#little techy twinks

[flatfuckfridays]

//ooc i suppose but hiii its the anon that said "a/v²" and teehee im so happy you like it!! i thought it up even before i saw these blogs for my own au of these three being a trio but im happy to see it actually being put to use outside my silly little head ^^

Ooc// hECK yeah anon! I’d love to use that shit as the name of our little rp group thingy if you’re alright with that :D

Now to just figure out how in the hells you make a ^2 squared symbol on mobile /hj

aLSO thank everyone for all the interaction on these lil rp blogs, I’m personally having a blast portraying this unhinged egotistical techy-twink :3

#flat fuck voxday mun #ooc post #ask the tv bitch #A/V Squared #that’ll do till I can make the ^2 XDD

[spinbitchzu]

tonight I am thinking about ninjago vocaloid au...

#I know nothing about vocaloid #ppl who do plz tell me about it #I just think the ninja in skirts or something #little techy twinks #ninjago #lego ninjago #tavia talks

[ambitionsource]

i had no idea nate was on scholarship! (unless its been mentioned and i’m just dumb) could you tell me a little about his home situation and his life?

yes, totally! one thing that i know i’m really grateful for in ambition (and that we’re really getting to appreciate to the fullest in s3) is this awesome, varied, fun, quirky, weird, delightful ensemble we have in the a class. like i would say that s3 has more exploration of the class as a whole as well as the individuals in it than anything else so far (which makes sense, i feel like the deeper a show goes into episodes the naturally more deep the background characters will become -- at least on shows that know how to utilize all of the tools they’ve been given in their toolkit). we started this a little bit with the techie crew in s2 and delving into them more closely, but we’re gonna do even more and with a wider scope in s3. super excited about it!

so yes, nate. nathaniel dean martinez. to answer your first point, no, him being on scholarship was never explicitly mentioned, i think we only ever canonically mention maya having one on screen. but each class has about 10 scholarships to give out (that including both the a and b class), and the notion of how scholarship works at aaa is something else that will be explored in s3.

nate is from the bronx, so just north of manhattan. it’s considered by the us census to be the most diverse area in the country, with high populations of african-americans, whites, and hispanic / latinxs. it also has a wide range of income level, but has some of the poorer districts in the country. according to my dear friend who is from the bronx, it really is its own identity and experience, and nate definitely matches and encapsulates that.

he lives with both his parents, but he has a better relationship with his mom because his dad is out so often working. he has two younger siblings, a brother about 4 years younger than him and a sister about 8 years younger. so there is a bit of an internal pressure there to make something of himself so he can support his family and siblings, even though he’d never admit it. in some ways, nate and maya have a lot of similarities despite how much they dislike each other -- both ace, both low income, both mainly living with their mothers, both using fashion and attitude to compensate for the materialism they want but don’t have...

this is also why nate is so particular about money. in “how the twinks saved christmas” (the dasher special), nate is the only techie who initially refuses to give his usual donation to help with putting the holiday party together. he only does after getting an “insurance fee” guarantee from asher, showing that he’s business savvy and pretty street smart.

i refer to nate affectionately as the “bulldog” of the techies, because he basically is. he’s obnoxious and flippant and will pick on all of them just for fun, but he also (usually) knows where the line is and knows how to keep the teasing truly playful and not step over the line. that said, he’s given up not trying to upset asher and jade, because they’re sensitive and get upset no matter what. however, if anyone else even so much as breathed wrong in the direction of his friends, he will attack faster than lightning. he’s extremely loyal, but his loyalty is also fickle -- as evidenced by how quickly he turned on isa when he perceived her actions as “wronging” the collective techie crew. he’s a bitch, but he’s their bitch, and he’ll defend them to the death.

additionally, nate is what i call “ace thotty” -- on the surface he seems like a total fuckboy in terms of the way he dresses, the fact that he likes to twerk, his behavior half the time... but he actually has literally zero interest in dating or sex. he’s one of three techies who are a-spec (the other two being dave and lucas, who is demisexual). but the thottiness is basically another angle on his obnoxious exterior Bit. he’s the reason that tracks like “sexy and i know it,” “talk dirty,” and “bootylicious” are on the techie playlist.

his interests include video gaming, basketball, skateboarding (often with dylan), and eating. he’s also really good at sound mixing and audio work, which is what he was admitted for as a student technician (and demonstrated by him creating the “singin’ in the rain” remix for his and isa’s project in 110). he wants to go into the business of music remixing, combining his interests in technology and business, even though he has no stuff to practice at home with.

of the a class, nate is closest to dave (arguably his best friend), dylan, and jeff. his least favorite classmates are sarah, maya, and formerly wyatt. nate never submitted to the aaac when it was in its prime, but if he had a better mobile device he probably would’ve gotten sucked into it (and found some of the posts people made hilarious). he’s more complex than meets the eye (as are most of the a class), but all in all he gives a little much needed grit to the techie crew, but in a way thats fun rather than depressing like lucadora.

-- Maggie & Es

#nate martinez #techie crew #a class #aaa supplementaries #ambition quarantine 2020 #thank u for asking about him!!! he appreciates it #judahslewis #answered

[wildsecuritywolf]

Seb, why do you keep Mar around? He sounds so whiny and like a little bitch when you start flirting with Techy. Just dump that twink ass :/

Sebastian: “Because Mar needs me, emotionally wise. He’s got nowhere else to go. ..He’s got no one to stay with. Plus..I like Mar very much.”

#ask from anon

[ambitionsource]

AMBITION Season 2 ♫ “Trapped” [ 2.06 ]

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

NOWHERE TO HIDE – Forced together for a group assignment, a surprising collection of students find themselves locked in the school as a snowstorm hits Manhattan. Emotions bubble to the surface when there’s nowhere to run. Farkle makes an overdue apology. Lucas finally lets go.

55 Minutes (12.5K words) || CONTENT WARNING: discussions of death, mild suicidal ideation. Take care of yourselves and read with discretion.

[ ← How the Twinks Saved Christmas ] [ S2 Synopsis ] [ Contingency Plan → ]

( Follow along with the music on Spotify here! )

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Revolting Children” as performed by Matilda Original Broadway Cast || Performed by Maya Hart, Riley Matthews, Zay Babineaux, Farkle Minkus, Isadora De La Cruz, and Lucas James Friar

A spotlight beams into the camera, obscuring our vision until a shadowed, angled shot of MAYA HART belting out the opening note of this Broadway tune fills the screen. She carries us through until the rest of the ensemble joins in, each of the other performers spinning to face the front of the stage as the camera pans past them.

ZAY BABINEAUX, in a crop top and rehearsal sweats and looking somewhere between determined and irritated. RILEY MATTHEWS, sporting a new look with her hair cut just above her shoulders and doing her best to keep up with the divas -- mostly just not to add anymore hiccups to an already stressful performance.

FARKLE MINKUS, wearing the world’s frumpiest cardigan and looking worse for wear. His hair is an absolute flyaway mess, his clothes are wrinkled. He does the steps listlessly, going through the motions rather than putting any energy into it. ISADORA DE LA CRUZ, finally keeping up with her performing peers but aggravated from the general bad mojo of the group and hair pulled back out of her face with a dark scrunchie.

Then, yes, LUCAS FRIAR. Snapback on, brow furrowed, looking overwhelmed and confused as he attempts to sing and dance along with his classmates. Sticking out like a sore thumb, but in attendance and participating even though it goes against every fiber of his being.

It’s a wild sight to behold. The six of them don’t give a horrible rendition of the number, but it’s rough and unrehearsed. Everyone aside from Maya and Zay fumbles with the choreography -- or in the case of Lucas, drops the ball entirely. This lack of precision is what prompts the “Come on!” from Zay about 2 minutes in, an outburst of exasperation rather than a rallying cry.

When Isadora “takes out her hockey stick and uses it as a sword,” she grabs a prop and literally takes a swing at Lucas. He ducks just in time, giving her an incredulous scowl and holding out his arms in indignation as the song continues. Maya almost trips over Farkle when he takes too long to get to his next mark, glaring at him and performing more aggressively in compensation.

They’re not the only ones playing bumper cars. Riley and Lucas ram into one another, the latter stabilizing the former before immediately brushing past her and getting as far away as the choreography will allow. Riley is stunned frozen for a few moments, literally having to shake off the daze and frustration.

The whole thing comes to spectacularly disastrous finish, Lucas tripping over his own feet and ramming into Riley. He manages to catch her as they both go sprawling to the ground, causing Isadora to trip as well and accidentally push Farkle. Maya just barely manages to avoid the destruction, scrambling out of reach as Farkle face plants into the stage.

Close on Zay’s frustrated expression, at his wits end.

Zay: You’ve got to be fu -- !

Cue title sequence.

INT. AAA - AUDITORIUM - DAY

We come back on a bloody tissue, pulling back to reveal Farkle dabbing at his lip. He doesn’t seem all that perturbed by the injury. Isadora is in the process of helping patch up Riley from their tumble, Lucas pacing a few steps away and not even bothering to fix his own scrapes.

Zay and Maya are doing most of the talking, arguing about the choreography and whether or not they’ll be able to pull it off. Zay claims that these are incredibly simple steps that any mediocre performer with a shred of coordination could pull off, but as Maya points to the rest of them recovering from their inability to do just that, clearly they need something different.

Maya: Sorry, but I’m not going to fail this assignment just because y’all over there can’t get your shit together.

Lucas: Bold of you to assume we’ll ever get anything right considering this is the absolute worst possible combination of people to be in a group together.

Farkle and Isadora both make faces at that -- he might have a point. Zay tells Lucas to speak for himself, before stating that they’ll obviously just have to stay after school and rehearse more. No one seems thrilled about this, not to mention there might be logistical issues.

Riley: Is the school even going to be open? It’s supposed to start snowing after lunch.

Farkle: And? It’s New York. What’s your point?

Hard to argue with that. The matter is settled, and they’ll be regrouping after school to give it another go. As the group of them begrudgingly head out, Riley tries to catch Lucas and offer some help since he’s definitely the weak link in this chain.

Riley: I can try and help you with the --

Lucas: [ without looking at her ] No.

He brushes past her, Riley taking a deep breath. Keeping her cool, not letting it get to her. It’s a stressful situation, one that none of them want to be in at that moment.

Still, the show must go on…

INT. AAA - HALLWAY - DAY

The bell rings, signaling freedom for the end of the school day. Farkle is alone at his locker, Isadora hanging down the hallway a few feet and observing. She finally works up the nerve to approach, tentatively kicking up a conversation with him. Bonkers, how this project is going, huh? Been a while since they worked together. How was Hannukah?

Farkle stares at her, blinking as she continues to throw polite questions at him. He doesn’t seem interested in having a conversation.

Farkle: [ interrupting her ] Smackle. Isadora.

Isadora: Yeah, yes. Yeah?

Farkle: What are you doing?

Isadora: … just… striking up conversation. Project partner to project partner. It’s a shame you weren’t at Riley’s holiday party there was… lots to discuss. We missed you there.

A lie, and Farkle knows it. He points out that he wasn’t invited, which seems odd to Isadora. But he questions her presence there before she can question his absence, following up with a query of his own.

Farkle: What about that little illegal techie party that happens every year that you think is a big secret but everyone knows about?

Isadora: [ ignoring his sarcasm ] Oh, yeah. Well… didn’t end up panning out this year. Scheduling conflicts, you know?

Farkle, flatly: Tragic.

He closes his locker, curtly thanking her for the pity friendship. She tries to refute this take but Farkle is already walking away, snapping at her not to be late to rehearsal because he just wants to go home and go back to bed.

Farkle: Maybe then I’ll wake up from this nightmare.

INT. AAA - HALLWAY - DAY

Riley is with Maya, the latter opening her locker and glancing at her reflection in the mirror. She’s obsessively touching herself up, fixating on her appearance given that it’s one of the few things she can control.

Maya: This is a living nightmare.

Riley is distracted, finishing typing a text on her phone. She cheerfully confirms that she let her father know they would be late at school for rehearsal.

Maya: I didn’t realize we needed to give him a play-by-play? Does he want to know what I ate for lunch, too?

Riley: … it’s just common courtesy?

Maya rolls her eyes, obviously not in the mood for courtesy. The exchange makes one thing very clear, however, which is that Riley and Maya had very different upbringings. Whether this will make for them being good roommates, well, only time will tell…

As they begin walking to the auditorium, Riley gently suggests that Maya take it easy on Lucas. Like yeah, he’s not good, but he’s also not a performer. She could afford to cool it on how critical she’s being, and then maybe he’d be able to come around.

Maya: I don’t see him ever coming around. You need talent to do that.

Riley: Okay, but I’m just saying --

Maya: I’m not going easy on anyone, least of all Jackass Friar. And you know, Riley, I hate to say it, but it’s a little pathetic that you’re still out here defending him when he’s made it quite clear that he doesn’t care about anybody but himself.

Ouchie, Miss Maya. Riley absorbs the blow, letting Maya walk ahead of her and blinking off the daze of the hit. It’s obvious that Riley doesn’t believe that, but the more people continue to say it to her like she’s being an idiot…

She lets out a huff, jogging to catch up to Maya.

Asher, pre-lapping: So how goes rehearsal?

INT. AAA - HALLWAY - DAY

Lucas is at his locker, stuffing his bag into it unceremoniously. ASHER GARCIA watches with pity for the poor backpack receiving all his aggression, DYLAN ORLANDO standing behind him and leaning over his shoulder.

Lucas: God awful. You’re more than welcome to shoot me on sight, I would consider it a mercy kill.

Dylan claims that he’s totally jealous, because he wants to see Lucas pull off some sick moves. He shoots him a glare, obviously not in the mood to be complimented. Asher encourages him to keep his chin up, reminding him that it’s just another week and by the time they hit Friday it’ll be onto the next thing.

Lucas: And the next week, and the week after that… thanks Asher. That’s exactly what I needed, to remember that my torture in this circle of hell is continuous and cyclical.

Asher: [ rolling his eyes ] You know that’s not what I meant. Look, you’re doing exactly what Burgess told you to do, keeping your head low and falling into line --

Dylan, forlornly: God, this must be killing you.

[ Lucas makes a face at Dylan, accenting the point. Asher plows onward regardless, upholding his optimistic outlook. ]

Asher: And right now, that’s all you can do. But this too shall pass. You know, one day, we’re going to look back on how stressed we were about all of this stuff, and it’s gonna be hilarious because we’ll realize that none of it really mattered. What mattered was that we got through it, and we got through it together.

Even if Lucas isn’t convinced, Dylan is charmed by his boyfriend’s positive outlook. He smiles as he talks, leaning over to kiss him on the cheek when he finishes his thought. Then he follows up on the idea, pointing out that they thought the techie party was dead too and they managed to get through that. And it ended up being great in spite of the darker moments. So Asher is right.

A nice sentiment, but a confusing tidbit for Farkle to overhear as he passes through the hall. It seems like news to him considering what Isadora literally just said about the party being cancelled, but not like it’s any of his business. He keeps walking without comment.

Lucas is placated enough for now, nodding in acquiescence. He closes his locker, turning his focus to them and questioning how their rehearsal group is going.

INT. AAA - HALLWAY - DAY

CHARLIE GARDNER responds to the same question in lieu of Dylan and Asher. They’re by his locker, Zay leaning against the rows and listening attentively as Charlie laments his own group.

Charlie: Exhausting. I mean, don’t get me wrong, Nigel and Yindra are mega talented. And Yogi is… well, he brings a certain special something to the table.

Zay: Sure.

Charlie: But it’s just a lot, working in such a big group and trying to cooperate when there’s no clear leader. Not to mention how weird it is that they mixed up the performers and techies like this -- not that I’m like, a separatist or anything [ Zay snorts ] but it just seems like a complicated aspect to the assignment. And Asher and Dylan keep looking at me, like they’re expecting something out of me, and then when I catch them looking they immediately look in the complete opposite direction which is not subtle and just makes me way more freaked out.

Zay gives him a sympathetic smile, Charlie closing his locker pointedly.

Charlie: Suffice to say, I am grateful that we’re not bothering to rehearse any more today. I would rather do anything else.

Zay: Wish that were me. I’m gonna be stuck here for hours teaching Friar how to dance with two left boots.

Charlie: Yeah, good luck with that. You’re good, but you’re no miracle worker.

Zay scoffs in faux offense, causing Charlie to laugh. This earns an immediate smile from Zay, who then questions what his evening plans are. Charlie shrugs, admitting that he doesn’t have many before clearing his throat and growing a little more bashful.

Charlie: Although… some all-you-can-eat fries at my favorite diner might be a good way to destress…

Zay: [ raising his eyebrows playfully ] Yeah?

Charlie: Well, this guy I know gave me a coupon, so…

It’s a lowkey flirtatious conversation to be having in the middle of the hallway, and the way they’re looking at one another is not subtle. Nice growth, boys. Proud of you.

Zay states that he could probably make that work, given that they can’t possibly hang around and rehearse their pointless number forever. He’ll be sure to text him and let him know when he’s heading out, and he’ll come pick him up.

It’s a date, then. In theory. As the conversation wraps up and they promise to see each other later, Zay leans forward and almost gives Charlie a kiss on the cheek on instinct. It’s so natural between them that he almost doesn’t pull back… until he remembers they’re in public and he suddenly flinches away.

An awkward moment passes between them as they lock eyes, the realization sinking in again that this is what their relationship is. Wonderful in so many important ways, and then… that. Charlie recovers first, managing a smile and patting his shoulder. He reiterates that he’ll see him tonight, accenting the point with a nod.

The message is clear. It’s okay, we’re in love, just… not here. Zay struggles to return the smile, obviously stung by that unexpected reminder.

INT. AAA - AUDITORIUM - DAY

Maya and Riley arrive back in the auditorium first, not talking much given that the former is in queen bitch mode and Riley is still sort of stinging from her earlier commentary. Zay enters next, glued to his phone and not bothering to look up as he drifts over to join them by the portable speaker.

Farkle saunters his way in, glancing in their direction and making fleeting eye contact with Riley. He opts to sit alone, plopping down on one of the acting blocks. Lucas follows soon after, eyeing all of them without comment before heading to the opposite end of the stage and settling on the lip of the stage.

Isadora is the last to straggle through the wings, surveying the scene and contemplating where to go. Maya waves her over before getting lost in the sound system again, but Isadora can’t stop looking at Lucas sitting on his own and isolating himself from the rest of them. So she opts to head in his direction, sitting down next to him instead.

She makes a playful comment about how she’s impressed he actually showed up, and while it was innocent Lucas sort of takes it personally given how off their communication has been as of late and how he’s still bruised from Harper’s takedown of him earlier in the year. So he bites back, defending himself and commenting on the stupid assignment and how he’s just trying not to derail all of them although there’s no place he’d rather be less.

Isadora nods along, but she’s clearly not in the mood for his negativity. She apologizes, stating she should’ve just not said anything. Lucas recognizes she didn’t mean it, starting to say something to try and salvage the exchange when Zay claps his hands loudly.

Up and at em, then. Time to get this trainwreck back on the tracks. Five, six, seven, eight --

Song Cue ♫ ♪ “Revolting Children” as performed by Matilda Original Broadway Cast || Instrumental

If it’s possible, things are even worse than before as the hours pass and they run the routine over and over again. It all starts to run together, the motion blurring and overlapping. The soundtrack almost sounds like it’s skipping, repeating itself as they hypnotically repeat and screw up the choreography again and again.

Zay is clapping along aggressively with the track, counting out the beats and drenched in sweat by the time they’re on their dozenth or so run through. He’s less forgiving than usual after the weird moment with Charlie. But the fact of the matter is, Lucas isn’t going to get this choreography. It’s just not happening.

The point is made as much when he stumbles into Zay during another run, the latter growing aggravated and lightly pushing him away. This develops into a half-serious shoving match between the two of them, Isadora having to jump in between them.

Isadora: HONESTLY. COULD WE NOT?

Riley jogs to pause the music, the group of them instantly erupting into arguments. After a few opening shots are fired Farkle grows fed up, making his complaints for the first time all rehearsal. And boy, does he have a lot to say.

Farkle, bluntly: Here’s the read. [ to Maya ] You’re hogging the spotlight. [ to Lucas ] You’re in the way. [ to Zay ] You're so focused on the dancing, you’re off key. [ to Riley ] You're a pushover, now quite literally. [ to Isa ] And you picked this song, which I’m surmising has something to do with whatever internal baggage you’ve got going on right now, but it’s whiny and abrasive and yet still too difficult for Lucas. [ clapping his hands together ] So we're gonna fail! Buh-bye.

Farkle starts to walk away, but Maya grabs his attention again. Riley reaches out and takes his arm, tugging him back into the circle as he rolls his eyes.

Maya: If the song is too hard for you, we can pick another one that you might be able to manage. Maybe… the alphabet song? Twinkle, twinkle, little star?

Lucas, weary: Can we do a song where we just… stand still?

Farkle: Are you sure that’s what you want, Lucas James Friar? Are you sure you want your voice on display like that with nothing to distract the audience from the inhumane growling coming from your end of the stage?

Isadora: We’re doing “Revolting Children” and that’s the end of that. Last thing we need is to change our entire routine now.

Maya: That’s right. And you wanna know why she picked it, Farkle?

Farkle: Why’s that?

Maya: It reminds us of you.

Isadora: Don’t drag me into this shit, I just want us to work this out so we can get it over with.

As the group of them are bickering, Zay marches back to his duffle and begins packing up his things. Riley notices he’s parted from the group first, calling out for him and causing the rest of them to turn on him as he slings his back over his shoulder.

Maya: And where do you think you’re going?

Zay: Oh, me? I’m getting out of here. This is useless, I hate this... [ gesturing amongst them ] energy, and I have places and people I would much rather be with right now. So peace out, drop outs. I’m gone.

He starts his march out the doors through the house. Lucas gets in on the uptake, eagerly pointing to him and claiming that if he’s leaving, he’s so out too. The girls exchange looks before basically chasing the two of them out of the auditorium, shouting all the reasons why they can’t leave yet. Not when everything is such a mess!

INT. AAA - ATRIUM - NIGHT

Lucas has caught up to Zay, the two of them marching right for the doors while the girls jog after them and tell them to stop. The atrium is dimly lit, none of the natural light filtering in due to how it’s darkened to night outside.

Riley finally gets them to halt when they’re steps from the doors, pleading with them to just give it one more chance. It’s quite a comedically dramatic little scene. She says to think of their performance; Isadora begs them to think of their grades. Maya goes for the most blunt approach.

Maya: Think about not being a pain in the ass to the rest of us!

But Zay has had enough, and Lucas is more than ready to follow his exit. Zay gives them one last salute, backing into the doors and expecting to be able to push out into the night… only the door doesn’t budge. He hesitates, turning and trying again. Nothing. He pushes with all his might, but still it won’t open.

Lucas approaches and asks what he’s waiting for, and Zay defensively claims he’s doing everything he can. As they attempt to figure out what’s wrong with it, Riley saunters her way up to another door and looks through the glass windows to the scenery beyond them.

EXT. AAA - NIGHT

Easing out from Riley’s face in the window, we’re looking out towards New York in a winter wonderland. Snow is still falling, having coated the steps and iced around the doors. It’s sealed them in tight.

For all intents and purposes, the six of them are snowed in.

INT. AAA - ATRIUM - NIGHT

Isadora blankly states the realization just as it seems to hit Riley, the two of them locking eyes. As this bleak reality settles in, some are less receptive to the possibility than others.

Lucas: Oh, hell no. I’m not going to be stuck in here with you all.

A little ironic, given how much time Lucas voluntarily spends in the school overnight -- but understandable given the circumstances. He claims he’s going to push his way out anyway, gearing up to ram at the door with a lot more raw force than Zay…

Farkle: It’ll be your death by frostbite.

The rest of them turn as Farkle finally catches up, slinking casually into the space. He claims Lucas can try all he wants, but even if he manages to get the door open he’ll die of hypothermia walking home alone with nothing but his denim jacket for coverage. Especially in the dead of night. He goes on to plaintively list all the ways this terrain is guaranteed to kill him, the others listening and watching the two of them like a tennis match.

Farkle: But by all means, go ahead and try it. I certainly won’t stop you.

Lucas grits his teeth, glaring at Farkle. He glances back through the windows at escape so close but so out of reach… then definitively steps away from the doors.

Officially stuck. Trapped, if you will. A-wink.

INT. AAA - AUDITORIUM - NIGHT

The six of them are sprawled across the stage, laying on the ground and accepting their fates. It’s quite a fun cinematic shot. Farkle stares up at the lights and the catwalk above them -- they seem to stare back, unmoved. The whole auditorium is strange with a stillness we’ve never experienced before, usually so alive and bustling in the day time.

They’re very much moping, and there doesn’t seem to be anything to be done about it. Their conversation confirms that service is too spotty due to the notoriously bad reception in the auditorium combined with the storm. They can’t exactly call anyone to come help.

Zay: Well. We’re gonna die in here.

Isadora: Can’t think of another place I’d like to die least.

Maya: At least we’ll be missed.

Lucas: Maybe some of you.

Riley frowns, not a fan of the doom and gloom. Getting stuck on being stuck isn’t going to solve anything, and she’s always been a gal of action. She pushes herself to her feet, declaring that they’re going to be fine. They just have to think creatively.

This prompts the rest of them to slowly sit up, Riley leading the charge in brainstorming. First things first, the things they might need most immediately. Food. Hydration. Sustenance.

Farkle tilts his head back and forth, thinking. He half-heartedly suggests the teacher’s lounge, claiming they might be able find some salvageable food in there. Isadora seconds the idea, stating that they definitely have a microwave and refrigerator. There has to be stuff in there to work with -- not stuff that belongs to them, but better than nothing.

Zay: Sure, genius move. Only the teacher’s lounge is 100% locked. How the hell do you suggest we get inside?

A fair point… but perhaps not insurmountable. The group of them think on it… and slowly, all eyes turn to Lucas.

He lifts his head to see them all staring at him. After a moment, he rolls his eyes.

Lucas: Whatever.

INT. AAA - HALLWAY - DAY

Clunk! A canned beverage falls into the output port of a humming vending machine. Farkle reaches down and picks it up, tucking it under his arm.

He and Maya are on drink duty, painstakingly depositing spare change into the machine to procure beverages for their sad dinner party. It’s a… slow business, feeling even slower considering neither of them know what to say to one another. They haven’t spoken since Maya declared their chapter closed over a month ago, although both of them have evidently thought about it.

Maya is handling the money, at least giving her something to do. But Farkle is being unwittingly distracting, tapping his feet and exhaling through his lips. It clearly irritates the already moody Maya, causing her to snap.

Maya: Stop.

[ Farkle pauses. Silence prevails save for the clinking of coins and the operations of the machine… until he inevitably starts fidgeting again. ]

Maya: Could you stop?

[ He raises a hand in surrender, leaning down to pick up the next drink. More silence… but then once again… ]

Maya: How are you so annoying? Jesus…

Farkle doesn’t hold the same level of irritation towards her as she seems to him, and after another long moment of silence and another drink collected, he decides to try and explore the problem. He questions why she still seems so mad at him, given that most people have simmered down to general distaste or indifference at this point. Even more than that, she herself said she was done with him, so why is she still so upset?

Maya: … don’t flatter yourself.

Farkle: I’m just saying, you’re the only one still actively firing shots at me all the time. In spite of your own declaration that the chapter was closed.

Maya: Yeah, and?

Farkle shifts to leaning against the side of the machine, cradling his growing collection of drinks in his arms. He examines Maya as she continues to ignore him. Then, an attempt at vulnerability:

Farkle: I guess I understand it, actually. With everyone else, you know, it was… everyone else. What I did to you… revealing things that you trusted me with…

[ Maya closes her eyes, trying to keep her emotions in check. ]

Farkle, softly: That’s different. We were different --

Maya: God, Farkle, just stop!

Maya snaps, whipping to face him. She’s clearly operating on emotion when she lashes out again, stating that he can’t just do this. He can’t go all pathetic and vulnerable and expect her to feel bad and like him again. It’s not fair for him to play with her feelings like this. It’s not fair for him to have this kind of effect.

Farkle obviously doesn’t know what she’s talking about, operating with no ill intent. And for what it’s worth, it seems as though Maya is far more torn about what she should be feeling towards him than he is. She’s angry, sure, and she’s hurt, but there’s something else there that keeps the chapter from being closed… something that doesn’t want to let go…

Maya: You can’t keep doing this to me. I can’t keep doing this. Because it’s clear you only care about people when they’re operating in your favor --

Farkle: Maya --

Maya: And you know what, Farkle? You’re not God. You don’t control people, and you sure as hell can’t control me.

Maya drops the rest of the change onto the floor, scrambling to get away from him. She can’t be near him right now, when her emotions are so high and threatening to spill over.

Farkle watches her march off, before crouching down and robotically staring to pick up the change. As the angry guitar licks lead us in…

INT. AAA - HALLWAY - DAY

Song Cue ♫ ♪ “Playing God” as performed by Paramore || Performed by Maya Hart

Maya launches into this pop rock vent as she marches through the halls, running her hands through her hair and obviously struggling to deal with her emotions. The number progresses in a very Troy-Bolton-Scream capacity, Maya falling back against lockers and the room feeling as though it’s tilting as she fights to stay on her own two feet.

It’s a change of pace for the usually Broadway / pop classic diva, but in some ways it almost feels more authentic than anything we’ve heard from her yet. It’s raw and erratic, and the shift in genre reflects how conflicted she truly is over whatever her dynamic with Farkle is supposed to be. She keeps saying it’s closed, that she doesn’t want anything to do with him… and yet…

She stomps all through the familiar halls of AAA, until she drifts back towards home base…

INT. AAA - DRESSING ROOM HALL - NIGHT

Maya thrashes her way through the dressing room hall, blasting into the dressing room.

INT. AAA - GIRLS DRESSING ROOM - NIGHT

This is where Maya rounds out the emotional performance, chewing up the scenery of her safe space at AAA as she rails through the last chorus. When she hits the last notes and “points you to the mirror,” she looks at her own reflection. Overcome with emotion, flushed, but maybe not completely absent of blame in how this relationship has fallen apart.

Difficult to stomach, as the look on her face clearly indicates.

INT. AAA - CATWALK - NIGHT

Unprecedented ground for a performer to be trekking, Zay is climbing around in the rafters up on the catwalk as he desperately searches for service. His messages are open with Charlie, where we can see he has tried to send a couple of texts with no luck. He’s attempting to give him a heads up of what’s going on, rather than just standing him up.

His endeavor isn’t going well, despite how he stretches as far as he can and practically begs the universe to have mercy on him. For a moment, it seems as though he might get a bar… maybe just enough time to send this quick text --

Isadora: What are you doing?

Zay jumps, surprised at being addressed. He nearly drops his phone, scrambling back and cradling it against his chest. He glances down over the rail of the catwalk, Isadora peering up at him with a critical eyebrow quirked in his direction.

He manages to cover smoothly, stating that he’s merely attempting to find cell service so he can get them some help. Someone has to try and get them the hell out of here. Isadora points out that even if he could reach someone, no one is going to come to their rescue in this weather.

Zay: You’re just a cock-eyed optimist, aren’t you, Izzy?

Isadora shrugs. He’s welcome to waste his time if he wants to, she doesn’t care enough to argue the point. Once she’s left him alone and drifted off elsewhere, Zay leans against the railing and checks his phone.

Still no dice. He sighs, cursing to himself and heading back to the other end of the catwalk.

INT. AAA - HALLWAY - NIGHT

A quick series of shots show the process of breaking into the lounge -- practiced moves with a paperclip, jimmying the door handle, and a swift ID card through the crack in the door.

INT. AAA - TEACHER’S LOUNGE - NIGHT

The door slowly creaks open, Riley and Lucas poking their heads into the darkened teacher’s lounge. They exchange a brief look, Lucas pushing the door open more and leading the charge inside while Riley flicks on the lights.

The act of scavenging begins, Riley wisely starting with the cabinets and fridge while Lucas takes his time sorting through the rest of the faculty belongings. He digs through the drawers on the cabinets, finding a lighter, an assortment of utensils, and a lot of spare change. He pockets all of it casually, basically a certified kleptomaniac at this point.

Riley opens the fridge and begins sorting through unclaimed items, gathering them onto the counter or into her arms. Lucas approaches to take a look, Riley explaining her thought process about which ones they can swipe as he leans over her shoulder to observe.

It’s the closest they’ve been in months, that fact seeming to strike both of them in the midst of Riley’s reasoning. They glance at one another when the other isn’t looking, each subtle shift in their expressions worth a thousand words.

As Riley trails off and silence settles over them, Lucas hangs in the close proximity for a second longer before swallowing and nodding. He takes some of the frozen food from the counter and focuses on heating it up, crossing the room to the microwave and putting more distance between them again.

Riley takes a deep breath, collecting herself from the tension of the moment. Although it would be easy to go through the motions and continue on as they have been, when she glances over her shoulder to look at him she can’t keep quiet. She can’t pass up the opportunity to speak to him when she has no idea when she might get one again.

Riley: I’m just going to talk for a second, okay?

Lucas doesn’t respond, keeping his back to her. But he doesn’t tell her off either, which is better than an outright rejection. She can’t see his reactions as she speaks, but she works up the courage to say what she needs to say anyway.

Riley: You don’t have to listen, and I know you won’t believe me. But I never… I never meant to hurt you. [ a beat ] It wasn’t about pity for me.

Although she can’t see it, Lucas is in fact listening. He’s listening, and her words do hit him in a way he wasn’t expecting. Whether or not he believes it, just hearing her say it sands down some of his defensive sharp edges.

Riley starts to ramble, explaining that the whole video was projecting from Farkle’s perspective. She definitely didn’t sign off on anything he said, but that’s not what she cares about really anyway. She just really wanted him to know that when she chose to hang out with him, it was her choice. Just as she’s stammering over why she chose to do just that, Lucas interrupts her.

Lucas, timidly: We weren’t bad, were we?

Riley stops cold, honestly not even sure he actually spoke. He’s still not looking at her, so it’s a bit difficult to tell for certain. He clears his throat, searching for the words. His hands are shaking on the countertop, his voice delicate with uncertainty.

Lucas: I know we weren’t… [ shaking his head ] it wasn’t perfect, but…

She knows what he means. Riley can’t help but smile, but there’s an ache to it, too. Everything about it aches.

Riley, softly: We were good.

The sentiment hangs in the air between them. Comforting, even if everything else remains uncertain. Lucas lets it sink in, nodding and swallowing hard. Clearly grappling with a lot of emotion, even if Riley can’t see it.

Then he clears his throat again, grabbing the finished food and giving Riley rushed instructions on how they should handle the rest. He makes his escape, brushing past her and disappearing out into the hallway without another word.

Riley watches him go, inhaling another shaky breath. She makes her way over to the microwave, trying to follow through on his directions and shake off the tension that consumed the room.

But she can’t escape it. She drops the food container back on the counter, closing her eyes and composing herself again. When she looks over her shoulder at where he left, her eyes are shining with unspoken emotion.

Song Cue ♫ ♪ “Close To You” as performed by Rihanna || Performed by Riley Matthews

Riley’s rendition of this soft, gentle song is hauntingly beautiful, and the lyrics truly do say it all. It’s obviously growing increasingly more difficult to straddle this line that’s been drawn between them, even though she knows he’s more than capable of being fine without her.

She wanders over to the door to the teacher’s lounge, almost leaving but then leaning back against it instead. Panning just a little bit through the wall, we see that Lucas hasn’t gone all that far -- he’s just outside the doors, trying to catch his breath and mirroring her emotion. Just a wall separating them, as there seems to be emotionally as well.

INT. AAA - HALLWAY - NIGHT

As the song progresses, Riley meanders her way through the halls with all the space and freedom to take her time given that there’s no one else around. As we make our way back to the auditorium…

INT. AAA - AUDITORIUM - NIGHT

Similar visuals of Riley and Lucas pepper the remainder of the sequence, instances where they’re just out of reach of one another -- separated by curtains, on opposite sides of a set piece, etc.

As the piano carries through to the end, Riley mindlessly wanders her way through the house seats… until she finds herself standing outside the technician’s booth door. Because of course that’s where she’d end up.

Riley slides down in front of it, sitting outside the door and tilting her head back against the wood. Locked out, in more ways than one.

She closes her eyes as the gentle notes on the piano take us home…

INT. AAA - AUDITORIUM - NIGHT

Supper time! The six are assembled on the floor behind the center section, cramped there with the back section to the booth looming behind them. It’s not the most comfortable set-up, Farkle opting to slouch in one of the auditorium seats in the back center section instead of the ground.

Isadora looks at her microwave meal with distaste, but opts to complain about something else. Namely, the fact that they’re cramped there to eat when they could easily eat on the stage and spread out a little bit. Riley coughs at Zay and Maya, but the latter defends their stance.

Maya: Sorry, but the stage is not meant to be eaten on like a common kitchen table.

Lucas, deadpan: Not meant to be defiled either, but y’all do that every week when you basically pee on it to claim your territory.

This earns a reaction or two, Riley choking on her food and covering her mouth -- and potentially a giggle. Isadora chuckles, chewing her food with a smirk. Zay rolls his eyes, Maya even more disgusted.

Maya: Oh, please.

Lucas: No, really. Now that Farkle has stopped giving a shit for attention, you’re the new one stomping all over people in your psychopathic climb to the top.

Maya, sarcastically: Whew, ouchie! That really hurt! I’ll remember that twenty years from now when I’m touring Madison Square Garden and you’re in prison.

This devolves into another argument, this time zeroing in on everyone’s attitudes. There’s a jab from Zay about Farkle’s pathetic woe-is-me routine, and Lucas ends up slighting Isadora when he responds to another criticism by highlighting her near split personality at this point considering she’s torn between two different realities.

Riley steps in to try and defend Isadora, and even give Lucas back some credit, but that only sets her up to be the next target. Maya hits her with “and there she goes again,” and even Zay incidentally jumps on the bandwagon when he agrees it’s pretty stupid to try and defend Lucas…

In front of Lucas. He glances at Riley, who looks like she wants to die of embarrassment.

All of this leads up to Maya finally taking a direct shot at Lucas, saying what apparently everyone has been thinking -- that he very clearly doesn’t care about anything or anyone but himself. This seems to light a fuse, and suddenly Lucas unexpectedly snaps.

Lucas: I don’t care? [ viciously ] I wish I didn’t care!

Song Cue ♫ ♪ “Untitled Free Verse” || Performed by Lucas James Friar

Less of a song and more of an experience, all of the oxygen seems to get sucked out of the room as Lucas finally, finally cracks. The rest of them freeze as focus directs solely to Lucas, who launches into a frenzied, unfiltered rant. It’s reminiscent of Alexander Hamilton’s free verse in “The World Was Wide Enough,” moments before the bullet hits him that ends his life.

For Lucas, it’s not going to be a bullet wound that takes him out but the sheer weight of everything he’s feeling. It’s practically slam poetry as he attempts to sort through all these emotions that he can’t grapple with, coming out as a blistering display of blunt vulnerability.

Because it’s not just Farkle’s stupid rant video, it’s not the senseless drama of AAA. It’s everything. It’s the booth being taken from him, it’s the fact that he has to rely on the booth in the first place. It’s his parents being shit parents, it’s him being a shit son. It’s Dylan and Asher and how they love him, even though he kind of wishes they would hate him instead so he could leave them alone. It’s being an inevitable disappointment to Jack, it’s the detestable desire for Riley. It’s Isadora and her talent taking her over; it’s having no fucking talent at all.

It’s all of that that is spilling out of him like an open wound, stammered and out of breath and glossy-eyed. All these things he wishes he didn’t, tries desperately not to care about, but yet still does. He cares, he cares too much, and it’s gonna suffocate him. It’s all he can do not to burn everything down with him, so it’s easier to pretend none of it matters. Because he doesn’t matter -- God knows he doesn’t matter -- so why should anything else? It doesn’t matter. It doesn’t matter! It doesn’t matter --

Just as the scene becomes so claustrophobic and feels like it’s going to implode -- there’s a click and suddenly it flattens out again. Lucas isn’t standing in the center of the circle but is back where he was sitting earlier, having not made any moves at all. His expression is blank, Maya snapping him out of it when she grabs his attention.

Maya: Well? Aren’t you going to say anything, Jackass?

Whatever we all just heard, they certainly didn’t. It was all in his imagination, still threatening to suffocate him. But despite everything he obviously needs to say, Lucas merely grits his teeth and forces a sardonic smile.

Lucas: Nothing that matters.

Despite what remains unsaid, that pressure is leaking off of him like lighter fluid. Riley can’t take the tension, searching for a change of subject and perhaps a way to get away from them for a bit considering how Zay and Maya effectively embarrassed her. She declares that they need to shift gears and focus on something else. Something fun to lighten the mood.

Isadora, flatly: Oh, this isn’t fun for you? I’m having the time of my life.

Sarcasm aside, Zay agrees with an encouraging nod. Doing something a little less stressful might keep them all from killing each other before morning.

Farkle: We were just eating…

Riley gets to her feet and paces, lighting up with an idea. Considering her uncle is basically the ambassador of non-stressful activities at this school, perhaps he’ll have something in his office that will offer a little reprieve. She jogs to her backpack, unzipping the front pocket and retrieving a spare key to his office.

Isadora: You’ve had that the entire time?

Riley tilts her head, handing the key to Isadora and placing it definitively in her palm. She assigns the task to her and Farkle, sending them on their way to go searching while they all scour in here.

They disband, off on another mission. At least it’s something to do. Farkle and Isadora exchange a look, wearing somewhat matching expressions of resignation.

INT. AAA - COSTUME LOFT - NIGHT

Zay is back to searching for a signal, up in the costume loft for some height as he wanders the space. He carefully climbs onto one of the costume racks, actually managing to get a couple of bars. He reacts in excitement, going to Charlie’s contact and hitting call.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

Charlie is doing homework on his bed, seemingly not in that great of a mood. Considering he thinks he just got stood up by his boyfriend, the gloom makes sense.

He jumps when his phone rings, crawling forward to grab it from the end of the bed. He obviously seems relieved to see it’s Zay, but he pulls back on the emotion and tries to exude something more aloof as he answers the call.

Charlie: You know, being late isn’t a heavenly sin, but not showing up at all…

INT. AAA - COSTUME LOFT - NIGHT

The ensuing conversation is split between the two locations, Zay exhaling in relief and attempting to maintain his balance and keep the signal. He starts to explain what happened and assuage Charlie’s concerns and indignation, but the connection isn’t great and he keeps breaking up. Charlie tries to tell him as much, growing more confused than frustrated, but Zay isn’t even really getting his replies.

Then, the real kicker -- Zay’s phone dies midcall. When he checks to confirm this grim reality, he loses his balance and falls off the rack, collapsing into a pile of costumes. Charlie says his name a couple of times in concern, pulling back from his phone to confirm that he did actually hang up out of nowhere. What the hell?

So close, only to be thwarted. Zay growls in frustration and then grabs a costume piece, using it to stifle his scream of frustration. Then he sits up, taking a deep breath and pulling himself back together as he heads back down the step ladder.

INT. AAA - AUDITORIUM - NIGHT

Maya is glued to her own phone, mindlessly flipping back and forth on the home screens since there’s nothing else to do. Riley marches over to where she’s seated in the back section and demands her attention. She musters up her nerve before stating that she doesn’t care for the way Maya has been constantly dismissing her. Regardless of her intentions by doing it, Riley is more than capable of making her own choices and doesn’t need her approval.

Maya claims she’s just looking out for her. She simply isn’t impressed by her decision to stand by Lucas for any reason -- the man himself currently in the background, climbing around on the leftover set pieces from Into the Woods and looking for a place to perch and be left alone. But as Riley points out, that’s none of Maya’s business. Whether or not it’s stupid, the choice belongs to Riley and all Maya needs to do is respect it.

Riley: If you and I are going to share a living space, we are going to have to start respecting one another as more than just performers.

Definite food for thought. Maya absorbs this, the challenge lingering between them when Zay approaches to disrupt the confrontation. He asks if either of them has a charger he can borrow.

Riley nods and digs through her bag to grab hers. Maya questions why Zay has been so desperate to find a signal all evening, seeing as the rest of them have given up. Who could he possibly be trying to reach so badly? He once again claims he’s just trying to get help, but she retorts that it’s far too late for that and they’re stuck until morning at this point no matter what.

Maya then starts brainstorming out loud, puzzling over who else Zayby could possibly be trying to contact. Someone… special, perhaps? This excites Riley as she returns with the charger, immediately jumping on the notion with delight. Romance, now there’s something to lighten the mood!

Riley: I can’t believe it. I can’t believe you could have a significant other and not tell me about them.

Zay: [ with an incredulous scoff ] Who said I did?

Despite his lack of confirmation, Riley and Maya latch onto this theory and start eagerly trying to guess who it could possibly be. Not Yindra, Maya would have definitely heard about that. Nigel? No, he’s too deep in his serious artiste phase right now… Zay keeps shooting them down but they’re practically giddy with interest. Come on, Zay, tell us! Tell!

Obviously, Zay isn’t going to say a word about Charlie. But he can tell they aren’t letting up any time soon, so he’s got to give them something. Defending his boyfriend’s privacy and non-present honor, he decides to give them something to tide them over -- which is to say, absolutely nothing real at all.

Song Cue ♫ ♪ “Particular Taste” as performed by Shawn Mendes || Performed by Zay Babineaux

Zay launches into this boppy pop tune, basically building a fake significant other for Maya and Riley to daydream about as a distraction. The three of them get into the groove of it, dancing around the auditorium while Zay sings about the eccentricities of his mystery lover.

When they make their way onto the stage around the second verse, he makes a point of poking at Lucas sitting up in one of the leftover trees a la Troy Bolton in High School Musical. He swats irritably at him, Zay grinning and ducking around to the other side of the set.

Although most of the details in the lyrics are made up, not all of it is entirely fictional. Zay’s expression is what acts as a giveaway, becoming more thoughtful or smitten on phrases that could most certainly apply to Charlie. It’s glimmers of truth hidden within the facade, ones that Maya and Riley don’t notice as they jam on the stage with him.

The best example of a lapse in the charade comes at the bridge. Zay seems more than a little lost in a memory as he soulfully sings about fingers in hair and knowing exactly what you want, before snapping himself out of it and launching into the last verse.

It’s the most energized fun they’ll have while trapped against their will, so might as well enjoy it. Riley, Zay, and Maya descend into laughter as they wrap the number, Zay taking a bow and waving them off with a “thank you, thank you.”

INT. AAA - ERIC’S OFFICE - NIGHT

The door creaks open, Isadora stepping inside before opening it wider for Farkle to enter. She turns on the lights and gets to searching, but Farkle hangs back in the doorway. He seems tentative to enter, reluctant to cross the threshold.

Isadora starts digging through shelves, looking for where Eric might hide fun activities.

Isadora: Feels weird, being in here without him.

Farkle: Feels weird being in here regardless.

Isadora tosses him a look, message clear from her expression. Okay, edgelord.

Isadora: Are you gonna help, or are you just going to stand there?

That seems to startle him out of his fugue. He steps inside, cracking the door closed behind him and settling into searching as well.

As they start gathering things to take -- not many offerings, unfortunately -- Isadora contemplates another topic of conversation. It doesn’t have the smoothest of starts, considering both of them are terrible at communication.

Isadora: I’m not trying to pity converse with you --

Farkle: Oh, sure. Totally. The queen of the techies wants to befriend the freefalling Icarus of the performers, someone she so strongly dislikes she once referred to him as “the spoiled produce of people.” Or, alternatively, described interacting with him like “stepping on a LEGO brick without shoes.”

Isadora: … well, you deserved those things. At the time. [ off his eye roll ] But, well, things change.

Farkle, blankly: Sure do.

Isadora eyes him curiously. Something about his plain response is so… off. So unlike Farkle X. Minkus, the Icarus of the performers. She settles on the floor across from him, slouching back against the desk.

Isadora: Honestly, I’m not even sure “queen of the techies” is an applicable title for me anymore. So I guess we’ve both fallen from grace.

Somehow, in spite of the conversation being painfully awkward, it hits on everything that is up in the air in their lives. Isadora’s struggle to join a new side of the school, Farkle’s increasing isolation, his odd behavior as of late…

He asks why she even bothered to try and make the change, wondering what she could possibly gain from joining the performer side of things. Isadora wonders why he would even ask considering performing is like his whole world -- something he’s seemed to have forgotten.

Farkle: I don’t know why you would even bother. Being a performer is hell.

Isadora: Isn’t that like… your entire reason for existing?

Farkle: [ a beat, blankly ] Well, yeah. Sure. But seems like you’d be having a lot more fun sticking with the techies.

When she gets him to elaborate, Farkle reluctantly admits -- without the exact words, of course -- that he’s always been jealous of the techie crew. Sure, they’re annoying and rude and constantly make their lives more difficult (Isadora: The feeling is mutual.), but they’re such a united front. They’re a team, and they tackle things collaboratively rather than having to knock one another down to succeed.

Not only that, they’re friends, which may as well be a miracle at this school. They support one another, they actually know one another, they have parties for God’s sake --

Isadora: Well, like I said, sometimes those things don’t last. We’re not nearly as perfect as we seem.

Farkle: … really? Are you sure?

Isadora asks him what he means, and Farkle innocently explains what he overheard between Lucas, Asher, and Dylan. He doesn’t mean to stir up trouble -- really, this time -- but as far as he could tell, there was definitely a celebration of some kind.

Isadora is obviously shocked to learn this. She curses under her breath, hitting her head back against the desk in lieu of actually dealing with her emotions in front of Farkle. Still, this is a big whammy to absorb, and she doesn’t do a great job of keeping it all sealed away.

Isadora: This fucking sucks! [ with a huff ] It’s like I’m back in freshman year, stuck in this mass of people who don’t know who I am. And I don’t have Lucas there to clear the way for me, because he doesn’t know who I am either. I’m on the outside looking in all over again. Like… fucking isolated.

Farkle: Tell me about it.

Oh. Huh. The two of them exchange a strange look, having a moment they didn’t expect to have. Farkle and Isadora have always considered themselves opposite ends of a spectrum, only suddenly they’re experiencing the same things. Perhaps, potentially, there is more in common between the two of them than they realized. And perhaps, there is a whole other side of their adversary to explore and understand that they have never even contemplated before.

There’s a weird heaviness to the realization, both of them looking away from one another and clearing their throats. Both suddenly very aware that there’s depth to the other person, and maybe they don’t really… hate one another. Not the actual person underneath the facade.

Isadora escapes by shifting her focus, climbing to her feet. She claims she has to go deal with this betrayal, grabbing the cushion off the chair across from Eric’s desk and pummeling it in her hands. She tucks the one from the other chair under her arm, marching towards the door.

Before she exits she pauses, doubling back and locking eyes with Farkle.

Isadora: Maybe Icarus and the Dethroned Queen could afford to hang out sometime. Just. Not when they’re locked in a pressure cooker doing the worst assignment on Earth.

Farkle: … yeah. Maybe.

Isadora: Now if you’ll excuse me. [ lifting the pillow ] I have to go kill my best friend.

Isadora storms out, leaving Farkle alone.

INT. AAA - AUDITORIUM - NIGHT

Maya and Zay are back on the stage again, arguing in low voices about the assignment and whether or not they’ll have to change everything. Lucas saunters past them, hovering uncertainly near the wings and trying to work up the courage to approach Riley.

Finally he does, subconsciously wringing his hands as he does so. She’s standing at the stage manager’s podium, idly flipping through a discarded copy of the Into the Woods libretto.

Lucas: … hey.

Riley lifts her head, staring at him. Not sure why he’s deemed to talk to her, maybe hoping it’s for a good reason, dreading it’s for worse. Mostly, she’s waiting for him to say something, which it seems as though he’s lost the ability to do.

He finds it again eventually. He clears his throat, torn between forcing himself to look at her and averting his eyes to the floor.

Lucas: I just wanted to, um -- what they were saying during dinner. About… [ quickly ] you know you don’t have to do that. You don’t have to keep defending me.

Riley: [ not moved ] I know I don’t have to. I don’t have to do anything.

Riley goes back to looking at the script. Lucas blinks, even more confused than before. He crosses his arms, considering just walking away but not able to let it go.

Lucas: I don’t get it. I don’t get why… why would you waste the effort? Especially when everyone is telling you not to.

Riley: Because I don’t let other people’s opinions form my own? [ a beat ] And because friends don’t need a reason. And just because… just because you decided we weren’t friends anymore because of something someone else said doesn’t mean I did. So.

The sentiment seems mindblowing to Lucas. He can’t wrap his head around it, having only ever understood the relationships in his life to be conditional. While he’s struggling to grasp it, Riley is clearly having an internal debate of her own. She looks up at the wall before turning to him, deciding to say her final piece.

Riley: I feel like I know who you are. I know who I wanted to be my friend and… [ changing direction ] I feel pretty confident that I know who he is. And if that person is who you really are, then it’s not effort to defend you. I will always believe in you.

[ Lucas is speechless. Riley powers through, sincerity shining through her gaze. ]

Riley: That’s not something I have to do, but… I don’t think I could do any differently.

They can’t look away from one another. It’s as if the whole world has frozen around them, and whether or not it’ll keep spinning depends on what Lucas says next. He’s clearly searching for what to say… if there’s anything to say at all…

But, of course, the world is not only the two of them.

Isadora: LUCAS JAMES FRIAR!

Lucas whips around just in time to see the cushion flying at him. He pushes Riley protectively behind him on instinct, covering his face as the pillow hits him in the torso. Isadora is marching across the stage, another cushion ready to fire.

Lucas: What the hell, Dora?

Maya and Zay jog over to Riley, pulling her away from the fray.

Riley: What’s happening?

Maya: Don’t know, but I’m not surprised.

Riley: Should we do something?

Zay: [ already pulling her away ] Go, run, go --

The three of them bolt, leaving Lucas and Isadora to have their great showdown. Lucas provokes her to tell him what the hell she’s going off about, to which she throws the revelation of the techie party.

Lucas, incredulous: That’s what you’re pissed about? Don’t throw shit at me, then, go after Asher and Dylan. You know I don’t do things for myself.

Isadora: And yet, nobody told me! So I guess you all just had a super great time without me, like you always do.

Lucas: Don’t turn this on us. Like you even fucking care, you’ve got a whole new crew to hang out with. That’s what you did, isn’t it?

Isadora: … don’t make this about what it isn’t --

Lucas: You were the one who brought it up. You don’t want to get real?

Isadora: Oh. Oh? You want to get real? Fine. You wanna tell me when you got the money to get those new boots? [ off his guilty expression ] No, seriously, I’d love to know. I know Grace and Kenneth didn’t get them for you --

Lucas, fiercely: Hey, shut up.

Their argument quickly escalates, but the fact of the matter is, they don’t get real. They keep jabbing at one another for the petty, annoying things they’ve done to each other in the last couple of months, rather than actually addressing the tension and distance forming in their relationship. Lucas takes a pointed dig and claims she’s becoming just like Valerie, and this offends Isadora. She fires back that she doesn’t want to abandon anyone, he’s the one who hasn’t been there for her at all this year. Friendship is a two-way street!

It’s more than clear -- something in their dynamic is in serious disrepair. Neither of them can articulate it, but boy, are the emotions from it loud and clear.

Song Cue ♫ ♪ “Defying Gravity” as performed by Wicked Original Broadway Cast || Performed by Isadora De La Cruz (feat. Lucas James Friar)

This argument segues perfectly into the opening fight of the Broadway showstopper, Isadora claiming that she hopes Lucas is happy that he’s ruined his life forever with his behavior. He fires back that he hopes she’s happy too, now that she’s submissive and a suck up and just like the rest of the performers “to feed her own ambition.”

Once the song settles into quiet before the actual number, Lucas tries to appeal to her one last time. He points out that she could still come back to the techies, and things could go back to normal. Things don’t have to change.

Isadora: I know… but I don’t want it. I can’t want it anymore.

This is what truly kicks off the number, Isadora taking the Elphaba role while Lucas jumps in on the Galinda beats -- trying to convince her she’s being delusional, to make her realize what she’s giving up, whereas Isadora instead feels like he wants an unfair compromise from her. She’s spreading her wings and trying to be something that feels closer to who she actually is -- can’t that be a good thing? Can’t he be happy for her?

As the number unfolds, Isadora drifts closer and closer to the lights on center stage, whereas Lucas symbolically stays tied to the shadows of the wings. Even as she gets close to moments of pulling him into the light, he shies away or turns the tables.

At the bridge, as they’re exchanging genuine “I hope you’re happy” sentiments, it’s clear that the two of them are not going to be able to bridge this divide they see built between them. As they sing the last harmony in the performance, they clasp hands, and it’s the most emotive the two of them have ever intentionally been with one another. When they wish each other happiness “in the end,” it’s clear that they really mean it.

Then, as the music swells, Isadora backs towards the lights again… and Lucas lets her go. Their hands slip apart, and Isadora stumbles right into the stage lights to deliver a commanding rendition of the remainder of the song.

The other four take the chorus parts, scattered within the house of the auditorium. In the last escalating chorus, Lucas watches from the shadows of the wings before turning away and disappearing into the shadows. Isadora belts out the final note with gusto, proving exactly why she needs to see this performing thing through to the end.

One just has to wonder, as Lucas walks away, if everything will be worth it in the end.

INT. AAA - PROP LOFT - NIGHT

Quiet has settled over the space as the group attempts to get some sleep. As we pan across the auditorium, we get glimpses of Maya, Zay, Isadora, and Lucas all trying to get as comfortable as possible in their chosen nooks so they can rest. Notably, they’re all a good distance away from one another.

Riley isn’t giving it much effort, knowing she’s not going to get restful sleep. She’s wandering around instead, just climbing her way up into the prop loft.

She doesn’t spend much time up there, but now she’s wondering if maybe she should. It’s neat, cozy, and has a calm air for being somewhat “above it all.” She gently handles props as she passes along the shelves, smiling at the peach-colored paper slips taped all over the place that detail Asher’s intensive procedure for keeping the place organized.

Riley stops at the back wall, sliding down into a seat against it amidst the shelves and tables of props. She tilts her head back, looking at the shelves to her left until her brow crinkles. She leans forward and pulls another piece of paper from the shelf, tucked inside one of the cubbies and only visible from where she’s sitting.

It’s plain white notebook paper, different than all of Asher’s reminders and notes. She unfolds it, finding Dylan’s big, messy scrawl instead.

Hi, Ash!

Remember to unclench your jaw, relax your shoulders, and breeeeathe. Also, you’re the best and I love you!

Love, Dyl

Although the message was not intended for her, Riley finds herself following the directives anyway. She can’t help but smile, relaxing her muscles before folding the note back up neatly and putting it back right where she found it. She isn’t sure whether it’s new, or if it’s been there for ages and Asher keeps it there simply to revisit it when he’s feeling exactly how she’s feeling right now. She could honestly believe either possibility.

It’s a nice reminder, that people can treat one another with warmth and kindness even in the face of so much uncertainty.

Farkle emerges from the step ladder, hesitating at the top. He looks to Riley and waits for permission of some kind to enter.

Farkle: Sorry we couldn’t find anything to do.

Riley: [ with a shrug ] We’re all gonna die in here anyway, so. I can’t pretend a board game would’ve fixed everything.

The actual conversation is as good an invitation as any. Farkle treads cautiously and joins her in the space, settling down into a seat against the shelves and propping his elbows on his knees.

Riley awkwardly fills the silence, lamenting the fact that students could even get stuck in the school. What procedures failed that led to them getting stuck in here anyway? And if they decide to close schools tomorrow, what then? She knows it’s unlikely given that New York hardly closes unless Hell is freezing over, but --

Farkle: I’m sorry you had to pay for it.

Farkle’s statement is abrupt, like it’s spilling out of him. Riley stops talking and looks at him, waiting to see if he’s going to clarify his outburst. He digs his nails into his knees, frowning at the ground as he tries to articulate it.

Farkle, shakily: For the video. The things I said. [ a beat ] I know what I did was stupid. Pure idiocy. And I don’t have an excuse. Even if I did, I hardly think it would matter. But I never meant for it get so out of control. I didn’t think everything would get so… I never thought everyone else would --

He swallows, clearing his throat. Riley waits patiently. Finally, he lifts his gaze to meet hers.

Farkle, timid: I didn’t mean to mess everything up for you. [ voice cracking ] I’m really sorry.

Riley can tell he’s being genuine. His nervous demeanor and glassy eyes make it hard to believe he could be flubbing his way through the apology. After a moment, she extends the only reassurance she thinks she has the power to give.

Riley: I forgive you.

It’s barely a dent in everything that’s gone wrong. It’s far from fixed. But it’s something, and that’s better than nothing. Farkle gives her a weak smile, dipping his head down again.

The two of them settle into the quiet.

INT. AAA - AUDITORIUM - DAY

Much like when they first learned they were trapped, the six are sprawled across the stage again. Backpacks are being used as pillows -- aside from Riley, who has her head on Zay’s torso. Lucas and Isadora are on opposite ends of the space. Their eyes are closed, but it’s evident none of them have gotten any actual rest.

Although there’s still plenty of tension, sleep deprivation and loss of fucks to give leads to Isadora asking some silly sleepover-esque question that causes everyone to shush her or groan. But they get into the discussion anyway, the conversation veering in a couple of comedic random directions before petering out again.

In the silence, Zay grows solemn. He pats Riley’s head affectionately, releasing a sigh.

Zay: Does any of this matter?

Maya: What do you mean?

Zay: Like… everything we’re doing. The things we’re stressing about right now. Assignments, rivalries --

Isadora: Party lines --

Farkle: Big mistakes --

Zay: The secrets… is any of it going to be worth it? In ten years, is any of this going to mean anything?

Riley: Are we even going to remember it?

Zay: Does it even matter?

The group ruminates on the big question, hanging over them like the winter storm. Lucas chimes in first, although he stays turned on his side away from the rest of them. His expression is melancholic, starting to crack his aloof facade due to lack of sleep and time alone.

Lucas: No. It doesn’t matter.

Zay: Big surprise from Mister Truancy.

Lucas: You asked. I’m telling you. We’re going to graduate -- or not -- and go our separate ways. Get jobs we don’t care about, lose touch with people we swore we never would, start relationships and get married because we’re supposed to. Then we’ll die, like everybody else.

Maya: You’re so fucking charming, you know that?

Riley jumps in, aiming to divert the discussion from becoming a scrap between Maya and Lucas. She asks what all of them think about that -- what happens after they die?

Riley: I mean, my parents always said… we were never really religious. But there has to be some sort of purpose to it all, right? If all of that is what we’re destined to do, then there has to be something later. It has to be leading to something.

Isadora: Heaven, you think. But that presumes there’s a God up there to impress.

Maya: [ with a snort ] Okay. Thanks, Charlie Gardner.

Zay: Hey, come on.

Lucas: There is no God.

Maya: Oh, wah, wah, wah --

Lucas: There isn’t. If there was, would he seriously let all this just happen? All this shitty stuff in the world, and he just lets it happen? [ a beat ] Some higher power.

Riley: I guess that depends on whether or not we deserve it.

Isadora: God has nothing to do with what happens. Humans have free will. We make those choices. Whatever happens, that’s on us.

For being surprisingly quiet through a majority of the conversation, Farkle wraps it up. His statement is genuine, catching all of them off-guard.

Farkle: Well, I hope you all would. Get into heaven.

This sinks in slowly, obviously impacting each of them differently. Lucas looks unconvinced. Riley and Zay are thoughtful. Isadora seems to be contemplating Farkle’s odd change of heart.

Maya is the most affected, obviously torn on how to take the sentiment -- wanting to believe it’s sincere, clearly wanting to absorb it, but also wanting to stick to her guns of being done with Farkle Minkus.

Zay breaks the meditative silence, letting out another declarative sigh and stating the obvious.

Zay: Afterlife aside, we can all agree this assignment is fucked, yeah?

Riley laughs, launching into uncontrollable, sleep-deprived giggles. The kind that are contagious, so then Isadora is breaking into chuckles. Hearing them laugh makes Lucas smile in spite of himself -- Zay starts laughing too. Then Maya, even Farkle. All of them are in delirious fits of laughter, but it’s the most any of them have laughed in ages. Least of all together.

For a moment, things feel better.

The prison sentence is interrupted when HARLEY KEINER enters with JACK HUNTER, the two of them coming in to check out how the auditorium is holding up before school officially opens for the morning. Jack is tired and holding his morning coffee, stunned when they walk out of the wings to find the six of them lazing around.

Jack: What on Earth are you all doing in here?

Sunlight! A savior from the outside! Maya is the first to jump to her feet, the rest of them getting up and scrambling up to escape. Jack tries to get them to explain what’s going on, and why it seems as though they’ve been here overnight. But they’re making bee lines for the exit, happy to get the hell away from one another. They breeze past him, Maya even yoinking his coffee with a quick thanks and flip of her hair.

Farkle is the last to leave, just sitting up at center stage while Jack tries to get his bearings on the situation. He blinks, spinning around.

Jack: What the hell happened in here?

Farkle: Don’t worry about it, Principal Hunter.

Farkle slowly gets to his feet, sauntering over to Jack. He gives him an exhausted smile, but it doesn’t reach his eyes.

Farkle, matter-of-factly: Everything is the same as it always is. Nothing is ever going to change.

Farkle heads out the dressing room hall, leaving Jack to ponder what terrible things must have unfolded in that auditorium overnight. He places his hands on his hips, looking around at the vast space. As the robotic, spacey tones of “Agnes” float in…

Song Cue ♫ ♪ “Agnes” as performed by Glass Animals || Performed by Farkle Minkus

Farkle meanders into the detached and dreamy conclusion to the episode, floating through the empty halls and singing at a rather monotone pitch. It’s a groovy track with some subtly dark undertones, the echoing refrain of “You’re gone but you’re on my mind / I’m lost but I don’t know why” feeling particularly heavy. On the lines “this time you overdid the liquor, this time you pulled the fucking trigger,” Farkle glances at his reflection in one of the classroom windows before pithily pretending to shoot himself with a finger gun.

INT. AAA - AUDITORIUM - DAY

Intercut with the performance, Farkle dances loosely at center stage in the dark, nothing but the ghost light illuminating a small circle of the stage. It’s the most free-wheeling Farkle has ever seemed dance wise, but there’s an uneasy quality to it too.

As the number comes to an end, Farkle ceases his dancing. He almost seems like a completely different person -- frumpy cardigan, hair a tangled mess, expression blank and devoid of any of his usual eccentricities as he stares out at the empty auditorium.

Then he walks off stage, only the ghost light breaking the swath of darkness until it flicks out.

END OF EPISODE.

#S2 #episodes #206 #this one... now this one y'all.....

[ambitionsource]

AMBITION Season 2 ♫ “Cold Comfort” [ 2.05 ]

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

ON THIN ICE – The holiday season brings less cheer than usual as reality settles in with the winter. New traditions replace the old. Invitations to the Matthews’ annual holiday party are extended to all, but a select few are left out in the cold.

58 Minutes (14K words) || No warnings apply.

[ ← Valerie De La Cruz ] [ S2 Synopsis ] [ How the Twinks Saved Christmas → ]

( Follow along with the music on Spotify here! )

EXT. NEW YORK STREETS - DAY

Song Cue ♫ ♪ “Christmas Time Is Here” as performed by Vince Guaraldi Trio || Performed by AAA Juniors

Flurries are falling over a chilly grey Manhattan, winter descending upon the city. With winter break right on the horizon, the vocals of the junior class set the mood for what is certain to be an uneven holiday season.

INT. MATTHEWS APARTMENT - RILEY’S ROOM - DAY

RILEY MATTHEWS is feeling that uncertainty as she finishes addressing and sealing invitations for the annual Matthews holiday party. She’s got a sizable stack for her classmates in a pile on her desk, just finishing off the last few. She scribbles Clarissa’s name on the top of one and adds it to the stack, methodically moving to the next one.

As she continues to work, a montage shows us little glimpses of how other homes are looking around this time of year...

INT. MAYA’S APARTMENT - DAY

The Hart apartment is cozy but empty, both its inhabitants out on the grind. No decorations are up within the place, which seems off.

INT. MINKUS HOME - DAY

The Minkus home is in the process of being lavishly decorated for the winter and Jewish holiday season, but its only the help participating. Although the aura gives the appearance of being festive, none of the Minki are around to appreciate it.

INT. BABINEAUX HOME - LIVING ROOM - DAY

A collection of cutely wrapped gifts has begun to accumulate at the foot of a pretty Christmas tree in the Babineaux living room, JADA BABINEAUX home for winter break and in the process of adding some to the pile.

INT. FOSTER HOME - DAY

No such room for gifts at the foster home, where a gorgeous fir tree takes precedence in the living room but has no collection of gifts to go with it. Instead, letters addressed to each of the foster kids dots the tree like ornaments, presumably holding pricey but thoughtless gifts inside.

INT. GARDNER HOME - DAY

The Gardner home is elegantly curated for the most important time of year, ELEANOR GARDNER putting the finishing touches on the garland and stocking arrangement over the fireplace. She also touches up the glass miniature set of the birth of Jesus set up on the mantle, not one detail out of place.

INT. LUCAS’S APARTMENT - DAY

At the Friar apartment, nothing is different. The place is quiet and dark, and the window to Lucas’s fire escape is open even with the frigid weather.

INT. ERIC’S APARTMENT - DAY

ERIC MATTHEWS pulls a rack of cookies out of the oven, frantically blowing to cool them off and dropping them on the stovetop. Behind him, gift bags with the names of his fellow faculty wait to be filled in preparation for the last day of school.

INT. JACK’S APARTMENT - DAY

JACK HUNTER decorates his apartment with simple but sweet touches, SHAWN HUNTER and ANGELA MOORE playfully arguing in the background over where their old stockings should go. Jack seems to have a moment of melancholy, before he’s pulled out of it by ANNE MARIE WINTHROP approaching from behind and giving him a peck on the cheek. She hands him a mug of hot chocolate, which he accepts.

INT. MATTHEWS APARTMENT - RILEY’S BEDROOM - DAY

Riley hesitates on the last couple of invitations, all sealed and ready to go but not bearing names. It’s clear she’s debating whether or not to address them at all, glancing up at her rather blank moodboard for guidance. It doesn’t have any, obviously, so she’ll have to make her own call.

Determined, Riley quickly writes the last two question marks on the envelopes -- Lucas and Farkle. Then she adds them to the top of the pile, tying it together with a piece of twine and heading out.

EXT. NEW YORK STREETS - DAY

Riley makes her way down the street to the mailbox, snowflakes catching in her hair. She stands in front of it for a long moment, gazing down at the invitations and attempting to swallow the last of her trepidation.

Then she drops the stack into the mailbox, shutting it and fast-walking back up the street to escape the cold.

Cue title sequence.

This episode, much like the Les Mis one of the first season, takes on a slightly different structure than usual. It unfolds in miniature vignettes, capturing the unique experiences of each of our main players as first semester comes to a close.

Between each story, a small quote indicates a transition in time and focus. So, over black:

PART I There’s a world outside your window, and it’s a world of dread and fear. And the only bells that chime there are the clanging chimes of doom...

INT. AAA - HALLWAY - DAY

Even with the uncertain mood permeating the junior class, the atmosphere still feels festive. Lockers are decorated for students’ respective holidays, and with only a day left of class, energy is higher than usual. Students from all different grades greet one another in the halls, dressed in their most cozy-looking apparel and exchanging small gifts.

LUCAS FRIAR is at his locker, evidently not in the same spirit. He looks as disgruntled as usual, fighting with one of his notebooks before just tossing it down in the bottom and calling it a day.

However, he’s got forces working against him to bring the holiday cheer. He jumps when ASHER GARCIA and DYLAN ORLANDO pop up next to him, slamming his locker closed and launching into a goofy, pitchy duet of the opening tones of “Rudolph the Red-Nosed Reindeer.” They point to one another as they sing the name “Dasher,” Lucas unable to hold back a smile.

Lucas: You did it, mission accomplished. I’m officially anti-Christmas.

They jeer at him, knowing his whole dismissal is a facade. The two of them seem more than ready for the season, Asher looking sharp and cozy in a burgundy cardigan and Dylan in what might be the most outlandish holiday sweater ever manufactured.

Lucas: [ to Asher ] You look like adolescent Mr. Rogers. [ to Dylan ] And you look like Buddy the Elf.

Dylan, happily: That’s the nicest thing you’ve ever said to me.

They go on to ask him what the plan is for the techie party this year is, but Lucas claims he doesn’t know. He isn’t even sure they’re still doing it.

Asher: What? We can’t not do it. It’s tradition.

Lucas: We’ve done it, what, two years? That’s not a tradition.

Dylan: Well, not with that attitude.

The three of them begin walking to class, Lucas expressing that the planning for the party usually falls on Isadora. So they should maybe ask her -- oh, but wait, they can’t, because she’s far too busy hanging with her new diva cult to think about it.

Dylan: [ to Asher ] There’s a cult?

Asher: No, it’s just a -- don’t worry about it.

Dylan: I’m not worried, I’m offended. I thought we were going to start one first.

INT. AAA - AUDITORIUM - DAY

The full A class is assembled on stage, waiting for Shawn and Harper to arrive for announcements regarding the last days before winter break. As they’re hanging around, DAVE WILLIAMS has the eye to point out Lucas’s newest aesthetic feature.

Dave: Hey, man, nice new kicks.

They’re the boots he was eyeing in the store window during Thanksgiving break. He thanks Dave smugly, ISADORA DE LA CRUZ tuning into the conversation and frowning. She knows damn well Lucas can’t afford new shoes, let alone ones like that… she makes eye contact with Riley across the circle, who is wearing a similar skeptical expression.

Harper finally arrives, giving the basic low down of some non-stressful last few days activities they plan to do. Shawn jogs in a few moments later, stating after Harper’s dismissed them into small groups that he needs to meet with the techies separately.

Asher and Dylan look to Lucas, curious if he knows what’s up. He shrugs, the three of them marching off with the rest of the crew to their usual spot in the back.

Once they’ve settled into the chairs in the back center section, Shawn stands in front of them and begins his explanation. He speaks with uncharacteristic hesitancy, so it’s evident that whatever he’s about to tell them isn’t going to be good news. And it’s decidedly not -- he informs them that the technician’s booth will be shut down and off-limits until further notice. They aren’t allowed inside.

All of the techies are shocked by this, pointing out how that’s going to impact their work and wondering how long it’s going to be in effect -- but Lucas is downright feral. He’s the loudest opposition out of all of them, asking how the hell they’re supposed to do their jobs and stating there can’t be a good reason for this. As Shawn notes, however, they’re literally a day away from winter break so they won’t be doing much work anyway.

When Lucas presses on why the mandate was laid down, all eyes turn expectantly to Shawn. He stammers out an explanation about new equipment, claiming they’re running on old juice and it’ll be great for all of them to get some better upgrades.

JEFF MONROE and the others seem somewhat excited about this, but Lucas remains unconvinced. He grits his teeth as Shawn continues on with announcements, already thinking ahead.

INT. LUCAS’S APARTMENT - LUCAS’S ROOM - NIGHT

Ousted back into his reluctant abode rather than recluse in the booth, Lucas is cramped in his bedroom with the door locked tight. The window is still open to let in the cold but fresh air, Lucas slouched on the floor in front of his mattress. He’s wearing a worn-out Knicks sweatshirt, an outdated behemoth of a laptop computer on his lap as he squints in the dark.

His focus shifts as his phone lights up with a text from Isadora. She heard about the booth, and is just checking in to see if he’s okay or if there’s any way she can help in the meantime. Lucas opts to ignore it, tossing his phone back down and getting back to work.

On the computer, he’s deep on a web search looking up the models of their equipment in the booth. Based on what he can tell, most of the stuff they have in there is already updated to the latest model. All of this is way too fishy, and he’s not buying a second of it.

INT. AAA - AUDITORIUM - DAY

Lucas sneaks into the school at the crack of dawn the next morning, still wearing the same sweatshirt and his hair stuffed under a beanie rather than his usual snapback for warmth. He makes his way up to the booth, taking the stairs two at a time.

He takes a moment to make sure no one is around, and then swiftly picks the lock into the booth and breaks inside.

INT. AAA - TECHNICIAN’S BOOTH - DAY

From what he can tell, everything looks about the same as he left it. He goes to get a good look around, double-checking his list of their equipment and his theorized models, confirming his suspicion that the upgraded equipment excuse was a lie. His fellow techies may not notice, but he spends far too much time in the booth to be fooled.

When he goes to check his usual nook, he’s stunned to find that the panel he usually takes out of the wall has been screwed shut. No more easy removal of it. Lucas curses to himself, checking in the other hiding places where he’d keep his overnight stuff and finding nothing.

Everything is gone.

Starting to panic, Lucas’s attention drifts to a safety notice that has been taped up above the paneling. It reads like an inspection notice, stating that the current area has suffered a “pest infestation” and needs to be fumigated and closed off until further notice. Case in point, the real reason they aren’t allowed in the booth.

Lucas scowls, ripping the notice off the wall in a fury.

INT. AAA - JACK’S OFFICE - DAY

The notice is slammed down on Jack’s desk, Lucas hardly able to contain his emotions as he meets with him.

Lucas: This? Is bullshit.

Jack takes the notice from him, making a comment about how he wonders how Lucas got his hands on it. Oh, no, silly him. Of course he just disregarded a mandate from his teacher and barged his way into the booth anyway.

Jack, deadpan: Glad to see we’re remaining consistent right up until the last breath of the semester.

Lucas isn’t in the mood for jokes. Whatever sort of authoritarian bureaucratic fuckery this is, it’s all wrong. They don’t have the right to bar them from one of their most important spaces when they don’t even have a legitimate reason for doing so.

Lucas: I have been in that booth for hundreds of hours -- I practically live in it -- and not once have I seen what I would consider a “pest.” Can’t even make a joke about Minkus or Hart, since we make a point of keeping them out of there. This is unfounded.

Jack: And you can’t trust the authorities in your life that perhaps there is a reason?

Lucas: When all of their excuses so far have been absolute crap? Actually, no, I can’t.

Jack caves, raising his hands in surrender. Lucas wants the truth? Fine. The infestation referred to on the notice isn’t about mice or vermin -- janitor Harley informed him that he discovered evidence that someone or someones might be staying in the booth. That’s a major no-no, not to mention a lawsuit waiting to happen.

Lucas does his best to keep his expression neutral. He continues to stammer for more arguments, but for what it’s worth Jack can see right through him.

Lucas: You can’t just do this based on a suspicion! You don’t even have proof!

Jack: Proof? You really want proof?

Lucas: Well, since you don’t have any --

Jack: Fine!

Jack rises from his desk, going to the small storage closet in his office. He retrieves a full duffle bag of things -- the items recovered from the booth when Harley stumbled upon it. He drops it on the desk, watching Lucas’s expression as it shifts from aggressive to stunned.

Jack: These were the items Harley found in the booth. Look familiar?

Lucas: … I --

Jack: Think they should. I’m fairly certain they belong to you.

Checkmate. Jack knows Lucas was the one staying in the booth, and he knows that’s why he’s taking this whole thing so personally.

Still, he responds with empathy. He attempts to get Lucas to talk about what’s going on, or how long this has been a thing, but such difficult conversations can quickly go nowhere. And with Lucas’s current emotional state, that’s exactly what happens. He lashes out instead, shutting down rather than taking Jack’s offers of help.

So Jack has to switch approaches as well, warning Lucas that he cannot keep doing things like this. His behavior is increasingly causing more issues, and with certain people keeping their eyes on the school this is not the time to be lighting more matches. He can’t continue to look out for him if he’s going to take advantage of it at every turn.

Lucas, defensive: Then don’t. News flash, I don’t care about this stupid school!

Jack tries to get him to stop and actually talk, but Lucas is over it. He scoops his things off the desk -- confirming they are in fact his, to Jack’s clear dismay -- and storms out of the office.

INT. AAA - HALLWAY - DAY

Lucas is attempting to stuff some of the things in his locker, any holiday cheer that he may have picked up earlier in the day long gone. Dylan and Asher come to find him again, obviously concerned by his palpable anger and wondering how he’s handling being kicked out of the booth.

Not well, obviously. Dylan tries to say something to cheer him up, but Lucas isn’t hearing it. He’s gathering his things into the duffle.

Asher: Well, hanging out with the crew will make you feel better. We’ll be able to figure out the plan for the holiday --

Lucas, harshly: Pretty sure the party’s off, spaghetti. Not that it fucking matters anyway.

Lucas slams his locker, marching down the hall. Asher and Dylan call after him, wondering where the hell he’s going.

Lucas: Anywhere but here. I’m taking winter break early.

Asher tries to get him to stop, but he’s already gone. The two of them exchange worried looks.

EXT. AAA - DAY

As Lucas is jogging down the steps, he gets a call from Isadora. She asks where the hell he is before class. He brushes off the concern, and when she changes the subject and asks about the techie party plans, he snaps. He states it’s funny that she’s bothering to ask, but she’s wasting her time. He doesn’t feel much like celebrating, and he won’t be participating this year.

Isadora: Lucas, are you kidding? You can’t just bail. If you don’t do the break-in, then what are we supposed to do?

Lucas: Oh, you’ll figure it out without me. You’ve gotten really good at that.

Lucas hangs up before Isadora can respond, stuffing his phone in his pocket. He takes a deep breath, inhaling the icy air and running the rest of the way down the steps. As far away from AAA as he can get, as fast as possible.

PART II Merry Christmas, darling, we’re apart that’s true, But I can dream, and in my dreams I’m Christmas-ing with you…

INT. AAA - HALLWAY - DAY

While Lucas is accosted by Dylan and Asher in the background and they launch into “Rudolph,” we’re now following ZAY BABINEAUX as he makes his way through the halls with his duffle. He nods to friends as he passes them, high-fives with YINDRA AMINO as they cross paths outside the black box. But his destination that morning is a bit further away, a quick stop before the rest of the school day unfolds…

INT. AAA - DANCE STUDIO - DAY

He makes it to his and Charlie’s usual studio just as CHARLIE GARDNER is wrapping up a routine, totally focused on the choreography. Zay takes a moment to watch, leaning against the doorframe with a fond smile on his face.

Once he’s done, Charlie whips around and spots Zay. He reacts in surprise at first, claiming he scared him and wondering why the hell he’s just hanging in the doorway when he should’ve just come in. He could’ve easily stopped the run through. Zay brushes it off, sauntering in as Charlie excitedly claims he has something to show him.

He retrieves something from the front pocket of his backpack, turning back and giving Zay a grin and eyebrow raise. When he prompts him to go on, Charlie enthusiastically dangles his key ring between them, now bearing a new car key.

Charlie: Early Christmas present from the folks. I mean, I’m still terrified to use it, but now the option exists. [ with a nudge ] Maybe now you can stop having to drive to and from Queens all the time and I can save you the trouble.

Zay: Whew, Santa, baby. You’re giving me an extravagant gift just from gas money savings alone.

Charlie cracks up, returning the keys to his backpack. Zay takes the opportunity to shift gears, dropping down to unzip his duffle bag. Speaking of gifts… he may have a thing or two for him. Charlie is caught off-guard, claiming he wasn’t expecting a gift exchange. He can’t possibly accept something from him. It wouldn’t be fair.

But Zay is too darn cute to refuse, and he assures him it’s not a big deal. The first thing he presents is a slip of paper, which he brandishes with a flourish as he hands it to Charlie.

Upon closer inspection, it’s revealed to be a coupon for all-he-can-eat French fries at their Queens diner. Charlie laughs again, nodding appreciatively.

Charlie: Okay, okay. If this is what you meant, then I guess me braving my fear of the New York roads to see you is equal enough.

Zay: Hey, that’s a steal of a coupon you’ve got there. Don’t take that generosity lightly. [ a beat ] And there might be… one more piece.

Before Charlie can argue, Zay drops down and grabs his last gift. It’s a bundle wrapped in newspaper. Charlie gives him an eyebrow raise as Zay encourages him to unwrap it, clasping his hands together in front of him.

The newspaper falls away, and suddenly Charlie finds himself holding one of Zay’s sweatshirts.

His expression shifts from playful to something softer, obviously not sure how to react. He holds it delicately in his fingers, lightly shaking his head.

Charlie: Zay…

Zay: Ah, no, don’t worry. I’ve already thought about everything you could possibly say. I’ve thought it all through. I picked the best one based on which would be least likely to raise eyebrows, as well as one you could conceivably have in your own wardrobe... you know, if you ever shopped anywhere other than the GAP for once.

[ Charlie can’t help but laugh. He unfolds the sweatshirt a little bit more as Zay continues his explanation. ]

Zay: It’s also one of my newer ones, so it’s just broken in enough that it’s like, me, but not worn in enough that it would seem like a hand me down. You can easily say to anyone that asks that you just bought it. I really only wear it around the house, so as long as you don’t wear it at my place of living, you should be all clear.

Charlie: What made you think of this?

Zay: Well… I know that this is exactly the kind of thing you’d like to have, but wouldn’t ask for on your own. Thusly… happy holidays, Chuckles.

And he’s exactly right about that. It’s a thoughtful gift for a couple who has been together for six months, even in secret, and it’s more than clear how much it means to Charlie.

Charlie, sincerely: It’s perfect. [ hugging it ] Thank you.

Zay gives him a nod, smiling brightly. Charlie goes on to apologize again, feeling bad that he didn’t try and figure out something similar to give him. Zay assures him that it’s fine, but subtly suggests that he might have a solution.

Zay: You can always make it up to me… by coming over for dinner.

Although the aversion is pointedly less strong than it was even a couple episodes ago, Charlie is still freaked by the suggestion. He claims he can’t do that, but Zay attempts to change his mind by explaining the full context -- his mom is super into like, knowing his friends, and she wants to have an evening during winter break where he invites some of his closest over for a casual dinner sort of thing. His parents are super friendly and not at all suspicious, and considering how often he talks about Charlie they wouldn’t think anything of it if he were in attendance. In fact, it might be weirder for him to not be there.

But that’s not enough. There’s something in Charlie, deeply rooted inside him somewhere, that cannot wrap his head around such a possibility without thinking about the implications. He sticks by his original answer, despite how much it hurts to do so.

Zay tries not to let the rejection sting, but his disappointment is getting harder to hide. The longer they’re together, the more he has to wonder if things are ever going to change the way he keeps hoping they will. He understands, of course, but at what point is it going to get easier? If it ever does?

Zay: Kind of ironic, isn’t it? Most wonderful time of the year, and we’re still so stuck.

The comment isn’t said harshly, but it makes its point. Charlie tries to say something to fix it, but comes up short. Zay walks away before he can stop him, stepping out of reach as he tries to take his arm.

INT. AAA - HALLWAY - DAY

Song Cue ♫ ♪ “Blue Christmas” as performed by Glee Cast || Performed by Zay Babineaux

Zay emerges into the hall, launching into the bluesy holiday classic. His voice is heavy with emotion as he saunters through the school, passing by other classmates and friends already reveling in the joy of the season and welcoming the incoming freedom of break together.

More to the point, it’s as if Zay can’t escape the echoes of what it is he most desperately wants. He passes by other students in romantic relationships openly being together, exchanging gifts, joking about mistletoe, making holiday plans. Dylan and Asher fall into giddy laughter by the latter’s locker, Asher nudging him lightly before pulling him into a kiss.

By the time he gets to the last verse, he’s returned to his locker. Across the hall, Charlie is at his, exchanging a quick chat with HALEY FISHER and CLARISSA CRUZ before they saunter off to class. The distance between them is suffocating, in spite of how close they are in every other way.

Elvis and any other performer have no idea what longing means compared to Isaiah Babineaux. He leans against the wall of lockers and watches Charlie disappear around the corner without a second glance. Then he adjusts and tilts his head back against the cold metal, crooning out the last few notes as the piano takes us out.

INT. BABINEAUX HOME - DAY

Winter break kicks off, the front door to the Babineaux home opening to find Riley, Yindra, and MAYA HART there on the doorstep. They cheerfully greet Zay, exchanging hugs with him as they step inside. DONNA BABINEAUX is quick to come greet them, explaining that she just started on food and that Omar and Jada should be home soon.

Maya and Riley head to the living room, Donna hanging by the door and asking Zay if they’re expecting anyone else. What she means, naturally, is are they still waiting for one more. Zay shrugs, trying to cover his ill feelings.

Zay: Wouldn’t count on it.

He follows his friends into the living room without further comment, Donna giving him a curious look as he goes.

INT. GARDNER HOME - LIVING ROOM - DAY

As is tradition in the Gardner household, the children are assembled to decorate the tree together. ROSAMUND GARDNER is hard at work, determining where each ornament should go while DAISY GARDNER unwraps them from their tissue paper and hands them off.

Charlie is supposed to be on box duty -- retrieving the new boxes from the storage bin and passing them to Daisy -- but he’s sort of slacking on the job. He’s zoned out, lost in his own head and turning a baby angel over in his fingers absentmindedly.

He’s broken out of his fugue by a soft ornament to the face, Daisy remarking that he’s not being very much help. He tosses it back at her, snarkily excusing himself as he pushes to his feet. Daisy and Rosie watch him go, once again observers to his unusual behavior.

Daisy: What’s up with him?

Rosie, wisely: Testosterone.

INT. GARDNER HOME - KITCHEN - DAY

Charlie enters as his mother is busy slaving away, baking an assortment of holiday cookies for the upcoming festivities. She greets him cheerfully, passing a peanut butter drop cookie towards him from fresh off the rack. She knows how they’re his favorite.

He accepts it gratefully, breaking off a piece and taking a bite. He glances towards the refrigerator, where Riley’s invitation is hanging. He tentatively asks whether or not it would be okay for him to attend the party. Eleanor checks out of the baking zone, glancing at the invitation again and reading it over before granting him permission. It doesn’t conflict with any of their family plans, and Riley has always seemed like a wonderful girl and good friend to him. It would be rather rude of him to decline the invitation when she took the time to invite him, now wouldn’t it? You know, a good friend like Riley…

Implications of how his family thinks of Riley aside, Charlie searches for a change of subject. On the subject of their family plans, he softly questions whether or not Bridgette will be coming home for Christmas this year. Even though she’s not facing him, it’s obvious that the query catches Eleanor off-guard. She tries to skirt it, her nonchalance kind of pissing Charlie off.

Charlie, curtly: Was she even invited?

Eleanor: [ with shocked disappointment ] Charles.

For as quickly as the boldness shot through him, it’s zapped away even faster. He avoids his mother’s gaze, pushing away from the counter and claiming he needs to go call Riley to let her know he can come.

INT. GARDNER HOME - CHARLIE’S ROOM - DAY

Safely hidden away in his room, Charlie leans back against the door and hides his head in his hands. Trying to get a grip on his emotions, which seem to be fluctuating more than ever nowadays. Too bad he has no idea how to settle them.

Well… maybe that’s not entirely true. A thought strikes him, Charlie going over to his duffle bag and digging through his school things. He finds what he’s looking for, grabbing Zay’s sweatshirt and holding it out in front of him.

After a moment, he pulls it on over his head.

Not an instant cure all, but maybe a little bit better. Charlie adjusts it on his shoulders, flopping onto his bed and staring at the ceiling. Lost in the way he wants things to be, not certain how to make them so or if he even has the courage to follow through if he did. He takes a deep breath, closing his eyes and crossing his arms like he’s hugging himself.

As if with the sweatshirt, it’ll be like he’s hugging him.

PART III Christmas Eve will find me where the love light gleams, I’ll be home for Christmas, if only in my dreams…

INT. AAA - GIRLS DRESSING ROOM - DAY

Maya and Isadora are in the dressing room together, hanging out before theater lab. While Maya has definitely noticed that Katy has been so weird about money lately, she’s found a new way to spin it in her head that makes it seem like a positive rather than a negative.

Maya: It’s totally some kind of surprise thing. Like a big present for the holidays. Tickets to a Broadway show, or maybe even a trip. God, how cool would it be to go to like… Los Angeles? The Hart women take L.A.

Perhaps a new level of delusion. Isadora doesn’t look sold on the idea, but she doesn’t want to burst her friend’s bubble either. Maya takes her expression as a lack of interest in L.A., lamenting that she’s been there dozens of times to see Valerie, so of course she doesn’t find it all that impressive. She’s jaded to the west coast allure.

Isadora: Ah, yes, the allure of smog and snail trail traffic is truly irresistible…

Maya gives her a look, flipping her hair over her shoulder. Case in point, what Maya wouldn’t give to explore the other entertainment hub of the world. And maybe, if the way they’ve been siphoning away money is any clue, she just might get her wish.

INT. MAYA’S APARTMENT - NIGHT

That night, Maya takes the straight-forward approach in pitching this take to KATY HART. She jokingly asks her when they’re going to stop playing charades, when she’s going to reveal whatever the big secret is. Although Katy continues to act aversive and Maya plays along, it’s clear from the way Katy doesn’t want to talk about it that it won’t be a trip to Los Angeles. Clear to everyone except Maya, who has rooted herself into a state of denial.

Only one more night before winter freedom, Maya declares, giving her mother a kiss on the head and fluttering off to bed. Katy watches her go, a wistful expression on her face. Suddenly, she’s looking all around the apartment with a similar emotion -- it might be a dump, but it’s home. It’s where she’s gotten to raise her daughter, the most important thing in the world.

Song Cue ♫ ♪ “Slipping Through My Fingers” as performed by Mamma Mia! Original Movie Cast || Performed by Katy Hart (feat. Maya Hart)

Katy gently slips into this nostalgic power ballad, continuing to roam the extent of their small apartment. As she goes, small glimpses of flashbacks come into focus, featuring her and Maya as she grew up through the years. A toddler Maya running away from the bathtub as Katy chases after her, wrapping her in a towel and cuddling her close; the two of them singing together as they make dinner together when Maya is in elementary school; a middle school Maya in her leotard, showing off a routine she just learned in dance class to a fond and proud Katy.

INT. MAYA’S APARTMENT - DAY

The song continues into the next morning, Maya getting ready for the last day of the semester. Katy offers to braid her hair specially in a crown around her head, the two of them sharing laughter as she does so. As Maya heads out for school, she blows a kiss to Katy.

Once Maya is gone, the tone of the piece seems to shift somewhat. Katy begins taking things down, packing certain things away in boxes in her room. She grows tearful as she goes, having to take moments to step away from it.

INT. AAA - DANCE STUDIO - DAY

Maya takes her verse while rehearsing in the dance studio, the thought of whatever might be going on with her mother obviously distracting her. When she turns to face the mirrors, she envisions Katy standing there behind her, encouraging her to keep her chin high and smile on. The exercise works like a charm, Maya going back to run the routine again.

INT. AAA - HALLWAY - DAY

As song floats through the final verse, Katy wanders the halls of AAA. It’s a bit unprecedented for her to be there, but it’s clear she’s on a mission.

INT. AAA - CORY’S CLASSROOM - DAY

Katy lightly knocks, surprising CORY MATTHEWS from grading papers. He greets her happily, wondering what would’ve brought her all the way to AAA.

From the way her eyes are glossed over with tears, it’s not going to be for anything good.

Katy: I hate to do this, but… I need to ask a major favor.

INT. MAYA’S APARTMENT - EXTERIOR HALL - DAY

Maya is on the phone with Riley as she walks home, confirming that she’ll be at the party.

Maya: Why you decided to mail invitations like we’re in the 1930s, I have no idea, but you do you babe.

After she hangs up, she takes a second to eye their bare apartment door. Then she unlocks the door, stepping inside.

INT. MAYA’S APARTMENT - DAY

Katy is already waiting at the kitchen table when Maya enters, nervously twisting her fingers. Maya doesn’t catch her demeanor right away, commenting that it’s a bit weird they haven’t put up their wreath yet. Or any decorations, really. Maybe they should get on that, with the holiday right around the corner?

Katy, timidly: I don’t think we’re going to be able to do that this year, baby girl.

The moment she hears her tone, Maya immediately loses her teasing attitude. She grows more serious, asking what’s wrong as dread creeps into the room. Katy gets up from the table and guides Maya to sit with her on their couch, indicating there’s more to say.

That’s also when Maya realizes Cory is there with them. He rises from his seat in the arm chair to greet her, but his presence just makes her more confused and thusly, more nervous. She continues to ask Katy what the hell is going on, bordering on panic.

Maya: Mom, what is he doing here? What the hell is going on? Mom --

Katy shushes her, trying to keep it together for her sake. She goes on to explain the situation as coherently as she can -- the diner isn’t making ends meet anymore. They’ve been struggling to pay bills for months. She tried to find additional work beyond the two jobs she already has, but there’s not enough time and she doesn’t have enough credit to her name.

The bottom line is, they can’t afford to live in this apartment anymore. She can’t afford to stay in the city right now.

In an instant, Maya is in tears. She’s shocked, bewildered, and bubbling with millions of questions. How could this happen? Why didn’t she tell her? She could’ve picked up a job, she could’ve helped search. But the true question rises eventually -- what about AAA? How is anything going to work the way she’s known it her entire life if they’re moving away?

This is where Cory steps into the conversation. With prompting from Katy, he calmly explains that they’re extending the invitation for her to come move in with them. Now that Topanga has moved out and they’re rearranging things anyway, they have more than enough room and would be happy to have her.

It’s a nice sentiment, and Maya appreciates it. But… she doesn’t want it. She doesn’t want to leave this place, and she for sure doesn’t want to be apart from Katy. She stammers out as much as she’s overcome with tears, Katy pulling her into a tight hug as she starts to cry as well.

Katy: I know, baby, I know. But it’ll work out. In time, it’ll work out. And you need to be here. You need to be here shining your brightest, I’m not gonna let all this take you away from that. [ pushing some hair out of her face and wiping her tears ] The dream is priceless. We’re not letting you let it go for any reason.

Maya nods, but she’s still crying. The two of them embrace again, dreading the moment they’ll have to let go.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Maya drops the last of her things in the sparse master bedroom, all of Cory’s things having been moved and Riley’s stuff scattered in the process of moving. Cory explains that with Topanga vacating and Maya moving in, the two girls could share the master given that he won’t be needing nearly as much space for himself.

He leaves her alone to settle in with a pat on the shoulder. She waits for him to go, closing the door behind her. She starts to go to her suitcase and unpack, but can’t bring herself to do it. Her hands are shaking. Somehow, her entire world has turned upside down.

Song Cue ♫ ♪ “Home” as performed by Beauty and the Beast Original Broadway Cast || Performed by Maya Hart (starting at 00:40)

In this moment, nothing matters other than Maya’s vocals. It’s one of her most powerful, wrenching performances to date, nothing in the unsettled space to distract from how raw the experience feels. She’s truly lost the feeling of home, and she has no idea if she’s ever going to find it again.

She settles into the undecorated bay window as the number peters out, tears shining in her eyes as she gazes out at her new view of the city. Snow falls gently outside the windows, the melancholy captured in Maya’s reflection through the glass as the screen fades to black.

PART IV They’re singing “Deck the Halls,” but it’s not like Christmas at all, ‘Cause I remember when you were here, and all the fun we had last year…

INT. AAA - PRACTICE ROOM - DAY

Song Cue ♫ ♪ “River” as performed by Glee Cast || Performed by Farkle Minkus

Picking up with soft piano where Maya left off, Farkle demonstrates his piano skills again as he practices alone. His solitude seems to echo off the walls, dominating the performance despite how great his voice is as always. The lyrics speak to his feelings aptly enough, although if he wasn’t saying them under the guise of practice he likely wouldn’t be expressing them at all.

Charlie pops in just as he wraps up, claiming that they’re getting ready to close the building for break and they have to head out. Farkle thanks him for the heads up, gathering his things. Before he goes, Charlie takes the second to wish him happy holidays.

Farkle nods and offers a tight smile, but it’s gone as soon as Charlie is out of sight. It’s clear he’s more of the opinion of like… is it? Are they, really, happy holidays?

Slinging his bag over his shoulder as he leaves, he flicks off the light and sends the practice room into darkness.

INT. MINKUS HOME - DAY

Farkle’s invitation to Riley’s party has arrived, sitting on the top of the pile of mail sitting on the counter by the doorway.

As JENNIFER MINKUS bustles in with URI MINKUS and EZRA MINKUS, one of them accidentally rams into the stack and knocks it to the floor. Jennifer chides both of them, guiding Ezra into the suite and requesting of Uri that he clean them up.

Headphones in and obviously annoyed, Uri flips through the first few and determines they’re all junk. He scoops all of it -- including the invitation -- into his hands to promptly dumps it into the trash, absolving him of the burden without further ado.

INT. MINKUS HOME - FARKLE’S ROOM - DAY

Farkle slips back into his summer habits, reverting back to his appearance and slump of the start of the season. His hair is untidy and even wilder than before now that it’s grown more, and his baggy sweater is going to get worn out from overuse.

He spends a majority of the break sleeping, not feeling the motivation to get out or do much else. It’s what he’s preparing to do that afternoon, drawing his blinds shut from the pleasant view of snow falling over the city, when LILA MINKUS pokes her head in. She’s chewing on a granola bar, back from college for the holidays and distinctly unimpressed with his habits.

Lila: Are you really going to waste your entire winter break lazing around?

Farkle: Are you really going to spend your entire existence annoying the fuck out of me?

Lila: Real classy, germ. If you’re just going to do nothing, you could at least make yourself useful and help mom with holiday prep.

Point made, and hard to ignore. Farkle glances at his bed waiting for him so invitingly, sighing as he slouches out of the room to make his presence on this Earth worthwhile.

INT. MINKUS HOME - KITCHEN - NIGHT

That’s how he finds himself assisting his mother with dinner, plaintively cutting up vegetables as she attempts to keep up conversation with him. Given how lethargic he is he’s not all that talkative, but she does her best. She tries to gauge if he has any plans for the remainder of break.

Farkle: No.

Jennifer: Nothing?

Farkle: Just practicing.

Jennifer: Well, I’m sure your friends must have things going on. They can’t all be off on vacations or something. Why don’t you see if one of them wants to do something? [ a beat ] I’m sure that Maya --

Farkle: Trust me, they don’t.

This doesn’t sit well with Jennifer. It’s clear that whatever is going on with Farkle is concerning to her, but she doesn’t know how to confront it or figure out what the real trouble might be. So she continues to problem solve aloud.

Jennifer: I can see who isn’t going out of town, if we’re looking for company. [ excitedly ] Oh, you know who I should call? The Shapiros. I can see if Roberta is free sometime in the next couple weeks, God knows she could use the date --

Farkle, disturbed: No thanks, I’m fine, thank you!

A notification on Jennifer’s phone disrupts their discussion, prompting her to take her medication. She crosses the kitchen to the corner cabinet and sorts through an array of pills to take them dutifully, Farkle eyeing her as she goes through the motions.

He questions what she takes all those medications for, to which Jennifer gives him an offhand and brief run down of what ailments run in their family and what a pill cocktail they’ve got going on in that cabinet. She points out the fact that he might very well also be iron deficient with how sickly he’s felt lately, so she is going to have the doctor run a blood test when he goes in for his annual physical in the spring.

Commotion from the entryway pulls them out of the conversation, Ezra gleefully exclaiming something. Farkle and Jennifer exchange a look, making their way out of the kitchen.

INT. MINKUS HOME - NIGHT

STUART MINKUS has returned home with EZEKIEL MINKUS in tow, fresh from the airport and another successful semester at college. He enthusiastically greets Ezra and picks him up into a hug, joking that he has got to stop growing while he’s not around. Jennifer comes to shower him with affection, Stuart stepping past them and exchanging a playful look with Farkle at all the hubbub.

While the moment of attention from his father is a treasure, getting to see his favorite brother is a pretty sweet deal too. Ezekiel gestures him forward to meet him, wrapping him in a hug that Farkle eagerly accepts. For the brief moments that he’s fully surrounded by family and actually being acknowledged, Farkle seems to relax.

INT. MINKUS HOME - DINING ROOM - NIGHT

The table is more lively than usual as family dinner progresses, Ezekiel acting as a lively contributor to the conversation and the mood considerably lighter given that Stuart is actually in attendance. Lila and Uri argue over something inane, Ezra jumping into any part of the discussion where he can manage to understand what’s being said.

Farkle doesn’t speak, but he isn’t nearly as pallid as he actually consumes his dinner. He smiles lightly as his father and older brother speak, simply glad to be back in their presence even if just as a spectator.

The room quiets a bit as Stuart lightly clinks his knife against his glass, getting all of the family to draw their attention to him. He expresses how happy he is to see the lot of them together again, how this year is always his favorite time of year -- and not just because the stocks are rising (ha ha ha, oh Stuart). He states how wonderful it is to have Ezekiel and Lila home for the holiday, and that he’s looking forward to video calling with Raziel later in the week all the way from Europe where he now resides.

Farkle starts to zone out when he begins lauding Ezekiel’s accomplishments and discussing what good fortunes are going on for their family, lasting much longer than Lila or Uri. However, he snaps back to attention when Stuart begins discussing early Hanukkah presents, simply because he calls Farkle out specifically.

Farkle: [ blinking out of his daze ] Huh?

Ezekiel watches with a knowing smile as Stuart goes on to explain the tradition they have within their family, as sons approach their sixteenth birthday. Given that Farkle’s is in just a couple of months, this year means it’s his turn to accept the early gift.

Stuart passes a small, long gift box across the table. It settles in front of Farkle, who picks it up as Lila watches derisively and Uri continues to stab at his green beans. Ezra leans over and practically climbs on top of Farkle to get a good look, bursting with excitement at the prospect of an early Hanukkah present.

Farkle opens the gift, surprised to find a specially made gold name plate with his name engraved into it. He takes it out and turns it over in his fingers, expression hard to read as he gets a good look. Ezra loses interest, going back to his food. Stuart begins a whole spiel about the tradition, how the name plate is -- in theory -- passed down to each young Minkus man who will go on to uphold the family legacy and invest in the family business.

A nice sentiment, but Farkle is a bit short on emotional bandwidth at the moment. He frowns, lifting his head to lock eyes with his father.

Farkle: What the hell am I supposed to do with this?

This is far from the traditional reaction. Jennifer scolds Farkle, Uri actually tuning into the conversation and Lila choking on her food to hold back a snort. But Stuart assures Jennifer that it’s fine, he just wasn’t clear about the purpose of the present.

Stuart, genially: It’s not so much functional as symbolic. It’s just meant to demonstrate how proud I am of you, and how excited I am for you to one day join me in the family business.

Farkle: But I’m… not. I’m not going into business.

To his credit, Stuart is a patient man. He nods, acknowledging Farkle’s current perspective with only a hint of condescension.

Stuart: Yes, we are all quite proud of the accomplishments you’ve made with the performing arts. [ off Farkle’s disbelieving expression ] I only mean for when you’re older, beginning to think more seriously about your future. When this performing fad passes --

Farkle: It’s not a fad. My passions are not a fad!

An argument unintentionally brews in the midst of all the tension, misguided good intentions and a frayed mental state making for a toxic combination. Stuart doesn’t appreciate Farkle’s waspish tone, turning the tables on him and asking what he expects his future to be then. At what point is he going to stop dreaming and start operating strategically? Farkle defends his ability to be strategic, pointing out that Stuart wouldn’t know what strides he’s making either way considering he’s never fucking around.

Jennifer attempts to end the open fire, but Stuart isn’t finished. He again reiterates the looming question of the future. What is Farkle’s grand plan, when all is said and done? This one stumps Farkle, as anything beyond living day-to-day has kind of felt unrealistic, and the actual notion of a capital-F future seems foggy. The truth is, he has no idea, and that sort of lack of preparedness is simply unacceptable.

While all eyes are on him for his response, Farkle pushes out of his seat and states he’s being excused. Stuart watches him go, immediately beginning to discuss with Jennifer in hushed tones what the hell that was all about. Ezekiel gives his father a comforting pat on the arm, reminding him that growth can take time.

Lila leans forward to pick up the name plate, looking at it with bland disinterest before offering it to Uri. He makes a face, swatting it away with his fork. Major pass.

INT. MINKUS HOME - LIVING ROOM - NIGHT

That night, Farkle is crashed on the couch and tuning out everything else. He’s distracting himself by continuing to reread The Great Gatsby, the cover and spine cracked and the pages crinkled from use. It’s not the first time he’s read the novel, not by a long shot.

Jennifer comes in to check on him, perching on the back of the couch and reading over his shoulder for a moment. She comments on whatever is going on in the book, to which he hums in response but doesn’t start a conversation. She changes the subject, getting his attention and trying to placate the situation from earlier. She explains that his father is proud of him, they all are, things just aren’t all that simple when don’t meet one another’s expectations. Farkle doesn’t seem bothered either way, but that’s more likely due to repression than an actual acceptance of complexities to the situation.

She gives him another fond look, leaning forward and brushing some hair from his forehead.

Jennifer: My talented boy. [ softly ] I love you.

Farkle returns the sentiment, but his smile doesn’t quite reach his eyes. Jennifer gives him one last pat on the cheek before heading to bed, turning off the main lights and leaving Farkle illuminated by the lamp on the side table.

Farkle continues to read, slouching further into the couch. The grandfather clock standing against the wall continues to tick on, creating a lulling tempo…

INT. MINKUS HOME - LATER - NIGHT

The room has gone dark, the lamp suddenly out on the table. Farkle has dozed off on the couch, the clock no longer ticking. His arm is dangling off the couch, still holding the novel loosely in his fingers… inches from the hardwood…

He drops it, the moment it hits the floor waking him with a start. He rouses with a deep inhale, sitting up on his elbow and rubbing his eyes. When he realizes he fell asleep on the couch he sighs, falling back onto the cushions and throwing his arm over his eyes.

That’s when he hears the rustling.

He immediately stiffens, eyes open wide as he listens more carefully. The movement from somewhere deeper in the house continues, although it’s not coming from the hall where all his family are fast asleep. Someone else is in there with him, and it’s not anyone he can account for.

Cautiously, Farkle climbs off the couch and eases back towards the other end of the living room. He searches for a way to defend himself, taking the fireplace poker off its holder and flipping it in his hands. Taking a deep breath, he slowly begins to ease his way towards the entryway where the sound seems to be coming from… squaring his shoulders… ready to do some serious diva damage if necessary…

When he spots the figure of the intruder and raises his weapon to attack, the stranger spinning around to face him catches him by surprise. He shouts, stumbling backwards and blinking to make sure he’s not making this up.

Eric: Careful with that, Farkle! You’ll take someone’s eye out with that thing.

Farkle: [ in disbelief ] Counselor Eric? What the hell are you doing in my house?

It’s not quite Eric, see. It’s Dream!Eric. He ignores Farkle’s query, brushing it off and instructing him to drop his weapon of mass destruction. If he does so, then he’s more than welcome to follow him. He was just heading out.

Farkle rubs his eyes, but no. Eric is still there, stepping out into the main hall and on his merry way. Farkle hesitates, before letting the poker clatter to the floor and taking off after Eric.

INT. MINKUS HOME - ELEVATOR HALL - NIGHT

As Farkle catches up to his dream counselor, Eric asks him if he’s feeling blue this holiday season. Disconnected, out of sorts. Farkle offhandedly comments that he wouldn’t limit it to just this time of year. The two of them stop in front of the elevators.

Eric wisely states that often times, people feel immense pressure during the holiday season. Higher expectations, more socializing, and the sheer emphasis that this should be the most wonderful time of year can lead to it always falling short. Sometimes, you could do with a little reminder of what’s really important. Which Eric is happy to help with… if Farkle is willing to take the journey. The elevator dings, the doors sliding open even though Eric never pressed the call button.

Oh, so it’s that kind of dream. Farkle wouldn’t think of himself as any George Bailey, but if Eric wants to It’s A Wonderful Life this sitch, then he supposes he might as well go along for the ride.

He steps into the elevator, glancing at Eric next to him then back out towards the familiarity of the hall to his family suite. As the doors slide closed…

INT. AAA - DRESSING ROOM HALL - NIGHT

When Farkle steps through the doors again, he’s emerged into the dressing room hall at AAA. On the wall next to him, a flyer for the Kossal audition is on display, as well as a signed poster of Les Miserables by the sophomore class. They’ve been transported back to last semester, before everything changed due to an ill-advised fit of emotion. Or, as Eric puts it:

Eric: Before the end of the world.

A good time, Eric says wistfully. Farkle doesn’t understand what he means, wondering why the hell he brought him here… when suddenly the sound of music catches his attention. It’s muted, muffled by the doors separating them from the auditorium. But it’s clear that Farkle recognizes it, remembering the memory associated with it.

He looks to Eric in confusion, who nods him along. He can explore as much as he likes, granted he can get himself to do it. Farkle gazes back towards the doors to the wings, tentatively making his way towards them. Then he’s walking faster, the music growing louder as he pushes through the doors --

INT. AAA - AUDITORIUM - NIGHT

Song Cue ♫ ♪ “Mambo No. 5 (a Little Bit of…)” as performed by Lou Bega || Instrumental

The song is already in full swing as Farkle enters the scenery, the classic jam playing over the speakers as the sophomore class is in the process of striking the set from Les Miserables. The performers and techies are working together efficiently, creating a fun time out of it by dancing around and goofing off as they get the work done.

It really is an entirely different era. Everyone is lively, comfortable, functioning as a class. Zay and Jeff have a playful dance off, Yindra cheering them on and NIGEL CHEY poking at JADE BEAMON to join the dance. Dylan and Asher are dancing together, Isadora weakly attempting to pull them back into work before they threaten to pull her into the dance too. Dylan manages it, Isadora laughing and surrendering seeing as it doesn’t seem likely work will get done anyway.

Charlie is goofing off with Haley and Clarissa, twirling the latter. Riley is all smiles as she grooves with Lucas, actually getting him to move a little bit as he spins her under his arm. And front and center of it all is Farkle and Maya, dancing back to back and being their full diva selves as they jam out to the bop. The way they used to be -- when they were friends.

Present-day Farkle navigates the scene as it unfolds around him, awestruck and struck by the nostalgia. He can’t remember the last time AAA felt like this, bright and hopeful and carefree. It’s a lot of fun to step back into, all that enthusiasm and camaraderie…

And even harder to watch disappear. As Farkle steps into the place of his former self the imagery melts away, leaving him standing alone on the empty stage. Dark, quiet, only the ghost light occupying the space with him and casting him in an eerie glow.

He’s startled from his reminiscing when another voice beckons him from the shadows of the audience. He squints, trying to get a good look.

Jack: Come along then, Mister Minkus. We don’t want to be late.

Dream!Jack, dressed professionally as always, doesn’t wait up. He marches back through the doors to the atrium, Farkle scrambling off the stage and running through the aisles to catch up.

INT. MINKUS HOME - ELEVATOR HALL - NIGHT

Farkle emerges from the elevator out of breath, surprised to be back in his hallway. He spins around to try and find Jack, scoffing and holding out his arms.

Farkle: That’s it, then? Giving up on my monster soul already?

Jack: Sarcasm is only charming in small doses, Mister Minkus.

Jack is in fact still there, hanging by the door to his apartment. Farkle approaches, commenting that he doesn’t see how sending him home is going to show him anything important. He spends enough time there alone. Jack corrects him, stating that he’ll find this is no ordinary version of his home. He explains that people often forget the imprint they leave on other people -- and that may be especially true within the Minkus clan.

INT. MINKUS HOME - NIGHT

As they step back through the doors, it becomes clear what has changed in this version of their apartment. On the wall by the coat rack where all the children have their portraits hung up, Farkle is no longer present. This is a scape where Farkle is absent, a figment just like Jack rather than a member of the Minkus family.

Said family is gathered for dinner, business and enterprise dominating the conversation like usual. As far as Farkle can tell as he observes it… it doesn’t seem all that different. Uri looks a little less broody and well-dressed, given that his sibling pecking order changed, but otherwise it looks about the same.

But there are small details that Farkle isn’t picking up on. Like how Ezra is uncharacteristically quiet, far more muted and less eccentric than the way he is today. Lila is exchanging her digs with Uri instead, the two of them no longer semi-comrades in disdain but adversaries. The home is polished and well-maintained, but it also lacks something too. Behind where Farkle and Jack are watching, the grand piano is no longer in the living room.

Farkle states that it looks about the same to him. What did Jack expect to show him, his entire family being miserable without him? Unlikely, since none of them pay attention to one another anyway and he’s the black sheep as it is. Jack tries to point out the nuances but Farkle isn’t listening, pointing out all the ways things seem better, like how no one is arguing about their dreams or storming out of the dinner as an embarrassment to the family legacy.

Jack shifts gears, growing frustrated with his inability to see where he leaves an impact. He spins them to face the living room and throws them back into memories, a series of them shimmering like a mirage. Him and Ezekiel talking together on the couch in 112; his mother having him help cook when he was little, Farkle gabbing on and on with his unbridled energy and Jennifer laughing along; Farkle leading a younger Uri and Ezra in imaginary games, both of them enthralled and delighted as the fantastical story unfolds in their living room. Bringing creativity and unconventionality to a home that sorely needs it.

Then, a moment from a different Hanukkah season years ago. Stuart hands a nine-year-old Farkle his copy of The Great Gatsby, pride shining in his eyes as he gifts the brand new copy. Farkle takes it eagerly, giving his dad a hug and showing how there are common interests between them.

Present-day Farkle edges towards the warm memory, captivated. His eyes are shining with tears, Jack thinking he’s made his point.

Jack: Don’t you see that? Don’t you see how that feels?

Farkle: I see it… [ uncertainly ] But I don’t think I know it.

The feeling of that memory feels about as distant as the time it occurred. It fades, along with Jack, as Farkle settles back onto the couch and the room falls back into darkness. For a moment, Farkle debates going back to sleep to escape all the melancholy.

But the dream isn’t over yet. The grandfather clock chimes, startling him as it bangs out successive clangs to the midnight hour. But it continues to chime even after it should’ve stopped, confusing Farkle and causing him to rise and investigate it.

While the hands are lined up to midnight, the clock isn’t moving. The second hand doesn’t tick onward. It’s completely frozen.

Farkle reaches forward curiously, another familiar voice halting him from messing with the clock when they speak up from behind him.

Angela: Come on, Farkle.

He whips around, eyes wide as he spots his favorite teacher waiting patiently for him across the room. It’s Dream!Angela, and although she lacks the usual warmth and energy of the actress her presence alone is cause for emotion.

Angela: We really should get going.

Farkle lets out a strained exhale, jogging over and enveloping Angela in a hug. She doesn’t respond, as she’s merely a spiritual apparition, but the concept of the gesture alone seems to give Farkle some comfort. He embraces her tightly, only pulling back when she gently nudges him and takes his shoulders. She gives him a wise look.

Angela: We don’t dare be late for the future.

INT. FARKLE’S APARTMENT - NIGHT

As they push through the doors, Farkle finds himself stepping into an unfamiliar apartment. It’s lavish although essentially vacant, the only object worth note being the grand piano that has relocated to the center of the room. Farkle looks to Angela uncertainly, who nods him forward.

Approaching the piano, a flyer becomes visible laying on top of the piano. Farkle reaches for it once he’s close enough, revealing that the flyer is actually a playbill. It’s a Broadway show -- although the details are nondescript, as they don’t matter -- and flipping to the inside, Farkle is first billed. He’s the star of the show. His big break.

Farkle: It’s… I’m… Angela. Angela, look --

He whips around to show her, the excitement wiped from his face when he realizes she’s gone. He’s alone again, facing this potentially successful future… with no one to share it with. Just him, a playbill, and a needlessly spacious apartment.

Angela: Do you remember what I told you, Farkle?

Angela is seated at the piano again, lightly playing a tune on the piano. Upon careful listening, one might be able to identify the diddy as the ending verse of “The World Was Wide Enough,” but it’s hardly the focus of the scene.

Angela: You once asked me if the dream was worth it. And I told you it was. Undoubtedly so. But I told you something else too. Do you remember?

Farkle looks down at the playbill, searching for the joy that seeing such a future should bring him. Then he gazes around the empty apartment, void and cold. The answer is quite simple.

Farkle: Empty.

INT. MINKUS HOME - LIVING ROOM - NIGHT

Farkle jolts awake, the lamplight illuminating the room signaling that we are in fact back in real time. The grandfather clock has resumed motion, ticking in its usual time. He tries to shake off a sense of panic, breathing uneven as he pushes himself into a sitting position. Footsteps in the kitchen behind him freak him out, glancing over his shoulder with wide eyes just as Ezekiel pokes his head out with a glass of water.

Ezekiel: Farkle? What are you doing out here?

Farkle wants to respond, but words aren’t working at the moment. Ezekiel notices his frazzled state, shifting gears and rushing over to ask him what’s wrong. Settling down on the couch next to him, he reaches out and tries to calm him down. Farkle flinches as his brother wipes tears from his cheek, ones he didn’t even realize he had shed.

Ezekiel: Must’ve just been a nightmare. But it might help if you weren’t sleeping out here on the couch. Come on, let’s get you some real rest, yeah?

Farkle allows his brother to help him up, hands clammy and shaky as he rises to his feet. Even as he goes, it’s clear from the haunted expression on his face that he won’t be forgetting that dream any time soon.

Behind them, The Great Gatsby lays forlornly on the floor.

PART V Somewhere in my memory, Christmas joys all around me, Living in my memory: all of the music, all of the magic, All of the family, home here with me…

INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY

Riley takes the final segmented part of our story, experiencing a torn existence within the apartment. She and Cory kick off their winter break by moving around all of their things, Riley beginning the process of moving her belongings into the more spacious bedroom.

As she drops her moodboard against the wall by the door, she questions if her father really wants to make this swap. He assures her he’s of sound mind, stating that the last thing he needs is a reminder of all that empty space haunting him. Gloomy. Besides, he goes on, with what Katy requested of him they may very well be giving Riley a roommate to share all the space with.

It’s clear Riley doesn’t know how she feels about that little detail, but she’s happy to provide help where help is needed. She’s feeling jarred enough swapping spaces in the apartment she’s lived in her entire life, she can’t imagine being removed from it entirely.

Their conversation is interrupted by Auggie cheering from the living room. They exchange a look, making their way out into the hall.

INT. MATTHEWS APARTMENT - DAY

As expected, Auggie’s fanfare is in response to the arrival of TOPANGA LAWRENCE. She gives him a tight hug and a big kiss on the cheek, offering the same enthusiastic greeting to Riley as she jogs over to greet her. She even grants Cory a familiar kiss on the cheek, obviously in good spirits due to the holiday season.

That, and she does seem simply generally happier. As if the decision to file for divorce and take control of her own life how she wants it is empowering, despite how effectively it’s caused a ripple effect to everyone else around her. It’s evident that she intends to treat this holiday season like any other, pretending everything is right as rain in favor of a good Christmas time.

This includes their annual holiday party. It’s tradition, and they sure won’t be slacking this year. She immediately launches into all of the things they’ll have to get cracking on, operating with that charming discipline she’s so well known for. Auggie grins up at Riley, who gives him a soft smile in return and nudges him along to follow their mother.

INT. MATTHEWS APARTMENT - LATER - DAY

Now in the process of preparations, Riley and Topanga work together to set up and decorate the Christmas tree. As they’re hanging ornaments, Riley ventures the question of how Topanga is liking her new place in Midtown. She claims it’s fine, and an invigorating change of pace, but she’s not certain she’ll be staying there long. It’s just a squatting place, a space to regroup until she can figure out where she truly thinks she would fit.

Riley plays along, suggesting some other areas of the island where her mother might thrive. Her phone ringing disrupts it, and although it’s clear she is savoring this actual attention from Topanga, seeing Isadora light up the screen makes her think she should take the call. She excuses herself, jogging back into the hall to her makeshift bedroom.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY

Riley answers as soon as she’s alone, Isadora letting Riley know she believes she will be coming to her party. You know, if that’s still cool. Riley assures her that of course she’s more than welcome, she did send her an invitation after all. But she has to admit she’s confused as to why she’s not attending the techie party instead. That was likely going to be the same time, wasn’t it?

Isadora huffs, reluctantly stating that the techie party isn’t happening this year. The cause as to why it fell apart goes without saying, both of them quite aware of how Lucas has been acting as of late. Riley repeats the notion that Isadora is welcome with her.

Isadora murmurs that the holiday season certainly doesn’t feel much like the holiday season this year. Riley can’t help but concur, promising that she’ll see her soon as they end the call.

INT. MATTHEWS APARTMENT - NIGHT

And as the party edges closer and closer, the more true that seems to become. While Auggie is never around for the sharpest moments, Cory and Topanga begin exchanging digs and snapping at one another again. Although the apartment sure looks festive, it feels far from it.

As Cory and Topanga get into a tiff about one of the items on the food preparation list, Riley finally cracks. She questions why they’re even bothering to have the party in the first place, since working collaboratively seems to be such a burden for all of them. For appearances? To pretend like everything is fine and dandy? What a lovely, shallow Christmas vignette they make.

Topanga is surprised, and Cory tries to comfort her, but Riley escapes before either of them can get a word in edgewise. She disappears back into the hallway, her parents exchanging sheepish looks.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley retreats into her new room… only that doesn’t make her feel much better either. It’s in complete disarray, just like everything else, and now Maya’s added stuff feels even more overwhelming.

Without thinking, Riley grabs her coat and pulls it on in a hurry. Then she’s yanking open the bay window, climbing out onto the fire escape.

EXT. NEW YORK STREETS - NIGHT

Song Cue ♫ ♪ “Where Are You Christmas” as performed by Faith Hill || Performed by Riley Matthews

As Riley emerges into the cold, snowy winter night, she takes a deep breath to center herself before quietly launching into an impassioned rendition of this ode to innocence lost. She begins making her way down the familiar streets of the city, the lights and charm of the holiday season the true visual spectacle of the performance.

But as usual, the true star are Riley’s vocals. They build in volume and power as her emotions escalate, reaching a fervent pitch as she makes it to the final part of the song. New York is her stage as she spins around the winter wonderland, lamenting how what used to be her favorite time of year suddenly feels as far away as everything else she once loved.

Even at the lowest times, Riley Matthews truly is too damn talented.

PART VI Everyone would have a friend, and right would always win, And love would never end, This is my grown up Christmas list...

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

It’s the night of all planned holiday festivities, settling us back in a coherent timeline. Riley and Maya are just finishing up getting their now shared room into a decent state, not bad for a couple days work. Maya says as much, tossing her hair over her shoulder.

After a moment, Riley gently reaches out and touches her arm.

Riley: I’m sorry about what happened with your mom.

Maya accepts the kindness, but brushes it off before she gets emotional again. She changes the subject, asking Riley who else is supposed to be showing up to this shindig tonight. Given that she has literally nowhere else she could be, she’s guaranteed at least one party guest.

Riley mirrors Maya’s mocking laugh, claiming that just about everyone from their class RSVP’d. After a beat, Maya curiously asks if that includes Farkle. The query seems more interested than derisive, which seems like a step in the right direction.

But Riley doesn’t have good news in that regard. She covers instead by expressing that Charlie is supposed to becoming, as well as Isadora. Maya wonders what happened to the techie thing if Isadora is planning to come, since she never told her any different. Odd, considering their new status of best friends. Riley opts not to say anything, however, the harsh pre-lapping tones of “You’re a Mean One, Mr. Grinch” say plenty…

INT. LUCAS’S APARTMENT - KITCHEN - NIGHT

Song Cue ♫ ♪ “You’re A Mean One, Mr. Grinch” as performed by Thurl Ravenscroft || Instrumental (up to 1:00)

Lucas is seated at his kitchen table, a Grinch-like glower on his face while he’s lost in thought. He’s watching the snow fall outside, stuck in the apartment he hates but is now forced to be in full time. He’s twirling a wrapper in his fingers, absentmindedly twisting it until it starts to come apart with a simple tear. The music is playing from the small radio on the counter, underscoring the dark mood.

GRACE FRIAR pulls him out of his own head, entering the room and joining him at the opposite end of the table. She lightly questions what he wants to do for dinner, beginning to sort through mail. Lucas offers to go through the junk for her, which she declines at first but then allows when he extends the offer again. Sometimes, it’s easy to forget in this household that people can be helpful and kind.

Lucas moves to the counter as he sorts through it, stopping cold when he sees the invitation addressed to him. He removes it from the stack and gets a better look at it, recognizing Riley’s handwriting in an instant. He holds it delicately in his fingers for a long moment, obviously contemplative…

Then it falls into the trash can with all the rest of the junk.

Song Cue ♫ ♪ “I’ll Be Home For Christmas” as performed by Kelly Clarkson || Instrumental

The radio switches to Kelly Clarkson as the Grinch wraps up, a knock at the door surprising both Grace and Lucas. They exchange perplexed looks, Grace asking if he’s expecting anybody. He shakes his head, cautiously approaching the front door to check it out.

When he opens it, he’s immediately accosted by what seems to be the full assembly of the techie crew. Jade is at the front of the pack, carrying their box of decorations and giving Lucas a cheerful greeting as she pushes past him and into the apartment. Dave is next, carrying a small tree in his arms; then Jeff; then Nate, who gives him a playful punch on the shoulder as he lets himself inside.

Lucas turns to watch them take over his apartment, shell-shocked. They’ve got all the goods necessary for their tradition -- food, decorations, gifts -- and start setting up and spreading the cheer without a second thought. Grace pokes her head out uncertainly from the kitchen, Dave immediately rushing over to greet her and shaking her hand enthusiastically.

Dave, loudly: Hi, wow, you’re Mrs. Friar! I’m Dave. I love what you’ve done with the place --

Lucas whips back around to the doorway, finding Asher and Dylan standing together with smug smiles on their faces. They’ve got their hands clasped in front of them and are dressed for the weather, Dylan’s cheeks rosier than ever as they greet him.

Dylan: Greetings, Mr. Grinch.

Slowly, Lucas starts to piece together what’s happening as his shock wears off. He glances back at the party beginning to unfold and his mother being happily guided into the festivities, obviously surprised but not opposed to this unexpected holiday cheer. It’s not a common occurrence in this apartment.

Lucas shakes his head, looking back to his friends with a sheepish look on his face. Clearly appreciative, even if he doesn’t know how to express it.

Lucas: You guys didn’t have to do this.

[ Asher and Dylan exchange knowing looks, raising their eyebrows. ]

Asher, matter-of-factly: Yeah, we did.

Dylan: Merry Christmas, ya filthy animal.

Both of them move forward at once, sandwiching Lucas in a warm hug. Dylan gives him a peck on the side of the head, grinning. Lucas stiffens at first… but then smiles in spite of himself.

INT. BABINEAUX HOME - NIGHT

Zay is finishing up getting ready for Riley’s party, Jada and Omar laughing about something in the living room behind him. He’s pulling on his shoes when there’s a knock on their door as well, Donna moving to answer it.

Zay: You expecting someone?

Donna: No, are you?

Either way, there’s clearly someone there. When Donna pulls open the door, Charlie is standing there on the doorstep and quickly turns to face them from looking around at the neighborhood. He looks like a deer in headlights for a second until he remembers that he drove all the way here and chose to do this.

Zay is equally stunned. He blinks at him, trying to figure out if he’s imagining him.

Zay: Charlie? What are you doing here?

Charlie tosses a glance towards him, before clearing his throat and holding out his hand to introduce himself to Donna. She accepts the gesture, stepping back to allow him to step into the house. Charlie states that he’s one of Zay’s good friends from AAA, and apologizes for the fact that he couldn’t make it to the dinner she arranged.

Donna: Oh, well, that’s fine honey. There’s always next time.

Charlie, boldly: [ looking at Zay ] I’ll be there.

Omar and Jada are watching with extreme interest from the living room, Donna subtly questioning what exactly he’s doing there right now. Charlie seems to remember that detail, laughing nervously and explaining that he and Zay are both going to Riley’s party tonight. He promised he’d give him a ride, save him a little gas money.

Jada starts to question if that makes any sense -- does Charlie live around here too? -- but Zay quickly bids them farewell and ushers them out the door before any of them can grill him.

EXT. BABINEAUX HOME - NIGHT

Zay takes his arm and guides him a little ways down the block, wondering what he’s doing there and how he even managed to get all the way out here in this weather.

Charlie: [ holding up his keys ] I’ve got wheels now, remember?

Zay, stunned: … you drove here?

Charlie nods, pocketing his key ring again. That might be one of the most romantic things anyone has ever done for Zay. He’s speechless, trying to wrap his mind around it, as Charlie continues with an explanation.

Charlie: You’re not doing all the labor in our relationship anymore. Emotional or otherwise. I felt terrible about… well, a lot of things, and… I just want you to know I’m in this. I know I’m all over the place but… I’m serious about what we have. I’m serious about you. I’m trying, Zay. I’m really trying.

Zay, softly: I know. I know.

Charlie smiles lightly. He unzips his coat about halfway to show that he’s wearing the sweatshirt, Zay unable to hold back a smile.

Charlie: Sorry I still haven’t gotten you something in return.

Zay: Dude, what you just did? Driving all the way here and then... [ nodding to his house ] That’s the best present you could’ve ever gotten me.

Charlie grins, nodding. Pointedly, he steps forward -- closer than usual in public, although it is dark and in the suburbs -- and slips his hand in Zay’s pocket to hold his hand.

The two of them exchange another fond smile, beginning the walk to Charlie’s car.

INT. MATTHEWS APARTMENT - NIGHT

Riley is playing hostess as her friends from school arrive, dancing around and making sure everyone is having a great time. Nigel and Yindra try to get her to relax, but she feels better up and about. She’s hosting the party, and yet she’s hardly participating in it.

She rushes to answer the door when Zay and Charlie arrive together, greeting both of them warmly. There’s still an awkward beat between Riley and Charlie, but it feels less hopeless than before. She gestures for them to make themselves at home, the two of them stepping into the apartment just as Isadora shows up behind them.

She doesn’t look very cheerful, all things considered. Riley states that she’s happy she made it, which Isadora nods along to but still seems dazed. Out of sorts. Not where she’s usually supposed to be on this night.

Riley senses her apprehension. Gently, she guides Isadora inside and leads the way through the crowd, the door closing behind them.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley and Isadora are situated on the bay window seat, cooped up and escaping the crowd for a minute. For the first time they really get the chance to talk, expressing how things have felt so off this year, right up until the last few days of the calendar year. Isadora feels more disjointed than ever, and Riley can relate given that they’re literally sitting in a half-sorted bedroom.

Still, Riley has to have hope. She has to believe things will work out, even if it’ll take some time to get there. Isadora shakes her head, laughing in spite of herself.

Isadora: I have no idea how you do that. How can you manage to be hopeful when just about everything has given you a reason not to?

Riley: Because if I don’t… [ with a shrug ] then who will?

A lot of pressure to carry on one girl’s shoulders, but something she’s clearly determined to do regardless. Isadora claims that’s always been her best trait -- the reason they all warmed up to her in the first place. The reason Lucas liked her so much, definitely. They all need some of that energy in their own lives, she supposes.

Song Cue ♫ ♪ “Believe” as performed by Josh Groban || Performed by Riley Matthews & Isadora De La Cruz

Riley starts the thoughtful duet, reflecting the odd emotional state they’re all existing in right now. “We were dreamers not so long ago” is apt enough, and it’s not long before Isadora joins in to harmonize on the chorus. It’s a soft shared moment of vulnerability between them.

INT. MATTHEWS APARTMENT - NIGHT

Their voices carry over the rest of the episode as we touch base with the small moments of hope encompassing everyone else. Spirits are high at the Matthews party, a majority of their class enjoying the time together. Maya holds court with a gaggle of the performers, exuding charisma to cover for the hurt she’s grappling with inside. Zay and Charlie actually sit next to one another as they chat with Yindra and Nigel, bumping elbows and exchanging smiles and allowing themselves to just be.

INT. LUCAS’S APARTMENT - NIGHT

The same warmth is radiating from the techie gathering, where they’ve fully set up their decorations and are just settling into energetic and gleeful conversation. Dylan has his arm around Asher as they’re seated in front of the couch, Lucas coming to settle down next to them and in front of Grace seated on the couch.

He passes a cookie to her over his shoulder, Grace giving him a grateful smile. Actually enjoying the holiday for the first time in forever, love filling a space that usually feels so cold.

INT. MINKUS HOME - NIGHT

All on his own, Farkle carefully lights the first candle for Hanukkah. He tends to the small flame gently, lifting his gaze to glance out at the wintery landscape of the city laid out before him.

So high above it all, trapped in his version of reality.

END OF EPISODE.

#S2 #episodes #205 #well.... yes. well.

[ambitionsource]

AMBITION Season 2 ♫ “How the Twinks Saved Christmas” [ Special ]

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

THE THINGS WE HAVE TO DO – Asher and Dylan attempt to pull together the usual techie tradition when their commanders in chief are unable. One has to wonder how far a couple of loyal lieutenants will go for their best friend.

51 Minutes (10.5K words) || No warnings apply.

[ ← Cold Comfort ] [ S2 Synopsis ] [ Trapped → ]

( Follow along with the music on Spotify here! )

INT. LUCAS’S APARTMENT - NIGHT

We’re back at the end of 2.05, the techies flooding into the apartment to surprise LUCAS FRIAR for the holiday. He watches them all in shock before turning back to find ASHER GARCIA and DYLAN ORLANDO in the doorway, giving him smug smiles.

Dylan: Greetings, Mr. Grinch.

The scene proceeds as we saw it the first time, but subtle differences in the camera angles and costuming shine a little more light on the status of Asher and Dylan.

For being so put together in the execution of their holiday rescue, they’re a bit ragged in their appearance. Asher’s hair is a mess, which is a rare occurrence. Dylan’s cheeks are rosier than usual. They look like they’ve taken more than one trek through the winter sludge outside.

When they step forward to pull Lucas into their sandwich hug, the screen suddenly freezes on the sweet vignette. Very much a record scratch moment. Then, some familiar voices voice over the warm imagery:

Dylan: Aw, look at that. It’s so cute. Aren’t we cute?

Asher: Well, maybe one of us.

Dylan: Ignoring that. But you may have points with dad there.

Asher: He’s looked better.

Dylan: Sure he’s felt better, too.

Dissection of Lucas aside, Asher goes on to explain how this all makes everything seem so easy. Clicking back a couple of frames to their arrival, he points out how it really just seems like they just appeared out of thin air and brought the holiday cheer.

Although it’s a good part of the story, it’s certainly not the full story. And this doesn’t give nearly enough credit to how far from easy this whole thing was. Or, to the point, any credit to how the whole thing came together at all. Where it all started.

Then, the frames begin moving backwards in time, so fast that they’re hardly discernible. There are fleeting glimpses of moments -- Asher and Dylan dashing through the snow, the exterior of AAA in the glow of a wintery night, a Christmas tree farm…

EXT. AAA - DAY

Until we’re back outside AAA, the same day that Lucas stormed out early. On the precipice of winter break.

Asher: If you’re going to get the full story, then we’re going to have to go back to the start.

Dylan: Twas the day before winter break…

Time resumes on the frame of AAA, easing in towards the school as students begin disembarking for the end of term.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Please Come Home For Christmas” as performed by Kelly Clarkson || Instrumental

The techie crew isn’t going anywhere, not yet. The mood is deflated as the group of them gather in the auditorium, sitting on the stage like usual but not quite feeling like a cohort.

NATE MARTINEZ sits on one of the acting blocks, bouncing and catching a bouncy ball listlessly. JEFF MONROE reclines in a folding chair, leg bouncing restlessly. DAVE WILLIAMS is sprawled on the floor, staring up at the catwalk. JADE BEAMON is finishing some last minute seams on a costume, pin in her mouth as she glances up to listen to the discussion.

That discussion is being led by Asher, Dylan faithfully at his side with the rolling whiteboard. The two of them are attempting to brainstorm other ways the group of them could ring in the holiday spirit, since their techie tradition seems to have fallen through.

Seeing how the whiteboard only has a couple of half-hearted, random words written on it, it’s clear they’re not making much progress. Dylan has moved on to doodling tiny versions of all of them, more focused on that than the brainstorming.

Still, Asher isn’t giving up. He’s the only one actively putting in an effort, pacing as he racks his brain for a solution.

Asher: What about Chubbie’s? We could do family dinner there.

Jeff: Closed for the holidays. Won’t be open from tomorrow to the 26th.

Asher: Okay… oh, well, what about Svorski’s? Maybe she’d let us host something. I’m pretty sure she’s Jewish, right?

Jade: Can’t. We’re not allowed back ever since Dave’s incident with the pastila.

Dave: Look, I said I was sorry!

Clearly, this is going nowhere. Nate is the first to say so, gathering his things and getting ready to head out. The others take this as a cue, also getting ready to go. Dylan is pulled out of his drawing by the commotion (just finishing up a little heart next to his miniature Asher), realizing this is not going as planned.

Asher tries to get them all to hold up, just spend a little more time thinking of something, but the consensus seems to be that there’s no point.

Nate: Look, I get what you guys are trying to do. And it’s great, it’s beautiful that you still believe in the “power of friendship” or whatever, when this school was clearly forsaken and cast away to Hell ages ago.

Dylan: [ re: Hell ] You say that like it’s a bad thing...

Nate: But look around. Lucas and Smackle aren’t even here.

Jeff: Isa’s got her new crew now, she probably won’t even notice if the get together is dead.

Nate: We have no way to get into the school without Friar, and to be honest, what’s the point if he’s not going to be there?

Dave, sadly: Won’t be the same without Lucas.

Dave’s favoritism aside, he has a point. Asher searches for something to say, but comes up short. It’s not right, he knows it isn’t, but he can’t figure out how to fix it.

Nate tosses them a peace, telling them he’ll catch them in the new year. Jeff follows him out, then Dave, leaving only Jade behind as she finishes putting away the costuming supplies. Dylan steps forward to comfort Asher, patting his shoulder as Jade addresses them.

Jade: I think it’s really sweet, what you’re trying to do. I wish it would work, too. I wish there was a simple solution.

[ Asher can tell there’s a ‘but’ coming. Dylan looks at him, somber. ]

Jade: But I don’t know… maybe some things aren’t meant to last. Maybe sometimes… things just fall apart.

She steps forward to give both of them hugs, giving Asher a kiss on the cheek and wishing them both happy holidays. Then she heads out, leaving them alone on the empty stage.

Asher sighs, turning and actually looking at the whiteboard for the first time. He gives Dylan a look, somewhere between endeared and confused.

Asher: Is that supposed to be us?

Dylan: [ with a shrug ] It’s a work in progress.

INT. GARCIA HOME - ASHER’S ROOM - NIGHT

Song Cue ♫ ♪ “Mom Returns And Finale” as scored by John Williams for Home Alone || Instrumental (00:45 - 2:00)

That night, Asher is putting away his school things for the break. He takes a moment to edit his agenda, settling down at his desk and cross-checking the dates in his notebook with the ones on his wall calendar.

He hesitates when he gets to the scheduled date for the techie holiday party, originally set for tomorrow evening. He grabs a pen and begins to scratch it off his schedule… but he can’t bring himself to do it. The pen is hovering over the date on the calendar, but he can’t bring himself to pull the trigger and cross it out for good.

He gets distracted instead by a photo tucked behind the calendar, pushing it to the side a bit so he can get a better look. It’s a polaroid of him, Dylan, and Lucas, taken sometime the previous year. The two of them are all smiles, and even Lucas is cracking a smirk.

Even in photo form, the amount of love that exists between the three of them radiates. Asher takes the picture down from the board and holds it in his hands, obviously feeling sentimental. Remembering a time when things felt easier, torn up over what a mess things have become.

Asher, softly: Maybe some things aren’t meant to last…

Just as he’s contemplating this grim potential, a noise outside his window startles him. He glances at his clock and the late hour, eyes wide towards the window pane when another scrape sounds from just outside. It seems to be getting closer.

Asher edges closer to his window, a distinct sense of unease dominating the scene. He closes his eyes, shaking his head.

Asher: Please don’t be a holiday ghost, please don’t be a holiday ghost…

Mustering up his courage, he pushes open his window. For a second, there’s nothing… then Dylan pops his head up, scaring the hell out of Asher.

He’s out of breath, the climb up to his window being particularly difficult given the winter weather. He props his elbow on the window pane, catching his breath and giving him a grin.

Dylan: Evenin’, lover.

Asher sighs, helping him up and pulling him in through the window. He questions what the hell he’s doing out in this weather, let alone trying to climb around his house. Although he does it pretty frequently, testing his luck when everything is so icy seems like an ill-advised move.

Once he regains his bearings and shrugs off his winter coat, Dylan explains why he came. He can’t stop thinking about the holiday party, and the way they left things at school today. Everyone seemed so bummed, and it’s been plaguing him all afternoon. He continues on this thought train until he gets distracted by the neatly wrapped gift sitting on Asher’s wardrobe, addressed for him. He gets excited about that until Asher lightly smacks his hand away, reminding him that Christmas is in two days and he can surely wait until then.

Maybe so, but it’s so difficult to see Dylan Orlando pout. Asher caves somewhat, allowing him to eat the candy cane stuck to the outside of it early.

Dylan continues his explanation as he unwraps the candy cane, torn between eating it like a normal person and waving it around for emphasis. Now more than ever, he states, the crew of them should be banding together in spite of all the tension at school rather than just letting things fall apart.

Asher agrees, but he doesn’t know what they’re supposed to do about it. He tried to fix it earlier, and that crashed and burned. They were both there. This is where Dylan steps up, claiming that he might actually have the solution.

He hands Asher his candy cane to hold and proceeds to dig through his jacket pockets. Of course, he pulls out an assortment of things that aren’t what he’s looking for.

Dylan: [ pulling out a wrinkled receipt ] No, that’s not it. Oh, wait, I think I was supposed to return these actually --

[ Asher pops the candy cane in his mouth without thinking, waiting for him to find it. ]

Dylan: [ pulling out a used tissue ] Ew, well, haha, that’s not it --

As he’s about to simply put the tissue back in his pocket, Asher gags and shakes his head. He tells him to give it to him, Dylan obeying and passing it over. Asher holds it daintily, barely hiding his disgust as he quickly tosses it into the trash can.

Dylan: [ pulling out a movie ticket stub ] Oh, this is from Detective Pikachu! You remember when we saw that? We should totally get that when it comes out on digital download --

Asher: Dylan. Dyl. Lighthouse, bring it home.

Dylan: Right, right.

Dylan finally manages to retrieve what he’s looking for, a folded up piece of lined paper. He holds it up in his fingers proudly.

Dylan: Isa made a list.

As he goes on to explain, when Riley helped them set up the holiday party last year, Isadora made a step-by-step list of all the items that go into preparing their tradition. He also still has the grocery list from when the two of them helped with that task last year. All they have to do is complete all the preparations, and then they’ll bring the tradition to Lucas.

Not a bad idea. Asher definitely seems intrigued as he swaps out the candy cane for the list, looking it over. But he’s always been the detail-oriented one to Dylan’s big ideas, so he naturally has questions. Firstly, the elephant in the room.

Asher: What about Lucas’s dad? We’re hardly allowed over to his place as it is, if we showed up with all this when his dad was around he would freak.

Dylan: I thought about that, too. But then I remembered how he was complaining during Thanksgiving about his holiday plans getting swapped around. Originally his dad was going to be here for the winter holidays and not Thanksgiving, but then it got changed. Remember?

That’s one potential road block out of the way. Asher asks about money, as the endeavor to pull this thing off is usually a group effort. Dylan states that if they let the other techies know their plan, he’s sure they’ll chip in and help in whatever way they can. As for decorations, Dylan points out that they saved the ones they made from last year, so all they have to do is retrieve the old ones rather than make a ton of new ones.

Asher is warming up to the idea, but one glaring question still remains.

Asher: Do you really think we can pull this off in a day? The party was supposed to be tomorrow night. You actually think you and I can do this on our own.

Dylan: That, my dear --

[ Dylan grabs his duffle bag from underneath his heavy coat, dropping it onto the bed for emphasis. ]

Dylan: Is why I’m sleeping over. We’ve got an early start tomorrow!

So it’s settled. Dylan and Asher are going to save Christmas.

INT. GARCIA HOME - ASHER’S ROOM - DAY

Song Cue ♫ ♪ “Setting the Trap” as scored by John Williams for Home Alone || Instrumental

Asher’s alarm wakes them both up bright and early, the sun barely rising outside. He blinks himself awake, pulling himself free from hugging Dylan from behind and shaking him awake as well. If they’re going to do this thing, they’ve gotta get moving.

Thusly, a brief montage ensues of the two of them getting geared up for the mission. Pulling on their cozy sweaters, getting that good dental hygiene in with a brush and floss, Dylan attaching his skateboard to the back of his backpack and tightening the straps on his shoulders.

EXT. GARCIA HOME - DAY

Then Dylan kicks open the front door, the two of them ready for action. Heavy coats, gloves, and cute knit hats abound.

Dylan: Let’s get some holiday cheer, bitches.

EXT. NEW YORK STREETS - DAY

As they embark on their journey, however, they quickly become aware that this is going to be more difficult than they previously anticipated. Snow continued to fall overnight, and the sidewalks and roadways are slick with slush and ice.

So they’re stumbling and slipping as they make their way to the grocery store near Asher’s street, catching one another from falling entirely. Asher confirms that everyone has seen their text in the Techie Tots group chat, and slowly they’re sending in Venmo payments to chip in.

Dylan sets a timer on his phone. It’s 8AM now, and they’ll want to get to Lucas’s apartment by 8PM if they want a chance of catching him in his least Grinch-like mood. Especially given that Riley’s party is scheduled to start around the same time. That gives them 12 hours to get everything done. Piece of cake!

Just as he declares it so, Dylan nearly slips. Asher just barely manages to put him back upright.

INT. GROCERY STORE - DAY

Asher and Dylan step through the sliding doors, two men on a mission. All things considered, they’re lucky the store is even open with the weather and the holiday coming up. The MANAGER who just opened up questions what they’re doing there so damn early, especially with this terrible weather.

Dylan: It’s a noble mission that brings us here today, good sir. A labor of love, a perhaps doomed attempt to save a friend already gone, but an important task nonetheless --

Manager: Yeah, whatever, man. Just come to the front when you’re done.

Asher and Dylan exchange a look and a shrug. Asher retrieves the list from his pocket, gearing up to go through the process of collecting all the necessary rations in record time.

Song Cue ♫ ♪ “Little Saint Nick” as performed by The Beach Boys || Performed by Asher Garcia & Dylan Orlando

While the boys grab their cart and make their way through the aisles, the task is intercut with our first Dylan & Asher holiday duet. Naturally, Dylan plays his guitar and harmonizes while Asher takes the lead vocal. It’s unclear whether Dylan is actually not a bad singer as myth has led his classmates to believe or if it’s just a product of their imagination, but who are we to question it? It’s Dylan & Asher!

INT. AAA - AUDITORIUM - DAY

For the purposes of the performance, it’s cut between their duet alter egos wandering the aisles of the supermarket and performing on the AAA stage. As for how we can tell them apart, the Duet Dasher are far more well-groomed and dressed than their actual selves. They’re greatly channeling cheeky 50s energy, with coiffed hair and adorable fancy sweaters and vests.

To that point, the entire performance is purposefully cheeky. It’s somewhat of a satirical take on how serious the performances tend to be at AAA each week, Asher and Dylan acting more so as if they’re in a music video. They grin right at the camera, do a lot of synchronized steps, croon into the microphone like they’re the Beatles on Ed Sullivan.

INT. GROCERY STORE - DAY

Meanwhile, actual Asher and Dylan are painstakingly gathering all of their materials. Asher is once again riding in the cart while Dylan pushes, the former grabbing things and crossing them off the list as they go.

At one point the camera watches between two aisles as Dylan and Asher go back and forth with their cart, goofing off but also accidentally losing control of the cart and chasing after it. But they manage to accomplish their first task, sidling up to the register and unloading their stuff just as Duet Dasher gives us a parting wink from the auditorium stage.

Just as they’re adding up their total bill, Asher realizes in horror that not everyone has sent in their contribution yet. There’s no way they’re going to be able to pay without everyone’s contribution, especially without Isadora’s usual help. At first Dylan suggests using “the fund,” to which Asher snaps in exasperation.

Asher: I’m not using my college fund!

Dylan: It’s a holiday emergency!

Asher instead focuses on who hasn’t paid, narrowing down the culprit and letting out a feral growl Lucas would be proud of as he dials their number. This leaves Dylan to engage with the cashier and buy them some time, which he does with a bright beam and a bat of his eyelashes.

Dylan: Hi. How’s it going for ya?

The moment whoever Asher is calling picks up, he lets them have the full force of his anxious, feral stress.

Asher: NATHANIEL!

INT. NATE’S HOME - LIVING ROOM - DAY

Nate is crashed on his couch, eating junk food and playing video games as he enjoys the first day of winter break. He puts the phone on speaker and props it on his shoulder, keeping his focus on the game while he chats.

Nate: Hey, Ashlie. What’s up, man?

INT. GROCERY STORE - DAY

The scene continues between the two locations as Asher and Nate argue about the payment. Asher knows he saw his text, and everyone else has chipped in. But in Nate’s defense, as he goes on to say, there’s no guarantee that any of this is even going to work. It’s a noble pursuit, and he has mad respect for both of them…

Dylan: What’s he saying?

Asher: He has great respect for both of us.

Dylan: Aw. That’s so sweet. Tell him I love him, too.

… but he’s not going to just throw money around. The chances of them pulling this off are slim, and he needs the money. While Asher continues to nudge him, Dylan continues to try and win over their cashier.

Dylan: So… um… do you come here often?

Cashier, flatly: I’m a cashier.

Dylan: Yeah. [ a beat ] Tough business to be in this time of year, eh? Or... any time of year...

Asher is starting to wear Nate down, so he agrees he’ll send over his fair share… but with an “insurance fee.”

Asher: An insurance fee? What the hell is an insurance fee?

Nate: You know, like, money back guarantee.

Asher: Well, yeah, of course we’ll pay you guys back if --

Nate: But that’s not very incentivizing, is it? No, that’s what the fee is for. If you guys blow it, then I get my money back plus fifteen percent interest.

Asher: Fifteen percent?! Who are you, Scrooge McDuck?

Dylan has changed tactics, digging through his wallet for other potential forms of payment.

Dylan: Do you perchance take hug coupons? [ a beat, then quickly ] Wait, no, I need those...

The clock is ticking, so Asher can’t afford to argue much longer. After Nate points out that it’s merely common sense business practice -- the only helpful class he’s really taken at AAA so far -- Asher caves and agrees to the insurance fee.

Nate: My contribution is incoming. I’m wishing you both the best of luck, honest.

Asher: Kiss my ass, Nathaniel Dean Martinez!

Nate: God, feral Asher is my favorite Asher. See y’all tonight… maybe.

Once Asher hangs up, it’s mere seconds before Nate’s payment comes through. He comes to Dylan’s aid and swipes that debit card. Groceries secured!

EXT. NEW YORK STREETS - DAY

Asher and Dylan attempt to travel once again, only now they’re balancing grocery bags in that equation as well. They have to hold onto one another’s arms to stay upright, and even then they continue to slip a lot. At this point, they’re more concerned about the contents of their bags than their own well-being.

INT. GARCIA HOME - KITCHEN - DAY

It’s a relief when they make it back to the house, unpacking and inventorying their items and putting what needs to be refrigerated away for safe-keeping.

As Asher stocks the fridge, Dylan crosses the shopping off their list. The next item is a big ticket one -- finding the perfect tree. It’s going to be tough without Isadora’s usual expertise, not to mention that the first task took longer than expected. They’re now running with only 8 hours to go.

Plenty of time, Dylan declares. But if they’re looking to save minutes, he has ideas about how they could speed up their travel… as a sunshine grin takes over his features...

EXT. NEW YORK STREETS - DAY

Song Cue ♫ ♪ “Holiday Flight” as scored by John Williams for Home Alone || Instrumental

Dylan’s brilliant idea is, inarguably, bonkers. The two of them are dangerously riding his skateboard down the slippery streets, Dylan using a broom to push them along rather than risking slipping on his own feet.

It’s insane, but it sure is speeding up their distance per minute. Dylan is grinning like a maniac as he steers them along and maneuvers around other seasoned New Yorkers, Asher holding on for dear life from behind.

Dylan: See! I told you it would work!

Asher: [ hiding his head in Dylan’s shoulder ] We’re going to die, we’re going to die --

EXT. CHRISTMAS TREE FARM - DAY

Thankfully, the two of them make it to the tree farm in one piece, albeit windswept. Asher looks a little sick, and he has to hold onto Dylan’s arm just to keep from getting dizzy and stumbling.

The daunting task of picking a tree doesn’t help matters. The selection is smaller than usual so close to the holiday, but it’s still a maze of potential greenery and the two of them don’t even know where to start.

Dylan makes a bold move, scanning the rows until he spots one and claims it’s the perfect choice. He, of course, has eyed the largest tree in the bunch. The TREE ATTENDANT comes over to join them, seeing if they need help.

Dylan: How much for this one?

Asher: Well, actually, we’re kind of looking for ones that are a bit --

Tree Attendant: Why, that one there is Rhonda. She’s sort of the queen around here, one of our burliest residents.

Dylan: Rhonda, Asher!

Asher reminds Dylan that they’re looking for something small, even if Rhonda is… beautiful in her own special way. Dylan is heartbroken, but he assures Rhonda that it’s nothing to do with her. It’s all them.

The tree attendant guides them to the more appropriately sized trees for what they’re looking for, Dylan wondering how on Earth they get trees to grow this small.

Dylan: Oh, of course. [ matter-of-factly, with a wise nod ] Shrink ray.

Tree Attendant: … he’s real special, isn’t he?

Asher, fondly: Yeah, he’s one of a kind.

The tree attendant leaves them to look at their pickings, but the task still feels daunting. So many potential trees, so little time.

Song Cue ♫ ♪ “Sleigh Ride” as performed by The Carpenters || Performed by Asher Garcia & Dylan Orlando

Same routine as the last duet, only no auditorium jump this time around. While actual Dylan and Asher make their ways through the trees and attempt to identify the perfect one, Duet Dasher with their fancy threads and swoopy hair casually saunter their way down the aisles while performing the Carpenters classic. Naturally, cheek comes with the territory.

While Duet Dasher is skipping around in the snow, Dylan and Asher are narrowing down their search. Once they think they’ve found the right one, another road block develops -- this tiny tree is way heavier than it looks. Thus, the second half of the number involves them attempting different ways to move this tree between the two of them… with limited success.

Duet Dasher wrap their performance by playing leap frog, popping up behind the rows of trees, and grinning at the camera again; Dylan and Asher wrap up their try at getting the tree mobile by Dylan pulling Asher while he holds onto the tree, both of them losing their grip and collapsing off-screen into the snow.

EXT. CHRISTMAS TREE FARM - DAY - LATER

Song Cue ♫ ♪ “Star of Bethlehem” as scored by John Williams for Home Alone || Instrumental (first ~90 seconds)

Dylan sits forlornly by the tree while Asher paces, impatiently waiting for back up. It arrives in the form of Dave and Jade, who express that they got their call and are there to help with the big emergency. Asher explains the dilemma, gesturing to Dylan sitting by their choice selection.

Jade, unimpressed: This is the tree you picked? You guys are hopeless.

Asher is offended, but Jade promises them she’ll help them pick a better tree in no time. She was the original assistant to Isadora the first time they did this in freshman year. Dylan holds out his hands and Asher helps pull him back to his feet, the four of them setting off.

Once Jade has identified the superior fir, Dylan and Asher point out the weight problem. It’s too heavy for them to transport, especially with nothing but Dylan’s skateboard. Dave gives it a try, lifting the small evergreen like it’s nothing and hoisting it onto his shoulder.

Dylan, delighted: You are a miraculous freak of nature, Davis Williams.

If they’re showing up to this shindig anyway, Jade and Dave agree that they’ll play tree keeper and make sure it gets to Lucas’s on time. The group of them head out to pay together.

EXT. NEW YORK STREETS - DAY

Asher and Dylan are catching a quick lunch with Jade and Dave, the four of them sharing a pick-me-up on the street corner and discussing how the holiday heroics are going. Dave stands with the tree, balancing it against his hip.

Dave: I wonder how they make Christmas trees this small. [ a beat ] Oh, duh.

Dylan/Dave, in unison: Shrink ray.

While Dylan breaks off a piece of his food and hands it to Asher for him to try, the latter explains that they’re making good progress. They’ve got 5 hours left, and all they have to do is retrieve the decorations and they’ll be all set. So if they could grab them from Jade, that would be great.

Jade: What? I don’t have them.

Asher starts choking in surprise, all of them reacting accordingly. Jade and Dave back off a bit while Dylan pats Asher’s back, rubbing his shoulders when he’s able to breathe again.

Asher: What? What do you mean you don’t have them?

Jade: They’re still in the auditorium as far as I know. When we were cleaning up last year, Lucas told me that he was going to put them somewhere for safekeeping. So I handed them over and that was the last I saw of them.

Dylan pulls a napkin and lightly dabs at Asher’s face. He gives him a grateful nod, still trying to wrap his mind around this bombshell.

Asher: God, Jade, don’t you know not to trust Lucas with anything?

Jade: Um, no, I know not to trust Dave with anything.

Dave, flatly: … ow.

Jade holds up a hand, waving him off. This completely changes Dylan and Asher’s understanding of what they set out to do.

But they’ve still got to try. They finish their meal quickly and bid Dave and Jade farewell, assuring them that they’ll see them at Lucas’s at 8 sharp. Dave is confused that they still think they can pull this off, but they’re already boarding Dylan’s skateboard death trap again.

Dave: You guys are cracked.

Dylan: High praise, coming from you, my friend.

Dylan gives them a salute, Asher holding on tight as they push off down the street. Jade and Dave watch them go, shaking their heads and finishing their snack.

EXT. AAA - DAY

The sun is beginning to set as Dylan and Asher stop outside the school, rushing up the slippery steps. They try the front entrance first, which is obviously locked.

Dylan: [ with a shrug ] Worth a shot.

EXT. AAA - RIGHT SIDE - DAY

They continue to do a full perimeter sweep of the building, searching for any potential entry points. It seems like a lost cause until they get around to the side of the building where the custodial services backs out to, a window left cracked open on the second floor offering a slim chance. Asher points it out, the two of them standing close together and staring up at it.

Just as they’re brainstorming how to approach the situation, Asher’s phone rings. He picks it up, surprised to hear from Isadora on the other end. While he turns around to focus on the call, Dylan rolls his shoulders and marches towards the building. He climbs up onto the dumpster against the wall, starting an ambitious scaling to get to the window.

Isadora asks if Asher thinks he or the techies will be attending Riley’s party. He states that they aren’t, Dylan disappearing out of frame above him as Isadora seems to react negatively to that. Asher points out that this shouldn’t exactly be surprising considering none of them really know how to interact with Riley at this point -- like sure, he’d like to be there, but that’s not their tradition is it?

Isadora: What, that tradition that isn’t even happening this year? That the own creator of said tradition ditched because he’s just not in the mood?

Asher: Look, I’m not saying it’s a perfect --

Isadora: So you’re just gonna hold allegiance to this thing that isn’t even happening for… what? A guy who doesn’t even care?

Asher grows defensive, attempting to speak on behalf of Lucas and argue that he does care. The last thing he needs at the moment is a reality check, but Isadora is especially good at giving them. Feeling cornered, he makes a brusque effort to deflect focus.

Asher: Well it’s easy for you to say, isn’t it? You’ve got tons of new friends now, so what do you have to worry about?

Isadora goes quiet on the other end. Asher realizes how harsh he may have come across, closing his eyes and sighing. He tries to turn it around.

Asher: Look, I just meant… you’ve got a lot going for you, Isa. You should go. Have fun, enjoy the holiday with people who are actually happy to share it with you. [ a beat ] Sometimes, I wish I were doing the same.

Before either of them can continue, Asher is startled by Dylan falling from the ledge outside the second story window and landing in the open dumpster. Asher shrieks.

Isadora: Asher, what --

Asher: Gotta go!

He hangs up without further explanation, sprinting over to the dumpster. He shouts for Dylan, jumping halfway up the dumpster and hanging over the side.

Dylan pops his head up, obviously dazed. Asher grips his shoulders and face, checking for irreversible damage.

Asher: Oh my God, are you okay?

Dylan: … well. That’s gonna hurt tomorrow. Ha.

Asher helps pull him from the dumpster. He’s a bit unsteady on his feet, Asher having to rush forward and stabilize him when he almost falls over. Asher wonders if they should go to the ER, but Dylan waves him off.

Dylan: I’ve had… worse falls. Ha ha, remember when I tried to skateboard into the subway and broke my arm and three of my toes?

Asher: …  I try not to.

The situation is growing increasingly bleak. It’s getting dark, and there’s clearly no way they’re going to be able to get inside.

Dylan: Just give me a minute, then I’ll try again --

Asher: Try -- try again? No, no you are not trying that again!

Dylan: Well, if it’s the only way inside --

Asher: No. No, sorry, I didn’t ask for a dead boyfriend for Christmas!

It isn’t going to work. They’ve only got 3 hours left, and there are still so many pieces that aren’t working. Asher is starting to spiral, the hopelessness of the semester finally creeping up on him. Dylan suggests they give up on the decorations and just move forward with the party anyway, but Asher questions why they’re even bothering at all. They should just go home.

He marches back towards the main street in a huff. It takes Dylan a second, but he shakes off his daze and jogs after him.

EXT. AAA - NIGHT

The sun has set as Asher stumbles down the steps and back towards the sidewalk, Dylan calling for him to wait up. He does, wiping at his eyes as his boyfriend catches up to him. A light snow is beginning to fall again.

Dylan asks why Asher is suddenly giving up. They’ve still got time and solid chances, but Asher disagrees. They’ve hit a dead end, and this entire semester has been leading towards it. And what’s the point anyway? With how Lucas has been acting lately, he probably won’t even care about all the effort they put into this. He won’t care. He probably doesn’t even want them there.

Dylan: You know that’s not true.

Asher: Maybe everyone else was right. We’re being stupid. I’m being stupid. [ with a tearful huff, quietly ] Maybe sometimes things just fall apart.

He’s reached a breaking point, and rightfully so. Dylan clearly wants to help, or say something that will magically fix things, but he doesn’t have the words. He’s never been smart with words.

Song Cue ♫ ♪ “O Holy Night” as scored by John Williams for Home Alone || Instrumental

Suddenly, the street lights flick on as the sounds of a church organ float down the somewhat empty street. Dylan looks over his shoulder to search for the source, blinking the snow out of his eyes. He seems to find what he’s looking for, hit with an idea.

Gently, he reaches out and takes Asher’s hand. Asher lifts his gaze to meet his eyes, looking at him curiously. Dylan doesn’t say anything, but gives him a tentative smile before beginning to lead the way down the street.

Asher follows without question, letting him guide the way.

INT. CHURCH - NIGHT

Dylan and Asher arrive at the entrance of the church a block or so away from Adams, cautiously making their way inside. The music is coming from the youth church choir, rehearsing for Christmas Eve mass most likely. Yes, this is directly reminiscent of Home Alone.

Still hand in hand, the boys toss an uncertain look to the church worker standing by the main entrance. But she doesn’t give them any trouble, offering a welcoming nod and smile as they ease their way inside. This definitely isn’t Charlie’s church, in any case.

They make their way further inside and settle into one of the back pews, Dylan sitting down first and waiting for Asher to join him. For a moment they absorb the atmosphere, the calm beauty of the architecture and the soothing tones of the choir. It’s a well-needed second to breathe after the day they’ve had. Dylan rests their joined hands against Asher’s knee.

Considering how much work they’ve been doing alone, it’s a bit of a surprise to be addressed by someone new.

Man: Mind if I join you?

Asher and Dylan turn to the aisle, shocked to see their new visitor outside of school.

Asher/Dylan: Janitor Harley Keiner???

HARLEY KEINER jokes about how he does in fact exist outside of AAA, before posing the question again. Both of them nod, scooting down a bit to make room.

Song Cue ♫ ♪ “Star of Bethlehem - Voice” as scored by John Williams for Home Alone || Instrumental

As Harley settles in next to Asher, he wonders what he’s doing there. Harley claims he could ask them the same thing, before going on to point out one of the young girls singing in the youth choir. He explains that she’s his niece, and while he doesn’t come around for the actual service since he’s far from a practiced man of faith, he does like to come and listen to them rehearse. Sort of a little tradition he has.

Dylan: Oh, we know all about traditions.

Harley: That right?

Asher: Well, thought we did. Don’t think it’s going to shape up all that well this year.

Harley: Ah, yeah. Your secret little auditorium party, yeah?

Dylan/Asher, in shock: You know about that?!

Harley: Boys, my entire job is to know the status of that school day in and day out --

Dylan: I thought it was to clean.

Harley: Tip of the iceberg, Orlando.

That seems to blow Dylan’s mind. His expression conveys as much as he tries to process it, while Asher awkwardly apologizes for any trouble their tradition might have caused. But Harley waves him off. He says he’s not against a little holiday cheer, nor the harmless tomfoolery that might accompany it. He’s no stranger to tomfoolery.

Neither is their ringleader, he knows. And given that they’re locked out in the cold, Harley guesses that Lucas must not be helping the endeavor this year. They agree, in vague terms, but explain that it almost makes them feel like they need to make it happen even more so.

Harley: I’m not arguing with that. Truth be told, Lucas reminds me a lot of myself when I was your age. Good ideals, less than ideal circumstances, always looking for the quick thrill or easy way out. Need a good distraction, you know?

Asher and Dylan exchange a look. Sounds about right.

Harley: Only difference is, I was kicking it all on my own. Wasn’t great about keeping friends, and the ones I had weren’t true blue. So I ended up making all the wrong turns.

Asher: I’m sorry to hear that.

Harley: Oh, hey, don’t go feeling sorry for me. I’m old, I hardly need the sympathy, save it for your friends who need it. And to be honest, I’m lucky. I’m lucky to have ended up where I did, all things considered. But sometimes I do think about what I might be doing now, had things gone differently. [ a beat ] If Lucas has friends like the two of you in his corner, looking out for him, then he’s already far better off than I was.

[ Dylan smiles. Asher thinks on it, then shrugs. ]

Asher: Well, we love him.

Harley: I’ll tell ya, he knows. And it means more than either of you will ever fully know.

Could just be the random musings of their kooky school janitor, but he speaks like he knows what he’s talking about. And Dylan and Asher want to believe it. It’s a good reminder as to why they set out to do this crazy thing in the first place.

Harley sits up, asking if the boys will do him one favor before he heads out. He requests that they apologize to Lucas on his behalf, on account of the whole “pest” situation in the booth. He was just doing his job, but he didn’t realize there would be such immediate ramifications. He never meant for him to get the boot.

Harley: I’m sure it’s no fun to be put out of what you considered home, ‘specially if you were desperate enough to make that your home in the first place.

Asher and Dylan nod along, more than happy to pass on the message. Harley gives them a smile and a warm farewell, wishing both of them the best of luck and happy holidays.

Song Cue ♫ ♪ “Making the Plane” as scored by John Williams for Home Alone || Instrumental

By the time he’s out of the pew, Asher notices he left behind a few of his keys. He holds them up, calling after him.

Asher: Um, Harley, sir, you forgot your keys.

Harley: [ without looking back ] No, I didn’t.

Asher frowns in confusion, glancing down at the keys in his hands. It hits him at the exact same time it dawns on Dylan, the two of them locking eyes with their jaws dropped open.

Bingo.

EXT. NEW YORK STREETS - NIGHT

Dylan and Asher are tearing across the street again, holding hands for balance as they dart their way back towards AAA.

EXT. AAA - BACK ENTRANCE - NIGHT

Dylan slides up to the doors first, Asher tossing him the keys. He unlocks the door and lets out a muted cheer, holding the door open for Asher to run through. Then he leaps in after him, glancing over his shoulder and shutting them inside.

INT. AAA - HALLWAY - NIGHT

The halls are dim, the building shut down for the holidays. Only the emergency lights are still on, providing enough light for Dylan and Asher to see as they peer over the windows in the doors to the auditorium.

This, they don’t have the keys for, so they’ll have to improvise. Asher digs in his pocket and retrieves a paper clip, bending it backwards until it’s usable as a lock pick.

Asher: We’ve spent enough time with Lucas in the last three years, this’ll be a snap. All we have to do is --

Asher curses to himself, accidentally pinching his finger while attempting to pick the lock. He sucks at the blood bruise on his finger, Dylan delicately taking the paper clip from his hands.

Dylan: Maybe I should try?

Asher: Yeah, okay.

Like techie dad, like techie son. Dylan is successful in picking the lock, ushering Asher inside.

INT. AAA - AUDITORIUM - NIGHT

The ghost light illuminates the stage until Dylan flicks on the lights, Asher wandering to the center of the stage and spinning around. The decorations could be anywhere in the auditorium, and they’ve only got 90 minutes left.

Dylan points out that the decorations have to be in the booth. Where else would Lucas put them? Asher acknowledges the likelihood of this, but Harley didn’t give them the key for it. Before they go to the effort of picking another lock, he thinks they should phone a friend.

Asher dials, waiting impatiently for them to pick up. Dylan continues to wander around the stage, looking for other possible alternatives.

Asher: Jeff? Are you there?

INT. JEFF’S HOME - KITCHEN - NIGHT

Jeff is seated at the counter in his kitchen, his family just off-screen. They’re clearly in the process of making holiday snacks, Jeff just taking a bite of a frosted sugar cookie as he answers the phone.

Jeff: Ash Cash Money. What’s up? How goes saving Christmas?

Asher claims it’s fine, and Jeff goes on to state that he’s got hella good cookies for the party… if they manage to pull it off. Asher claims they will, as Dylan gesturing to a theoretical watch gets him back on track. He questions if Jeff knows whether Lucas hid the decorations in the booth, which Jeff confidently denies.

Jeff: There’s no way they’re in there. I didn’t see them all year, and that booth is not that big. I would’ve seen them if they were there.

[ Asher gives Dylan a shake of his head. Dylan sighs, running his hands through his hair exasperatedly. ]

Jeff: Besides, Lucas’s whole thing was that he wanted to put them somewhere where nosy performers or administrators wouldn’t find them. If they were looking, like you guys, the booth is the first place they would check. He made a point of not being obvious.

Dylan: Damn that beautiful Grinch.

Asher thanks Jeff, before Dylan cops the phone and asks if he would be willing to pick up Dave and Jade and help with the tree. The roads have cleared up, and they’ll be coming from the same area. He and Asher could do it, but they’re running out of time.

Dylan: Besides, there’s the whole thing of the pine needles, and you know how Asher gets about messes. We’d be picking needles out of my Jeep for like a year.

Jeff: Yeah, yeah, whatever. I’m on it. Good luck, gays.

Song Cue ♫ ♪ “Attack On the House” as scored by John Williams for Home Alone || Instrumental

Dylan salutes on instinct, hanging up and handing the phone back to Asher. The two of them are at a loss, not sure where to look next. There’s way too much ground to cover with the time they have remaining.

Dylan: Well, you know what we have to do, don’t you?

Asher: What?

Dylan, boldly: We’ve got to think like Lucas.

Asher: [ making a disturbed face ] … I don’t wanna.

Dylan declares that it’s the only way, rushing over to stand with him and taking his hands. He takes a deep breath, claiming that they’ll use the same practices as that exercise stretching thing Asher makes them do.

Asher: … you mean yoga?

Dylan: Yeah! Except instead of channeling the greater cosmic energy, we’re… channeling the energy of our demonic best friend.

Asher, wearily: We’re gonna get possessed.

Still, it may very well be the only way. Dylan instructs him to close his eyes, both of them letting out a deep breath. They release hands as they each begin to pace, eyes still closed. They’re channeling Lucas… thinking like Lucas…

Asher: I’m… thinking loyal. Unapologetic. Weirdly flirty.

Dylan: Sounds about right.

Asher: I’m… dressing badly. Need a haircut.

Dylan: Repressing my emotions --

Asher, sharply: No regard for other people’s feelings --

Dylan: … well, at least we’re being honest.

They continue the exercise, gearing their train of thought towards where Lucas would hide something. Dylan takes the reins.

Dylan: I’m… definitely still keeping it in the auditorium.

Asher: Definitely.

Dylan: I’m not sure I even actually know any other part of the school, even though I complain about it ninety percent of the day. I might have a crush on the auditorium.

Asher: Complaining is definitely on the right track.

Dylan: I’m thinking… costume loft. There’s so many other bags and things in there, no one would notice --

Asher: But no, I wouldn’t. Because that’s where people go to hook up, and --

Dylan/Asher, in unison: I’m scared of all forms of intimacy!

Dylan: Good catch, good catch.

Another failure, another chance to try again.

Asher: I’m thinking… maybe the prop loft?

Dylan: No, nope I wouldn’t do that. Because I know Asher would find it, and he’d get so distracted with trying to organize it that he might overdo it and we might have to end up getting a bunch of new decorations anyway.

Asher pauses, opening his eyes and giving Dylan a look. Dylan tilts his head at the quiet, peeking to look at him and catching the expression on his face.

Dylan, quickly: But his boyfriend Dylan Orlando would love it if he did that!

Asher sneers, shaking off the moment and redirecting his focus. He heads to the center of the stage, doing another 360 turn and shrugging. Dylan drifts over to join him.

Asher: Lucas wouldn’t go beyond the auditorium, but he wouldn’t do something like the dressing rooms where the performers dominate. And we’ve considered like every main techie locale.

Dylan: Then where else? All there is left as a possibility would be --

Realization dawns on them once again, Asher frowning. Slowly, the two of them lift their gaze to look above them, where the catwalk hangs so high above them.

Dylan: Damn that beautiful Grinch.

The two of them make their way over to the stairs to the catwalk, a small nook by the dressing room doors that is fenced off by chainlink. They don’t have the key to this gate either -- only Lucas, Isadora, and the faculty do -- but there’s enough room between the lower ceiling here and the top of the fence where someone might be able to squeeze through.

Dylan rolls up his sleeves, gearing up to start climbing the chainlink. Asher watches apprehensively as he goes, but just when it seems that all will work out… Dylan gets stuck. He overestimated the size of the gap, and he’s too tall and broad-shouldered to fit. There’s a reason Lucas never climbs over this thing… apart from just having the key, of course.

Another dead end. Dylan hops back down, commenting who would’ve thought he wouldn’t fit.

Dylan: Who would’ve thought my shoulders would be the death of me?

Asher: I could’ve told you that.

Mini thirst moment aside, Dylan claims he doesn’t know what they’re going to do. He’s not going to be able to make it through, and with Asher’s fear of heights there’s no way he’s going up on that catwalk. What a shame, to have gotten this far only to come out with nothing.

Only Asher doesn’t seem like he’s giving up. He approaches the chainlink, lightly touching the metal and glancing up at the climb. They’ve already wasted their entire day, and Harley’s words of wisdom are rattling around in his skull. This is something they need to do.

Asher: Oh, to hell with it. Boost me, I’m going up.

Dylan kneels down to help Asher start climbing, the latter having had his fair share of practice after being friends with Lucas for so long. He has more luck than Dylan, managing to just squeeze through the opening and end up on the other side. When he jumps down and sticks the landing he throws his hands up on instinct, Dylan mirroring the gesture enthusiastically.

Now all there is left to do is go up. Asher approaches the tiny spiral staircase, gulping as he looks up at it. Dylan comes up to the chainlink and watches forlornly from the other side, obviously wishing he could be there with him.

Dylan: You don’t have to do this.

But all Asher can think about is Lucas. So he does. He really does. Asher exhales a sigh.

Asher: Just don’t let me look down.

INT. AAA - CATWALK - NIGHT

Asher emerges nervously from the stairs, eyeing the catwalk stretching across the stage before him. It seems to go on forever. Already, he’s starting to feel a little woozy.

Dylan pulls him out of it, jogging out of the wings and onto the stage so that he’s underneath him. For every step Asher takes, he takes one with him. With him in spirit, even if he can’t be there to hold his hand in person.

Dylan: You got this. Just focus on walking. One step at a time. Walking and breathing.

Asher nods, keeping his eyes straight ahead of him as he carefully steps out from the platform and onto the suspended catwalk. He swallows, letting out another nervous breath as he takes another step.

Dylan aims to keep him distracted, finding other things to focus on.

Dylan: Let’s think about something else. Think about… production design for the spring production. Or, uh, what you’re going to eat first at the party. [ a beat ] Count backwards from 453 by 7.

Asher: Dyl…

Dylan: I’m serious, it’s harder than it sounds. But okay, sure, no math. Think about Dave’s catastrophic disaster area of a locker -- no wait, don’t do that! That’ll just make you more stressed.

Asher is hardly listening to what he’s actually saying, but it’s clear just hearing his voice is helpful. He’s down to crawling at this point and his eyes are basically screwed shut, but he’s still moving. That’s not nothing.

About halfway across, Asher opens his eyes and squints towards the opposite end where the catwalk bookends. From what he can make out, there seems to be a lump of some kind tucked away in the rafters that could very well be a bag of decorations…

Energized by potential success, Asher scrambles to the other end and drops down in front of the bag, pulling it towards him. To his relief, all of their decorations from last year are tucked inside.

Asher: I got it! Dylan, I found them!

Dylan: You did?

Asher: I did!

Dylan: Hell yeah, paramour!

Asher and Dylan negotiate how to get the thing down, certain there aren’t any breakables that might get destroyed if he drops it. He lowers the bag as far as he can without looking, letting it go. Dylan catches it easily, dropping it at his feet and assuring Asher that he got it. Now he just has to come down and they’re set!

And with 1 hour to spare. It’ll take them half of it to get the groceries and make it to Lucas’s, so not too shabby. Asher nods and climbs back to his feet, making a much quicker trek back across the other direction.

However, Asher’s lack of catwalk experience leaves him unaware of the rickety rung. There’s one specific rung connecting two pieces of the catwalk that’s not as stable as the others -- not a true threat as it’s still highly secured, but it can sure cause quite a disturbance if it’s jostled.

Which is exactly what happens. Asher accidentally knocks his boot against the rung, causing the whole catwalk to groan and tremble in response. It feels like the whole thing is going to come apart and Asher freaks, dropping down to his hands and knees and accidentally sending a spare wrench off the side off the catwalk towards the stage.

Asher: Dylan, look out -- !

Dylan: Ash!

Dylan ducks out of the way, narrowly avoiding being hit by the falling wrench. But he’s hardly concerned about that. He’s far more concerned about how Asher has totally stopped moving, frozen in fear and huddled in the middle of the catwalk. He’s making himself as small as possible, screwing his eyes shut.

Asher: Shit, shit, shit --

Dylan jogs back under the catwalk, trying to get a better angle on what’s going on up there.

Dylan: Ash! Asher, are you okay?

Asher isn’t exactly equipped to answer. He’s on the verge of a panic attack, hands trembling and breathing uneven. Dylan stares up at him, their original mission long forgotten.

Dylan: Ash…

Tentatively, Asher opens his eyes. He can make out Dylan staring up at him through the metal of the catwalk, but the distance from where he is to the ground is way more gripping. He winces and closes his eyes again, shaking his head.

Asher: … just go.

Dylan: What?

Asher: Go on without me. You’ve got the decorations. It’ll be fine.

Dylan: You’re out of your mind, I’m not leaving you here.

Asher claims he has to. For Lucas, and so they don’t owe Nate 15%. Because they’ve wasted all this time, and now his anxious ass is going to blow it. They’ve gotten this far, and he’s not going to be the reason they don’t make it. But Dylan isn’t hearing it.

Dylan: Look, screw Nate and screw the mission, alright? Asher, I’m not leaving you here alone. I’m not going anywhere.

Hard to argue with that. Asher exhales another harsh breath, trying to get control of his breathing. He’s had panic attacks before, he knows he’ll survive it. He just has to breathe.

Dylan tells him he’s going to be with him the whole time, and that they’re going to get him down. He doesn’t even have to open his eyes, he just has to be willing to move. Dylan will talk him through the rest.

Dylan: If anything happens, you know I’ll catch you.

Asher: [ exhaling a nervous laugh ] Then we’ll both be dead --

Dylan: No one is dying. No dead boyfriends for Christmas, remember?

It’s hard to find humor in such a bleak situation, yet somehow Dylan manages. Asher exhales another shaky laugh, still not opening his eyes but less petrified than before. Dylan smiles.

Dylan: I’m with you, Ash. I got you. But you have to move.

So… he does. A little bit. Then a little bit more. He’s completely trusting in Dylan to make sure he’s on the right track, eyes still closed as he gives him encouragement and guidance from below. It’s clear that the two of them are experts at communicating with one another, knowing exactly what to say or how to react to each other.

When there’s only a few more steps left, Asher has made it back to a crouch. He tentatively opens his eyes, and seeing the end so close, scrambles up and makes a mad dash for it. He lands on the platform to the stairs with an exhausted sigh, Dylan cheering for him from down below.

INT. AAA - AUDITORIUM - NIGHT

Asher manages to propel himself through his final escape from the catwalk, handling it on his own until he’s climbing back over the chainlink. He loses his grip with shaky hands and slips off the other side, but as promised, Dylan is there to catch his fall. He holds him around the middle and pulls him back a comfortable distance from the fence, giving both of them the chance to breathe.

Then Asher straightens up, turning around just in time for Dylan to take his face and pull him into an enthusiastic kiss. When they pull apart Dylan can’t stop grinning, still holding his face and looking at him proudly.

Dylan: Asher Garcia, you are the most badass person I know. And you just saved Christmas.

Well, not quite yet. They’ve got just about 30 minutes left, so they better book it.

Song Cue ♫ ♪ “We Wish You A Merry Christmas” as scored by John Williams for Home Alone || Instrumental (first 40 seconds)

Dylan sprints to the stage and grabs the bag of decorations. Then he takes Asher’s outstretched hand, the two of them hitting the lights and dashing out of the auditorium as the music once again swells to accent their frantic travel.

EXT. NEW YORK STREETS - NIGHT

One more sequence of the two of them racing through the snowy streets on Dylan’s skateboard graces the screen, Asher still holding on for dear life. Snow continues to fall in flurries around them, as the soothing tones of Hugh Martin float in…

INT. LUCAS’S APARTMENT - LIVING AREA - NIGHT

Song Cue ♫ ♪ “Have Yourself A Merry Little Christmas” as performed by Hugh Martin for Home Alone || Instrumental

Given that we’ve seen the arrival before, we know how that bit goes. Instead, we jump to the party in full swing, Jade and Jeff focused on decorating the tiny tree while Dave chats with GRACE FRIAR in the background.

Nate passes Asher seated in front of the couch, giving him a pat on the shoulder and sharing props for pulling everything off. Asher nods, accepting the praise.

Dylan appears next to him a moment later, plopping down with a sigh and a plate of holiday treats. He hands one of the cookies to Asher and throws an arm around his shoulder, pulling him close. Even though their appearance feels more worn and ragged than the first time we saw them arrive to this party, it’s evident how warm and happy they are.

Dylan lightly pokes Asher in the ribs, asking if he has any idea how proud of him he is. Asher kind of brushes him off, but Dylan isn’t letting him shirk the compliments.

Dylan: I mean it. I know we did a lot of wacky stuff today, a lot of which you weren’t exactly comfortable with. I mean, we broke into the school. And you went up in the catwalk, dude.

Asher: Trying to forget those details, yeah.

Dylan: Well, I’m never going to forget it. And you know, everything you’ve already given to help Lucas… just proves what a good friend you are. I’m proud I get to call you that… [ another nudge ] and more.

Asher grows shy at the sincerity, lightly nudging him back. But he decides he has something to say too, holding Dylan’s hand that’s draped over his shoulder.

Asher: Well, you know, the only reason we did any of it was because of you. [ off Dylan’s dismissive shrug ] I’m serious. All of it was your idea, and every time we hit a road block you were the one who found a solution. It was your loyalty that motivated you to suggest we give it a shot in the first place.

Dylan’s turn to be bashful -- something only Asher Garcia can really accomplish. He dips his head down, trying to hold back his smile. Asher waits for him to meet his eyes again.

Asher: You never lose faith. That’s one of my favorite things about you. [ a beat ] That’s why I love you.

After a moment, Dylan breaks into a soft beam. He leans forward and gives him a peck on the cheek, Asher grinning and turning it into a quick kiss on the lips.

They pull back as Lucas enters the frame, plopping down on the floor next to them in front of his mom on the couch. He offers them something from his own plate which they eagerly take, the three of them engaging in easy conversation. Sharing the holiday together, bringing brightness to their best friend’s life, who they worked so hard to pull this off for.

And from how cozy and loving the Friar apartment suddenly feels, clearly that effort is always worth it.

END OF SPECIAL.

Song Cue ♫ ♪ “We Wish You a Merry Christmas” as performed by John Denver & The Muppets || Performed by Asher Garcia, Dylan Orlando, Nate Martinez, Jade Beamon, Dave Williams, and Jeff Monroe

To close out the special and accompany the credits, our six supporting technicians close out with this silly classic. They’re all wearing cute holiday sweaters, Dave has some Rudolph antlers. Dylan is wearing garland like a scarf again, and plays the lead guitar. The jokes and interjections are more suited to their characters than Muppets version, although Dave takes the “Animal” bit and gets too excited and starts shouting about not going so Nate has to bring him back to Earth.

We wish you an ambitious merry Christmas, and a happy techie New Year!

#S2 #S2DS #techie crew #dylan x asher #:') the most wonderful time of year huh... #episodes