#i also sewed a new pocket into my shitty leather jacket which i plan to make another comic about later | Explore Tumblr Posts and Blogs

virtueangel · 4 years

Text

limitless.

chapter three.

wc: 1,972. original publish date: october 5, 2020.

Van Gogh switches off his phone, smiling to himself in secret contentment to have his best friend back. The fight didn't last more than an hour -- definitely their shortest fight to date -- but usually he's the one who has to go seek out Kennedy to make things right. Which makes sense: Gogh's usually the one who starts the fight so he should be the one to finish it. But it still feels nice to know that JFK cares enough to put an end to it all. Sometimes Van Gogh wonders if Kennedy is ever as hurt by their arguing as he is. Now he doesn't have to guess.

Van Gogh begins packing his carryon-sized suitcase, which is brown with black trim and scuffed plastic wheels. He's had it since he was a kid -- he used to have to go on his parents' business trips with them. They started leaving him at JFK's house when he was ten and eventually stopped leaving him with anyone at all. He had to learn how to watch the house himself once he turned fourteen -- he was a scared freshman with only one friend who lived on the upside of town. He never learned how to meet anyone new. Van Gogh grew so accustomed to being alone that he never knew he should meet anyone new.

The boy begins tossing various articles of clothing and his favourite novels into the suitcase. Mostly he just stuffs the luggage with underwear and socks. He throws in a pair of jeans and two solid colour t-shirts. He walks into the bathroom and starts shoving toiletries into a plastic Ziploc bag. He takes his toothbrush, a full tube of toothpaste (it's family size, but of course he's the only one using it), a travel-size hairbrush that he barely ever uses, and a minute box of floss that he'd acquired from the dentist six months ago, but never used since. He seals the bag and turns toward the door to walk back to his room, but decides to snatch some extra bandages out of the closet for good measure. He barely ever needs to switch out his head cast now that his ear wound has stopped bleeding, but the bandages might get dirty from outside sources and he can't have that.

Van Gogh walks back to his room and throws the Ziploc bag on top of the clothes folded in his suitcase. He crouches down to flip the lid and zip the luggage, but realises he doesn't have a real jacket and this thin and simple windbreaker won't do much good outside of the heat of the house. He unzips the bag and fishes the green fleece blanket off of his bed. It's still sitting in a messy pile. Kennedy never thinks to fold anything. Van Gogh fixes it into a neat square and places it in the suitcase. He crosses the room to his closet, searching for an extra layer more practical than a blanket.

He finally decides on a jacket after meticulously searching for the perfect one. He pulls it off the plastic white hanger by the shoulder panel. It's heavy, with its leather sleeves and fleece lining. It's orange and white, which is a hideous combination, but they're also Clone High's mascot colours. Van Gogh pushes his short arms through the sleeves of the jacket and models it in the mirror, the clothing dripping off of his body and swallowing him whole. He turns around to admire the back, which is his favourite part for some reason. Sewed in crude felt lettering are the initials JFK -- it had belonged to him in freshman year, but he'd tragically outgrown it that spring. Kennedy was going to throw it away, but Van Gogh had told him not to, insisting that there was no reason to dispose of a structurally sound jacket.

Van Gogh zips the suitcase securely and tilts the whole thing upright, taking one more sweeping look around his room before deciding he's ready to go. Well, he's not ready, exactly; he just knows it's now or never. He's never been one to contemplate that sort of dilemma and still choose now, but maybe if he doesn't think at all he'll actually go.

He turns off his bedroom light, blanketing the orderly knickknacks and tight corners under a veil of deep velvet. Only the moon, hanging high and glowing bright, lights the room through the window. Van Gogh nods in satisfaction, or maybe in farewell, before turning around to walk through the ocean cave hallway and out the front door of his house. He locks it with the key which is miraculously still hidden away in the pocket of JFK's jacket from the last time he wore it. Gogh usually doesn't lock the door at all. Maybe one day the house will get robbed and his parents will finally take that as a hint to stop putting him in charge of their most expensive asset all by himself. Who trusts their sixteen-year-old son with their whole house, anyway?

Van Gogh sits on the wooden steps leading up to his splinter-hazardous porch, elbow on his knee and head in his hand. He's pushed the handle of the suitcase down and parked it on the wood slat next to him. He waits for Kennedy patiently, but his stomach sinks down into the soles of his feet as the endless minutes tick by. Maybe his dads caught him sneaking out. Maybe he changed his mind about spending so much time with Van Gogh. How long were they gonna be spending together, anyway? Kennedy hadn't said.

Gogh's head is still spinning, swirling like moonlight caught in the infinite night sky as JFK pulls up. He's driving a flashy red convertible... not the most practical car for a road trip, but the only one he has all to himself. Van Gogh doesn't have a car. Even with his parents absent as often as they are, he still doesn't own something so luxurious.

"I started to think you weren't going to come," Gogh says in place of a greeting.

"I was packing."

Van Gogh looks at his own suitcase. "So was I."

"Well, maybe you should've packed more."

"I'm sorry I don't have as many beauty products are you do," he scoffs. "I'm naturally pretty."

Kennedy walks up the stairs to wheel Van Gogh's suitcase to the car for him. "That you are."

Gogh rolls his eyes, but doesn't give a passionate retort. His head drains of all thought -- including the spinning moonlight that dizzied his conscience just minutes prior.

"I don't need help with that," he finally manages, hoping his voice is frozen over enough to make up for the seconds of thoughtlessness. He lifts himself up off the steps and snatches the suitcase away from JFK, probably a little too hastily for how he's feeling.

"Damn, I was only trying to help."

Van Gogh freezes and turns around, painting on the most innocent smile he can find. "I know you were." He lifts the trunk of the car and hoists the suitcase in. He then walks around to the passenger side door of the vehicle and climbs in, clicking his seatbelt securely before closing the door. He stares ahead out the windshield as he waits for JFK to join him.

Once Kennedy is securely inside the car, he drapes his wrist over the steering wheel and stares out the windshield as well, seeing the neighbourhood from a different view than Van Gogh even though they're looking at the same place.

"So," JFK starts, and the sound of his voice almost makes Van Gogh jump as he's pulled out of his trance. "Where do you wanna go?"

Gogh stares at the boy in the driver's seat, his eyebrows knit together and a scowl frothing on the corners of his lips. "You mean you don't have a plan?"

Kennedy turns to the boy, his expression soft. His whole body looks so calm and relaxed. He looks like himself, but it's a different sort of cool -- almost... withdrawn.

He's wearing his letterman jacket -- the new one he'd gotten at the beginning of the year after outgrowing the one Van Gogh is wearing. His fingernails are bitten down to stubs, from anxiety, or possibly just poor hygiene.

"My plan is that I don't want to be here."

Van Gogh shrugs agreeably. "Then let's just drive."

JFK doesn't pull his gaze away from Van Gogh, and the shorter boy shrinks down into his seat with each second that passes. Kennedy's stare is so intense and serious that Gogh squirms under the pressure. He squeezes the side of the leather seat. It's cold, just like the rest of the snowy world. He wonders if wherever they're going will being having as shitty of an April as Exclamation! is.

"Put on the seat warmers," Van Gogh whispers.

Kennedy finally looks away. He seems to snap back into reality, not knowing he'd ever left it. He starts the car and it spits to life. He revs the engine and it whirrs, comforting him with its eager lurching. Van Gogh watches JFK's hand as he presses some buttons, illuminating them green. A few seconds later, the bottoms of his thighs are warming up through his jeans.

Kennedy sinks his foot down onto the gas, oblivious to the fact that the accelerator might disturb Van Gogh's neighbours, some of whom go to sleep before 9:55pm on a Friday night. In the part of town where JFK lives, the lots are all so big that noises can't be heard from other houses. Gogh's street is jam-packed with families, stuffing their single-story homes full to the brim. Sometimes he envisions the buildings overflowing, flooding the streets with unnecessary as-seen-on-tv merchandise. Maybe that's something he'd like to paint one day, when everyone stops worrying about him and overanalysing his artwork.

JFK eases off the gas as they drift out of town, exploring the unfamiliar landscape. The night is somehow brighter out here, despite being away from all the motion and the lights. They drive up a hill, slowly, the car wheels gripping the asphalt cautiously. Kennedy pulls into a turnout, a barren overhang with a view of nothing for miles and miles spread beneath it. Kennedy turns off the car and the headlights die along with it. Van Gogh's head snaps in his direction, his chest welling up with fear. The height, the quiet, the darkness under the moon -- Kennedy doesn't do any of this. They sit on the floor of Van Gogh's bedroom when his parents are MIA. They do homework or stare at the ceiling as they listen to music from a record player. Gogh doesn't know how to be silent with his best friend -- not when they have no other task to be occupied by.

Van Gogh opens his mouth, his eyebrows heavy with concern. Kennedy starts to speak, as if on cue.

"Just breathe," he says, and it doesn't sound like a suggestion.

"It smells like nothing," Van Gogh replies after taking a deep breath.

"No," Kennedy says, shaking his head slightly. "It smells like our world."

Gogh's expression switches from vulnerable to critical. "Our world. Like we own it."

JFK turns to him. "We can. We do."

Van Gogh opens his mouth to respond, but he's cut off by his best friend again. He makes a low shhing noise without turning to his passenger.

Gogh stares out the windshield at the unfinished map beneath them, and he wonders where to begin. They have the whole world at their disposal. Van Gogh wishes he'd packed darts to throw at the map, so he could plan an unplanned trip.

From up here, he feels like he could touch the moon. He closes his eyes and relaxes in his seat. For a second, he does touch the moon.

#clone high #jfgogh #clone high van gogh #clone high jfk

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