#young yindra rather

[andatsea]

River.

--

Twitter / Shop / INPRNT / Patreon

#original #yindra #young yindra rather

[ambitionsource]

AMBITION Season 2 ♫ “World Uncertain” [ 2.09 ]

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

SPRING CLEANING – The juniors are forced to confront the ramifications of their actions while navigating shaky ground. Valerie comes to New York to spend the break with Isadora, although she may be carrying deeper intentions. Winter melting into spring allows for the chance to begin again.

64 Minutes (17K words) || CONTENT WARNING: mentions of suicide. Take care of yourselves and read with discretion.

[ ← Got A Lotta Livin’ To Do ] [ S2 Synopsis ] [ Rarely Pure and Never Simple → ]

( Follow along with the music on Spotify here! )

EXT. NEW YORK STREETS - DAY

The bustle and commute of a brand new work day in Manhattan echoes lightly from all around as a MALE OFFICER emerges from his cruiser. He strides a few feet onto the sidewalk, joining another FEMALE OFFICER standing on the curb.

She’s looking towards the side of the building on the corner, the male officer matching her stance. They don’t look stressed but rather confused -- and in a glimmer here and there, perhaps a bit impressed. Either way, it’s evident they aren’t sure what to make of their latest call.

Upon the brick wall of the establishment across from them, Maya’s emotionally spurred graffiti finally sees the light of day. It’s beautiful and jarring, bright and colorful and eye-catching, yet obviously attempting to convey something heavy. Something larger than life, overwhelming, difficult to capture in words as it is on the canvas of a building.

The word ENOUGH. Embellished and bold and impossible to miss.

The officers stand in front of it, small against its looming presence. As the school bell rings...

INT. AAA - CORY’S CLASSROOM - DAY

Students are transitioning for their next period, CORY MATTHEWS shouting last minute reminders at them as they shuffle out. He specifically mentions the impending spring holiday and urges students not to forget about their reading assignments.

Once the chaos has died down before the next wave of students files in, ISADORA DE LA CRUZ approaches Cory’s desk. He questions what he can do for her.

Isadora: You said that you were hoping someone could… Farkle.

Cory: … yes?

Isadora: [ clearing her throat ] His homework. You said you were wondering if someone could drop his assignments by his place during break. Since he’s coming back next week. Don’t want him falling behind and all that. So I figured I might as well.

Cory: You? You want to --

It’s obvious Isadora is the last person Cory was expecting to volunteer for such a job. But Isadora merely raises an eyebrow at him, so he quickly covers his surprise.

Cory: I just didn’t think you would be the one to -- but, sure. That would be wonderful, thank you, Isadora.

He shifts into gathering the proper materials, offhandedly relaying how much of their new book she should instruct him to read by the time they return. Isadora isn’t listening much, caught up in her own head. Perhaps Cory was a bit right to question her… why is she so intent on volunteering to help Farkle…

INT. MINKUS HOME - DAY

Who, speaking of, is making his grand return home. After about a month away at a rehabilitation facility, the doormen and wait staff warmly welcome him back as JENNIFER MINKUS leads the way back up to their penthouse accommodations. Handfuls of “welcome back, young Mister Minkus” are thrown in their direction, accompanied by relieved expressions or uncertain smiles as they get a good look at him.

And the reason is clear enough why. As they step back into the familiar entryway and Jennifer immediately starts fussing about getting him settled back in, FARKLE MINKUS takes his time. He drops his bag on the floor, taking a deep breath. And as we pan up from the floor to his face, one change is more prominent than any other.

His hair has been buzzed off. No more obsessive coiff. No more fastidious appearance. No more flyaway mess from pulling on it and running his hands through it too often to repair.

All that’s left is what’s underneath. Clean slate. Fresh start.

Tis the season of rebirth, after all.

Cue title sequence.

INT. AAA - HALLWAY - DAY

LUCAS JAMES FRIAR opens his locker, explaining the consequences of his little joy ride last episode after he and Dylan went to court to be sentenced. Whereas Dylan got off on a warning and a minor blemish on his record since he is a minor and merely “an accessory,” Lucas was assigned 70 glorious hours of court-ordered community service to complete.

Still, he’s well aware it could’ve been far worse, especially since he’s already 18 and not as protected by juvenile limitations. It helped that the owner of the car didn’t press charges as nothing was damaged, but he also has the sense that Jack did a lot of negotiating on his behalf.

When she responds, it’s revealed that he is sharing these developments with RILEY MATTHEWS. She’s leaning against the row of lockers next to his, listening intently. She claims that he could easily knock out those service hours during spring break.

Riley: Seventy hours, ten days of break. That’s seven hours a day, which you can easily manage. [ a beat ] In fact, I’ll tag along with you.

Lucas: You do not need to waste your spring break on me.

Riley: It’s not waste, believe me. I could use the excuse to get out of the house, especially with my mom in and out helping move my brother’s things. It’s…

She doesn’t finish the sentence, shaking her head instead. Lucas doesn’t push her, getting the gist anyway. She directs her focus back to him.

Riley: And you know, it’s the least I could do. That night with the --

Lucas, pointedly: Don’t let that be your reason. You don’t owe me anything.

It’s evident Riley disagrees. They hold each other’s gaze. Riley decides not to argue it, but is still determined to join him regardless. She says as such, Lucas shrugging and focusing back on gathering his things.

Lucas: Well, I can’t stop you from blowing your break if that’s what you’re intent on doing.

Riley: Sure can’t. [ with a grin ] Besides, it’ll be fun. I like charity work.

Lucas, deadpan: Oh, I know.

Har har. It takes Riley a moment to get his implications, scowling when she realizes. He can’t help but smile, melting away Riley’s frown in spite of herself. Their smiles linger as Lucas shuts his locker, coinciding with…

INT. AAA - LIBRARY - DAY

CHARLIE GARDNER hitting the spacebar on one of the school computers, deeply concentrated as he scours through the webpages he has open. From an offhand glance, it seems to be a bunch of program websites, an application form or two sprinkled in. Although he’s working fast, he seems pretty intent.

And, well, a bit frantic. A glimmer of that frazzled nature is back in his eyes, making the web search seem far more important than a simple research project.

He jumps when someone calls his name, glancing up only for a moment before swiftly closing all the tabs. CLARISSA CRUZ and HALEY FISHER approach, Haley playfully nudging him and looking over his shoulder to see what he’s working on. He says he was just finishing up, not offering any further explanation.

INT. AAA - HALLWAY - DAY

As they’re exiting the library, Clarissa asks Charlie if he wants to come to Chubbie’s. They’re doing a sort of kick off for spring break.

Haley: Drowning ourselves in high caloric content, that’s what we’re doing.

Clarissa: As is our right after the hell this semester has been so far.

Darn right, ladies! Charlie starts to respond, but his interest shifts to hesitation as he questions who else is going. They mention Yindra and Nigel, definitely Yogi, maybe Darbs? Although there are some unsure parties, Zay is not mentioned either way.

This seems to be what Charlie was looking for. With no mention of his boyfriend he happily agrees, telling them he’ll meet them there. Once they flutter off, however, his smile falters somewhat. He’s clearly not sure how he feels about anything at this point.

He starts down the hall alone, heading towards a week of freedom from it all.

INT. AAA - BLACK BOX THEATER - DAY

ZAY BABINEAUX, meanwhile, is meeting one-on-one with HARPER BURGESS. She’s got a stack of pamphlets and flyers to pass onto him, all opportunities for enrichment programs or auditions he can go out for. She also places a folded paper on top, explaining that its a list of contacts she has in the industry that he could consider reaching out to for guidance.

Harper: You know how it is -- it’s all about who you know.

Zay: Yeah. These are really great, thank you. [ a beat ] Are you sure it’s okay for you to do this? This does seem a little bit like what some might call favoritism.

Harper: Don’t see how it could be favoritism when you’re the only person who has even bothered to ask.

Fair point. Harper reminds Zay that he is more than capable of stepping into the spotlight and making real strides. Going out for these opportunities, as he’s expressed as his intent, is just the first step. He just needs to maintain his laser focus.

Zay: Trust me, I expect I will have far less distraction than usual this break.

INT. AAA - HALLWAY - DAY

Which is exactly what he reiterates to Riley, stuffing the pamphlets into his backpack as they make their way out for the break. He states that if he and Charlie aren’t going to be spending as much time together, then he might as well fill all that time with things that are actually important. Riley questions whether he and Charlie have even like… really discussed what happened -- because she is vague on the details and isn’t quite sure what is up between them -- but Zay waves her off.

Riley: So everything is okay.

Zay: Well… not exactly.

Riley: So you’re breaking up.

Zay: No. Not exactly.

Riley: And when was the last time you talked about this? [ nervously ] When was the last time you talked at all?

Zay, cutting her off: Riley, relax. You’ve already got one complicated relationship dominating your life, don’t let Charlie and me become the same.

Valid, but also a convenient excuse to avoid the topic. Riley relents, instead switching gears and suggesting that if Zay will have so much more time open on his social calendar this week, perhaps he would be able to squeeze in a visit to their absent classmate?

He doesn’t seem to enthused by the prospect, but it’s clear that this is a warpath Riley has been marching on for quite some time now. He reluctantly says he’ll consider it.

INT. AAA - ERIC’S OFFICE - DAY

Isadora pokes her head in to chat with ERIC MATTHEWS, wishing him a restful break. He returns the sentiment, assuring her that he is heading out of the office shortly after them and will give himself a well-earned respite as well. She also questions how he’s doing this week emotionally, which seems to amuse him.

Eric: You realize this is the fourth time you’ve asked me that this week?

Isadora: [ unfazed, patiently waiting for a response ]

Eric, with a smile: … yes, I’m doing better. Thank you.

Placated for now, Isadora switches gears and asks if there’s anything Eric needs to give to Farkle this break. She’ll be dropping by to take him homework, so she can play messenger for him too if necessary. Eric remembers some flyers he meant to give for him in his preparation for returning to school. As he hands them over, he encourages Isadora to also take this holiday to take a breather. He thinks they all could use it.

Oh, and at the top of that list of people who really need to relax…

INT. AAA - PROP LOFT - DAY

ASHER GARCIA is meticulously arranging items on the shelves, doing his last touch-up organization of the loft before they leave for a week. He’s talking anxiously as he works, rambling about the state of things and how he’s supposed to get everything back in perfect shape. He’s speaking about the order of the prop loft, but that’s not really what he’s speaking about.

And that’s more than clear to DYLAN ORLANDO. He’s seated on the floor in front of the shelves, humoring Asher’s poorly veiled way of discussing how much of a mess everything is in socially removed terms and nodding along. He’s scribbling on a piece of notebook paper, delicately folding it and sliding it into the same cubby hole where Riley found his note in 206. Asher doesn’t notice a thing.

Dylan is smiling as he climbs back to his feet, tackling the discussion head on and explaining the situation from his perspective. He explains to Asher that Lucas was dead serious about their sentencing and took full responsibility for it. He even made a major point about taking all the blame off of Dylan, claiming that it was all him and his friend was only trying to make sure he didn’t get into anymore trouble.

That’s noble, yes, but Asher can’t believe Dylan is so calm about this. How can he not be at all upset? He got arrested.

Dylan: The cause of my impenetrable sense of peace is threefold. [ holding up three fingers ] One, I am a human being capable of making my own decisions. You said so yourself. I knew what I was doing when I agreed to go with Lucas, so it’s not like he’s some incorrigible demon corrupting me and my adorable veneer of innocence and naiveté.

Asher: You’ve been looking at the word of the day calendar, I see.

Dylan: Two. [ dropping a finger ] It really just doesn’t feel like that big a deal. I mean, yes, it’s a big deal that we got arrested and I would not like to repeat that ever again -- not to mention it would be a far bigger deal if I were any other race or gender, because of all the systemic imbalances in the justice system that make it way harder for small crimes to remain small and not totally derail your life when you’re not white and male, which now that I’m thinking about it is really kind of a huge problem that we’re not talking about enough and now I’m starting to get lightheaded -- is this what it feels like to be you all the time?

Asher: Dyl, lighthouse. And yes.

Dylan: Right. Larger sociocultural issues aside, I don’t think it’s worth getting hung up on. It happened, we dealt with it, and now we move on. Things are going to be different, yeah, but things change every day. I think it’s way more important to decide what happens next rather than get stuck on what already did. And, three --

Dylan is down to one finger, which he uses to tap at Asher’s cheek affectionately.

Dylan: All I know is that when all was said and done, Lucas stood up for me. I know he’s going through a lot right now and hasn’t been acting much like himself, but you and I both know that he always looks out for his friends. He never lets anyone else take the fall. That’s still true, and I still think that the person we’ve had as our best friend for three years, faults and all, is who he really is. I believe that, so I’m not going to drop him.

Asher absorbs this, obviously torn. He crosses his arms. Dylan continues, gently taking Asher’s shoulders and getting him to meet his eyes.

Dylan: However… if you decide that you don’t want to deal with it anymore, then that’s okay too. He messed up, and you have every right to decide that you’ve had enough and not forgive him. Or even if you do forgive him, you don’t have to let him back into your life. It’s all up to you, and it’s something that you have to come to on your own I think. Even though --

Asher, under his breath: I hate decisions.

Dylan, without missing a beat: You hate decisions. I know. But you’ll have plenty of time to think about it while you’re with your fam in Florida, and we know you’re an expert at thinking things to death. [ off Asher’s eye roll ] I’m just saying, whatever you choose to do will be the best one for you. I believe that, too. And I’ll support it no matter what… although, I’m pretty sure the best choice will be the right one. I’m not worried.

Asher: You never are. [ off Dylan’s beam ] So… what is the right choice?

As if he’ll give it up that easily. Dylan makes a face, shifting his gaze to the wall behind them as he pretends to be lost in thought. Then he locks eyes with him again, lightly tapping the side of his nose in a knowing gesture.

Dylan lightly taps Asher on the nose as well, grinning and spinning to depart without another word. Asher blinks, obviously still not thrilled with the things he has to contemplate but unable to hold back a smile in his boyfriend’s presence. He makes one last adjustment to the props before following him towards the stepladder.

INT. AAA - JACK’S OFFICE - DAY

Lucas arrives in the doorway, no longer sauntering around like he owns the place. Instead he lightly knocks, an awkward gesture considering how unnatural it is.

JACK HUNTER raises his gaze from his work, emotion flitting across his features at the sight of Lucas for a second before he resets to a pleasant, neutral state. Pleasant, but removed, so not really pleasant at all. Not at all like it’s supposed to be.

Jack: Something I can help you with, Mister Friar?

Lucas: [ thrown by the way he addressed him ] … um, yeah. I’m supposed to get the service paperwork from you.

Jack hums, nodding. He rises to his feet and digs through the papers on the cabinet behind his desk. Lucas remains uncertainly in the doorway, twisting his fingers subconsciously.

Jack finds the correct form, crossing the room to hand it to him. Lucas thanks him, Jack offering a polite nod as he heads back to his desk without further ado.

Lucas glances down at the paper, then at Jack settling into his desk again. It’s obvious he wants to say something, anything, but he doesn’t know what. It’s like he’s lost the right to say anything ever again. He retreats sheepishly, disappearing back into the main office.

Jack glances up from his desk, expression betraying his own disappointment. He shakes it off, focusing back on his work.

INT. MINKUS HOME - DAY

Farkle is settling back into the apartment, a bit stiff in it after nearly a month away. He’s set up a home base of sorts in the living room, blankets folded on the opposite end of the couch and a formidable stack of books on the coffee table. He’s dressed more comfortably than he previously allowed, light wash jeans and a hand-me-down Princeton sweatshirt a far cry from blazer glory.

Jennifer is bustling around in the kitchen behind him, relaying all of the details for their upcoming break and his adjustment back home. She mentions the specifics of when Farkle should be taking his medications for stabilizing his body in the aftermath of the attempt, and who will be home when to keep him company (and watch over him).

Jennifer: Lila is on her way back from school now, and Uri will be here after school when I go to work. I’ll be staying mornings. Of course, Darla and Curtis will be checking in periodically throughout the day to see if you need anything --

Farkle: Hence my transition to the public display case of the living room, yes.

Jennifer: You know they appreciate that rather than having to intrude your privacy to enter your room.

Farkle makes a face. It’s a lot of attention, yes, but he also knows exactly why it’s necessary. Regardless of the state he’s in now, he certainly did his part to earn the surveillance.

Jennifer: And Ezekiel is coming back next weekend. He’s going to try and fly home when he can.

Farkle, sheepish: He doesn’t have to do that.

Jennifer: He wants to. He wouldn’t have it any other way, and we’re lucky that we can afford it.

Farkle: He doesn’t -- I mean, no one needs to go to all this trouble. It’s good, I mean, I’m good. I’ll be fine.

Jennifer gives him a smile, gently perching on the arm rest next to him. She takes his chin in her hand, only slightly belittling.

Jennifer: It’s cute that you think I’m going to take your word for it.

Farkle scowls, shrugging out of her grasp. Mostly because he knows she’s right. Jennifer laughs, leaning over to give him a kiss on the top of the head. When she pulls back, the expression on her face grows more serious.

Jennifer: I love you. [ a beat ] I’m very glad you’re home.

A loaded declaration. Farkle’s indignation fades, returning the sincerity despite how out of practice he is.

Farkle, quietly: Me too.

Jennifer smiles lovingly, stroking his cheek once more before jumping to her feet again. She shakes off the heaviness, brightly suggesting the ways that Farkle can enjoy the break home before he returns to school even while being under more careful watch. He’s got that hefty stack of books there, and perhaps there are more people he wants to see? He’s more than welcome to invite some friends over, provided he lets her know.

Farkle doesn’t seem convinced by this prospect.

Farkle, under his breath: Would need some friends first.

Oof. After a month away, Farkle is feeling the sting of his isolation more than ever.

INT. BLUE’S APARTMENT - DAY

Isadora is also set up on the couch, Blue’s living room acting as her makeshift bedroom while she’s in transition between foster homes. She’s far more settled into her space than Farkle, comfortably flipping through homework when there’s a bold knock on the door.

She doesn’t seem surprised -- and maybe even a bit excited -- as she rises to answer the door. On the other side is VALERIE DE LA CRUZ, looking glamorous as always as she cheerfully greets her daughter.

As she steps inside, BLUE NGUYEN emerges from the hall to the bedroom. She graciously greets him with her high-wattage Hollywood smile, thanking him profusely for allowing her into his house and taking such good care of Isadora. It’s obvious he has no idea how to react to her boisterous presence, accepting the praise with as much poise as he can muster.

Then Valerie is back on Isadora again, already questioning what they should do or how they should spend the week. A delicious dinner to start, perhaps? There’s this upscale place she’s been dying to try on the upper west side -- oh and Blue can come too, of course. Or perhaps a movie, if there’s one Isadora has been dying to see?

Valerie: Of course, you’ll need to clear your calendar for Friday. Very important evening plans.

[ She retrieves three tickets from her purse, handing them over with a mischievous grin and flourish. Isadora takes them, jaw dropping when she reads them. ]

Isadora: Hamilton? You got Hamilton tickets?

Valerie: It was hardly a tizzy. Just called in a favor with Lin -- you know how he was practically begging me to be in In the Heights. Well, he was more than happy to work these out for us. [ brightly ] There’s a third one in there too. I figured you might want to invite one of your friends -- Maya, I would guess? I’m sure she would love to go, even if just for the chance to boast a little bit with your classmates next week. All in good fun, of course.

Isadora, still dazed by the tickets in her hands, claims Maya won’t be able to come. Valerie asks why not, concerned, but Isadora simply states that she’s out of town for the break. Visiting Katy. This only confuses Valerie further, considering how much has happened since her last visit.

Valerie: Well, where on Earth is Katy?

INT. HART FAMILY HOME - NIGHT

KATY HART, dressed plainly and in the midst of helping cook dinner, jogs to answer the urgent knocking at the door. She pushes her hair out of her face, yanking open the door.

Katy: Just a second! Goodness, who the hell --

There on the other side of the door is MAYA HART, weary from a long day of traveling and clutching a suitcase in her hands. She brightens when she sees her mom, effortless smile blooming across her face.

Maya: Sorry. Just couldn’t wait much longer.

From the expression on her face, it’s clear that Katy was not expecting her. But it’s impossible to keep the happy grin off her face, even if mixed with incredulousness. Before she can get a word in edgewise, Maya barrels her with a hug.

Katy’s mother and father emerge from the kitchen, asking who it is and what all the fuss is about. VIVIAN “VIV” HART (60s) is demurely beautiful even with her age, although clearly the authoritative one of the pair of them. HENRY HART (60s), on the other hand, radiates that same bold and upbeat energy that his daughter and granddaughter are so proud of.

Both of them are gleeful to see Maya, rushing over to join in on the welcomes and hugs. She’s whisked into the house without another thought, not sparing a second towards how she got there or what she’s doing there in the first place…

INT. MINKUS HOME - NIGHT

Song Cue ♫ ♪ “Alone” as performed by Young Frankenstein Original Broadway Cast || Performed by Farkle Minkus (feat. AAA Juniors)

The dramatic orchestral burst sets the mood in an instant, a spotlight illuminating Farkle standing atop one of the grandiose staircases in the Minkus abode. From the moment he speaks, it’s clear we’re in for a truly theatrical return to form.

Farkle: Oh, Maya, darling Maya, I miss you so much. Life has been absolute -- [ offhand, to DAVE WILLIAMS standing just out of frame ] dry martini, Davis, and I mean dry -- HELL without you. I’m so, so, so --

And thus Farkle launches into the ridiculous soliloquy, sashaying around in a luxurious dress shirt ensemble and dancing with his AAA classmates (sans the other super seven), who have all taken the roles of his wait staff and are dressed in identical uniforms. Some of them really make this look work, like YINDRA AMINO, while others like NIGEL CHEY and NATE MARTINEZ seem unimpressed as to what they’re doing there or why they’re being cast as his butlers.

When he dances with each of them, Asher and Dylan maintain their characterization by looking pretty disturbed in having to interact with him. Still, they all play their parts well, creating an enjoyable and suave support for Farkle’s melodramatic lament. Dave tries his best to give him the perfect martini, but never quite hits the mark.

All that aside, the most important aspect of the number is how good it feels to see Farkle perform again. Not just perform, but be absolutely, wholly over-the-top and ridiculous with an endearing amount of fanfare. This is the Farkle we haven’t seen in quite some time, and it’s nice to see him again as he tilts his head back to the high ceilings and belts out the final notes.

INT. MINKUS HOME - DAY

Even if only in a dream. Farkle is startled awake by peppy knocking at the door, having dozed off amidst his nest of blankets. On the TV, the film version of Young Frankenstein is playing. He struggles to his feet, attempting to shake off the fatigue and put himself back in presentable order. He reaches up to fix his hair on instinct before remembering he barely has any now, huffing and sliding towards the door.

Riley and Lucas are waiting on the other side, Riley offering a warm smile and cheerful greeting. Lucas does neither, keeping his arms crossed and settling for a glare instead. But hey, better than a derisive comment. That's an improvement!

Farkle steps back to allow them in, eyeing Lucas cautiously as they make their way inside. He questions what they’re doing there, which Riley scoffs at as if it’s a silly question. She explains that they wanted to come by and see how he was doing, moving further into the space and immediately going to adjust the blinds and let in more natural light.

Farkle tosses a look to Lucas. That so? Lucas doesn’t comment either way, turning away from him and getting a better look around.

Riley continues to quickly discuss all that’s happened in Farkle’s absence as he wanders over to join her. She mentions that someone will probably bring homework by at some point, and of course everyone is talking here and there about prom. They’ve started decorating for the senior send-off -- crazy how they’ll be seniors in just a couple months, isn’t it?

Riley: I’m glad that all of us will be able to jump into the final year together. [ a beat ] We all miss you.

Farkle, with a snort: Forgive me for not believing you. I’m suicidal, not delusional.

Well… remains to be seen. Riley brushes past the moment, asking how he’s doing and how his time at the hospital was. In a softer voice, she admits that there was a period where her mother considered sending her to some place similar for her depression when she was being bullied in ninth grade, so she’s always wondered. Behind her, Lucas continues to poke around the entryway and dining area with mild interest.

Farkle gives her the basic run down, expressing that while the treatment was fine and the workers were all quite nice, it’s hard to sell it as a desirable place to be when everyone present wants to die.

Farkle: You know, it’s hard to give it its due credit when most of the residents would rather be dead than be there. Literally, in case that point wasn’t clear. Not to mention the feeling of near constant surveillance, which I get, I put it upon myself, but it gets to the point where I was starting to wonder if I would ever be able to even think without the feeling that one of those well-intended nurses would hear my thoughts. It’s been nice to have the freedom of loneliness again, which isn’t something you’d ever think to say.

Riley: Well, that’s good. I guess?

Farkle: As good as it can be. But seriously, you think they’d save the overbearing surveillance for those who truly need it -- speaking of, hey Jackass --

Farkle has shifted his gaze to over Riley’s shoulder, glaring at Lucas. He jumps, spinning from where he’s examining the mantle by the dining table.

Farkle: Don’t you think it’s a bit morally decrepit to steal from the mentally ill?

Lucas scoffs, feigning innocence. He shrugs, crossing his arms in defense.

Lucas: Ha, I… I don’t know what you’re talking about.

Farkle stares, raising one unimpressed eyebrow. Riley glances over her shoulder to look at him as well, giving him a knowing but more sympathetic grimace / smile.

After a moment of their dual scrutiny, Lucas relents. He scoffs again, pulling a handful of genuine silverware as well as a couple of other trinkets from his pockets and dropping them onto the dining table.

Farkle rolls his eyes, shaking his head as he settles back onto the couch. Riley keeps her eyes on Lucas as he sheepishly comes over to join them, but her disapproval would be more convincing if it wasn’t colored with unintentional fondness. She apologizes on his behalf, expressing that he’s had some trouble with those sort of compulsions lately.

Farkle: Oh, yeah, so I’ve heard. [ to Lucas ] Heard you stole a car.

Lucas, flatly: Maybe.

Riley: Not stole. Borrowed for temporary reckless purposes.

Farkle and Lucas continue to have a back and forth, sharing the same blunt and offhand tone.

Farkle: No keys? Break-in and hotwire?

Lucas: What do you think?

Farkle: BMW? Lexus?

Lucas: Maserati.

Farkle: No kidding. But doesn’t that have that security feature they were hyping to all hell -- ?

Lucas: Doesn’t matter if you disable it first.

Farkle: You can do that?

Lucas: If you know how.

Farkle: … touché. [ looking him over, cracking a smirk ] Well done.

Not the expected response, and a little refreshing. Lucas kind of smiles, but Riley is not thrilled with the exchange.

Riley: Okay, no, do not encourage him. We are not doing this --

Riley takes Lucas by the arms, spinning him and nudging him back towards the door. She tells Farkle that she’ll be sure to call him later, and she tried to talk to their other classmates about swinging by so she’s sure he’ll have company this week. Farkle doesn’t look convinced, but the sentiment is nice enough.

As she disappears into the hall, Farkle calls after her.

Farkle: Riley?

She pokes her head back around the door frame, giving him a look and raising her eyebrows. After a moment, Farkle smiles lightly.

Farkle, softly: Thank you.

This melts whatever chill he put between them from his brazenness with Lucas right quick. She returns the smile, blowing him a light kiss and pulling the door closed behind her.

Farkle releases a sigh, settling back into the couch and the solitude.

INT. BLUE’S APARTMENT - DAY

Isadora and Valerie are hanging out in the living room, Valerie pacing with restless energy. They’re debating what to do that afternoon, Isadora already showing a sign or two of feeling overwhelmed. She’s happy to have her mother there, but constant interaction can be a lot.

Their conversation is interrupted by a playful knock on the door, Isadora frowning. Valerie asks if she’s expecting anyone else, and Isadora calls back the same question to Blue as she goes to open the door.

On the other side is a delightful surprise, Dylan distracted by taking in the scenery around the apartment until Isadora opens the door fully. He grins wide when they lock eyes, holding a stack of tupperware in his arms.

Isadora: Dylan. What are -- what are you doing here?

Dylan: I wanted to swing by. I hope that’s okay.

Isadora: Sure. Um… what’s with the stuff?

Dylan: Oh, yeah, well --

Dylan adjusts them in his arms, letting out a laugh. Blue joins them in the living area, curious.

Dylan: I know you’re in transition right now and stuff, and with everything going on I figured y’all probably weren’t cooking for yourselves. Ramen is sustenance, but it’ll only last you so long. And I had plenty of time cause of break, so I just threw together a meal or two.

Or ten. It’s a complicated transferral from Dylan’s arms to Isadora’s to make sure nothing gets dropped, Blue jogging over to help.

Dylan: I had Asher write the stickies with the reheat instructions -- his handwriting is way better than mine, so.

Valerie flutters up to the doorway to get a better look, having waited long enough in the shadows. She brightens when she recognizes him, knowing him as one of Isadora’s classmates and eager to engage with another one of her friends. Dylan may not be her biggest fan, but he’s far more adept at feigning friendliness and navigating social situations than say, Lucas.

Valerie: Yes, yes, you were amongst the techies. Am I right? A darling crop of little talents there, I remember.

Dylan: Sure was. It’s great to see you again.

Valerie: I remember, you had on that bright yellow crewneck. Impossible not to make an impression wearing that! And you were always with -- where’s your other friend? The well-dressed, dainty one --

Isadora, apprehensive: Mom --

Dylan, lighting up once he understands: Oh, Asher! My boyfriend. [ off Valerie’s delighted expression ] Yes, I do quite love his little bird bones. He’s on vacation with his family for the break.

Isadora attempts to end the conversation before it can take any negative turns, thanking Dylan for the food and thinking of her.

Valerie: Oh, you have to go so soon?

Isadora: I’m sure he has better things to do.

Dylan, softer: Actually, um, I was kind of hoping we could catch up. [ meeting Isadora’s eyes ] We haven’t had much of a chance to talk, lately.

There’s a pause between them. Isadora seems like that’s something she might like to do too, but with Valerie hanging around them they won’t get to really say much of importance.

Blue steps in, asking Valerie if she might be able to help him get all this food organized and in the fridge. A swoop in rescue if there ever was one.

Blue, pointedly: Might take some time. My fridge could use some reorganizing.

Valerie: Oh, it would be my privilege, Blue. Don’t you worry, I have just the solution. My good friend Marie Kondo is really into this sort of thing, and she gave me an exclusive method I could use --

Valerie trails off as they disappear towards the kitchen, giving Dylan and Isadora space. Isadora watches her go, then turns back to Dylan who offers her a smile. She manages to return it.

INT. MINKUS HOME - DAY

Farkle is in the midst of reading, interrupted by another knock at the door. He shouts for Uri, assuming it’s for him. When no one goes to answer and they knock again, Farkle lets out an annoyed growl and climbs to his feet, dropping his book on the couch.

Farkle: If you’re gonna have people over, the least you could do is not have your ailing brother open the damn --

He cuts himself off when he sees a familiar face on the other side. Clearly not there for Uri.

Farkle: … Zay? What are you doing here?

Zay Babineaux, indeed. He seems a bit uncomfortable as he stands in the fancy hallway, but he made it there regardless.

Zay: Riley is damn hard to disappoint. [ a beat ] You going to let me in?

Farkle steps back, allowing his rival diva into the apartment. Zay is struck by the opulence, jaw dropping open slightly as he takes a look around. He knew Farkle was loaded, but it’s a lot different to see it up close and personal.

Zay bothers to ask how Farkle is doing -- he claims as to be expected, but somewhat better. Dare he admit it, he honestly misses the high energy and constant action of AAA. There’s plenty he doesn’t miss, but the life that seems to pulsate through it every day is a big one.

Farkle: But I’m sure you know that better than I do. I’m sure you’ll probably want to be going soon. People to see, actually healthy relationships to foster.

Zay: To be honest, I don’t think I’m doing much better in that department either.

Farkle blinks, surprised. Zay isn’t looking at him, keeping his gaze trained out the huge wall of windows towards the city. There’s a solemnity to his expression that Farkle hasn’t ever really seen before. Whatever it is that’s weighing him down, it must be important.

The solution, it seems, is to go back to what the two of them do best. Farkle says so. Despite whatever is in flux otherwise, there is one thing that the two of them can control without fail -- their ability to put on a good performance.

Song Cue ♫ ♪ “no tears left to cry” as performed by Ariana Grande || Performed by Farkle Minkus & Zay Babineaux

Farkle kicks off the diva number, but it’s not long before Zay joins in. It’s difficult for him to turn down Ariana, after all. It’s the first true Farkle & Zay duet, and their voices clash just enough to create an intriguing, compelling dynamic rather than irritating. Not to mention they both bring the energy, dancing around the spacious penthouse.

Given the space, it’s also the perfect opportunity to pay tribute to the original cinematography. Zay is allowed to temporarily slip into the melodramatic mindspace of Farkle Minkus, the two of them walking on the walls and balancing amongst a penthouse folding in on itself.

The sentiment of the tribute rings strong for both of them. The time for wallowing is over, and they’re both ready to jump back into the ring with stronger motivation than ever before, albeit for quite different reasons.

As the number concludes, Zay collapses into the armchair adjacent to the couch. He catches his breath and commends Farkle for a job well done, as it seems even near death can’t knock him out of performing shape. Farkle admits he has to work extra hard to keep up with him.

The conversation drifts to Zay’s plans for the rest of break, after Farkle flatly states that his spring break basically belongs to the confines of his living room. He explains all of the auditions he’s lined up for future opportunities, vaguely alluding to his change of priority. Farkle doesn’t question it, instead lighting up as he remembers something.

He jumps to his feet, returning from the kitchen a moment later with another pamphlet. He hands it to Zay, stating that he should add that program to his roster for the week. It’s some audition that only folks on a paying list can really get updates about, but he should go for it since Farkle certainly won’t be going up for anything any time soon.

Zay seems hesitant to accept charity from him, but also grateful. He takes it and looks through it, asking if Farkle thinks he should actually do it. Any of it. If it’s even going to be worth it.

Farkle: I don’t know, man. Who knows what’s worth it and what isn’t in this business. It’s all a shot in the dark.

Zay: Yeah, but you’ve always had more luck. You’ve been the golden child since we walked through the doors of Adams freshman year.

Farkle: Yep, totally. I was the million dollar baby -- and yet, I still wanted to kill myself. [ off Zay’s grimace ] I’m just saying, we all have to do everything we can, because talent sure as hell isn’t everything. If you think you need to stretch your network, then by all means, do it. Knowing you, it won’t take long for you to see results.

Zay contemplates this, such a supportive and well-meant notion coming from his formerly feral classmate. He nods a thanks.

Riley, pre-lap: So happy to help. You’re very welcome.

INT. SOUP KITCHEN - DAY

Riley smiles as a customer walks away with their food, working behind the counter at a soup kitchen. She’s got the apron and plastic gloves and all, hair pulled back out of her face in a tight bun. She reaches up to ding the small bell on the countertop in front of them, signaling they’re ready for a new patron.

Lucas is there next to her, also aproned and gloved. He looks less enthused, though he completes the work diligently. He states that if he has to do so much labor with no gain or end goal for himself, then he supposes the fact that it’s helping the less fortunate is something.

Lucas: I don’t even like working for myself. You can imagine my disdain.

Riley: [ rolling her eyes ] You know that whole act doesn’t work on me. The lazy, devil-may-care thing. I know it’s not true, I see right through it.

Lucas: I don’t know what you’re talking about. I’m not see through.

Riley: You’re a window. An open window.

Lucas: Okay, sure.

Riley: Not even a screen in there. Just wide open, letting in the breeze and the sunshine.

Lucas: See, that’s a very sanguine perception of me. I don’t think you could get popular consensus on that.

Riley gives him a look, the two of them holding one another’s glares again before inevitably breaking into smiles. They get distracted from the moment anyway, duty calling and hungry people waiting to be served. Riley picks the conversation back up again, pointing out that Lucas does in fact gain something from all this work -- the privilege of not going to prison. He claims that would be a gross overreaction anyway.

Riley: Well, you did steal a car.

Lucas: Borrowed. For temporary reckless purposes. [ defensively ] And I was going to give it back.

Riley makes an incredulous face, but once again amusement is hindering its impact. And that makes a difference? Lucas brings it all back to the point, reiterating that while it feels nice to contribute something meaningful, it’s going to be hell getting through an entire week of something so monotonous.

Well, all you need to fix that is a little bit of initiative. Riley says as much, glancing around the shop where people are chowing down and calling to one of the elderly men seated over by the corner table. She requests that he bump the dated jukebox installed to get it going, breathe some life into this place.

Lucas, deadpan: Oh, yes. Music is the solution. How could I have forgotten?

Song Cue ♫ ♪ “Lady Madonna” as performed by The Beatles || Performed by Riley Matthews (feat. Lucas James Friar)

The popular Beatles tune floats in through the jukebox, the patrons immediately appreciating its upbeat bounce. Riley shakes her shoulders to the beat, grooving in place until the vocals start so she can sing along.

Lucas: And now you’re singing. Okay. Sure.

Despite his commentary, it’s impossible for Lucas not to be endeared by her when she’s being so darn charming. She continues to sing and dance around him regardless of his sarcasm, taking it out into the shop and pulling customers into the fun. They clearly appreciate it, singing along with Riles when she hops up to sit on one of the tables.

She makes her way back over to Lucas at the conclusion of the first verse, taking his hand and pulling him out from behind the counter. As they make their way out of frame…

EXT. NEW YORK STREETS - DAY

We jump into a quick cut montage of Riley and Lucas making their way through the week doing all sorts of different community service projects. They shelve books at the library, they pick up trash alongside the road. They help fix up housing accommodations that are in disrepair, flicking paint at each other; they’re surrounded by puppies at the animal shelter, where Lucas seems to actually be enjoying what they’re doing.

At the end of the middle transition, the first “see how they run,” Lucas and Riley sing it together while taking a moment of reprieve from running all around town doing good. Lucas seems exhausted, yet Riley’s grin brightens the mood as she spins him around and nudges him back off-screen into the next thing.

INT. SOUP KITCHEN - DAY

Back in the soup kitchen, Riley has pulled Lucas out onto the floor amidst the tables. She pulls him into a simple dance move, a shot focusing on both of their shoes doing the moves across the linoleum floor. Scuffed up black boots and cute doodled-on Keds, moving somewhat in sync and in the same direction.

INT. PUBLIC LIBRARY - DAY

Riley rides on the book cart as Lucas continues to push it through the aisles, picking up the verse again and handing books to Lucas to shelve as they go. The song takes us back through each of their projects one more time, in time with the beat…

INT. SOUP KITCHEN - DAY

Until we end up back behind the counter at the soup kitchen, back to the same old but in admittedly much better spirits than before.

Riley spins around Lucas and ends up back in her spot, exchanging a flirtatious beam with him before reaching up and hitting the bell to signal the end of the number. Ding!

EXT. BLUE’S APARTMENT - DAY

Isadora and Dylan are out on the tiny balcony that can hardly be called a balcony, cramped against the sliding door and sharing the tupperware bin of cookies. Isadora hasn’t indulged in her treat yet, too preoccupied with Dylan’s story as he catches her up on everything that happened, building up to the joy ride. When he finishes, she can only formulate one statement.

Isadora: Holy fucking shit.

Yeah, that about sums it up. Dylan nods in agreement, breaking a piece of his cookie and popping it into his mouth. She attempts to process it all, expressing the same thought that she can’t believe Dylan is being so cool about all of it. He shrugs, Isadora shaking her head and lamenting how shitty Lucas has been, that of course it would culminate in something like this.

Dylan gives the same shorthand defense that he gave to Asher, before pointing out that Isadora is probably speaking way more from her own anger towards Lucas that she’s chosen not to confront nor address for months. It’s a take that floors her to speechlessness, Dylan noticing her shock before shrugging again.

Dylan: Sorry. I’ve been to the clink, I’m a different man now.

At that, Isadora rolls her eyes. But she has to admit that he’s right -- she and Lucas haven’t spoken in months. And even when they were talking, they weren’t really talking. The last time she feels like they really understood another, were really listening, was almost a year ago. And she wouldn’t even know how to communicate with him now.

Dylan states she doesn’t have to if she doesn’t want to, but to him it seems like she does. It’s impossible for either of them to move past the way they are right now because there’s no closure. If she gives it one more chance and actually talks about things, then at least she’ll get that.

Dylan: Even if it’s not good, even if it’s the last conversation you ever have, at least it’s something. You’ll be able to clear the air. A certain goodbye is better than endless uncertainty.

Although she seems reluctant, Isadora claims she’ll think about it. She asks how Asher is handling things and if Dylan has made his choices about the whole situation, to which Dylan affirms both. He knows that Asher will make the right choices, and as for himself, he’s never wavered on where he stands. He’s always been an advocate for forgiveness, so long as the action isn’t totally reprehensible. Especially when you love the person who is seeking it.

Isadora absorbs the sentiment, taking a good look at him. Although she doesn’t say it, the softness that shimmers in her features conveys how much she missed Dylan.

Isadora: Since when did you become all wise?

Dylan, earnest: The hour and 13 minutes that I was behind bars really changed me.

She can’t help but laugh, Dylan cracking his delivery to grin. Isadora takes a bite of the cookie, humming in appreciation and nodding.

Isadora, mouth full: This is fucking delicious.

Dylan: Why thank you. And you’re welcome.

EXT. HART FAMILY HOME - HILLSIDE - DAY

A fresh new day. The sun is rising over the hillside, a pleasant breeze blowing the long grass.

Maya stands amidst the fresh air, taking it all in. She’s almost unrecognizable, no longer in her diva best. Fresh-faced with no make-up, money-making hair pulled haphazardly out of her face in a ponytail. Dressed plainly like the rest of the Hart family.

She closes her eyes, inhaling a deep breath. Absorbing the sunshine, the oxygen, the chance to really breathe. You can take the girl out of the theatrical, but you can’t take the theatrical out of the girl.

Then she turns and heads back up the hill towards the house.

INT. HART FAMILY HOME - DAY

Maya steps back inside the house and immediately joins her grandparents at the kitchen table for brunch. Katy and Vivian are just finishing set up the food, all of them settling in to eat. The way Maya interacts with her family is quite different from the way she is at school, but there’s something refreshing about it. In some ways, it might be nice to see her bring some of this energy back to AAA with her.

Still, her grandparents are invested in her dreams and ambitions. They ask Maya how the fancy arts school is going, and she enthusiastically responds with all of the things she’s gotten to accomplish in the last couple years.

Katy attempts to dig for truth again, subtly shifting the conversation to give Maya an opening to speak truthfully. She loves AAA, of course, but Katy is well aware of how complicated everything is within its walls.

It’s obvious she wants to ask about Farkle, but Maya manages to evade the discussion effortlessly. She digs into her breakfast, changing the subject by asking what Vivian and Henry might want to do that afternoon. Katy accepts the shift, but it’s clear she’s not pleased with it.

INT. MINKUS HOME - DAY

It’s Charlie’s turn to make an appearance at the Minkus home. Farkle pulls open the door that morning to find him standing there, a tupperware haul in his arms that could rival Dylan’s. Farkle is stunned to see him, obviously not expecting it.

Charlie greets him, and once Farkle awkwardly invites him in he launches into a swift explanation of each of the dishes his family put together for them. He wraps up by explaining the two large tupperwares on the bottom, where a couple of casseroles have been stored. He mentions one of them containing pork.

Farkle, flatly: We’re kosher.

Charlie, breathless: … oh. Oh. Well, um --

Farkle: It’s fine. Uri is a heathen, he’ll eat anything.

Farkle takes the tupperware from him, inviting Charlie further in as he goes to drop the stuff in the kitchen. He seems less energized today than earlier in the week, operating with a brusque, restless nature instead.

His offhand bluntness doesn’t help Charlie’s nerves. It’s clear he’s glad to be there out of good will, but he moves about the spacious apartment with obvious uncertainty. So Farkle’s sarcasm only adds another unsettling factor.

Farkle: By all means, make yourself comfortable. We can only hope we don’t get smote by a vengeful God --

Charlie: Huh?

Farkle pauses. There’s a subtext to his statement that his knowledge allows him -- Charlie being gay, Farkle having attempted suicide -- but he opts for the more blatant explanation.

Farkle: You know, the subtle differences in our chosen beliefs. Let’s hope your Catholic deity doesn’t kill you for hanging out with a Jew.

Charlie is so scatter-brained he doesn’t even have the energy to care about that take on his religion. He awkwardly brushes it off, settling onto the couch and asking Farkle how he’s doing. They were all worried about him. Farkle obviously doesn’t believe him either, pacing along the carpet as he gives Charlie a similar spiel.

When he turns the tables back on Charlie and asks how things are, he carries the same uncertainty that Zay did a couple of days ago. Farkle picks up on this, smart enough to piece together that something must be going on between the two of them. Sure makes both of their free time to come see him more logical.

It feels like Charlie could use an escape, and honestly in that moment Farkle is feeling the same. He says as much, jumping back into his former frenzied energy and claiming that Charlie should just forget it for now. He claims they should direct their focus into something better, a little practice maybe -- Charlie seems skeptical, wondering if Farkle should maybe like… be resting, but he’s already off and running.

Song Cue ♫ ♪ “I’m Still Standing” as performed by Glee Cast || Performed by Farkle Minkus & Charlie Gardner

The rendition is bouncy, fun, and definitely checks off the boxes Farkle was trying to achieve. He and Charlie both pour all of their nervous energy into it, making for a good performance. It’s especially interesting to see the two of them perform together, as it’s essentially a first in AMBITION history.

For as neat as the number is, it comes to a rather abrupt conclusion. Ironically, Farkle grows weary fast and nearly collapses. Charlie immediately drops down next to him and helps pull him back to his feet, moving them back towards the couch while Farkle catches his breath.

Despite how fine he’s attempting to appear, everything Farkle has endured isn’t just going to go away. His choices have consequences, and Charlie is witnessing the exhaustion that comes with it. He braces his shoulder and questions whether he’s okay, or if there’s something he can get him. Rather than answering, Farkle throws a curveball.

Farkle: I’m sorry, Charlie.

Charlie, confused: What? For what?

Farkle, out of breath: You’re a good guy. A little bland, yeah, but you’re good. You really care about people -- even people like me, despite all the shits I gave about that -- and I used to think that was dumb. I figured it made me better than you, but it doesn’t. I’m not. And you’re just as good as the rest of us -- you always have been.

Charlie: … I mean, I didn’t --

Farkle: I just want you to… you’re talented, Charlie. Okay? You’re just as good as anyone else, definitely as much as me. [ locking eyes with him ] I’m really sorry if I ever made you feel like you weren’t.

It seems out of left field, yes. But the origin of it is clear, all of these things that Farkle has been ruminating on but didn’t have the chance to say -- might have never had, if his attempt had succeeded. Now he’s making up for it. Now he’s saying it.

Charlie absorbs the sentiment. Somehow, it’s just what he needed, and means more to him than he could’ve anticipated. He manages a smile, nodding and patting Farkle’s shoulder.

INT. HART FAMILY HOME - LIVING ROOM - DAY

Katy finally gets a moment alone with Maya, settling down on the couch with her as she flips through an actual hard copy newspaper. She makes a joke about how those things have real actual stories in them -- who knew? Katy humors it before using it to transition to what she wants to talk about: why Maya came all the way out here to avoid spring break in New York.

Maya, timidly: Isn’t wanting to see you enough?

Katy: Of course, and you know I’m happy you’re here. But I wasn’t born yesterday.

Maya hesitates, perhaps about to really open up… when Henry and Vivian enter to join them. Maya sees their entrance as an opportunity for avoidance, picking the most effective conversation starter she knows -- Katy’s unappreciated talent.

After bringing up how Katy hasn’t performed in a hot minute, it doesn’t take long for the grandparents to jump on the bandwagon despite Katy waving them off. Henry, the artistic of the two, settles in at the piano and claims they can throw something together. Provided it’s something they all know.

Maya: Culturally timeless… you know a thing or two about Hamilton, pops?

Henry: Sweet pea, everyone knows a thing or two about Hamilton.

Maybe so. Maya grins, wiggling her eyebrows at Katy as her mother takes a spot by the piano with Henry. She gives Maya a look, but softens as the soft piano kicks up.

Song Cue ♫ ♪ “Dear Theodosia” as performed by Hamilton Original Broadway Cast || Performed by Katy Hart & Maya Hart (feat. Henry Hart)

Henry’s delicate piano lends a definitive charm to this understated duet, Katy taking the Burr verse. She sings uncertainly at first, but as she looks at Maya and emotes the chorus (“We’ll bleed and fight for you, we’ll make it right for you...”), her lovely voice gains more confidence.

Maya jumps in on the Hamilton verse, her performance a bit more cheeky considering she roped her mother into it. But when they get to the bridge (“My father wasn’t around, I promise I’ll be around for you…”), that devotion and love they have for one another is crystal clear all over again. Maya takes Katy’s hand resting on the piano, linking their fingers.

Henry smiles as he plays along, pride twinkling in his eyes. Vivian watches from the couch, not a creative herself but happy to see her family all together again.

Even in the midst of chaos, there can be moments of beauty.

EXT. NEW YORK STREETS - NIGHT

Valerie and Isadora are out on the town, having just seen a movie together. Despite it being one of Isadora’s interests, Valerie is keeping up a bulk of the discussion. It’s almost incessant, the way she’s all over the place to keep up conversation. She doesn’t notice, but Isadora is definitely starting to feel a bit of drain.

However, some of this exhaustion melts away when they bump into Eric emerging from a store. He greets them both cheerfully, Isadora engaging in conversation with him seemingly much more seamlessly than with Valerie. Eric assures Isadora that he’s quite enjoying his break, and he promises to continue not doing any work while he’s on vacation.

Valerie definitely clocks their playful back and forth, watching them with fascination and a bit of something like envy or disappointment.

INT. MINKUS HOME - KITCHEN - NIGHT

LILA MINKUS is present, helping Farkle with his recovery medications and ensuring he takes them properly. Their back and forth is dry and sarcastic as usual, but Lila is operating with slightly more tact than usual. The banter is more sibling-like rather than colored with genuine disdain.

Once he’s finished and subject switches to dinner plans, Lila pauses. Following the same pattern as Farkle earlier, she finds herself blurting out an emotional truth before she can think it through the way she’s used to.

Lila: You know I -- you know I care about you, right?

Farkle: … sure. Yeah.

Lila: I don’t just mean like -- I know we haven’t always been… I care about you. I can’t even imagine… [ voice cracking ] You can’t ever pull shit like this again. Okay, germ? You aren’t leaving us like that.

Farkle seems surprised by the genuine vulnerability. It’s uncommon in their household, but despite the stammering and tripping over words, he understands what she means. He nods.

Farkle: Got it.

Lila nods, managing a tight smile before escaping from the vulnerability. Farkle watches her go, the ghost of a smile appearing on his face as he puts his water glass in the sink.

EXT. HART FAMILY HOME - FRONT PORCH - NIGHT

Maya has retreated to the fresh air again, sitting on the hammock chair on the porch. Katy steps out to join her, quietly settling down next to her. She questions whether or not Maya has had enough dancing around the issues and is ready to talk about them. They exchange a look, Katy quirking an eyebrow knowingly.

It’s hard to hide from Katy. Maya sighs dramatically, Katy breaking into a smile and wrapping an arm around her shoulders.

Maya, melodramatically: It sure is nice out here in the middle of nowhere. Fresh air, quiet, a strange sort of whimsy that comes from having absolutely nothing to offer. [ sighing ] Perhaps it would be better to retire out here to live out the rest of my days, shelving the glitz and glamour of show business for the humble accommodations of the Vermont hillside.

Katy: You’re a good actress, but you aren’t that good, baby girl.

Point taken. It’s not a convincing option, coming from Maya. Katy redirects the conversation to what Maya might be running from instead, because she knows it has nothing to do with the dream.

Finally, Maya does her best to talk it out. She admits that Farkle will be returning to school next week, and she just needed the chance to get away from it all and really think. She’s not really upset with him anymore -- in some ways she is, but mostly she’s just tired. She wants the theatrics between them to stop, but she doesn’t think she wants to remove him from her life for that to happen. She liked having him as a friend; she misses him, and she doesn’t think she can continue to front that she doesn’t anymore. It’s too exhausting, living as a projection rather than authentically herself.

That being said, she doesn’t want things to follow the same pattern and self-destruct all over again. Something has to give, something has to change if they’re going to be friends again. She isn’t sure what, but she figures it won’t even matter if Farkle himself isn’t open to discussing it or willing to change.

As Katy wisely says, it seems like the next logical thing to do is to bring Farkle back into the conversation. Maybe he isn’t willing to change... or maybe he’s been thinking the exact same things. There’s only one way to find out, even if it’s daunting.

Maya sighs, accepting this as truth. She cuddles closer to her mom, reveling in how nice it feels to have her there with her again.

Maya: I love you, mom.

Katy: I love you, too. Every hour of every day.

She places a kiss on the top of her head, settling into the quiet of the Vermont evening.

EXT. BLUE’S APARTMENT - NIGHT

As they arrive to drop Isadora off, Valerie is already overcompensating for the earlier strain in trying to decide what they’ll do tomorrow. And has Isadora figured out who will be accompanying them on Friday? She doesn’t want to rush her, or anything, but it is coming around the bend.

Socially, Isadora has reached her limit. She sort of snaps at Valerie, stating no, she hasn’t figured it out yet. Things go quiet between them, Isadora sighing and facing towards the door. She opts not to just run from the negativity and tries to be honest with Valerie, expressing that she just needs some space. She’s glad she’s there, she is, but it’s… too much all at once. Maybe some time to herself would help.

Valerie does her best to be okay with it, but it’s evident she’s hurt. She relents, bidding Isadora goodnight and requesting that she reach out when she’s feeling more… interested in being with her again. But no rush.

As Valerie walks off, Isadora watches after her. She’s torn, not satisfied with how that conversation went but also too exhausted to deal with it further. She disappears into the apartment.

EXT. NEW YORK STREETS - DAY

Song Cue ♫ ♪ “Run And Tell That” as performed by Hairspray Original Movie Cast || Performed by Zay Babineaux

The groovy intro floats over the city as a new day starts, zeroing on Zay emerging from the subway as he launches into the first verse. As he runs and dances his way around Manhattan, bystanders seem to join in on the performance and supplement the epic feeling of his progression through the city.

He darts in and out of buildings, sliding onto the stages and giving a flurry of different auditions. His outfit and style shift as he goes, representing the passage of time throughout the week as well as how he presents himself to each opportunity. Regardless, one trait remains the same -- his unmistakable talent.

INT. AUDITORIUM - DAY

When it gets to the Little Inez bridge, it’s not a different performer but rather stands in as Zay’s “audition” piece. And suffice to say, it’s impressive, showing off his energy and overlooked vocal power. About time we saw this spirit again!

EXT. NEW YORK STREETS - DAY

Audition portion completed, Zay bursts back out onto the streets of Manhattan. More and more of the crowd has gotten into the groove, creating a truly vibrant and energetic portrait of the city.

EXT. NEW YORK STREETS - DANCE LOT - DAY

We make a return to a friendly setting to conclude the number, Zay rounding out the performance with his crew of talented and eclectic youth at the dance lot. No Charlie accompanying him this time around, but that doesn’t seem to make a difference. He’s alight with the passion he’s been putting on display all week.

Maybe this is what everything is all about. It’s like he’s gotten so distracted with everything else, he forgot why performing makes him so happy in the first place.

No ignoring it now, that’s for sure. The fellow dancers crowd around and give him welcoming pats on the back and high-fives as he slays the final run. Woo!

EXT. CENTRAL PARK - DAY

Meanwhile, Riley and Lucas are taking a well-needed reprieve from all their court-ordered do-gooding. They’re basically having a lowkey picnic, snacking on a late lunch after another long day of volunteering. Conversation seems to be easy between them, Lucas sprawled on his back and staring at the sky while Riley sits cross-legged an arm’s reach away.

After their chuckles die down from whatever they were talking about previously, Riley states that Lucas was really good at the animal shelter. He definitely has a knack for working with animals, at least far more so than anything else they’ve spent the last week doing.

Lucas: I don’t think it’s hard to show more enthusiasm towards animals than say, trash on the side of the interstate.

Riley: [ nudging him ] I’m serious. Honestly, I don’t think I’ve seen you be that interested in something… like, ever.

Lucas: It’s not my fault most things aren’t interesting. If they want my attention, then they should be better.

Riley shakes her head, biting back a laugh. She tilts her head at him.

Riley: I’m just saying. Maybe this could become something more permanent. You know, when it’s not a punishment for criminal activity. [ a beat, then playful ] Maybe you could get into the habit of actually doing good.

Lucas, thoughtfully: … maybe with you I could.

Oh. That’s not very playful or offhand at all. Lucas realizes his slip up a second too late, glancing nervously at Riley before directing his gaze anywhere but at her. Given that he’s facing the sky, it’s not hard to find other places to look.

But Riley doesn’t miss the moment. She absorbs it, smiling lightly to herself and pressing her lips together to hide it.

After a moment of quiet, Riley starts to broach the topic of how things have been the last few months. She figures it’ll be a touchy subject, but surprisingly, Lucas claims he has something he wants to say about that. She watches him curiously as he pushes himself upright, propping his elbows on his knees and taking a deep breath.

Then he meets her eyes, trying his best to be sincere.

Lucas: I’m sorry. About the way I’ve been acting.

Riley: I get it. There’s been a lot going on.

Lucas: Yeah. But that’s not an excuse. [ a beat ] I think… it just got too easy to deflect. Do you know what I mean? Like things were never good, but then with each thing that got stacked on top of each other in the last month it just felt like another good reason to fall apart. To let another screw go loose, and push away another person who was trying to fix it, until I was standing in the precinct parking lot with a whole bunch of… spare parts, junk, and no clue how they fit together anymore. And I’d done a good job of telling everybody to fuck off, so there’s no one left to help me put things back together. Now I’ve just got to… do it. It just sucks that it took hitting every rock on the way to the bottom for me to realize it.

Riley frowns, sympathetic. But she doesn’t interrupt, letting him work through the feelings on his own.

Lucas: I got there, and now I’ve got to try and fix it, but no amount of reason is a good enough excuse for the way I’ve been treating people. Especially you. [ looking at her ] So I’m genuinely sorry.

An apology was more than Riley was ever expecting, least of all one that feels so honest. There’s a moment of quiet, then she accepts it. They exchange tentative smiles.

Riley questions if he’s planning the same approach for his other friends, to which Lucas sort of laughs and weakly states he doesn’t know who would even count as a friend anymore. She says Asher and Dylan without hesitation, and it’s clear from the way he grows even more timid that they’re at the forefront of his mind.

With a little more nudging, Lucas admits that he doesn’t see what the point is. He was rude to Riley, but he was reprehensible with them. They were there for him and he took advantage of it at every turn, even if he didn’t consciously mean to. After the way they left things, with the things he said to Asher and everything with Dylan and the joy ride…

Lucas, defeated: He’s done. And he should be. [ shaking his head ] He’s never going to forgive me.

Riley understands the hesitation, but she delicately offers a counterpoint.

Riley: Not to sound like the dreamy optimist, but I really wouldn’t be so sure about that.

Lucas: You weren’t there, okay? You don’t know how -- I really fucked up.

Riley: No offense, but I don’t have to have been there to believe that. But I don’t think you’re giving Asher enough credit. I know I don’t know him the way you do, but he doesn’t seem like a particularly vengeful guy. Especially not with someone he loves so much. [ a beat ] You’d be surprised how hard it is to give up on someone you love.

Lucas seems bashful just at the insinuation, still far from comfortable with such open discussions of affection. But perhaps Riley has a point -- she speaks confidently enough, like she knows. He’s certainly listening.

Riley: I’m not giving any guarantees or anything. I just think that, yeah, if you never apologize because you think it’s not even worth it, then Asher definitely will never forgive you. If you never give things the chance to work out, then they won’t.

Something to think about. Lucas contemplates it, seriously considering her point.

INT. HART FAMILY HOME - DAY

Maya finds Vivian in the kitchen, prepping early for dinner. She asks if she wants any help, and Vivian cracks a joke about Maya volunteering to do any sort of housework. Is she sure she’s the same granddaughter she’s always known? Maya rolls her eyes, nudging her playfully before requesting instructions on where she can help.

While they work, Maya takes the opportunity to ask Vivian how she feels about Katy and her current straits. Considering Maya is, perhaps foolishly, trying to do the same thing, does Vivian regret letting Katy try to pursue her dreams rather than doing something more practical?

Vivian prefaces by telling Maya she knows she would never beat around the bush with her. Harts are hearty people, and damn honest at that.

Maya: Believe me, I know. Got a bit of a reputation for it myself.

That aside, Vivian admits that the whole notion of following the artistic dream does feel a bit reckless to her. She’s not a creative person either, so that doesn’t help the mystery of it in her eyes. But that being said… what’s life if not a little bit reckless?

Vivian: I may not get all of the hubbub around the dream, or the passion behind it. But what is the point of life other than to live it? Taking the guaranteed safe route when you believe you could do something more feels a little bit like cheating yourself… especially for someone as hearty as a Hart.

This placates Maya. It’s nice to remember that there are people in her corner all the time, even when they’re not in plain sight right there in front of her. She gives her grandmother a quick kiss on the cheek, then jumps back into dinner prep with the same intensity as a new performance.

INT. MINKUS HOME - DAY

As the week has waned on, Farkle’s energy has come and gone in waves, and presently it’s at a low point. He’s crashed on the couch, eyes glazed over as he watches television. He’s startled by a knock on the door, but he doesn’t make a point of rushing up to get it. When they knock again, Lila emerges from the hall rather than waiting for Farkle to get up and do something about it.

She returns a couple moments later, poking her head in from the entryway.

Lila: Hey. Someone’s here for you.

Farkle, monotonous: Couldn’t be. I don’t have friends.

Lila: You’ve had like five people come by this week. Who were they?

Farkle: Okay. Those were my only friends.

Lila: Would you stop wallowing and just get up? I’m going to let her in either way.

Farkle: You’re the worst sister ever.

Lila: Socialization is good for you.

Isadora, from off-screen: This is ridiculous --

Farkle frowns as he places the familiar voice, turning to look over his shoulder just as Isadora marches into the room. Farkle’s eyes widen and he scrambles to his feet, obviously not expecting to see her at all.

Farkle: Isadora -- Smackle -- what [ adjusting his askew sweatshirt ] what are you doing here?

Isadora, unimpressed: What’s the matter? Did they take away your ability to walk and answer the door for yourself in treatment?

Farkle is speechless, embarrassed. This certainly isn’t the state you want one of your key intellectual rivals to see you in… well, ever. Lila looks back and forth between them, somewhat amused.

Lila: I’ll leave you to it, then. Nice to meet you, Isadora.

Isadora nods to her as Lila disappears back into the hall, snickering to herself.

Farkle and Isadora stand at an impasse for a moment, not sure what to say to one another. Farkle clears his throat, scratching at his neck.

Farkle: You didn’t have to come by. Just because you feel bad.

Isadora: That’s not -- [ scoffing ] that’s not why I came.

Farkle: No?

Isadora: No. I’m here to save your education.

Isadora marches over to him, shoving the homework from Cory into his arms. He manages to catch it, Isadora huffing and pushing past him further into the room. He sorts through the items, realizing that her intentions for visiting were at least partially utilitarian and genuine. He can appreciate that.

Farkle: Oh. Well. Thanks.

Isadora: Uh huh.

He puts down the homework amidst his spread of books on the coffee table, Isadora eyeing them and inching closer to get a better look. She curiously questions how his recovery is going, demonstrating her own knowledge of mental health exposure when she asks if they’re planning to put him on any permanent medication treatment plans.

Farkle flops back onto the couch, shrugging.

Farkle: They’re throwing all of it around. Lexapro. Zoloft. Prozac or Celexa. [ snorting ] You know what I realized? “Farkle” sounds like a drug. I’m a fucking antidepressant.

The problem, he concludes, is that they really don’t know what’s up him, so they’re hesitant to formulate a treatment plan. And makes sense, because he sure as hell doesn’t know what’s up with him either. Guess he’s destined to find out, sooner or later.

Isadora awkwardly wishes him luck with that, Farkle making an unimpressed face. Quiet settles between them -- she’s done her duty, and there’s nothing more to say -- but for some reason she doesn’t rush to leave.

Farkle hardly notices, sort of zoning out. Isadora recognizes the vibe, commenting that it’s okay. Farkle blinks, snapping out of it.

Farkle: Huh?

Isadora: That they’re still there. The… those kind of thoughts. They’re not just going to disappear because you went to one rehab treatment.

Farkle: Auspicious. Thank you.

Isadora: I’m only saying, you don’t have to be back in tip-top tyrant shape right away. You can… take a moment. Remember how to breathe again before you take off running.

Oddly apt to what he’s feeling, even if he’d never vocalize it. He doesn’t seem convinced, but Isadora isn’t going to just say her piece and go. If she’s going to make her point, then she wants to make sure Farkle really hears it.

Song Cue ♫ ♪ “Here Comes A Thought” as performed by Estelle & AJ Michalka|| Performed by Isadora De La Cruz & Farkle Minkus

With the opening synth, Isadora hesitantly takes a seat closer to Farkle. Her vocals, although strong as usual, also have a softer edge than we’re used to when she performs -- it’s an intimate conversation, still, even in song form.

The whole performance is very lowkey, the two of them simply sitting next to each other, watching each other carefully. Farkle joins in about halfway through, allowing himself to be more open about his mental state for the first time in the episode.

As the song comes to an end, there’s an unusually vulnerable moment shared between the two of them. They hold eye contact, recreating some of that feeling they felt in Eric’s office during group week although no closer to really understanding what it is.

Isadora clears her throat, searching for a change in subject. She nods towards the English homework.

Isadora: Sorry about the book, by the way. It’s a little banged up, but it’s the best I could do.

Farkle reaches for it, taking it in his hands. Pride & Prejudice. A well-worn copy of it, notes and annotations in the margins visible as he flips through it.

Farkle: Cory didn’t give you a school copy?

Isadora: He did… but I’m pretty sure my mom lost it. [ off Farkle’s snort ] She was all excited to enjoy some “truly classic literature” while endeavoring in her “cultured” stay with me, and I haven’t seen it since. So you get my personal copy instead.

Farkle: Oh, big honor.

Isadora: It is. There’s some genius analysis going on in those margins. Not many are so lucky as to get to experience it for themselves.

Farkle chuckles, taking a better look at some of the annotations. Then he manages a smile, holding up the book indicatively.

Farkle: I’m sure your additions will make for an interesting read, if nothing else.

Isadora tentatively returns the smile, edging her way towards the door to go. She hesitates, spinning back around and asking Farkle if he’s busy Friday evening.

Farkle: … I’m a freshly released mental patient who is basically on mother-ordered house arrest. So naturally, I’m booked solid.

Isadora: You’re not aware that I suck at sensing sarcasm, but I’m going to assume that was it. And if you’re not busy… what are your feelings on Hamilton?

INT. SVORSKI’S CAFE - DAY

Friday afternoon, end of break impending. Lucas is sitting alone at a table in the back corner, tapping his fingers nervously on the surface. There’s an iced drink in front of him, but he hasn’t touched it. Every time the cafe door bell jingles he jumps, looking towards the entrance and expecting to see someone important.

It’s always someone else. Lucas deflates after about the third repetition of this, slouching in his seat and dropping his gaze down to the drink in front of him.

The bell jingles again.

This time, it’s Asher pushing his way through the door. Lucas straightens up, swallowing and waiting for Asher to finish scanning the room and find him. He waves at him when they lock eyes, but it sort of looks like an anxious twitch.

Still, he gets the message. After a moment of hesitation, Asher cautiously makes his way through the cafe towards him. He keeps his hands in his coat pockets, on the defensive as he comes to stand at the table.

Lucas greets him, awkwardly standing as well. There’s an uncomfortable moment where they both look at one another, not sure what to do next, before Asher settles in the chair opposite him. Lucas takes that as his cue, dropping back down into his seat as well.

Lucas: I got you a drink. [ sliding the drink across the table ] Peach lemonade. ‘Cause I know you like it. I didn’t add like, sugars or anything, because I wasn’t… well, I figured you would know how you’d want that. If any.

Asher glances down at the drink. He lightly touches the lid, running his fingers along it. Not saying anything.

Lucas stares at him, obviously wishing he would. At a loss for how to proceed tactfully, everything he wants to say tumbles out of him unceremoniously.

Lucas: You were right to get upset. Okay? Believe me, I know that. And I promise, I’m going to pay you back for the bail money. And the hospital bill from my wrist, and… and like, all of it. I’m going to make the money and then I’m going to pay it back.

[ Asher lifts his eyes, watching him uncertainly. Lucas trips over what to say next. ]

Lucas: And I’m done with the stupid stunts. No more pulling Dylan into anything either. And I don’t know if I did any damage to your car -- I don’t think I did -- but like, tell me if I did and I’ll fix it. I’m going to -- I’ll fix it. Tell me what you want me to do, and I’ll do it. I’ll do anything.

Still nothing. Asher is clearly listening, contemplative, but to Lucas it just feels like a wall. He grows more desperate, voice cracking and speech terse as he chokes on the emotion.

Lucas: You’re my best friend. [ a beat ] You’re my best friend, and I’m sorry that I fucked that up. And I know that… I know I can survive without you. Duh. I could do it, if I had to. But… I don’t want to. [ shaking his head ] I don’t want to think about my life without you in it.

The air is heavy with the truth of his words. Asher quietly absorbs them, dipping his head down to look at the drink. A second of silence. Then another. Then another.

Lucas: Okay, I know I just finished saying that you don’t owe me anything and I’m the one groveling but… could you please say something? Maybe?

A few more moments of silence that feel like an eternity. Then, Asher lifts his gaze to meet his. When his speaks, his voice is soft.

Asher, deadpan: You could start by getting me a straw.

Not the most forthright of acceptances, but not a cold dismissal by any means. And humorous, in Asher’s own special way. Lucas laughs, more out of relief that he’s speaking at all.

Asher: … I wasn’t kidding.

Lucas: Oh. Oh! Hold on --

Lucas gets up, grabbing a straw and sliding back into his seat. He waits as Asher unwraps the straw and sticks it into the lid, taking his time.

Before he takes a sip, he meets his eyes again. This time, some of the warm familiarity they share has reappeared.

Asher, quietly: Thanks, meatball.

The nickname is more of a signal than any verbal acceptance of his apology. Lucas cracks another relieved smile, Asher mirroring it lightly as he takes a long sip of the lemonade.

Perhaps all is not broken beyond repair.

EXT. MINKUS BUILDING - NIGHT

Valerie and Isadora are walking Farkle back to his building post-Hamilton, raving about the show and keeping up a relatively consistent chatter. Isadora is doing more observing of her mother and former rival interacting than contributing, but it isn’t an issue this time. And she seems to be enjoying herself nevertheless.

As they stop outside his building, Farkle states that they didn’t have to walk him all this way. Isadora claims actually, they did, as it was part of the requirements for his mother to let him come along with them.

Farkle: Yeah… thanks for inviting me. It was nice to get out of the apartment -- think I was going a little stir crazy.

Valerie: It was our pleasure, truly.

Isadora: Surprisingly.

[ Farkle narrows his eyes at Isadora. She matches the expression, causing him to crack and offer the ghost of a smirk. ]

Valerie: And you’ll be going back to Triple A after this weekend, no? Suppose this could be considered a trial run of some sort. A dress rehearsal!

Farkle: Yes, well, that will be a spectacle all its own, I’m sure. [ to Valerie ] Thank you, again. [ to Isadora, with a nod ] Isadora.

Isadora returns the nod, Farkle heading into the building through the revolving door. Valerie makes an expression at Isadora, raising her eyebrows.

Isadora, genuinely lost: What?

Valerie raises her hands in surrender, although the amusement doesn’t leave her features. Isadora obviously wants to question her, but the more they walk towards the subway the more emboldened Valerie becomes. Before they descend down into the station, she pulls Isadora aside and states there’s something she needs to tell her.

The reason that she came to stay with Isadora for the break wasn’t just because of everything going on here -- though that is part of it, and she’s happy to have been there for Isadora even if she can be a bit much.

Isadora: Well, I wouldn’t say --

Valerie: Oh, don’t try to sugarcoat it. I’m a big celebrity, I can take my share of critique. And I know we aren’t perfectly matched. I can be a lot, certainly more than you’re used to. But we’re improving, aren’t we? Every day.

Isadora can agree with that much. Valerie goes on to explain that she’s been doing a lot of thinking, much contemplation, and part of the reason she came to stay the week was to test the waters of their dynamic in long terms. Because... she hopes to try and get back custody of Isadora so that she never has to deal with this foster care business again. That, and of course, they can be a proper mother and daughter.

Isadora is shocked. At her stunned expression, Valerie quickly begins to articulate all the thought she has put into it. Naturally, she would only pursue it if it’s something Isadora would want… and does she think, maybe, it’s something she would want?

The moments that Isadora hesitates feel unbearable. Then, surprising even herself, she speaks.

Isadora: Yeah. [ a beat ] Yeah. It is. I would.

Valerie takes a moment to absorb it, realizing Isadora has said yes.

Valerie: Yes. Yes!

Valerie takes her hands excitedly, then remembers her discomfort with touch and pulls back. But Isadora mirrors her excitement, choosing to link their hands lightly again. Valerie brightens, launching into all of the wonderful things this could hold for them. Sure, it will require changes, and further understanding of one another as they go, but they have time for that. They have all the time in the world to figure it out.

Regardless, they will have one another. Decisively, like never before.

Song Cue ♫ ♪ “Stone” as performed by Alessia Cara || Performed by Isadora De La Cruz & Valerie De La Cruz

Valerie launches into the song first, Isadora easing her way into the harmony. Their voices combine in a delicately powerful duet, accented beautifully with the scenery of Manhattan glittering in the night.

They make their way through the streets, somewhat dancing around one another but actually in step for once. Both of them are smiling as well, the true cause of how bright the evening feels.

INT. BABINEAUX HOME - ZAY’S BEDROOM - NIGHT

Zay is grooving in his room to his own music, laying out and taking stock of all the auditions he went out for over break. He seems proud of himself, as he should be.

DONNA BABINEAUX knocks on the door, Zay stretching to turn down the music. She skims through the papers on his desk, asking what he’s been up to all holiday running in and out. He eagerly tells her all about the stuff he went out for, Donna brightening the more he discusses it. Once he concludes she exchanges a double high-five with him before pulling him into a hug, planting a kiss on top of his head until he manages to shrug away.

Still, Donna is far from oblivious. She innocently questions what brought on this sudden surge of ambition. Zay falters, just for a moment, then maintains his positive demeanor as he shrugs. He claims senior year is right around the corner. May as well start doing all he can to leave an impression.

For now, Donna leaves it be. She reiterates how proud she is of him one more time before telling him goodnight. Alone again, Zay glances at his desk spread again and another smile drifts onto his face. Settling on his bed, he reclines comfortably and shifts to looking at his phone, on instinct going to send a message to Charlie.

Once the message thread is open, however, he freezes. The searing reminder of the state their relationship is in hits him all at once, temporarily forgotten in the hustle of utilizing his spring break. So in some ways, his initial reason for setting out to break ground succeeded -- only it hurts far more to return to reality than he anticipated.

His fingers hesitate over the keyboard, totally at a loss.

INT. GARDNER HOME - CHARLIE’S BEDROOM - NIGHT

As it turns out, Charlie is feeling the exact same way. He’s at his laptop, message thread open with Zay and trying to figure out what to say. Obviously desperate to say something, but not having any idea how he could.

The indecision will remain for a bit longer. He avoids it again, exiting out of the messages and returning back to his browser. A few of the tabs he had open at school are on screen again, giving us a better look at what he’s actually investigating.

Other arts schools. Transfer applications. The one on screen is for Haverford Prep, but it’s just one of many. It would require a whole other round of auditions all over again, but it’s clear for some reason, he’s putting the option on the table.

Charlie may not fix his problems at all.

He might run instead.

INT. MINKUS HOME - DAY

Farkle opens the door for one final visitor, expression going blank when he locks eyes with Maya. She returns his stare, more prideful in her stature, but clearly there by choice.

Farkle, stunned: Maya.

Maya: … that’s my name, yes. So flattered you remember. [ a beat ] Are you going to invite me in?

Farkle: Oh, uh… yeah. Yes.

Farkle steps back, but Maya hardly waits for him to move. She breezes past him, Farkle somewhat dazed and low energy and nowhere able to battle with her this afternoon.

She enters the living room with more familiarity than any of the other classmates, eyeing the cocoon that Farkle has built for himself on the couch. The reality of his situation dismantles her bold facade, and she only minimally manages to repair it.

Farkle asks Maya how her break was, and she claims refreshing. She fires back the same question to him, and he shrugs indicatively towards the dent on the couch.

Farkle: I’m sure you can imagine.

She can. Silence settles between them, uncertain. Farkle breaks it first, launching into an apology with the same uneasy tempo as when he spoke to Charlie.

Farkle: You have every right to be upset with me. For everything I did. You should hate me, and I would understand it. I should never have let my jealousy dominate my actions, and furthermore, expose a secret you meant to keep under wraps. That you shared with me in confidence --

Maya, resigned: I don’t care about any of that, Farkle.

Farkle: … you… you don’t. You don’t care. No?

Maya hesitates, inhaling a breath. She searches for what she wants to say, crossing her arms.

Maya: The attempt to keep my... financial circumstances a secret was kind of a fool’s bet anyway. It had to come out eventually. And the video was far more embarrassing for you than me -- I think we can agree you more than paid for that.

Farkle doesn’t look entirely convinced, but he doesn’t interrupt. He’s more consumed by how great it is to talk to her again, how it feels to be back on the same page in some shape or form. No longer outcasted from her life, at least for a moment.

Maya: It was just… [ tentative ] I don’t have time to waste. I don’t have time to waste on people who aren’t worth the effort. And I thought -- I’ve had my experience with people who don’t keep their promises. I’ve had enough of it, forever, and so when you couldn’t be there for me and then twisted everything around, even when you said… even when we agreed to drop the antics…

Farkle, softly: I know.

Maya: So I thought the solution was the same. The last time someone hurt me this way, they left, and that solved the problem. I never had to deal with them again because they were out of my life. [ a beat ] Only I’m realizing that didn’t really solve anything. They’re gone, but the hurt is still there. Nothing about that situation is ever going to change, and it’s always going to hurt. Even with time.

Farkle: … but…

Maya: But… maybe, here, things could still change. If we make the right choices, better choices, then no one has to go. [ unusually fragile ] I don’t want you to go.

The additional meaning behind the sentiment goes without saying. Farkle swallows, realizing that the ball in his court now. Maya’s opening the door for him again, conditions attached, and he has to demonstrate that he’s capable of the privilege. That he’s capable of change.

So he tries to communicate it, in the best form of communication they know.

Song Cue ♫ ♪ “Thinking Of Him / I Miss the Music Reprise” as performed by Curtains Original Broadway Cast || Performed by Farkle Minkus & Maya Hart

A direct parallel to Farkle’s former performance in 204, he kicks off the soft duet with sincerity.

Farkle: What was I thinking when I let you slip away? [ a beat ] Oh, yeah…

He admits all the ways in which he was selfish or misguided in the past year, culminating in that emotional and vulnerable declaration (“But why pretend? I missed the music, I missed my friend”). As Maya joins in, she eases her way back towards him. Both of them end up on the couch, singing in harmony for the first time in what feels like ages.

Maya wraps her arms around his, gently resting her head against his shoulder. A smile slowly blooms across his face, and he allows himself to tilt his head back against hers.

I choose the music I make with you, I love the music I make with you.

INT. AAA - JACK’S OFFICE - DAY

Upon return to school from break, Jack is back in his office and going through all of the new correspondence and paperwork that has piled up.

Lucas appears in his doorway, lightly knocking. Jack lifts his gaze, waiting for an explanation without a word. Lucas holds up the community service form, all filled out.

Lucas: Just needs your signature.

Jack nods, gesturing him in as he searches for a pen. Lucas waits patiently as he signs on the bottom to verify the hours, handing it back to him promptly. No praise, no congratulations. Just the expected transaction.

Lucas wasn’t expecting anything else. He folds the paper and starts to back out of the office, about to let that be that. But he hesitates, thinking about the past week and all of the other bold choices he’s had to make.

Lucas: I know I messed up.

Jack stiffens, not expecting there to be more either. He pauses to listen, leveling his gaze to watch Lucas. He keeps his expression politely neutral.

Lucas: Kind of seems like that’s all I do. And maybe it is. [ a beat ] But I’m going to try. I’m gonna make it right. I’m gonna make it up to you. I swear.

Lucas holds his gaze, not flinching away from the honesty. Meaning every word of it, and wanting it to be crystal clear.

Then he exits, not wasting another second. Jack stares at where he left, honestly not anticipating this earnest curveball. He has to blink to shake it off, the process of being emotionally removed no longer so plain and simple as it should be in theory.

He settles into his desk, aiming to distract himself via work instead. As he opens his desktop and goes to their email server, a message in his inbox seems to catch his attention. It’s from Evelyn Rand, school board member, and the subject line is a true attention-getter.

“Did you see this?”

Jack opens the email, skimming the message. From what he can tell, Evelyn has forwarded him a complaint that was filed with them over the course of spring break. It’s leveled against AAA, and the last line of her email stands out in particular.

“They intend to go public with this, from what I understand. What are you planning to do?”

Jack’s neutral demeanor is long gone. He frowns as he opens the attachment she’s sent, waiting impatiently as the compiled report on the complaint loads up. It’s a boisterous, flashy campaign against AAA for their “unfair enrollment procedures,” highlighting how personal favors and “special cases” gain coveted spots rather than hard-working, well-deserved, young talent willing to put in the effort and pay the price of admission.

It’s a smear tactic if there ever was one -- filed by a very indignant family -- but the tactic itself is hardly what causes the concern on Jack’s face. It’s the subject they’ve chosen to be their pièce de résistance, the perfect example of how “corrupt” and “unmerited” the current enrollment is.

Lucas James Friar. His school portrait staring back at Jack from the center of the complaint, promising to be the unwitting key talking point for what might very turn out to be an unpleasant and loudly public Bradford temper tantrum.

Break time is definitely over.

END OF EPISODE.

#S2 #209 #episodes #y'all..... Y'ALL HERE WE GO

[ambitionsource]

AMBITION Season 1 ♫ “Stripped” [ 1.06 ]

CREATED BY Esther (rapunzles) & Maggie (quincywillows)

NOTHING BUT THE BEAT – In Lucas’s absence, Shawn and Angela give the techies a break by declaring all numbers acoustic for the duration of the week. Farkle can’t get a grip on the assignment. Zay fights a creeping sense of isolation.

45 Minutes (7.5K words) || No warnings apply.

[ ← Extra, Extra ] [ S1 Synopsis ] [ Black, The Color Of Techies Scorned → ]

( Follow along with the music on Spotify here! )

INT. AAA - AUDITORIUM - DAY

A brand new week. ANGELA MOORE is standing in front of the seats, looking up at her stage with a certain sense of apprehension. But she claps us in anyway. Five, six, seven, eight…

Song Cue ♫ ♪ “Puttin’ On the Ritz” as performed by Young Frankenstein Original Cast || Performed by AAA Sophomores

FARKLE MINKUS kicks off the number performing in the Victor Frankenstein role, and MAYA HART and ZAY BABINEAUX soon joining him for the first third. It seems like a perfectly normal performance, and there’s nothing ambitious or off-putting about it. In fact, with their combined stage presence and star power, it’s a rather enjoyable little number.

That is, until the dance break.

When the dance break kicks off and all of the performers filter onto the stage (Wyatt noticeably absent, of course), the number kicks up a notch. The dancing is intense, for one, but the strain that truly begins to show is how hard the techies are working to keep up with the overzealous staging requirements.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Yes, it’s the first full week of Lucas’s suspension, and his absence is being felt throughout the entire techie brigade. ISADORA DE LA CRUZ is in Lucas’s usual seat with headset on, trying to keep everything from falling apart, but considering she had a rather difficult week herself not so long ago, she’s not in top form and seconds away from a break down. She snaps commands into the headset instead, definitely not spreading an aura of confidence.

INT. AAA - AUDITORIUM - DAY

While the tap dancing continues, the techies are running around frantically backstage in an effort to keep the production aspects of the number afloat. ASHER GARCIA gets so overwhelmed and out of breath that he faints, DYLAN ORLANDO barely managing to catch him in his arms. JADE BEAMON has had to step up and work as a stagehand, but it’s totally out of her comfort zone so she’s not much help.

NATE MARTINEZ and DAVE WILLIAMS are in charge of moving a rather large set piece at the end of the number, but several circumstances prevent the transition from being ready in time. Instead, as the tapping comes to a thrilling conclusion, Dave ends up tripping on a section of curtain rope and brings the whole back curtain tumbling down.

It startles the performers, all of them shrieking and jumping out of the way. They hadn’t even noticed how much the techies were struggling. Angela claps, reluctantly, before insisting they all disband for a break.

Angela: Davis, you’re not injured are you?

[ Nate and Jade have dug Dave out of the mountain of curtain. He’s dazed, but gives her a thumbs up. ]

Angela: Oh, good. Because our insurance definitely wouldn’t have covered that.

Cue title sequence.

INT. AAA - BLACK BOX THEATER - DAY

Angela and SHAWN HUNTER are eating lunch together, managing a much better rapport than they’ve displayed the last few episodes. It is clear they are taking their agreement to put their feud aside seriously, and both quite willingly. If anything, they seem perfectly content to spend a lunch hour in each other’s company.

Shawn nods along as Angela describes the train wreck they just watched unfold, and he claims he’s not surprised. Given everything that happened last week and the current absences, they’re going to be a bit off-kilter.

Shawn: I know he doesn’t come off this way, but Lucas is more of a leader than you’d expect. If anything, he does a good job of keeping everybody in line. It’s not a shock to me that the train is sliding off the track without that discipline.

Angela: Even with Isadora?

Shawn: Isadora is brilliant, but she’s got her own shit to deal with after last week. Thrusting the entire operation of the crew on her shoulders maybe isn’t the best idea right now, regardless of how capable she typically is.

Angela doesn’t have any arguments against that. She accepts it, instead attempting to problem solve how they’re going to handle the next week if circumstances are going to remain out of the ordinary. Shawn states that his main goal is just to keep his kids from falling apart any more than they already have, so if the performers could cut them some slack that would be great.

This actually seems to give Angela an idea. She nods along, promising him that she thinks she can do him one better. When they exchange a look and Angela gives him a knowing, mischievous smirk, it’s evident that there’s definite romantic tension between them reignited again. Wonder if that’s gonna go anywhere…

INT. AAA - CAFETERIA - DAY

Zay is sitting at the usual table with CHARLIE GARDNER, YINDRA AMINO, and NIGEL CHEY. Only now, Maya has joined their ranks as well. The group of them gab on and on about their afterschool plans, how they spent the weekend, etc., Zay mostly just half-listening and not exactly contributing to the conversation.

When Maya lobs the question of afterschool plans towards him, he sort of shrugs it off and doesn’t have much to offer. He claims he has a lot of rehearsing to do, and they don’t question it because after all, Zay is the most popular student in their class. Of course, he’s a busy, busy man.

Zay is like ha ha, yeah, and don’t you forget it… but as the conversation drifts to another topic, his smile sort of fades as he focuses back on his food.

INT. AAA - LUNCH COURTYARD - DAY

Rather than sitting at the usual table, RILEY MATTHEWS is seated outside in the lunch courtyard with Isadora. It’s the same table where Lucas and Riley escaped to get fresh air in the previous episode, and apparently where the techies prefer to sit when it’s not frigid outside. In this case, it allows them some distance from the scene of the crime of last episode.

Riley attempts to get a read on how Isadora is feeling, but it’s difficult to tread without coming off like she’s treating her differently. Isadora is like could you chill, I’m fine, I will be fine, which Riley takes as her cue to tone down the concern a little bit. She also has other curiosities on her mind, so she shifts gears to that instead.

Riley: So, um… have you talked to Lucas? How is he handling the suspension?

Isadora: I don’t know. We haven’t talked much.

Riley: Is everything okay? Between you two?

Isadora: No, yeah, we’re fine. It’s just that when he’s not around, like right there in front of you… I don’t know. He can be hard to get a hold of.

Riley does not like the sound of that, but she doesn’t question it further. Isadora changes the subject, the two of them continuing to pick at their lunch.

INT. AAA - AUDITORIUM - DAY

Returning back to class, Shawn and Angela stand together on the stage and announced their weekly assignment. Performers will be choosing acoustic songs only for the duration of the week. This is to stretch their natural ability and wean them off the reliance on props and spectacle, but also to give the techies a bit of a breather.

The performers, particularly the divas, are not happy about this decision. If they’re not being flashy, what is their purpose? Farkle tries to plead for help.

Farkle: This is an outrage. It’s a joke. Ms. Moore…

Angela: I’m with Hunter on this one. [ off Farkle’s disgusted reaction ] We all could do with a little refocusing, and it’ll be easier for everyone involved.

Maya: For the whole week?

Angela: The techies are short-staffed –

Farkle, in disbelief: They’re missing one person!

Dave: It feels like more. :(

The mandate has been delivered, and despite Farkle’s greatest protests, it doesn’t seem like it’s going to change. Zay, like usual, finds all of their whining and moaning over the whole thing to be ridiculous.

Zay: You’ve all become so reliant on razzle-dazzle you’ve forgotten how to actually perform. Or maybe you just never had it in the first place.

Farkle: Oh, like you’re so much better. You’re no more prepared than the rest of us.

Zay: You think so, huh? It’s fine, I can show you the ropes.

Zay hops up onto the stage, pointing to Charlie in the audience. He beckons him up with him, directing him towards the piano as his acoustic accompaniment. Charlie’s surprised, but not opposed to the singling out, and happily jumps up to help.

Zay: [ over his shoulder, to Charlie ] You’ll keep up.

Charlie: [ bemused, but also kind of charmed ]

Song Cue ♫ ♪ “Perfect Places (Acoustic)” as performed by Eden Mary || Performed by Zay Babineaux (feat. Charlie Gardner)

The performance is simplistic and stripped down, but just as engaging as ever. Zay oozes natural stage presence, and his vocals with Charlie’s piano skills aren’t a bad match. As the performance goes on, Charlie glances up numerous times from the keys to smile at him from behind.

Angela sort of dances along, evidently pleased that someone seems to be taking well to the assignment. The other performers seem to be coming around as well, save for Farkle. He’s grumpy throughout, obviously not thrilled with this new development.

INT. JACK’S APARTMENT - NIGHT

Shawn is joining JACK HUNTER for dinner, keeping up with their usual monthly half-brother meal. The two of them discuss what’s going on with their respective ends of the school, Shawn explaining their acoustic mandate of the week while Jack updates him on the progress he’s making of trying to figure out who is running AAA Confessions – which is to say, little progress.

Shawn empathizes, as part of the reason the Insta is so successful is because of the anonymous and hands-off way it operates. They didn’t have anything like this when they were teenagers. Especially because regardless of who is running the account, they’re not the ones making every post – anyone who submits a post is liable in some regard.

Still, they’re not without potential suspects. After rattling off some student names they narrow down to their three prime kids with motive – Farkle, Maya, and Lucas.

Shawn rules out Farkle, stating that while he’s definitely insane, he doesn’t have the time to spare doing something like that when he’s so obsessed with being front and center all the time. He hardly sees him on his phone. They also both agree that Maya isn’t all that likely a culprit either, as she wants the opportunities at AAA more than anything and would never do something so stupid that could jeopardize everything (hence, her squeaky clean appearance).

Lucas is a little trickier to unpack. Even Shawn, his biggest defender, can’t deny that he has blatant motive just because of how much he resents being at the school. Not to mention, the techies are rarely featured. Still, Shawn points out that Lucas would never throw Isadora under the bus like with what happened last week.

Jack doesn’t take much arguing, as he doesn’t believe it’s Lucas. Shawn is admittedly a bit surprised by this, but as always, Jack has clearly thought things through.

Jack: It’s not that I don’t see the motive, believe me, I see enough of it every day. But I’ve also been reprimanding him for almost two years now, and this kind of behavior… it’s just not his mode of operation. He acts the way kids at our school did growing up, you know – reckless, hotheaded, choice actions –

Shawn: You can say you’re talking about me, dear brother of mine. It’s okay. I can take the shade.

Jack: [ ignoring him ] This Instagram stuff, it’s too methodical. Too much maintenance involved. Not to mention, there’s no way Lucas cares enough about his fellow students to orchestrate something like this.

Jack goes on to highlight the situation from the week prior, highlighting that Shawn is right – considering the reasons he started the fight with Wyatt, he has a difficult time believing he would do something so cruel to Isadora. Even if it’s a convenient cover.

Jack: I’m not saying he isn’t a troublemaker – it would be impossible to say such a bold-faced fallacy. [ off Shawn’s expression ] But I don’t know, the whole situation with Miss De La Cruz and how things have been this past year… I feel like I’m not getting the full picture. Like there might be more under the surface in this case that I haven’t considered.

Shawn isn’t going to argue with that – he’s been there himself. And while they both feel pretty confident ruling him out as an AAAC suspect, that just puts Jack back at square one and empty-handed.

Jack switches gears instead, turning the conversation to Angela. He’s definitely noticed the new tension that has blossomed between them. Shawn claims that things are better as far as work, but Jack isn’t asking about work. He questions whether Shawn wants to go down this road again with someone as talented (and flighty) as Moore, but he deflects and claims nothing is going to happen anyway. She’s a star, and he’s a deadbeat. That’s all there is to it.

Jack doesn’t look convinced, taking a pointed bite of his food.

INT. BABINEAUX HOME - NIGHT

Speaking of Instagram, that’s what Zay is focusing on as he lazes around at home. He scrolls through his feed, looking at all the photos of his classmates being social and seemingly having the time of their lives as Instagram is wont to put forth. And there he is, sprawled on his living room couch and hanging out with his family.

He’s evidently just finished lamenting the situation to his mother, DONNA BABINEAUX. His sister JADA BABINEAUX (20), sophomore at the Fashion Institute of Technology, is also there to chime in with sarcasm and jaded twenty-year-old wisdom.

Aside from Zay’s isolation, Donna comments on one of the other factors that might be contributing to his feelings of isolation with disbelief.

Donna: I have a hard time believing that there is not one other boy at that school who deviated from the straight and narrow path of sexuality.

Zay: Unfortunately, the ones that have are either taken or idiots. Or both.

Jada: What about that kid with the weird name? The obnoxious Jewish one who wears blazers even on casual Friday.

Zay: Farkle? You want me to befriend Farkle?

Jada: I’m just saying, anyone that dedicated to a suit jacket and the career of Rachel Berry can’t be straight.

Her wisdom doesn’t stop there.

Jada: Don’t worry. Once you get to college, everyone is so concerned with labeling themselves and exploring their identities that you won’t even be able to keep up with all the eligible men suddenly in your reach.

Zay: Charming.

But all that isn’t really what Zay is stuck on anyway. The romance stuff, he can wait on – but it’s getting real isolating up at the top. Considering he’s the most popular student in his grade, in theory, he should be blowing up with requests to hang out. And yet.

Donna suggests that Zay reach out to some of his friends outside of AAA. Limiting himself to the same artistic crop of people might be doing more harm than good – maybe he’s just got a little cabin fever. He shrugs the suggestion off, but there might be merit to the idea. He contemplates as he continues to scroll through that daunting, isolating Insta feed…

INT. MATTHEWS’ APARTMENT - NIGHT

The Matthews family doesn’t operate with nearly the same comfort as the Babineaux clan. Their family dinner is quiet, heavy with a weird kind of tension. CORY MATTHEWS and TOPANGA MATTHEWS won’t even look at each other, which AUGGIE MATTHEWS doesn’t notice but Riley clocks immediately.

She tentatively explains that she probably won’t be around much this week, as she’s going to be hanging out with friends from school. Cory seems concerned by this, wondering who the friend is and when she thinks she will be home – operating with more protectiveness than maybe necessary. Topanga, on the other hand, abruptly cuts him off and tells Riley to have fun.

The look Cory shoots her is yet another red flag. Riley is dying of curiosity (and dread), but she opts to avoid whatever may be coming around the bend for her and just follow Topanga’s directive. She focuses back on her food. As the ukulele of “Riptide” floats in…

Song Cue ♫ ♪ “Riptide” as performed by Vance Joy || Performed by Charlie Gardner (feat. Nick Yogi & Dave Williams)

INT. AAA - AUDITORIUM - DAY

Charlie performs an upbeat and energetic rendition of the chart topper as his assignment, Dave providing the ukulele backing and Yogi backing him on harmonies. It’s a nice upturn compared to the heavy acoustic that permeates most of the episode. As he dances around with the microphone stand, a montage launches us through the rest of the students attempting to figure out what their performances are going to be.

Farkle is struggling the most with the assignment. He runs through dozens of concepts, creating mood boards for each of them – all too complicated or flashy to qualify for a stripped down week. Angela continuously vetoes them. He’s going to lose his mind.

Shawn meets with the techies on the stage while the performers are in the black box, seated with them on the floor. He explains that given the nature of this week and the absence of their usual work, it has been requested that each of them perform a number as well. This earns a predictable uproar, but Shawn attempts to placate their panic by assuring them that they will only have to perform for one another, not the performers.

When they’re still not convinced, Shawn points out that the stakes are subterranean levels of low and they just need to get it out of the way. As they’re dismissed, Dave shakes his head.

Dave: You all are damn lucky Lucas isn’t here. That man would never stand for this.

A fair point, but then Lucas is not there is he? So the assignment stands.

INT. AAA - LUNCH COURTYARD - DAY

Isadora gives this update to Riley, who is far more enthused by the possibilities than she is. She immediately offers to help her practice, guaranteeing her they’ll find the perfect number for her to perform. She basically clears her entire schedule. It’s obvious that Isadora appreciates the help, but is pointedly uncertain over how she feels about this new challenge.

INT. AAA - HALLWAY - DAY

The bell rings, releasing students for the day. Angela spots Shawn through the exiting crowds and jogs to catch up to him, snagging him by the arm and pulling him into a conversation. She suggests that the two of them get together to discuss what the rest of the semester is going to look like, considering if they’re going to be working together and bridging their divides it’s going to take a lot more collaborating.

Shawn is surprised, but agrees and offers to come to her place that evening. Angela enthusiastically confirms, allowing him to walk away from her. The expression on her face as she watches him go says it all – she’s very excited about this academic get-together. Oh, Miss Moore…

EXT. FOSTER HOME - DAY

Isadora leads the way up the steps of her elegant and well-kept foster home. Riley is stunned as she follows her, obviously not expecting such a nice place in Brooklyn to be the home of Isadora De La Cruz. What she was expecting, she wasn’t sure, but it wasn’t this.

As Riley comments on the beauty of the place, Isadora shrugs it off. She clearly holds limited warmth towards the mini-mansion.

INT. FOSTER HOME - KITCHEN - DAY

Riley is distracted by the other foster kids coming and going as Isadora gets the both of them a snack. While they’re there, KAREN VAN HERSCHING (50s) enters with one of the babies, ADRIEN WOODS (3) in tow. She’s shocked to see Isadora with a new friend, more than happy to greet Riley who seems like a sweet and normal girl.

Karen: It’s so nice to meet you. Isadora doesn’t bring many of her friends around. The one we’ve met, he’s… [ searching for the polite phrasing ] well, he’s interesting.

Riley: I’m familiar with his work, yes.

After Karen asks them a dozen times if they need anything and not to hesitate to ask, Isadora escapes the conversation and leads Riley upstairs.

INT. FOSTER HOME - ISADORA’S ROOM - DAY

Riley again tries to discuss the foster situation now that she’s seen it for herself, but Isadora is an expert at deflection on this particular topic. She continues to sidestep and refocus on the assignment until Riley relents, allowing them to shift the conversation. She jumps on the mention of Lucas, obviously following up on a subject they were chatting about earlier.

Riley: Oh yeah, did Lucas respond about us stopping by?

Isadora: [ nonchalantly ] Oh, yeah. He said no.

Riley: … oh. Okay. Cool.

It’s okay, Riley. Chin up. It’s not you, it’s him. Believe me.

EXT. BABINEAUX HOME - DAY

Zay is finishing his commute home, walking down his street with his headphones on. Outside his house, he hesitates on an older text message with one of his friends from middle school. It’s been a couple weeks since they last texted.

After a moment, he types out a text asking if they want to hang out. He almost hits send, but can’t bring himself to do it. He locks his phone, walking up the rest of the steps to his front door.

Then, he changes his mind. He huffs, pulling up the message again and hitting send in a beat of frenzy. Within moments the friend responds, happily agreeing and beginning to make plans.

Zay exhales in relief, already feeling a little bit less alone. He smiles, stepping into his house.

INT. CHUBBIE’S DINER - DAY

Maya enters the old-fashioned diner, a familiar haunt for the students of AAA. At a nearby table, KATY HART finishes up gabbing with a regular customer. As she heads back, she exchanges a smile with Maya who hops up onto a stool at the counter.

She doesn’t waste a second to update her mother on their current assignment, asking for advice considering Katy was the one who pointed out to her that not every performance has to be a flashy showstopper. How would she go about tackling this assignment? Katy thinks on it, humming to herself as she wipes down the counter.

Katy: To be honest, I’ve always preferred singing duets. Sharing a song with a friend is always better than singing alone, especially if you can’t hide behind smoke and mirrors.

Maya absorbs this, allowing Katy the affectionate gesture of pushing some hair from her face. Then she offers her a smile.

INT. ANGELA’S APARTMENT - NIGHT

Shawn shows up to Angela’s as promised, a bit awkward as she eagerly leads him inside and shows him around but not all that opposed to being there. Although there is lingering hesitation with one another, both of them are putting forth their best efforts to meet in the middle and find common ground. So the gathering is friendly above all else.

Perhaps, in some ways, a little more friendly than colleagues would allow for. Although they’re there to work, Angela does pull out a bottle of wine about halfway through the evening, so it’s pretty clear that this meeting isn’t going to maintain a sense of professionalism. After a couple of drinks they’re laughing and joking around, gossiping about their students and fellow employees and ruminating on how wild their jobs seem to be for a couple of educators.

Shawn claims that he’s hardly an educator, and Angela vehemently disagrees with him. A pitch too passionately, with the alcohol talking. She points out how far he’s come in cleaning up his act, how he’s able to strike a great balance of stern yet supportive, and more than anything how much those geeky tech kids look up to him. It’s clear he cares about them, is more dedicated to them than maybe anything he’s ever known in his life.

The passion drifts into a moment, the two of them holding eye contact as Angela loses her train of thought. Thankfully, the music player switching songs provides them a distraction.

Song Cue ♫ ♪ “Dreams” as performed by Lissie || Performed by Angela Moore

The Fleetwood Mac classic prompts Angela to get up from her seat, proclaiming how much she loves the song. Shawn states that he remembers, as they listened to it all the time when they were dating back in college. Angela begins an impromptu sing-along, essentially taking over the number. She dances around the living room, Shawn watching in amusement and lowkey mesmerized.

About halfway through, she pulls Shawn into the dance, too. It’s a sloppy, loose pas de deux, harkening back to the simplicity of being young and in love and dancing around drunk in college like the future was theirs to control.

As the song begins to fade, Shawn and Angela descend into laughter… which then turns into a kiss. Then, somehow, another one. And another. Clearly, Shawn was wrong about the two of them never happening again.

As they conduct their business…

INT. RESTAURANT - NIGHT

Zay hangs out with his friends from middle school, the group of them out to eat. While there’s a clear rapport between all of them and it’s evident they’re pals, Zay continues to struggle to feel seen. He doesn’t really fit in with his former friends anymore – they all like him, of course, but they don’t really get him. There’s not many spaces for him to add to the conversation.

He’s not dramatic enough for the divas at AAA, but he’s not grounded enough in the mundane for his former friends. He’s a nowhere man, and it’s starting to get to him.

INT. RILEY’S BEDROOM - NIGHT

Riley and Isadora are hidden away in her room, practicing scales on her keyboard. She is eager to help Isadora find confidence in her voice, but Isadora is still reluctant. Although they’re growing a solid friendship, she’s not comfortable enough around her to take the assignment seriously. She may have a piqued interest in performing, but it’s not strong enough to override her self-consciousness.

Isadora messes up another scale and grows frustrated, giving up. Riley tries to encourage her but she’s not having it, instead going into a mini-rant about how she might actually fail. She might fail something for the first time in her life, as if nothing else could go wrong this month.

Before Riley can put a positive spin on things, their conversation is interrupted by Cory and Topanga reentering the apartment. Their voices are raised and the discussion is obviously an argument. Cory sounds particularly distressed. Riley’s eyes widen, glancing towards the door.

They wait for the argument to dull to intense whispers, disappearing behind the closed door across the hall. Isadora watches Riley, realizing that her life might be far from rainbows and optimistic spins. Embarrassed, Riley agrees that maybe it’s time to call it a night and states that Isadora should probably get ready to go.

EXT. RESTAURANT - NIGHT

The group of friends heads out, still gabbing and planning their next move. Zay sort of lingers behind, a bit zoned out. When one of his friends catches his attention and asks if he wants to come along to the movies with them, he sort of shrugs it off and makes up a lie that he needs to head home. Early morning tomorrow with rehearsals. A couple of others try to convince him to come, but he’s just not feeling it. They all bid him goodnight, stating they should do this again.

Zay watches them go, just as easy going as before. Unmoved, with or without him. Zay exhales, stuffing his hands in his pockets and heading in the opposite direction.

Song Cue ♫ ♪ “Mr. Brightside” as performed by Run River North || Performed by Zay Babineaux (feat. AAA Sophomores)

A soft guitar rift floats us into the number, Zay singing quietly as he meanders his way back home through the city. The performance is truly stripped, the visuals of the city at night acting more as the star as Zay walks through them. The shots pan through twinkling lights, street art in splashes of color on the brick behind him muted in the night, passing amongst groups of friends and couples enjoying each other’s company and feeling much like the subject of the song – an observer, yet pointedly removed.

As the song continues on, the voices of the rest of the cast ease in although they may or may not be pictured. Drifting away from Zay…

INT. FOSTER HOME - ISADORA’S ROOM - NIGHT

Isadora is in her room, headphones on and listening to scales and the notes from the song she’s thinking about performing. She’s trying her hardest to block out everything else and focus, but her foster siblings are being distracting enough. It’s clear she’s growing more and more nervous about the assignment.

INT. FARKLE’S ROOM - NIGHT

Farkle is in a frenzy, brainstorming more ideas for the assignment but scrapping all of them. He crumples up another page of sheet music and tosses it to the side of the bed, flopping backwards onto his bed and hiding his head in his arms.

INT. MATTHEWS APARTMENT - NIGHT

Riley has finished getting ready for bed, passing by the door to her parents’ bedroom. She thinks about knocking, but ultimately decides against it. She’s not sure she wants to know what has conferred on the other side.

She walks away, avoiding the problem for another day.

INT. ANGELA’S APARTMENT - NIGHT

Shawn is getting ready to head out, pulling his shirt back on over his head and reaching for his jacket. Angela comes up from behind him, in her robe, pulling him around to face her. In the serenity of the night, something allows them to be softer than usual.

She takes his face in her hands, pulling him into a soft kiss. Both of them smile lightly, exchanging another one before Shawn starts to leave.

EXT. SUBWAY STATION - NIGHT

Zay has made it to his subway stop, rounding out the song. It’s soft, melancholy, permeating the New York evening. Then, he descends the stairs to the tracks below, disappearing in the crowd.

EXT. LUCAS’S APARTMENT - DAY

Isadora approaches an unfamiliar doorstep the next afternoon after school, stepping up and hitting the buzzer pointedly. It’s not the greatest neighborhood, and she looks a couple of times over her shoulder. Somewhere in the building above, a baby cries. A TV runs. A cramped, overcrowded apartment building with residents who can barely afford to live there.

After a long moment, the door swings open. LUCAS FRIAR is standing there, frowning at Isadora. She doesn’t say anything, the two of them having a tacit exchange. It’s clear he doesn’t want her there, and yet she’s there anyway. She’s Dora, and he’s not going to turn her away.

After a moment he rolls his eyes, stepping back and nodding for her to come in. She does so, marching past him. He shuts the door behind her.

INT/EXT. LUCAS’S BEDROOM / LUCAS’S FIRE ESCAPE - DAY

Lucas and Isadora are cooped up on his tiny fire escape, just big enough for the two of them to sit in if she stays cross-legged and he stretches his feet into the window. Through the pane, a cramped and uncomfortable bedroom is visible. It’s a mess as typical of any teenage boy, but also because there’s simply so much stuffed into a tiny space, and clearly not all of it is his. His bed is a mattress stacked on unshelved books and crammed into the corner.

It’s a paradox, feeling overused yet distinctly abandoned. The small refuge of a person who hates to be there.

His parents are nowhere in sight. Isadora asks him how suspension is treating him, which he shrugs off and doesn’t really answer. She gets a good look at him – aside from the bruises still healing from the fight at school, he doesn’t look much different. Not in any noticeable way.

For some reason, this prompts the question of his parents and how they took the punishment.

Lucas: Mama didn’t really care. She didn’t ask a lot of questions. Just double-checked that I could still go back, eventually.

Isadora: … and your dad?

Lucas: In Texas on business. So he doesn’t know. Think mama wants to keep it that way. So nothing. [ A beat. Then, matter-of-factly. ] For now.

Isadora searches for a change of subject. She explains what he’s missed since he’s been gone, which he seems unimpressed with. He doesn’t react much until she notes the assignment for the week and the fact that the techies have to perform too.

Lucas: What? They can’t do that, they can’t make you perform.

Isadora: Somehow, everyone knew that’s exactly what you would say.

Lucas hesitates then huffs, slouching back against the bars of the fire escape and crossing his arms. Sucks to be so predictable.

Isadora claims that’s the main reason that she’s there. She’s running out of time to figure out the assignment, but she’s totally stuck and can’t concentrate. She thinks that he can help her, to which Lucas is wholly skeptical. But Isadora knows exactly how, getting to her feet and stepping back in through his window.

Lucas: What – what are you doing?

Isadora: [ digging through the chaos, on a mission ] I know it’s in here somewhere…

Isadora exhales an exclamation of victory, retrieving an acoustic guitar from the depths of the storage closet / bedroom. No, our eyes are not deceiving us – it’s old, a little banged up, but definitely a working guitar. In Lucas James Friar’s bedroom.

Lucas groans in disdain and Isadora heads back out towards him, already refusing and reminding her that he hasn’t touched that thing in years. He probably doesn’t even know how to use it anymore. She should put it back. Actually, she should smash it and burn the remains. He’s not playing it. He’s not going to do it.

Isadora ignores him, coming back to stand in front of him. She holds it out to him, raising her eyebrows pointedly. Another tacit exchange, holding each other’s glares.

She wins, as she always does. Lucas grunts out a “fine,” taking the axe from her and adjusting his position so he can situate with it.

Song Cue ♫ ♪ “Breathin’” as performed by Adam Christopher || Performed by Isadora De La Cruz (feat. Lucas Friar)

Lucas launches into the rough opening notes of “Breathin’,” simplistic on guitar. It’s clear he’s rusty, but he definitely did once know how to play the guitar and still retains some of that ability. Boy, if the gent isn’t an enigma…

Finally in a setting where she focus, Isadora starts the first verse of the Ariana ode to conquering anxiety. It’s a little breathy at first, a little nervous, but Isadora was correct in her instinct that being with someone she trusts without question would help her push through her hesitancy. When she gets to the first chorus, she locks eyes with Lucas and the two of them exchange smiles. Not a bad way to spend a suspended afternoon.

INT. AAA - AUDITORIUM - DAY

Dylan takes over the guitar as the performance transitions to the auditorium, Isadora giving her required rendition in front of the techies. Riley is also present, as an invited guest of the singer. The group watches, soft and proud, as Isadora gives a great performance. It’s clear now that this girl can sing, even if she opts not to. What potential that has…

The techies give her resounding applause, Asher and Dave giving a standing ovation. Shawn thanks her and then dismisses the group. Riley gets up and approaches her, congratulating her on a job well done and stating she’s glad she was able to work through the hesitation she was having. Isadora notes offhandedly that she had Lucas help her.

After a moment, Riley ventures gently if Isadora was thinking about him while performing it. Isadora confirms the notion, not thinking much of it. While Riley can certainly empathize, it’s evident that her curiosity as to what exactly the relationship is between Lucas and Isadora is becoming insatiable. She’s always been a little nosy, and for some reason she just continues to find herself more invested in the stakes of what this dynamic might be… just, for some unidentifiable reason…

INT. AAA - BLACK BOX THEATER - DAY

The performers are dismissing from their class, everyone gathering their things and heading out. As Farkle stresses to Angela in the background, Charlie and Zay start to reassemble the desks and help clean up. After Farkle storms out, Angela thanks them for tidying up before heading out herself.

Charlie observes how solemn Zay is, pointing out that he sure started out the week with a lot of confidence to look so deflated now. He brushes him off, but when Charlie doesn’t budge and continues to eye him expectantly, Zay finds himself wanting to talk about it. It’s nice for someone to actually be paying him attention.

It’s surprisingly easy to discuss with Charlie. He essentially explains his weird sense of isolation, how even though he is purportedly the most popular student in their grade he feels like everyone is at arm’s length. Riley enters mid-conversation, hanging back as to not interrupt but clearly listening on how it unfolds.

Charlie expresses sympathy and claims he knows the sensation. Zay sort of scoffs, but Charlie really accurately paints a picture of what he’s talking about.

Charlie: No, really. That feeling where you know you should be living the life, everything is in place for you to reap the rewards, but you just feel… like you’re not really there. Like you’re outside of your own experience and so everything is intangible. Disjointed.

Zay: … yeah. Yeah, I guess that’s it.

Charlie: Like I said, I get it.

Case in point, Charlie doesn’t have any solutions that will easily fix the problem. But he does state that Zay could’ve asked him to hang out, and he would’ve said yes.

Charlie: I know I’m not as cool as you or Maya, but I think on a good day I can be fun. Especially if you’re desperate. [ off Zay’s chuckle ] You know, since someone taught me how.

Charlie gives him a playful nudge on the shoulder, patting him on the back before heading out. He locks eyes with Riley as they pass one another, exchanging a smile and nod with her. As she steps in, Zay asks her how much she overheard to which she admits most of it. He’s like eavesdrop much, to which she shrugs sheepishly but doesn’t refute. This is just Riley, you gotta get used to it Zayby.

She asks why Zay didn’t tell her he was feeling all of those things, to which he claims he didn’t want to inconvenience her or anyone else. She argues that they’re friends, so his discomfort or loneliness is never going to be an inconvenience to her, especially if she’s in a position to help.

Riley: You were the first person to show me kindness in this hellscape. You were my first actual friend.

Zay: I hope that’s not first actual friend ever.

Riley: I know I’ve been sort of… I’ve been distracted by some other things lately. I’m sorry if I left you behind in the process. I’m going to try and be a better friend, but you have to promise me that you’re going to help me do that. Total honesty.

Zay is charmed, so he agrees. The two of them exchange a hug, Riley brightening and claiming that she already needs his help if he’s willing to give it. She hasn’t completed her assignment yet this week, after all, and she sure could use a duet partner for the song she’s thinking of…

INT. AAA - BLACK BOX THEATER - DAY

Song Cue ♫ ♪ “FourFiveSeconds” as performed by Rihanna, Kanye West, and Paul McCartney || Performed by Zay Babineaux & Riley Matthews

Riley and Zay perform a fun and loose rendition of the pop hit, Riley on guitar while the two of them harmonize. They’re up on stools in the front of the classroom, the rest of the performers seated amongst the desks and jamming along. It’s sweet, and watching the two of them sing together and make each other lowkey laugh while performing is the most endearing. Now there is a friendship worth stanning.

INT. AAA - AUDITORIUM - DAY

Class is wrapping up for the day, only one more day in the week for the assignment. Farkle still hasn’t figured it out, running one more frantic idea by Angela who is growing frustrated with how he seems unable to grasp the assignment. She points out that he knows he’s talented, they both do, so why can’t that be enough? Why can’t he let go of the spectacle?

Farkle can’t seem to articulate the reason either, but it’s something deep-seated in that spastic brain of his. So he snaps instead, mouthing off in typical diva fashion. Angela essentially warns him that he better get it together because he’s only got a day left, to which Farkle stomps off yet again. Shawn approaches.

Shawn: Does he realize that each time he tornadoes out of here like that, it loses its impact?

Angela gives him a look. The rapport between them is sharp as usual but a bit awkward, uncertain given how they reconnected and where they stand now. Are they back together? Was it just a one-time thing? It was good for both of them, they both confirm, but going down this rabbit hole again… they don’t know what to think.

And who has time to think, with Lucas and Wyatt both coming back to school next week which is guaranteed to create a whole new host of issues. Who knows what could happen… but still, neither of them purport to regret the choice they made the other night. So it seems they will see what the future holds.

Tentatively, Shawn leans forward and gives her a kiss on the cheek. She smiles, turning away from him as he saunters off. Whatever the future holds, please let it be good…

INT. MATTHEWS APARTMENT - NIGHT

Riley returns home, entering the apartment tentatively and not certain what she might find. She’s been out and avoiding it all day, but she had to come home eventually.

Topanga isn’t home, however. Cory is, sitting at the table and nursing a hot chocolate. He looks totally drained, and it’s clear from a glance that something has changed. All that charged up tension that has permeated their home for so long has shifted, but not necessarily in a good way.

Riley approaches, broaching the topic of what happened with caution. After beating around the bush and apologizing for likely embarrassing her in front of her friends (which she brushes off), Cory drops the bomb – Topanga officially filed the papers for a divorce.

Riley is completely floored. Much like Cory, she figured that even if things were uneven or rocky, they would be able to work them out. They always had in the past, after all. They’re Cory and Topanga. And yet, this is the reality they live in.

It’s difficult for Riley to wrap her head around. She shakes her head wordlessly, too stunned to cry or lash out or do much of anything. Although Cory continues to ramble in an effort to make sense of it all, Riley has zoned out, totally lost in her own head. Her whole world was just thrown out of whack. And boy, if the control freak isn’t going to leap out in compensation…

INT. AAA - BOYS DRESSING ROOM - DAY

Speaking of control freaks, Farkle is frazzled as he attempts to piece together an assignment last minute. He’s been cooped up in there most of the day, skipping half his classes and spiraling himself into a corner.

Maya enters, watching as he makes a mess of another moodboard that is inherently too flashy to get approved. She pokes fun at him which he’s decidedly not in the mood for, almost downright manic. His hair is practically flying off his forehead from how many times he’s run his hands through it in frustration.

Instead, Maya changes tact and claims she can help him. When he asks what bright ideas she could possibly deliver in this final hour, Maya knocks over his mood board and lets it hit the ground. He’s overthinking everything, she states, and that is what is going to make him fail. Zay was right at the beginning of the week when he said that performing should be about just letting go and freeing themselves, at least at the core. The more pizazz he puts on it, the more he’s just trying to control something that maybe just needs to be.

Farkle is defensive, exclaiming in a huff that when you’re in a house with five other siblings and two tycoon parents you have to be flashy to get your fair share of attention, or even just the scraps. Maya grants him that truth, empathizing although her own experience is different. She points out that in this case, he’s not doing this for anyone else though (well, except Angela). And in this case, they can help each other out.

Maya: Look, let me handle the arrangement, alright? All you have to do is sit there, use that golden albeit screechy tenor of yours, and look pretty. Although you’ll probably need a comb first…

[ She reaches up to ruffle his hair. He swats her hand away, eyeing her suspiciously. ]

Farkle: Why are you helping me? We don’t do that.

Maya: Well, I still owe you for the tutoring. And I don’t know… I’ve been told performing is more fun with a friend.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Happy Days Are Here Again / Get Happy” as performed by Glee Cast || Performed by Maya Hart & Farkle Minkus

So, are they friends? Their cozy and endearing closing rendition of the Glee mash-up says maybe so… it’s a warm ending to an episode that certainly set up lots to unpack as we venture into the second half of the season. Your cares and troubles are gone, there’ll be no more from now on…

Yeah, right.

END OF EPISODE.

#S1 #episodes #106