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AMBITION Season 2 ♫ “Cold Comfort” [ 2.05 ]

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

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

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

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

( Follow along with the music on Spotify here! )

EXT. NEW YORK STREETS - DAY

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

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

INT. MATTHEWS APARTMENT - RILEY’S ROOM - DAY

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

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

INT. MAYA’S APARTMENT - DAY

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

INT. MINKUS HOME - DAY

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

INT. BABINEAUX HOME - LIVING ROOM - DAY

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

INT. FOSTER HOME - DAY

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

INT. GARDNER HOME - DAY

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

INT. LUCAS’S APARTMENT - DAY

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

INT. ERIC’S APARTMENT - DAY

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

INT. JACK’S APARTMENT - DAY

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

INT. MATTHEWS APARTMENT - RILEY’S BEDROOM - DAY

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

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

EXT. NEW YORK STREETS - DAY

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

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

Cue title sequence.

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

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

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

INT. AAA - HALLWAY - DAY

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

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

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

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

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

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

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

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

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

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

Dylan: Well, not with that attitude.

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

Dylan: [ to Asher ] There’s a cult?

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

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

INT. AAA - AUDITORIUM - DAY

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

Dave: Hey, man, nice new kicks.

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

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

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

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

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

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

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

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

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

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

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

INT. AAA - AUDITORIUM - DAY

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

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

INT. AAA - TECHNICIAN’S BOOTH - DAY

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

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

Everything is gone.

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

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

INT. AAA - JACK’S OFFICE - DAY

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

Lucas: This? Is bullshit.

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

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

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

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

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

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

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

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

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

Jack: Proof? You really want proof?

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

Jack: Fine!

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

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

Lucas: … I --

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

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

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

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

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

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

INT. AAA - HALLWAY - DAY

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

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

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

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

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

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

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

EXT. AAA - DAY

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

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

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

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

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

INT. AAA - HALLWAY - DAY

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

INT. AAA - DANCE STUDIO - DAY

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

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

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

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

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

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

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

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

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

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

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

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

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

Charlie: Zay…

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

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

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

Charlie: What made you think of this?

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

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

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

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

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

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

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

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

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

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

INT. AAA - HALLWAY - DAY

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

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

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

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

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

INT. BABINEAUX HOME - DAY

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

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

Zay: Wouldn’t count on it.

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

INT. GARDNER HOME - LIVING ROOM - DAY

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

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

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

Daisy: What’s up with him?

Rosie, wisely: Testosterone.

INT. GARDNER HOME - KITCHEN - DAY

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

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

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

Charlie, curtly: Was she even invited?

Eleanor: [ with shocked disappointment ] Charles.

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

INT. GARDNER HOME - CHARLIE’S ROOM - DAY

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

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

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

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

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

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

INT. AAA - GIRLS DRESSING ROOM - DAY

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

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

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

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

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

INT. MAYA’S APARTMENT - NIGHT

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

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

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

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

INT. MAYA’S APARTMENT - DAY

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

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

INT. AAA - DANCE STUDIO - DAY

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

INT. AAA - HALLWAY - DAY

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

INT. AAA - CORY’S CLASSROOM - DAY

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

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

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

INT. MAYA’S APARTMENT - EXTERIOR HALL - DAY

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

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

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

INT. MAYA’S APARTMENT - DAY

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

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

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

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

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

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

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

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

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

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

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

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

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

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

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

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

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

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

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

INT. AAA - PRACTICE ROOM - DAY

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

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

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

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

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

INT. MINKUS HOME - DAY

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

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

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

INT. MINKUS HOME - FARKLE’S ROOM - DAY

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

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

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

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

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

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

INT. MINKUS HOME - KITCHEN - NIGHT

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

Farkle: No.

Jennifer: Nothing?

Farkle: Just practicing.

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

Farkle: Trust me, they don’t.

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

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

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

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

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

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

INT. MINKUS HOME - NIGHT

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

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

INT. MINKUS HOME - DINING ROOM - NIGHT

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

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

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

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

Farkle: [ blinking out of his daze ] Huh?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

INT. MINKUS HOME - LIVING ROOM - NIGHT

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

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

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

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

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

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

INT. MINKUS HOME - LATER - NIGHT

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

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

That’s when he hears the rustling.

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

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

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

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

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

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

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

INT. MINKUS HOME - ELEVATOR HALL - NIGHT

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

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

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

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

INT. AAA - DRESSING ROOM HALL - NIGHT

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

Eric: Before the end of the world.

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

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

INT. AAA - AUDITORIUM - NIGHT

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

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

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

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

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

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

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

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

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

INT. MINKUS HOME - ELEVATOR HALL - NIGHT

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

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

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

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

INT. MINKUS HOME - NIGHT

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

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

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

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

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

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

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

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

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

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

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

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

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

Angela: Come on, Farkle.

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

Angela: We really should get going.

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

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

INT. FARKLE’S APARTMENT - NIGHT

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

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

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

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

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

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

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

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

Farkle: Empty.

INT. MINKUS HOME - LIVING ROOM - NIGHT

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

Ezekiel: Farkle? What are you doing out here?

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

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

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

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

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

INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY

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

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

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

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

INT. MATTHEWS APARTMENT - DAY

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

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

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

INT. MATTHEWS APARTMENT - LATER - DAY

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

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

INT. MATTHEWS APARTMENT - MASTER BEDROOM - DAY

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

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

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

INT. MATTHEWS APARTMENT - NIGHT

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

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

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

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

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

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

EXT. NEW YORK STREETS - NIGHT

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

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

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

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

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

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

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

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

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

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

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

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

INT. LUCAS’S APARTMENT - KITCHEN - NIGHT

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

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

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

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

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

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

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

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

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

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

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

Dylan: Greetings, Mr. Grinch.

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

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

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

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

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

Dylan: Merry Christmas, ya filthy animal.

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

INT. BABINEAUX HOME - NIGHT

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

Zay: You expecting someone?

Donna: No, are you?

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

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

Zay: Charlie? What are you doing here?

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

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

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

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

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

EXT. BABINEAUX HOME - NIGHT

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

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

Zay, stunned: … you drove here?

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

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

Zay, softly: I know. I know.

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

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

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

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

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

INT. MATTHEWS APARTMENT - NIGHT

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

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

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

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

INT. MATTHEWS APARTMENT - MASTER BEDROOM - NIGHT

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

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

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

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

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

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

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

INT. MATTHEWS APARTMENT - NIGHT

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

INT. LUCAS’S APARTMENT - NIGHT

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

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

INT. MINKUS HOME - NIGHT

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

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

END OF EPISODE.

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

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