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ambitionsource · 4 years

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AMBITION Season 2 ♫ “The Sun Will Rise” [ 2.13 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows) || S2 Tag || Official Page

WHAT HAPPENS NEXT – News of Valerie brings Isadora and the group across the continent to Los Angeles. Wounds begin to heal, and lucky happenstance presents compelling new opportunities. Reflecting on all they’ve endured, the junior class looks towards senior year and begins to ponder what happens next.

68 Minutes (19K words) || No content warnings apply.

[ ← Final Run ] [ S2 Synopsis ] [ Season Three → ]

( Follow along with the music on Spotify here! )

EXT. AAA - NIGHT

Song Cue ♫ ♪ “Go Ye Now In Peace” as performed by Rochester College A Cappella Chorus || Performed by AAA Juniors (feat. AAA Students)

A crowd has formed on the steps of Adams, but the mood is far different than it was only hours ago. Whereas that crowd was there to protest, this one is here to mourn. To honor. To stand together. A candlelight vigil, dozens of little flames dotting the exterior of the school in a constellation of flame.

The choral piece is not typical fare for a student body that tends to lean towards glitz and glamor, but in this moment it’s exactly what’s needed. The beautiful harmony of the AAA students is clearer than ever before, a comforting embrace of sound amidst the tears.

And comfort is the most prominent force. It’s the last time we’ll see the A class as juniors, and while the reason for the gathering is somber, it’s nice to see them all so unequivocally together. HALEY FISHER and CLARISSA CRUZ stand on either side of CHARLIE GARDNER, arms linked. YINDRA AMINO and NIGEL CHEY share a candle, DARBY WINTERS and SARAH CARLSON hugging behind them as they sing.

The techies are closely gathered, NATE MARTINEZ standing solemnly between JEFF MONROE and DAVE WILLIAMS. Dave has his arms around JADE BEAMON, propping his chin on her head while she cries silently. NICK YOGI is leaned against Dave, hugging his side. DYLAN ORLANDO hugs ASHER GARCIA from behind, resting his chin on his shoulder and tilting their heads together.

On the steps, JACK HUNTER and ERIC MATTHEWS are stalwart and put together, hands clasped in front of them respectfully as they sing along. Admittedly, Eric is having a harder time holding back his emotion. HARPER BURGESS flicks tears from her cheeks. SHAWN HUNTER reaches out a hand to touch her shoulder, ANGELA MOORE at his side.

MAYA HART is singing through thick tears, holding tight to FARKLE MINKUS’s arm. She keeps him close as he watches fellow students contribute to the center of the vigil. It seems to be hitting him differently.

ZAY BABINEAUX allows RILEY MATTHEWS to rest her head against his shoulder until she steps forward, a flower in her hands. She steps forward to the central display and lays the blossom amidst the others, stepping out of frame to allow focus to rest on the memorial.

Flowers, cards, posters and old CDs. Photographs and memorabilia, all surrounding the framed portrait of VALERIE DE LA CRUZ at the core of it all. A global icon. A role model, inspiration, and mentor to so many of the students at Adams. A mother to one of their own.

The voices of the Adams student body float into the night, a touching send off for a woman truly unlike any other. Now, nothing but a memory and the things she left behind. All that’s left to do, once the mourning is done, is figure out how to move forward. What happens next…

Cue title sequence.

INT. AAA - AUDITORIUM - DAY

Charlie is in the auditorium alone, paying one more visit before he says goodbye. Unlike the rest of his classmates, he won’t be coming back after the summer.

He’s all the way in the rear behind the last curtain, looking up at the back wall. All along it, planks of 2 x 4 wood have been hung up. At the center of each one is a year, surrounded by scribbled initials.

Charlie is eye level with the one marked “2021,” certain handwriting quite familiar. Riley quietly enters and comes to join him, not interrupting his thoughtful silence as she looks at it with him.

Charlie: It’s a coveted tradition. [ off her intrigued look ] At the end of freshman year, every class gets their own plank. They emboss it with the graduating year -- for us, 2021 -- and then everyone in the class gets to initial it. Leave their mark, you know? Commemorate that we made it. That we were here.

Riley examines the Class of 2021 plank. Familiar initials jump out -- ZB. MH. FM. Even LF, clustered beside AG and DO. The initials WL can barely be made out after someone -- or perhaps multiple someones -- aggressively scratched it out.

Charlie: [ re: Wyatt’s ] Obviously, it doesn’t account much for change. [ a beat ] Any kind of change.

Charlie is looking at a different pair of initials now. CG.

Riley looks at him sympathetically. She knows how it feels to jump schools, but it’s hard to imagine how it would feel when you really don’t want to. When the one you’re leaving is the one you don’t want to let go.

Then an idea strikes her.

Riley: You got a Sharpie?

Charlie thinks, grabbing his backpack at his feet to dig through the pockets. He retrieves one, handing it to her.

Riley pulls off the cap with a flourish, stepping forward. She scans the 2021 plank, finding a spot and using the Sharpie to create a new set of initials. RM -- right in the middle between CG and the cluster of techie initials. A space left empty, as if it was just waiting for something new to come along and complete it.

Riley eyes the addition proudly, capping the Sharpie and passing it back to Charlie. Not a solution, but a symbolic gesture -- just as things can be so easily removed, they can be easily added, too. It doesn’t change that they’re both there. That they always will be.

She gives him a smile, which he half-heartedly returns. Charlie scoops up his backpack, slinging it over his shoulder. Riley throws an arm around his back and he drapes one over her shoulder, the two of them exiting the auditorium together.

INT. AAA - BLACK BOX THEATER - DAY

Zay swings by the black box as Harper is finishing cleaning up from their final class. He asks if she needs any help, but she waves him off. She’ll be here many more hours packing up the classroom -- he shouldn’t waste any of his final high school summer on her.

Zay explains why he wanted to stop by, letting her know that he got offered a role in the off-Broadway production. He’s officially portraying Riff for the next few months, and he wanted to thank her for all her support. Harper is ecstatic, exchanging a hug with him.

Zay: I wouldn’t have gotten it if it weren’t for you. So thank you.

Harper, touched: … well, thank you. That’s very sweet. But I don’t know if that’s true.

Zay: You were the one who showed me the audition. I think that proves my point.

Harper thinks on it, thoughtful.

Harper: If I’ve learned anything about this industry in the last decade or so, it’s that you can tell who the real stars are. Talent matters, undoubtedly, but it’s really in the way they shine day-to-day. Who goes the extra mile, who puts themselves out there, who goes searching for opportunity rather than waiting for it to fall into their lap.

Zay listens attentively. It’s evident how much respect he holds for Harper, despite the uneven start she had coming into this year.

Harper: Now I’m just a teacher, so my salary isn’t much to bet on, but I would put all of it on the line when I say you, Zay Babineaux, are one of those stars. [ proudly ] And I can’t wait to see everything that you accomplish.

Zay smiles, bashful in a way he rarely is. How strange and humbling and wonderful it is, to be seen. To be the favorite. To be appreciated for everything you have to offer.

He steps forward for another hug, Harper surprised at first but laughing as she returns it. When they pull apart, Zay wishes her a good summer and promises her a complimentary ticket to West Side Story as soon as its up and running.

Harper: Wouldn’t miss it for the world.

Zay grins, giving her one more nod as he heads out for the year. Harper watches him go with a smile, exhaling and sauntering to the front and center of the classroom. Her classroom, hard fought and won. She’s truly the Adams performance coach now, finally feeling confident and excited for what the next year holds.

INT. CHUBBIE’S DINER - DAY

It seems the next year might hold many new opportunities. A job application slides across the counter at Chubbie’s, LUCAS JAMES FRIAR giving the waitress working a thanks as she promises she’ll pass it on to the manager.

When he spins back around Dylan and Asher are there with him, congratulating him on taking the leap to apply. Still, Asher has his hesitations.

Asher: Seriously, you don’t have to do this just because of me. I said you don’t have to pay me back.

Lucas: And I said I would, so I am. Besides, it’ll give me an excuse to be out of the house. I’m going to need the money anyway if I want to do anything this summer.

Dylan: That’s right. You’ve got a steady to treat now.

Asher: I doubt Riley is expecting much.

Dylan: We don’t know that. She could be a gold digger.

Asher: If she is, she’s been digging in the wrong place for about two years.

Dylan: That’s true. If she were a good gold digger, Farkle is right there.

Lucas: Please stop.

Dylan: Whatever. I’m just excited for you to work here so we can get some sick free grilled cheese!

Lucas: Yeah, that’s not gonna happen.

Dylan: I think it might happen.

Lucas: It’s not.

Dylan doesn’t argue further, but the way he smirks and narrows his eyes speaks for him. I really think it might. Lucas rolls his eyes, Asher changing the subject and asking about Isadora. Everything with Valerie has happened so fast, and all the sudden she has to head all the way across the country to deal with it.

Asher: It’s a good thing you guys are going with her. I can’t imagine having to do something like that alone.

Lucas: She said you guys could come too, you know.

Dylan and Asher exchange a look.

Asher: We know. But we also know it’s going to be overwhelming enough already. I don’t think adding more people is going to help.

Dylan: But we’ll be here when she comes back. She knows we’ve got her back -- that won’t change after she jumps coasts.

Lucas can acknowledge that truth. Asher and Dylan point out they’re glad he’s going though, considering his own mixed feelings about Valerie. He admits he still doesn’t know exactly how to feel about it, but it doesn’t really matter much anymore, does it? Either way, he would want to be there for Isadora.

Lucas: After the shit friend I’ve been this year, I think it’s the least I could do. And I know she would do the same for me. Besides… [ looking at them ] I know how important it is to have good friends looking out for you.

The weight of the statement goes without saying after everything they’ve been through this year. Asher glances to Dylan, then quickly moves to wrap Lucas in a tight hug. Finally breaking down the last remnants of tension between them and letting it dissolve away.

Lucas is surprised at first, but then he returns the embrace. Dylan watches, beaming.

Lucas, quietly: Thanks, spaghetti.

Asher: [ into his shoulder ] Any time.

They pull apart, awkwardly smiling and patting one another’s shoulders. Once Asher steps back, Lucas looks to Dylan, rolling his eyes before opening his arms slightly and inviting another embrace. Dylan happily accepts it, giving him a bracing hug and patting him on the back.

Now that all that emotional baggage has been squared away, Lucas claims he better get going. They’ve got a lunch date he doesn’t want to interrupt, and he’s got to start packing. Asher tells him to have fun in LA, in spite of the dreary circumstances.

Dylan: Take lots of pictures for us!

Lucas, flatly: Yeah, you know I’m not gonna do that.

Lucas nods them a goodbye and turns to go, only stopping when he actually gets to the door. He hesitates, glancing back over his shoulder towards them.

Asher and Dylan are still there behind him -- still having his back. Loyal lieutenants, despite everything else. Dylan raises a hand in casual salute.

Lucas smiles lightly. Then he pushes through the doors, heading back out into the city. Asher and Dylan watch him go, exchanging a look once he’s gone. Dylan grins and pats Asher’s shoulders, gently leading him further into the diner.

INT. MINKUS HOME - FARKLE’S BEDROOM - NIGHT

Farkle is also packing, sorting through his clothes and deciding what to bring to Los Angeles. There’s another pile going at his feet as he digs through his closet -- a box labeled “DONATE.” Filled with items that no longer fit and have been accumulating in his spacious closet, but also things that don’t feel much like him anymore. No longer matched to the person he’s become.

He pulls a blazer off the rack, pausing as he looks it over. It’s one of his notorious favorites -- from the pilot to his 207 pre-suicide resurgence. Definitely one of his statement pieces.

Farkle stares at it for a long moment, contemplating. There’s a moment where it seems as though he may drop it in the donation box… but he merely dusts it off and places it back on the rack. It no longer defines him, but that doesn’t mean he has to be rid of it completely.

He knows that part of him is still embedded within him, keeping him scrappy and ambitious. It’s simply better balanced now -- a part of him, rather than his entire mask.

STUART MINKUS knocks lightly, stepping into the room and taking a look at his operation. He whistles, remarking he thought they had another year before this sort of change invaded their home. From the way he says it, although jokingly, it’s clear Stuart is not ready to think about the notion of Farkle leaving for longer than just a vacation.

Farkle assures him it’s only that, but he figured there was plenty of stuff he could afford to go through while he’s in the right headspace. He actually thinks they all might -- this summer they should make a family effort to go through the house and donate things they don’t need. Stuart states that’s an excellent idea.

Farkle also thanks him for helping convince Jennifer to let him go on the trip to Los Angeles at all. Stuart shrugs, claiming the only reason they managed to make it work is because Eric will be along to chaperone.

Farkle: Not that that’s a guarantee of effective management -- don’t tell mom I said that.

[ Stuart mimes zipping his mouth and locking it. Then he smiles. ]

Stuart: You know she’s just worried about you. Everything that happened this year --

Farkle: I know, I know. [ tossing a shirt into his suitcase ] I earned my extensive surveillance. I’m well aware.

Stuart takes the moment of heaviness to speak. He explains that he knows he hasn’t always been vocal about… their family has never been great at expressing themselves. In a board meeting, sure, but when it comes to the homefront… even so, Stuart wants Farkle to know how proud of him he is. He hasn’t been clear enough about it in the past, but he’s going to try now. He doesn’t ever want Farkle to think he doesn’t care.

Farkle: I know. [ a beat ] But thanks for saying it.

Farkle accepts the hug Stuart gives him, the two of them absorbing the moment. Then Stuart steps back, allowing him to get back to his packing. He tells Farkle to keep an ear out while in Los Angeles -- the best businessmen are those who seek opportunity at every moment. Farkle rolls his eyes, but he knows his father means well with his entrepreneurial guidance.

INT. JACK’S APARTMENT - DAY

Jack opens the door to his apartment, dressed more casually than we’ve ever seen him. Plain tee shirt, comfortable pair of jeans -- school’s out for the summer, and Jackson Hunter owes nothing to nobody.

Except, perhaps, Eric Matthews. That’s who he finds standing outside, holding a carton of cupcakes from a bakery that he claims is Jack’s favorite. Jack accepts the gift and gestures him inside, but he asks what the catch is as he takes the baked goods to the kitchen.

Eric: Well, I know it’s been a tough year. Consider them… congratulatory cupcakes. For making it through a killer semester.

Jack, skeptical: Every semester is a killer semester at Adams.

Touché. Jack asks what’s really going on, why Eric is trying to bribe him. After beating around the bush for a minute longer, Eric relents and admits that he wants Jack to consider coming to Los Angeles with him and the kids. He wouldn’t have to worry about the expenses, as Valerie’s estate is putting them up to get Isadora out there.

Jack: I don’t know. I hardly think Isadora needs more people jumping in on this experience. Especially one she didn’t think to invite.

Eric: Believe me, Isa is not thinking about that. And actually, it might ease her mind knowing there’s another responsible adult present. An authority figure to help keep things in line. Who better than the administrator of authority himself?

Jack: Not sure I deserve that title anymore. School board sure doesn’t think so.

Eric brushes the comment aside -- that’s drama for them to grapple with later. Right now, the focus is Valerie and Los Angeles, and right now, Eric really wants him to be there.

Eric: It would help me. [ sincere ] Please, Jack.

Jack sighs, leaning back against the counter and crossing his arms. He eyes Eric for a long moment, contemplating.

Jack: Fine. But only to help you.

Eric grins, thanking him profusely. Jack tries to appear put out, but he can’t hold back the hint of a smile as he shakes his head.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Charlie, on the other hand, is not packing the night before departure to LA. He’s sitting at his desk, focused on typing something on his laptop.

When he hears someone approaching his room he frantically switches tabs, pulling up the website for Haverford. He acts as though he’s been reading that when ELEANOR GARDNER pokes her head in the room, asking how he’s feeling now that school is out for the summer.

Eleanor: You haven’t started packing? [ a beat ] We leave for Aggie’s day after tomorrow. Will you have enough time to get everything together?

Charlie assures her he’s got it under control. She smiles, glancing at his screen and seeing the Haverford website. She states she’s proud of him for taking the initiative to try something new, especially when it’s so daunting. Senior year, and everything… but she thinks this will be good for him. Adams wasn’t ever exactly his speed anyway, was it?

Eleanor: I know it’s hard to leave what you know. But I think it’ll be great. Get you back on track a bit, you know? Reorient yourself.

Charlie: Totally.

Eleanor steps further inside, giving him a kiss on the top of the head. As she’s stepping back into the hall, she tosses another comment over her shoulder.

Eleanor: Oh, I made an appointment with the hair cuttery. We’ll all go and get our summer cuts tomorrow before we head upstate.

Charlie: Sounds good. Get the door please?

Eleanor obliges, gently shutting his door behind her. Charlie waits a moment to make sure she’s gone, then he swaps back to his original tab.

It’s a social media site, and he’s in the midst of finishing up a private message. His fingers hover over the send key, nerves holding him back. In the corner of the screen, we can see the profile.

Bridgette Gardner.

Charlie stares at the message he typed out, clenching his jaw… then he hits send. Definitively. Disrupting the familial embargo.

No turning back now.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY

Riley is finishing up packing the last of her things, zipping her suitcase. Maya’s stuff is waiting on her bed, making it clear both of them will be going with Isadora.

CORY MATTHEWS enters the room, claiming Maya is downstairs calling the car service.

Riley: So you’re carrying her things, then?

Cory: Yeah, fascinating how she makes that work. The world is her personal assistant.

Riley laughs, lugging her bag off the bed. Cory takes the chance before she goes to let her know he’s so grateful that she’s not moving upstate. He heard her when she said she didn’t want to be in the middle of him and Topanga, and he’s going to do his best to honor that. He’s just happy she’s sticking with him for her last year at Adams.

Riley gives him a hug, assuring him that it was an easy choice. As they’re embracing, Riley delicately brings up Lucas and questions whether or not now is a good time to have that difficult conversation -- that she’s now dating the school “delinquent.”

Cory: Mm, no. Nope, not now. Go, quickly.

Riley laughs again, picking up her bag while Cory goes to grab Maya’s.

EXT. ERIC’S APARTMENT BUILDING - DAY

Lucas jogs his way up the stairs to Eric’s building, duffle bag on his shoulder.

INT. ERIC’S APARTMENT - DAY

Eric lets him in, Lucas asking if they’re all ready to go. Eric claims he is, he’s just getting the last of their travel documents together. He can go check in with Isadora, she’s back in her room.

Lucas nods, dropping his duffle on the couch and making his way back into the hall.

INT. ERIC’S APARTMENT - ISADORA’S ROOM - DAY

Lucas makes his way inside, ignoring the slight disaster area that is Isadora’s room. It’s clear she hasn’t put much effort into maintaining it -- understandable, given the circumstances.

ISADORA DE LA CRUZ is sitting on the small chest pushed in front of the window, looking out towards the city. Her hair is pulled up haphazardly out of her face, and she’s dressed in a dark sweatshirt despite the warm weather. She doesn’t look at Lucas as he comes in.

Her suitcase and backpack are all set on the bed, but she’s not wearing shoes and isn’t making any moves to get going. Lucas tells her they’re leaving soon, starting to dig through the debris to find her shoes. Does she know what pair she wants to wear? Did she already pack --

Isadora: Don’t worry about it. [ flatly ] I’m not going.

Lucas pauses, eyeing her. His concern and surprise only last for a moment, before he rebuilds his aloof, relaxed facade and continues to search for her shoes. He could react to the bold declaration, try to reason with Isadora or give her treacly reassurances -- but that’s not how the two of them are. He knows how to talk to her, and sympathy isn’t what she needs. She’s gotten and will get plenty of that in the next few days.

So Lucas shrugs, claiming that’s fine. Eric can probably handle the legal affairs they’ll want her to sort out, and any of Valerie’s sympathetic friends will find a way to get their well wishes to her if they’re really determined.

Like clockwork, his nonchalance prompts Isadora to elaborate on her thinking -- why should she bother to go? What will she get out of it? The only reason she ever went to Los Angeles is no longer there. They’re going for Valerie, but they’re not really going for Valerie. She’s not there, there��s nothing to go for. And she doesn’t feel like having a bunch of people she hardly knows tell her how much her mom loved her and what a wonderful amazing person she was. Doesn’t sound like fun. No thanks. What’s the point?

Lucas acknowledges that truth, and doesn't try to convince her that it’ll be different. It’ll probably be exactly like that. He manages to find her black Converse, picking them up and walking over to join her by the window.

Lucas: The only thing you left out is the part where I’m there with you. And when it gets to be too much, or some really obnoxious Hollywood starlet is crying in your arms about how fantastic Valerie was, I’ll be there to pry her off you and accidentally spill funeral reception punch on her.

Isadora: Don’t think that would make a very favorable impression.

Lucas: It’s fine -- I think I’ve realized my career in show business is a shot in the dark. Unfortunate, I know.

Isadora: I don’t know what the world will do without you.

Lucas: Think they’ll manage. There’s plenty of grumpy white boys to cover for me.

He holds out the shoes for her, giving her the choice on whether or not to take them.

Lucas: But you don’t have to. You’ve got me, and all the other misfit pals you’ve collected this year. Seriously, your taste in friends is baffling.

Isadora glares at him… and then cracks the ghost of a smile. She takes the shoes begrudgingly, starting to pull them on.

EXT. AIRLINER - DAY

A cross-country flight takes off across the sky, a pilot pleasantly explaining their cruising altitude and expected arrival time.

INT. AIRLINER - COACH - DAY

In one row of seats, Isadora is slouched between Riley and Lucas. She’s obviously not in the mood to talk, gritting her teeth and twisting her headphones around her fingers while Riley and Lucas attempt to carry on a quiet conversation over her head. She gets fed up relatively quick, patience wafer thin due to everything else she’s processing at the moment.

Isadora: Oh my God, enough! [ to Riley ] Switch with me.

Riley: What?

Isadora: Switch with me. I don’t want to listen to you both romance over me for six hours straight.

Lucas: … we weren’t even --

Riley: Um, I mean, if that’s what you want --

Riley raises her hands in surrender, the two of them pulling off a tight exchange as Isadora plops into the window seat and Riley takes the middle. Isadora buckles her seatbelt and curls up as small as possible, putting her headphones back on. Riley looks to Lucas uncertainly, the latter shrugging. Best not to push it further.

Meanwhile, Maya is in a mood of her own, obviously disgruntled at being stuck in the middle seat between Farkle and Zay. She’s taking up about half their space as well, lounging dramatically and grumbling.

Maya: This is disturbed. What capital crime did I commit to be given the middle seat?

Farkle: You’re kidding, right?

Maya: Why would I jest about my pain, Farkle Xavier Minkus?

Farkle: You’re taking up three-quarters of the row!

Zay: [ crammed against the window ] Doing this for Isa, doing it for Isa…

Maya lets out a grand sigh, tilting her head back.

Maya: It’s bullshit. We’re stuck back here, yet Jack and Eric --

INT. AIRLINER - FIRST CLASS - DAY

Yet Jack and Eric are enjoying first class, reclined comfortably in their roomy seats. Champagne sits on their tray table, Eric less sure than Jack. He wonders if they deserve to be splurging.

Jack, nonchalant: You brought me on this trip to help you. I’m just doing what you requested, making this as non-stressful as possible.

He picks up his champagne glass, grabbing Eric’s and putting it into his hand. He raises it indicatively.

Jack: To no stress.

Eric: Ha ha ha.

Oh, how the tables have turned. Jack and Eric clink their glasses together.

EXT. AIRLINER - DAY

The flight descends upon the sunny city of Los Angeles.

INT. LOS ANGELES INT’L AIRPORT - DAY

Their flight deplanes, Jack and Eric waiting for the kiddos to emerge. Maya is the first to step out, starry-eyed already. Zay wanders towards the window, glancing out towards the palm trees. It’s always about the palm trees when you first land in LA.

Zay: Y’all, check it --

The others come to join him. They stare out at the world of Los Angeles waiting for them, mixed expressions on their faces. Isadora looks least enthused, having seen it all before.

A smile spreads across Maya’s face.

Song Cue ♫ ♪ “Party in the U.S.A.” as performed by Pitch Perfect Cast || Performed by Maya Hart, Riley Matthews, Zay Babineaux, Farkle Minkus, and Eric Matthews

Maya kicks off the impromptu number, delighting in the truth of “I hopped off the plane at LAX…” She spins and starts wandering towards the exit, Riley following behind her and joining in. It doesn’t take long for Farkle and Zay to join in on the harmony.

Jack clasps his hands together, clearing his throat. Lucas stands next to him, tilting his head back in resignation and rolling his eyes.

Jack: Okay, we’re in a public place. Maybe let’s not…

Too late, Jackie! The performers are off and running, and there’s no stopping them now. The shenanigans do seem to give a sense of normalcy to Isadora, so Eric happily jumps in on the harmonies with them. The group of them dance their way through the LAX concourse, Riley taking Lucas’s hand and dragging him along with them.

They step out the doors and into the crazy traffic, Maya still front and center as she concludes the number with a grin. Great way to uplift the spirits in one of the worst airports in the world!

EXT. BEVERLY HILLS HOTEL - DAY

The exterior of the famous and glamorous Beverly Hills Hotel. Valet guides cars through the driveway, guests and tourists alike coming and going through the doors.

INT. BEVERLY HILLS HOTEL - LOBBY - DAY

The crew heads into the spacious lobby, Eric and Isadora approaching the front desk to check-in. Maya rattles off diva nerd facts about the historic hotel. Lucas tries to make himself smaller, feeling wholly out of place and certain he’s going to accidentally break something.

Eric and Isadora chat with the desk attendant, confirming their complimentary rooms on behalf of Valerie’s people and the hotel. Eric states that if it’s too much trouble they can find other accommodations, but the attendant assures them they’re happy to host them. Valerie was a dear loyal guest of the hotel, so they’re more than happy to help her daughter while she’s here.

Well, good enough for them. The keys slide across the counter.

INT. BEVERLY HILLS HOTEL - ROOM B - DAY

If you’ve never seen a suite in the Beverly Hills Hotel, it’s worth a Google search. These rooms are nice, a glamorous king size bed boasting maximum comfort while a lounge chaise bookends it. Lucas tentatively drops his backpack on the bed, still feeling out of place.

The other boys get a look around, Zay commenting on how sleek the place is. Farkle doesn’t seem all that impressed, comparing it to some upscale hotel in New York that his family stays at often. Zay and Lucas exchange a look, rolling their eyes.

Farkle brings up the obvious question, wondering which one of them is going to get stuck on the chaise. Zay and Lucas lock eyes again, looking in Farkle’s direction pointedly.

Farkle: What? Are you serious? [ to Zay ] Lucas over me?

Zay, with a shrug: I’ve made choices.

Farkle scowls, dropping his bag on the chaise.

INT. BEVERLY HILLS HOTEL - ROOM A - DAY

Maya throws back the curtains of their room, taking in the view with a sigh and letting in the notorious LA sunshine. She’s already listing all of the things they have to do and try in their short time in the city of stars, but Riley delicately reminds her that they’re not just here to explore and go nuts.

There’s an awkward pause, the girls glancing towards Isadora. She waves them off, claiming Maya’s attitude is fine. That should be what this trip is about -- she’d rather it be about their first adventure in LA than the actual reason they’re there.

Maya flops onto the bed, reveling in the luxury. Don’t have to tell her twice, Izzy.

INT. BEVERLY HILLS HOTEL - ROOM C - DAY

Jack and Eric are settling into their room, Jack unpacking his things on his bed. The two of them discuss the rooming situation they’ve set up, acknowledging that there really wasn’t a good way to sort that group of kiddos.

Jack: Do you think they’ll stick to our assignments?

Eric: I’ll be honest, I don’t think they’re going to listen to a word I say this entire trip.

Maybe so, Eric. Maybe so. Jack gives him a bracing pat on the shoulder.

INT. BEVERLY HILLS HOTEL - ROOM A - NIGHT

The clock on the side table reads 11PM, but the girls are already out for the night after a long day of travel and lots going on in the morning. Riley is curled up on the chaise and fast asleep, Maya unceremoniously sprawled across two-thirds of the bed and also out like a light.

Isadora is awake, turned towards the clock and watching it tick later and later. There’s no way she’s going to sleep -- way too much buzzing in her head to process. She pushes herself out of bed, tip-toeing towards the door.

EXT. BEVERLY HILLS HOTEL - POOL - NIGHT

Isadora has taken to wandering the hotel, hoping it’ll clear her head. No dice -- she can feel herself growing more and more overwhelmed. If she can’t even make it through half a day, how is she going to survive this trip?

She approaches the edge of the pool, cast in a blue glow from the reflection of the water. She takes a deep breath, closing her eyes and trying to center herself.

After a moment, she decisively pulls up her phone and dials a number. The only source of comfort who doesn’t happen to be there with her. She paces along the pool side as she waits for them to pick up, chewing on her lip.

INT. GARCIA HOME - ASHER’S BEDROOM - NIGHT

Isadora’s pacing is intercut with Asher’s room, switching back and forth between the two. A phone buzzes on the nightstand, ringing with Isadora’s call. Dylan rouses awake, clumsily reaching for the phone.

Dylan, half-asleep: Hello?

Isadora: Dylan? Can you talk?

Dylan agrees, pushing himself onto his elbow. Asher startles awake next to him, asking what’s going on. Isadora is surprised to hear his voice.

Isadora: Is Asher there too? What are you all doing so late?

Dylan: Dor, it’s like… two in the morning here.

Oh. Duh. Dylan and Asher practically live together -- of course Asher would be there, because they’re asleep. Isadora curses, apologizing profusely for waking them up.

Isadora: Shit, I’m sorry. I didn’t even think --

Dylan: S’all good. Give me one second…

Dylan gently extricates himself from Asher’s hold, the latter already drifting back to sleep. Dylan tip-toes to the closet and shuts himself inside, explaining that he didn’t want to keep Asher up, but he can talk for a little bit.

Isadora: In the closet?

Dylan: Sure. I never spent much time in here anyway, so.

Hardy har har. Isadora can’t help but smile, Dylan already brightening her mood. The exact reason she called him in the first place.

INT. BEVERLY HILLS HOTEL - ROOM B - NIGHT

Lucas and Zay are both asleep, but Farkle is tossing and turning on the chaise. It may have been a bit cruel to relegate him to it, considering his legs are dangling off the edge. He huffs and sits up, deciding he will not be falling asleep any time soon.

INT. BEVERLY HILLS HOTEL - NIGHT

Farkle opts to explore as well, giving us an exquisite montage of the interior of the illustrious space. He takes his time getting a good look around, absorbing the historic elegance.

EXT. BEVERLY HILLS HOTEL - NIGHT

Farkle emerges out towards the pool, hesitating when he hears Isadora’s voice. He backs up out of sight and peers around the pillar he’s hiding behind, eavesdropping.

Isadora continues to pace the length of the pool, explaining to Dylan how there’s so many emotions she’s trying to process being here that it’s like it’s all blocked. She doesn’t even know where to start. She wants to be excited about being in LA with her friends who have never been, but the reason is so unpleasant. She hasn’t even begun to actually cope with why they’re there, and she knows it’s going to be brutal when it actually hits her. She’s surrounded by friends, and yet she still feels distinctly alone.

Dylan can’t exactly speak to that feeling considering he was so young when he lost his mom, but he reminds Isadora that whatever she’s grappling with is valid. And even if it feels like she is, she’s definitely not alone -- all of those people wouldn’t have gone out there with her if she was. And he’s there in spirit too, even if he’s not there physically.

Farkle absorbs Isadora’s side of the conversation, taking in her confusion and stress. He’s contemplative, really thinking on what his purpose for being there is and why Isadora invited him to come at all. He’s there to support her, extend the same stability she tried to offer him when he was at a low point.

Now, he just has to figure out how to go about that. Time to put that genius mind to work…

INT. LAW FIRM - DAY

The next morning, Isadora and Eric sit in the dreary waiting room of a law firm. The building is bland in comparison to the beautiful locations of LA we’ve seen so far. Isadora sits with a blank expression, but next to her Eric’s leg bounces up and down, eyes flitting from person to person as they walk by.

Stilettos click on the floor, a woman in a blouse and pencil skirt approaching the pair with a sympathetic smile. She certainly looks kinder than other lawyers we’ve come to know and dislike. After she introduces herself as Valerie’s estate manager, THERESA, she guides Isadora and Eric into her office.

INT. LAW FIRM - THERESA’S OFFICE - DAY

Theresa explains what arrangements have been made for Valerie’s funeral, along with what the process of the will will look like. Eric asks questions here and there, but Isadora stays blank, nodding along when necessary.

Theresa: I understand that you’ll be very busy over the next couple of days, but if you could set some time aside to look through Miss De La Cruz’s belongings on her estate and decide if you’d like to keep anything for yourself, that would be great.

Isadora: Oh, no, I don’t… no, that’s okay. I’m fine.

Eric frowns but presses his lips together, choosing not to comment. It’s not his place, not now.

INT. BEVERLY HILLS HOTEL - ROOM B - DAY

Back at the hotel, Lucas and Zay are discussing the fancy accommodations as they finish getting ready. It’s actually a nice bonding moment between the two of them, expressing how the glamor of the hotel doesn’t feel like it fits them. Zay isn’t financially as strained as Lucas, but he’s always had trouble associating himself with anything exuberant.

Maya, on the other hand, is thriving. She throws open the door connecting their two rooms and saunters in, throwing her arms out wide and declaring how amazing it is that they’re here and in Los Angeles -- getting the star treatment they deserve. Lucas rolls his eyes.

Lucas: You don’t take a day off, do you?

Maya: I’m an opportunist. Do you know what that means, Gothic Butch Cassidy?

Lucas: Your friend’s mom is dead. You remember that, right?

Zay: Nah, Maya is right. I mean, she’s fucking insane --

Maya: So sweet.

Zay: But she’s right. We’re in LA. We should be taking advantage of it while we’re here, in spite of the tragedy.

Maya: Especially because Izzy literally told us to. If she doesn’t want us harping on Val any more than necessary, I’m gonna respect that.

Lucas, deadpan: I’m sure that’s so challenging for you.

Riley interrupts their bickering, entering with Farkle and carrying bubble teas (Boba, an LA trend) for them to try. As they hand them out, Riley agrees with both points. They should try to enjoy their first visit to Los Angeles, but they do need to remember why they’re here. Isadora doesn’t want it to be a big deal, but it still matters. They need to make sure that above all else, regardless of whatever else they do, the priority is her.

The group nods along, half-distracted by the bubble tea. Their reactions to the drink are somewhat humorous, especially Lucas, who just looks confused as he drinks it.

As if on cue, Isadora returns from the estate meeting and finds them grouped in the other room. Farkle hands her the last bubble tea, which she takes but doesn’t drink. Riley pretends as though they weren’t just talking about her, asking her what she thinks she wants to do today.

Isadora is already exhausted, physically and emotionally. She claims she doesn’t feel like doing anything but resting. Maya fails to hide her disappointment, making Isadora brush them off.

Isadora: No, look, you all should go out. Do not let me… be a thing. I’ll be fine, go explore. Have fun.

Zay: Are you sure?

Isadora: I wouldn’t say it if I wasn’t.

Isadora retreats. Riley searches for a compromise, leading the charge after her.

INT. BEVERLY HILLS HOTEL - ROOM A - DAY

Riley catches up with Isadora, stating that they can split up. The others can go out, while she and Lucas hang around here with Isadora. They would love to just chill with her.

Riley, pointedly: Right, Lucas?

Lucas: Uh, yeah. Yeah, that’s cool.

Already acting like a married couple, it seems. Farkle and Zay exchange amused looks. Maya assures Isadora that she’ll fill her in on everything when they come back.

Then she takes Zay and Farkle’s arms, eyes already twinkling with adventure.

Zay: So… what, then?

Maya: Don’t fret, Babineaux. I have lots of ideas.

EXT. LOS ANGELES - DAY

Song Cue ♫ ♪ “I Love LA” as performed by Randy Newman || Instrumental

Randy Newman sets the scene as we get our quintessential montage of exploring LA. The divas are at full enthusiasm as they make their way throughout iconic Los Angeles spots. We’re talking sunglasses on, selfies abound, three star performers in the city that might very well be home to them someday. Good, fun times only!

EXT. PERSHING SQUARE - DAY

Maya, Zay, and Farkle are in Pershing Square, having covered the tourist spots and now exploring downtown Los Angeles. Maya and Zay are still energized, but Farkle seems to be tiring as he settles in the shade by one of the fountains. He’s lost in his own head when Maya turns on him, asking his opinion on which landmark they should visit next.

Farkle admittedly wasn’t listening, so he isn’t much help. He comments that Zay and Maya should go on and do whatever they want, he’s probably going to take a minute to rest. Maya asks if he’s okay, Farkle assuring her he is. They shouldn’t wait up for him.

Maya: I mean… you know, your mother would kill me if she knew I left you alone.

Zay: Yeah, you’re not going to like… I mean…

Farkle: Believe me, Isaiah, if I were planning to off myself again, downtown Los Angeles would not be my venue of choice.

Well, guess they’ll have to take his word. Maya tells him to text her when he catches up. Farkle watches them go, exhaling and reclining back on the edge of the fountain. He’s more easily exhausted than he used to be, and he knows he doesn’t have anyone to blame but himself.

He stares up at the cloudless LA sky. Sunny, blue, miles away from the overcast Manhattan.

Farkle pushes himself back into a sitting position. Walking might do him some good, but at his own pace. He starts heading down the block, poking around for himself.

EXT. LOS ANGELES THEATRE - DAY

Farkle comes across the Los Angeles Theatre, a historic performing arts theater. He stares up at the elegant signage, some of that sparkle coming back into his eyes.

INT. LOS ANGELES THEATRE - DAY

There are other folks milling about in the lobby of the gorgeous theater, so Farkle does his best to skate under the radar. His former power of being invisible comes in handy, allowing him to get a good look around without trouble. When he spots a door to backstage propped open for maintenance, he freezes.

Farkle: No way...

It’s too good to be true. It’s like a television show. He can’t. He shouldn’t…

Moments later, Farkle slips through the open door and disappears into the theater.

INT. LOS ANGELES THEATRE - STAGE - DAY

Farkle’s shoes tread cautiously as he eases out from the wings and onto the stage, eyes wide as he takes in the grand house auditorium in front of him. This is another level beyond Triple A -- he feels dwarfed on the stage, a starry-eyed hopeful suddenly amongst the big leagues.

He stands front and center, taking a deep breath. When is he ever going to have an experience like this again… and no one is around… what would Rachel Berry do…

Song Cue ♫ ♪ “Man About Town” as performed by Young Frankenstein Original Broadway Cast || Performed by Farkle Minkus (starting at 00:32)

The performance is entirely a capella, and timid to start. Farkle sings the verses slowly, throwing us back to his first ever performance in AMBITION -- from a feral, spiraling sophomore ready to kill for the spotlight on the AAA stage to back from the dead and standing on the cusp of a whole new world. It’s pointed how much change he’s endured since that first introduction, how much we’ve come to understand about him and what he’s come to learn on his own.

Despite his nerves, Farkle is a natural, and it’s not long before he’s fully into it. He spins and paces along the front of the stage, milking the faux moment of starlight.

He throws his arms out and belts out the last a capella note, throwing his head back and basking in the glow. He exhales, smile bright on his face.

Attendant: Hey!

Farkle’s bravado crumbles immediately. He jumps violently and curses, squinting towards the house like a deer in headlights. A THEATER ATTENDANT is standing in the back, asking him how the hell he got in and what he thinks he’s doing. Farkle apologizes profusely, launching into a frenzied explanation.

Farkle: I was just -- I saw that the door was open, and -- what you need to know about me is that I’m a performer. It’s in my blood. So I see an opportunity, I need to… there’s a whole other layer, too. See, earlier this year I tried to kill myself -- long story --

Long story or short, the attendant isn’t interested. He tells Farkle to scram and he starts to obey, when another voice disrupts the fray.

An esteemed-looking gentleman steps in through the house doors, asking again who Farkle thinks he is. Although Farkle stammers over his own introduction, the man’s is effortless and intimidating -- this is JONATHAN TURNER, a talent agent and producer. He looks at Farkle with reserved intrigue.

Turner: You sing like that all the time? Or just on a good day?

Farkle: … I don’t deliver anything less than excellence, sir.

There’s a bold promise. But Farkle is a Minkus -- he’s been trained for business since he could talk. Turner explains that he’s currently working on a production of Pippin, and they’ve been searching for some fresh, young talent. If he can sing like that again in front of their creative team, they might have more to discuss.

So this is really how it happens out here in the city of angels, huh? Turner approaches the stage and jots down information on a scrap of paper from his pocket, passing it to Farkle. If he can come back tomorrow at that time, killer performance in tow…

Attendant: Unbelievable…

Unbelievable, indeed. Farkle stares at the information in his hands, Turner giving him an offhand goodbye as he saunters back out just as casually as he entered.

Riley, pre-lap: It’s like we’ve forgotten what this trip is about.

INT. BEVERLY HILLS HOTEL - ROOM B - DAY

Riley is pacing the floor of the boys room, although from the way all of their things are starting to disperse throughout both rooms, Eric was probably right that their set arrangements won’t last long. Lucas listens to her from his chair by the window, originally looking out towards Beverly Hills but now taking in an entirely different view.

Riley: And I get it, I mean, I do. It’s amazing that we’re out here, especially since most of us have never even been here before. But… Isadora invited us to come along because she needed support. And it’s like we’re not even doing that.

Lucas: Kind of hard to when she won’t let us.

Riley: I don’t know. I just think… I can’t imagine. [ shaking her head ] I can’t imagine grappling with what she is right now.

Lucas frowns. It seems like he wants to reassure her, but he doesn’t have the words. So he tries for action instead, closing the space between them and coming to stand with her.

His touch is tentative but intentional, gently placing a hand on her shoulder. Crazy how things change, how they can do this now -- how they’re still Riley and Lucas, but they’re something else now too. And it’ll take some getting used to, but it’s evident he intends to try.

Riley glances at him, offering a weak smile. She takes his hand in her own, linking their fingers together between them. The moment lingers, uncertain and new but more than welcome.

It’s interrupted by Isadora reentering the other room, the door to the hall shutting behind her. Lucas disconnects their hands as Riley leads the way into the other room to greet her.

INT. BEVERLY HILLS HOTEL - ROOM A - DAY

Riley asks her how lunch with Eric went, as he made sure that Isadora got some food in her after an exhausting morning. She claims it was fine, and when Lucas asks her for details on how the meeting with the estate manager went, she dodges the question. Not too much to report, in her opinion. She needs to keep her mental facilities up for tomorrow more than anything else.

Ah, yes. Tomorrow. The funeral. Riley and Lucas exchange a look, the latter questioning if Isadora is feeling prepared for that. She states no -- how could she be -- but she’ll deal. And she hates the way they’re acting around her, like they’re walking on eggshells.

Isadora: You don’t have to treat me like a house of cards. I’m not going to keel over if you breathe too hard.

Riley: That’s not it. I think we’re just --

Lucas: You know we don’t think that.

Isadora: Maybe, but your actions say otherwise. [ to Lucas ] You and I have never been soft with one another. Not in this kind of way, where you’re so obviously tip-toeing around me. I’m sorry if I’m being unpredictable --

Riley: You don’t have to apologize.

Isadora: But I just want things to feel normal, alright? Like, if my best friends could just treat me like they always do, then maybe the absence wouldn’t be so pronounced. If everything else could stay the same, then a major change wouldn’t feel so earth-shattering. So can we just… I don’t know, can we just stop? I already feel bad that you’re giving up your time in Los Angeles to sit around and pity me, I don’t need to hear it in your voice, too.

Isadora settles down on the bed, rubbing her face. Riley hesitates before stepping forward and joining her on the bed. She acknowledges Isadora’s points about their behavior -- which they’ll try to rein in -- but she shouldn’t feel bad about their choice to stay with her. That’s not what they’re there for.

Riley: Ever since I came to Triple A, you have been in my corner. You guys were my people, even in moments where things fell apart. So it’s not a chore for me to be here with you, Dora. As long as you want me here, that’s where I’m going to be.

Lucas nods along, in total agreement. Isadora lifts her gaze to look at them, landing on Lucas.

Lucas: You know where we stand.

That she does. They may have stumbled this past year, but the three of them are a team. It’s never going to be too much to ask that they stand by each other.

Song Cue ♫ ♪ “You’ve Got A Friend” as performed by Carole King || Performed by Riley Matthews

Riley delivers the sentiment through this gentle ode to friendship, reiterating the point that she will always have Isadora’s back -- all she has to do is ask. Lucas saunters over to sit down with them after the first verse, he and Riley supporting her from either side although they know her well enough to respect her personal space.

Although Isadora isn’t fully convinced, the solidarity is sincere, and she clearly appreciates it. We hold on the three of them for a moment more… how far this trio has come in two years…

INT. BEVERLY HILLS HOTEL - ROOM B - NIGHT

As expected, the room arrangements have been completed mixed up. Riley has swapped space with Farkle, sleeping peacefully with Lucas and Zay on either side of her. Although quite impressively taking up as little space as possible -- almost like he has practice -- Lucas stretches out an arm that covers Riley’s face. She grumbles and turns over, inadvertently shoving Zay so that his legs dangle off the edge of the bed.

INT. BEVERLY HILLS HOTEL - ROOM A - NIGHT

Farkle is curled up on the chaise, tired enough to actually make sleep there work. Maya is in bed with an eye mask tangled up in her hair rather than on her face. It’s not the prettiest of sights.

A thud from the other side of the wall and Zay’s quiet yelp does nothing to stir Farkle, but Maya sits up in confusion. Looking around, she discovers that the other half of the bed is empty.

Maya climbs out of bed with a yawn, sliding into a pair of hotel slippers. She checks her phone for the time and sends a quick text to Isadora before setting out to search.

EXT. BEVERLY HILLS HOTEL - POLO LOUNGE PATIO - NIGHT

Maya can’t help but take in the beauty of each spot she searches, the hotel taking on an ethereal vibe in the moonlight. The Polo Lounge looks particularly stunning, decorated with a multitude of flowers, stars shining down on the patio. Isadora sits on a step looking up at said stars, not noticing Maya until she’s standing next to her.

Maya: Can’t sleep?

Isadora shakes her head. Maya nods towards the table behind them, where an unlighted candle and small vase of fuchsia flowers sit ready for the morning.

For a moment, they sit in silence. Then, Isadora tentatively apologises. Confused, Maya questions what she’s sorry for.

Isadora: Valerie made a promise to you and your mom, and she broke it. Now your plans are ruined. I’d be mad if I were you, so I thought...

Maya: Izzy, I’m not mad. At you or Val. [ a beat ] I mean, I’m upset. I lost a mentor, my lifelong role model. But you lost your mom, however much of one she was. I can’t even…

Maya can’t wrap her head around it. She shakes her head wordlessly.

Maya: You don’t need to be worrying about me being mad at you, or our friendship being ruined, or anything like that. After everything we’ve survived this year, this is not going to be the thing that tears us apart.

Isadora manages a weak smile. On reflex, Maya leans forwards as if to hug her, but catches herself in time.

Isadora: I think... a hug is okay right now.

Well, that’s a surprise. She opens her arms but Isadora tenses and shakes her head rapidly. Maya leans back, eyebrows raised in amusement.

Isadora: Maybe you could... rest your head on my shoulder. For like half a minute.

If that’s all she’s going to get, she’ll take it. Maya shuffles her chair closer before putting her head on Isadora’s shoulder. She tenses, but relaxes after a moment, resting her head on Maya’s.

INT. BEVERLY HILLS HOTEL - ROOM B - DAY

It’s funeral day, and the mood is gentle amongst Isadora’s posse. They’re all getting ready, Farkle slipping past Riley through the door between rooms in a suit and tie combination. She gives him a smile, dressed in a simple black dress with three-quarter sleeves and a flare skirt.

Her smile widens when she sees Lucas, dressed about as nicely as he was for the Jacobs Gala only with a more demure color palette. He’s struggling to loop a tie around his neck, not at all familiar with the common formal item. Riley approaches, coming to stand in front of him.

Riley: Having trouble?

Lucas, sheepishly: Believe it or not, I’ve never had much of a need for these.

Riley: You, fashion extraordinaire? I can’t believe it. [ with a smile ] Here.

Riley takes over, gently tying it for him. The moment is quiet between them, Riley finishing the knot and smoothing the neck of the tie along his torso. It’s only then that they really recognize how close they’re situated, how different their dynamic is now that allows for, even encourages, this proximity.

It’s a strange thing to be figuring out in the midst of something so tragic. Lucas murmurs a thanks, keeping his eyes on their feet. Riley examines him, not sure how to navigate the situation either. She knows how the exchange should feel, how she wants them to be, but the circumstances complicate things. Not to mention everything they’re carrying from the past…

Riley: Lucas… you know that --

Lucas lifts his gaze to look at her just as they’re interrupted, Jack knocking lightly and stepping into the room. He asks how things are going and if they’re nearly ready to leave. Riley and Lucas step away from one another, Riley exhaling a laugh.

Riley: Crisis averted in here. The others should be basically ready, I think.

INT. BEVERLY HILLS HOTEL - ROOM A - DAY

Maya is finishing up styling herself at the vanity, calling over Isadora to take a seat. She doesn’t need too much done with her hair, so Maya focuses on doing some light makeup. Isadora is in a pantsuit, and Maya brings the glamour that Valerie so loved with a black sparkly dress.

Behind them, Riley shuffles in and rummages through Isadora’s suitcase to look for something in particular. She produces a delicate silver necklace with a star hanging from it in victory. It’s one we’ve seen before, as part of Isadora’s star-themed prom outfit. Isadora notices it in the mirror and Riley smiles.

Riley: I thought you might want to wear something connected to your mom, so... I got Lucas to sneak it in while you were packing. [ nervously ] Did I overstep?

Isadora: No, it’s fine. [ a beat ] I guess a necklace would look nice.

As Riley lights up and brings the necklace over, Maya questions how it’s connected to Valerie. In a quiet voice, Isadora explains that she gave it to her on prom night to go with the dress. When she has the necklace, she turns the star over to reveal an engraving:

“To my star. Love, Mom.”

Riley tears up, Maya clearing her throat. But Isadora remains blank. She passes it back to Riley so that she can help secure it around her neck.

Zay knocks lightly, poking his head in between the rooms. Maya takes over the vanity to double check her appearance, so Isadora moves over towards him.

Zay: How you holding up? We’re basically good.

Isadora: Well, I’m ready. Don’t know about those two.

Maya and Riley assure the pair that they’re ready. Pretty much. Almost. Just hang on one more second. Zay sighs before offering his arm in the same mock gentlemanly support that he did at the Artists of Color Mixer.

Zay: Ready?

Isadora playfully rolls her eyes, relieved at the lack of heavy tension that she’s felt with everyone else so far today. She takes his arm gently, then changes her mind and takes his wrist instead. He gives her a small, reassuring smile, the two of them heading out.

EXT. FUNERAL SERVICE - DAY

Isadora’s crew arrive at the venue where the funeral is being held, a pleasant, unassuming funeral home in the heart of Valerie’s neighborhood when she was growing up. In the back is a lush, spacious outdoor space where the reception will be held in conjunction with the foyer.

Isadora leads the group, the six of them coming to stand in front of the steps to the parlor in their black tie best. She swallows, marching up the steps without comment.

INT. FUNERAL SERVICE - PARLOR - DAY

The interior of the space is beautiful and intricate, adding a semblance of Valerie’s unmistakable glamor to the whole affair. Even in death, her presence is palpable. Theresa rushes up to greet Isadora as she enters, asking how she’s feeling and introducing herself to the group.

She starts to explain the details of how the funeral will proceed. When she mentions Isadora standing up by the casket to meet with guests, her eye is drawn to the closed casket up in the front of the room. Suddenly, Isadora is gripped with panic, imagining her mother unmoving and unseeing in the coffin. It’s plain from the look on her face how disturbing that visual is to her, matched against the living memory of Valerie who always seemed particularly alive.

Theresa quickly assuages her concerns, clarifying that the casket is empty. Valerie has been cremated as per her wishes in her living will. That’s something for them to discuss later, as Valerie did have specific desires about what might be done with her remains when the time came -- although they were all expecting that to be much later. But Isadora doesn’t need to worry about that right now. For now, she just needs to take it one day at a time.

Isadora steps past Theresa, making her way down the aisle between pews to the front of the room. She eyes the empty casket, expression blank… then, her gaze drifts to the large wreathed photo of Valerie on display. It’s the first she’s seen of her mother since she heard the news, and even the photo on display doesn't feel like her. It’s caught between her star persona and the Valerie Isadora knew -- hard to say which version is being mourned this afternoon.

Isadora swallows, unable to tear her eyes away from the photo. As Maya’s uncharacteristically delicate mezzo floats in…

Song Cue ♫ ♪ “Fly Away” as performed by Poe || Performed by Maya Hart (up to 3:40)

Maya’s slated performance as an homage to Valerie acts as the backdrop for a montage of the funeral, taking us through each step of the ceremony. A priest and former friend of Valerie’s leads most of the speaking, our crew and dozens of other guests listening in the pews. Riley wipes tears as subtly as she can manage.

Isadora shakes hands with mourners young and old, famous and plain, and accepts their condolences. Although she manages a smile now and then, the experience is obviously uncomfortable for her. So many people her mom inspired and touched, yet she doesn’t know any of them. It’s a separate world, one that the two of them never bridged.

Maya’s solo is one of the most grounded renditions she’s ever delivered, nothing glitzy or distracting about it. It’s also the most emotive she’s been this entire time, her defenses coming down and eyes glossy as she performs. It’s an honor to be performing at the goodbye of one of your most idolized heroes -- but she’d rather there be no reason for it. A bittersweet sensation, and the crack in her facade that shows just how much she’s hurting over the loss as well.

As the final piano and woodwind takes us out, the ceremony transitions to the reception…

EXT. FUNERAL SERVICE - RECEPTION - DAY

Guests are milling about in the gorgeous outdoor gardens, enjoying one another’s company and observing the displays to Valerie’s life that have been set up all throughout the lawn.

Isadora stands on her own amongst the guests, an untouched drink in hand. She watches the people around her, many household names. Some go to approach her, but with the way her arms are wrapped around herself and the hint of a glare on her face, they leave her alone.

Jack, however, isn’t deterred. He saunters up to join her, acting nonchalant.

Jack: How are you doing?

Isadora: I don’t know a fucking thing about any of these people.

Ignoring the foul language, Jack listens as Isadora goes on to say that her mom inhabited a whole world that she knows nothing about. Valerie was going to give it all up to move to New York and live with Isadora… but she couldn’t follow through. Yet again. The anger and spite are clear in her words -- not the most conventional of emotions at a wake, but just as valid.

Unsure how to respond, Jack provides Isadora with an awkward “there, there” pat on the shoulder. Isadora frowns at him, and they fall into an uncomfortable silence.

Meanwhile, Maya is fielding compliments from other mourners on her performance. Farkle stands by her, the two of them conversing in between interruptions from other guests. They’re offhandedly discussing both of their interactions with Isadora in the last couple of days, wondering if there’s more they could be doing to help her.

Maya: Look, I know Friar thinks I’m a sociopath --

Mourner, interrupting: Lovely performance, darling. She would have loved it.

Maya, brightly: Oh, thank you so much. [ back to casual ] But I stand by my stance that normalcy is what Isadora wants. If she wanted me to sit with her and sob about how much I miss Val and how unfair all of this is then believe me, I could do that too. But that’s not what she wants, so that’s not what I’m going to give her.

Farkle: I suppose. But she’s not exactly practicing what she’s preaching. She’s letting all of us have normalcy --

Mourner 2, interrupting: [ in tears ] Such a gorgeous performance. You’re a gift.

Maya, brightly: Thank you so much.

Farkle, once they’re gone: But she’s not taking any of it for herself. She’s isolating.

Maya: Tell me something I don’t know.

Zay disrupts the conversation next, just as Farkle gets a reminder on his phone. Glancing at the screen, he sees that he has thirty minutes until his audition at the Los Angeles Theatre… if he decides he’s going to do it. He awkwardly starts to excuse himself, but Zay provides enough of a distraction anyway.

Zay: So, I don’t want to alarm you, and I know this is a serious situation and definitely not the time, but… Ariana Grande is here.

Maya, ungodly: WHAT?!

Farkle uses the hysteria as his moment to escape, jogging towards the sidewalk to hail an Uber.

INT. FUNERAL SERVICE - DAY

Other mourners are still inside the home, Riley and Lucas amongst them. Riley is signing the funeral registry for the both of them, taking her time to figure out what to say. She isn’t sure whether Isadora is going to end up with it or not, but she wants it to be clear how much it meant for them to be there for her.

Lucas is letting her handle it, looking at the photo of Valerie instead. It’s evident he has just as many mixed feelings about it as Isadora, knowing he should be respectful and honor her now that she’s gone but unable to let go of everything she did while she was alive. Riley snaps him out of it when she finishes their signature, starting to speak.

Riley: I don’t know, I just can’t wrap my head around it. Death is… so prevalent to the natural order of things, and distinctly unavoidable, but it’s like, you don’t think about it until it’s hitting you. And you never know -- I mean, there’s no way to predict this sort of thing. It’s not about age. It’s not about health. The healthiest person in the world could step off the curb at the wrong time and get rammed by a semi and just like that, it’s over. And it’s like, how are you supposed to grapple with that? That anyone -- anyone you care about, or yourself -- in just one instance could be… but I guess that’s life, isn’t it? [ flatly ] The endless and unstoppable march of time towards a definite end.

Lucas is watching her as she rambles, expression soft. She realizes he isn’t saying much, glancing at him and catching the look on his face.

Riley: It’s like, I just don’t know how we’re supposed to… [ looking at him ] What?

Lucas, quietly: You’re so beautiful.

Oh. Odd timing, maybe, but then maybe that’s exactly it. That’s how we keep going in spite of the guarantee of an end -- because the human experience of feeling and exploring and loving is so beautiful in the mean time. Life is short, and it ends, but that doesn’t make it not worth living.

Riley smiles bashfully, looking back towards the guest registry. Lucas clears his throat, dipping his head down and trying to move past the unintentional emotional outburst. Sorry, buddy, you can’t take a lovesick declaration like that back!

EXT. FUNERAL SERVICE - RECEPTION - DAY

Back outside, Isadora wanders towards an elegant display of Valerie’s life through pictures. Although some feature her career, there are many from her childhood and home life, showing her as a real person rather than just a pop idol.

An elderly couple stand together going through the photos, crying and holding each other. When Isadora approaches, their attention moves to her, and the woman gasps. She clutches onto Isadora’s hands, seemingly unaware of the way Isadora tenses in response. We can’t help but notice the resemblance between the couple standing before Isadora and Valerie’s parents in some of the pictures...

Elizabeth: Oh, Isadora, my apo… I am so sorry this has happened.

Oh, yeah, celebrities have parents too. DANILO and ELIZABETH DE LA CRUZ, Valerie’s parents and Isadora’s grandparents -- who until now, she’d never officially connected with. Isadora gives a tight smile, unsure of what else to do.

Her grandmother pulls her into a hug, which her grandfather soon joins. When they let go, both are wiping tears from their eyes. Elizabeth still holds Isadora’s hands, smiling sympathetically.

Danilo: We were never able to get to know you, but perhaps if this tragedy can give us anything, it’s each other.

Elizabeth: We would love to get to know you more, Isadora.

That’s nice, but it’s a lot to absorb when there’s already too much to process. Isadora pulls her hands from Elizabeth, stammering over her words.

Isadora: Um, that’s very nice… I have to… thank you.

She rushes away, not sparing a glance to anyone as she escapes.

INT. UBER - MOVING - DAY

Farkle is having a stressful time of his own. He’s jammed in LA traffic, naturally, the clock ticking closer and closer to his audition. In quick cuts demonstrating his five stages of grief (“Never thought I’d miss Manhattan drivers!”), the moment they get close enough Farkle opts to just make a break for it. He pushes out of the Uber in standstill traffic and takes off at a run towards the Los Angeles Theatre.

EXT. DOWNTOWN LOS ANGELES - DAY

Farkle tears through the streets in his funeral best, running harder than he’s ran in his entire life. He weaves through tourists, dodges businessmen, accidentally rams into a homeless man. He apologizes, forking over whatever he has in his pocket as compensation -- which, being a Minkus, happens to be a one hundred dollar bill.

Homeless man, dazed: … thank you, crazy white boy!

EXT. LOS ANGELES THEATRE - DAY

Farkle makes it outside the theatre with only a minute to spare, stopping outside the doors and taking a moment to compose himself. He’s overdressed for an audition, and definitely sweaty, but it’ll have to do. He reinstates his Farkle Minkus confidence, marching through the doors...

INT. LOS ANGELES THEATRE - STAGE - DAY

And through the wings, where he makes his way front and center stage. Gearing up to perform on the stage he was never meant to be on for the second time in just a couple of days.

This time, Turner is joined by a couple of other CREATIVE EXECUTIVES. One of them comments on Farkle’s surprisingly formal attire, which he attempts to play off.

Farkle: I like to deliver my best.

Turner asks what he’s planning on performing for them today, in spite of the short notice. Farkle claims he has plenty of songs in his repertoire, but there’s one better suited to right now than anything else he can think of. He’ll be performing “Being Alive,” from the seminal Broadway classic, Company.

As the pianist gets set up with the sheet music from a hefty binder, the third executive asks if Farkle is sure he can handle that number. It’s one of the best, but most challenging, in the Broadway songbook. Not to mention captures a complicated, deep emotional subject for someone so young to try and emulate. Farkle exhales, leveling his gaze.

Farkle: Ma’am, I assure you, I know exactly what it’s all about.

Big promises to keep. The group falls silent and Turner gestures for Farkle to take over. Farkle takes another deep breath, then nods to the pianist.

Song Cue ♫ ♪ “Being Alive” as performed by Company Original Broadway Cast || Performed by Farkle Minkus

[ Lyrics specific to characters -- follow along here! ]

And boy, does Farkle Xavier Minkus keep those promises. Farkle has given many performances in the last two seasons, in a wide range of genres, intensity, and emotional authenticity. It’s hard for any number to match the emotional rawness of “Santa Fe” (207), but this rendition surpasses it solely due to the catharsis tied into it.

In keeping with many of his better numbers, this performance is supplemented by a chorus of imaginary friends in his head. The rest of our main cast pops in on stage to join Farkle throughout the audition (including ANGELA MOORE, Stuart, and JENNIFER MINKUS), as indicated by the lyric sheet. They give him encouragement, urge him to dig deeper, prompt his energy and growth and confidence as they have since the show began. Only this is a far cry from “It’s All Over,” (111), as this time they’re not tearing him down. They’re rallying behind him, rather than against him.

And that’s all part of the power of the performance. It’s just an audition to Turner and the creatives, but to us, we know the history. We know how we got here. This is not just Farkle expressing his complex emotion through song -- this is Farkle learning a hard lesson, clawing himself out of the darkness, and changing to become something different. He went to Hell and back this season, and whether he’ll be better remains to be seen, but he’s not who he was before.

So when he belts out that last “being alive,” we know how important it is. We know the weight it carries, because there was a time when he almost gave it up. We know just how deeply Farkle understands the beauty and fear and challenge and privilege of being alive.

For what it’s worth, it seems the creative team might also have gotten the message. They’re thoughtfully quiet as Farkle finishes the performance, jotting down notes but unable to break the silence. Farkle stands triumphantly, out of breath, before he manages a slight bow and grateful nod.

Farkle: Thank you for your time.

Then he exits the stage without looking back, disappearing into the darkness of the wings.

EXT. FUNERAL SERVICE - DAY

Eric searches for Isadora. He asks a couple people if they’ve seen her, but no one has.

He heads out of the reception space deeper into the gardens, where the sound of chatter is distant and muffled. Instead, a quiet sniffle can be heard. Eric follows it, and finds Isadora on a bench hidden by shrubbery. A perfect little hiding spot.

Isadora looks up as he approaches. She’s not crying, but she’s close. The hazy look in her eyes shows her current shutdown state.

Eric: I know you’re overwhelmed, so I’m not going to say anything, I’m just going to sit with you. That okay?

Isadora doesn’t answer, but she shuffles so that Eric can sit beside her. They welcome the peace of the garden. Voice barely above a whisper, Isadora starts to talk about how she doesn’t know how to process her mom’s death when it feels as though Valerie has just abandoned her again.

Eric: Abandoned you? Isadora, that’s not what… your mom loved you.

Isadora: How would you know? You only knew the pretty polished version of herself that she presented to the world. But that’s not who she was, was it? She was a drug addict, a bad mother… she was nothing more than a shallow celebrity. Just like everyone else out there, acting as if they lost their prized show dog.

Isadora gestures back towards the reception. Eric sighs.

Eric: You’re right, I didn’t know your mom. And neither did you, not properly. But it was obvious she wanted you to know the real her -- she wanted to share her life with you. Maybe you should take a look around her house while we’re here. Try to get a better picture of her in your mind.

Isadora: What’s the point? She’s gone.

Eric: You can learn more about people even after death.

Isadora, bitter: Her cause of death tells me everything that I need to know.

Eric shakes his head. Quiet settles on them again for a moment.

Eric: I think you’re afraid to love your mom because that means you’ve lost someone special to you. But you can’t shut off your emotions and pretend you never had a relationship with her. [ a beat ] You’re allowed to love someone in spite of their flaws.

Something about the last sentiment hits Isadora. She frowns, the full impact not yet made, but beginning to stew in her subconscious.

Eric: Just give it some thought, okay?

Isadora: Okay.

After one final sympathetic smile, Eric stands up and heads back. He asks Isadora if she’s coming, but she shakes her head. She needs to be on her own for a bit longer.

INT. BEVERLY HILLS HOTEL - ROOM B - DAY

Bright and early the next morning, almost the crack of dawn. Sunlight is just beginning to filter into the window. On the bed, Lucas and Riley are knocked, having fallen asleep while talking late last night. Riley is leaning against him, his arm around her shoulders.

Zay is crashed on the chaise chair, taking his due turn and avoiding another tumble. Maya creeps into the room, making a disgusted face at Riley and Lucas. She crawls along the edge of the bed, leaning over Zay and poking him awake without disturbing the others. He swats at her.

Maya: Zayby. Get up. I have a surprise.

Zay: Go away, blonde devil. Don’t you sleep?

Maya: Not when there’s glamor afoot. Come on.

She nudges him until he nearly rolls off the chaise, lightly cursing. Not the fuck again. Maya grins as he finally relents, agreeing to come with her.

Maya, in a whisper: That’s the spirit. Man of my own heart.

Zay: That’s the most insulting thing you’ve ever said to me.

INT. BEVERLY HILLS HOTEL - ROOM C - BALCONY - DAY

Eric is also up early, pacing while on the phone with Theresa. He’s trying to negotiate if there’s any way they can just hold Valerie’s estate for a longer stretch of time. Isadora isn’t in a place to want to explore it right now, but he knows if she misses it she’ll regret it later. If they could just have a little more time to ease into the idea…

Unfortunately, their hands are tied. Not to mention Isadora isn’t conveniently located, and they’d hate for her to have to make a whole other trip out here to do something so emotionally taxing. If she’s going to go through Valerie’s things, it has to be now.

Eric accepts the defeat, thanking her either way. Theresa claims that she’ll hold off on sealing Isadora’s agreement to basically sign away all of it until they leave, so she has a little more time to truly consider it.

INT. BEVERLY HILLS HOTEL - ROOM A - DAY

This morning, though, Isadora isn’t considering anything. She��s still asleep when everyone else has gotten up for the morning, Riley and Lucas quietly entering the room to find Farkle reading Pride & Prejudice on the chaise at the foot of her bed. They all figure Isadora is going to be catching up on rest after the draining day yesterday.

Farkle claims he can hang around with her while Riley and Lucas go do something in LA. They’ve already given up enough of their time, and he’s happy to contribute his fair share.

Riley: Oh, well, we really don’t mind --

Farkle: Riley, all you have done this trip is be egregiously self-sacrificing and make the rest of us feel guilty for not being so self-sacrificing. Then when I want to be, you can’t accept the charity? [ a beat ] Be realistic. There has to be something you all want to do.

Lucas, with a shrug: I mean, it’s not like --

Riley: Well, you did mention the LA Zoo --

Farkle: Of course. [ rolling his eyes ] A historic and cultural epicenter at your fingertips, and you want to go to the zoo.

Lucas seems like he has some choice words for Farkle, but Farkle avoids them by reiterating his stance that he’s fine with staying with Isadora. They should go do whatever they want to do in the city while they’re still here -- even if it’s as nerdy as going to the zoo.

Lucas: Nerdy? Coming from you?

Riley defuses the friction before it can spark, thanking Farkle and directing Lucas to go get ready. She asks Farkle one more time if he’s sure, but he merely waves her off.

Once he’s alone again, Farkle glances to Isadora sleeping. Then he looks to his phone, hopeful for any news on the audition.

Nothing. He releases a sigh, stretching off the edge of the chaise.

EXT. RODEO DRIVE - DAY

Maya and Zay are making their way along the glamorous streets of Beverly Hills. They’re having their Pretty Woman moment, sipping trendy Los Angeles smoothies infused with charcoal and vitamins as they saunter down the sidewalk and window shop the expensive brands.

Zay: I feel like I can taste the charcoal. [ another sip ] Are we supposed to be able to taste it?

Maya: Take it in, Zay. This is it -- the height of elegance. The epitome of fashion. Our future, laid out before us.

Zay: Way to harpoon 5th Avenue. What kind of New Yorker are you?

Maya nudges him, but then acknowledges his point. She lowers her voice to a whisper, claiming she has to tell him a dark secret.

Maya: I always thought New York City was it. Broadway was the only way, and I wouldn’t be fulfilled anywhere else. But I don’t know… ever since we’ve been here, I could see myself here. An Angelino, absorbing the sunlight and mingling with the cultural elite. It’s a different world out here, but it’s not worse. Just another avenue towards the dream.

So maybe the plan isn’t as iron-clad as Maya always thought. Zay grants her that freedom, claiming they’ve got a whole year to figure this shit out of where they want to end up. For him, he only knows one thing.

Zay: Next year, I’m focusing on me. I’m pulling a Maya Hart, tunnel visioning my future. All the rest of it, romance and all that bullshit, it’s not worth it. I could be doing way better things with my time.

Maya: Yeah, getting dumped will do that to you.

Maya takes a pointed sip of her smoothie. Zay is stunned, wondering what the hell she’s talking about -- only he blurts it out in a way that confirms her theories, rather than seeming innocent. Maya rolls her eyes.

Maya: Oh, come on, Babs. Was I not supposed to know you’ve been canoodling with Charlie like all year long? You two had the most palpable non-antagonistic tension at Triple A. It’s like I could see the little thirst hormones buzzing between you. I’m self-centered, not blind.

Zay, grimacing: Don’t tell Charlie that. I think he’d have a heart attack.

Not-so-secret trysts aside, Maya agrees with his assessment. Next year is the time when things really matter, and Zay is too bright a star not to shine with everything he’s got. If that takes a little single-mindedness, so be it. Maya links her arm with his.

Maya: We’re going places, Zay Babineaux. You and me, our names are going to be in lights soon enough. Mark my words.

Zay will drink to that. They clink their smoothies together in celebration.

INT. BEVERLY HILLS HOTEL - ROOM A - DAY

Isadora is up and moving, having gotten herself showered and dressed but not having the energy for much else. She crashes onto the bed as Farkle reenters from the other room, sarcastically complimenting her finally managing to get up.

Isadora: You’re charming. No pity to give, hm?

Farkle: Tit for tat. If you can be snarky to me after I nearly die, I can dish a little back.

Fair enough. Farkle perches himself on the bed while Isadora pushes herself upright. He questions if she really plans to just lay around all day. When she states she doesn’t have any other bright ideas, nor the motivation to do much else, Farkle doesn’t accept it. He states that sitting around isn’t going to do any good. She needs to move. Get active, body and mind.

Farkle: Doing nothing seems like the solution, but it doesn’t help. Believe me, I would know.

Isadora: So, what? What’s your grand proposal, then?

Farkle: First? Getting you out of this hotel. I know it’s Maya’s sanctuary, or whatever, but it’s been your prison basically since we got here. You need to get out, get your mind off it all. Think about something else for a change.

Although he’s being honest, it seems as though Farkle isn’t just talking about mourning Valerie. He’s got things he wants to forget for a minute too, although Isadora doesn’t notice. She doesn’t seem convinced.

It’s going to take a little more nudging to get her going. Thankfully, Farkle has never been short of theatricality to get a job done…

Song Cue ♫ ♪ “Electric Love” as performed by BORNE || Performed by Farkle Minkus

Farkle gradually launches into the upbeat tune, channeling all of its electric energy into getting Isadora up and moving. He needles at her until she relents, rolling her eyes and climbing out of bed. Farkle dances around the room up through the first verse, leading the way into the hall…

INT. BEVERLY HILLS HOTEL - HALLWAY - DAY

And continuing the parade into the chorus. It’s a fun change of pace from Farkle’s usual musical selections, a little pop thrown into the mix of Broadway classics and cynical alternative.

EXT. LOS ANGELES - DAY

Farkle continues the march out into the city, Isadora trailing behind him and eyeing him with her usual level of exasperation and confusion. Still, there’s a bit of that fascination -- and perhaps endearment? -- thrown in as well, and as the song progresses and they weave their way through the Los Angeles streets, it’s as if we can see some of the weight lifting off her shoulders.

Definitely putting other things on her mind, no doubt about that.

EXT. BEVERLY HILLS HOTEL - POOL SIDE - DAY

The pool is more crowded in the afternoon than late evening, families and guests enjoying the LA sunshine. Jack is as well… sort of. He’s seated at a table safely away from the water, typing away on his computer and sorting through AAA work emails.

From the expression on his face, they’re not all good. We get a glimpse of the one he’s reading, detailing some new leadership roles that will be implemented via the school board the following year. Just as Jack is digging into it, Eric arrives with drinks and plops down in the seat across from him. He gently shuts his laptop.

Eric: This trip isn’t about work, remember? Margarita?

Jack happily accepts the drink, but he opts to be candid with Eric. He gives him the low down of what Evelyn told him after the school board trial, how there is going to be inevitable change coming to Triple A next year. He doesn’t know what that entails quite yet, but he gets the feeling it’s not going to be good.

Eric absorbs this grim reality, then offers his best optimistic smile.

Eric: Well. Good thing we got this mutual partnership thing figured out just in time.

Point made -- whatever is headed their way, they’ll face it together. For real, this time. Jack exhales half a laugh, nodding and raising his glass in mock cheers.

Bring it on, school board. Bring it on.

EXT. LOS ANGELES - DAY

Isadora and Farkle leave the Getty, rather pretentious people pushing through the doors around them. They start to walk down the sunny Los Angeles street, Isadora looking through a pamphlet from the museum. She eventually stuffs it into her pocket when she sees that there’s nothing of interest in it.

Farkle had been peering down at the pamphlet, so he moves his focus to Isadora. There’s the ghost of a smile on her face, worries temporarily forgotten. It’s nice to see. She catches him looking and gives him a funny look. He looks away, but now they’re both properly smiling.

Isadora, softly: You’ve somehow managed to actually improve my mood. Thank you. I needed this... I needed to stop wallowing.

Farkle’s smile brightens. He asks her if there’s anything else she wants to do while they’re out. She ponders on it, and then gets an idea.

Isadora: Maybe. But I think I need to get something first.

Intriguing. Farkle raises his eyebrows, Isadora not explaining further as she leads the way.

EXT. LOS ANGELES ZOO - DAY

Nerdy as it may be, Riley and Lucas are clearly having a good time at the zoo together. They’re laughing about something inane as they approach the giraffe pen, Riley brightening at the prospect of feeding them. She jogs up to the zookeeper who is handling the food, swapping a $5 for the chance to interact with the animals.

Lucas saunters up to join her, making an offhand comment about how if this is a date, then he probably should’ve paid for that. Not that he exactly has the spare funds to do so. Riley gives him a look, elbowing him playfully as they start walking towards the feeding spot.

Riley: The guy paying for everything is a dated convention anyway. Besides, like I’ve said before, I’m nothing if not --

Lucas: Unconventional. Believe me, I know.

Riley beams. She goes on to point out that their relationship in it of itself has been far from conventional, and she doesn’t see why that should change just because the technicalities of their dynamic do. As long as they maintain the foundation of what their relationship has always been based on -- friendship, mutual respect -- then the rest will fall into place.

Lucas nods along, but it’s clear he’s not as self-assured as Riley. She glances at him, growing more serious as she pulls them to the side of the giraffe pen so they can actually talk for a second. She explains that she’s been trying to find a way to say this basically since the last week of school, but there’s never been a good time or she keeps getting interrupted.

Lucas, deadpan: You’re not... already breaking up with me? Think that would be a world record.

It’s said like a joke, but Lucas doesn’t deliver it with his usual level of aloof confidence. Riley nips that notion in the bud, shaking her head emphatically and claiming it’s not about that.

Riley: Sort of the opposite, actually --

Lucas: The… opposite of breaking up?

Riley: Look, I just wanted to be clear -- I know so much has happened in the last year. All part of our unconventionality. [ a beat ] Everything with Farkle’s video and the things he said, I just… you know that’s not true, right? It never was. I know it doesn’t matter anymore, but I want you to know that I never saw you that way. You know that, right?

Riley holds eye contact, not letting him look away. She props her hand with the giraffe food on the pen fence, shuffling from foot to foot as she waits for his response.

The moment is heavy between them, Lucas taking a long moment to look at her. If she had asked him this question earlier, even just a couple months ago, his thought process would be different. His answer would be too.

But so much can change in such a short amount of time.

Lucas: I do. [ a beat ] Now.

That has to be good enough. Neither of them can change what happened in the past, even if they’d like to. All they can do is be present in the here and now, open to whatever the future might hold.

Gently, Lucas reaches out and takes her free hand. Riley glances down at their joined fingers, then gives him a soft smile. They drift a little closer together…

When they’re startled by a giraffe, dipping its head down between them to try and get the food from Riley’s hand. Both of them jump and Riley shrieks, before bursting into laughter. Lucas starts laughing too, catching her when she basically stumbles into him.

I don’t know what you were expecting, Riley. The giraffes are hungry! Once they reorient themselves, Riley reaches out to give the giraffe the food.

Lucas gets a text, checking it as Riley finishes interacting with their new zoo friend. She asks if everything is okay, and he states that Isadora texted him asking if they could talk when they got home. Nothing else.

Much to think about. As the soothing sound of ocean waves float in...

EXT. BEACH - DAY

One of Los Angeles’ many coastal beaches, although not one of the more popular crowded ones like Santa Monica. This one has fewer patrons dotting the shoreline, and seems to be a quieter, more local bunch. A secret spot for those who know the area well.

The kind of thing Valerie would know.

Isadora and Farkle walk along the water, the latter carrying both pairs of shoes while Isadora holds a special canister in her hands. It doesn’t take long to realize what it is, as Isadora explains to Farkle the reasons why her mother wanted to be cremated and her exact desires for where she wanted her ashes to be spread.

Isadora: Of course, she’s one of the people who literally wanted her ashes thrown into the ocean.

Farkle: I’d expect nothing less.

Even though she’s carrying out her wishes, it’s clear Isadora is still torn up about it. She avoids eye contact with Farkle as she tentatively expresses her hesitation. She can’t seem to get over the notion that like… yes, her mother is dead, and she’s devastated. But on the other hand, she’s angry at her, too. Because it was her own choices that caused all this, that took her away when they were so... close. Valerie made a stupid decision, and it took her away for good.

Farkle: I don’t know about that.

Isadora: Oh, okay. Thanks. Remind me never to open up to you again.

Farkle: No, I mean, I’m not saying what you’re feeling isn’t… valid, or whatever Eric would say. I just think it’s a bit coarse to put all of the blame on her for something she couldn’t exactly control.

Isadora: I don’t buy that.

Farkle: Would you have blamed me for what I did? Had it worked?

Isadora stares at him, stunned. Farkle is calm, though, genuinely posing the question.

Isadora: That’s… that’s different. You were sick.

Farkle: So was she.

Isadora holds his gaze as the sentiment sinks in. Then she looks away, embarrassed. Farkle doesn’t push it, granting her a change of subject.

Farkle: This whole thing has been kind of surreal, honestly. Seeing all of this grief, thinking that… I mean, just a couple months ago, it could’ve…

Been me. Isadora doesn’t push him, letting him finish the thought at his own pace. He never gets there, but he continues a different train of thought.

Farkle: I’m glad it’s not. I’m happy I’m still here, which I guess is progress. I just know it was difficult enough when it was an active choice I was making, because I thought it would make everything better. [ a beat ] Can’t imagine if it had been an accident.

Farkle’s made his point. Isadora is going to need time -- a lot of time -- to process everything she’s feeling about it, but his commentary did offer a fresh perspective.

The two of them stop in the middle of the beach, ocean running over their bare feet. Isadora opens the tiny urn, hesitating for a moment as she stares down at it.

Then she tilts it over, spreading her mother’s ashes into the ocean to be carried away by the waves. As she wished... even if she expected that moment to be much further off in the future.

Isadora closes the urn and stands up straighter, releasing a deep sigh. She and Farkle stand together and look out towards the horizon, the ocean seeming to stretch on forever.

INT. BEVERLY HILLS HOTEL - ROOM A - NIGHT

Isadora is starting to pack her things, Maya, Riley, and Zay’s laughter echoing from the other room. Lucas pokes his head in, asking what she wanted to talk to him about. Isadora nods, waving him in and pushing aside her things.

They situate on the bed, Isadora taking a moment to compose her thoughts. She explains that after thinking about it, and a weird -- but enjoyable -- day, she’s decided she wants to go to her mom’s estate tomorrow. It’s the last day she’ll be able to, and although she isn’t sure she’ll like what she finds, she feels like she owes it to Valerie.

Lucas, protectively: You don’t owe her anything. I’m not saying --

Isadora: I get it. I get what you mean. And you’re right, I agree. But it’s not just about that. [ with a sigh ] I think I owe it to myself. Because if I don’t go and see this through, then I am going to spend the rest of my life wondering about it. It’s like… the ultimate ghosting, and you know what that does to me.

Lucas: Yeah.

Isadora: So I’m going to do it. I’ll go, I’ll take a look, and then it’ll be done. We can all move on.

Easier said than done, but point made. Isadora inhales another deep breath, meeting his eyes.

Isadora: Just thought it might be better if you were there with me.

Lucas contemplates. He’s never liked Valerie, and complicated feelings aside in current circumstances, that will likely never change.

But he loves Isadora. She’s his family, and they’ve always been in each other’s corners. If she can endure his epic spin out from the last year, then he can certainly spare an afternoon to give her support on what will probably be one of the most difficult things she ever does.

After a moment, he nods. Isadora offers a half a smile, Lucas returning it.

EXT. BEVERLY HILLS HOTEL - POOL SIDE - DAY

On their last full day, the performers are spending it enjoying the California weather and sunshine. Maya and Zay are soaking up the sun, Maya’s sunglasses on and exuding full diva ambience. Farkle sits by the pool while Riley actually enjoys the water, the group of them chatting. Farkle says something snarky and Riley splashes water at him, causing him to get up and retreat back towards his stuff.

When he approaches his chair, he discovers a voicemail on his phone. His expression shifts in an instant, snatching his phone off the chair.

Farkle: Be right back.

Maya: Where are you going?

Farkle: Gotta… I have to make a call.

Zay: Who the hell is calling you?

Fair question, Zay. Farkle doesn’t respond, jogging towards the hotel. Riley watches him go, raising her eyebrows at the other two. Maya shrugs, flipping her sunglasses back on.

INT. BEVERLY HILLS HOTEL - HALL - DAY

Farkle ducks inside, narrowly avoiding ramming into a posh couple of tourists. He lifts the phone to his ear, playing the voicemail that is in fact from Turner regarding his audition.

And… they want him to join their production. The creative team was quite impressed with his talent, and if Farkle thinks he wants a career in performing, this might be the perfect start. Turner gives him details about how the production will rehearse the summer and then run through the fall -- right through senior year.

If Farkle is interested, he should give him a call and they’ll meet up to discuss next steps. Farkle is stunned, frozen as the voicemail ends and he’s suddenly faced with a huge decision.

Stay with his friends (which he just got back) and finish his time at AAA, or follow the dream?

Song Cue ♫ ♪ “Sober” as performed by Demi Lovato || Performed by Valerie De La Cruz (vocals only)

EXT. VALERIE’S ESTATE - NIGHT

The gentle piano guides us into the evening at Valerie’s Hollywood mansion. Theresa unlocks the door for Isadora, Eric and Lucas, but doesn’t go inside herself.

INT. VALERIE’S ESTATE - DAY

As Valerie’s heart wrenching vocals kick in, we see her home as she left it -- glamorous in every sense of the word, but also lived in. Her things are dotted around, left waiting to be used again.

Call me when it’s over ‘Cause I’m dying inside

INT. VALERIE’S ESTATE - STUDY - NIGHT

Isadora takes shaky breaths, Eric and Lucas closeby for emotional support should she need it. She goes into Valerie’s office space, where a marble desk is covered in legal documents relating to Valerie’s move to New York and gaining custody of Isadora. Isadora shifts through the papers, tears welling in her eyes.

Sometimes I just wanna cave And I don’t wanna fight I try and I try and I try and I try Just hold me, I’m lonely

Lucas checks she’s okay. She nods, moving onto another room.

INT. VALERIE’S ESTATE - VALERIE’S BEDROOM - NIGHT

Isadora hesitates before entering. It’s as luxurious as you would expect. The things that stick out to Isadora, though, are the simple, nostalgic ones. A dusty china doll on a shelf with cracks over her face; a baby blanket is placed across an armchair, “Isadora” delicately stitched onto it.

Isadora picks up the blanket and feels the soft texture, holding it close. The tears are falling now, no longer hidden behind iron-clad walls.

I’m sorry to my baby girl For the wounds I left so deep For all the empty promises I couldn’t keep

A frame holding a wrinkled photograph sits on a bedside table. Isadora picks it up -- Valerie in her 20s, dressed simply and standing in a small apartment. In her arms is a baby who she smiles down at with adoration in her eyes.

Unable to look any longer, Isadora puts it down and turns to go to Lucas. He’s already right behind her.

We’ve been down this road before I’m so sorry, I’m not sober anymore

She collapses into his arms, hugging him tighter than she ever has before. Sobs wrack through her, all of the feelings she’s numbed herself to finally escaping. We don’t hear her cries, but she’s practically screaming with grief. She crouches down, Lucas going with her to keep his arms wrapped around her. In the doorway, Eric has to turn away, the sight of Isadora completely breaking down too much to bear.

I promise I’ll get help It wasn’t my intention I’m sorry to myself...

EXT. LOS ANGELES COFFEE SHOP - DAY

Turner is seated at an outdoor table, finishing up a coffee. He raises his gaze when Farkle approaches from down the street, obviously coming to discuss the casting opportunity. Farkle thanks him for coming to meet with him, sliding into the chair across from him. Turner appreciates his professionalism in setting the meeting.

Their pleasant discussion doesn’t last long, though, because Farkle isn’t there to say what Turner wants to hear. Although he’s honored by the offer and can’t imagine a better opportunity… Farkle can’t accept the offer. Not right now.

Turner doesn’t hide his disappointment, but he respects the choice. He inquires as to why Farkle made the decision, which causes him to pause. After a moment, Farkle explains that while he’s always been consumed with chasing the dream, he’s learned pretty recently that there’s a lot more to it than that. It can’t just be about the dream -- there has to be more, otherwise, it’s empty. And there’s a lot back home that he needs to cultivate before he goes leaping into the great unknown. Not to mention...

Farkle: I was raised by a businessman, through and through. My father isn’t perfect, and he taught me some habits I’m probably better off without. But not all of them are without merit. One of the most important would be that when you commit to something, you see it through to the end. Right now… [ thinking about home ] I’ve got some things I need to see through to the end. After that, who knows, but for now… I need to stay right where I am.

Fair enough. Turner concedes, stating that he does admire his maturity for his age.

Farkle: Trust me, it’s relatively new.

Either way, Turner believes he has talent. Depending on where he ends up once he’s done “seeing things through,” he hopes he’ll consider reaching out to catch up. Turner extends a business card in his direction.

Turner: If you find yourself back out in LA, be sure to give me a call.

Farkle accepts the card, looking at it. Representing all of the opportunities that might await him in the future… when the time comes.

Eric, pre-lap: I have no idea how to handle this.

INT. BEVERLY HILLS HOTEL - ROOM C - DAY

Jack is in the midst of finishing packing for their return flight that evening. Eric is pacing, a bundle of nerves now that the adrenaline of getting Isadora through the trip is waning. He wrings his hands.

Eric: I promised Valerie that I would take care of Isa, and I want to. I know I need to. She needs the safety net, but… what if I’m not cut out for it?

Jack: Eric --

Eric: They don’t give you training for this sort of thing. This isn’t something you can study. I’ve never been a parent. What if I’m not -- what if I’m not what she needs?

Jack steps away from his packing, coming to join Eric and stopping his pacing. He takes his shoulders to halt him, waiting for him to meet his eyes.

Jack: Eric. Take a breath.

Eric does as he’s told. Jack waits a moment, searching for the words to make this better. They aren’t easy to find.

Jack: You’re right, there’s no playbook for this sort of thing. You’re going to have to figure it out as you go, so good thing you’re great at improv. [ off Eric’s nervous laugh ] But there is no one better suited for this challenge than you. Regardless of what happens, Isadora is going to know you have her back. That she’s not alone.

Eric nods, trying to accept the words as truth. Jack steps closer, shifting one of his hands to the back of Eric’s neck. That kind of hold men do when they’re sharing intimacy, but can’t do it like normal people.

Jack: Neither are you. Like you said, we’re going to figure it out together. You’re not going to face it alone.

Eric locks eyes with Jack, really taking him in. They hold each other’s gaze for a long moment.

Then Eric sighs, leaning forward and pressing his forehead against Jack’s. The two stay close together, grounding to one another. Preparing for what happens next, distinctly together.

As the melodious hum of our final performance floats in…

Song Cue ♫ ♪ “Endless Night” as performed by The Lion King Original Broadway Cast || Performed by Isadora De La Cruz (feat. AAA Juniors)

EXT. LOS ANGELES - DAY

Shots of the cinematic Los Angeles, in the midst of early morning sunrise.

INT. BEVERLY HILLS HOTEL - ROOM A - DAY

For the first time all episode, Isadora takes the leading vocals on this grief-stricken soliloquy. She starts it alone in her hotel room, looking out the window towards the early morning scape of Beverly Hills. The lyrics aptly highlight the struggle she’s feeling to come to terms with Valerie’s absence, how isolating her loss can make the world feel.

You promised you'd be there whenever I needed you Whenever I call your name you're not anywhere…

Isadora finishes the second chorus, coming to look at herself in the mirror and lingering on her star necklace.

I'm trying to hold on, just waiting to hear your voice One word, just a word will do to end this nightmare…

But the truth is she’s not alone. Far from it. Riley appears in the reflection and comes to join her, gently touching her elbow as the song begins it’s tonal shift about halfway through. Isadora returns half a smile, leading the way towards the other room.

INT. BEVERLY HILLS HOTEL - ROOM B - DAY

The rest of the crew is waiting there, dressed for a journey. Their bags are stacked in the corner, all packed up to go. But they’re not heading to the airport quite yet -- there’s one more thing they want to do.

Isadora passes them all and steps out the door first, Riley and Lucas following after her. The other three follow suit, Maya being the last one out as she closes the door.

EXT. HOLLYWOOD SIGN HIKE - DAY

Maya is the first one leading the march as the six of them do the coveted Hollywood sign hiking trail, taking advantage of the early morning cool to take in the view of Los Angeles one last time. We watch them weave their way through the paths and climb around the trail as the music slowly builds in catharsis. Repeating the hopeful psychology that has gotten them through the season, same as when Maya sang “Winter can’t hold back the spring, no matter how dark it may seem” back in 208.

I know that the night must end and that the sun will rise, I know that the clouds must clear and that the sun will shine.

Isadora stays on the lead vocal, growing more emotional as the music swells and they get closer and closer to the top of their uphill climb. Her riffs are impressive, demonstrating how far she’s come as a performer in the last two seasons.

And how far the six of them have come interpersonally cannot be understated. They’re helping one another as they make the strenuous trek, offering hands as they climb over roots and up rock sides. Farkle almost stumbles and Zay manages to stabilize him, patting his shoulder once he’s upright again. There’s no bickering, no sharp jabs, a far cry from 206 -- for now, they’re a team, finishing their final ascent out of the darkness of this year.

Right up to the highest point on the hike.

The sun will rise…

The six of them take in the breathtaking sight of Los Angeles in the midst of the sunrise, full of hope and promise and energy just about to come alive for another day. They inhale the fresh air, the new day, the entire future seemingly laid out before them. Facing whatever happens next, but not being so afraid of the change as they once were.

The six of them silhouetted against the rising sun is the last shot we see, fading to black.

END OF SEASON.

#213 #episodes #S2 #i love them. i love you all. thank you thank you thank you #until S3...

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ambitionsource · 5 years

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AMBITION Season 1 ♫ “The Miserables” [ 1.09 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows)

ENTENDEZ-VOUS LES GENS CHANTENT? – Shawn tests his limits as he steps up to lead the production of the spring musical in Angela’s absence. Lingering tension over casting choices bubbles over. Deceptively rosy circumstances prompt students to seek refuge in unlikely places.

62 Minutes (16K words) || No warnings apply.

[ ← These Boots Aren’t Made For Dancing ] [ S1 Synopsis ] [ Birds of a Feather → ]

( Follow along with the music on Spotify here! )

INT. AAA - HALLWAY - DAY

The episode opens on FARKLE MINKUS, standing in front of the black box classroom. He’s looking at a poster for the sophomore spring musical – Les Misérables. He glances up in front of him, tossing a look to the camera, before spinning on his heel and beginning a definitive march down the hallway.

Song Cue ♫ ♪ “Do You Hear the People Sing?” as performed by Les Misérables Original London Cast || Performed by AAA Sophomores

Farkle kicks off the number, beginning the ode to rebellion as he makes his way through the halls. The opening shot is done in one long, continuous movement, and as other characters join the march and the song, it builds until it’s the full sophomore class parading through the halls and towards the auditorium.

Also as they progress, it seems as though time is shifting around them. Slowly, costume pieces are adorned and changes in the background indicate the passage of time.

INT. AAA - AUDITORIUM - DAY

Upon the final chorus, the cast of the spring musical marches into the auditorium. They walk through the aisles in full make-up, hair, and costume, coming to a halt in front of the stage. In front of them, the entire set and staging for Les Mis has been erected, and we’re suddenly within days of opening night.

Bathed in the glow of the stage lights, the sophomore class looks up at their backdrop. Some look ready for the adventure, others not so much. ISADORA DE LA CRUZ is in full costume, signaling a shift from behind the scenes to center stage. LUCAS FRIAR has the signature headset around his neck, indicating a promotion for him as well.

This is the final breath before the curtain rises. But how did we get from auditions to here? We’re certainly about to find out, and in six distinct parts…

Cue title sequence.

Before each part of the episode, a black title screen gives us the name of the story, hanging for about five seconds before fading into the opening scene of the segment.

PART I: “Lovely Lady, Come Along and Join Us”

INT. AAA - GIRLS DRESSING ROOM - DAY

Isadora is the spotlight of the premier story, taking us back to the period of auditions. She’s giving herself a pep talk in the mirror, about to audition for her first ever show. She tries to remind herself that it’s low stakes, that she’s gone this long without a role she could certainly carry on, but that doesn’t seem to do much to assuage her nerves.

Still, she’s Isadora De La Cruz, and she’s not one to back down from a challenge. Squaring her shoulders, she gears up to go and audition.

INT. AAA - AUDITORIUM - DAY

She emerges from the stage doors, coming into the wings yet still hidden behind the curtain. Lucas is there waiting for her. He gives her a bracing pat on the shoulder and a smirk, nodding her towards the stage. Behind her, as he always is.

Returning the nod, Isadora takes a deep breath. Then, she steps out into the lights.

She can barely see ANGELA MOORE and ERIC MATTHEWS through the brightness. She squints to make them out, jumping a bit when Angela’s voice invites her to introduce herself over the speaker. She clears her throat.

Isadora: I’m Isadora De La Cruz, and I’ll be performing “I Dreamed A Dream.”

Nothing. She’s not sure what she’s expecting, but Angela is merely jotting down notes for reference. Then she lifts her head, signaling for Isadora to begin whenever she’s ready.

Another inhale. She glances over her shoulder one more time, Lucas giving her a thumbs up. Isadora lets her eyes flutter closed, centering herself.

Song Cue ♫ ♪ “I Dreamed A Dream” as performed by Les Misérables Original London Cast || Performed by Isadora De La Cruz

Starting from the first verse, Isadora tentatively begins the Broadway classic. It’s a little more exposure to her potential vocal ability, which seems untapped and ready to be unleashed. Not as polished as the divas, naturally, but raw with talent and a whole lot of repressed emotion.

As the song progresses, the camera begins a slow spin around Isadora as a time lapse begins. Around her space on the stage, we see other students moving in fast motion through their auditions.

INT. AAA - HALLWAY - DAY

By the time the music swells (“And still I dream he’ll come to me…”), focus shifts to outside the black box. Angela emerges to a crowd of impatient sophomores, eyeing the cast list she is clutching in her hands. She holds up a finger of patience, pinning it to the board and diving out of the way before the masses converge.

Each student approaches and gets a look at their given role, reactions pointed to how they might be spending the episode. ZAY BABINEAUX finds his name across from the role of Jean Valjean, bristling with confidence and acting wholly unsurprised. Farkle shares a similar pride at being cast as Javert, swooping the hair off his forehead and pushing back through the crowd with his chin held high.

CHARLIE GARDNER seems pretty pleased with being cast as heartthrob Marius, receiving excited pats on the back from HALEY FISHER and DARBY WINTERS. For RILEY MATTHEWS, she’s a distinct mix of happy and stunned to have been given the role of Eponine. YINDRA AMINO shrugs and offers a prideful smirk at her casting of Cosette.

NIGEL CHEY accepts enthusiastic jostling from NICK YOGI and DAVE WILLIAMS at snagging the comedic role of Thénardier. MAYA HART looks less enthused by Madame Thénardier, obviously having anticipated something different.

As Isadora approaches the list, most of the crowd has dispersed. She can’t believe her eyes when she sees her name matched with Fantine, one of the most iconic roles in the show. Slowly, a smile creeps onto her face.

INT. AAA - BLACK BOX THEATER - DAY

Isadora knocks lightly on the door, catching Angela in the midst of packing some of her things. But she greets Isadora cheerfully, welcoming her in so long as she pardons the mess.

She doesn’t bother to ask about the packing, jumping right to her question. She asks if she was given the role of Fantine because of her mother. Not because she’s right for the role or her own talent, but because of her last name. She just wants to know the full reasoning before she initials next to her name and accepts the part.

Angela disputes such a claim, telling her that she was given the role because she gave a great audition. She has talent and earned it fair and square, and she has little doubt that she’ll do an excellent job. Angela encourages her to have half of the confidence in her performing ability as she does in her technical prowess, and she’ll be perfectly fine.

INT. AAA - HALLWAY - DAY

With this assurance locked down, it’s settled. Isadora nervously initials next to her name, accepting the role and diving headfirst into the world of the performers.

INT. AAA - AUDITORIUM - DAY

Next class, the class is assembled as SHAWN HUNTER hands out their copies of the script. He gives a miniature speech about how he will be taking over as director in Angela’s temporary absence. The performers express skepticism and worry over this change, asking tons of questions such as where the hell Angela went and also what makes him think he can just step into the role of director.

Farkle pipes up louder than all of them, demanding to know whether or not Angela is going to be there for opening night. Shawn assures them that she fully intends to be present for the performances, and she made sure to wait until the last possible minute to leave so she could help prepare a majority of the materials for the show. If they just band together, the whole process will run smoothly.

So he’s choosing to approach the situation with confidence, and he thinks that they all should too. He states the encouragement with a flourish, handing out the last stack of scripts.

Dave: [ reading off the cover ] “The Miserables?”

Zay: It’s Les Misérables, you uncultured swine. Take a French class.

Too late. From then on out, the techies refer to the show as “The Miserables” the rest of the run.

As the group disperses to begin memorizing lines, Riley eagerly congratulates Isadora on her first official role. She exclaims how exciting it’s going to be to have her on the other side of the curtain. Isadora seems grateful for the enthusiasm, just as Shawn floats over and states that sentiment is precisely what he needs to discuss with her. He asks if he can borrow her for a minute, Riley backing off without complaint.

INT. AAA - DRESSING ROOM HALL - DAY

Shawn pulls Isadora aside, starting by congratulating her on her role. Then he poses his query, wanting her opinion on who he should promote to stage manager now that she’s jumping to the other side of the production.

To Isadora, the answer is obvious – Lucas. There’s no one else she can think of for the job. Shawn questions whether she believes he’s responsible enough to handle it, but Isadora has no doubts. If they put the faith in him, he’ll pay it back. He’s never let her down before.

INT. AAA - AUDITORIUM - DAY

Even still, Isadora can’t let go of the reins so easily. She shows up early to rehearsal the next afternoon to check on the crew, finding them in their usual spot in the back of the auditorium. They all greet her eagerly as she approaches, happy to see her back in their quarters.

She simply states that she wanted to check in that everything is going smoothly, to which ASHER GARCIA tells her not to worry. DYLAN ORLANDO chimes in, telling her that they’re all super proud of her for shaking things up on the other side. They want her to go forth and slay! They’ll be fine, now go show the performers what she’s made of.

Reassuring, but in some ways even more pressuring than before. Now she’s carrying the expectations of the techies on her back too, and she’s not sure how to feel about it.

INT. AAA - DANCE STUDIO - DAY

It’s even more overwhelming to be thrown into the midst of rehearsals without them. She’s attempting to keep up with the demands, but clearly unfamiliar with how to proceed and surrounded by people that up until a month ago had always been adversaries. So, the moment they have a moment to break from vocal rehearsal, she searches for allies.

She goes to Riley first, but it’s evident that although she’s still incredibly supportive she’s a little spaced out. Clearly, she’s got her own stuff going on and won’t be much help. Isadora turns to Maya next, having had friendly interactions with her in the past and given that she was the one who told her to audition in the first place.

However, Maya is not receptive to such advice-giving. She’s in the midst of her diva meltdown of the season, and frankly isn’t all that fond of Isadora at the moment. She says a few offhand words before floating away, rejoining Chai and Darby at the other end of the studio. Isadora tries not to let the dismissal sting, determined not to show weakness in this new territory.

She glances over her shoulder towards Shawn, who happens to be conferring with Lucas about something stage managing related. But he feels a million miles away, and he’s gone before she can even blink back to the auditorium.

Isadora stands alone in the center of the room, somehow isolated despite being in the midst of all the action.

INT. FOSTER HOME - ISADORA’S BEDROOM - NIGHT

That night, Isadora finds herself contemplating the only other source she can think of to reach out to – Valerie. She sits at her desk and opens and closes her phone a couple of times, obviously indecisive. She begins typing a message in response to all the previous ones she let go unanswered, explaining that she got a role in the school musical but isn’t sure she is cut out for it. She puts it all out there in text form… before hastily deleting it.

Not ready to let down those walls, but still desperately needing guidance. She gets up from her desk and flops onto her bed, exhausted.

EXT. AAA - LUNCH COURTYARD - DAY

Isadora attempts to ask Riley about it at lunch, but it’s evident that Riley is distracted. Whatever is going on in her neck of the woods, it’s obviously occupied her mind so she’s little help. She optimistically encourages her to contact her mother if that’s something she’s been considering, but it’s clear she isn’t giving the situation much serious thought.

When Isadora claims she wants to get a second opinion, Riley eagerly agrees to that as well. So it’s not clear whether she’s actually listening, or if she’s just playing support staff like the good friend she is.

Isadora: And you’re clearly not really listening.

Riley: Totally. Yeah – wait, what?

Isadora: Nothing. Simply thinking about how nice it is to have you around.

Riley: :)

In any case, she wants that second opinion. Time to revert to the safest source of thought she’s ever known – if he can spare a moment to give her the time of day.

INT. AAA - AUDITORIUM - DAY

Lucas is in the auditorium, standing at the base of the stage and looking up towards the set as Dylan and DAVE WILLIAMS work to set up the backdrop.

Lucas: Okay, let’s see the barricade backdrop.

[ Dylan and Dave frantically lower one of the curtains, pulling down a beautiful sunset of a backdrop with a twinkling castle in the distance and a cotton candy sky. A leftover from their last show, Cinderella. ]

Lucas: [ Waiting until it’s fully down, closing his eyes and forcing a smile. ] Okay, now, I meant the barricade that’s not Cinderella’s castle.

[ Dave and Dylan look up at the backdrop, wincing. Dave immediately begins pulling the ropes to bring it back up. ]

Dylan: Sorry!

Lucas: It’s fine just… [ gesturing indicatively ] Fix it.

Dylan: Aye, aye, captain.

Isadora enters just as Lucas is giving this directive, traipsing down the aisle to join him at the front. He greets her, Isadora asking if he has a second to chat. He nods, glancing back over his shoulder at them fumbling with the backdrop.

Lucas: Depending on how long this takes them, could be forever.

He nods towards the booth, leading the way back up the aisle.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas reenters the booth with Isadora close behind, settling into his usual rolling chair. He props his feet up on the lighting table and pulls a granola bar from a stash in the filing cabinet, lamenting just how many things can go wrong in one day around here. Isadora is like believe me, I know, but states that she kind of misses it.

Lucas teases her about her new role, asking her how it is to be a traitor and infiltrate the other side. She rolls her eyes and can tell he’s just poking fun, but it still stings a bit more than she anticipated. She cuts to the chase, eager to change the subject. She expresses her hesitation about talking to her mother, asking if he thinks she should reach out.

Lucas, who has never liked Valerie for how severely she fucked with Isadora’s emotions, isn’t a fan of the idea. To say the least.

Lucas: Are you kidding? No.

Isadora: No – no. You think no.

Lucas: Absolutely the fuck not. She’s never done a thing for you, what makes you think she’s going to change that tune now?

Isadora: Well… well, I mean it is her area of expertise –

Lucas: See, that’s where you’re wrong. Her area of expertise is being a shit mother, and because of her you need no explanation on how that works. You owe her nothing, and you don’t need to give her an invitation back into your life to fuck you over again. You wanted my opinion, and that’s it.

Isadora isn’t surprised by this stance from her best friend. What she’s surprised by is the fact that she’s disappointed in this response, and that’s more telling than anything else. She’s pulled from the conversation before she can think on it further, or ask about the crew and how everything is going. Shawn calls her down for call time.

Lucas, sarcastically: The spotlight awaits.

INT. FOSTER HOME - BLUE’S ROOM - NIGHT

Isadora passes through the hall when she doubles back, catching a glimpse of her foster sibling BLUE NGUYEN (17). The eldest foster sibling and most level-headed, Isadora figures it may not hurt to ask him for advice. She knocks on the door before stepping in and explaining her hesitation about Valerie, asking him what he would do.

Blue can’t speak much on his own experience with his parents, since the entire reason he’s in this foster home at all is because his parents kicked him out when they learned he is trans and want nothing to do with him pretty decisively. But he says that since Valerie clearly is making an effort, she should take advantage of that and see where it takes them. It may not end up exactly how Isadora envisions it, but at least it’ll be better than not pursuing it and always leaving a lingering what-if.

BEATRIX TORRES (16) interrupts the conversation, exclaiming that she finally found Isadora. Her brother Jericho has been asking for homework help, and she’s always better with that than she is. When she gets caught up on the topic of conversation, she offers her two cents of the fact that her mother literally can’t afford to take care of her and Jericho. Sure, sometimes she resents her for that, but at the end of the day she’s still their mom and she will take any amount of time with her she can get. And when they do spend time together, it’s hard and takes some adjustment to break out of that independence and lingering resentment, but it’s usually worth it afterwards.

She doesn’t know why Valerie gave up Isadora, but it seems to her like it may be a similar kind of vibe. Valerie’s celebrity aside. Isadora takes all of this in, contemplative.

INT. FOSTER HOME - ISADORA’S ROOM - NIGHT

Back in her room for the evening, Isadora makes a choice. Grabbing her phone, she crafts a message Valerie again. Before she can change her mind she hits send, not allowing herself to look at it anymore. She leaves her phone on the desk and out of her reach, climbing into bed.

INT. AAA - AUDITORIUM - DAY

Rehearsals are ongoing, a rendition of “Master of the House” going onstage. Isadora is in the wings, waiting for her next attempt to rehearse “Lovely Ladies” when her phone vibrates. It’s a response from Valerie, and an enthusiastic one at that. At the end of the message, it asks if they can video chat.

Isadora glances around her, making sure the number is still well in progress. Then, she steps out into the dressing room hall.

INT. AAA - GIRLS DRESSING ROOM - DAY

Isadora checks that no one is around before stepping into the dressing room, settling into her corner of the room. She braces herself before dialing Valerie’s number, impatiently waiting for the video call to go through.

When it finally goes through, VALERIE DE LA CRUZ is looking back at us from the other side. It’s a bit of a fuzzy connection, but she’s just as stunning as ever and clearly enjoying the Los Angeles sunshine wherever she is. She immediately congratulates Isadora on her role, eagerly asking her what she thinks of the show and her rehearsal process so far.

When Isadora mentions some of the nerves she’s been having during rehearsal, Valerie empathizes. She explains that performing is hell, it’s an endurance sport, and she still gets anxiety sometimes before getting out on that stage. But the thrill of performing and the applause and that connection with the audience, that outstrips every frayed nerve by the time she opens her mouth to sing. The joy of singing is so worth it, and she knows Isadora feels it too, otherwise she wouldn’t have bothered to audition in the first place.

Valerie: Everyone says this to me all the time and it never helps, but it’s true so I’ll pass it onto you – you’re extremely talented. You’ve got an incredible voice. There’s nothing to worry about, you’re going to kill it.

Isadora, sheepishly: You’ve never even heard me.

Valerie: I don’t have to. I already know it. You’re Isadora De La Cruz, and you’re going to take the world by storm. I’ve known that since the day you were born.

Valerie claims she has to go back to rehearsal, and she’s sure Isadora does too. But she’s proud of her, and she can’t wait to hear all about it. When Isadora hangs up she’s still nervous, but there’s a bit more confidence instilled in her now. She’s determined.

Unfortunately, this is all put to the test when Maya enters the dressing room. She eyes Isadora putting her phone away, commenting that she must’ve had an important call if she needed to step out of rehearsal. She shrugs off her attempts to defend herself, basically insinuating that Isadora isn’t a serious performer if she won’t even take rehearsals seriously – a stretch, and part of the fool routine Maya has been putting on since the cast list went up.

Isadora doesn’t understand why she’s so pissy, considering she was the one who told her to audition in the first place. What, just because it doesn’t benefit her, she’s not worth the support anymore? Maya tries to brush it off, but Isadora is sharp with pointing out her hypocrisy and isn’t going to just let her diva behavior off the hook. She thought they were past that.

Still, Maya gets the last word. As Isadora heads out to get back to rehearsal, she has one last choice statement to make.

Maya: Don’t blow it, De La Cruz.

A sharp comment, coming from a girl who knows what power it wields. No one has ever called Isadora by her actual surname before, and the implications as to why it’s being used now are clear. Isadora doesn’t respond, gritting her teeth and storming out.

Maya watches her go, chewing her lip. Still, her eyes are blazing. Obviously struggling to deal with the way things are…

PART II: “Everything Has Got A Little Price”

INT. AAA - HALLWAY - DAY

Maya is wearing that same expression, back in front of the cast list for the first time. Others are still celebrating around her, Zay patting Charlie on the shoulders in the background. She’s bristling, focused on how both the other divas have leading roles… and then she’s a few lines down. Past Isadora, past Riley, relegated to second fiddle.

She doesn’t initial to accept her part, storming off.

INT. AAA - SHAWN’S OFFICE - DAY

Maya launches into a tirade the moment she steps into Shawn’s office, lamenting how she’s being punished. It’s clear that Shawn isn’t surprised she’s there, but he expresses exasperated confusion over her statement as he gets to his feet.

Maya: I mean, tell me, what did I do? Why am I being punished when all I’ve done is encourage others to spread their little wings and soar and try to bridge the divides? You know, sort of. More so than Farkle, at least.

Shawn claims that the decision had very little to do with her, as he and Angela simply attempted to match the best role to each performer who auditioned. Maya scoffs, searching for another route to harpoon instead.

Maya: Then explain this, Hunter. Why did you and Miss Moore think it was a good idea to pick a show with such a limited female cast? As if their class isn’t dominated by talented women? As if men don’t already own enough of the world?

Shawn: You literally wrote Les Mis when we passed around the suggestion box. It was one of your thirteen submissions – all of which you signed.

Maya: It’s unjust is what it is. Just say you hate women, Mister Hunter. Just say you hate me, let’s get it out in the open.

Shawn doesn’t humor her bullshit the way Angela does, calling her out for the diva antics. He reminds her that it is only one show, and there will be plenty of more opportunities for her to hog the spotlight in the future. And even if it were his decision – which it’s not – he wouldn’t change the casting now.

Maya huffs, spinning on her heel and marching out. She nearly runs into Lucas in the doorway, turning some of her venom on him.

Maya: Are your two left boots incapable of walking too? Get out of my way, gothic Butch Cassidy.

INT. AAA - BLACK BOX THEATER - DAY

Zay and Charlie are humoring Maya’s tantrum as she’s getting costumed by JADE BEAMON, continually pausing her ranting to curse as Jade sticks her with a pin. Considering Jade is their best costumer, it’s likely the pin sticking isn’t all that unintentional despite how emphatically she apologizes each time. Although, all of the gesticulating Maya is doing could be a factor.

Zay shakes his head, pointing out that this is exactly why no one likes her or Farkle. Because they so easily caught up in shit like this, so their friendship is thin. It means nothing. Maya is miffed by the insinuation, defending her attitude on the basis that she’s simply not getting her fair share – i.e., the tried and true argument of every theater kid once upon a time.

Charlie offers a more positive spin by stating that she’s just paying her dues as every showman must. Maya refutes this, impassioned.

Maya: I’m going to make it. I’m going to be the one who emerges from this school after fighting tooth and nail to stay on top, and then I’ll never look back. But I need to build credit while I’m here, and being stuck in smaller roles isn’t going to accomplish that.

Charlie argues that Mme Thénardier is actually a pretty fun role that most people would love to have, but Maya is beyond reason. She continues her rant, claiming that one day she’s going to make it and none of this is going to matter, but right now, she has to go perform this stupid musical. Zay, Charlie, and Jade watch her as she storms out, exchanging looks of amusement.

Song Cue ♫ ♪ “Master of the House” as performed by Les Misérables Original London Cast || Performed by Nigel Chey & Maya Hart (feat. AAA Sophomores)

INT. AAA - AUDITORIUM - DAY

The stage getting closer to a finished set, the sophomores take their places for a truncated rendition of this rowdy and fun ensemble number. NIGEL CHEY does an excellent job with his role, really giving the performance a spark of energy.

As the performers run through it, they poke fun at the techies working on the set and attempt to pull them into the dancing. They’re particularly goofy with Lucas, who stumbles around in his struggle to avoid them and actually get work done. By the time the song comes to an end, he’s retreated to the wings in a huff, Riley waiting there and giggling at him as he fixes his clothes and adjusts his headset.

When Maya’s solo comes along, she delivers the lyrics with convincing levels of exasperation. She’s going through the motions, channeling her frustration with the casting into the role. All in all, despite her behavior, it’s an enjoyable production.

INT. CHUBBIE’S DINER - NIGHT

On the table of the booth in the back corner, Maya has spread out a flurry of flyers and pamphlets. It’s a series of programs and auditions she can put herself up for, searching for new avenues to bolster her credentials before she goes out there into the real world. In particular, a pamphlet for the coveted Kossal Summer Program seems to be in the forefront of her mind – the same summer program that Farkle mentioned in the pilot.

KATY HART interrupts her laser focus, wandering over and bringing a slice of pie with her. She places the plate down in front of her daughter before sliding into the booth across from her, asking her what she’s working on so diligently. After Maya plaintively explains her dire straits and desire to find more ways to hone her craft, Katy takes the chance to share a surprise. She was able to get opening night off of work, so she’ll be able to come see her perform!

Maya is happy, but not nearly as enthused as she could be. When Katy comments on this, Maya beats around the bush before admitting that she doesn’t know if it’s worth it considering she hardly has a part worth blowing off work for. Katy claims that she could be playing a tree and it would still be worth it to her, to which Maya states all the trees are barricade wood at this point.

Katy questions why she’s so stuck on the size of the part, pulling out the age old adage that there are no small parts, only small actors. Maya rolls her eyes at this, before going into her thought process about how she doesn’t want to take one misstep and somehow mess up her shot. She’s terrified of this becoming a pattern, of somehow becoming constantly overlooked.

Maya: I mean, look at you. You’re the most talented person I know, and no one ever even gave you a chance. You had it all, and you still had to give it up because no one would give you the time of day. How am I supposed to keep that from happening to me if techies and forgettable sopranos are getting leads over me?

Katy refutes this fear, stating that she and Maya are on very different paths. She set out to make sure Maya got to make her own path, after all. She shouldn’t stomp all over the good things that this experience might be bringing because she’s terrified of how the future might treat her. Another golden lesson from mother of the year Katy Hart…

INT. AAA - AUDITORIUM - DAY

Farkle is hanging out on the barricade set, now nearly fully constructed. He’s half in costume, balancing his police hat on his knee and focused on a text conversation with his mother. Jennifer’s texts express the opposite sentiment to Katy – they’re doing their best to clear their schedules for opening night, but this that and the other might cause a conflict.

She follows up by stating they’ll work it out, and they will see him perform one way or another. He doesn’t look particularly convinced.

He’s pulled out of the moment when the stage door slams open, Riley barreling out of the dressing room hall. She’s obviously miffed, cheeks flushed and on the warpath. Riles Scrappy Matthews came to play!

Farkle: What’s got your feathers all ruffled?

Riley: Don’t push me. You got something to say?

Farkle: … No, ma’am.

Riley: Smart. Guess you are a genius.

Riley stomps off, leaving Farkle totally confused. He glances towards the dressing rooms where she came from. Wondering who she might have murdered, he hops off the set piece.

INT. AAA - GIRLS DRESSING ROOM - DAY

Farkle inches his way into the dressing room, dreading seeing something he shouldn’t in return for his bold choice to enter the girls territory. Lucky for him, there’s no one there but Maya.

She’s standing at her station in front of the mirror, holding a tissue to her mouth and clearly just wrapping up a brief crying spree. She spots Farkle behind her through the mirror, jumping slightly and frantically wiping at her eyes. She tells him he can’t be in there, to which he simply responds tit for tat, given that she walks into the boys dressing room to bother him all the time.

When he tentatively attempts to figure out why she’s being so… emotional, she lashes out at him much like she’s been all through the rehearsal process. He raises his hands in surrender, telling her that she’s gotta chill.

Maya: Oh, that’s rich, coming from you.

Farkle: Believe me, bitch, I know. Why do you think I’m telling you it with such certainty? Been there. Often.

He reaches into the pocket of his pants, retrieving a handkerchief. He hands it to her, which she reluctantly takes. Farkle goes on to explain that he just got friends – including her – and the only reason is because he started trying to control the diva instincts and consider how that impacts other people. It’s that kind of behavior that makes allies difficult to keep.

Maya has always had the upper hand between the two of them, and it’s because she’s slightly more palatable in that regard. He advises her not to give up that advantage now by blowing it all on a stupid musical which they’ll have many more of before their time here is done.

After a moment, Maya relents and admits that they are probably more similar than she ever wanted to believe. Farkle gives her one more statement of camaraderie.

Farkle: I understand the notion of knowing what you’re destined to do and being willing to do whatever it takes. Trust me, I feel that in my bones. It’s not an attractive quality, but it’s what is going to put us one tier above the rest.

[ Maya dabs her eyes with the handkerchief. Farkle waits for her to meet his eyes. ]

Farkle: But first, we have to pay our dues. Whether it be as the town crier in Cinderella or the scheming, sultry wife to one of the most notorious tricks in the fabled history of the French revolution.

With that, he leaves her to pull herself back together. Maya hangs onto his handkerchief, glancing up at herself in the mirror. Not necessarily liking what she sees. Boy, if she doesn’t have damage control to do now…

PART III: “A Little Fall of Rain”

INT. AAA - HALLWAY - DAY

We’re back in front of the cast list, Riley now the one standing in front of it. She stares at her name across from Eponine in awe, unable to believe it’s accurate. But Yindra’s enthusiastic grip on her arm confirms it – it must be true. She’s playing perhaps one of the best roles, with one of the most iconic female solos of all time.

That’s a lot to take in all at once. And she needs one more bout of reassurance, just to be sure there wasn’t a mistake.

INT. AAA - BLACK BOX THEATER - DAY

This is how she ends up in Angela’s classroom, following the same route as Isadora in questioning whether the role was given correctly. Considering performers like Maya do exist in their class, she just wants to be absolutely certain. She was expecting something a little more soft-spoken, like Cosette. Or a chorus member. She doesn’t want to let anyone down.

Angela claims there was no mistake, and the casting was quite intentional. She thinks she’ll make an excellent Eponine. When Riley expresses apprehension, Angela sits her down and goes into more depth on the choice. As she explains it, Eponine is a tragic character, but she’s not a victim – she suffers and struggles but continues to crawl onward regardless. She makes bold choices, but also bottles up her emotions to benefit others. She puts aside her own wants to service the happiness of others, even at her own expense.

It takes a great actress to capture that complexity, and she’s sure Riley can pull it off. Considering it sort of feels like she just described her life story, Riley seems a little less uncertain than before.

As Riley heads out to go initial and accept the role, she hangs back and asks the question as to why Angela is taking an extended absence anyway. Seeing as she’s the performing student the least likely to blow an emotional gasket, Angela decides she can share the truth with her. She tells her about the auditions she is going out for which will keep her out during afternoon rehearsals, and how the conflicts just grow more pressing during dress rehearsal week. But she trusts Shawn. She’s sure it’ll be fine.

When Riley double checks that she’ll be there for opening night, Angela assures her there’s no doubt about it. Taking her at her word, Riley accepts this, wishing Angela luck. If anyone at AAA deserves to pursue their dreams, it may as well be the teacher helping them all foster theirs.

INT. MATTHEWS APARTMENT - NIGHT

Things at the Matthews apartment are… disarmingly comfortable. With the divorce paperwork in development, it seems that TOPANGA LAWRENCE and CORY MATTHEWS have managed to reach some semblance of normalcy again. No longer feeling trapped, perhaps it’s easier to maintain a cordial attitude.

In fact, in some ways it’s more than that. Weirdly enough, they seem back to the way that Riley always knew them. At ease, cracking jokes, poking fun at each other in a way that isn’t laced with harsh truth. Dinner feels normal, for once.

When Riley mentions that she got the role of Eponine in the musical, the whole family offers their congratulations. AUGGIE MATTHEWS offers her a high-five, which she takes. Topanga states that she’s proud of her, and commends her for putting herself out there. She then launches into all the steps Riley should take to prepare for the role, never one to pass up on giving guidance…

Still, Riley doesn’t mind. It’s nice to eat dinner without feeling as though the house is going to crumble on top of you at any moment. She smiles as Topanga rattles on, taking a bite of her meal and sharing a smile with her brother.

INT. AAA - AUDITORIUM - DAY

Riley is running around backstage after “Master of the House” wraps a run through, getting ready for the next number. She dodges a shoulder bump from Maya, glancing over her shoulder at her before getting distracted by Charlie. He pulls her into places with him backstage, the two of them gearing up for their next scene.

Charlie makes a couple of cracks about how it’s only fitting that they would end up playing complicated love interests. Riley fires back that if that’s the case, the roles should be reversed considering she was never the one carrying around unrequited love… but the banter is more natural and relaxed than it’s ever been between them. Both of them finally on the same page, it seems, and knowing it’s all in jest.

Riley comments that he and Zay seem to have become pretty good friends, which seems to shock Charlie at first. He asks why she would say that, and when she gives a list of very reasonable and normal observations, he relaxes. He agrees to the sentiment, stating that Zay is amazing and it’s nice to have another friend who appreciates dance and all that jazz. Riley states that it’s nice to see Zay having another friend who appreciates him for how great he is.

Charlie seconds the notion, before holding out his hand. Prepared to run on stage with her as the best-friends-yet-not-quite-lovers their roles demand. Riley returns his smile and then takes it, jumping into character as the two of them emerge from behind the set and into the lights.

INT. MATTHEWS APARTMENT - NIGHT

Riley is helping Topanga cook dinner, the two of them actually enjoying a pleasant conversation for the first time in months. Truly, the lack of tension between her parents is more of a blessing than she ever realized.

As the topic of discussion drifts to the musical, Topanga starts giving her unsolicited tips on how she improve her performance again. Despite having never been a performer herself, giving counsel is how she shows love, so that’s what she’s going to give.

When Riley claims she’s mostly going to rely on channeling emotion from the heart and empathize with the character, Topanga sort of laughs the notion down. She claims that you can’t rely on false or fictionalized foundations to give a good performance, there has to be some truth to it, doesn’t there? Don’t be silly, Riley.

Riley starts to defend herself, but Topanga has already moved onto the next ream of advice. It’s clear that when it comes to her mother, Riley definitely has trouble standing her ground.

INT. AAA - AUDITORIUM - DAY

At rehearsal, Riley is finishing up a rehearsal of “On My Own.” Given the contradictory counsel from her mother, she’s lost in her head and the performance is weaker than it could be.

Shawn attempts to give her feedback, but he’s not as skilled a director as Angela and struggles to find the right way to phrase it. Maya jumps in with a backhanded comment of her own.

Shawn: There’s just something about it that’s not right. It needs more… you just need a little bit… I think that if you –

Riley: … so I should… ?

Shawn: … Try harder?

Maya: Sometimes it’s just about matching the right performer to the role.

Riley tries to ignore the insinuation, insisting to Shawn that she’ll try harder next time. He gives her a thumbs up, hoping that whatever that means it’ll be what the production needs. Then he shoots Maya a look, discouraging the negative commentary.

As she spins away from them, Riley lets the frustration and hurt hit her for a moment. Then she bottles it back up, marching offstage.

As she makes her way through the backstage where the techies are hard at work, she runs into Lucas as he’s in the process of helping Nate and Dave get a set piece finalized. It’s clear he’s in full manager mode, balancing a million and one things on his plate and only half-listening to what she’s saying.

They get through half a conversation about how the stage managing is going before he even looks at her, zeroing in on the fact that part of her costume is messed up. He comments on it, and before Riley can even question it he reaches forward and begins fixing it. She totally loses her train of thought as he undoes the belt around her waist and and adjusts it correctly, wholly focused on the show aspects and not even thinking about other possible implications of such a gesture. He offhandedly asks her how her rehearsal process is going, to which she sort of stammers out half a response.

Then he’s done, already jogging off to fix the next thing. Riley stands there, dumbstruck and a little out of breath. She spins around, trying to remember what she was even supposed to be doing in the first place.

INT. MATTHEWS APARTMENT - NIGHT

Riley is helping Auggie with homework, half paying attention and half reading through her script again. It’s dog-eared and got a dozen colorful tabs stuck in it, so it’s evident she’s gone over it multiple times.

Auggie manages to regain her full attention when he pops the question of whether she thinks Cory and Topanga are calling off the divorce. This catches Riley completely off-guard, prompting her to ask him what he’s talking about. He goes on to point out that they’ve been getting along great lately, and they haven’t argued in weeks. Doesn’t that mean things are going back to normal? Couldn’t that mean it’s all going to be okay?

This stuff is hard enough to grasp as a teenager – it’s clear it makes no sense to a nine-year-old and he’s desperately trying to make sense of it. Riley looks at her brother, suddenly overwhelmed and clueless with how to handle the situation. She can’t look at him and break his heart, but she doesn’t want to build false hope and lie either. So she escapes instead.

Riley: I… I need some air. I’m going for a walk.

Auggie: But dinner is in twenty minutes.

Riley: [ already out the door ] I’ll… yeah. I just need some air.

INT. APARTMENT BUILDING - NIGHT

The moment Riley shuts the door behind her, she begins frantically making her way down the hall. Then she realizes she has no idea where she’s going, pacing and trying to figure out where she wants to go. Anywhere but here, that’s for sure.

She pulls out her phone, scrolling through her contacts before hesitating. She only waits a second before dialing, raising the phone to her ear and waiting impatiently.

Riley: [ into the phone ] Hey, are you busy? I… I just need a second –

INT. AAA - TECHNICIAN’S BOOTH - NIGHT

Lucas saunters back into the space, holding the door open for Riley to follow him inside. She steps back in with mild trepidation, obviously not sure she would ever be back here after 1.08.

As he settles into his usual chair, Lucas gestures for Riley to take the other seat he’s not planning to occupy. She does so, hesitantly, although her comfort will grow over the duration of the scene. Glancing out the window towards the stage, it’s odd but not unwelcome to see it darkened and empty. A moment of peace in a setting usually flooded with chaos.

Lucas occupies the space with deep familiarity, reaching in his file cabinet drawer. He tosses Riley a snack with a quick “think fast,” which she just barely manages to catch in time. He pulls one for himself as well, getting comfortable and pulling his manager binder back onto his lap to continue taking notes.

Riley: So… this is really it, huh? You really just hang out in here like this all the time.

Lucas: Well, you’re here too, aren’t you? You’re the one who asked to come here.

Riley: … touché.

Another stretch of silence. Riley watches him work for a second, before broaching the topic of how stage managing is going. Lucas laughs rather than answering the question, to which Riley expresses indignation. Is it so horrible of her to ask how things are going?

Lucas: Am I really supposed to believe you just dropped by here because you were dying to hang out in this musty booth with yours truly?

Riley: Well it… it’s not without its charms.

Lucas raises his eyebrows at her. Not buying it. Sensing that he’s going to see right through any excuse she makes up, Riley relents and slowly opens up about how being at home got so overwhelming. It starts with the moment with Auggie, before snowballing into a full ramble about her parents, and the whole mess of a situation, and how she just feels so trapped.

He just lets her vent, listening attentively but not commenting. When she runs out of steam, she takes a moment to collect herself before apologizing for rambling. She tends to do that. He tells her that it’s fine, before asking her what exactly she wants to hear from him. What does she want him to say? She isn’t sure, so Lucas warns her he’s just going to say exactly what he’s thinking.

First, he gives her something resembling advice and states plainly that she should seriously learn to stand up for herself. Like, yeah, keeping the peace is admirable, but it’s not her job and it’s not worth getting crushed over. Literally or metaphorically.

Riley: Well, of course you wouldn’t think so. Mister Techie Revolution.

Lucas raises his hands in surrender, taking this criticism and acknowledging it’s truth. Then he switches gears, saying what she actually needed to hear – that the situation sucks. It sucks, and he’s sorry that she has to deal with it. He has a sense of how it feels when your house doesn’t feel like a home, so he’s genuinely sympathetic.

The simple act of validation is more than enough. Already a little better than before, Riley nods along before offering him a grateful smile.

Out of things to say, Lucas claims he really does have to get back to work. Being a stage manager is a hell of a lot of work, believe it or not. Riley asks if she can hang around still – she promises to be quiet – and he allows it if she really wants to waste her evening doing nothing.

Song Cue ♫ ♪ “On My Own” as performed by Les Misérables Original London Cast || Performed by Riley Matthews

Lucas goes back to his binder, Riley settling into the quiet. She tries to shift her gaze elsewhere, but it inevitably ends up drifting back to him.

INT. AAA - AUDITORIUM - DAY

Riley performs a full rehearsal of the powerhouse anthem to unrequited love, delivering it with much more emotion and passion than her first few attempts. It’s clear she’s tapped into the headspace she needed, and she’s singing from the heart rather than getting lost in her mind. Wonder where that new emotion could possibly be stemming from…

Once she finishes the number, Shawn applauds her for an obviously improved performance. She breaks into a breathless grin.

INT. AAA - GIRLS DRESSING ROOM - DAY

As Riley floats in to grab her things for her costume change, she runs into Maya again. She has another snide comment to make, only this time Riley isn’t taking it. She’s got the adrenaline of a great performance in her veins and the advice of Lucas rattling around in her brain, and it pushes her to be bold and stand up for herself.

Riley, fiercely: Stop talking to me like that.

Maya is surprised that she’s firing back. Riley essentially pops off on Maya for the way she and the rest of the performers have treated her since she arrived at AAA, particularly the way they hand out and withhold friendship like it’s a bartering tool rather than a basic human decency with any actual meaning.

Riley: I’m sorry if you feel like you’re losing control. I’m sorry if you feel threatened, believe me, I’m quite familiar with both. But I’m not a dartboard, and I’m done taking your jabs whenever you need something to take your aggression out on. Either change your behavior – which is what I would recommend – or find someone else to play punching bag. I’m done with it!

Maya is stunned, out of words to respond. Riley grabs her costume change, bundling it in her arms and storming out of the room. On her way to pass Farkle…

PART IV: “Sweet Jesus, Hear My Prayer”

INT. AAA - HALLWAY - DAY

We’re back with Charlie in the moment he discovers he’s been granted the role of Marius, and the look of excitement on his face is genuine. He didn’t get a large role last year aside from dance captain, so he’s ready for the chance to really take center stage.

His enthusiasm only grows when Zay gives him a congratulatory hug. He returns it, patting him on the back and letting the hug linger. When they pull apart, the two of them eagerly discuss what they’re going to do for their first out-of-school hangout together. As they head back into the auditorium, they have a somewhat odd but endearing exchange about the whole thing when Charlie asks what exactly they should do.

Zay: I don’t know, stuff friends do? It’s not that deep, from what I understand.

Charlie: No, yeah, for sure. I just – I’ve only ever really hung out with Haley and Clarissa, and Yogi one time. That was weird. Oh, and friends from church. Somehow, I don’t think any of those prior experiences would be interesting to you.

Zay: God, literally, who are you. Look, I’ll just pick something and it’ll be a big surprise for you because clearly you’re not yet ready for that much Fun Responsibility.

Zay gives him a bracing pat on the shoulder, leaving him in the wings to head to the audience. Charlie watches him go, unable to hold back his grin.

INT. GARDNER HOME - DINING ROOM - NIGHT

That evening, Charlie has dinner with his family in their rather regal and well-organized dining room. While they’re rather proper and polished, it’s evident that there is genuine love between all members of the Gardner clan while they converse and share a meal. ELEANOR GARDNER (50s) guides the conversation, certainly the matriarch of the family.

Across the way from Charlie, AMBROSE GARDNER (50s) quietly enjoys his dinner and smiles along as his daughters ramble on about their days. Soft-spoken and genial, Ambrose is a gentle and loving father and it’s clear that Charlie deeply values their relationship. As his only son, it goes without saying that the feeling is mutual.

After his younger sisters, ROSAMUND GARDNER (13) and DAISY GARDNER (11) finish arguing about something inane – which Ambrose exchanges a goofy look with him over – Charlie pipes up and explains that he got the role of Marius in the school production of Les Mis.

The family congratulates him, Eleanor more than elated. She claims she’s going to brag all about it at mass on Sunday, and Ambrose notes they’ll have to let their eldest sister Agatha know so that she and her fiance John can come down from upstate to see opening night.

Charlie hesitantly questions whether or not they think Bridgette will come, and the room immediately takes on a new tension. Rosamund and Daisy exchange a look, obviously curious what their parents are going to say. Eleanor and Ambrose sort of seize up, having a tacit exchange of their own before opting to avoid the question. It’s clear this subject is a sore and tricky one in the Gardner household.

Rosamund: Why would Bridgette come home for yet another one of your musicals when she hasn’t been back since she left for college last year?

Eleanor: You know what, I think it’s time for dessert. I’m going to go grab the leftover pies from the book club – Ambrose, ice cream on yours? Girls?

Charlie allows the conversation to shift, but it’s clear he’s not satisfied with how his question went unanswered. Something about it is haunting him, not able to let it go.

INT. DINER - DAY

Charlie meets up with Zay for their first bros being bros outing, hitting up a diner in Queens where Zay lives. It’s not like Chubbie’s, which is always populated with kids from school, so it allows for the hangout to be a bit more secluded and relaxed.

Mostly, Charlie is excited to be in a different part of town and doing something totally out of his ordinary routine. He’s all smiles and enthusiasm as he digs into his diner grub, continually looking out the window at the world of Queens passing them by. Zay is amused by how dazzled he is by seemingly inane things.

Zay: Glad we got a window seat, then.

Charlie: This is so lit. Also these fries are bomb. It’s a good thing I don’t live here, or I’d never be able to be a dancer.

Zay: Yeah, I can tell. You’re like a vacuum cleaner over there.

Charlie: I’d give up my career for these fries. I’m gonna marry these fries and move to a villa out in the countryside to live out the rest of our days in blissful matrimony.

The waitress comes in to check on them, sharing a friendly and familiar rapport with Zay. He also suggests that she may want to bring an extra plate of fries out, as his meal companion is going to need some to go. As she saunters off, Charlie smiles at him. Obviously charmed.

A song comes on over the sound system that both of them, the two of them getting into a lively discussion about the artist. Zay is evidently thrilled to have the conversation, serving how much he can brighten when he has a friend who shares his interests but isn’t, well, insane.

Charlie notes how they’re making a jukebox movie musical featuring their music, and it’s coming out around the same time as opening night. In fact, he’s pretty certain it’s the same night. He pulls out his phone to search and confirm. Zay suggests that, provided Les Mis doesn’t kill them prematurely, they should go together after opening night. They know it’s going to be awful, so they can go and totally critique the shit out of it. Charlie, feeling comfortable in this new space and good about this new dynamic, says it’s a deal. They even shake on it.

INT. GARDNER HOME - CHARLIE’S ROOM - NIGHT

Back from his hangout, Charlie goes and makes an addendum to his well-used and obsessively organized wall calendar. He makes a note underneath the date for opening night, adding his outing with Zay. He’s clearly excited about it.

INT. AAA - AUDITORIUM - DAY

Rehearsals for the musical progress in a time lapse, progressing in a similar fashion to the way they did throughout the course of the previous stories. The costumes and lighting begin to take shape, the set rising behind the actors as the techies work their way through building it.

EXT. NEW YORK CITY - DAY

While time lapses in the auditorium, Charlie and Zay also continue to build their friendship outside the walls of AAA. They try different food stops, check out some art exhibitions, do all the things that “friends do,” as Zay so eloquently put it. They also start texting a lot more.

Through all of these interactions, Charlie truly comes alive. He’s more uninhibited and genuinely happy than he’s been all season, showing off smiles that would truly earn the “nicest smile” moniker he earned from last year’s yearbook.

INT. CHARLIE’S CHURCH - DAY

The Gardners are attending Sunday mass, chatting with other churchgoers after the main congregation. It’s evident that this is a solid and tight-knit community for Charlie and his family, and he feels relatively comfortable in their midst. Still, he’s a teenager, and the chatting of older community members can only hold his attention for so long.

He zones out, checking his phone when a text from Zay comes through. He smiles upon reading it, starting to type out a reply when his father sidles up next to him and asks what he’s got that goofy grin going for. Charlie panics, stuffing his phone in his pocket and searching for an excuse.

Charlie: No I was just – I was reading an article. Funny. A funny article.

Ambrose thinks nothing of the moment, commenting that Eleanor is bragging about him and his role in the musical again. The two of them exchange a knowing look, Charlie smiling and claiming he should probably making an appearance then. Ambrose winks, nodding him along.

Charlie weaves his way through the crowd, accepting greetings from acquaintances as he goes. When he finally joins his mother, she’s holding court with three or four other women in their 50s or older. They all evidently adore him, gushing over how talented he is and how darn cute he seems to get every time they see him. How could he possibly get cuter? Doesn’t seem possible! Naturally, this somehow seems to drift into the subject of his current single status.

Danielle: I cannot believe you don’t have a girlfriend. Sweet and good-looking boy like you, it’s a miracle you haven’t been snatched up.

Trina: Mm hm. If you were our age, when we were growing up? You would’ve been off the market in minutes.

Danielle: Seconds!

Maitland: You know, if you’re at all interested, you should definitely let me introduce you to my daughter. She never comes to mass because her violin lessons are at the same time –

Danielle: Please, he doesn’t want a sinner for a girlfriend if she can’t even attend mass properly. You should meet my granddaughter. Now there’s a match made in heaven, I’m telling you.

Eleanor, playfully: Ladies, he’s my son, not a piece of meat!

Charlie: Truly, I’m honored. But I’m sure your daughter and granddaughter have plans of their own for their romantic endeavors.

Still, the issue continues to be pushed. A couple of them ask Charlie why he hasn’t found a girlfriend yet, to which he doesn’t have an answer. He’s never even really asked himself that question, only now that it’s in his face he’s certain he should have an answer.

Danielle: Oh, don’t you just remember it? The way you feel when you’re with your first steady. All the butterflies, and the way your palms sweat. Oh, when you meet the one, you sure just know.

Charlie laughs awkwardly, claiming that when he gets that feeling with a girl he’ll be sure to follow through on it with them in mind. They all titter along with him. Oh, charming, cheeky Charlie Gardner! Ha ha ha.

EXT. MOVIE THEATER - NIGHT

Zay and Charlie are in line for the movies, comfortably discussing the other posters on display. Zay points out the promotional poster for the dance movie, reminding him of their plans to see it in just a few weeks. Charlie assures him he didn’t forget, and jokingly places a bet on whether this film will be better or worse than that one is guaranteed to be.

Charlie zones out as Zay continues the conversation, getting fixated on him as he speaks. Like, he’s paying attention to him, yet he doesn’t actually know anything Zay just said. It’s a weird moment, and Charlie has to shake it off before they head into the theater.

INT. MOVIE THEATER - SCREENING ROOM - NIGHT

Based on Zay’s bemused expression as the film unfolds in front of them, it’s clearly just as bad if not worse than the dance film is supposedly going to be. But for whatever reason, Charlie is still distracted. He keeps glancing at Zay’s reactions to the film rather than the film itself, and he’s suddenly oddly restless.

He starts to hit on every little thing that Danielle mentioned. He’s got butterflies, and he keeps wiping his palms on the knee of his jeans. He can’t seem to move on from the fact that their elbows are touching on the arm rest.

Zay leans over to whisper something to him about the movie, and this totally catches Charlie off-guard. His stomach flips, and whoa, Zay’s face is so close to his. He glances at him, then down at his lips. And the moment he realizes he did, he jumps up from his seat.

Zay: Dude, are you okay?

Charlie: I – I think I’m gonna be sick.

Charlie darts out of the row, taking the steps two at a time and disappearing. Zay gets up and starts to go after him, before a movie-goer snaps at him and tells him to get out of the way.

Zay: It’s a bad movie. What are you missing? I’m doing you a favor.

INT. MOVIE THEATER - BATHROOM - NIGHT

Charlie bursts into the restroom, sliding to the furthest stall and locking himself inside. He paces the small confines of the stall and tries to calm his breathing, and there’s a moment where he really does think he might throw up. He drops to his knees, but the nausea passes, leaving a cold sweat in its place.

Charlie collapses back against the wall, pulling his knees up to his chest. He looks at his hands, which are clammy and trembling slightly. He’s never felt like this before, and it’s clear he’s not a fan of it. Although, it was all spurred by other feelings he’d never felt before…

INT. MOVIE THEATER - NIGHT

When Charlie emerges, Zay is leaning against the wall outside and patiently waiting for him. He straightens up the moment he sees him, concern alight in his features as he asks if he’s okay. Charlie examines him, trying to get his brain to work properly again.

Charlie: I think… I think I just need to go home.

Zay: Okay. Okay, yeah, of course. Well, let me walk you –

Charlie: No I’ll just – I’m just gonna call an Uber. Thanks though.

Zay seems like he wants to argue, still worried. But he relents, claiming he’ll see him at school tomorrow anyway. Charlie returns the sentiment in a daze, already making a beeline for the exit.

INT. GARDNER HOME - KITCHEN - NIGHT

Charlie is seated at the counter, already in his pajamas and listlessly munching on toast. He’s sipping cola in an effort to settle his stomach. Ambrose enters searching for a late night snack, taking in the scene with a hint of amusement.

Ambrose: Wow, cola. For the dancer? You must really not be feeling well.

Charlie: You have no idea.

Ambrose expresses sympathy that Charlie had to leave his hangout with his friend early. When he settles into making a snack across the counter, Charlie ventures the question of whether his father knew he had feelings for his mother right away. Did he know in an instant, or did it take some time for him to come around in recognizing his feelings?

Ambrose claims he always had a tenacity towards the girls as he got older in high school.

Ambrose: I mean, it was Catholic school – you’ve seen those uniforms, right?

Charlie: Ha ha. Yeah. Totally.

That remark aside, Ambrose states that he didn’t really know how major those feelings could be until he actively started pursuing them. Like, it took having his first kiss and beginning to explore that side of things that he really started to recognize them more adeptly.

Charlie internalizes this, figuring maybe that’s the solution. He simply hasn’t been trying hard enough. If he wants to like girls the way everyone else seems to expect him to, maybe he just needs to be actively pursuing them. Then he’ll feel it, and it’ll work itself out.

Song Cue ♫ ♪ “A Heart Full Of Love” as performed by Les Misérables Original London Cast || Performed by Charlie Gardner (feat. Yindra Amino & Riley Matthews)

INT. AAA - AUDITORIUM - DAY

Lucky for Charlie, he has a kiss essentially scripted into his future for him. He and Yindra have yet to practice their kiss after “A Heart Full of Love,” so it’s the perfect excuse to put this whole thing to rest. So as the number unfolds at their dress rehearsal, never having been discussed beforehand, Charlie ends the number by taking Yindra’s face in his hands and kissing her.

From the outsider perspective, it appears very impassioned. Yindra is obviously surprised, and Riley’s jaw sort of drops from her spot on the stage, totally disrupting the flow of the number. In the wings, the rest of the class reacts accordingly. The girls are shocked, and a few disappointed.

Lucas makes a face, as does Zay next to him. He was definitely getting some vibes… but then, maybe he read the whole situation wrong. It’s unclear how exactly he feels about that.

When they break apart, it’s evident that the surprise lip lock has thrown the whole dress rehearsal into disarray. No one is really sure what to do next, so much to the point that Shawn prompts them to move onto the next scene. It’s a dress rehearsal, they can’t stop people! Lucas motivates everyone to get going, starting the next set change.

Lucas: Have you all never seen a kiss before? What are you, third graders?

Nigel, in passing: Like you’ve ever kissed anybody.

Lucas: Hey. Hey! Shut the hell up.

INT. AAA - BOYS DRESSING ROOM - DAY

Farkle and Zay are already in the dressing room when Charlie enters, somewhat dazed from his kissing expedition. They commend him on making such a bold choice, opting to just get it out of the way rather than make a big deal about it. And it sure uh, looked believable. Zay is called out for the next scene, brushing by Charlie as he goes.

But as continued conversation with Farkle reveals, Charlie is a good actor. Because it was not nearly as passionate as it seemed. Charlie states that he didn’t feel anything, clearly dejected by this admission. Farkle isn’t sure what the major drama is, but he tries to put a positive spin on it for him.

Farkle: Hey, man. I mean, it’s okay. You’re not supposed to actually feel things for your co-stars. That’s what bad actors do.

Charlie: Ha, yeah. No, yeah, totally. You’re right.

Still, Charlie isn’t satisfied. Farkle is called onto stage as well, leaving him alone to ruminate.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Charlie crosses off another day on his calendar, leaving only one left before opening night. As he goes and climbs into bed, Eleanor appears in the doorway to wish him goodnight. She tells him how excited the whole family is for tomorrow, and that Agatha will be able to make it along with her husband. Isn’t that just lovely?

It’s nice news, but Charlie can’t concentrate. He abruptly changes the subject, blankly asking her why they don’t speak to Bridgette anymore. She’s been gone less than year, and it’s like she’s been gone forever. Just totally scrubbed out of the family tree.

Eleanor can tell this subject isn’t going to be dropped easily. She sighs, cracking the door behind her and coming to join Charlie on the edge of the bed. She treads the topic cautiously, starting off with the statement that Bridgette was always the more stubborn of the five of them. As it stands right now, she’s made… choices while away that she knows they don’t agree with. She’s made these choices of her own free will, and it’s difficult to try and level with her when she’s in a place of such sin in her life right now. It’s trying, but that’s the way it is.

Eleanor emphasizes that they still love her, and she’s still family. But choices have consequences, and right now, she’s choosing to live with those. Unsurprisingly, this does not make Charlie feel better at all. As he settles into bed and his mother bids him goodnight, it seems as though he’s going to be getting very little sleep the night before opening…

PART V: “Sweet Jesus Doesn’t Care”

INT. AAA - SHAWN’S OFFICE - DAY

As Maya is storming out, Lucas is making his way into Shawn’s office. They bump into one another, once again prompting Maya’s harsh rhetoric.

Maya: Are your two left boots incapable of walking too? Get out of my way, gothic Butch Cassidy.

Lucas raises his eyebrows as she flounces away, turning his amused expression to Shawn.

Lucas: What did you do to her? You run over her brand new puppy, or what?

Shawn: Why, you actually concerned for one of them?

Lucas: No, I was kind of hoping I could take credit for it. It’s so funny when they pop off like that.

Shawn rolls his eyes, gesturing for Lucas to come in anyway when he states he asked to see him. He explains that with Isadora now in the show as an actress, they’re going to need someone to step into the role of manager. He’d like to offer him the position. Lucas is reluctant, obviously not certain himself if he’s cut out for such a major responsibility.

Lucas: Are you sure that’s a good idea? I mean, I don’t even know what show we’re doing.

Shawn: … seriously?

Lucas: Look, you think I pay attention to any of this? If I could get away with wearing ear plugs all day, I would.

Valid point. Still, they need someone who can take charge and Lucas has more than proven his ability to lead. Considering he orchestrated a full-on revolution, Shawn posits he could handle one small production. After a few more words of flattery and a brief pause, Lucas agrees.

INT. AAA - JACK’S OFFICE - DAY

Understandably, not everyone is entirely sold on Lucas’s step into such an important leadership position. Thus, Lucas ends up opposite JACK HUNTER in his office once again, although this time he at least is not in trouble. Jack simply wants to confirm that he intends to take the role seriously, as there are a lot of stakes – and money – being poured into this production.

Jack: I’m only clarifying that you realize the importance of the position you’re being offered. I need to know that you’re going to take this seriously, because I don’t want to have to clean up the mess if you get irritated or bored with it and let it derail.

Lucas: Oh, how I do enjoy our little chats. Your confidence in me is earth-shattering.

Jack: I’m just being realistic. I know you don’t care about the show.

Lucas: Oh, no, not at all. You’re not wrong about that. [ after a beat ] But I do care about my crew. This reflects back on all of us, and I know it’s important to them. So I’m not going to let them down.

Honestly, that’s probably the one thing Jack can believe. Choosing to trust that Lucas is going to take the role seriously, he gives the green light. Lucas is officially the stage manager for Les Mis.

INT. AAA - AUDITORIUM - DAY

Lucas saunters into rehearsal, meeting with the techie brigade in their usual spot. Isadora’s absence is duly noted.

Jade: It’s weird without Isadora… [ glancing around ] and heavy on the testosterone.

But the show must go on, and so they will learn to operate without her. Dave hands Lucas a copy of the script.

Dave: It’s “The Miserables.”

Lucas: Oh, so it’s autobiographical.

Once Lucas is done snickering at his own joke, the group of them get down to business and make sure they’re all on the same page. Then, when there’s no more ducks to put in a row, Lucas exhales a pointed sigh.

Lucas: Okay. Let’s put on a fucking musical.

Song Cue ♫ ♪ “Little People” as performed by Les Misérables Original London Cast || Performed by Nick Yogi (feat. AAA Sophomores)

Focus jumps to the stage, where Yogi in his role as Gavroche is leading this jaunty and upbeat number. While he leads the company, the techies work on putting together the show in the background. It’s the most pointed time lapse of the episode, showing the full-on construction of the technical aspects from week one through to dress rehearsal.

As the number ends, we’re deep within dress rehearsal week. Yogi and the company are in full costume, Yogi throwing a fist in the air as he’s lifted onto the shoulders of his castmates.

INT. LUCAS’S APARTMENT - NIGHT

Lucas is coming back late from school, dress rehearsals keeping them well into the night. As he unlocks the door and steps into the tiny entryway, it’s clear that he’s actually having a good time with how the show is unfolding. He’s even humming “Master of the House” as he makes his way in, shutting the door behind him. Yes, Lucas Friar, humming!

The moment he turns to face the rest of the apartment, however, his humming trails off. Something about it doesn’t feel quite right, and he immediately tenses up. Pieces of the scenery begin to jump out at him as his eyes adjust to the dark – some of the furniture in the living room is askew. There’s a broken object on the floor that he nearly steps on, porcelain lightly crunching underneath his boot. He kneels down to investigate, recognizing the vase that used to sit on the side table by the door now shattered on the hardwood.

Lucas takes on a more cautious stance, zeroing in on the one light glaring from the kitchen. He calls out for his mom, but there’s no answer. Getting to his feet, he apprehensively approaches the other room. The closer he gets, the slower he moves… his hand drifts to his pocket, grip closing around the switchblade…

INT. LUCAS’S APARTMENT - KITCHEN - NIGHT

Thankfully, he doesn’t need the weapon, but that’s where the good news ends. Although we don’t see his mother, it’s clear from the way his expression shifts into panic that she isn’t in good shape. Kenneth Friar has certainly breezed through, that much is certain.

Lucas immediately calls out to her, scrambling to his knees and launching into action.

INT. AAA - JACK’S OFFICE - DAY

Lucas is back in his usual spot across the desk, alone in the office. He’s staring at the desktop, tapping his finger against the arm of the chair. Sort of present, but his mind is elsewhere.

When Jack steps in it startles him, causing him to jump. He clears his throat to cover to display of discomfort, locking eyes with Jack as he settles into the desk across from him. The whole thing is far more somber than usual, making it all feel even more disorienting.

Jack explains that Eric updated him on what happened. He’s grateful to hear that Grace is going to be okay. He also wants to know if Lucas is feeling okay, or is willing to share anymore about what he saw or experienced.

Lucas doesn’t respond. He keeps zoning out, currently focused on the small floral arrangement Jack has on the edge of his desk. It looks kind of like vase that used to be in his apartment…

Jack carries on, also stating that as far as he understands it, this isn’t the first time things like this have happened in the Friar household. Still nothing from Lucas. Jack sighs, changing tact instead and asking Lucas if there’s anything he thinks they can do for him.

Lucas: [ tearing his gaze from the flowers ] … Huh?

Jack, patiently: Is there anything we can do for you? Anything that you need, or that I can –

Lucas: No. [ defensive ] No, no. I’m fine. I don’t need anything.

Jack: Just, considering the circumstances –

Lucas: I’m fine. I don’t see why you would bother to ask now, since no one has ever bothered to care much before.

Jack: That’s not –

Jack begins the argument, before realizing it’s a futile effort. It’s not the time, and Lucas is in no state to be launching into debates about something so sensitive. Especially when he can hardly get him to hold a conversation. He instead opts to reiterate the point that Lucas is seen, they see him, and there are options. There are systems in place to help him, all he has to do is ask.

Lucas blinks, opening his mouth to say something. Jack hesitates, hoping it’ll pave the way for a solution. Any sort of progress.

Lucas: … I have to get to rehearsal.

He gets to his feet still in a daze, leaving the office without dismissal. Jack doesn’t fight him, but it’s evident he wishes there was more he could do.

Song Cue ♫ ♪ “Bring Him Home” as performed by Les Misérables Original London Cast || Performed by Zay Babineaux & Jack Hunter

INT. AAA - AUDITORIUM - DAY

Zay starts off the sentimental, protective ballad, in full costume and dress for the show. His performance is stellar, channeling all the emotion and depth of Jean Valjean seemingly effortlessly. It’s a tough portrayal to beat.

INT. AAA - JACK’S OFFICE - DAY

Still, nothing is more raw than experiencing the actual emotions of such a character. It’s not the French revolution, but Jack feels a distinct sense of dread and ache as he watches Lucas saunter off, feeling helpless to actually aid him in a way he needs it.

The phrases “He’s like the son I might’ve known, if God had granted me a son,” and “Bring him peace, bring him joy, he is young, he is only a boy” ring particularly true.

INT. AAA - AUDITORIUM - DAY

Zay brings the number to a close, demonstrating his lovely falsetto.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas is asleep in his chair, having dozed off while working on last minute details for the production. Isadora pokes her head in, having come by early opening night to rehearse one last time. Her entrance spooks him and accidentally wakes him up, Isadora immediately apologizing as he reorients himself with reality. He waves her off, disregarding the apology.

The two of them hang in the quiet for a moment, before Lucas informs her cheekily that this job she does ain’t easy. She’s like oh, no kidding, but she’s smiling as she does. When he expresses some doubt in his ability to pull this off, Isadora quells those concerns and assures him that she can’t think of anyone else better suited to take over for her.

As she darts off, Lucas gives her a sentiment of good luck. Unfamiliar, but he’s trying.

Lucas: Good luck. Or break a leg. You know. Whatever they say on the other side of the tracks.

Lucas glances down at his script binder, taking a deep breath. Then he gets to his feet, descending from the booth as the rest of the cast begins to assemble for call time.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “One Day More” as performed by Les Misérables Original London Cast || Performed by AAA Sophomores

The cast launches into the famous first act finale, all preparing for the emotional whirlwind that is sure to be opening night. It ties all of the stories together in preparation for the final act, everyone singing their roles and coming together as a cast and crew.

In fact, even Lucas gets his due. On the lyric “My place is here, I fight with you,” Lucas takes the solo as he steps up with his techie crew to brave the production as a team. Dylan, Asher, and Dave all clap him on the shoulders.

With resounding gusto, we launch into the remainder of the episode.

PART VI: “The Future That They Bring When Tomorrow Comes”

INT. AAA - ATRIUM - NIGHT

Opening night is upon us! There’s nerves and excitement in the air. Outside the auditorium, family and friends alike mill about and wait for the doors to open.

INT. AAA - DRESSING ROOM HALL - NIGHT

Performers and techies are both in a frenzy, adjusting last minute details and shouting for one another to fix mic packs or tweak costumes.

INT. AAA - AUDITORIUM - NIGHT

Although the chaos continues onto the stage with the stagehands, the further out into the audience one goes the quieter it gets. Riley is making her way towards the back, jogging up the steps to the technician’s booth.

INT. AAA - TECHNICIAN’S BOOTH - NIGHT

Riley knocks lightly before poking her head inside, surprised to not find Lucas in his usual chair. She almost turns around, but just a little bit of further investigation solves the mystery for her.

Lucas is seated on the floor in front of the electrical cabinet, leaning back against it with his arms propped on his knees and eyes closed. It’s a setting of unequivocal quiet, a sharp contrast to the hectic nature of everything else.

It also gives Riley the distinct sense that she’s disrupting said quiet. She starts to tiptoe her way out, but Lucas already heard her come in.

Lucas: You just going to leave without saying goodbye? Seems a bit harsh for you.

Riley laughs sheepishly, stepping fully into the space as Lucas opens his eyes to look at her. She asks if she’s interrupting, which Lucas waves off. He’s just taking his pre-show bout of silence, and traditionally, no one is supposed to bother him during this ritual.

Riley: I didn’t mean to – I can come back –

Lucas: It’s fine. What do you want?

Riley takes the moment to thank him for being willing to listen the other day and allowing her into his space. She also appreciated his advice, and she doesn’t know how she’s going to be able to repay him for that.

Lucas: It wasn’t a big deal.

Riley: … well, it was to me. So, thank you.

After a moment, Lucas nods, accepting the gratitude. The quiet between them lingers, and there’s held eye contact. Soft eye contact, at that.

JEFF MONROE enters, obviously surprised to find another person already in the booth. He glances between them, giving Lucas a quizzical look before asking if he should come back. Not that he really has much time given they’re opening the doors in ten minutes, and someone needs to set up the lights…

Riley clears her throat, offering him a smile and claiming she was just leaving. She wishes both of them luck, certain that they’re going to kill it. Lucas returns the sentiment as he climbs to his feet, telling her to break a leg now that he’s practiced the sentiment more than once.

After she leaves, Jeff settles into the lighting board chair while Lucas gathers his things to head backstage. It’s impossible for Jeff not to make a comment.

Jeff, teasingly: I thought no one was allowed up here during pre-show quiet.

Lucas: Shut up.

INT. AAA - AUDITORIUM - NIGHT

Isadora is in the wings, peeking through the curtain to watch the audience file in. The expression on her face makes it clear just how conflicted she is about the impending rise of the curtain.

Maya finds her, coming up behind her to take a look as well. It’s looking like a full house for opening night. She starts to comment on it, but Isadora pointedly steps away from her claiming she has nothing to say to her. Maya acknowledges this, stating that she’s right, but she hopes she’ll listen because she wants to apologize.

Maya goes on to state that they are too talented to be enemies, and she doesn’t want to create a reputation for herself as a diva who can’t uplift her fellow female powerhouses. If anything, they need to stick together. She says she is certain that Isadora is going to bring the house down – not because her mother is famous, but because she’s Isadora. Surname irrelevant.

Isadora doesn’t outright forgive her, but it’s clear that the sentiment is genuine. The orchestra begins to tune their instruments, casting quiet over the audience. Maya wishes her luck, disappearing deeper into the wings to take her places.

INT. AAA - DRESSING ROOM HALL - NIGHT

Charlie is with Yindra backstage, the latter giving him a note about cooling it on the kiss from here on out. She appreciates his initiative to just get it over with, but they want to look professional, not insane.

Farkle passes them, on the phone with his parents in full costume. He’s evidently stressed about whether or not they’re going to be present, and given how he’s responding to the other end of the line it doesn’t sound good. Dylan pokes his head, searching for Farkle and insisting that he take his place for his entrance because they’re almost to his opening scene.

Farkle swallows his disappointment, handing his phone to Yogi who runs it back to the dressing room. Then he squares his shoulders, stepping back into character. Cold, removed, a man of the law. He pushes through the stage doors.

INT. AAA - DRESSING ROOM HALL - NIGHT

The full cast and crew are assembled, Shawn giving them great praise for intermission and questioning if there’s anything they all need. As the group disperses and a few performers hang back to ask him questions, Charlie is surprised when his older sister AGATHA GARDNER (22) sneaks through the doors to greet him. His face immediately brightens, and he gratefully accepts her enthusiastic hug. She knows she’s not supposed to be backstage, but she wanted to tell him how amazing he’s doing so far.

Pulling her aside and with a semblance of privacy, Charlie asks if Bridgette was able to make it or not. Aggie’s face twitches with sympathy, and she essentially has to be the one to break the news to Charlie that Bridgette… isn’t coming anywhere for awhile. She fucked it up with mom and dad, and now she has to face the consequences. Nor does she seem particularly bent on winning back their good graces. That’s just the way it is.

Predictably, this news does not make Charlie feel better. Before Aggie can reassure him, the bell rings calling the audience back for Act 2. She gives him a kiss on the cheek and tells him to break a leg, disappearing back through the doors. The mild fear in his expression after their conversation does not bode well for him.

INT. AAA - AUDITORIUM - NIGHT

Farkle takes the stage for his final number, marching out into the bright lights. He scans the audience, hope still intact for the briefest of moments… before it crumbles to dust. No sign of his parents anywhere amongst the full crowd of spectators, they weren’t able to make it. Because of course they weren’t.

In the next instant, he jumps into the frantic, broken energy of his final solo downright effortlessly. Maybe, perhaps, because it doesn’t feel much like acting.

Song Cue ♫ ♪ “Javert’s Suicide: Soliloquy” as performed by Les Misérables Original London Cast || Performed by Farkle Minkus

Farkle completely chews up the scenery in his final scene, bringing down the house with a convincing portrayal of a man pushed to the brink. For having been in the background for most of the episode, the performance certainly serves to remind us why he’s at Adams at all.

When it comes to his “suicide jump,” Farkle simply backs his way off the set piece and allows himself to fall right into the shadows. As is typical of the production, the audience literally gasps based on how shocking the technical aspects make it appear to be.

Farkle lands safely on the cushion set up for him to catch his fall, but he looks pretty listless as he lays there in the darkness of the scenery. He stares up at the stage lights and catwalk dangling above him, not planning on moving anytime soon from the looks of it.

INT. AAA - BOYS DRESSING ROOM - NIGHT

Charlie is hiding in the dressing room, crouched up on the corner of the countertop and resting his head against the mirror. Dave startles him out of his fugue, informing him that there’s five minutes until “Empty Chairs,” so he should head to places soon. Charlie thanks him, jumping back to his feet and making sure his mic pack is still in place.

Zay enters, coming in to adjust his old age makeup for the finale. He compliments Charlie’s performance so far, stating that he’s killing it. Charlie returns the sentiment, somewhat robotically. Then, Zay says something that totally throws him off.

Zay: They hated it.

Charlie whips around to face him, uncertain. He asks what Zay means, and he quickly clarifies that he’s talking about the dance movie.

Zay: The movie. Critics hated it, it got horrible reviews. Totally panned. It’s gonna be hilarious to watch.

Charlie: Oh. Oh, yeah.

Zay: Can’t wait til after the show. Hope you’re ready for mediocrity in full-screen glory.

Charlie: Yeah. Yeah, ha ha.

Zay heads out, leaving him back in the dressing room alone. Charlie attempts to shake off this daze that has taken hold of him, but when he catches his reflection in the mirror, he gets stuck on it. He can’t seem to look away from it – it doesn’t feel like he’s looking at himself.

Song Cue ♫ ♪ “Empty Chairs At Empty Tables” as performed by Les Misérables Original London Cast || Performed by Charlie Gardner

Through his daze, Charlie starts a shaky and emotional rendition of the tragic final Marius solo. The sequence emphasizes his feeling of disconnect, how empty the space around him is…

INT. AAA - AUDITORIUM - NIGHT

Translating to a truly heart-wrenching performance on stage. Charlie channels Marius’s sense of grief powerfully, almost as if he can imagine what it would be like for all of your loved ones to suddenly disappear out of your life. Like he’s spent a lot of time pondering that potential end.

Tear-stained and emotionally raw, Charlie brings the performance to a close. The applause is resounding, but it sounds far away. After a moment, he gets himself to move and exits the stage.

INT. AAA - ATRIUM - NIGHT

Song Cue ♫ ♪ “Finale” as performed by Les Misérables Original London Cast || Performed by AAA Sophomores

As the instrumental to the first half underscores, the sophomore class emerges from the stage doors to greet their waiting audience in the atrium. It’s a joyful, energetic time, pride and love consuming every inch of the space as parents hug their talented students and flowers are handed in every direction.

Riley is greeted by Cory and Topanga, Auggie beating them to it and giving her a tight hug. She swings him around before focusing on her parents, accepting their hugs and kisses as well as flowers. Still, she feels torn between them.

Maya runs to greet Katy, who pulls her into a swaying hug. When they pull apart, she assures her that she was the star regardless of what role she had. Maya pulls her back into the embrace.

Farkle is wandering the space, accepting compliments from other families but feeling somewhat isolated. That is, until Angela appears through the crowd to offer him sincere congratulations. It’s such a relief to see her, and when she offers him a hug he returns the embrace tightly. From the emotional expression on his face, it’s clear the attention means more to him than he could ever accurately express.

Isadora is proceeding with caution through the throng of families, eyes widening when her most excited audience parts the crowd to meet her. It’s Valerie De La Cruz, in the flesh and in all her glamour. She managed to work out her schedule so she could come see the show, and she is so incredibly proud of Isadora.

Isadora doesn’t even know how to respond. She doesn’t know if she’s dreaming, or if this is a fever hallucination, or what. Luckily, she has an excuse to run away, stating that she has to take care of something real quick…

INT. AAA - DRESSING ROOM HALL - NIGHT

Maya catches up to Riley backstage, the latter expecting a snarky comment. Instead, Maya merely congratulates her on a great performance. She tells her it makes complete sense why she got the role, and she knows she’s going to continue to bring it with their remaining shows. A bit of a 180, but not unwelcome. Riley tentatively accepts the compliment.

INT. AAA - BOYS DRESSING ROOM - NIGHT

Zay is in the dressing room with the other boys, gathering his things and in an upbeat mood. Charlie’s stuff is already gone. He says goodbye to Nigel and Yogi as they head out, just as a text message comes through on his phone.

It’s from Charlie, and just one line. “I can’t.”

Zay stares at the message, his smile fading. He starts to type a response but then hesitates, not sure what he would even say. It’s not clear how he’s taking this development.

INT. AAA - TECHNICIAN’S BOOTH - NIGHT

Lucas is closing up the booth for the night, considering there’s no reason for him to be out in the atrium. Still, he’s making little progress. He’s sort of in a state of shock, stunned that he managed to pull off such a responsibility without fucking it up.

He crashes into his chair, looking out towards the stage. All poised and ready for the next night. There’s something oddly charming about it.

Isadora pokes her head in, wondering if he’s just about ready to go. He explains that he’s just finishing cleaning up, but yeah, should be soon. Isadora takes this as her cue, a grin creeping onto her face as she starts lightly singing the words to the closing number. “Do you hear the people sing? Lost in the valley of the night…”

Lucas spins around to give her a look, his disdain shifting to surprise when the rest of the techies join in on the vocalizing. They all cram into the booth, poorly but happily singing the closing lines in some sort of prideful tribute to congratulate Lucas on a job well done. He shakes his head, hiding his face behind his palm and grimacing, but it’s clear he’s endeared.

Lucas, embarrassed: You all can’t sing. Stop.

They continue on anyway, smiles wide as Dave steps forward carrying a cookie cake. He drops it down onto the table in front of Lucas, bearing a cheeky message of congratulations. They’re definitely pushing his reputation, because it’s evident that Lucas is touched.

The group of them break into applause, gearing up to share in the cookie together. Now, there’s a family. As the performers take over the vocalization…

INT. AAA - AUDITORIUM - NIGHT

The finale to the show unfolds on the stage, focus being drawn to each of our main players as they sing their hearts out in the emotional conclusion. Just off in the wings, Dylan and Asher lean forward to give Lucas bracing pats on the shoulder.

In the audience, Valerie makes eye contact with Isadora. Isadora blinks, not certain that she’s seeing her correctly. But she doesn’t go away. No, she is in fact there, as she’ll come to see in just a few minutes.

Who knows what all this will bring when tomorrow comes…

END OF EPISODE.

#S1 #episodes #109

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