X Files: Unruhe

Living Polaroid Project: 77/219

[moiraiinesedai]

Gillian Anderson in The X-Files episode 4x04 ‘Unruhe’

Photo by David Cooper

[xlovexbombingx]

Was ist das zwischen uns ? Komm und sag es mir. Wir leben weiter vor uns hin. Unsicherheiten die uns beide ausmachen. Ständige Blicke, Nachrichten die einfach nur unsere Köpfe ficken. Wir lieben uns, dass wissen wir doch beide oder sind wir nur zu einsam? Siehst du mich da, in deiner Zukunft? Oder wird dir eines Tages alles zu bunt ? Setzten wir die rosa rote Brille doch noch ab & enden da wo alles angefangen hat ? Einsam und alleine. Finden uns erneut selbst bis uns dann jemand neues gefällt und genau dann beginnt es alles von vorn und aufeinmal wird uns klar das wir uns doch wollten, aber wir einfach keinen Mut hatten, es noch einmal miteinander zu wagen.