#After that argument at the end of s2 how long do you think Nine would be able to sit in the Grim‚ sitting on the knowledge that he'll be

[smartzelda]

Everyone can rip the theory/prediction for season 3 that Nine brought Chaos Sonic back and he's just chilling in Nine's crystal fortress during the robot battle in the teaser out of my cold. Dead. Hands.

[mdhwrites]

I have two things. For your point of whether Amity and Willow’s friendship was important, I would argue that it is portrayed as important for two reasons. One- Amity loses her first and only real friend (since she just ignores Boscha and Skara as being worth her time, sad hours.) so she wouldn’t be able to just move on to another friend, since she cant. Two – Amity would be constantly reminded of the moment as she has to face Willow for years after and would constantly be reminded of her reason for leaving Willow. I might be being too generous to be fair… and I do still think Amity was way too sadistic in teenage abomination, so it certainly appears like she doesn’t give a shit about Willow anymore.

 As a side note, since you mentioned Wing It, I found it understandable but irritating that they made Luz’s team nearly win in Wing it. Irritating because it showed Luz and Willow being impossibly incompetent not five minutes earlier and the fact that grudgeby was dropped so quickly despite EVERYONE, from the students to Bump frothing over it. But understandable since it was a one-off episode that was just a stand in for ‘Amity’s grand and NoBlE 180’. I just cant help but feel bad for Boscha’s competence and character, even though I know her importance is (arguably correctly and rightfully) in the negatives :/. Maybe I should start liking the fan faves instead of the fan revolted…

So the first point is actually why even in my blog I admit to it working in the show. It's a powerful thing losing your closest friend, let alone the one who might have been your only friend. Really, the whole argument to that blog is a lot more about how I wish they'd been like 8 years old when they'd had to separate because to the two as children, I'm literally uncertain as to how important the relationship was to them. Because they were five so they didn't have much time to actually be together and they probably changed a lot in 9 years. It's a nitpick, not a problem and I try to be fair to when what I am saying is one of those things. Not that you can't still learn from such a thing but it's also not one of those that's a real complaint about the show. Unlike, you know, them not doing anything with it which IS a problem with the show. Your second point though is honestly where the concept of it being a problem does come into play. Even if we say Teenage Abomination wasn't showing us how she normally treats Willow, a concept that would be frustrating from an analytical standpoint, she still bullied the girl into obscurity. There's not really any reason except for Amity's bullying that Willow should be an outcast with only one friend but the bullying to Willow is so severe that EVERYONE knows that you'll get caught in the splash damage being close to her. At least in theory. This is the only reason why in Winging it, she's popular now. I mean, she's been a part of the plant track since Teenage Abomination's ending so why are people only now going "Wow, your plant magic is so good" (besides that as a concept in the school being honestly dumb)? The only that has changed is that she's no longer Amity's enemy. It's safe to like her now. And that is a SEVERE level of bullying to be able to control an entire school to be passively against you because of your opinion of the person. So... Yeah, while Amity constantly had reminders, and that's actually a really interesting way to go with why Amity did the bullying... She also did it for up to nine years. I feel like at that point, you stopped regretting your actions LONG ago. Now you're just inflicting pain. And if the show cared more about Willow, or any connection Amity made besides Luz, that might have been explored. But come S2 we'd see how little both were actual characters and how much they were just meant for specific narrative purposes. *sigh* As for the last thing: The power of a montage is a fun excuse for them getting the power to compete because it's absolutely a trope and they have good fun with it. I also feel like Amity could be said as not only coordinating them but also having inflicted SEVERE mental damage on the enemy team. Boscha isn't playing like she should be. No one there is. They all just lost a friend after all but they were all told you can't look sad. Can't look weak. I wonder who of their friends might have taught them such lessons. Couldn't possibly be the girl who always seemed to lead them or that they looked up to... And then you get the Golden Snitch bullshit which... Read another fantasy series. I've read plenty and only fucking Harry Potter has that "This thing actually is the goal" bullshit. You're not being clever mocking it and it honestly only feels like it exists to shit on Boscha harder for no reason. It's a fine episode for S1 because S1 still has the tone and fun to let things like this slide. In retrospect, knowing where all of those elements it was setting up go, or the elements sacrificed even in that episode pay off for... That's what makes it painful to reminisce. The Owl House has made the ends of so many journeys so bad that it harms the overall trip. And I'm really curious if they'll actually manage to at least make the final ending they have to tell land. I'll have to see what other people think because I still haven't gotten myself to watch any of S3 and I don't think it's happening too soon unfortunately.

[scullydubois]

Only the Light: Ch. 10

10/? | AU where Melissa moves in with Scully after Scully’s abduction | angst, msr slow-burn, occasional fluff | currently: s2, ep 12, Aubrey (post-ep) | T (for now?) | 4.5k | previous chapters | read on ao3 | tagging: @today-in-fic

Missy accompanies Scully to a doctor's appointment. Afterward, Missy confronts Scully about her feelings for Mulder, and Scully slips-up on the phone.

-----------------------------

She digs through her suitcase, searching for the business card she tucked in the pocket with her underwear. A sharp edge penetrates her skin, stings immediately. Her fingers close around the paper card and pull it out. A thin red cut traces the length of her middle finger, blood begging to seep out. She ignores it and grabs the phone off her nightstand, plugging in the number for the Aubrey Motel. 

As she’s dialing, she realizes that it’s already past lunchtime in DC, and even though Missouri is an hour behind, there’s no way Mulder is in his room. She lets it ring anyway, then asks the man who answers for room 12. He patches her through, and sure enough, the line rings until it gives up. 

Impressed by her own newfound patience, Scully hangs up and dials Mulder’s cell instead. She’s not exactly sure why she didn’t just do this in the first place; maybe she likes the idea of Mulder being stationary without her, stuck in his room like a lost little boy with no one to guide him. Her heart sinks when she thinks about Mulder gallivanting around Aubrey, solving the case like there’s nothing to it, like he could have been doing it by himself all this time. She wants him to need her. Naturally, she is ashamed of this desire.

She hits the call button and waits while an invisible force shoots across states and connects her to her partner. She does not have to wait long; he answers after the first ring.

“Hello?” He sounds the same as always. Simultaneously there and drifting, one body split between two minds. 

“Mulder, it’s me.” 

“Hey Scully.” There is a lightness in his voice now, like a balloon cut free of its tether. He is smiling, she thinks...She hopes.

“I just wanted to let you know I made it home safely…” She trails off, not wanting to stop talking to him, but finding herself with nothing else to say. 

“I’m glad, Scully.” He always addresses her by name more when they are apart. This is a comfort to both of them. “How’s Melissa?”

Scully looks through the doorway, confirming that her sister is nowhere near to cause any antics. “She’s alright.” She deals in half-truths. “We’re going to the doctor later to get an x-ray, but I think it’s just a sprain.” 

“Well, keep me updated. I found a lead on the case--Harry Cokely, the suspect of one of the 1945 murders. I’m on my way to see him. He’s been out of jail since ‘93.”

Scully gulps. “Are you alone?”

“Uh-huh.” He senses her tension through the line. “But I’ll be fine, Scully, he’s an old geezer now. What kind of agent am I if I can’t defend myself against an eighty year old?”

“You could have taken BJ with you.”

“And put a pregnant woman in the line of fire? I’ll be fine, Scully. They wouldn’t have let him out if he were still a danger.”

“Okay, Mulder.” This is not what she means, but it has already been a long day, and there is too much left of it to get into an argument with him. 

“I might be able to come back tomorrow,” she blurts out, as if saying it will make it more true. “...I’d like to come back tomorrow.”

“Take all the time you need, Scully. I’ve got this.”

She knows he is trying to be accommodating-- though he so rarely is--but his casual manner confirms her worst fears about her own superfluity. “I want to work, Mulder, you know that.”

“I’m not gonna stop you.” Then, his voice uneven, suspecting but not willing to confront--”Just take care of Melissa--and yourself--okay?”

She nods into the phone. “I will.”  She is staring at the barrel of Mulder’s metaphorical gun, knowing he won’t shoot, almost wishing he would. Bleeding out feels like the simple solution. “Bye, Mulder.”

She is leaving so soon, he thinks, grateful to have had her voice accompanying him on the trip. “Bye, Scully. Call the motel tonight, will you?”

“Alright.” She kills the line, each extra second another thorn in her side, a lie allowed to linger. Sin multiplying.

She stands there, clasping the phone in her hand and feeling like a stranger to herself. Her sister thought she should tell him before she flew a thousand miles and let an hour fall between them, and she disobeyed. What Melissa didn’t understand was that vulnerability is not a word in her and Mulder’s shared language. There’s no way to spell out the situation, even if she had wanted to. And she didn’t want to at the time. Or rather, she had wanted to so badly that it was dangerous, that she knew she risked more pain by telling than by withholding. She would have had to invent new words in their language, expand its bounds, and who knows what would come next. Give someone the language to express their feelings, and they will say them. And what then?

She is scared of her own feelings--and his too--because she knows that admitting means losing, somewhere down the road, and she doesn’t ever want to be without him. If she had never met him, she would never have to live without him. This is the gun that is always pressed to her head. She and Mulder are both holding the trigger.

She doesn’t know if he has such a gun against his temple, thinks that maybe he doesn’t, hopes so at least. There have been others for him, she knows this. Phoebe and...well, Phoebe’s the only one she’s met, and she wasn’t that impressive. But he’s a good-looking guy, and a good guy at that, and the whispers of a dark-haired woman who broke his heart float up and down the hallways of the Hoover building. He doesn’t tell, and Scully won’t ask because she worries that the mystery woman is the gun he holds against his own head.

She sets the phone back in its receiver, tired of thinking about guns and triggers and brains blown out. For now, she is in one piece--she’s pretty sure--and she would like to stay that way for as long as her soul will let her.

Her sister calls from down the hallway. “Dana, are you ready?”

Scully managed to book a last-minute appointment with her OB-GYN, thanks to Missy’s insistence that it was an emergency. Personally, she wouldn’t use such a strong word--I mean, it’s not like she’s hemorrhaging or anything. It’s the absence of blood that’s the problem. But there are tests, scans, and probing of the like that can be done, and once Scully admitted this her sister would not drop the issue. Off to every woman’s favorite place they go. 

--------

The waiting room is a stepping stone, a purgatory, a beginning and an ending rolled into one. She has been here before, many times. In the past, it felt like an inconvenience, not a threat.

She makes an appointment every year, does everything exactly as she is supposed to do in between, and still she is here and scared. She is careful as careful comes, as prepared as one petite woman alone in the world can be. She can dislocate a jaw, strike a man’s legs out from under him, break a nose. And yet, and yet, and yet...Who first uttered “fairness,” thought it existed on this Earth?

Even so, the consolation of knowing lingers in the distance. Like the minutes between calling 911 and the ambulance arriving. Help is on the way. The nightmare will end, or it will settle in. Lucky or unlucky. Win or lose.

Scully is not sure what she wants to hear. Three tests is quite definitive; pregnancy is unlikely. And what else is there? That her cycle has been thrown off by stress, that it’ll come back on its own time, don’t worry about it? That’s no comfort. She doesn’t want something to be wrong with her, but she knows something’s not right, and what’s worse than knowing that you don’t know? She and Mulder have lived in that hell for years. She can handle mysteries of the outside world, but what a cruel trick for her own body to blockade her. 

Missy nudges her from the adjacent vinyl seat, elbow meeting bicep. “What are you thinking about?”

“How my mind doesn’t know what’s going on with my own body,” Scully replies dryly. “I mean, I know I have a tendency to close myself off, but I’ve cloistered myself so much I no longer know what I am.”

Melissa frowns. “Don’t you mean who? Who you are?”

“No.” Scully shakes her head, looks at her lap. In her darkest thoughts and most blistering nightmares, she is not human anymore. They desecrate her, ravage her body, and leave a memento in her skin, a touch of them. It’s so vivid it might be a memory. Mulder wants an alien; he may have one. That would be ironic, huh? 

Can you learn to believe in yourself when you become something you never thought existed?

Can you still believe in God?

Every job she has dreamed of doing involves solving. Knowing enough to know what you don’t know, then figuring that out. Taking the pencil lines, shading them in. Seeking and finding and never wondering why. She cannot keep this up. There has got to be a meaning.

It is not enough, anymore, to simply wonder for the sake of wondering. To cast light over the darkness because you are tired of the darkness. Why? Is she doing it for Mulder, for the traumatized twelve-year boy locked inside him? Is she doing it for herself, fending off the fallibility, reconciling her belief with proof so that she can get off her own back? Or is she doing it because she was told to, because she is still the daddy’s girl who wants to please? 

Twenty-nine years, and she is still coming to terms with herself. We are all our own x-file. We are all taking ourselves apart and piecing ourselves back together and looking for meaning and losing our minds. 

Missy reaches over the wooden arm of the seat and pats Scully’s hand. Scully is reminded that she hasn’t yet ruled out the possibility that her sister is a mind-reader.

“Dana?” a nurse calls. Her first name feels so secondary that Scully feels certain they’re calling someone else.

“Right here!” Missy responds, getting up and pulling her sister along with her. Scully tugs her sister’s sleeve like a child might, wonders if Missy has ever considered motherhood. 

Once in the corridor, they separate. The nurse takes Scully to get her vitals checked, while Melissa seeks out waiting room D, where the nurse’s flat voice--already tired from hours on the job--told her to wait.

It is not long before her sister joins her there.

“How was it?” Missy asks before Dana even manages to sit down.

Scully shrugs. She turns her left hand to show the pink bandaid on her index finger. “My iron levels are above average.”

“That’s not serious, right?”

“No, it’s usually a good thing.”

They sit quietly, listening to the staticky alt rock song coming through the speakers. They are alone in this particular area, but nurses and doctors bustle just around the corner from them.

Scully regards her sister with a latent curiosity. “Have you ever thought about having children?”

Missy turns to her, laughs. “What?”

Scully is somewhat perturbed by her sister’s nonchalant reaction. “Do you want to be a mother?” she reiterates. “It’s not something we’ve talked about since we were kids, so I was wondering.”

“If my life unfolds that way, then surely I think I’d enjoy it. But I’m not prioritizing it.”

“Ahh.” Her sister has always had a particular reverence for destiny. 

“And besides,” Missy continues, “it could be hard, you know, with Trinity and all.”

It takes Scully a moment to realize what she means. “Oh.” That’s something she’s never had to worry about herself. She runs her finger along the grooves of her bandaid, feels her heart clench up for her sister. “There’s always adoption.”

“Yeah, I guess so. It’s a long, drawn-out process from what I’ve heard.”

“Mmm.” Scully nods, wondering how two women could have two such conflicting problems. 

Before she can voice the irony of this, another nurse pops out from around the corner, peers at a clipboard. “Dana Scully?” Her voice is bright and chipper.

“That’s me,” Scully says, raising a hand to show the bandaid, her battle scar.

“I’ll show you to your room.”

Missy pats Dana’s shoulder as she stands up. “I’ll stay here. Come get me if you need me.”

“Okay,” Scully breathes, grateful to be given her space yet to know support is right around the corner.

----------------

For someone that went to medical school--and enjoyed it, for that matter--Scully always feels much too out of place in a gynecology office. It’s nothing she hasn’t seen before. In textbook diagrams, in wall art, in her own flesh. Yet the 3D model of the reproductive system, the color-coded illustration of the uterus, and the various pamphlets on everything from STDs to birth control to what to expect postnatal smother her, serving as a fresh reminder that Catholicism’s tendency to repress haunts her still. She’s more bothered by her involuntary discomfort than what she sees. 

Dr. Zapolsky enters, easing some of Scully’s nerves immediately. Tall and dark-skinned, she has been practicing medicine for 20 years, and Scully has been seeing her since she moved to Washington. She can be intimidating if you don’t know her, but she’s honest and extremely competent, two things Scully requires of her doctors. And herself.

“Hello, Dana.” Scully sits up straighter as the woman’s voice hits her eardrums. She’s admired Dr. Zapolsky for years, seeing her as an exemplary figure, someone that might have been a mentor to her had she put her medical degree to work. “What can I do for you today?”

There are few things Scully hates as much as being the patient. If she’s the patient, that means she has failed at being her own doctor. That means she didn’t know--and worse--didn’t think she could figure it out on her own.

She wrings her hands. “My cycle is over a week late, which is very concerning considering that it’s always been timely. I’ve been having migraines and nausea and nightmares, and I just know something is wrong.”

Dr. Zapolsky drops Scully’s file on the counter. “Well, the pregnancy portion of your urine test came back negative.”

“I took three drugstore pregnancy tests too, and they were all negative. That’s why I’m here.”

“Have you had any notable lifestyle changes over the past few months?” Dr. Zapolsky asks. “Anything out of the ordinary? Stress is a major contributor to fluctuations in the menstrual cycle, as I’m sure you know.”

Scully nods, gathers herself. Dr. Zapolsky is oblivious to the rabbithole she has just fallen into. “I was, um, abducted, about eight weeks ago, and I have no memory of it.”

“Whoa, whoa, whoa, Dana.” Dr. Zapolsky wheels her stool beside the medical chair. “We have a bit of catching up to do.”

“Yes,” Scully looks at her feet. They dangle a few inches above the tile like a child’s. Nothing new. She glances back at her doctor. “There isn’t much to say. I don’t know anything about what happened.”

“Well, tell me what you do know.” Then, seeing the apprehension on Scully’s face--”I’m not trying to play therapist, I just want to understand.”

Scully blinks slowly to keep from crying. It goes like this, it always does: she can manage the trauma until she has to say it out loud. This is a story no one wants to be in, but everyone wants to hear.

“I was taken by a man involved in a case that I worked on. Well, that my partner worked on, actually. I got involved--and long and complicated story short--the man broke into my apartment, bound my wrists and ankles, and stuffed me in his trunk. That’s the part I do remember. After the trunk, it’s all a blur really.”

The doctor furrows her brow. “How were you found?”

“I wasn’t found, I was returned. To the hospital. None of the staff had any idea how I got there, and I was bathed and cleaned by my abductors so no trace evidence was collected.”

“So no rape kit was done, then?”

Scully shakes her head.

The doctor uncrosses her legs, recrosses them with the opposite leg on top. “How long were you missing?”

“About a month...My mother bought me a gravestone, she didn’t think I would be found.” This is a detail she has never spoken out loud. Saying it feels like letting air out of an over-inflated balloon. 

“I’m so sorry, Dana.” Dr. Zapolsky lifts a hand, then puts it back in her lap. “May I hug you?” Scully nods and lets herself be embraced, though she does not feel it necessary. “That sounds like a horrific ordeal.”

Scully shrugs as best she can with Dr. Zapolsky’s arms wrapped around her. “It comes with the job.” Always modest about her suffering, she is. 

Dr. Zapolsky speaks into Scully’s ear. “No, I don’t think it does.” 

The doctor lets go. Scully doesn’t say anything. She curls the fingers of her left hand around her right wrist and squeezes hard enough to be certain that it’ll leave a mark.

Dr. Zapolsky slides her stool back over to the counter, flips through Scully’s file.

“I’d say the best course of action is to start with a blood test. I’ll check a few hormone levels---follicle-stimulating, anti-mullerian, luteinizing. That’ll give some insight into your pituitary gland function and your egg reserve.”

Scully nods along. Those hormones are complicated names she barely remembers, but she trusts it’s the right course of action.

“With that, we can determine whether this is a symptom of a larger problem, or if it’s simply a result of the stress you’ve been under. It should only take a couple days to get the results back.”

Scully nods, bites her lip. More waiting.

“Have you been seeing a therapist by any chance?” Dr. Zapolsky asks.

Scully shakes her head. Dr. Zapolsky should know her better than that. 

“Well, I highly recommend it even to those who have not gone through any trauma. And for a survivor, it can truly be life-changing.”

A survivor. What is she, a war hero? That word is fitting for her father, who lived on the sea and sought eternal rest there. Not her.

“Thank you, but I’m okay.” Scully cannot meet her doctor’s glance.

“If you need any referrals, I can give you some names.” Dr. Zapolsky is just trying to help, Scully knows this, but this is not the help she came here for. 

“The FBI has an on-site psychologist,” she says to close the subject.

“Oh, what a wonderful resource.”

“Most definitely.” Scully smiles weakly and ducks her head, ready to get out of here.

-------

There are many things she is afraid of, but physical pain is not one of them. The unknown, slow but certain death--these are the things that spook Dana Scully. When you’ve spent years being told that what doesn’t kill you makes you stronger, you are prepared to suffer for honor. 

This is simply the prick of a needle, a relinquishing. Doctors used to prescribe it as the cure for any ailment, believing it to vanquish toxins from the body. Med school would have been a lot simpler if that were true.

She watches the blood flow out of her veins and into the vial. Some people can’t look; she can’t look away. Missy is seated in the chair next to her, chin resting in her palm after her offer to hold Scully’s hand was rejected. She traces the path of her sister’s blue eyes as they slide from her arm to the vial in the nurse’s hand. Dana has never been afraid to look--that’s the problem.

In an instant, it is done. The nurse smooths a bandage over Scully’s skin, tells her they will call with the results in a few days. And then it is two sisters, going, going, gone.

----------

They have a pleasant ride home, a soft and sisterly evening in. The prospect of Dana going back to Aubrey in the morning never even comes up, much to Melissa’s relief. Perhaps the illusion of normalcy her sister pedals in her head has finally given way to their unreal reality. They don’t waste a moment on the uncertainty circling them, instead curling up on the couch with popcorn and gummy bears for another Golden Girls marathon.

“Which one do you think Mulder is?” Missy asks during a slow moment in the episode.

“Huh?” Scully laughs. “Which Golden Girl, you mean?”

“Uh-huh.” Missy pops a red gummy in her mouth. “Or is he too interesting to be pinned down?” she teases, mimicking the swoony non-answer he gave about Scully some weeks ago.

“I don’t know honestly,” she says, pushing a blanket out of her lap. “I’m not sure that I know him well enough to decide.”

“You’re kidding.” Missy glares at her. Clearly her sister has not dropped the illusion after all.

“No, I’m not,” Scully intones, getting up to refill the gummy bear bowl. “And that reminds me, he wanted me to call.” She glances at the clock. It’s half past 8 there, so surely Mulder is back in his motel room. 

Missy isn’t letting her off the hook that easily. She follows her sister into the kitchen. “Dana, I guarantee that you know him better than anyone else in the world. If they conducted a test on every single living human being’s knowledge of Fox Mulder, you would get the highest score.”

“Knowledge isn’t the same as understanding,” Scully murmurs, dumping the remaining gummy bears into the bowl. 

“I’ll give you that, but you know what? You do understand him, you’re just too afraid to confront it.”

Scully wants to recoil, but freezes in place instead. It’s just as dramatic but gives less away. After a breath, she crumples the plastic bag into a ball and dunks it swiftly into the wastebasket.

She speaks rigidly, each word cutting through the air. “If I understood him, there would be no fear.” 

Missy feels this in her chest--the aching, the truth in her sister’s voice. Dana is as close to crying as she ever gets. Missy strides over, clasps her sister’s hands in hers. “You don’t have to be scared.” She pulls her little sister in, squeezes her heart to Dana’s own. “He loves you. And I’m not talking about in a romantic way--I don’t know, maybe--but just in general. He loves you, and he would never hurt you.”

Scully’s eyes are glassy with tears now, but Melissa cannot see this in the midst of their hug. “Haven’t you ever been hurt by someone who loves you?” She says into Missy’s ear. “We never mean it, but it happens. It happens all the time.”

“And then you apologize, and you go on. Being hurt once doesn’t mean being hurt forever.”

“It can.” Scully pulls away, wipes her cheeks before her sister can overanalyze. 

“It won’t, not with Mulder. I know enough about him to know that.” She brushes her sister’s hair out of her face. “If anyone was going to cut off the relationship, it would be you.”

“Wha--” Scully gives up the protest. She is partial to burning bridges that are prone to collapse, a last-ditch attempt at dignity. Yet Mulder doesn’t strike her as a bridge that would burn even if she set it aflame. Maybe that’s worse though, it prolongs the struggle.

“Hurting him would be worse than getting hurt,” Scully mutters. 

“Loving him would be better than not loving him,” Melissa responds.

“The correct phrasing of that argument is ‘loving him would be better than being loved,’ if you wanted to copy my logic.” Scully gets curt and analytical when she’s annoyed. 

“Hmm, well, consider that too.”

Their eyes meet and Scully can tell that neither one of them is going to win. “I’ve got to call him before it gets too late.” They both know who he is. She turns on her heels and heads for her room. 

--------

He didn’t pick up the first time she called, which scared her more than she’s willing to admit. She sat cross-legged on her bed until the phone rang again about twenty minutes later, until she heard his voice on the other line.

“Hey Scully, sorry, I was out wrapping up the case.”

“Wrapping up?” She doesn’t even bother to say hello. “It’s over?”

“Open and shut...or, err, something like that.”

“What happened?” Her voice strains for no reason. She clears her throat.

“I’ll catch you up some other time,” he says breezily. “How’s Melissa doing?”

For a moment, Scully forgets her lie and tries to figure out why he’s asking about her sister and not her. Then--”Oh! She’s okay, yeah, it was a sprain like we suspected. Nothing broken on the x-ray. She can just about walk normally now, I think she’ll be off crutches by tomorrow.” Embellish, embellish, embellish. Missy had taught her to lie in the 6th grade, and she finally had some use for that knowledge.

“That’s great! I’m flying back tomorrow morning, I can be at the office by 10 if you wanna meet me there.” 

“Will you tell me about the case? And BJ? How is she?”

“I’ll...I’ll tell you that tomorrow, Scully.” There’s a bit of gravel in his voice, which Scully has noticed comes out when he’s tired or holding back. 

“Fine. Should I assume that by 10, you mean 10:30?”

“Well, you know how the line at the Dulles Chick-fil-A gets,” he wisecracks.

Something goes wrong between her brain and her tongue as she goes to wrap up the conversation. “Alright, 10:30. Love you, bye.”

Mulder makes a noise like a stifled laugh or a cough that couldn’t be held in. “What was that, Scully?”

Her face is flushed, and she’s thankful he can’t see it. “Sorry, I’ve been talking to Missy on the phone a lot lately. Habit.” The voice flowing out of her sounds calm and collected, like that was just an honest mistake. In a way it was...a much too honest one that has made her anything but calm.

“Oh, is that who you say that to?” he teases. 

She laughs. Surely he couldn’t think there’s anyone else, could he? 

“Just Missy, and maybe my mom.” She says it like a promise. He hears it like a prayer. Unusual, for both of them.

“Bye, Mulder,” she says, ushering any sentimentality away. 

“Bye, Scully. Hate you. Oh, sorry--that’s what I say to my dad on the phone.”

Scully giggles into the phone. She’s still giggling as she sets the phone back on the hook.

Even after the call flat-lines, Mulder holds the phone against his ear like it’s a seashell echoing Scully’s giggle back to him.

[coinofstone]

2x11 The Witch's Quickening

Hey Arthur, remember last time you were on a manhunt in Camelot and it led you to Morgana's chambers, and she talked you out of searching them and later admitted that she'd been hiding a fugitive in there? Have you learned NOTHING

And Merlin too, he doesn't like, double back and confront Morgana or suggest Arthur do that?

Why is Arthur yelling at Merlin so much in this? Who wrote this episode.

::Coin watch the show instead of playing on her phone challenge::

Morgana being manipulated by a nine year old

Why is Arthur insulting the food as if Merlin cooked it himself? Every other meal he brings up is from the palace kitchens but on this occasion Merlin cooked himself? Ok.

Even the fkin dragon is OOC in this ep

Morgana is so much more intelligent than this.

Gaius needs to bring this to Uther in the throne room like a member of the public? He couldn't get a private audience with the king? Ok.

I really don't remember this episode being so terrible, maybe I'm in a bad mood.

You know, not for nothing, but from Mordred's perspective Merlin is being an absolute dick, not only siding with the oppressor but actively working to sabotage their plans and hurt their people. As we, the audience, are privy to the reasons behind this, WE don't necessarily questions Merlin's actions, WE know he's after the crystal because he's trying to prevent Mordred and Morgana from teaming up and bringing harm to Arthur - that's all good and well but like... Merlin could never bring himself to kill Mordred because he's just a boy, but yet he's allowed the boy to go off and become somewhat radicalized (I say 'somewhat' because honestly, it's not all that radical to plot to overthrow the king that has been waging a genocidal war against your people for twenty fucking years) without ever trying to bring him into the fold. If Merlin had explained his and Arthur's destinies to the boy, made an argument for waiting out Uther's reign in the hope that Arthur's reign will bring peace and magic back to Camelot, but which may not happen if he sees his father killed by sorcerers, and explained his reasons for hiding who he is from Morgana, regardless of Mordred's ultimate destiny to be Arthur's doom, Merlin would've at least had a shot at cultivating an alliance or at very least an understanding between them. Instead, all Mordred sees is this supremely powerful sorcerer who isn't even a druid, serving the very people that would bring an end to their entire race if they could. Although, it seems as tho Mordred has forgotten who exactly snuck him out of the castle and back to the druid camp in three first place. Makes you wonder if Morgana never explained to him that she was believed to have been kidnapped when they found her with the druids last time, and that she went along with that lie for her own safety.

Tl;dr: communication is important kids!

Do I even need to point out how much sense Morgana's little tiff with Uther did not make? Or her sudden distrust of Gwen? If anything she should think Gwen would be an ally considering a) her father was killed by Uther, as an innocent victim of Uther's war on magic, b) Gwen was party to Morgana's previous involvement in aiding and abetting a druid fugitive, c) Gwen L-I-T-E-R-A-L-L-Y sacrificed herself to save Morgana from Hengist's men, the is zero reason to question Guinevere's loyalty to Morgana, and d) Gwen has never said a WORD against sorcery or hinted at any kind of prejudice against druids or anyone with magic.

I looked up the writing credit for this, it's Jake Michie who is also credited with some fantastic episodes like Lancelot, Beauty and the beast, and the Lamia to name a few. It was directed by Alice Troughton who has also done some good eps, including other eps written by Jake Michie, so like I really don't understand what went wrong here.

Oh God there's a commentary track on this episode. I don't wannnnnaaaaaa but maybe I'll learn something, like why it turned out the way it did.

Commentary by Julian Murphy, Alice Troughton, and Katie. I do not have high hopes.

Katie right off the bat explaining shit that's important to note, God I love her on these tracks. Apparently, this was one of the last things to be shot (Merlin films everything out of order and films several episodes concurrently, depending on filming location.) and it was being shot while three other episodes were being wrapped up - so they had FOUR episodes filming concurrently and a lot of THIS episode was directed by Julian Murphy, and Jeremy shot some of it as well. This COULD explain a lot of the inconsistency, but I question how much since Julian seems to be involved in filming lots of scenes in lots of episodes. But I guess it's possible that just that on top of the rush to finish and the pressure of so many spinning plates in the air right at the end. They've just said that for this episode they had the least amount of days to shoot it out of all the episodes they've done, which is partly why they had so much going at once. It's as good a reason as any to explain it being so off, but I don't really see that explaining the wildly off characterization.

Katie going on the whole thing about Alvarr-as-revolutionary and Alice picks up on Morgana's sort of desire to be in that position and they're having a quite meaningful discussion then Julian:I think she just thinks he's hot 🤦‍♀️🤦‍♀️🤦‍♀️🤦‍♀️🤦‍♀️🤦‍♀️🤦‍♀️🤦‍♀️🤦‍♀️🤦‍♀️

Katie says the script changed a lot even as it was filming, and that things were being changed as it was filmed so I'm kind of thinking for whatever reason this entire thing was a mess and that's why it came across looking so disjointed to me.

At least Julian realize the soup scene was terrible.

Idk why they're ganging up on Katie over the chemistry between her and Alvarr. She says she wasn't playing it that way and that she wasn't feeling it and they're just like "yea uh huh sure."

They're talking about having two units filming like a few feet away from each other in the forest, while there is another two units going in France.

Julian says they had added Alvarr's girlfriend in because they wanted to dramatize his charisma and calculation... but it's not manipulation - ?????????? Someone get the man a dictionary. 'We added a random blonde in four him to kiss so that the audience knows he's got a girl already, who sees him working his charm on Morgana and comments on it 'you played her well', but Alvarr isn't actually manipulative' ??????????

They've just pointed out two entire significant beats within a sequence that was constructed on set and off script. Arthur's confrontation with Alvarr in the forest and Merlin's slow motion tracking the crystal to show its got a powerful draw. The more they describe the specifics of filming the more it sounds like an utter disaster which kind of makes me feel bad for being so harsh on the episode.

I keep having to rewind to focus on what they're saying and I feel like I've been watching this episode for about 4 hours.

Awkward bit of prop-exposure there. Trying to work out what LK could even stand for.

Idk everyone's really happy with this scene between Morgana and Uther and I'm still sitting here thinking the dialogue was utterly ridiculous.

They talked about changing that final scene, where Uther clearly knows/suspects it was Morgana who helped Alvarr escape, so that it doesn't prematurely push the story too far ahead. They cut a look Morgana gives Merlin which, rightfully so, because it would've been too much too soon. The ending to this episode still feels wholly unsatisfying to me. I understand the little tag with the dragon yelling for Merlin to release him, I don't mean that, but the ending to the main story where Alvarr just escapes and Uther not only accepts that but also accepts that Morgana must've helped him. Overall Uther's been entirely sort of neutered throughout this episode, which I understand that partially has to do with it being Morgana, but like, in previous episodes when she's been so defiant against him, he's had her by the throat and locked her in a dungeon overnight. So I just doubt understand him being so subdued here, especially since he directly threatened her when he found pr Mordred escaped, and now another druid's escaped and he essentially knows she was involved given how she spoke to him, yet he doesn't do anything? Just wildly inconsistent behavior.

Anyway apologies for overanalyzing this episode, I realize I tore it apart pretty thoroughly during the commentary and the post became quite long. I wish there was a way to add a cut on mobile but there isn't. I'll have the S2 finale post up in a few hours - I might hold off on posting until I've watched the extras, I didn't do that for S1 but then I felt the extras didn't quite warrant a whole post on their own, so I might just tack on any thoughts I have to the 2x12 post. We'll see.

[ambitionsource]

AMBITION Season 2 ♫ “We’ll Be the Stars” [ 2.11 ]

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

A NIGHT TO REMEMBER – Tensions are set aside in honor of a promenade, and some students opt for a change of pace. A clever ruse forces Eric and Jack to team up. Unfortunate circumstances make for odd couples, but stars always know where they’re supposed to go in the end.

66 Minutes (18K words) || No content warnings apply.

[ ← Rarely Pure and Never Simple ] [ S2 Synopsis ] [ Final Run → ]

( Follow along with the music on Spotify here! )

INT. AAA - DAY

A series of shots guide us into the episode, displaying the school in the midst of preparing for promenade. Banners are hung, student council members work the ticket booth. The halls are decorated according to the theme, “We’ll Be the Stars,” small stars seemingly glittering on every visible surface. A promposal wraps up in the hall outside the auditorium, senior students applauding and cheering as the girl says yes and the other girl wraps her in a tight hug.

Yes, it’s prom time at Adams Academy for the Arts. Let the insanity commence!

INT. AAA - HALLWAY - DAY

FARKLE MINKUS opens his locker. We’re looking at him from the inside, giving us a look at it as he rearranges some things. Its decor has been updated after a long detour of being trapped in sophomore year -- there are fewer photos, but they are newer and more representative of the way things actually are now. A couple photos of him and Maya are the focal point, but there’s a few scattered notable mentions. A photograph of the full Junior A Class; a picture of his whole family; a rare capture of him and Isadora.

From outside the confines of the locker, we hear RILEY MATTHEWS speak.

Riley: And you’re sure you can handle it? I’m sure if you wanted, we could work out something else --

Perspective shifts back to its usual framing, showing the two of them hanging by his locker. Farkle stems her worrying from the start, holding up a hand.

Farkle: I’m going to stop you right there, Riley. Do you know what you’re doing to me right now?

Riley: … demonstrating concern as a good friend?

Farkle: You’re neuro-splaining me. [ off Riley’s expression ] I get it, you’re concerned about my health. Mentally, above all else.

Riley makes a face, obviously not sold on the concept of “neuro-splaining.” As if she hasn’t had her own mental health experiences… but she figures it’s not worth the argument.

Farkle: But trust me, as much as I appreciate it, I will be fine. [ a beat ] I don’t want to miss out on anything else essential to my junior year experience, and prom is one of those things. Not to mention, I certainly won’t be able to graciously receive my prom king crown if I’m not there to accept it.

It’s clear he’s joking, although with his dry delivery… either way, he’s made up his mind. Farkle will be in attendance at the upcoming event, come hell or high water.

Farkle: Besides, it’s bold of you to assume I could avoid it anyway.

Riley: How come?

Farkle: Prom isn’t just an event around here. [ pointedly ] It’s a contagion.

As he closes his locker --

INT. AAA - CLASSROOM - DAY

For how alight with excitement the halls seem to be, classes are still in session and there’s still work to be done. The energy is tamped down in Cory’s classroom, where everyone is completing silent reading for the last few minutes of class.

Still, Farkle was right, and the junior class has been bitten by the prom bug. Everyone is jittery as they sit at their desks, unable to keep still. Under the desk, ZAY BABINEAUX taps his foot to an unheard rhythm. MAYA HART flips her pencil in her fingers, adding to the rhythm against her desk.

CHARLIE GARDNER glances up at the clock, impatiently watching the seconds go by. Tick, tick, tick… as the percussions slowly evolve into an actual beat...

Song Cue ♫ ♪ “You Should Be Dancing” as performed by Glee Cast || Performed by AAA Juniors

The bell rings about 7 seconds in, releasing the class from their academic torture. CORY MATTHEWS cringes as the energy in the room skyrockets, papers flying as the energetic juniors are free to succumb back into the groove.

Zay kicks off the vocals, the number staying in the classroom for the first verse as he volleys lyrics back and forth with Maya. As they escape into the halls…

INT. AAA - HALLWAY - DAY

Charlie takes over, leading the charge into the rest of the school. The three of them are the front of the pack, but they pick up other junior students as they go. The whole atmosphere of the halls has changed, feeling groovier in the midst of the twinkling stars and amped up music.

Around a minute and a half in, they pass by Riley and Farkle and pull them into the dance. The movements become less chaotic and more choreographed at that point, truly a spectacle only AAA could pull off.

As they pass by the techies hanging out on the stairs outside the auditorium, it seems even they aren’t immune to the allure of prom fever. They jump up and join in the parade, JEFF MONROE in particular worth spotlighting due to his breakdancing ability.

And away they go again…

INT. AAA - AUDITORIUM - DAY

By the time they make it into the auditorium and onto the stage, the vibe of their collective imagination has completely succumbed to fantasy. The stage is basically a disco floor as they dance their way up there, the only thing still remaining commonplace their outfits.

And by this point, they’ve paired off. Farkle and Zay stay front and center -- a fun little duo to witness tolerating each other again, if nothing else -- with Maya and ISADORA DE LA CRUZ to their left and Charlie and YINDRA AMINO to their right. In the back, ASHER GARCIA and DYLAN ORLANDO are grooving together, while Riley Matthews gets LUCAS JAMES FRIAR to at least do something.

As they finish out the jam, Farkle and Zay theatrically toss their heads back and raise a hand to the sky. Declarative, with a flourish, what a dynamite finish. One thing is essentially guaranteed on this prom week, that’s for sure.

There will be no shortage of drama.

Cue title sequence.

INT. AAA - HALLWAY - DAY

Zay is at his locker, swapping out his dance duffle for his classwork. When Maya practically jumps him and surprises him at his locker, he’s not fazed -- he might be the only student at AAA who she doesn’t strike instant fear into in one capacity or another.

Zay: What do you want, mini Britney?

Maya touches her hand to her chest, faux flattered.

Maya: You’re so sweet. I was just thinking that you and I have a real opportunity on our hands this week.

Zay: Must everything be about an “opportunity?”

Maya: Ugh, would you stop being such a damp toilette? Your mood has been totally subbasement the last couple of weeks and it’s really harshing the vibes.

Well, Maya, he did just break up with his boyfriend. But people not knowing about them was kind of sort of the whole problem, so he says nothing as he allows Maya the floor again.

Maya: Chin up, Zayby. It’s promenade. And you and I are going to come out of it as royalty.

Maya makes her grand pitch: they should go to prom together. Not out of any romantic interest -- although, as she admits, Zay is by far the most eligible male in the walls of AAA -- but because the two of them would be a shoo-in for junior prom king and queen if they team up.

And like everything else at Adams, there is an opportunity attached. Every year, the duos crowned as prom king and queen in both grades get to perform at graduation. It’s a time honored tradition, one that Maya believes they should not pass up.

Zay: I don’t really see what the big deal is.

Maya: Oh, Zay. Isaiah! Wake up! Snap out of whatever quarter-life crisis funk you’ve succumbed yourself into and smell the potential right in front of you! [ matter-of-factly ] You know that there are always college representatives at Triple A graduation. Of course, it’s to honor the students they’ll be bringing into their ranks, and to hopefully snag some quality time with a celebrity family member or two -- I mean, think how many people are going to be swarming our graduation next year when Valerie comes to support Isadora --

Zay, flatly: Yeah, I’m sure she’s so excited about that.

Maya: But it’s also to scout the next crop of graduates. That’s us. It’s almost cosmic that every junior prom king and queen end up going to amazing schools for the arts -- there was even that junior prom queen in ‘96 who got a straight up recording contract.

Zay: How the hell do you know this stuff?

Maya: Because I do my research, Zay. And I know you do, too. Which is why once you’ve shaken off the ennui and have your head back on straight -- or, bi, whatever -- you’ll realize we have prime real estate in front of us. And it’s ours to take… if we step up to the plate. [ backing away ] You know where to find me.

Well, that’s certainly a proposition. Maya floats away as Zay contemplates it, slinging his bag over his shoulder. It’s a good point, he can’t argue with that, and yet…

He glances to the photo of him and Charlie, still taped up in his locker innocuously amongst the rest. In some ways, it seems, it’s just hard to let go of the way you hoped things would be.

Zay closes his locker, heading on his way to rehearsal.

Dylan, pre-lap: We’ll boycott.

INT. AAA - TECHNICIAN’S BOOTH - DAY

Dylan and Asher are following Lucas into the booth, obviously in a heated discussion. Dylan continues to make bold declarations.

Dylan: We’ll stage a full-on protest. You know, when I was in middle school, I was renowned for my poster-making skills in environmental club. They usually lasted like, nine days longer than usual before people tore them down. And Cory is always saying how loud and annoying I am -- that has to be helpful for a protest, yeah?

Asher: He said that to you?

Lucas: Guys --

Dylan: Or even better --

Asher: I swear, I’m going to report him. Like, sorry Riley --

Dylan: Let’s stage a riot. That’ll really show ‘em! They think they can bar Lucas James Friar from prom? Not when we’re there to literally blow the roof off this place. I bet we can get Isadora to sing “Bad Reputation” -- I think we’d need music to be taken seriously here, so --

Lucas: Hey. Hello. Earth to Asher and Dylan. [ clapping ] Let’s cool it, alright?

Lucas waves off their concerns about his ban from prom. He doesn’t want them wasting energy on him when it hardly matters. All things considered, being barred from stuff like this for the rest of the year seems like the best he could’ve asked for given all the bullshit he’s done this year. He slouches into his rolling chair, shrugging.

Lucas: I mean, it’s not like I was really psyched to go anyway. I think I’m more lucky I didn’t get expelled.

Dylan, under his breath: Would’ve boycotted that too.

Lucas: You guys have been looking forward to this for the last three years. It would be stupid for you to blow it just for me. Especially when we consider everything else you’ve already sacrificed for me. Like your sanity. And your clean legal record.

Dylan: I wasn’t mad.

Lucas, bluntly: You should have been. Asher was, but then, he’s always been the smartest out of the three of us.

A beat of quiet as that truth lingers between them. Lucas reiterates the point -- that he doesn’t want them to give up something they care about just because of him. They do enough of that already. Asher and Dylan exchange a look.

Dylan, softer: … well, we love you, man.

Lucas: I know. [ looking at them, then slowly ] And I love you guys, too.

Well, there’s a breakthrough! Dylan beams, looking to Asher in excitement. Asher is smiling too, although a bit more bashful. Lucas elects to move past the vulnerability quickly -- he can give it, but only so much at a time.

Lucas: Which is why I’m not letting you do this. You’re going to prom, and you’ll have a great time without me. Besides, someone has to give whatever posh performers are gunning for prom court a run for their money.

True enough. In fact...

INT. AAA - AUDITORIUM - DAY

That’s exactly what the rest of the techies are discussing as they start doing end of year inventory. It’s a long process, so they have to start early. Rather, they’re complaining as Jeff and DAVE WILLIAMS pick their way through the furniture and wood supplies under the prop loft. NATE MARTINEZ is supposed to be taking notes, but he’s not doing a great job.

JADE BEAMON is seated on a stack of wood pieces, nodding along as she feverishly works on the finishing touches to a wardrobe piece. It doesn’t look like a costume for any sort of production, however…

Nate: It’s rigged, anyway. Every year the most popular performers win so it’s not like the institution means anything.

Jeff: Does prom court mean anything… anywhere? Ever?

Dave: My parents were prom queen and king when they were seniors. They got a free dinner at Waffle House.

Jade: [ tearing a thread with her teeth ] Sounds like a better prize than performing at graduation.

Inspired by their complaints, Nate lights up with an idea. He claims that they should start a new tradition to go with their holiday party, and should throw a techie pre-prom bash. That way they can celebrate their year together and have real fun before they have to go deal with the performers all night.

Jade: You know, I think that’s the first idea of yours I’ve liked in months.

Nate bows, then enthusiastically gives Dave a high-five.

Their tomfoolery is interrupted by Isadora entering, all of them growing uncertainly quiet. She hesitates but then marches onward anyway, greeting them with the best attitude she can muster. She just came by to drop off some paperwork for them -- she already went ahead and inventoried the wood and set building supplies. This is good, because Nate definitely wasn’t doing it.

Jeff accepts her record, looking it over.

Dave: When did you do that?

Isadora: Oh, I just skipped Matthews’ class. [ offhandedly ] I could ace that class with my eyes closed, so. And probably brain damage.

It’s a nice gesture, and they’re not going to refuse it. Jeff awkwardly thanks her, silence settling over them once again. Isadora clears her throat, clasping her hands together. She expresses that she knows she messed up with them, and she is going to put in the effort to get back in their good graces.

She spins and escorts herself out without waiting for a response, leaving the four of them to contemplate her promise. Interesting development…

Dave: So… we don’t have to count the wood?

INT. AAA - CAFETERIA - DAY

Charlie is having lunch with HALEY FISHER and CLARISSA CRUZ, although he doesn’t seem nearly as enthused about prom as they are. On the other side of the cafeteria, applause erupts again as another promposal between seniors gains public attention. So happy, so romantic!

Clarissa: I swear, nowhere in this school is safe right now.

Haley nudges Clarissa, claiming that she should be less cynical. It takes a lot of bravery to ask someone to prom in front of everyone else.

Clarissa: Yes, well, then they could just have a conversation about it. Or make a big deal about it, but like, between the two of you.

Haley: I think it’s romantic.

Clarissa: You think everything is romantic. You’re the most hopeless romantic I’ve ever met.

Haley: Charlie is too -- you agree with me, don’t you, Charlie?

In all honesty, Charlie was not listening. He blinks himself out of his daze, blankly agreeing with whatever Haley said. Clarissa rolls her eyes.

Haley goes to explain how much courage it takes to do such a public proposal. It demonstrates what you’re willing to go through for the other person, how much you like them. Charlie admits that it’s not exactly an act of bravery to ask someone who you know will say yes -- especially when there’s no stakes involved for either of you.

Haley: Well, there’s always stakes. You know, even if you think you know someone, they could always say no. And there’s a lot at stake with a rejection… you know, especially if it’s… [ looking at Charlie intently ] between good friends…

Whatever hint Haley is trying to lay down, it’s going right over Charlie’s head. He shrugs, claiming he might not even go to prom. He’s just... not feeling it this year. Haley is mortified, Clarissa looking between the two of them apprehensively. This seems like a recipe for disaster.

Meanwhile, the techies are enjoying lunch at their usual indoor table when NIGEL CHEY approaches. He greets them before turning his focus to Jade.

Nigel: … hey, Jade.

Jade, shy: … um, hi.

Nigel: I, uh… I just had a quick question. I was wondering if, uh --

All of the techie eyes are on him, making this whole situation a lot more intense. Dylan is watching with wide eyes, wondering if what he thinks is going to happen is about to happen. Jade might be holding her breath. Nigel pushes up his sleeves nervously, clearing his throat.

Jade: … yes?

Nigel: I was just… [ quickly ] I had a question about the costume you made for that number last week. It’s actually… it’s nothing, I’ll just ask you about it in class. Sorry, ha ha. Didn’t mean to interrupt.

Jade: … oh. Okay.

Clearly not what he actually intended to ask. Nigel backs off awkwardly, making a quick escape. Jade tries to hide her disappointment. Asher and Dylan exchange a look across the table, shaking their heads. Pathetic!

All of the missed prom-portunities are forgotten, however, as soon as Maya and Zay arrive to kick off their pronouncement of going together. Evidently Zay agreed, because here they go…

Song Cue ♫ ♪ “Greedy” as performed by Ariana Grande || Performed by Maya Hart & Zay Babineaux

It’s been a while since we’ve endured a good old disruption in the cafeteria during lunch hour, and this time Lucas is less likely to pull the fire alarm than ever. So Maya and Zay take full advantage of it, bringing up the energy with their talent and an undeniable bop.

They make a point of pulling other people into it at their tables, and of course, Maya is going to climb up onto the tables in her heeled boots. It’s not quite the same full-blown jam session as “Looking At Me” from earlier in the season, but people seem to be into it and in the general prom mood. Spirits are high!

Well, mostly. There is one pointed shot of Charlie forcing a smile as everyone else grooves along, likely wishing he could be anywhere else.

It’s not so much a promposal as it is… a spectacle, but boy, do they know how to put on a show… once they wrap, Maya makes the official statement that they’re campaigning for prom royalty, and if people have any taste, they sure know who to vote for come prom night.

Given how naturally glamorous the two of them are, up high on the table top and looking fresh as ever, it’s hard to argue with that!

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Riley is hanging up her dress for prom, a classic and simple lavender floor-length number. She’s fretting over it as she vents to Maya, expressing that she’s still debating the whole upstate move thing Topanga has saddled her with.

Maya: Well, do you want to move?

Riley: I… it’s not that simple.

Maya: It should be. Either you want to go, or you don’t.

Riley: Yes, but… I mean… there’s lots to think about.

Maya: She said it was your choice.

Riley: Yeah, well, my mom says a lot of things she doesn’t mean, so…

Maya: Have you talked to Cory about it? He might have some insight. Or like, Eric?

Riley chews her lip, avoiding the question. Maya straightens up, asking if anybody knows about this potential move other than the two of them. Riley has plenty of excuses ready as to why she hasn’t mentioned it to anyone else, but Maya isn’t interested in hearing them. She claims she at least, at least, needs to tell Cory. He deserves to know, lest another life-changing thing get sprung on him with no warning.

Maya: Believe me, as the girl with no parents because of sudden life-altering moves, you owe him that decency.

Youch. Well, that’s tough to debate. Riley absorbs it, focusing back on her dress and smoothing it out nervously.

INT. GARDNER HOME - ROSIE’S ROOM - NIGHT

ROSIE GARDNER is chilling on her bed with her laptop, listening to pop music and humming to herself. Charlie comes and knocks on her door, pointedly until she takes out her earbuds.

Rosie: Ugh, yes? Can I help you?

Charlie: You’re so nice. How about, hey, Charlie? How was your day?

Rosie: I’m fourteen, I have the right to be obnoxious.

Charlie: I wouldn’t say it’s a right so much as an active choice.

Rosie groans, asking him what he even came in here for in the first place. He asks if she has anything going on this weekend -- perhaps they could go do something together. It’s been a minute since they did some brother-sister bonding.

Rosie: I dunno. I guess we could go see that new Chris Evans movie. I think it’s coming out next weekend, and I’m probably free Saturday --

Charlie: … well, I was thinking more this weekend. Specifically. Like not next weekend. This weekend.

Rosie: I know what this weekend means, weirdo. [ looking up movies ] Why are you so set on that? Isn’t it prom this weekend?

Charlie: … well, you know, it’s not a big deal. I was thinking I probably wouldn’t even go anyway, so.

Rosie, offended: Charlie! Ew, no, you can’t not go to prom. Don’t be lame, you’re embarrassing me.

Charlie, scoffing: This has nothing to do with you! You don’t even know anybody I go to school with.

Rosie: Yes, but by Gardner law, I’m associated. Just go with your friends! It does not have to be that deep.

Okay… fair point. Charlie questions if her blatant disgust means they’re not going to the movies, and she claims next week… after he doesn’t embarrass their family name by going to prom like everyone else. So much for finding a clever way out.

INT. AAA - JACK’S OFFICE - DAY

Speaking of clever escapes, JACK HUNTER is still struggling to find a way out of the Bradford debacle. So much to the point that he’s now elected to share the issue with Lucas, sitting opposite him with ERIC MATTHEWS as they get him up to speed.

It’s obviously not the kind of thing you want to hear. Lucas is hiding his head in his hands, cursing to himself before turning back to Jack.

Lucas: How long have you known about this?

Jack: … a couple months --

Lucas: Months?

Eric tries to keep stress levels at a manageable level, taking over for Jack in explaining exactly what the suit entails and what the Bradfords are hoping to gain from it. Essentially, they’re hoping that publicly printing Jack’s “questionable” enrollment processes will force his hand. Either he’ll cave and let her enroll regardless, or public dissent will push him to oust Lucas, making room for her in his vacant spot.

Jack, reassuringly: Which will not happen.

But for it to gain any traction, it needs to smell somewhat of a scandal (even if it isn’t) -- which is why they’ve targeted Lucas as their student to blame. They’ve obviously done their research. And between Lucas’s unique situation for enrollment, his lack of participation in the more showcased elements of the school, and his behavioral record…

Lucas, exasperated: I’m guessing stealing a car didn’t help!

Jack frowns. It’s clear he didn’t want to get Lucas involved if he could help it, and seeing this stressed reaction from him is exactly why. But Eric placates them both, reminding them that the fight isn’t over until it’s over. They will be able to brainstorm a way to fix this -- it’s just going to take a concerted effort.

Eric: We will be able to make this work. But it’s going to take a team effort, and total cooperation. You have to trust us, Lucas, and you have to be willing to cooperate. Can you do that? Can you work with us?

What a question, and posed to the notorious school troublemaker at that. But Lucas doesn’t want to leave AAA -- let alone be forced out. He sighs, tilting his head back and swallowing his pride before nodding.

Lucas: Okay. Yeah. [ serious ] Just tell me what to do.

He looks to Jack, meeting his eyes. Ready to do whatever it takes.

INT. AAA - HALLWAY - DAY

Charlie is at his locker, relaying the rejection by his own sister to Riley. She’s leaned back against the lockers, listening sympathetically as he points out another crappy addition to what has been a crappy last couple of weeks.

Along those lines, Riley questions if Charlie still thinks he might transfer to a different school. He hasn’t heard back from Haverford yet, but is he still seriously considering the notion?

Charlie, diplomatically: Given that Zay and I were able to lay everything out there and at least confront the reality of our situation, I don’t think it’s really a necessary maneuver anymore. I mean, the situation is far from ideal, but that I can deal with. I’ve been living in far from ideal my whole life.

Riley: Sad, but sort of inspiring, I guess.

Charlie: I will admit though… it was kind of nice, going through that whole process. Just going out there, you know, proving that I could do things. That I was capable. [ smiling to himself ] If anything, at least I came away with that.

Riley mirrors his smile. Then they’re back on the subject of prom, Charlie lamenting that he doesn’t see what the point is of going if he can’t be there with the person he would actually want to spend it with.

Riley: Considering my ideal date has literally been banned from all school activities and therefore can go nowhere near it, I think I can say I relate.

Charlie: Tragic.

Charlie mentions what his sister said about not making it that deep and just going with friends, and this seems to strike something in Riley. A smile drifts onto her face.

Charlie: Oh no. I know that look. What are you thinking?

Riley: Just that dear Rosamund might have a point. If we are going to be miserable and repressed all night long, then we should at least be miserable in good company.

Charlie: … I don’t know if I like where this is going…

Riley turns to face him, a mischievous smile on her face. She leans in conspiratorially -- her delivery would be more convincing though if she wasn’t so inherently cute.

Riley: Charlie Gardner! [ in a whisper ] Will you go to prom with me?

Charlie stares at her, expression betraying nothing. She matches his gaze, wiggling her eyebrows. Then he can’t help but crack a smile.

Charlie: Well when you look at me like that, how could I say no…

Riley grins, bouncing on her feet and lightly punching him on the shoulder.

INT. AAA - BLACK BOX THEATER - DAY

The first step to putting Lucas in less jeopardy -- actually participating in class. He’s meeting with HARPER BURGESS to discuss how to make his optics better in that regard. Unfortunately, there’s really only one thing he can do…

Harper: If you do even one performance, then at least you’d have something to point to if the case attempts to jump down your throat.

True. Although he looks like he’d rather die, Lucas reluctantly accepts that point. So it’s official -- he’ll be performing a number this week!

Harper: It’s for the best, actually. Everyone else is so consumed with prom fever, they won’t even remember it happened.

Zay: Are you kidding? It’s Lucas James Friar. No one is ever going to forget this.

Lucas: Yeah, um, [ pointing to Zay ] what is he doing here again?

Harper gestures Zay forward to join them. She explains that considering Lucas is literally starting from scratch, he’s going to need help when it comes to choreography. And singing. And well… basically all of it. She figured Zay is one of their best performers and far more willing to lend a hand than, say, Maya. If Lucas wants a chance of pulling off a decent performance, having his help would be his best bet.

Harper: That is, of course, if you’re up for it, Zay.

Zay: Honestly, I would welcome the distraction. It’s been… an interesting few weeks.

So that’s that. We’ve got the team, we’ve got the plan -- time to make shit happen! Even if it kills Lucas in the process. As the backbeat floats in…

INT. AAA - HALLWAY - DAY

Song Cue ♫ ♪ “I Think He Knows” as performed by Taylor Swift || Performed by Dylan Orlando (feat. Asher Garcia)

Two AMBITION firsts in one, as Dylan kicks off his first mostly solo performance by bringing Taylor Swift into the song catalogue. He starts off at his locker, giving us a glimpse into the interior which despite the mess is basically as bursting with love as he is -- full of photos of his friends, his family, and Asher.

Of course, there’s Asher.

And that’s what he’s focused on as he slides into the pre-chorus (“He’s got that boyish look that I like in a man, I am an architect I’m drawing up the plans”). When he sings “It’s like I’m seventeen nobody understands,” he sure means it, because he is seventeen, and nobody does understand. Whew, Taylor really just knows how to write ‘em!

Then he launches into dance, strutting his way down the halls with a definite spring in his step. It’s nowhere near as elaborate as performer choreography would be, but it’s charming and just sharp enough that it’s clear Dylan’s got some real talent.

INT. AAA - AUDITORIUM - DAY

Dylan takes the number into the auditorium, making his way over to the prop loft where he’s guaranteed to find Asher. There’s a brief sequence he basically serenades Asher from down below, scaling the fence around the set pieces until he convinces him to come down. The whole thing is dynamic and fun and a little bit theatrical, humoring their classmates as they watch from the stage before class.

On the bridge, Asher takes over the vocals, taking Dylan’s hand and leading him through the backstage areas. Dylan follows along happily, waiting until they’ve reached the other side of the stage to pull him back towards him. Asher presses their foreheads together (“Where we gonna go… I whisper in the dark… where we gonna go…”), then drifts away as Dylan belts out the note that throws us back into the chorus.

The final swell of the song takes place center stage, surrounded by classmates and with nothing but good energy. The techies are laughing along, cheering, and even the performers are enjoying the rendition. Dylan and Asher sway together in a circle with the beat, doing a final spin under Dylan’s arm before falling back together and breaking into laughter to take it home. The A class breaks into applause, Asher pulling Dylan down into a quick kiss.

And that, ladies and gentlemen, is how you prom-pose!

In the high energy after the performance, Nigel casts another glance towards Jade across the stage. It seems like he really might do something, and she definitely acknowledged his eye contact… but then nothing.

Isadora also notices the exchange, curiosity piqued. She raises her eyebrows, Sherlock brain turning before Maya pulls her into a conversation about how the twink performance was clearly not better than hers and Zay’s… right? Right?

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Isadora brings up the notion while hanging out with Maya and Riley, the three of them spending an evening together to map out prom logistics. She questions if either of them noticed it too, or whether Nigel has ever even shown interest in their classmates before. Maya claims he’s never dated anyone in their class, and Riley states that maybe he’s just shy.

Maya scoffs, focused on painting her toenails a shiny silver.

Maya: Look, Nigel is lean meat. I mean, don’t get me wrong, he’s talented, but the boy has no moxy. He has let Farkle walk all over him for three years, when if he just put like, a crumb of effort in he may have already had a lead by this point.

Riley: You know, it could be that he just… doesn’t care that much.

Maya: Well that was his first mistake.

The point is, if Nigel does have interest in Jade -- which Maya doesn’t get, because she forgets who Jade is half the time -- then it’s more than likely he will do absolutely nothing about it.

Isadora: That’s too bad.

Maya: I mean… I guess.

Riley: Maybe they just want to go with their friends. Prom doesn’t have to be inherently romantic, you know. [ off Isadora’s nod ] I mean, I’m going with Charlie, and --

Maya: Wait. [ sitting up ] You and Charlie are going together?

Riley: Yeah. But, like, just as friends.

Maya: Oh… oh. That’s… interesting.

There’s a plot twist. If Riley’s unnerved by Maya’s tone, she has the right to be. It’s an odd moment, and it’s only subdued by Cory calling for the girls from the living room. There’s a surprise here for them!

INT. MATTHEWS APARTMENT - NIGHT

And what a surprise it is. Maya practically screams when she finds KATY HART in the living area, having just arrived with VALERIE DE LA CRUZ. She runs over and launches into her arms, the two of them hugging tightly.

Maya: Oh my God, what are you doing here?

Katy: Val helped me. Paid my way, so that I could be here for prom.

Isadora: No way?

Valerie: Oh, it was nothing. Hardly a penny out of my pocket. I know how much it meant to me to be here for this weekend -- figured the least I could do would be to allow a good friend the same opportunity.

Certainly no arguments here. Maya and Katy hug again, elated. Cory and Riley exchange smiles, Cory pulling her to his side and into a hug.

Valerie pulls Isadora aside, greeting her and stating that she wants to do something special after prom. Like a girls night, deglam and rejuvenate and catch up. Deglam being key, because Valerie knows Isadora is going to look stunning. She can’t wait!

Isadora is totally open to the idea. She nods, matching her enthusiasm.

INT. AAA - JACK’S OFFICE - DAY

Jack is at his desk, going through the Bradford paperwork. He’s flagging and highlighting every potential point he might have to refute in an argument, emails open on his desktop of pitches he’s going to send to school board members for support if the complaint breaks.

Eric pokes his head in and knocks on the door pointedly.

Eric: Knock knock.

Jack: Who’s there?

Eric: Stop obsessing.

Jack: Okay, we’re done with the bit --

Eric smiles, leaning against the doorframe. He knows Jack is concerned, but he’s already thought so extensively about this problem. He needs to take a mental break from it, before he burns himself out. Besides, there’s always the chance that it won’t even ever go public.

Yes, a chance… but a chance isn’t a guarantee. Jack claims he just wants to be prepared for the worst, which Eric can’t exactly argue against.

What he can do is change the subject. He states he wanted to double check that they’re both still on for chaperoning the dance on Saturday. Jack confirms, wondering why plans would have changed.

Eric: Well… you know, given your own personal circumstances, I just figured you might not want to --

Jack: Eric, I’m fine. [ with a shrug ] After all, what better distraction is there from the shambles of your personal life than watching out for a bunch of rowdy, dramatic teenagers all night long? Can’t think of anything better.

Eric: At least your humor is still intact.

Jack makes a face, accenting the point.

Zay, pre-lap: Okay, literally, what the hell is the matter with you?

INT. AAA - AUDITORIUM - DAY

Zay is attempting to teach Lucas choreography, but it’s clearly far from easy. Not that that’s surprising, but it’s evident that Lucas was not meant to be a dancer. It’s a challenge unlike anything Zay has ever confronted before, regardless of how hard Lucas is trying.

Zay: I don’t -- like, is your brain connected to your limbs? How is this not clicking?

Riley enters, brightening when she finds them both. She asks how everything is going, and the look that both of them give her basically answers her question for them.

Riley: I hope I’m not interrupting.

Zay: No, you know what? It’s good. I need a break. Rome wasn’t built in a God damn free period. [ pointing to Lucas ] Don’t go anywhere with your two left feet, Fry Pan.

Lucas holds out his arms. What do you want from me? As Zay marches off, Riley tries to hold back her smile as she joins Lucas at center stage.

Riley: So seems like it’s going good, then.

Lucas: Oh, haha. [ making a face ] You know -- and this may shock you -- I’m not a dancer.

Riley, gasping: No. You’re kidding?

Lucas: I know, I know. Brand new information.

Riley smiles, asking to take a look at Zay’s choreography sheets. Lucas hands them over, Riley hopping onto the stacked acting blocks and reading them over for herself. He watches her as she reads, only shifting his gaze to his feet when she glances up to look at him.

She says that all things considered, the choreography isn’t so bad. He just has to keep working at it, and the whole thing is pretty low stakes anyway.

Riley: What even made you decide to do a performance? I have to admit, I never thought I would see the day.

Lucas: … well, with everything I did this year, figure it’s the least I can do. Just putting the karmic cycle back in balance.

Riley: You believe in karma?

Lucas: Could be. Either way, mine is shit. Objectively speaking.

Riley gives him a look. She glances back down at the papers and then states she’s sure he’ll be fine, and she for one is looking forward to the show. He rolls his eyes.

Lucas: You know, they have words for people who demonstrate ridiculous belief in unreliable things. It’s called blind faith. Usually it’s reserved for important things though. Gods, governments. Conventional belief systems.

Riley: Well, I’m nothing if not unconventional.

Lucas, quietly: Yeah.

The tension between them is palpable, even with the fair amount of space between them. They hold each other’s gaze, another one of those moments where they can’t seem to look away from one another. If it were possible, they might just stand there and look at each other forever.

Fortunately -- or maybe unfortunately, depending on your perspective -- Zay keeps that from happening. He reenters and tells Lucas to get ready to run it again, totally oblivious to their lingering moment. Riley hops off the acting blocks as Lucas clears his throat, directing his attention back to Zay.

Riley: I’ll get out of your way. Good luck. [ smiling ] Both of you.

Zay waves her off, sending her on her way. Once she’s gone, he turns back to Lucas and lets out a grand sigh.

Lucas: Now you’re just being a bitch.

INT. AAA - COSTUME LOFT - DAY

Jade is in the costume department, ignoring the task of organizing the leftover fabrics from this year and painstakingly attempting to fix the project she’s been working on all week. When someone enters she jumps and tries to hide the garment, straightening up and nervously looking towards the doors.

It’s not who she was expecting. Isadora enters, pushing a costume rack.

Isadora: Sorry. Didn’t mean to startle you.

Jade: No, it’s okay. I’m just um… it’s fine.

Isadora nods, bringing the rack all the way in. She explains that she got a head start on the inventorying of the costumes, and all the ones on the rack here are finished. She intends to put them back after theatre lab, if that’s alright.

Jade, surprised: Um… sure. Yeah, that would be helpful.

Isadora: Great. [ a beat ] I really am sorry, Jade. It wasn’t intentional, but I know I dropped the ball when it comes to pulling my weight on our team. [ hesitant ] And our friendship.

Well, Jade isn’t going to tell her otherwise. She shrugs lightly, acknowledging the apology but not necessarily accepting it quite yet. It’ll take time, and Isadora gets that. But she’s said her piece, and now all she can do is keep working to make reparations.

As she’s heading out, though, she decides there’s one more thing she wants to say.

Isadora: About Nigel.

Jade: Huh?

Isadora: Nigel. If you want to go to prom with him… then you should just ask him yourself. Don’t wait around for some boy to do the job right when you’re perfectly capable of doing it -- and probably better. He’s chicken, but the way he’s been looking at you… I’m pretty sure he would say yes.

Something to think about, at least. Jade considers it as Isadora exits, leaving her alone with the costumes.

INT. AAA - CAFETERIA - DAY

Riley has joined Charlie, Clarissa, and Haley for lunch. As they chat the notion of Charlie and Riley going to prom together comes back up, Haley visibly taken aback by the reveal. She starts to question how that came to be, obviously struggling to accept it, when their conversation is totally derailed by Maya paying a visit to their table.

Although she’s all bright smiles, the tone is mildly threatening as Maya confronts Riley and Charlie. She also is questioning their union for promenade, wondering if their admittedly perfect cookie-cutter image is intent on also campaigning for prom court. Because it would sure be a shame for them to have to go head to head…

Maya might be built like a pixie, but the threat behind her words resonates loud and clear. Charlie shakes his head, stammering to correct her thinking.

Charlie: Oh, we’re not --

Riley: We weren’t planning to --

Yeah, no. It’s a no. This seems to appease Maya, who relaxes and turns back on the charm. Still, her friendly laughter still feels ominous as she wishes them the best, and reminds them not to forget to vote for her and Zay for prom king and queen come Saturday evening.

Clarissa shakes her head, reiterating her former stance.

Clarissa: Nowhere and nothing is safe.

INT. AAA - ERIC’S OFFICE - DAY

Eric is putting on his most encouraging counselor smile, sitting across from Isadora and Farkle. He’s just wrapping up a pitch, stating that considering they’ve become such good friends in the last few months, he thought maybe it would be a good idea for them to go to prom as a duo. Just as friends. Pals, looking out for one another! Good, old, promenade buddies.

Farkle seems entertained by the mere suggestion. Isadora looks unamused.

Isadora: So you want me to babysit him.

Eric: That’s -- that’s not what I said.

Farkle: That’s basically what you said.

Eric tries to save face, but he forgot he’s dealing with the two most intuitive (and judgmental) students in the junior class. They see right through his facade, recognizing this tactic for exactly what it is.

Isadora: Also, what makes you assume I don’t already have a date?

Eric: … well do you?

[ Farkle looks to Isadora, raising his eyebrows. When she huffs, he cracks a smirk. ]

Isadora: No, but that’s not the point.

Eric relents, talking to them straight. Yes, they want Farkle to have company at the dance due to his history over the last few months. Ideally, this would be a small ask, considering they are friends and would likely be hanging out at the event anyway.

Eric: You are friends, yes?

Isadora: Request pending.

Farkle: I think of it more as intellectual sparring partners.

There’s really no good way to respond to that. Eric requests that they consider the option, as it would be a favor to him if nothing else. Give him a little peace of mind.

That’s just the selling point he needed to flex. Isadora glances between them, then sighs, claiming Farkle will pick her up when she decides he will.

Eric is thrilled, and Farkle doesn’t look all that opposed either. This, he claims, is a good thing. They’re thwarting problems before they even arise. No problems for junior prom this year!

INT. AAA - HALLWAY - DAY

Clarissa runs into Charlie, concerned. She takes his arm.

Clarissa: Problem. Big problem.

When Charlie asks her what the heck is going on, she states that Haley has finally broken down. She’s up in the costume loft and is refusing to talk, and she’s effectively decided she is not going to prom. Whatever crazy plague is running through their class, it’s finally hit her.

Charlie sighs, nodding and telling Clarissa he’ll handle it. He takes off at a jog towards the auditorium.

INT. AAA - COSTUME LOFT - DAY

Haley is sitting amongst the costumes, wiping tears from her cheeks. When Charlie pulls himself into the loft it almost makes it worse, Haley shaking her head and telling him to go away.

Haley: As if this could not get any more humiliating.

Charlie: Hey, don’t worry, I have had… my fair share of breakdowns up here.

He settles down next to her, in the exact spot he was crying just an episode ago. He waits patiently for her to acknowledge him again, asking her why she’s so upset. Clarissa told him she wasn’t going to prom -- what’s that all about?

Haley shrugs, huffing and avoiding eye contact with him. She shakily admits that some part of her always thought… maybe it was stupid, but he really doesn’t get it. They can be friends for years, spend all this time together, and he still has no idea. And she just… she feels like such an idiot. All of this is just so stupid.

Charlie pauses, searching for how to tread cautiously.

Charlie: If we’re being honest with each other… I know.

Haley: You -- you know. You know that I --

Charlie: Yeah. I have for a while.

Haley: Oh God. [ hiding her head in her knees ] That’s even worse.

Charlie: It’s not, Hales. You can’t help who you like. [ a beat ] Although, still being honest… I don’t really think you do.

Haley lifts her head, frowning at him. She asks what he means, and Charlie tries to figure out the best way to articulate what he’s thinking.

Charlie: Believe me, I speak from experience here, but I think it’s… really easy to become in love with the idea of something. Things that seem easy, and perfect, if they could just work out a certain way. So we fall in love with those ideals, rather than the way things actually are.

Haley: So, what? You think I’m just making everything up?

Charlie: No, I believe some of it is real. I believe you love me -- and that makes sense, because I love you, too. We’ve been friends for years, like you said, and I can’t imagine what my time at Triple A would be like without you. I don’t want to.

[ Haley wipes her eyes. ]

Charlie: But I think, realistically, that’s all we’re ever going to be. And I think you know that, too -- it’s just safer to keep things the way they are now. Where you never get what you think you want, but then you never get hurt, either.

Haley: … okay, you’re kind of freaking me out here. Get out of my head.

Charlie, laughing: Like I said, talking from experience.

A quiet moment passes between them. Charlie goes on to state that Haley shouldn’t give up her junior prom, especially not over him. They’ll both be there, and they’ll still get to spend the evening together with Clarissa and Riley and the rest of their friends. It’ll be fun, even if it’s not the fantasy they imagine in their heads.

Charlie: And as for the rest of it… I guess you and I will both just have to see what the future holds. Rather than hiding behind expectations we know we’re never gonna meet.

A tough pill to swallow, but important. Haley exhales and then nods, giving up. Trading out the fantasy, but perhaps for the better. She gives him a smile.

Haley: I do love you, Charlie Gardner. That much is true.

Charlie returns the beam, accepting the hug she gives him.

INT. AAA - BLACK BOX THEATER - DAY

Jade is standing outside the black box, watching Nigel chat with Yindra and NICK YOGI. Dylan and Asher stand behind her, hyping her up as she gears up to do the impossible.

Asher: Just be yourself. Be straight-forward.

Dylan: Go in there and get what you came for.

Jade: Right. Sure. [ a beat ] What if he says no?

Dylan: Sock him.

Asher glares at him, Dylan shrugging before smiling to himself. Asher takes the more serious approach, bracing Jade’s shoulders from behind.

Asher: If he says no, then it’s his loss. You’re Jade Beamon --

Dylan: Jade motherfucking Beamon!

Asher: And he would be lucky to get even an evening of your time. [ patting her shoulders ] Go get him, queen.

Dylan lightly nudges her forward, Jade taking a deep breath. Then she marches into the classroom, approaching Nigel and tapping him on the shoulder.

When he turns around and meets her eyes, for a second it seems like she’s going to run. But she squares her shoulders, clears her throat, and speaks as confidently as she can.

Jade: Nigel.

Nigel, surprised: Jade?

Jade: We should go to prom together. If you want to. I mean -- you should want to go with me. But only if you do. The point is -- will you go to prom with me? Maybe?

The back and forth between assertive and timid is jarring, but also quite charming. Nigel takes a moment to fully absorb what’s happening, but the smile that blooms across his face is near instantaneous.

Nigel: Yes. Yeah, I’d -- I’d like that a lot.

Jade: Great! I mean, um, great. Good. I’ll text you with details.

Nigel: Okay. Great.

Jade: Great. Okay… great.

Jade spins on her heel and marches back out, Yindra and Yogi exchanging wild looks. But Nigel is fully endeared, obviously not at all opposed to this turn of events.

As Jade escapes back into the hall, Dylan and Asher mob her with congratulatory hugs and pats on the back! She did it! Jade Beamon is going to prom with Nigel Chey, baby!

In tone with the celebratory mood, the bold brass opening floats in…

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “I’ve Gotta Be Me” as performed by Glee Cast || Performed by Lucas James Friar (feat. Zay Babineaux)

Another AMBITION first for the bucket list, Lucas gives his first almost solo performance, with a Broadway number, and that isn’t fueled by pure rage. Zay is on stage with him to help with the choreography, but in some ways that’s a nice way to help take the pressure off. It’s sort of like a dress rehearsal rather than an actual performance.

And look… it’s not great. Lucas is not a performer, and he was never pretending to be. But it’s passable, and honestly the vocals aren’t half bad. There are even a couple of rare, fleeting moments where it seems like he might actually be having fun.

The real fun is for the audience though. His classmates are near entranced by the spectacle, having watched Lucas do nothing but grump and roll his eyes for three years straight -- and especially the majority of this year. Farkle is watching with his jaw dropped open, blankly stunned. Riley is hiding her fond grin behind her hands, shaking her head. Isadora is openly laughing, but with him rather than at him. Even Jack and Eric came to watch, thoroughly amused, and maybe a little bit proud.

The techies are cheering along the entire time, and when Lucas gets through that last note and hits those last steps with Zay, they leap to their feet and give him a standing ovation. Given the year he’s had, the uproarious applause sort of feel well-deserved.

He survived, God damn it, he survived!

INT. AAA - COSTUME LOFT - DAY

Jade is leading Asher into the floor level of the costume department by both hands, the latter having been instructed to keep his eyes closed. He’s playing along, but nervously, reminding Jade that he hates surprises and also hates not being able to see.

Asher: You know going blind is one of my anxieties.

Jade: Everything is one of your anxieties. But hold on, we’re almost there.

She gets him right in front of where she’s hung up her latest project, pulling back and instructing him to open his eyes. He does, seeing the surprise and expression growing shocked.

It’s a pair of suit jackets, custom-made for junior prom. They align with the theme in terms of the subtle allusions to stars and shimmering elements factored into the design, but they’re inverse in terms of colors -- one mainly creme-colored with darker accents, and the other dark with lighter accents. Matching, but unique. And clear labors of love, from a seamstress who knows her craft.

Jade explains how she got the idea to make them, how she wanted to make sure they were clearly a matching set like Asher and Dylan, but also distinct from one another.

Jade: We just used to talk all the time about how fun it would be to have custom stuff for prom, when we got there one day. And you used to always talk about what you and Dylan could wear, but then would get all embarrassed, as if that was silly. Like it would never happen, that you couldn’t last that long. [ a beat ] Well, we got here, and I just figured after the hell year we’ve had…

Asher is staring at them, speechless. He’s tearing up, at a loss for what to do. Jade takes the impending waterworks as a bad sign, searching for a way to recover.

Jade: I mean, if there’s something you’d like better, you can just tell me. Or if you already picked out tuxes, that’s totally fine too, you don’t have to wear them --

Asher interrupts her nervous rambles, barreling her with a hug. The embrace is tight, and although there are tears the tone in his voice conveys that they’re happy.

Asher: I love you so much.

Jade beams, getting choked up too. She hugs him back.

Jade, teary but laughing: I love you, too.

INT. MATTHEWS APARTMENT - NIGHT

Prom night is upon us! There’s a flurry of activity at the Matthews apartment, making it more lively than its been in months.

AUGGIE MATTHEWS is there to help Riley get ready and spend the weekend with Cory. Riley is obviously happy that he’s there, grinning when she emerges from the hall in her gorgeous lavender gown and he jumps up in excitement. She questions where their dad is and Auggie nods towards the fire escape, Cory visible through the window.

EXT. MATTHEWS APARTMENT - FIRE ESCAPE - NIGHT

Riley delicately climbs her way out onto the balcony, Cory going to help her through when he notices she’s trying. Once they’ve got her upright, he gets a good look at her and goes soft with fatherly pride.

Cory, softly: You look lovely.

Riley smiles, both of them adjusting further out onto the fire escape. They take a moment to look at the scenery of their street, throwing a couple of jokes back and forth about how she’s going to prom with Charlie and whether or not Cory should be worried (he should not at all).

After a moment of quiet, Riley pecks up the courage to speak on what she really needs to say.

Riley: When mom called a couple weeks back, it wasn’t just to check in. She, um… [ off his wary expression ] She wants me to come upstate, too. For senior year.

Cory: … oh. [ swallowing hard ] Oh.

Riley: I’m not telling you because I’ve made any sort of decision, yet, or anything like that. I’m going to take the time to really… really think about it, and make sure I make the right choice for me. [ a beat ] But I just… wanted you to know what was going on. And also that no matter what happens, I’m still with you. I’m not going to leave you alone.

Cory nods, trying his best to accept it. Riley hesitates, deciding if she wants to continue.

Riley: Regardless of what I choose though… I need to be clear that I can’t be in the middle anymore. I love you both, but I am tearing myself apart trying to keep up with the constant back and forth. Trying to keep things civil in this family when I don’t think that’s supposed to be my job.

Cory: It’s not… Riley, I never meant for --

Riley: I know. And part of it is me -- feels like I’m always looking for other things to focus on and fix rather than myself. [ with a deep breath ] But I can’t keep living like that. I need to start focusing on myself… and that comes with setting boundaries. I love you, dad, but I can’t carry your baggage with mom anymore. It’s your fight, not mine.

Cory hesitates, obviously feeling guilty. Then he nods, assuring her that he’ll try his best to remember that. He doesn’t want to make this any harder for her than it already is. And if she’s trying to get him to hear her, then he’s listening. He really is going to try.

Riley smiles lightly, leaning forward to pull him into a hug. He returns the embrace, stating that he’s grateful he gets to be here with her on this important night. They pull apart, Cory fixing a piece of her hair.

Cory: Absolutely beautiful.

She smiles again.

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

Katy and Maya are sharing a similar bonding moment. Katy has taken over eyeliner duties, adjusting Maya’s makeup with her expert hand. She claims Maya has a tendency for overdoing it, which makes her laugh.

Maya: Tell me something I don’t know.

When she’s all finished, Katy looks at her daughter lovingly. She looks stunning, in a beautiful silver and white dress and blonde hair glossy as ever.

Katy: Like bona fide royalty. [ touching her chin ] No matter what the votes say.

Maya grins. She pulls her into an embrace.

INT. MINKUS HOME - NIGHT

JENNIFER MINKUS is nitpicking at Farkle, brushing off the shoulders of his navy suit jacket. He tells her to stop fussing, but she requests just one more second. She reaches up on instinct to fix his hair then remembers there’s not as much there as there used to be. Then she smiles, bracing his shoulders.

Jennifer: Beautiful boy. Perfect.

The housekeeper claims that the driver is downstairs, so Farkle should start heading out. STUART MINKUS shares an exchange with him as he’s in the entryway, offering him a Minkus good luck charm. It’s a silver lapel pin, a little crest shape related to their family coat of arms.

Stuart carefully pins it to Farkle’s lapel.

Stuart: You know, I wore this when I went on my first date with your mother -- and look where we are now.

Farkle, scoffing: It’s not -- this isn’t that kind of…

He doesn’t finish the sentence, letting it trail off. Stuart’s expression is amused, claiming he doesn’t quite buy it, but relenting for now.

When he finishes and smooths the lapel to crisp perfection, he takes a moment to really take in his son. Still with him, still standing in spite of everything that’s unfolded. It’s clear that there’s something he wants to say to him, heavy with the same weight that him sleeping at his hospital bedside all through his recovery held.

Yet, the words still don’t exist. Emotional expression has never been paramount in the Minkus household, and old habits die hard.

Instead, he pats his shoulder bracingly and wishes him luck. Jennifer comes to join Stuart as Farkle steps out, both of them wishing him a good time. Have some fun! This is your night of freedom, soak it up for all it’s worth!

Isadora, pre-lap: I don’t see how much fun it could be when we’re being watched by faculty all night long.

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

Isadora is seated at the vanity in Eric’s guest room, the space she’s taken over while staying with him. It seems that per their last conversation, Eric is keeping to his word with Valerie and is giving Isadora an actual legitimate place to stay in the mean time rather than Blue’s couch.

She’s sitting impatiently as Lucas stands behind her, braiding pieces of her hair to complete her prom look. A hidden talent, perhaps? It looks pretty, to say the least. He plainly states that she’ll be having more fun than him no matter what, there’s little doubt about that.

As he wraps up the last braid, Isadora pulls on her Converse and carefully gets to her feet.

Lucas: What, no heels?

Isadora: Are you kidding me? I think I’d break my ankles.

Lucas: Very “I’m not like other girls” of you.

Isadora: This is not about faux-originality, this is about my comfort and safety. As well as the safety of others.

The shoes hardly put a dent in the overall ensemble anyway. She’s in a gorgeous dark blue number, accented with a sheer layer of star patterns and custom designed by one of Valerie’s designer friends. It’s certainly not her typical ensemble, but she makes it work. Beautiful, but still a force to be reckoned with.

Lucas smiles, lightly punching her shoulder. He tells her she looks good, and she nudges him back before saying thanks.

Lucas, more serious: Sorry I can’t be there. To be there for you.

Isadora: It’s whatever. Be sad for your own sake, not mine.

Eric calls for Isadora from the hall, the two of them heading towards the door.

INT. ERIC’S APARTMENT - NIGHT

Eric is adjusting his suit and tie in the hall mirror when there’s a curt knock at the door. He goes to open it, delighted to greet Farkle on the other side. He gestures him inside, Farkle awkwardly making his way in and stuffing his hands in his pockets.

Both of them soften when Isadora emerges from the hall, obviously exceeding expectations. Eric tells her that she looks great -- Farkle says nothing, because he has no words. How are you supposed to react when your intellectual sparring partner shows up looking like that?

For a moment, all of them just hang awkwardly in the living area. Lucas clears his throat, scratching at his neck. That’s as good a cue as any, and Eric claims they should get going if they’re going to get there early to help set up. The price they pay, carpooling with a chaperone.

Eric ushers them out, giving Lucas a pat on the shoulder and telling him he’ll drop him off at his destination for the first half of the evening. And away they go! As their door closes…

INT. GARDNER HOME - NIGHT

Another opens, Riley standing bright and smiling on the doorstep of the Gardner home. AMBROSE GARDNER takes care to greet her cheerfully and help her inside, asking if there’s anything he can get her.

She should be grateful that the sanest member of the family met her first. ELEANOR GARDNER excitedly comes in from the kitchen moments later, greeting her enthusiastically and wanting to know a million things about her. Of course, they’ve heard so much about her already -- feels like Charlie is always talking about her!

From the living room, Rosie and DAISY GARDNER watch curiously.

Daisy: She’s pretty.

Rosie: Yeah.

Daisy: How did Charlie manage to get that?

Rosie: Shh.

As if summoned, Charlie rushes down the stairs. He looks charming in his relatively simple tuxedo, the touches of purple in his tie and pocket square perfectly accenting Riley’s dress. She gives him a hug as he reaches the bottom of the stairs, all of the Gardners eyeing them as they interact in front of them for the first time.

And to be fair, they look lovely. They seem near classic, the picture of prom perfection… but it’s so… boring. Whatever spark of flirtation Eleanor thinks she’s seeing between them, it’s absolutely nothing.

Still, she insists on getting some photos before they go. Charlie is embarrassed, but he allows it. As they’re assembling against the wall by the door, he leans over to whisper to her.

Charlie: Sorry about this. You look great, by the way.

Riley: Thanks. You too. And it’s fine. These’ll be great pictures to show my kids someday.

The choice of “my” rather than “our” is very pointed. Charlie gives her a look, elbowing her and earning a giggle out of her. Eleanor captures the moment, claiming that’s the perfect one.

Then Charlie tries to plot their escape, claiming they really should get going. Ambrose thanks Riley for driving -- Eleanor jokingly warns them not to stay out too late! A-wink!

Charlie looks like he’d rather be dead. Riley holds back her laughter as they escape into the night, the whole family sending them off cheerfully.

Once they’re gone, Ambrose and Eleanor exchange thoughtful looks.

Ambrose: She seems nice.

Eleanor, “knowingly:” Mhm… pretty…

Yeah, she really thinks this is something else. As she saunters back towards the kitchen…

INT. ORLANDO HOME - NIGHT

Song Cue ♫ ♪ “That’s What I Like” as performed by Bruno Mars || Instrumental

The techie pre-prom gathering is in full swing, the techie jams playlist on shuffle as they get ready together and mingle. Some of their parents are also in attendance (and likely to have a party of their own once they get them the hell out of there), namely LEVI GARCIA, EMILY GARCIA, and of course RANDALL ORLANDO.

Randall subtly interrupts a conversation between Lucas and Jade, where she’s just finished commenting on how nice it is for this gathering to be snapback free. It’s true that Lucas does stick out like a sore thumb, in his plain old blue flannel and jeans rather than dressed up like the rest of them.

The two of them exchange a bit of small talk before Randall gets to the point, asking Lucas about how things are going. Considering the last he heard about everything was literally picking up Dylan from the police precinct because of the joy ride, it stands to reason that he would be interested in knowing since he’s let Lucas back in his home since then.

To his credit, Randall has also been more of a dad to Lucas than his own, in spite of how avoidant Lucas can be. So he tells him the truth, stating that it’s been better but it’s also definitely been worse. He apologizes for what happened with the joy ride, and assures him that he’s banking on that sort of thing never happening again. Randall gives him a nod and a pat on the shoulder, approving.

The moment is interrupted as Nate gets their attention, using a cooking spoon as a faux microphone as he plays MC. He thanks them all for coming (which Dave and Jeff jeer at) before claiming he has the distinct pleasure of introducing their host and his paramour for the evening, showing off their custom-made, never before seen Jade Beamon originals.

Nate: First up -- you know may know him as Dyl Pickle, vlogger extraordinaire, the deviant who once stuck a whopping thirty-two sticky notes to Shawn Hunter’s back in one class period. He’s as gay as they come, in every sense of the word. Host of the evening and renowned “kissing expert” --

Asher, from upstairs: NATE!

Nate: What? He told me to say it! Anyway, let’s give it up for the one-of-a-kind Dylan Blake Orlando.

All of them cheer theatrically as Dylan comes downstairs, sliding down the banister and hopping onto the bottom step. He shows off the suit jacket Jade made, looking even fresher and fun actually on him than just hanging in the costume loft. He spins and hams it up for a moment, then backs off so Nate can continue.

Nate: Equally as effervescent, our other star of the evening is not to be discounted. He’s smart, he’s sharp, he’s the scariest person you will ever meet if you piss him off or forget to organize the paints in alphabetical order. King of production design, prop mix master, puts the Ash in Ash Cash Money --

Dylan, taking the spoon: The love of my life --

Nate, taking it back: Hey, this is my gig! I didn’t ask for ad-libs.

Jeff: Drunk on power…

Nate: Anyway, let’s give it up ladies and gentlemen for the only one of us with any class, Asher L. Garcia!

Asher jogs down the stairs, looking equally as iconic in his custom suit jacket. He does a small spin as well to give the item it’s due moment, Dylan cheering the loudest of all of them.

Randall: Very nice, very good. Now, could I get a moment with my “gay vlogger sticky note” son?

The techies all cheer and laugh at his take, Dylan sliding across the hardwood to meet him. Jade and Asher link up, the former taking his hands and practically bouncing as she proclaims how good the suits turned out. They look amazing!

Lucas looks around at all of his friends, glammed up and excited. Distinctly left out of the excitement, only this time not by his own choice. Somehow, that’s worse.

He’s pulled out of it as Nate declares they still have one order of business, the seven of them regrouping. Dylan slips back into the circle between Asher and Lucas.

Nate: Now, as with any good tradition, we have some firsts to establish. And this shit is important -- it may be the most important thing we do in our lives at Triple A.

Jade: Speak for yourself.

Nate: As we know, the prom court institution at Adams is royally corrupt. It’s the same shit every single year.

Dave: Nothing new.

Jeff: Same old shit.

Nate: And to that, the techie tots say no more. We will be crowning our own reigning royalty this year, and that honor happens tonight. Without further ado --

For what it’s worth, the only two that don’t seem to know what’s happening are Asher and Dylan. They watch in confusion as Dave retrieves two pin cases from his interior pocket, handing them to Jade and Lucas respectively. Then they turn to face them, grinning wide at the stunned expressions on Dylan and Asher’s faces.

Nate: Congratulations, Pickle and Bird Bones. You’re fucking royalty.

Jade and Lucas move forward, pinning the brand new charms to Asher and Dylan’s lapels, respectively. The pins are small medals, the band being monochrome like techie uniforms and the metal piece a small crown.

The true kings have been crowned. Whatever happens next hardly matters.

Jade: Okay, we have to get out of here before Asher cries again.

Randall and the parents swoop in, insisting on one group photo before they all head out to wreak havoc. At first Lucas steps out of the photo, allowing them their classy group photo, but then all of them shout for him to get in the picture as well.

EXT. ORLANDO HOME - NIGHT

Dave leads the charge down the steps to the “party van,” i.e. their techie van they use for Home Depot runs. On the steps, Dylan and Asher hang back and check in with Lucas one last time.

Asher: You sure you don’t want to come?

Dylan, sing-song: We could sneak you in...

Lucas knows they damn well mean it. But he waves them off, assuring them that he’ll be fine. They need to go have fun and not worry about him for a night.

Song Cue ♫ ♪ “Good Love (Feel Like This)” as performed by Sir, Please || Performed by Nigel Chey (feat. Dave Williams, Nick Yogi, and AAA Juniors)

And so it is. Asher gives him a pat on the arm and then they’re off, leaving Lucas on the steps alone. He watches his friends head out without him, bittersweet smile on his face.

As the groovy rock hit floats in…

INT. PROM VENUE - NIGHT

Prom roll up! The event is hopping, the large ballroom space beautifully decorated towards the stars theme and everyone’s appropriately matched outfits shimmering under the low lighting. The brightest lights are geared towards the DJ stage, which alternates between a sound system and live performances.

At present, Nigel is giving a riveting vocal performance while the junior and senior class parties on the dance floor. Dave is backing on guitar, Yogi on the keyboard, and other B Class students filling out the rest of the band.

Jade, Dylan, and Asher are right by the stage, Jade watching him perform with a mix of shyness and excitement. Every once in a while, he’ll look over at her and crack a smile.

Dylan and Asher are distracted when Isadora wanders over to join them, all of them immediately complimenting one another on their one-of-a-kind outfits. Dylan gives her a hug. Asher asks how it is being accompanied by Farkle Minkus, which Isadora claims isn’t terrible -- but it’s not particularly enchanting either.

Meanwhile, Farkle has just met up with Riley and Maya. They ask him how his evening is going so far -- is he having fun? It’s not too overwhelming, is it?

Farkle: Oh, yeah. Sweaty room, loud music, constant surveillance, date who didn’t even want to go with me. Time of my life, girls. Undoubtedly.

On the opposite side of the room, Charlie has just made his way over to the refreshments. He reaches for the ladle for the punch just at the same time as Zay, their hands brushing before they look up and lock eyes.

For a moment, neither of them say anything. They just take one another in -- well-groomed, nice tuxedos, the most they’ve even really seen of each other since the break-up -- before Zay manages to say something.

Zay: You look… classic.

Innocent enough. Charlie laughs nervously, nodding.

Charlie: And you look…

He can’t finish the sentence. What’s he going to say? No word is good enough. And where they are right now doesn’t allow for him to say what he’s actually thinking.

Thankfully, Maya swoops in and unwittingly throws him a life preserver. She interrupts their conversation, claiming that she needs for Zay to come dance with her lest people get the impression she can’t hold her own on the dance floor. She pays Charlie the same compliment in that he looks nice, before reminding him to vote Zay and Maya for prom king and queen!

Charlie: Okay, if you keep saying that, someone is going to murder you by the end of the night.

Maya: Attempted assassinations are just part of the job description.

Farkle regroups with Isadora, finding her amidst the crowd. The two of them stand in silence for a moment, absorbing the chaotic scene around them. Farkle eyes Jack and Eric across the room, talking to one another and not paying any attention to them, then leans down to whisper in Isadora’s ear.

Farkle: You wanna get out of here?

Isadora looks around at her classmates and teachers before her gaze lands on Farkle. She smiles, somewhere between a smirk and genuinely sweet.

EXT. COURTHOUSE - NIGHT

Valerie emerges from the courthouse, seemingly in much better spirits than the last time she was there. She inhales a deep breath of fresh air, blithe smile on her face.

INT. HOTEL SUITE - NIGHT

Katy opens the door to her hotel room, surprised to find Val standing on the other side. She’s carrying a bottle of champagne and doesn’t wait for an invitation to march inside. She tells Katy to grab a couple of glasses, they are celebrating!

Katy, uncertainly: Good news, I’m guessing?

Valerie: You know, in this industry, they tell you the most important thing is to hang on. Hang on by the skin of your teeth, dig your fingernails in, and never let go. Who would’ve known that applied to the rest of this crazy, mixed up world too?

Valerie pops the champagne and pours a glass for her and Katy, raising her glass.

Valerie: I persevered, and only good things have come from it. [ sublime ] Isadora is going to be mine. We’re going to be a real family.

Katy happily cheers to that, both of them taking a drink from their glasses. They settle down on the couch in the suite, Valerie absolutely giddy with the news. She can’t wait to tell Isadora. Katy can imagine -- she knows how important it is, having time with her baby girl.

An idea seems to strike Valerie in that moment, eyes widening. She reaches out and touches Katy’s arm, excited.

Valerie: You’ll come stay with us.

Katy: Wh -- what?

Valerie: Yes, yes, you’ll come back to New York and you’ll stay with us! You, me, Maya, and Isadora. The four of us will live together, four rough and tough, talented women surviving the concrete jungle as a team.

Katy: Oh, I don’t… I couldn’t --

Valerie: Katy, you belong here. In this city, with your daughter and your dreams. If I have proven anything in this endeavor, it’s that it’s never too late to change course and achieve something you never thought possible. [ a beat ] You belong in Manhattan, with Maya. Talent like yours shouldn’t be wasted in the farmland of Vermont.

Katy processes that, taking another sip of her champagne. If a Hollywood starlet is telling her she’s meant to be here, then who is she to refuse it?

Katy: Alright. Alright, then!

Valerie claps excitedly, already abuzz with so many new ideas.

Valerie: Oh, this is so exciting. This is amazing! Isadora and Maya are going to be over the moon. This is a bigger deal than when my good friend and mentee Lizzo basically single-handedly saved the R&B industry.

She raises her glass again for another toast. Katy grants it, their glasses clinking together.

INT. PROM VENUE - NIGHT

Song Cue ♫ ♪ “Dance Again” as performed by Selena Gomez || Instrumental

The lighting is more aesthetic and dimmer as the prom goes on, the junior class out grooving on the dance floor. We get shots of different combinations of them dancing -- Charlie is with Haley and Clarissa, Jade and Nigel are giggly as they get comfortable with one another, Dylan and Asher are upholding their reigning title as cutest couple.

In the midst of the festivities, Eric grows concerned as he realizes he can’t find Isadora. Farkle is nowhere to be found either -- and that’s because they’re not there. They’re long gone, someone having disappeared right under his nose.

Eric grabs Riley from the edge of the dance floor, asking if she’s seen either of them. She claims not since they first got here… is everything okay? Eric doesn’t respond, pushing through the crowd to try and get a better look.

He’s surrounded by teenagers, and yet none are the two he’s specifically supposed to be keeping an eye on. Just as he’s on the verge of panic, Jack comes to his side and asks what’s going on. What’s with the look on his face?

Eric, breathless: Isadora -- and Farkle -- they’re not -- I can’t find --

Jack: Okay, relax, alright?

Eric: Relax? I lost two children!

Jack: Okay, we’ll find them. Alright?

Jack drags Eric out of the center of the room, passing by HARPER BURGESS as they go. He tells her she’s in charge, guiding Eric out of the venue.

INT. LUCAS’S APARTMENT - LIVING AREA - NIGHT

Lucas emerges from his room with a box, sleeves rolled up to his elbows and clearly down to business. He and GRACE FRIAR are operating with relative ease, indicating that their third household member isn’t home at present.

He places the box on the table in front of her, claiming that he’s gone through it and he needs her to go through it too so they can decide whether or not to donate it. Grace seems intrigued, but not opposed to the idea.

Grace: Spring cleaning?

Lucas: Something in my life might as well be in order.

She chuckles a bit at that, although the joke is admittedly somewhat dark. She starts going through the contents, hesitating before telling Lucas she’s sorry that he didn’t get to go to prom. He shrugs it off, but his aloof facade has worn thin over the week.

Grace gives him a warm smile, stating that he’ll be able to go next year.

Lucas: Yeah, let’s see if I make it through this year first.

Valid point. Lucas leaves her to keep going through the stuff, agreeing they should get rid of it either way before Kenneth gets back.

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

Lucas steps back into his closet of a bedroom, sighing at all the junk there still is to go through. He frowns when his phone vibrates in his pocket, growing even more confused when he sees who is calling. He answers.

Lucas: Hello?

Jack is on the other end of the line, already on the road with Eric.

Jack: What are you doing right now?

Lucas, flatly: Crystal meth.

Jack: Okay, you jest, but you’re really not in the position to be making those kind of jokes right now.

Lucas asks what’s going on, and Jack explains the situation. He asks if Lucas has seen or heard from Isadora, and he says no. When Jack requests that he go search that side of town, just drive around and take a look, Lucas seems skeptical.

Lucas: Aren’t you forgetting? My license is suspended.

Jack, unimpressed: Am I really supposed to believe that makes a difference?

Lucas: … fair enough. I’ll do whatever.

Jack assures him if he gets into any trouble, he’ll help him out of it. They just need to get a trace on them so Eric can breathe again. Lucas grabs his denim jacket, heading out.

INT. DINER - NIGHT

Isadora and Farkle, thankfully, are not engaged in anything remotely nefarious. They’re just making an evening out of it all their own, having escaped prom to seek refuge at a non-descript diner across town.

Farkle is way more enthused by the prospect than Isadora. He’s practically jittery, tapping his fingers on the table and unable to stop grinning. He claims this is the most fun, the most freedom, he’s had in months.

Isadora: Okay, calm down, edgelord. It’s not that deep.

Oh, but perhaps it is, Isadora. Farkle leans further into the theatricality, dramatically stating that he doesn’t think there’s ever been a night quite like this. Full of this… energy, and mystery, and potential. Can’t she feel it? In homage to the number that’s just about to come into play, Farkle sits up so that he’s sitting on the booth seat, rather than in it.

Isadora: Okay, what are you doing? Sit down.

Farkle: Can’t you just feel it? And how… how we start thinking --

Isadora: Start thinking what?

Farkle: How wonderful it all is.

Isadora: How wonderful what all is?

Farkle: Everything.

Isadora: Now you’re just talking nonsense. Did you take too much medication this morning? What are you on?

He, Isadora, is on life. The freedom of tonight, how good it feels to just be out and adventuring and… alive. In fact, he thinks, it might need some expressing…

Song Cue ♫ ♪ “A Lovely Night” as performed by Cinderella Original Television Cast Recording || Performed by Farkle Minkus (feat. Isadora De La Cruz) [ starting at 4:20 ]

Farkle pushes his way out of the booth and starts sauntering through the diner, Isadora leaning out after him and whispering for him to come back. But he’s already on his way as the instrumental comes in, meaning there’s no hope. This singing train has left the station!

So he kicks off the first verse, singing the fantastical lyrics about how absolutely perfect the evening is. Somehow, it actually works, brightening up the drab, everyday diner and adding a splash of something special and unique.

It helps that Farkle is crazy and completely unapologetic as he takes over the space, the other patrons hesitant at first but then endeared by the performance. Farkle sings the first line about a “charming prince” to a gaggle of middle school girls, who all collectively lose their shit when he turns away from them. To them, for all intents and purposes, all suave in his prom suit and singing so elegantly, he is a prince charming.

Isadora might be starting to figure that out too, as she watches in disbelief while Farkle pulls other diners and workers into brief stints of choreography. By the time he makes it back over to her table in the second verse, he leans forward on the table and sings the lines “darling, I love you” while looking right into her eyes.

Part of the whole act? It’s impossible to tell.

Then he pulls her up from the booth, into dancing with him through the diner as the dance break commences. Although she’s hesitant at first, Isadora is more surprised by how not averse to the experience she is. Farkle is a good dancer, at least this kind of dancing, and it’s not long before she finds herself grinning and laughing along.

They spin their way towards the front, right out the doors…

EXT. DINER - NIGHT

And out into the city, the world aglow with nightlife and even more emphasized by the unreal quality of the dance. It feels very La La Land. They continue the pas de deux through to the end, Farkle picking up the lyrics again for the final rendition of the chorus.

They end it spinning in a circle in the parking lot, Isadora laughing and Farkle truly free as they round out the performance. If there’s going to be any true spectacle this prom season, then Icarus and the fallen Techie Queen dancing together in what may as well be a fantasy sure takes the cake.

INT. JACK’S CAR - MOVING - NIGHT

Eric is not feeling the fantasy, a nervous wreck as they drive through the streets looking for signs of Isadora and Farkle. He relays that she has not responded to any of his texts, and Jack states that’s it. He pulls over, allowing him to give his focus to Eric as he parks on the side of the road.

Jack takes Eric’s phone, out of his grasp.

Jack: Enough. You’re driving yourself crazy.

Eric: Yeah, you’re one to talk. [ trying to snatch it back ] Mister obsessive civil suit --

Jack: Oh, I’m not saying I’m innocent. But you have got to give yourself a break. It was their choice to sneak out and go wild, not yours. You can only do so much. If they choose to be idiotic, that’s on them. Regardless of how much we care.

Eric knows that Jack is speaking from experience. He sighs, slouching back in the passenger seat. Jack tries to comfort him, reminding him that Isadora and Farkle are two of the smartest students at AAA. They’re not going to get into trouble. Besides, if they are, then at least they have their best troublemaker on the case.

Jack: He’s like a heat-seeking missile. If there’s mischief afoot, trust me, I believe he’ll find it.

EXT. NEW YORK STREETS - NIGHT

Maybe so, Jack. Maybe so. Somehow, Lucas manages to catch up to Isadora and Farkle as they’re walking along the streets, slowing down in Grace’s car and coming up next to them. He honks, startling them both.

Lucas: Hey! Lunatics!

Isadora: Lucas? What the hell are you doing here?

Lucas: I could ask you the same question.

Farkle: Isn’t your license suspended?

Lucas holds up a finger to silence Farkle, not acknowledging his question. He keeps his focus on Isadora, who is similarly confused.

Isadora: Isn’t your license suspended?

Lucas: You tell me. You tell me what the hell you’re doing walking around like freaks and sending Eric so postal Jack had to send me out here risking future legal penalty to come find you.

Farkle: Hey, I mean, we snuck out of prom. [ holding his arms out ] Don’t I get a little credit for that, Lucas James Friar?

Lucas glares at him, unimpressed.

Lucas, sharply: Don’t talk to me like you know me.

Farkle raises his hands in surrender, turning away. Lucas turns his focus back to Isadora.

Lucas: Tell Eric where the hell you are and that you’re not dead. At least pay him that decency.

Isadora: Alright! Alright, I will. Sorry you got dragged into it.

Lucas: You’re so lucky I have no life.

Lucky, indeed… Lucas drives off, leaving the two of them alone again. Isadora shifts awkwardly, Farkle hesitating before giving her an unbothered smirk. Woo, reckless freedom!

INT. JACK’S CAR - NIGHT

Jack gets the text from Isadora on Eric’s phone. He smiles and then passes it back to him, telling him that now he can breathe again.

And so he can. Eric lets out a huge sigh of relief, falling back against the seat and rubbing his face. These kids, are they ever gonna let them live? Once he’s pulled himself off the ledge, Eric drops his hands and asks what they’re supposed to do now.

Now that they’re already out? Well… Jack shrugs.

Jack: You like bowling?

INT. PROM VENUE - NIGHT

Song Cue ♫ ♪ “Magic” as performed by Gabrielle Aplin || Performed by Yindra Amino

Things slow down back at the prom, allowing the students to shift into a slow dance. Before Riley and Charlie can make any decisions, Zay swoops over to them to cut in. For a second it seems as though he might ask Charlie, in front of everyone… but he simply requests a dance with his favorite girl at AAA. Charlie relents without an argument, allowing him to steal Riley.

Riley: Sweet of you to say all that. And…

Zay: And I will give anything not to slow dance with Maya, yes.

Charlie shifts his sights to Haley, offering a hand to her. With their former conversation having cleared the air, the two of them are able to simply enjoy a dance together rather than twisting themselves up over what it might mean.

Yindra’s vocals truly help set the mood. The types of slow dancers are all across the spectrum. The soft familiarity of Dylan and Asher, whispering in each other’s ears and smiling and tilting their heads against one another; the timid beginnings of Nigel and Jade, more distance between them but equally as happy to be sharing the dance. Then there’s Maya, not bothering to slow dance at all and continuing her campaign amongst the other single prom-goers.

While Zay and Riley dance, they softly discuss how the evening is going. Riley subtly makes it clear that she is no way moving in on Charlie -- they should both be well aware how unlikely that would be. Zay holds no such suspicions. After all…

Zay: Think you and I are both here while our hearts are somewhere else.

Couldn’t have said it better, Isaiah. Tellingly, while Haley and Charlie are having a swell enough time dancing together, he cannot seem to keep his gaze from drifting towards Zay over her shoulder…

Yindra brings the number home, delivering yet another dazzling performance.

INT. BOWLING ALLEY - NIGHT

Pow! A bowling ball knocks over a volley of pins, shattering the dreamy melancholy of prom.

Jack and Eric have already played one game, crashed in one of the tables by the lanes and sharing some cheap bowling alley snacks. They’re also drinking and… okay, they might be a tad tipsy. They’re laughing as they chat about the evening, more relaxed than we’ve ever seen them. They could almost be teenagers themselves, just wasting away prom night at a bowling alley and blowing off expectations.

Eric complains about Isadora and Farkle’s actions, still not over the sleight. Like he gets it, they’re teenagers, but really? Jack chuckles, shrugging and claiming it’s just that kind of night. He can remember how he used to be -- Lucas really isn’t that far off from how he was at that age, although the kid is way more ballsy than he was.

Besides… there’s something about prom night, man. It makes people do crazy things.

Jack: I was never super into it, but… ha. I remember senior year, me and the guy I was going with --

Eric nearly chokes on his drink. Jack raises his eyebrows, handing him a napkin in concern.

Jack: You okay?

Eric: Yeah. Yeah, I just -- [ clearing his throat ] Guy? You went with a guy?

Jack: Oh, yeah. Administrators weren’t thrilled about it at the time though. [ off his stunned expression ] Oh, come on. You know I’m bisexual. We’ve totally discussed this.

Eric: Um. No. No we have not.

Jack: We definitely have.

Eric: Jack, I would not have forgotten that. Believe me.

Jack shrugs, smiling to himself and taking another drink. Eric just stares at him, trying to reconcile this new understanding he has of his friend and co-worker in his head. He starts to say something, then thinks better of it. Lost for words.

The music on the sound system of the bowling alley saves him from having to speak. As soon as the song starts playing, both of them react with joyful acknowledgement.

Song Cue ♫ ♪ “Bye Bye Bye” as performed by *NSYNC || Performed by Jack Hunter & Eric Matthews

At first the two of them just reminiscence, talking about how classic this song is. Speaking of hits of their youth, this was it in the college days. But as they casually start singing along in their seats, just like their students (and maybe thanks to the alcohol), the groove overtakes them.

Eric jumps to his feet first, crouching on his seat and launching into the second verse. Jack cracks up and claps, encouraging the dramatic performance. Eric manages to pull him into it as well, the two of them delivering the rendition with the same gusto as their overdramatic students.

INT. BYE BYE BYE DREAMSCAPE - NIGHT

In their folly, it would only be fair to give them the same imaginative scape as their students. Part of the performance is a fantasy tribute to the “Bye Bye Bye” music video, Jack and Eric dressed as if they’re back in the early 2000s and dancing around a tilting room.

INT. BOWLING ALLEY - NIGHT

We cut back and forth between that and them wreaking mild havoc in the bowling alley, and gosh dang is it a fun performance.

That’s one way to cut loose for a night. Let’s go principal and counselor!

EXT. HOTEL - NIGHT

Farkle walks Isadora to the front stoop of the fancy hotel Valerie is staying at, although she tells him that he didn’t have to. He claims as her date it was his duty -- even if their arrangement wasn’t exactly by choice.

Isadora: Well, impressively, I did actually have fun.

Farkle: Oh?

Isadora: Yes. I don’t expect the enchantment to last past midnight, but it was fun while it lasted. [ a beat ] I suppose I’m glad that I had to babysit tonight.

Farkle rolls his eyes. Isadora looks at him for a long moment, and then stands on her tip-toes to give him a quick kiss on the cheek.

He blinks, obviously not expecting it. After a moment he kind of smiles, caught between a confused frown and a pleasantly surprised smile. He looks at her, narrowing his eyes.

She gives him no explanation. She just tilts her head in a nod and marches through the revolving door, leaving him on the sidewalk. He glances up at the building, smile widening as he spins on his heel and saunters down the street.

INT. PROM VENUE - NIGHT

Clarissa and Haley are just wrapping up a performance, dismounting the stage as Harper heads up to the microphone. She warms up the crowd by asking how everyone is enjoying prom, which is met with resounding cheers. The time has come, she announces, for the crowning of their junior and senior prom court!

Amidst the cheers, Charlie shifts his focus to Riley next to him. She’s zoned out, glancing over her shoulder and not paying any attention. Looking for someone who isn’t going to be there, no matter how many times she looks.

After a moment, he elbows her lightly.

Charlie: You should go.

Riley: What? What do you mean?

Charlie: I appreciate what you did for me tonight. But we both know… you don’t want to be here. Not really. [ nodding towards the door ] So you should go. Don’t waste the rest of your night on me.

Riley examines him, thoughtful. Then she smiles, taking his arm and leaning forward to give him a kiss on the cheek. She squeezes his arm.

Riley: Never a waste.

Then she’s gone, weaving her way through the crowd and on a mission. Charlie watches her go, and when he turns back to the crowd and the excitement of the senior prom court being announced he suddenly feels very detached. Like he’s a fish out of water, as if he shouldn’t even be there at all.

It’s claustrophobic. Charlie starts to push his way through the crowd as well, searching for an exit. Needing to get out of there.

From where he’s waiting with Maya, Zay notices Charlie’s frantic escape. He frowns, hesitating for only a moment before darting out after him. Only Maya notices him go, looking after him in confusion.

Maya, in a whisper: Zay. Zay!

He’s already gone. And her attention is stolen anyway, as Harper gets a drum roll going for the announcement of junior prom queen and king. It goes, unsurprisingly… to Maya and Zay!

Only Zay is nowhere to be found. Lucky for him, Maya is an expert showman and covers as if it’s nothing. She hops up onto stage and happily accepts, claiming her king had to dip out for a moment and she’ll be accepting both on his behalf.

Once she’s found a way to balance both crowns on her little blonde head, she takes to the microphone and gives a small speech about what an honor it is to be selected. And in return, tonight, she’ll give them a prom slow dance really worth remembering. As the track cues up --

Song Cue ♫ ♪ “At Last” as performed by Beyoncé || Performed by Maya Hart

As obnoxious as she is, there is no doubt about the fact that Maya Hart can sing. Her vocals are damn good on the romantic classic, truly creating a perfect final slow dance for the evening. And she’s milking every second of it, glamorous as ever in her elegant gown and dual crown glory.

EXT. PARKING LOT - NIGHT

Charlie has made his way to a mostly vacant section of the parking lot, inhaling as much fresh air as he can. He holds his breath, then lets it out, fighting off whatever strange panic was prickling at him.

It doesn’t truly fade until Zay joins him, approaching casually and claiming that he’s missing Maya’s big performance. Isn’t that what he came all the way out to prom for anyway? Charlie can’t help but laugh, even though the vibe between them is still uncertain.

Charlie: Oh, naturally. Everything’s about Maya Hart, after all.

Zay: Absolutely everything, yeah.

Charlie: [ just looking at him ] … shouldn’t you be in there too, then? Far as I recall, you were her running mate.

Zay, with a shrug: I didn’t really care much about it.

Zay is stepping closer with every word that passes between them.

Charlie: … no?

Zay: Nah. I mean, can’t blame Maya though. She knows how to pick a winning candidate.

Charlie: Well, no arguments here. Sure you don’t want to get your crown, though? Think that would be a nice prize regardless.

They’re standing right in front of each other. Zay swallows, meeting his eyes.

Zay: I can think of something better.

Charlie lets that sink in, not sure how to respond. Knowing that they’re the way they are for a reason… but then there he is, right there in front of him…

Zay doesn’t ask for much. He gently takes Charlie’s hands, pulling him towards him and into a slow dance. There in the parking lot, alone, where nobody else is going to bother them.

Charlie is stiff at first, then slowly he relaxes into it. The familiarity, the ease, the way they seem to just naturally fit together... especially when it comes to dancing.

Still, something in his expression is conflicted. It’s obvious he loves it -- being so close to Zay, sharing anything with him regardless of what their status is -- but then that’s the problem, isn’t it? As long as Charlie is around him, he’s never going to be able to let it go. They’re going to keep drifting back to each other like this, and Zay is never going to be able to move forward.

Charlie realizes all of that… and yet.

For now, he chooses to live in the moment. He tilts his head against Zay’s shoulder and chooses to soak it up for all it’s worth, the dance and the closeness and the way he continues to choose him, even when he pushes him away.

Everything else, he can deal with another day.

INT. VALERIE’S HOTEL ROOM - NIGHT

Isadora has changed back into more comfortable clothes, Valerie hanging her dress up so that it stays nice and unruffled. After all the hard work Stella McCartney put into it, she would hate for it to only survive one use!

Then Valerie settles on the bed with Isadora, telling her the good news. The paperwork went through -- they’re on their way. She just has some things she needs to go wrap up last minute in Los Angeles, and then they’re going to do it. They’re going to be a proper mother and daughter, she’ll move to the city, and everything is going to change. For the better, she’s sure.

Isadora is stunned just to hear it said -- she can’t begin to wrap her head around it in reality. But she manages action, leaning forward to initiate a hug with Valerie.

She hugs her back, tight, so excited about the next steps they’ll be taking together.

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

Well, for only a night’s work, Lucas has made substantial progress on organizing his hell bedroom. You can actually see the floor now in most places, which is a step up. Maybe one solution to not having horrible mental health is to not feel like you’re living in an abandoned storage closet. Music is playing from his phone, shuffling the playlist Riley made him last year.

He finishes clearing the floor by the actual closet door, finding Riley’s gala shawl. He holds it in his hands, delicately, trying to decide what to do with it. It’s survived this long, in spite of all the times he’s thought about destroying it -- to get rid of it now would almost be a disservice.

He’s distracted from the decision for now, his phone buzzing. He settles onto his bed, putting the shawl to the side towards his pillow and opening the message.

Song Cue ♫ ♪ “Ebony Eyes” as performed by Jamie Scott || Instrumental

It’s from Dylan, a group picture of the techie crew in the midst of the glitz of prom. The caption underneath it is simple and to the point -- “We miss you!!!!!!!”

Lucas can’t help but smile, but after a moment it shifts to something more muted. The disappointment is clear on his face now, fully realizing how much he might be missing out on. How much he’s missed out on for the entire year, while he was busy fighting to survive his own personal hurricane. And there’s no way to get that back -- there’s no way to know if it’ll ever stop hurricaning, given how up in the air everything feels.

He’s distracted once again from his own internal musing, this time by creaking from outside his window. At first he glances towards his door, worried it might be someone coming home, but an additional creaking confirms it’s coming from outside. It’s coming from the fire escape.

Cautiously, Lucas gets to his feet, edging towards his window. He nearly jumps out of his skin when Riley appears from the ladder below, scrappily climbing her way up to his level.

EXT. LUCAS’S APARTMENT - LUCAS’S FIRE ESCAPE - NIGHT

Lucas scrambles out the window to meet her, eyes wide in disbelief. She smiles at him as he emerges and she manages to pull herself fully onto the fire escape. There’s barely room for them both to stand, Lucas taking her arm and pulling her as far from the window -- and his apartment -- as possible.

Lucas: What the hell are you doing here?

Riley blinks at him, trying to catch up with her own choice of actions. She’s changed out of her fancy gown, hair and makeup still done up but having opted for a pair of high-waisted jeans and a thrifted tee. Better attire for building scaling, at least.

She explains that she couldn’t stop thinking about him and how he was missing out, so she decided to bring some of the fun to him. She shrugs off her backpack, unzipping it and showing off some of the snacks and movies and junk she threw in there along with her laptop. She didn’t have a lot of specific ideas, or anything, she just thought… who knows. She just knew she wanted to be here.

Lucas is in shock. He can’t believe any person would ditch prom without some other grand plan, and definitely not for him.

Lucas: That’s… that’s nice, but you shouldn’t have to do this. You should be at prom, having fun. Least of all worrying about me.

Riley, shaking her head: Wasn’t the same without you.

Oh. Well then. Riley glances towards his room, recognizing the music playing and smiling to herself. She comments that at least he has good tunes to get him through the night, and the slower, rustic song playing now is better than about half of the songs they played at the dance.

In fact… she did say she was going to bring the evening to him…

Dropping her backpack by the window, Riley cautiously takes Lucas’s hands. When he doesn’t complain, she gently guides him into a dance of their own -- a promenade on six square feet of metal with a shitty outdated iPhone speaker acting as the DJ.

Even still, it might be the most authentically romantic duet of the night. The music quality shifts and improves to be more encompassing as they settle into the dance, once again supplemented by that fantastical quality of the evening. Secluded enough for Lucas to ease into it, more intimate than a room full of their peers would allow.

After a minute or so, Riley adjusts their posture and presses their foreheads together. For how soft the moment is, the energy between them may as well be electric. They’re inches apart, one or two breaths and a bold choice away from another kiss. And maybe they could…

But not tonight. Not yet.

Riley shifts and rests her head against his shoulder, Lucas closing his eyes and tilting his head against hers.

For now, what they have in this moment together is enough.

INT. AAA - ATRIUM - DAY

Crazy how in the aftermath of such a whimsical weekend, life is expected to proceed as normal. Jack is in good spirits as he jogs his way into the school building later than usual, pushing through the doors at the same time as Lucas. Lucas comments on his late showing.

Jack: You know, for all the times you’ve shown up to class tardy with no good excuse, I think you can zip it on this one.

Touché. Jack does remember to thank Lucas for his help with Farkle and Isadora though, expressing that it was a big help. He asks how he spent the rest of his evening -- aside from the crystal meth.

Lucas, nonchalantly: Nothing much. And you?

Jack: Got kicked out of a bowling alley.

Lucas: … fun. Respect.

Jack grins, nodding him on his way. He makes his way back into the office…

INT. AAA - JACK’S OFFICE - DAY

Where the real world is waiting for him. Jack is surprised by the gift-wrapped item on his desk -- until reality slams into him like a freight train. He drops his briefcase and jogs towards it, lifting the ribbon-bound local newspaper into his hands.

There it is. The Bradford case, front page Monday morning news. Likely paid a fortune to make it front page news, if he knows his adversaries.

It’s officially gone public. The fantasy is over. Another day has arrived, and now it’s time to deal with all of the challenges ahead.

Now, it’s time to take action. For better or for worse.

END OF EPISODE.