Categories > Celebrities > Fall Out Boy > Her better half
Girlfriend in a coma
11 reviewsMoe returns and Pete has to deal with Douglas' ways. A murder victim is found. [Warning: This chapter contains graphic descriptions of a murder victim/ the crime scene, not too much but still, an...
4Exciting
Chapter 18: Girlfriend in a coma
Three days after Kirsh moved out of Pete's house Moe is found unconscious, lying on her boyfriend's front lawn. The bassist decided to not leave his home until the stalker has been captured but when he sees her motionless body outside, he storms through the door and throws himself down next to her.
"Moe! My God, Moe! Are you alright?" he touches her shoulder softly. She's lying with her face down.
"Moe? Can you hear me?"
When she doesn't react Pete turns her over with great care. His eyes take in the horrid view: The young female's got dark circles under her closed eyes, the corners of her mouth along with her wrists and ankles are sore. Dried blood is sticking to the wounds. It's easy for him to figure out that she's been bound and gagged while she was in the sway of her kidnapper and his stalker.
"Moe? Honey... are you with me?" the man starts patting her cheeks. He finally realizes that it's hopeless. Just now does he think of checking her pulse. Then he lowers his face to hers to feel her breath on him.
"Thank God," he breathes out as he convinced himself of her vital signs.
Then he notices an envelope that's stuck to his girlfriend's stained top with a safety pin. It says To Pete on the back. He folds it in half and pushes it into his jeans pocket.
Pete isn't sure if Douglas is up yet but he yells his name in the direction of the house, the door open, anyway. A second later Hemingway as at his and Moe's side. The dog sniffs at the unconscious woman then starts growling at her.
"Hemingway! Stop it," his owner shouts angrily.
The canine barks and then runs back into the house as Pete orders him to do. He almost makes Douglas trip over him as he hurries out of the building.
"Whoa! What's going on here?" the officer asks as he rushes towards the other man and his girlfriend.
The musician quickly tells him how he found Moe and that she's still alive. The cop fishes his cell phone out of one of his pockets and dials 911.
Moments later Moe is picked up by the ambulance and driven off to the nearest hospital, the one that Patrick was admitted to less than half a week ago.
Pete stares after the vehicle. After it has rounded the corner he turns to Douglas, "I'll just pack a few things and then we can go."
"Go where, Mr. Wentz?" the officer frowns.
"To the hospital, what do you think?!"
"I'm afraid but no can do," the obese man replies. "You can't seriously consider going out when there's somebody preying on you."
Pete raises his voice a pitch louder, "Excuse me?! It's not like I have an option. I love this woman and I want to be at her side when she wakes up, ok?"
Douglas simply shakes his head, "No."
Angrily the bassist flips the detective off, "You have no say in this. It's your job to protect me, you go where I go. Like Kirsh did."
"Yeah, yeah. When Kirsh was looking after you the circumstances were different. Also, may I add: Look where Kirsh brought you to."
"Don't you dare blaming her," Pete points a finger right at the other man's face.
Douglas ignores his opposite's threatening gesture, turns his back on him and starts walking towards the house, "Your car keys are with me so don't think you can leave without me knowing it."
"Fuck you! I can call a cab!" the other yells after him.
The officer turns around and narrows his eyes at him, "I'm gonna handcuff you to your bed, if I have to."
After staying outside and staring at the street in the direction that Moe went for half an hour, wrecking his brain over what to do, Pete finally walks inside too. Why is everyone turning against him now?
He sees Douglas sitting in the living room, watching TV.
"Asshole," he huffs lightly enough for the detective to not hear it over the TV sound.
Upstairs in his bedroom the bassist calls the hospital and tells a nurse on the other line to keep him updated about the condition of Moranne Sommer. At first she explains to him that she can't hand out that kind of information to somebody who is not a family member, especially not over the phone. Quickly Pete describes his miserable situation to her, his uncontrollable sobbing finally convinces her to make an exception.
"I will call you back should she wake up," the sympathetic woman assures him.
Shaken by the stresses and strains of Moe's return, Pete falls into an uneasy sleep. He wakes up two hours later, Hemingway is standing at the foot of his bed, barking his lungs out.
Pete can't remember what he dreamt but he's sure it was a nightmare. He's got a bad feeling in his stomach and the headache, that has become his constant companion over the last few weeks, is getting the best of him again.
"Shut the fuck up, Hemy!" the man barks back at his dog.
At the sound of his owner's voice the canine starts growling and steps closer.
"What the fuck is the matter with you, dog?!"
Douglas appears in Pete's door frame and surveys the scene. "What's wrong with him?" he nods at Hemingway.
"I have no freaking clue," the bassist shrugs. Then he carefully extends a hand towards his pet who in return snaps at it.
"Fuck!" Pete curses. "You know what, do me a favor and take the little bastard outside. Into the yard."
At first Douglas hesitates. He's never felt very comfortable around dogs but apparently Hemingway's anger only targets his owner. As the officer grabs the animal by the collar it follows him downstairs fairly obedient.
The last thing I need is that fucking cunt having turned Hemy against me. I don't know how she would manage that. Some evil trick, some drugs maybe. Something in his food. I can't deal with this right now.
Even though he's sure the ringing would have woken him he checks his cell for missed calls. None. He hesitates and then calls the hospital again. Moe is still in a coma.
Kirsh has spent the last nights almost sleepless. Her worrying about Pete doesn't allow her to close her eyes without seeing horror visions of the young man being attacked by his stalker.
The first day the woman was so busy spending time with her husband Brian and her little daughter Fey that she didn't have much time to think about the musician. But if not during the day, at night when she's alone with her thoughts, Brian snoring next to her, Fey peacefully sleeping in her crib, she can't help but think of him. What is he doing right now? Is he getting along with Douglas at all? Has Moranne Sommer been released yet?
On the second day she called Maxwell and inquired after the current situation but her boss denied her any information.
"For goodness sake, Kirsh, get your mind off this case," he replied and hung up. He didn't mean to be heartless but he knows her and she wouldn't stop bothering him until he gave her something. Putting the conversation to an end was the safer way for him, for both of them.
On day four she says to Brian, "I'm going over to Wentz's house now. That scumbag Maxwell won't tell me anything."
Her husband has a worried look on his face, "I don't think that's a good idea. You've always told me how much you valued Maxwell and that he's a smart man. Maybe you should respect his decision."
"Yeah, well, this time his intuition is crap. I'm going, this ignorance is making me go insane."
The man sends her a disapproving glance, "What's this about this rockstar, this Wentz? One could think you're the stalker, considering your interest in him."
"Brian, please! Don't be ridiculous!" she screams at him. Completely overreacted.
Soon after that Fey starts crying upstairs.
"Well done, Adrienne," Brian mumbles and hurries towards his daughter's bedroom.
Kirsh is woken up by her cell phone buzzing. It's set to mute but since she hardly falls asleep these days the slightest sound stirs her up.
"Pete?" she asks surprised, having checked the display before accepting the call.
"She killed Hemingway," the man's voice on the end of the line is shaky and soft.
"What?" the female jolts up in her bed.
"Adrienne? Who's that?" Brian blinks as he awakes.
"It's Pete. She killed his dog," his wife covers the cell with her hand and informs him. Then she turns her attention back to Pete.
"Phebe killed your dog?" she asks.
In a few minutes the bassist tells her everything. How he woke up because he was thirsty. He felt for the light switch on the lamp on his nightstand. It felt wet and slippery. After he pressed it he saw red everywhere. Blood, all over the nighstand, his bed sheets. Fat drops and lines staining the light fabric.
Panic-stricken he jumped out of the bed, his feet landed in even more gore.
He yelled for Douglas. He stepped towards the door with slow insecure steps. Then he saw him. Hemingway on the floor, between the door and his bed.
The animal's throat was cut by a long gash. His mouth was open, the tongue hanging out, lying in a puddle of blood. A bloodbath. The red juice had made it's way from the canine's throat over to the nightstand, three thick rivers had formed on the wooden floor.
When Douglas finally reached his room, wearing a bathrobe, his ugly hairy knees peeping through like a goblin's eyes, Pete was in a screaming fit. He couldn't help but alternately stare at his bloody feet, that had waded through the mess on the floor, and at his slaughtered pet.
Finally the threw up right next to the dead Hemingway.
Kirsh remains silent and just makes a few noises in acknowledgement that she's still listening.
"And Moe is back," Pete concludes.
"When did she come back? Is she alright?"
The man informs her of his girlfriend's mysterious return and her condition, still in a coma.
If only she woke up, she knows what the stalker looks like. Moranne Sommer is the key.
"Listen, Pete, I will be right over. I don't care what Douglas thinks about it," the woman hops out of bed.
Three days after Kirsh moved out of Pete's house Moe is found unconscious, lying on her boyfriend's front lawn. The bassist decided to not leave his home until the stalker has been captured but when he sees her motionless body outside, he storms through the door and throws himself down next to her.
"Moe! My God, Moe! Are you alright?" he touches her shoulder softly. She's lying with her face down.
"Moe? Can you hear me?"
When she doesn't react Pete turns her over with great care. His eyes take in the horrid view: The young female's got dark circles under her closed eyes, the corners of her mouth along with her wrists and ankles are sore. Dried blood is sticking to the wounds. It's easy for him to figure out that she's been bound and gagged while she was in the sway of her kidnapper and his stalker.
"Moe? Honey... are you with me?" the man starts patting her cheeks. He finally realizes that it's hopeless. Just now does he think of checking her pulse. Then he lowers his face to hers to feel her breath on him.
"Thank God," he breathes out as he convinced himself of her vital signs.
Then he notices an envelope that's stuck to his girlfriend's stained top with a safety pin. It says To Pete on the back. He folds it in half and pushes it into his jeans pocket.
Pete isn't sure if Douglas is up yet but he yells his name in the direction of the house, the door open, anyway. A second later Hemingway as at his and Moe's side. The dog sniffs at the unconscious woman then starts growling at her.
"Hemingway! Stop it," his owner shouts angrily.
The canine barks and then runs back into the house as Pete orders him to do. He almost makes Douglas trip over him as he hurries out of the building.
"Whoa! What's going on here?" the officer asks as he rushes towards the other man and his girlfriend.
The musician quickly tells him how he found Moe and that she's still alive. The cop fishes his cell phone out of one of his pockets and dials 911.
Moments later Moe is picked up by the ambulance and driven off to the nearest hospital, the one that Patrick was admitted to less than half a week ago.
Pete stares after the vehicle. After it has rounded the corner he turns to Douglas, "I'll just pack a few things and then we can go."
"Go where, Mr. Wentz?" the officer frowns.
"To the hospital, what do you think?!"
"I'm afraid but no can do," the obese man replies. "You can't seriously consider going out when there's somebody preying on you."
Pete raises his voice a pitch louder, "Excuse me?! It's not like I have an option. I love this woman and I want to be at her side when she wakes up, ok?"
Douglas simply shakes his head, "No."
Angrily the bassist flips the detective off, "You have no say in this. It's your job to protect me, you go where I go. Like Kirsh did."
"Yeah, yeah. When Kirsh was looking after you the circumstances were different. Also, may I add: Look where Kirsh brought you to."
"Don't you dare blaming her," Pete points a finger right at the other man's face.
Douglas ignores his opposite's threatening gesture, turns his back on him and starts walking towards the house, "Your car keys are with me so don't think you can leave without me knowing it."
"Fuck you! I can call a cab!" the other yells after him.
The officer turns around and narrows his eyes at him, "I'm gonna handcuff you to your bed, if I have to."
After staying outside and staring at the street in the direction that Moe went for half an hour, wrecking his brain over what to do, Pete finally walks inside too. Why is everyone turning against him now?
He sees Douglas sitting in the living room, watching TV.
"Asshole," he huffs lightly enough for the detective to not hear it over the TV sound.
Upstairs in his bedroom the bassist calls the hospital and tells a nurse on the other line to keep him updated about the condition of Moranne Sommer. At first she explains to him that she can't hand out that kind of information to somebody who is not a family member, especially not over the phone. Quickly Pete describes his miserable situation to her, his uncontrollable sobbing finally convinces her to make an exception.
"I will call you back should she wake up," the sympathetic woman assures him.
Shaken by the stresses and strains of Moe's return, Pete falls into an uneasy sleep. He wakes up two hours later, Hemingway is standing at the foot of his bed, barking his lungs out.
Pete can't remember what he dreamt but he's sure it was a nightmare. He's got a bad feeling in his stomach and the headache, that has become his constant companion over the last few weeks, is getting the best of him again.
"Shut the fuck up, Hemy!" the man barks back at his dog.
At the sound of his owner's voice the canine starts growling and steps closer.
"What the fuck is the matter with you, dog?!"
Douglas appears in Pete's door frame and surveys the scene. "What's wrong with him?" he nods at Hemingway.
"I have no freaking clue," the bassist shrugs. Then he carefully extends a hand towards his pet who in return snaps at it.
"Fuck!" Pete curses. "You know what, do me a favor and take the little bastard outside. Into the yard."
At first Douglas hesitates. He's never felt very comfortable around dogs but apparently Hemingway's anger only targets his owner. As the officer grabs the animal by the collar it follows him downstairs fairly obedient.
The last thing I need is that fucking cunt having turned Hemy against me. I don't know how she would manage that. Some evil trick, some drugs maybe. Something in his food. I can't deal with this right now.
Even though he's sure the ringing would have woken him he checks his cell for missed calls. None. He hesitates and then calls the hospital again. Moe is still in a coma.
Kirsh has spent the last nights almost sleepless. Her worrying about Pete doesn't allow her to close her eyes without seeing horror visions of the young man being attacked by his stalker.
The first day the woman was so busy spending time with her husband Brian and her little daughter Fey that she didn't have much time to think about the musician. But if not during the day, at night when she's alone with her thoughts, Brian snoring next to her, Fey peacefully sleeping in her crib, she can't help but think of him. What is he doing right now? Is he getting along with Douglas at all? Has Moranne Sommer been released yet?
On the second day she called Maxwell and inquired after the current situation but her boss denied her any information.
"For goodness sake, Kirsh, get your mind off this case," he replied and hung up. He didn't mean to be heartless but he knows her and she wouldn't stop bothering him until he gave her something. Putting the conversation to an end was the safer way for him, for both of them.
On day four she says to Brian, "I'm going over to Wentz's house now. That scumbag Maxwell won't tell me anything."
Her husband has a worried look on his face, "I don't think that's a good idea. You've always told me how much you valued Maxwell and that he's a smart man. Maybe you should respect his decision."
"Yeah, well, this time his intuition is crap. I'm going, this ignorance is making me go insane."
The man sends her a disapproving glance, "What's this about this rockstar, this Wentz? One could think you're the stalker, considering your interest in him."
"Brian, please! Don't be ridiculous!" she screams at him. Completely overreacted.
Soon after that Fey starts crying upstairs.
"Well done, Adrienne," Brian mumbles and hurries towards his daughter's bedroom.
Kirsh is woken up by her cell phone buzzing. It's set to mute but since she hardly falls asleep these days the slightest sound stirs her up.
"Pete?" she asks surprised, having checked the display before accepting the call.
"She killed Hemingway," the man's voice on the end of the line is shaky and soft.
"What?" the female jolts up in her bed.
"Adrienne? Who's that?" Brian blinks as he awakes.
"It's Pete. She killed his dog," his wife covers the cell with her hand and informs him. Then she turns her attention back to Pete.
"Phebe killed your dog?" she asks.
In a few minutes the bassist tells her everything. How he woke up because he was thirsty. He felt for the light switch on the lamp on his nightstand. It felt wet and slippery. After he pressed it he saw red everywhere. Blood, all over the nighstand, his bed sheets. Fat drops and lines staining the light fabric.
Panic-stricken he jumped out of the bed, his feet landed in even more gore.
He yelled for Douglas. He stepped towards the door with slow insecure steps. Then he saw him. Hemingway on the floor, between the door and his bed.
The animal's throat was cut by a long gash. His mouth was open, the tongue hanging out, lying in a puddle of blood. A bloodbath. The red juice had made it's way from the canine's throat over to the nightstand, three thick rivers had formed on the wooden floor.
When Douglas finally reached his room, wearing a bathrobe, his ugly hairy knees peeping through like a goblin's eyes, Pete was in a screaming fit. He couldn't help but alternately stare at his bloody feet, that had waded through the mess on the floor, and at his slaughtered pet.
Finally the threw up right next to the dead Hemingway.
Kirsh remains silent and just makes a few noises in acknowledgement that she's still listening.
"And Moe is back," Pete concludes.
"When did she come back? Is she alright?"
The man informs her of his girlfriend's mysterious return and her condition, still in a coma.
If only she woke up, she knows what the stalker looks like. Moranne Sommer is the key.
"Listen, Pete, I will be right over. I don't care what Douglas thinks about it," the woman hops out of bed.
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