#Chief Maggie Riley 2 | Explore Tumblr Posts and Blogs

ambitionsource · 5 years

Photo

AMBITION Season 2 ♫ “Callbacks” [ 2.01 ]

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

THE SHOW MUST GO ON – A new year at AAA promises new troubles on top of the chaos left behind from the last. Angela’s replacement meets the junior class. While some students aim to embrace the change, others may never make it back through the doors.

55 Minutes (12.5K+ words) || No warning apply.

[ ← The World Will Never Be The Same ] [ S2 Synopsis ] [ Second Choice → ]

( Follow along with the music on Spotify here! )

INT. BABINEAUX HOME - ZAY’S ROOM - DAY

We’re close on a phone, laying on the surface of a vanity dresser. The screen lights up, displaying a notification from Instagram. The moment does give us a bit of AAAC-induced PTSD, but it’s innocuous -- “wholemayahartedly liked your photo.”

Underneath the notification, a reminder sits waiting. “Welcome back to AAA.”

As the clock hits 7:00AM, an alarm begins to go off, but the owner is already awake. A hand reaches out to quickly swipe away the alarm, and ZAY BABINEAUX returns to our screens once again. He’s already geared up for the day, looking fresh and cool as ever.

He glances at himself in the mirror, adjusting his hair and rolling his shoulders before letting out a sigh. Welcome back, indeed. As jaunty, cool beats float in…

Song Cue ♫ ♪ “New Shoes” as performed by Paolo Nutini || Performed by Zay Babineaux

As Zay gears up to head out for the day, he sings and freestyles to this easy-going tune. After so long without his impressive dance moves, it sure is good to see them again.

INT. BABINEAUX HOME - DAY

Zay continues his journey out the door, sliding down the banister and landing with a flourish. He breezes through the house, grabs some fruit from the counter. He greets his parents, OMAR BABINEAUX with a nod and DONNA BABINEAUX with a kiss on the cheek.

He makes his way out the front door…

EXT. NEW YORK STREETS - DAY

And emerges from the subway, continuing his stylings down the streets of Manhattan. He performs with confidence, comfort, the visuals a far cry from his more somber explorations of the city in 1.06.

Finally, he approaches the familiar institution of AAA.

INT. AAA - HALLWAY - DAY

Zay travels through the halls as he descends into the second verse, slowing down a bit as he takes stock of the setting in the new year. Despite all that’s happened here, it looks about the same as it did last year. He nods to friends as he passes, carrying a new sense of power as the reigning recipient of the Kossal Summer Program.

More familiar faces begin to join in on the choreography through the hallway -- NIGEL CHEY, YINDRA AMINO, HALEY FISHER and CLARISSA CRUZ. Zay dances with each of them, moving us through to the bridge…

INT. AAA - AUDITORIUM - DAY

Zay is showing off his freestylings on the AAA stage, suddenly alone again. The spotlight is on him and the number is clearly a performance, but it’s unclear for whom and why. Either way, he shines as he completes the routine, running through the final chorus with energy and obvious talent.

When he finishes, breathless and squinting into the lights, there are no applause. No standing ovation. Just quiet, save for the quiet scribbling of pens on paper. It’s clear there’s a panel of some kind seated in the back of the auditorium, but no other information.

Then, a familiar voice through the darkness:

Eric: Thank you, Zay. We’ll let you know.

Zay exhales, offering a tight smile and nodding a thank you. As he turns to exit the stage, his confident exterior falters somewhat.

What will they let him know? Who will let him know it? What the knick knack patty whack is going on, chief?

Another year, another jampacked adventure. Welcome back to Adams, indeed.

Cue opening titles.

INT. AAA - HALLWAY - DAY

Through the scope of an A/V club camera, DAVE WILLIAMS eagerly welcomes back the junior class as he and NICK YOGI, behind the camera, kick off the back-to-school cheer. Standing outside the doors to the black box theater, Dave waits for a cue from Yogi.

Dave: Is it -- are we ready? Are you rolling?

Yogi: It’s rolling.

Dave: There’s no like -- shouldn’t there be a light? Blinking or something?

Yogi: Just trust me, it’s rolling.

Dave: You know I trust you with my life.

Yogi: And me, you. It’s David and Goliath, baby.

Dave: It’s David and Goliath! Welcome back, AAA thotties, to the thunderdome.

Yogi explains that he and Dave are endeavoring to reinstate the A/V club to its former glory, and part of this task involves getting the scoop before anyone else. So they’ll be going around and catching up with their classmates after the disastrous way that last year wrapped up, offering what they refer to as “Dogi Exclusives.”

The whole sequence is a bit jarring considering Yogi is filming and Dave is a whole foot taller than him, but they make it work. And boy, do they certainly have some exclusives.

Song Cue ♫ ♪ “Shining Star” as performed by Jump5 || Instrumental

As the quick-paced montage kicks off, Dave and Yogi pursue Zay first. They follow him as he parades through the halls with his new level of confidence. He claims that his summer break was excellent, completely fulfilling in every possible way.

Although Dogi want to dig deeper on that, their questioning is interrupted by the trio of them running into MAYA HART. She looks even more polished than last year, radiating diva and her envy-worthy blonde locks as shiny and voluminous as ever. She and Zay exchange a quick, snappy handshake, indicating they’ve become better friends in the time we’ve spent away.

The two of them state that this year is going to be unlike any other, and all the bullshit from last year is completely irrelevant.

Dave: And all the stuff from the AAAC --

Maya: Old news.

Zay: The drama? The fakeness?

Maya: Farkle Minkus?

Zay: Gone. Caput.

Dave: What about the fact that you’re on scholarship --

Maya: Here’s what you need to focus on, Davis. Nothing that parasitic pinnacle of a page had to say means anything. And we’d all be wise to forget about it, because there are far more interesting things for us to be focused on this year.

When Dave and Yogi ask for elaboration, all that Maya will say is that there may very well be a new diva rising through the ranks in the junior class. Not above her or Zayby, of course, but someone with a lot of starpower is going to make Minkus more irrelevant than he already is.

An interesting promise…

INT. AAA - AUDITORIUM - DAY

In the auditorium, Dave attempts to interview RILEY MATTHEWS. She’s more soft-spoken and reserved than last year, obviously hesitant as she talks with them. All that growing from the previous year, and for what…

She glances over her shoulder towards the technician’s booth as Dave asks her another question, growing pensive and distracted.

Dave: Riley. Riley. Superklutz. Riley.

Riley: [ blinking out of it ] Sorry, um, what was the question?

INT. AAA - HALLWAY - DAY

Dave convenes with his techie pals ASHER GARCIA and DYLAN ORLANDO, both looking fresh and friendly upon their return from summer. As he attempts to talk with them about how they spent their break, Asher keeps having to interrupt Dylan to keep him from saying things it seems he’s not supposed to mention.

Dave: So how did you spend your summer?

Asher: Oh, nothing much. Went to the museums a couple times.

Dylan: Asher’s underselling. Summer was a hoot. We did so much wild stuff, man. [ Laughing. ] One day we met Lucas at grand central market and he made up this game where we --

Asher: Really. Nothing much at all.

INT. AAA - HALLWAY - DAY

Across the hall, Dave attempts to interview CHARLIE GARDNER in front of his locker. Although he seems to be doing a fair amount of damage control, for what it’s worth his outward appearance seems more relaxed than sophomore year.

He’s softened his attire to less straight-laced and more casual for his standards -- nice sweaters and plain tees. His hair has grown out over the summer, trimmed for back-to-school yet still more wild and free than before.

Exterior mellow aside, as he talks to Dave and Yogi he appears a bit shifty. He comes off like a politician rather than a peer, rehearsed and vague. Expert at avoiding confrontation.

Charlie: I’ve done a lot of self-reflection this summer, and I realize that sending those posts was the wrong decision. Those were the actions of someone who I do not wish to be, so I’m trying to do better and make up for those mistakes.

Dave: But why did you do it?

Charlie: I think what’s more important is how we move forward.

Charlie offers a thin smile. Dave gives the camera a look.

INT. AAA - HALLWAY - DAY

Back with Asher and Dylan. Yogi poses a new question.

Yogi: Speaking of Lucas, no one has seen him this morning for an illustrious comeback. Any idea where he is?

Dylan: [ with a snort ] Do we have any idea where he is? Our best friend --

Asher: [ hurriedly ] Nope, haven’t seen him.

INT. AAA - HALLWAY - DAY

Dave has to jog to keep up with the power walk of ISADORA DE LA CRUZ. She looks as fierce as ever, wearing her usual attire of ripped jeans (ripped not for fashion’s sake, but because they’ve been completely worn through) and a dark tee shirt sporting a reference to a film of some sort. The look is completed of course with Converse, although we note that she’s wearing a new pair of yellow high tops rather than her usual old black pair. Presumably a gift from someone (mayhaps a starlet mother?), since Isa isn’t inclined to spend her money on clothes.

Yogi asks if she’s worked on any short films over the summer, and she retorts that she actually spent more time focusing on her performance chops for this year. This is a bombshell revelation -- Isadora De La Cruz is going to take the stage! -- and Dave and Yogi are shook.

Dave: Breaking news!

Yogi: You heard it from Dogi FIRST!

Isadora doesn’t seem interested in humoring them further. Dave shouts one more question after her as she marches away, lucky that she turns around to gift them a snarky answer.

Dave: So where’s Lucas?

Isadora: Do I look like his keeper? Hell if I know.

INT. AAA - AUDITORIUM - DAY

Jumping back to Riley, Yogi asks Riley what she’s most excited about for the new year. She takes a long pause, evidently at a total loss for how to answer. She finally manages to stammer out a vague sentiment.

Riley: I’m mostly looking forward to everyone… coming back together. And um, renewed camaraderie.

Yogi: [ with a laugh ] Yeah, right.

Riley doesn’t seem thrilled with his dismissive comment.

INT. AAA - HALLWAY - DAY

Back to Dylan and Asher. They’ve gotten distracted, Asher focusing on nitpicking Dylan’s jacket collar while Dylan attempts to divide his attention between his boyfriend and the question at hand.

Yogi: So with Alvin out of commission, how are the two remaining chipmunks functioning then?

Dave: Yeah, how are things going for you two?

Dylan, enthusiastically: [ snapping to attention ] Oh, are you kidding? Things are great. We’ve had the best summer.

Asher, agreeably: Not wrong.

Dave: [ to the camera ] Dogi can confirm: “Dasher” are alive and well.

Dylan: We’re thriving, good sir. I can tell you, as a kissing expert --

Asher: Oh boy.

Dylan: Never been better. In fact, this summer we made some major strides --

Asher: [ covering Dylan’s mouth, dragging him away ] OKAY so we really have to go now, nice chatting with you Dave --

INT. AAA - HALLWAY - DAY

Back outside the black box theater, Dave summarizes their video and prepares to wrap it up.

Dave: So as you can see, lots of tides shifting here in the bonkers halls of Triple A. Whether or not good ol’ Principal Cracker Jack and our faculty fave Mister E will be able to pull this clusterfuck back together remains to be seen.

Yogi: And whether Mister Shawn will be able to handle a new first-in-command.

Dave: Oh, yes, we are all eagerly awaiting to see which poor soul is going to attempt to fill the late and great Miss Moore’s large and insanely hot shoes.

Yogi: Press F to pay respects.

Dave, solemnly: F.

Which poor soul indeed? It will take a brave, ambitious warrior to tackle the monster that is the junior A class…

INT. AAA - JACK’S OFFICE - DAY

And that warrior takes a human form in HARPER BURGESS (26). She’s petite and baby-faced, an eager smile on her face as she finishes signing last minute paperwork for her employment. But don’t let her size be deceiving -- underneath the leather jacket and driven sparkle in her eyes is the fiery personality of a former AAA alumna returning to the homestead after being forged to steel in the real world.

She passes the finished papers across the desk to JACK HUNTER, who takes them happily. Given how run ragged he appeared at the end of last season, it is a relief to see him seemingly well and back on top of things. Polished as usual, in any case.

Jack congratulates Harper and welcomes her to the AAA team, both of them rising as he shakes her hand. He reiterates a fair warning that the junior class is no easy group, but Harper expresses optimism that she can handle it. After all, she was once a student just like them.

Harper: I survived my four years at this school fighting for my scrap of the spotlight, Jack. I think if I can do that, then I can survive just about anything.

Jack: Well, believe me when I say this crop of students isn’t quite like any other.

Still, he admires her optimism, and sends her off with the assurance that he also believes she will do an excellent job. As she heads out she bumps into ERIC MATTHEWS, who gives her a playful salute.

Eric: Welcome to the force, soldier.

Harper awkwardly returns the salute, trying her best to adjust to this new team of oddballs as efficiently as possible. Eric waits until she departs to shift his focus, questioning if Jack still wants to go over their game plan for the first week. He figures it would be good to double check that they’re both on the same page.

Jack enthusiastically agrees, gesturing Eric in and grabbing his coffee thermos. As Eric settles in the chair opposite his desk, we get the sense that the two administrators have done a lot of collaborating over the summer. They demonstrate a comfortable new rapport, definitely closer to being on the same wavelength than last year.

It’s also clear, for what it’s worth, that Eric is enjoying their dual efforts. He listens intently as Jack speaks, a light smile on his face as he flips through his notes. Jack paces the floor, walking through their thought process with zeal.

Jack: All of the students enrolled here are talented, there’s no doubt about that. Even the junior class specifically, I’ll say, has some of the brightest students I think we’ve had at Adams. They are not short of starpower.

Eric: Certainly not.

Jack: But the behavior we’ve witnessed over the last couple of years is unacceptable, and it reached a fever pitch in May. There’s no excuse for that sort of culture, and they all had their hand to play in it. We’re not letting it slide from here on out.

Eric: No, sir, we are not.

Jack: The fact of the matter is, as you and I have had to come to Jesus over --

Eric: Please, remind me for the hundredth time --

Jack: -- talent isn’t everything. Success requires hard work. Compassion. Integrity. These are the values we are going to uphold at Adams, and anyone who deems themselves above it all will find themselves facing a swift kick of reality. Mister Livingston was the first, and he doesn’t have to be the last.

Jack and Eric go on to discuss the logistics of their back-to-school shake-up, which contextualizes Zay’s solo from earlier (a flashforward, we now realize) -- they will be requiring every junior to “reaudition” over the course of the week. This is in terms of their performance, but also their attitudes and behavior.

Jack: They earned their places at this school, I firmly believe that. But they have to put the work in to prove they still deserve it. Because there are dozens of equally talented young dreamers out there with just as much ambition as them who would kill to have their place in this class. They need to remember that.

Eric, although disappointed with how things have ended up, nods in agreement. The mere shake-up of the reaudition should be a subtle but important wake up call.

Jack takes a sip of his coffee, glancing down at the new hire paperwork on his desk. So many changes already in effect.

Jack: If they want to see the success of their futures realized, then they better show up.

INT. AAA - AUDITORIUM - DAY

Isadora makes her way through the empty auditorium, early before class. She jogs up the stairs to the technician’s booth.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Isadora cautiously pokes her head in, listening for any signs of life. She wanders further in, heading to the center of the cramped space and getting a good look around.

It’s empty. Untouched. The panel by the electrical cabinet is secure and in place, not acting as a living space by any means. It feels abandoned.

It feels wrong.

With an unsurprised sigh, Isadora heads back out before first bell.

INT. AAA - BLACK BOX THEATER - DAY

The performing students have congregated in the black box classroom, chattering amongst themselves. Isadora hesitantly peers through the doors, cautious to step into her first official day as a performing arts student.

As she stands in the doorway, a ripple of reaction seems to go through the assembled class. Suddenly, a techie in their midst? Isadora clearly doesn’t know where to go. There’s a moment where she locks eyes with Riley sitting by Zay, but the way Isadora quickly averts her gaze from Riley’s awkward smile indicates that things aren’t all well and good in that camp.

Instead, another unlikely ally throws her a life preserver. Maya perks up when she spots her, eagerly waving her over to join her, Darby, and Yindra.

Maya: Izzy. Izzy, over here!

Isadora is grateful for the save, rushing over and sliding into the seat behind her. Maya whips around to give her a playful swat and eyebrow wiggle, just as Harper arrives and sends the room into uncertain silence.

There’s a long beat of trepidation, Harper gazing at her new classroom and the throng of her new students staring back at her. Taking a deep breath, she marches into the room with authority and greets them all, introducing herself as their new performance coach. She explains that she was once a student just like them, although she admittedly dabbled a bit more in the technical arts than she thinks most of them have these days.

Sarah: And you came back to teach us? Couldn’t catch a break, huh?

A few snickers through the room throw Harper off her game. She cheekily acknowledges Sarah’s comment, stating that she had her run in the backstages of Broadway, but she thought coming back here when the position miraculously opened up felt like a can’t-miss opportunity.

Still, the introduction has been sabotaged and the rest of her opening is on shaky ground. Many of her little asides don’t garner any favor, and the junior class is already proving to be a tough room. When Charlie, seated with Clarissa and Haley although somewhat removed, throws her a few words of encouragement it is met with a subtly coughed “teacher’s pet.”

Harper changes tact, choosing to redirect focus to attendance. She makes her way through the list until she hits a snag on Farkle, silence heavy in the room after she states his name. She repeats it, uncertainly given its odd status, but it’s clear he’s a no-show. Absent.

Ditching on the very first day. Maya and Zay exchange a look, obviously unimpressed.

INT. MINKUS HOME - DAY

At the luxurious Minkus suite, things admittedly feel somewhat muted. Most of the Minki children and Stuart are gone for school and work, only JENNIFER MINKUS present. She’s on the phone, pacing as she recounts to Stuart that Farkle has opted to stay home from school.

It’s evident she’s concerned, claiming that he’s been under the weather for “at least a month now.” She’s wondering if perhaps they should call the family doctor.

Jennifer: He could be iron deficient. Or anemic, you know how that runs in my family. And the amount of medications I take alone per day just to keep this body up and running in working order, maybe we should have him checked out for similar things...

INT. MINKUS HOME - FARKLE’S ROOM - DAY

Despite the morning hour, the room is dark when Jennifer pokes her head in to check on her son. The curtains are drawn, and the space itself feels stagnant. Somewhere in the mess of blankets on the bed is Farkle, barely visible in the dark.

Jennifer informs him gently that she called him in, but it would be a shame if he were to fully miss out on his first day back for junior year. Maybe later, depending on how he’s feeling, he can go in for the second half of the school day. Farkle doesn’t seem enthused, plaintively stating that he would like to keep resting.

It’s clear that this answer concerns Jennifer, but she gives him space as requested. It’s out of sorts for him to be so unmoved about missing time at AAA, but then, she has absolutely no idea what unfolded at the end of last year.

She closes the door, allowing him to rest and sheltering him back in the dark.

INT. AAA - AUDITORIUM - DAY

In the first performance class of the semester, the entirely of the junior A class reunites and watches as SHAWN HUNTER and Harper take the stage together. It’s pointed from the get-go that they have no idea how to act around one another or work effectively in their new partnership, Harper looking for clues from Shawn while he’s attempting to just pretend everything is the same. In this case, that means proceeding as if she’s hardly there.

He takes the reins in dropping the new year bombshell on them, which is that they will be required over the course of the first week back to reaudition for their spot at AAA. Given how much of a mess the end of last year was, it was determined that a procedure was necessary to ensure that each of them are still eligible in their attendance.

Naturally, the students are not pleased about this announcement. The performers immediately start complaining about how unfair it is, while the techies seem particularly spooked by the notion considering they’re not performers. They’re not “audition” material.

Harper speaks up, hoping to alleviate some of the stress.

Harper: Well, actually, that’s one thing we’re hoping to work on this year. We’d love to see more engagement with the technical aspects from our performing students, as well as more performance participation from the technicians. That way, all of us will have a well-rounded understanding and appreciation for all angles of education at Adams.

A wonderful sentiment, but not what they want to hear right now. The uproar grows worse, Harper obviously stunned by the theatrics of this collective group. Turns out Jack was not kidding around about the junior class.

Shawn brings them back to Earth, assuring the techies that their auditions do not necessarily need to be performance-based. All they need to do in some fashion is demonstrate their skillset and why they deserve their spot at AAA. Just like when they applied the first time.

Part of this, as mentioned before, is reflected just in the act of showing up ready to learn. Farkle’s absence is pointed, as is Lucas’s. Shawn doesn’t look pleased as he scans the center section and finds no sign of his head technician.

Harper manages to interject over Shawn again, also explaining that they will be doing performance drills throughout the week to see what shape all of them are in after summer break. It’s important that they’re able to keep up to keep their spot. Isadora seems particularly intimidated by this information.

As they split for their first breakout groups of the year, Riley catches up to Isadora. She attempts to have a conversation with her and reassure her that she’ll be fine at drills, but Isadora ignores her. Somewhat isolated, Riley takes the hit and heads in the other direction.

Shawn pulls Dylan and Asher aside, asking them where the hell Lucas is. They unconvincingly claim that they have no idea. Shawn posits that this is a real shame, considering a) if Lucas doesn’t show up this week and participate in the stupid reaudition scheme he might very well be kicked out, and b) with Isadora having jumped ship they need a strong technician present to steer the ship with the rest of them.

Asher: Well, Mister Shawn, all due respect, but I think we deserve a little more credit --

Shawn: Oh, yeah? You wanna take charge, Garcia?

Asher: Absolutely not. Hopefully Lucas will get the message.

Shawn, flatly: Yeah. Hopefully.

INT. AAA - ERIC’S OFFICE - DAY

Per tradition, Riley meets up with Eric for lunch given that it’s the first day. After settling in, she asks him what he thinks about the whole reaudition process. He claims it was the only solution he and Jack could come up with.

Eric: It’s only meant to be a reminder that your acceptance here is conditional. The opportunities all of you are benefitting from and the exposure to fellow talents is contingent upon your willingness to help foster a creative, collaborative community.

[ Riley nods along. That sounds too good to be true, at this point. ]

Eric: You all have all the talent in the world, you know I believe it. But there have to be lines, there have to be consequences for our actions. If you push it too far, then we’re going to push back.

Speaking of the negative climate, Eric asks Riley how she’s handling the less-than-stellar current atmosphere between the students. Is she feeling okay? She claims it’s fine -- after all, it’s nothing she couldn’t handle last year.

Eric points out that this is quite a bit different than the situation she entered before, but Riley doesn’t seem ready to confront that reality. She’s opting for denial, choosing to believe that this is merely another gap between her peers that she can bridge.

INT. AAA - JACK’S OFFICE - DAY

Isadora is meeting with Jack, finalizing the details to change her core focus from film studies to a dual focus in film and vocal performance.

Jack asks her to confirm that she’s certain about this change. Although there is a moment of hesitation, she does assure him that she’s serious about it. He doesn’t seem displeased, reminding her that all of this is of course contingent upon her reaudition but also stating that he’s proud of her for deciding to try something out of her comfort zone. Especially given her natural talent.

As she starts to head out, Jack ventures another query.

Jack: Have you -- do you have any idea what the deal is with Mister Friar? Is he planning on coming back to school?

[ The question is a bit sarcastic, but the genuine concern behind it is loud and clear. ]

Isadora: [ with an uncertain shrug ] Believe me, Principal Hunter. If Lucas were here, I think we’d both know pretty quickly.

Jack nods acquiescence, dismissing her. After she’s gone, he sighs, reaching forward to pick up his phone and make a call.

INT. MATTHEWS APARTMENT - NIGHT

Riley is eating dinner with CORY MATTHEWS, the only two present. As we learn through the sparse conversation, Auggie is out with Topanga, demonstrating how the separation is impacting the familial dynamic.

Cory can tell that the first day back did not go swimmingly. He attempts to get Riley to talk about it, but she shrugs off the concern. He goes on to explain that when he was in high school he had tiffs with his friends too -- Shawn, even! -- but he never gave up on them. So if she feels like people are slipping away from her, then she should do everything in her power to close the distance. She’s always been impressive at that, after all.

Although Riley is down, she chews on the sentiment. Adding fuel to her problem-solving fire.

INT. MINKUS HOME - KITCHEN - NIGHT

Jennifer hits the play button on the voicemail machine as she’s preparing for dinner, listening as Jack’s message comes through on the speaker.

Jack: I hope all things are well. I’m calling in regards to Farkle’s absence today. While we all wish him better health and a quick recovery, due to the circumstances surrounding the junior class and our newly implemented special policies, it is imperative that he return to school within the week to maintain his enrollment.

In the midst of the recording, a door in the hall creaks open. Timidly, FARKLE MINKUS emerges from the dark and pads into the room, catching the end of the message as Jack wishes them well again.

To be frank, he’s looked better. He’s slighter than when we last saw him, dressed rather slovenly in his large sweater and sweats. The perpetual bedhead doesn’t help, especially when paired with the glazed, unmoved expression on his face. Whether or not he’s actually ill, he sure looks the part.

He approaches the countertop as Jennifer pauses the message machine, examining him. She makes playful commentary about how he’s finally risen from the dead, explaining that dinner will be ready soon. They’re planning on calling Lila at university as a family afterwards to see how she’s settling in, so she’s happy he’s up and moving.

Farkle: Will dad be here?

Jennifer: … well, you know how busy your father is. He may dial in, but --

Farkle: So it’s not really as a family, is it?

Jennifer gives him a disappointed look, then dodges the question as she changes the subject. She states that she hopes he’ll be better for school tomorrow. It would be horrible for this illness to affect his time at AAA. He, personally, doesn’t seem all that concerned.

INT. FOSTER HOME - ISADORA’S ROOM - NIGHT

Isadora is on the phone, blocking out her foster siblings as she attempts to talk to Maya. The latter is giving her reassurance, reminding her that they went over her audition a hundred times and she’s going to kill it. No sweat. When Isadora asks what she’s planning to do for her audition, Maya plays coy and says it’s a surprise. Only time will tell, won’t it?

After they hang up, CATHERINA GONZALEZ enters and makes a comment about it’s nice to be let back into her own room. Isadora sneers at her sass, Catherina asking who the hell she was even talking to.

Catherina: It didn’t sound like Lucas.

Isadora: I have other friends, you know.

Catherina: [ with a scoff ] Since when?

Isadora opts to go back to tuning Catherina out, focusing on a different conversation. It’s a text conversation with her mother, Valerie De La Cruz. The last message that Isadora sent is an audio message, and from the message Valerie sent in reply it must be a recording of her audition.

Valerie expresses high praise, lauding how great she sounds and how her training is already shining through. She assures her that she’s going to ace this “audition” -- just don’t forget to breathe! Use diaphragm breaths! Isadora absorbs the sentiment again, taking it to heart.

INT. MAYA’S APARTMENT - NIGHT

Maya is crashed in her loft bed, having just hung up with Isadora. She hangs on her phone, scrolling through her other conversations. She hesitates when she sees Farkle, the last time they texted being as far back as summer. It wasn’t a very long or good conversation, and they’ve been silent since.

But now, she breaks the stalemate. She types a new message with a scowl on her face, obviously not pleased with his disappearance.

INT. MINKUS HOME - FARKLE’S ROOM - NIGHT

Farkle gets the message just as he’s climbing back into bed, about to go back to sleep. The message is simple, straight-forward, and gets the message across: “You really blew everything up, and now you won’t even come back to face it? Coward.”

As he reads, some of that natural manic spark we’re so familiar with seems to return to Farkle’s eyes. He may be a mess, and he may not be up for a scrap, but he most certainly is not going to get talked down to by Maya Penelope Hart.

He throws the blankets off of him, getting to his feet with renewed purpose.

INT. AAA - HALLWAY - DAY

Farkle isn’t the only one on the warpath. Riley is in hot pursuit of the techies, trying to get them to talk to her so she can start piecing together a way to reconnect with them. But all of them are freezing her out, albeit some more effectively than others.

JADE BEAMON is horrible at avoiding her, and she can’t even make eye contact as she jogs away from her. JEFF MONROE makes up an excuse, stating if he doesn’t set up the lighting booth, well, who will? NATE MARTINEZ lies and claims he’s running late for class, even though Riley points out that they have fifteen minutes until first bell.

Nate: Late to be early. I like to be punctual. Punctually punctual. Okay, see you later.

When she finally reaches Dave, he is by far the worst at subtlety.

Riley: Could you at least explain why you’re all running from me?

Dave: We’re not running.

Riley: Dave, we’re literally speedwalking like soccer moms right now. What is going on?

Dave: I can’t say.

Riley: Sure you can. We can talk about whatever it is --

Dave: No, Lucas and Isadora said we’re not supposed to talk to you. That’s the whole point. And now I’m fucking it up -- come on, Dave!

He marches onward, leaving Riley even more confused and more than a little stung. Ouch. But she’s not going to give up that easily.

INT. AAA - ERIC’S OFFICE - DAY

Shawn is pacing, lamenting how doesn’t know how he’s going to handle this new teaching arrangement. He and Harper are not on the same page, and he has no idea how to communicate with her. She doesn’t know how things work around here. It’s all a mess. It’s not going to work.

Eric: It’s been one day, Shawn.

Still, Shawn claims he cannot get through these drills and auditions without someone he knows he can rely on there to keep things running. He needed someone who knows what they’re doing, so he called in for back up.

Before Eric can verbally ask for clarification, as if on cue ANGELA MOORE flurries into the office. She’s frazzled, wondering if everyone is okay. Shawn said there was an emergency. Eric rolls his eyes.

Eric: No, your grown man of a boyfriend is just a big baby.

Shawn clearly resents the implication, but Angela is totally lost. Eric gives her the quick rundown of the situation, also pointing out that this certainly won’t make Harper feel like her authority is being undermined.

Angela gives Shawn a disdainful look, but ultimately agrees to stick around for drills. It was nice to come back into the halls of AAA, surprisingly. So she’ll help where she can.

INT. AAA - HALLWAY - DAY

Charlie is at his locker, chatting with Haley and Clarissa. They tell him that they need to go get changed for drills, but they’ll see him in rehearsal. He nods them on their way, grabbing his things and getting ready to go himself.

But someone bumps into his locker and makes him drop his books, everything tumbling to the floor at their feet. Both of them immediately drop down to start picking things up, Charlie only lifting his head when the person apologizes.

It’s Zay. He offers another apology and helps collect the books, Charlie speechless for a second before assuring him it’s fine. They both rise back to their feet, Zay offering an awkward smile as he hands the books back to him.

His touch lingers. Charlie meets his eyes, and a tacit exchange passes between them. It’s hard to tell where they stand -- are they back to being acquaintances? Is this some kind of weird game? Or did they truly leave the summer on an uneven foot?

Either way, the tension of whatever kind is palpable. Zay says he’ll see him in class, passing him by and heading down the hall. Charlie takes a deep breath, closing his eyes and taking a moment before closing his locker.

EXT. AAA - DAY

Farkle makes his triumphant march back into school, returned to his former blazer glory… sort of. He’s nowhere near as put together as he was at the beginning of sophomore year, his hair barely combed and still all over the place. He looks more exhausted than impassioned, but he’s nothing if not dedicated to the dream.

Glaring up at the institution, he stomps up the steps and through the doors as the jaunty drill piano riff leads us in…

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “I Hope I Get It” as performed by A Chorus Line Original Broadway Cast || Performed by AAA Juniors (feat. Angela Moore)

Matching the frenzy of the Broadway classic, Angela leads the performing students through an intense and fast-paced routine for drills. The opening sequence alone feels like a true return to form, and from the get-go the sense is clear that everything is going to be heightened this season, especially the singing and dancing.

Farkle takes the first solo about “needing this job.” As the ballet combination sequence ensues, the section is split between the junior girls performing the dance and the techie crew each giving their “auditions.”

Jade displays some of the costume pieces she created for the shows in the past, as well as projects she worked on over the summer. Dylan enthusiastically plays his guitar, as well as giving an excited speech of some kind that involves a lot of jumping around. Asher sits on the edge of the stage and shows off set designs he did for the last four productions.

Nate coolly shrugs and clearly makes a point of wondering why they have to be doing this at all, yet still obliging. Jeff waves at them from the lighting booth, doing all the work. Dave haphazardly wields a power tool and gabs on about all the set building he does, Eric, Jack, and Harper ready to hide behind their notepads in self-defense just in case.

When Angela beckons the boys to come forward, Farkle takes center stage with Zay on his left and Charlie his right. Zay tosses a glare to Farkle, who gives him a snide look in return. Charlie glances to Zay. Then Angela counts them in, sending them on a tight, impressive run through of the complicated routine.

As the girls are beckoned back to join, Maya steps back up next to Farkle. They exchange derisive stares, before putting more energy into the routine than ever before. Riley is managing to keep up after a year at AAA, but Isadora is clearly struggling.

On the last verse, the junior class makes their way to the front of the stage. Each blare of the horn sends one of the main players dropping into a crouch and spinning away from the front (the students behind them following suit), until it’s just Charlie standing in the center.

He takes the delicate final solo (“Who am I anyway? Am I my resume?”), seemingly frozen in time against his fellow classmates. As he steps cautiously forward...

INT. GARDNER HOME - LIVING ROOM - DAY

Charlie is in front of his family fireplace, staring at the perfect photos on the mantle (“That is a picture of a person I don’t know.”)

INT. AAA - AUDITORIUM - DAY

The rest of the number is split between scrutinizing his own image and the stage, Charlie carefully stepping around the crouched shadows of his peers as to not make a disturbance.

He sings the last line wistfully, staring out at the stage lights and emphatically declaring how much he wants to remain at AAA (“I need this job, oh God, I need this show…”). Seems like there will be much to explore with the resident prince charming this season…

INT. AAA - GIRLS DRESSING ROOM - DAY

All the girls are lamenting the drills, complaining about how dumb the whole reaudition process is. Isadora is so exhausted, she doesn’t even have the energy to join in. While everyone else is merely vexed, she has so much catching up to do. The pressure is definitely catching up to her.

Maya asks if she’s okay, but she states she’s just overwhelmed and needs some space and quiet for a bit. She respects this, backing off and heading out with the others.

Isadora paces the confines of the dressing room, but it’s not calming to her. It’s not her place. She changes tracks, going in search of a safer place.

INT. AAA - CATWALK - DAY

From the top of the catwalk, Isadora can be above it all for a moment again. Isolated, protected, back where she belongs. She settles onto the metal walkway and looks out towards the house, gazing towards the empty booth with its dark windows. Emptier than it should be.

Pulling out her phone, she goes to her message thread with Lucas. The last couple of texts have been her, asking where he is and if he’s coming to school. Unanswered.

Dissatisfied, Isadora opts to make a call instead. It goes to voicemail, which she clearly isn’t surprised by. She debates hanging up, then decides to wait for the beep to signal her message.

Isadora: Hey, it’s Dora. Again. Just wondering where the fuck you are and why you’re ghosting me? Or just ghosting in general, I guess. You need to come back, they’re doing this weird reaudition thing and if you don’t participate… I don’t know. I don’t know what’ll happen. But things are changing around here, and I don’t think you want to get left behind. I know how you hate that. Also… I need you here. I need you to come back, or at least tell me you’re okay. [ A beat, then in frustration. ] Mostly, I need you to answer your damn phone.

She hangs up, releasing an exhausted sigh. She tilts her head back against the rail, closing her eyes and settling into the quiet.

INT. AAA - BLACK BOX THEATER - DAY

Angela makes her way into the black box theater, exhaling a happy sigh as she steps back into her former domain. Shawn is on her heels, disrupting Harper as she continues to set up her classroom during lunch break.

Angela makes a point of introducing herself, obviously intending for no bad blood between the two women. Harper seems willing to meet her at that level, holding clear respect for her and commending her ability to handle this job so long and so well. But she shoots a pointed jab in Shawn’s direction, pointing out that a heads up about her arrival would’ve been nice.

It’s evident that Shawn and Harper are not going to make easy collaborators.

INT. AAA - HALLWAY - DAY

Farkle is heading to his locker, nearly running into Riley on the way. They make tentative eye contact, but when Farkle starts to say something she moves past him without allowing him the chance. The dismissal stings, especially from Riley, but he can’t very well blame her.

Facing his locker, he’s startled to find Maya there waiting for him, although her greeting is far from friendly. She glowers at him, questioning why he even bothered to come back.

Farkle: Oh, oh, sorry, was that Degrassi-style text you sent yesterday a butt dial? Was I not supposed to interpret “coward” as a challenge, or what other convoluted mixed message were you attempting to convey?

It’s clear that Maya doesn’t know what she wants from him either. She searches for something to say but comes up short, instead warning him to stay the hell out of her way before ramming into him as she storms past him. Farkle takes the hit, smiling sardonically and glancing over his shoulder to watch her go.

Once she’s gone, he opens his locker. It’s startling to see it as almost a time capsule from the year before, as he never bothered to clean it out after the fallout. Remnants of how things used to be are all over -- photos of him and Maya, mementos from the lighter parts of the school year, a playbill from Les Mis.

All of that, completely useless now. He remains passive, grabbing his books as the opening chords of his audition song fade in…

Song Cue ♫ ♪ “Dancing With Myself” as performed by Glee Cast || Performed by Farkle Minkus

Starting in the hallway by himself, Farkle kicks off his reaudition by sauntering through the halls on his own. He snaps his fingers as he wanders backwards through the hallway, lightly grooving to the beat as he carries us through the first third of the song.

INT. AAA - AUDITORIUM - DAY

Things take on a bit of a surrealist slant as Farkle transitions to the auditorium, now on the stage. Only he’s not alone -- the rest of the core students (Riley, Maya, Zay, Charlie, Isadora) are frozen on stage, almost like wax figures rather than themselves. He dances around them as he continues, emphasizing how he’s essentially being frozen out of their lives.

During the bridge, the others disappear as the lights go down on each of them. Eventually it’s just Farkle in the middle of the stage with a light shining down from directly above, casting him in shadow as he sings the last “Cause it’ll give me… time to think.”

INT. AAA - HALLWAY - DAY

As he rounds out the final chorus, Farkle is back in the hallway again on his way to class. He’s constantly overlooked or ignored as people pass him by, literally getting bumped into a couple of times without apology. He doesn’t even seem bothered, taking the stride with a blank, somewhat neutral smile on his face.

He disappears around a corner, focus shifting as Isadora catches up to Dylan and Asher outside the doors to the auditorium. She corners them both, claiming that she knows they know where Lucas is. They can’t bullshit her, although they weakly refute it.

Irritation aside, Isadora tells them that they better make sure he gets the message about the audition bullshit. Also, he should really fucking answer his phone.

Then, attempting to break the awkwardness, she asks how the techie side of things are going now that she’s spending her time with the performers. They assure her that all is well, nothing new, and she has to accept that. While it seems like nothing is going to change between Isadora and her former crew, there’s a lot of room for her absence to make waves…

INT. AAA - BLACK BOX THEATER - DAY

Farkle pokes his head in after school, swinging by to pick up the start of term paperwork he missed from Harper. They exchange more formal introductions, although it is clear neither of them are all that impressed by the other.

Harper comments on Farkle’s absence from the first day, insinuating that it doesn’t indicate great work ethic. She hopes he proves her wrong. He makes a flippant retort about how he didn’t realize illness was suddenly a punishable offense, and she is not pleased with it. If there’s a surefire way to start off on a bad foot, the two of them have found it.

INT. AAA - HALLWAY - DAY

As Farkle is making his way out, he runs into Angela. For the no good day he’s having, it’s honestly nice to see her again. Angela treats him just as warmly as she always did even in his worst moments, asking him how things are going and if he’s feeling better -- she heard he missed the first day.

He brushes off the concern, instead changing the subject to her Off-Broadway rehearsal process. She invites him to walk with her, the two of them heading down the hall as she starts to recount what the experience has been like.

It’s the most at peace Farkle has seemed since our return.

INT. CHUBBIE’S DINER - DAY

KATY HART is working hard behind the counter, but food is not her focus. She’s hunched over the countertop with a calculator, crunching the numbers on bills. Her expression conveys the distress she’s feeling over the ordeal. When Maya shows up, she frantically hides it all away, putting on her usual smile as her daughter hops up onto a stool at the counter to talk to her.

Maya spares a second to talk about the idiocy of the reaudition thing, offhandedly complains about Lucas’s obnoxious absence as well as Farkle’s infamous return, and then eagerly swaps topics. She explains this outing that she, Zay, Charlie, Izzy, and Yindra want to do next weekend. It costs some money -- not a lot, but worth noting -- so she’s wondering if she’ll be able to go. Can they afford it?

Despite what we saw earlier, Katy offers another loving smile and says they’ll figure it out. Seems Riley isn’t the only one dealing in denial.

EXT. LUCAS’S APARTMENT - DAY

On the opposite end of Manhattan, Isadora is marching down Lucas’s street. She buzzes herself into the shabby building.

INT. LUCAS’S APARTMENT - HALL - DAY

Once she reaches his apartment, it’s not him who answers the door, but rather GRACE FRIAR. She is tense, distracted as Isadora attempts to have a conversation with her about whether or not Lucas is home. She keeps checking over her shoulder, and she’s absentmindedly adjusting the collar of her blouse to make sure it’s covering her collarbone. Isadora has to keep bringing her focus back, pushing more and more as she appears to be more of a dead end.

After a certain point, she gives Isadora a warning look.

Grace: Lucas isn’t here. I think you should really get going.

The tone of her words is pretty hard to misunderstand, so Isadora takes heed and heads out. But she’s clearly frustrated, retreating with no more answers than before.

EXT. LUCAS’S APARTMENT - DAY

As Isadora descends the steps to the building, she finally makes a break through. She glances down the street just as LUCAS FRIAR is skulking back home, backpack on his shoulder although he clearly wasn’t at school.

They lock eyes, surprise and recognition coloring both of their features. Then Isadora sighs, expression shifting to a frustrated glare.

EXT. TOMPKINS SQUARE PARK - DAY

Lucas and Isadora have relocated to the park a couple of blocks from his apartment. She sits cross-legged on a picnic table bench while he sits on the ground with his knees pulled up, not looking at her as he rips blades of grass.

For what it’s worth, he doesn’t seem to have changed much since we last saw him. But considering the state that was, broken down in the booth, that’s not necessarily a good thing. He’s in his usual dark ensemble and sporting a snapback, black with a deep blue band. He has a brace on his left wrist, and although the reason why remains unstated, it goes without saying it’s probably not great.

Isadora is filling the silence, methodically explaining the reaudition process with far more detail than Lucas wants or needs. She starts to discuss how he’s going to need to throw something together, but he interrupts by tersely stating that he told her not to come to his apartment.

She fires back, acknowledging that agreement but claiming its null and void when he decides to drop off the fucking face of the Earth. He wasn’t answering her messages or calls. She didn’t know what else to do, or what to think. The reasons he doesn’t want her over are the exact reasons she had to come check that he was simply being a jackass rather than something worse.

Isadora: Look, I get… I get wanting to avoid everything. I get wanting space, you know I do. But to go completely off the grid is a whole other thing, and then [ with a scoff ] to keep Asher and Dylan in the loop and not me? The tweedledum and tweedledummer of our crew?

Lucas: [ warningly ] Hey, don’t --

Isadora: I’m sorry. I’m sorry, but that’s insane. That’s bullshit.

Lucas: Well you wouldn’t have wanted to know what we were up to anyway, so.

Isadora claims that’s not the point, the conversation dead-ending again. Silence settles over them. Finally, Isadora sighs.

Isadora: You cannot just ghost like that. You know what people suddenly disappearing does to me, Lucas.

Lucas: … I know. I’m sorry.

[ Another pointed silence. He still won’t look at her. She shakes her head. ]

Isadora: Listen, I’m sorry that things didn’t work out the way you wanted them to. I’m sorry shit sucks. It does. And I know you’re pissed about McCullough, but are you really going to blow the only other option you have? [ a beat ] More than that, are you really going to let Farkle Minkus have the last word?

Nothing is more powerful a motivator than spite, as Farkle himself can attest. Now that seems to spark something in Lucas. Not necessarily a good spark, but it’s better than nothing.

INT. AAA - JACK’S OFFICE - DAY

Eric swings by Jack’s office the next morning to confer, only to discover he’s not alone. He accidentally walks in on Jack exchanging a goodbye kiss with his new girlfriend, ANNE MARIE WINTHROP (38). She’s fair-haired, rather pretty, and carries herself with an air of composure and authority that Jack himself puts out.

Eric profusely apologizes but Jack waves him off, quickly introducing the two. Anne Marie accepts Eric’s hand shake, the latter nervously stumbling into a goofy greeting.

Eric: Anne Marie. Oh. Two names for the price of one, huh? Good deal!

Jack makes a face, obviously wondering why his usually tactful counselor is being so weird. Anne Marie takes it in stride, claiming he’s no bother at all and that she was just heading out. She confirms with Jack that he’ll meet her at the office for dinner, then gives them both a wave farewell. Seems like a lovely gal!

Jack asks Eric what he’s got, and he explains that the auditions are going relatively well given that the students absolutely hate them. He’s more unsettled by what he’s observed of the Shawn and Harper dynamic, as he has no idea how that partnership is going to fare without Angela there to smooth things over.

Jack defends his hiring of Harper, and both of them agree that transitions like these mostly just take time to set. The other news Eric has is much more pertinent and promises some real potential friction.

Because guess who’s back and ready to thrash...

INT. AAA - AUDITORIUM - DAY

The class has assembled, there to witness Lucas’s grand return to AAA. He’s standing center stage, a covered object placed on a couple of acting blocks beside him.

He first gives a small speech about how this whole audition process is bullshit and made specifically to punish a subsection of the class, so it’s not fair that he and the techies have to go through the motions.

Lucas: But then, when has anyone ever cared about the techies? This seems just about typical. I’d refuse to do it in protest, especially considering I’m the only multi-faceted technician aside from Dora and it would truly be a self-inflicted bullet wound if they expelled me...

Maya: God, if only.

Lucas: But I’ve already orchestrated one school-wide revolt, so whatever, I’ll play along.

Thusly, Lucas removes the tarp from his project, revealing a scaled-down diorama of the auditorium featuring little replicas the typical AAA junior class. A production design / tactile display, in a sense.

Nigel: Oh my God, you made little voodoo dolls.

Maybe so, Nigel. Maybe so. He also has commentary to go with the presentation, and suffice to say, it’s far from tame.

Lucas: So here’s Hart standing center stage and soaking up all the spotlight. Unfortunately, I couldn’t find the time to add vocal tracks -- actually, I just didn’t care -- so just imagine a cat screeching bloody murder and you’ll get the full effect.

Maya looks like she’s about to commit murder. Isadora grimaces.

Lucas: This is Dave over here -- he’s holding pizza even though we’re not supposed to eat in the auditorium.

Dave: [ touched ] He knows me so well. :’)

The techies are far more amused by the whole thing than the performers. Charlie leans forward, squinting to get a better look.

Charlie: Do I not have a face?

Lucas: Oh, do you not? [ glancing to check ] Well. That can’t be a subconscious message, can it?

Once he’s run the full gamut, one creative choice becomes pointedly clear.

Darby: Where’s Riley?

Lucas: Oh.

[ Lucas glances at the diorama where she is clearly left out. Then he looks right at her, completely deadpan. ]

Lucas: Guess I forgot her.

Yikes. Riley tries not to let it get to her. She chews her lip, maintaining a neutral expression.

INT. AAA - CAFETERIA - DAY

Farkle faces the lunch room shuffle, pausing by the entrance and scanning for where to plant himself. He eyes his former table where Maya, Zay, and Riley are currently situated… and opts to go in the other direction given the way Maya is glaring at him.

He takes an isolated seat at the other end of the table where Clarissa, Haley, and Darby are chatting. They’re discussing how much it’s going to suck now that Isadora is joining the ranks of the performers, as she’ll likely eat up any of the slim chances they had at getting good solos. Farkle is shocked by this news.

Farkle: I’m sorry, what?

Haley: Um, eavesdrop much?

Farkle: Smackle is joining our class? You can’t be serious.

Darby: That’s what happens when you miss the first day. Miss all the new developments.

Clarissa: Why do you even care, Farkle? It’s not like she’s really a threat for a tenor.

Haley: Oh, he doesn’t care about that. He’s just worried she’ll beat him out for other opportunities since he’s determined himself the most deserving.

Farkle rolls his eyes, suddenly not at all interested in eating. He seems more perturbed by this development than he maybe should be, but it’s not clear why.

Haley: Just don’t make another tantrum video, okay?

Clarissa: Yeah, we’ve had enough drama for a lifetime thanks to you.

He shoots them a glare, getting to his feet. He tosses his lunch without eating it, marching out of the cafeteria.

EXT. AAA - LUNCH COURTYARD - DAY

The techie table seems to be mostly back in order with Lucas back in their ranks. All seems to be well and good again… until Jade makes the mistake of innocently asking Isadora what her reaudition song is going to be. Lucas is disturbed by the notion.

Lucas: Why are you performing? You know you don’t have to do that, right? You can do something else. They can’t make you perform.

Isadora: … yes, I know. The thing is --

Before Isadora can break the news, Yindra interrupts. She pulls that Hermione-Granger-I’m-not-an-owl nonsense, and poorly delivers a message of Maya that it would be smart for all of them to attend her reaudition after lunch.

Yindra: I was chosen as the best representative to come bearing the… holy gospel… that Maya intends to knock all of our socks… no, she said something about water too --

Asher: Aren’t you an actor? You’re supposed to be good at memorizing stuff.

Yindra: Not when it’s nonsense.

Lucas: Get on with it, Yindra.

Yindra: Basically, Maya wants you all there for her reaudition. Specifically.

Nate: [ with a snort ] Why? As if we care about Broadway Barbie’s five hundredth solo?

Yindra: I’m just telling you what she told me. She has some… things she wants to say.

Ominous, but effective. Dylan and Asher look to Lucas, waiting to see what he does next.

INT. AAA - AUDITORIUM - DAY

And so the techies show up, along with just about everyone else in their class. Maya eagerly takes the stage, delivering her first diva look of the season and confidently proclaiming that she’s about to set the tone for the rest of the year -- the year of Maya Hart.

Song Cue ♫ ♪ “Sue Me” as performed by Sabrina Carpenter || Performed by Maya Hart

Aside from an absolute bop and an impressive display of vocal chops, the things that Maya intends to say with her reaudition become pretty clear. She’s back with renewed fire as promised, and the number serves as a big “fuck you” to everyone who has wronged her or is pissing her off.

Namely, Lucas and Farkle. Maya basically sings the line “I know it’s hard to see me on when you’ve been off as hell / But I’m not gonna dull myself because you dull yourself” directly to Lucas, shrugging him off and flipping her hair over her shoulder with a flourish.

While it’s an undeniable good show and such a banger, and a majority of the class seems to be enjoying it, Farkle looks miserable. He slouches in his seat, gritting his teeth.

INT. AAA - DRESSING ROOM HALL - DAY

Farkle is hanging around in the hall, managing to catch Isadora just before her audition. She seems surprised he’s talking to her, until his intentions become clear -- he’s trying to convince her not to go through with it.

His motivations seem pretty transparent, and Isadora doesn’t hesitate to tell him to take a hike. She’s got enough doubt surrounding this decision, she doesn’t need him to echo it too just so he doesn’t have to have a little more competition. Still, certain things he says to try and convince her hint that maybe his intentions are more complex than they seem.

Farkle: Think about it. You hate the performers. You hate the way we act, how selfish we are, how nothing matters but the spotlight. Do you really want to dive right into the middle of that shallow pool?

Isadora: That’s funny, coming from you.

Farkle: Exactly. [ a beat ] Do you really want to end up like me?

There’s a chilling thought. Isadora hesitates, matching his glare… but no. She’s not taking any shit. Isadora is done letting people dictate which direction she’s allowed to go, and she’s not letting anyone stop her -- least of all Farkle Minkus.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Don’t Rain On My Parade” as performed by Glee Cast || Performed by Isadora De La Cruz

Isadora bursts through the doors to the wings, marching into the limelight as she launches into an impassioned rendition of the belter classic. She’s singing deep from the soul, pouring everything she’s got onto the stage for the chance to be taken seriously. And boy, is it a compelling plea.

All of the techies are there to support her, as well as Maya and Zay. Riley is also present, although she’s somewhat isolated from the others. Still, she has a proud smile on her face as Isadora commands the stage.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Lucas isn’t with the rest of the crew, hidden away in the booth and watching from above. Although his best friend is inarguably dynamite, he doesn’t look thrilled as she wraps up her performance.

INT. BABINEAUX HOME - ZAY’S ROOM - DAY

Zay is back at home, destressing from the week and touching up his hair in the mirror. He’s dressed in the same outfit we saw from the opening, so it’s evident his audition was also today.

He’s going on and on about how ridiculous the whole process is, making fun of the “we’ll let you know” tomfoolery of it all. It seems as though he’s just thinking out loud… until someone else joins in the exchange, jokingly stating that it would be “bananas” for them to kick him out, and he knows it. Zay cracks a smile, glancing at his reflection before looking over his shoulder…

At Charlie, seated cross-legged on his bed and watching him nitpick himself. He looks relaxed, far more comfortable and natural than we’ve seen him thus far. He props his chin on his hands, looking Zay over before raising his eyebrows to accent the point.

Given the way they banter back and forth about the auditions, it’s clear that Zay and Charlie now have a familiar rapport. Zay saunters over and settles down onto the bed next to him, nudging him playfully and leaning in rather close. Charlie doesn’t seem at all shaken by the proximity, nausea a long-forgotten side effect.

Zay alludes to how they spent a majority of the summer together after his return from Kossal, clarifying some of the gaps in their development.

Charlie: If I think you’re still worth keeping around after three months, I don’t see how they would get rid of you after three years.

Zay: Well, to be fair, the... talents that I’m sharing with you are a little more convincing than my dancing.

[ Charlie makes a face, scrunching his nose. Zay gasps in faux offense. ]

Zay: Are you shading my romantic prowess? [ at Charlie’s shrug ] Or do you just really love dance.

Charlie: [ grinning ] I think I just really love dance. But uh… [ glancing at his lips ] show me again what I’m judging?

Zay smirks, leaning forward to give him a kiss. The moment lingers, Charlie smiling in spite of himself.

Charlie: Oh, yeah. Right. That’s pretty good.

Zay: Uh-huh, yeah, sure.

The two of them kiss again, descending into laughter as they fall back against the mattress. The long and short of it is crystal clear -- Zay and Charlie are officially together.

INT. AAA - HALLWAY - DAY

Riley jogs after Dylan and Asher, desperate to break through the embargo in any way possible. She basically begs the two of them to hear her out, pulling them aside by the dressing room doors and out of the way of other students. She requests just two minutes of their time, which they grant. It’s clear neither of them are all that keen about the situation.

Finally being heard, Riley laments how stupid this whole situation is. She explains that she never meant to hurt anybody, especially considering the thing wasn’t even her words, and especially not Lucas.

Riley: You both know I was never… it wasn’t fake. Not for me. You guys have to know that.

[ Asher and Dylan exchange a look. ]

Riley: And I know that you’re talking to him, so could you just…

She trails off, able to tell from their expressions that they’re not going to be much help. They believe her, but it’s not their opinion that makes a difference. Even if they did tell him what she just told them -- if they haven’t already -- there’s little chance it would make a difference.

Still, they seem genuinely sympathetic. Asher reaches out and touches her arm, frowning.

Asher: I’m sorry, Riley. Really.

She meets his eyes, giving him a resigned nod. She watches them walk away, left alone in the hallway as everyone continues on their business around her.

Song Cue ♫ ♪ “Reason Why” as performed by Rachael Yamagata || Performed by Riley Matthews

INT. AAA - AUDITORIUM - DAY

Riley delivers a sobering take on their current straits for her reaudition, alone under a single spotlight on the stage. No fanfare, no glitz -- just her and her emotions, as she operates best. The lyrics truly cut, her vocals tearing through them given how difficult the last few months have been. It’s a pertinent song for the world they exist in now, and her rendition of it is chilling.

Only a few other people are present, mainly Zay and Charlie as well as a couple of other stray classmates. The techies are nowhere to be found, Lucas most notably, though unsurprisingly.

When the song wraps, even the judging panel is feeling the low mood. Eric thanks Riley, barely getting the sentiment out before she dashes her way off stage.

Zay and Charlie exchange a look.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Isadora finds Lucas in the booth later, the latter clearly having an off start to the school year. He’s oddly cold to her as she attempts to start a conversation, so she pokes at him to try and figure out what the hell is up with him. He coolly points out that she certainly didn’t tell him about her plans to jump to the other side of the tracks.

Isadora: Is that what this is about? Seriously? [ off his shrug ] I’m … I’m going to do both. You can do both.

Lucas: [ with a snort ] Okay.

When she pushes him on it, he brings up all of the contrary arguments to the decision that she’s been trying to ignore. The piss poor track record of the collective performer attitude. The cut-throat nature. The fact that she has no proper training and is leagues behind, which is only going to make her more overwhelmed.

When he brings up Valerie, it’s a bridge too far.

Lucas: Or what about how your mom literally dumped you because she cared more about the spotlight than raising her child? And you really want to follow in those footsteps --

Isadora, snapping: So you don’t speak to me for days, and now you’re offering your input? Now you think it’s cool to just waltz back in and say whatever the fuck you want?

A harsh dig, but a valid one. Lucas backs off, obviously unprepared for her sharp reaction. Both of them end up back under silence, not sure what to say next. Their exchange is softer when they speak again.

Lucas: I didn’t… I’m just looking out for you.

Isadora: I know.

Lucas: I didn’t mean to upset you, or whatever.

Isadora: Well, okay.

Lucas: Okay.

But it doesn’t really feel okay. Things are changing just like Isadora said they were, but perhaps even more than either of them recognized. And more than either of them know how to handle.

INT. AAA - PROP LOFT - DAY

Zay climbs his way up to the prop loft, startling Riley. She’s curled up by the shelf of set decor pieces, crying and growing embarrassed once she realizes she’s been caught. She starts to wipe her eyes and make up an excuse but Zay doesn’t harp on it, simply walking over and settling down next to her.

Riley: [ wiping her eyes, huffing ] Sorry.

Zay: What are you apologizing to me for? I’m the one who disrupted your space.

Riley laughs a little, even though nothing is funny. Zay doesn’t pressure her, but he’s there. Available to talk, if she wants to talk.

After a bout of quiet, Riley explains that this situation is harder for her than it probably should be. She states that this whole experience is reminiscent of things she’s already been through, going on to confide in Zay that reason she transferred to Adams in sophomore year was because of the intense bullying she endured at her former school.

Riley: Don’t get me wrong, I’d still much rather be here. And the situations aren’t really all that similar. But the feeling… going back to being isolated because of something that really doesn’t have anything to do with me, just because, it’s --

Zay: Just because it’s marginally better doesn’t make this experience hurt any less.

Riley could certainly use the validation. She nods, wiping her eyes with her sleeve.

Zay notes that he’s no stranger to bullying, growing up Black and queer. But he reassures Riley that he’s going to be there for her -- she’s not isolated. She’s not going through it alone. Everything else can fall apart, but he’s not going anywhere.

Riley smiles, nodding gratefully. Zay puts his arm around her and she leans into his shoulder, the two of them taking in the peace and allowing it to hurt. Letting the hurt happen, before they have to rebuild again.

INT. AAA - ERIC’S OFFICE - DAY

The faculty five are assembled in Eric’s office, discussing the auditions and how they want to maneuver where things go from here on out. None of them are getting cut, of course, but they need to decide how to effectively get the message across with the announcement that that doesn’t mean there’s a free pass for more bullshit.

Case in point, Jack reiterates the point that they are lucky to be here. All of them are, and that’s what he wants this whole experiment to drive home. They had to fight for their spot again, and they should remember to cherish how privileged they are to have these opportunities even when things get tense.

INT. AAA - AUDITORIUM - DAY

So that’s the message Harper delivers when she informs the assembled junior class that no one will be getting asked to leave. They all stand together on the stage as she gives a heartwarming speech about how lucky they all are to be in this position, and she hopes they remember that as they move through the challenges of this year. It’s a moving argument.

This sentiment goes over less smoothly in execution, however, as the juniors are pissed that the whole thing was just some elaborate mind game that they exerted time and energy towards. The jabs thrown around escalate, until somehow it all comes back to blaming Farkle for how the entire thing is his fault because of his stupid meltdown video.

Finally having had enough, Farkle snaps. He essentially gives a live show of the aforementioned meltdown, railing about how it’s bullshit that he’s getting the blame for everything when they’re all just as bitter and petty as he is. Sure, he sent in the video and yes, he shouldn’t have said the things he did, but all of them also submitted rude posts about one another. They all sent in bullshit for their own selfish reasons -- whether to tear down someone else or prop themselves up. Charlie casts a nervous glance to Riley, who avoids eye contact with him.

Harper is unimpressed with Farkle’s tirade, but she’s even more overwhelmed with how to bring this trainwreck back on track. Angela takes the reins instead, stepping forward and attempting to rally home Jack’s point that they should all feel lucky to be here.

Song Cue ♫ ♪ “Show People” as performed by Curtains Original Broadway Cast || Performed by Jack Hunter & Angela Moore (feat. AAA Juniors) (starting at 00:30)

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

Specifics of the situation modified, Angela covers the opening bit of the song in essentially trying to guilt and bully the junior class into realizing they’re being ridiculous.

When she claims the show must go on and they call horseshit, Jack steps up to take the soapbox. He elaborates how not only are they lucky to be here, they’re lucky to be performers at all. People all around the world wish they were in their shoes, people would kill to be where they are right now with all this talent and opportunity at their fingertips. Surrounded by other talented, passionate people. Doing what they love.

Of course, it’s appealing to that intrinsic love of the art that starts to win people over. First Angela and Jack carry the song, but then students begin to join in. Nigel, then Yindra. Yogi has the bad joke about tree surgeons.

For once, it’s clear that the junior class is having fun again. It’s also the first taste we’re getting of the full ensemble at work, the techies participating in the performance just as much as the rest. This season Harper said there would be more crossover, and that promise will indeed hold true!

About five minutes in, the performers come together in a kick line and declare that they are, in fact, show people. There’s a sense of unity for the first time all season, this rooted passion unlike any other that ties all of them together in spite of everything else.

As Angela takes the last few “and on” notes, she dances with a few key groups. Charlie and Zay are standing together in a half-circle with Yindra and Nigel, exchanging a playful look with Angela as she sings with them. Then she flutters over to the techie crew, pulling them back into the number with a flourish.

On the final, climactic repetition of the chorus, the entire ensemble is up on stage participating. Yes, all of them. As they march towards the front of the stage, Angela leading the charge, she makes one final definitive stomp that sends us smashing to black.

This is it! Round 2!

END OF EPISODE.

#s2 #episodes #this is it! round 2!#201

33 notes · View notes