#confirmed Eric is definitely gonna die

[ambitionsource]

AMBITION Season 3 ♫ “Jolly Holiday, Part 1” [ 3.13 ]

CREATED BY Esther (waterstribe) & Maggie (quincywillows) || Official Page || AO3

GOD SAVE THE DREAM – The A class embarks on their senior class trip. Charlie graduates high school. The lingering wait for college admissions has some on edge, and one person receives difficult news. Lucas’s UC interview is thrown into jeopardy.

73 Minutes (36K words) || No content warnings apply.

[ ← Dylan and Asher ] [ S3 Synopsis ] [ Jolly Holiday, Part 2 → ]

( Follow along with the music on Spotify here! )

INT. AAA - ATRIUM - NIGHT

The Adams lobby is packed for a typical evening, members of the A class gathered with a decent amount of luggage. Some chat with their parents and pass off last-minute things; RANDALL ORLANDO hands DYLAN ORLANDO his passport, which he accepts with a sheepish grin while ASHER GARCIA heaves a great sigh of relief.

HARPER BURGESS weaves her way around with a checklist, greeting each student and marking them present. We continue even deeper into the school, away from the hustle and bustle…

INT. AAA - ERIC’S OFFICE - NIGHT

To the comparatively quiet counselor’s office, though ERIC MATTHEWS does not seem peaceful. He’s harried as he digs through paperwork at his desk, muttering to himself and stuffing everything into a pretty dense binder labeled “SENIOR TRIP - A CLASS.”

JACK HUNTER appears in the doorway, watching for a few moments with an amused smile on his face. Then he knocks lightly on the open door, leaning in the doorframe. Eric jumps, only making Jack smile wider.

Jack: So B class left for their trip this morning, A class is gearing up now… and how are you doing? You seem good. Relaxed.

Eric: Don’t even. Don’t start with me.

Jack, innocently: [ unable to stop grinning ] What?

Eric: B class was simple. B class was easy -- they’re always easy. We let them choose where they wanted to go, and what did they pick? Disney World. Easy. Stuffed them onto a charter bus and shipped them down the coast with Norton and the chaperones this morning. Easy.

Jack: Should get some good exposure to the industry. They’re doing the backstage tour, right? I’ve heard it’s illuminating.

Eric: Then we let A class pick, and did they go simple? Did they go easy? No. Because they’re never simple. They are never easy. No, they wanted to go abroad. [ with a withering look ] This is all your fault.

Jack: [ with a scoff ] Me? Why me?

Eric: You’re the one who approved the trip! Sure, let them cross the Atlantic, you said. It’ll be fun, Eric, you said.

Jack: And I’m sure it will be.

Eric: Yes, and easy for you to say, since you’re not going. I’m the one who has to make sure none of them die, or go missing, or violate international law --

Jack laughs, sauntering further into the room and reassuring Eric that it’ll be fine. Once they get through the logistical nightmare that is travel, they’re going to have a swell time. Besides, at least he’s not doing it alone.

Jack: You’ll be fine. You’re a great leader, and the kids trust you. You won’t let one get set adrift across the pond.

Eric: We literally lost two students at prom last year.

Jack: And now one of them is your daughter. Doubt she’ll be nearly as much trouble. And you’ll have Harper with you, who you know is an excellent chaperone. I mean, count your blessings -- at least you’re not traveling with Shawn.

True, true… talk about a negligent chaperone. Eric shudders at the thought, shaking his head and finishing securing his travel binder. Jack observes him and contemplates the best way to change topics. He leans forward casually against the back of the chair opposite Eric’s desk, going for nonchalant.

Jack: Speaking of your impeccable leadership… I’ve been thinking. You should consider applying for my job.

Eric stops what he’s doing. He lifts his head, eyes wide.

Eric: What?

Jack, quickly: I just think it could be a good exercise, that’s all. Good practice.

Eric: Don’t be ridiculous. You know they’re going to hand that job back to you no contest -- no matter how hard Yancy and Jefferson campaign under the table.

Jack: Sure, sure. Absolutely. [ a beat ] But that’s all the more reason to use this opportunity. I mean, you’re an ideal candidate, given your history with the school. Evelyn likes you just as much as me --

Eric: Not true. You are by far her favorite.

Jack: And you’ve got all the credentials. I know you like being a counselor, and don’t get me wrong, you’re damn good at it. But why take all those masters courses to get the certification if you never considered using them?

Jack has a point there. Though their paths were quite different leading to where they are now, with different levels of study, Eric is technically (and definitely) qualified to apply if he wanted. As for if he wants to… Jack’s guidance certainly seems to have him thinking, if nothing else.

Jack: Anyway, it was just a suggestion. No pressure, you know. Just think about it. Filling out the application. Seeing what it’s like.

Eric: As if I don’t have enough to think about right now. How is yours going? Pretty easy to put together I’m guessing.

Ah, yes… Jack sidesteps the question, claiming he’s just putting on the finishing touches. Which he’ll have plenty of time to do while the school is quiet and the A class is out of his hair for a week. Eric says lucky him, which prompts a chuckle from both of them.

Once the laughter peters out, the moment becomes unexpectedly soft -- just shared smiles and momentary quiet. Eric clears his throat.

Eric: You’re sure you can’t come? Think now would be the time to have my authoritarian.

A little vacation abroad would sure be nice… but alas. Important business to handle here. Jack offers a bittersweet shrug, nodding to the rest of the school behind them.

Jack: Duty calls. Should enjoy it while it lasts.

While he’s still principal, may as well act like it. Eric sighs, but accepts that, hefting his colossal trip binder into his hiking backpack.

INT. AAA - ATRIUM - DAY

By the steps, MAYA HART finishes repacking her suitcase, trying to get it under the acceptable weight limit. ISADORA DE LA CRUZ is doing her the favor of sitting on top of it, while FARKLE MINKUS eyes the undertaking skeptically.

Farkle: It’s a class trip, Maya. How many pairs of shoes do you need?

Maya: It’s an affront that you even have to ask that question.

Isadora: It’s an affront that this thing weighs more than me.

Farkle: Probably more than both of us combined.

Isadora: You don’t add much.

Touché! Isadora is also going through Maya’s purse, making a face when she pulls out a folded up piece of paper. Maya’s acceptance letter to NYU Tisch.

Isadora: You carry this around in your purse?

Maya: Be careful with that!

She snatches it from her, smoothing out the corners.

Maya: You’ll crumple the edges. But yes, why wouldn’t I? It’s my greatest achievement to date -- sans your mom’s coat, of course. I like to think of it like a good luck charm. My aura cleanser even did a fortune ceremony on it, so it’s legit. [ marveling at it ] Look at it. Isn’t it lovely?

She gives it a little kiss, folding it back up and putting it back in the purse on Isadora’s lap. Isadora and Farkle exchange a look.

Farkle: At this rate, getting rejected might’ve been healthier for your sanity.

Maya flips her hair over her shoulder pointedly, shrugging. Too late now!

A few paces over, RILEY MATTHEWS double checks her backpack to make sure she has all her essential belongings. It’s her first time going overseas, and she’s clearly a bit nervous. But she’s got her ways to combat it, including a well-curated list -- one that LUCAS JAMES FRIAR walks through with her as she goes. He reads down the list, she confirms she’s got it.

Lucas, notably, doesn’t have a backpack or suitcase to fuss over. That’s because he isn’t going, a fact that Riley sympathetically remarks on once they’ve concluded her checklist. She takes his hands in hers.

Riley: I wish you were coming with us. It’s not going to feel right if you’re not there.

Lucas: Actually, I think it would feel wrong if I were there. Like some kind of weird, nonsensical blip in the universe.

Riley: Oh, please…

Lucas: I’m not cultured and I don’t have any money. Traveling out of state seems pretty out of character, let alone out of the country. Think I’d get sent to the embassy as an international prisoner just for existing.

Riley nudges him pointedly, earning a smirk in response. It’s too cute not to mirror with a smile of her own, but it doesn’t quite remove the melancholy from her tone.

Riley: I just… I feel bad. You should be there, you’re class president. And you know… with everything that’s happened in the last few weeks, I don’t wanna like… just leave --

Lucas: Riley. Seriously, it’s fine. I’m fine. And spending some time on my own is not going to be the thing that kills me. That’s how I used to prefer it.

Riley: I know, I know… before Comet Riley.

Lucas: And the world has never been the same. Look, I know it’s gonna sound insane when I say this, given my track record on… well, everything, but you don’t have to worry about me.

Easier said than done… but she knows in her heart he’s right. And even if she wanted to debate it, she runs out of time, as Jack and Eric march out from the hall and start rallying the troops to head out for the airport. Big journey ahead!

Harper: All right, everybody, grab your things -- all your things, double-check and make sure, yes I’m looking at you, Orlando --

Dylan: And I don’t blame you!

Asher: I’m triple-checking.

Harper: Then let’s move on out! It’s a brief bus ride to the airport and then a long eight hours to fly. Don’t want to be late!

Riley gears up to go, Lucas grabbing her backpack off the ground and helping her sling it on her shoulders. She reminds him not to forget about the favor she asked him to do while she’s gone, which he confirms. Then she remembers something else at the last second, quickly turning to face him again.

Riley: Oh, and tell me the moment you hear anything from Davis. I know the connection is gonna be spotty because we’ll only be able to talk on wi-fi, but seriously, if you hear anything, try to reach me. They have to say something any day now.

Oh, so Lucas hasn’t told her about the acceptance letter... or the potential scholarship… he pauses when the moment arises, then nods, assuring her he’ll do just that.

Riley: I’ll try to do the same for Tisch, if I hear from them, but you know, again, spotty connections --

Harper: Let’s go, Riley! Mister Friar will still be here when you get back!

Riley blushes, starting to back up towards the others as Lucas playfully urges her to go. But then she doubles back one more time, pulling him into a kiss goodbye. The moment lingers when they pull apart, Riley gently caressing his cheeks and holding his gaze.

Riley, softly but with intent: I love you.

Just in case he needs the reminder -- to tide him over for the week. Then she’s off, throwing him one last smile over her shoulder and blowing a kiss before she jogs to catch up with the rest of the class towards the back entrance where the bus awaits.

Jack comes to stand next to Lucas, the two of them watching the others head out. Jack smiles knowingly at the exchange he just witnessed, and clears his throat presumably to comment.

Lucas: Don’t say anything.

Jack: … all right.

His tickled smirk says plenty for him anyway.

INT. JFK INTERNATIONAL AIRPORT - SECURITY CHECKPOINT - NIGHT

Before the fun can begin, though, they’ve got to get there -- and that might be the most stressful part. Eric waits on the other side of security and customs, counting off each student as they successfully make it through the process. He’s splitting his focus between that and making sure the ones who have already made it through don’t rush off.

Eric: Fourteen… fifteen -- techies, I said stay put until we’re all accounted for! Asher, will you please bring Nate back into formation? Sixteen -- Maya, do not argue with the customs agent!

Maya successfully makes it through, albeit in a huff, followed by SARAH CARLSON, DARBY WINTERS, and finally Harper to close out the group. She and Eric touch base.

Harper: Full count?

Eric: Full count. Thank God.

Harper: Well, at least the hard part’s over.

Eric: Yeah, keep telling yourself that. Just wait until we have to get them back in one piece.

They’re already exhausted. This should be international levels of fun.

Cue title sequence.

INT. JFK INTERNATIONAL AIRPORT - TERMINAL - NIGHT

Eric and Harper have disbanded the group to explore the terminal, gathering rations and any necessary items for the journey. The techie boys are assembled just outside the entrance of Hudson News, eyeing some of the stuff on display.

Jeff: Y’all brought outlet adapters, right? You know their voltage is different than ours.

Dave, stunned: The Brits have their own electricity?! I am never gonna survive the culture shock.

Yogi: [ re: “shock” ] Literally.

Nate: Oh, bro, I know. And what if we don’t speak the language?

Dave: I know! I’m fucked!

NATE MARTINEZ cracks up, JEFF MONROE and NICK YOGI assuaging DAVE WILLIAMS’s concerns.

Moving past them, closer to the gate where their flight will be departing from, we shift focus to ZAY BABINEAUX. Next to him YINDRA AMINO is engaged in a seemingly riveting conversation with HALEY FISHER and CLARISSA CRUZ, but Zay isn’t paying attention. He’s zoned out, glued to his phone instead.

He’s logged into his application portal for Turner. His status still says “pending,” even weeks later when many people have already heard back. He keeps refreshing the page, willing it to change, yet of course it does not. He sighs, swiping the window up and away and landing back on the previous app he had open.

His messages app, and a specific contact at that. His text thread with Charlie, which had been steadily growing back to a healthy rapport but has essentially gone silent since his Turner audition. Since Zay kissed him, like an idiot, and then ran away like a coward.

It’s clear Zay wants that to be different. He wants there to be rapport, to break the ice he stupidly created, but he’s at a loss for how. Not to mention, he kind of figured Charlie would say something… maybe that’s stupid, given it’s Charlie, but it feels wrong to be the one to bother him when he’s the one who encroached on their lines in the sand.

Just another thing frozen in time, stuck “pending.” Zay frowns, slouching further in his seat.

Riley comes to join him with food for them to share, plopping down in the seat next to him. He quickly locks his phone, but it’s honestly not even worth the rush -- with his obsession lately, she already has her guess as to what he was looking at.

Riley: I hate to be the one to deliver this news, but you realize we’re not going to have much access to wi-fi on the trip? You’re not going to be able to check your email obsessively while we’re there. Such a tragedy... 

Zay: Yeah, yeah, yeah. Gimme my French fries.

Riley hands them over, eyeing his leg impatiently bouncing a mile a minute. She remarks he’s got plenty of energy stored up now clearly, so good thing he’s finally clear to dance again. He snorts, derisively eating a fry.

Zay: Yeah, just when I needed it -- oh, no, wait. That was weeks ago…

Riley: Still, you’re happy, aren’t you? I know I am. I can’t wait to see you dance again for real.

Zay: You’re unfailingly sweet, thanks. And yeah, of course I’m happy I got the all clear. It really just feels like… I mean, if it could’ve been a couple weeks sooner --

Riley: But there’s nothing you can do about it now. It’s done. And if it took Turner this long to contact you --

Zay: Reject me.

Riley: Then there’s nothing to say it’s going to happen any second we’re abroad on this trip. All this to say [ pretending to pull a cord from his forehead ] disconnect. I think you’ll have more fun if you do.

Zay: Maybe.

Riley: Besides, it’s not like you’re the only one who hasn’t heard back. It’s not totally out of the norm. I mean, Lucas hasn’t heard from Davis, I’m waiting on Tisch...

Yeah… interesting how Riley seems so calm and unbothered by that. Zay points out as much, that she is handling the whole uncertainty thing remarkably well. She shrugs. It’s hard to tell if she genuinely isn’t that invested, or if she’s just keeping her expectations low to avoid disappointment.

Point is, they’re about to go abroad for the first time, so they should focus on that rather than getting stuck on all the stuff here. Zay doesn’t argue with that perspective.

Zay: Believe me, I’m more than ready to get away from things in New York for a while.

Nonchalant as that statement is, Riley is smarter than that. She raises her eyebrows, immediately asking what’s going on aside from Turner that he’s trying to avoid. Zay focuses on his food instead, which only tips her off more. And she had noticed that conversation between him and Charlie seemed to have died down in the last couple weeks…

Riley: Oh my God. Did something happen? [ with dread ] You’re not fighting again, are you?

Zay: No. And we were never fighting.

Riley looks more than ready to disagree with that, but Zay cuts her off. Every time she tries to dig deeper, he dodges, nuh-uhing her until she gives up. If there is something going on, he’s clearly not going to talk about it.

And he’s not the only one. At the gate, Isadora sits on her own, headphones on as she watches something on her phone. Eric sits down next to her and greets her, but Isadora doesn’t notice. With a sigh, Eric taps Isadora on the shoulder. She jumps and looks up at Eric with wide eyes, pausing the video and moving her headphones to rest around her neck.

Eric: Enjoying yourself? [ a beat; Isadora shrugs ] How are you feeling about everything? The last time you flew or traveled a significant amount was for Valerie’s funeral. 

Isadora, dryly: I really appreciate the reminder.

When Eric doesn’t move on, but instead continues to wait for a proper response, Isadora shifts from her sarcastic defense system to allow a bit of vulnerability. 

Isadora: It’s difficult. I only used to fly between LA and New York, either because she wanted me back or had given up on me again. I feel like I did back then -- will this time work? Will I be accepted and loved? I know I’m not going to see her, but my anxiety isn’t really listening to that fact.

Eric nods in understanding and says that he expected as much. He suggests that she continue to challenge the thoughts, and keep herself distracted. 

Isadora: Kind of hard when all your friends are talking about where to go to college and your dad is asking you how you feel about your mom being dead. 

Eric: Fair enough. Should I just leave you alone, then? Or do you want to play an airport game? Guess Who, I Spy, that sort of thing.

Isadora considers this. 

Isadora: We could try to name as many of the periodic elements as we can. 

Eric: Maybe we should find Farkle for that one.

As Eric looks around, Isadora chuckles and tells him that it’s fine. She’s happy watching a documentary about whether we’re all living in a simulation or not. Seems like a great way to distract from anxiety…

Eric leaves Isadora alone, passing JADE BEAMON and NIGEL CHEY as he goes. They sit together at the gate, across from Isadora, sharing a bag of candy and excitedly discussing what they’re going to do on the trip. Nigel is particularly enthused about one location on their itinerary, his nerdom on full display.

Nigel: I mean, it’s Stratford-Upon-Avon. Birthplace of Shakespeare!

Jade, fondly: I know, I know.

Nigel: You don’t go to Shakespeare camp twelve years in a row only to not appreciate the chance to see the holy ground. It’s like… pilgrimage.

Jade: And don’t I feel blessed to witness it. Think seeing you see it is going to be more interesting than the place itself.

Nigel shrugs bashfully. Jade splits a piece of candy in two and hands half to him, which he happily accepts.

Nigel: Gotta say, yeah, it’s extra special considering I get to see such an important place with such an important person.

Jade’s turn to blush. She concurs, though, the two of them agreeing a lot of the excitement for the trip is just in that they get to be on it together. They’ve got it all planned out, how they’re going to spend as much time as possible taking in the sights together. Nothing but experiences to have, culture to absorb… just the two of them…

Well, not quite. Their quiet conversation is interrupted as the techie boys descend upon them, loudly and enthusiastically pouncing on Jade from behind as they crash into the row of seats backed against theirs. She jumps in surprise, then makes a deadpan expression as they all immediately start talking at once.

Jeff: All stocked up for the trip.

Nate: Check it, Pins N’ Needs! Got enough jelly beans in these pockets to last a lifetime, baby! And I’m packing major Double Bubble.

Dave: Jeff helped me pick out a travel adaptation --

Yogi: Aren’t your pockets going to get sticky?

Nate: You let me worry about that. You just wait ‘til I start blowing bubbs at 30,000 feet.

Dave: [ holding out the adapter to show Jade ] So I don’t get zapped by the British electricity.

Jeff: They’re going to throw you out the emergency exit.

Nate: Good thing I’ll have my Double Bubble to keep me airborne!

Jade, sharply: Boys. [ off their silence ] Don’t you remember what we talked about before we left? That little agreement we discussed about this trip?

Nate, Dave, Jeff, and Yogi exchange a look, thinking… then their glances shift to Nigel. He looks overwhelmed, not yet used to the usual techie tot rapid-fire, but he offers an awkward smile.

Ohhh, right. Jade is with Nigel. Simple agreement -- leave her alone.

Nate: Oh, riiiiight. Right, right.

Yogi: Quite right, luv.

Jeff: Don’t mind us. We’ll just be over here. Minding our own business.

Nate: Looking the other way.

Dave: Leaving you alone so you can be with your boyfriend.

Dave! Not so loud! Nate and Yogi tug Dave around so they’re facing the other direction, feigning disinterest and leaving Jade be. She releases a long breath through her nose, then offers Nigel a smile. He was saying?

Flight attendant, voiceover: Attention passengers. Flight 0103 to Heathrow begins boarding in just a few minutes…

INT. AIRPLANE - NIGHT

Passengers clog the aisles and rummage around their seats as boarding resumes, all the way towards the back of the plane where the A class basically has domain over the last few rows. Riley, Dylan, and Asher take up a row of three, avidly chatting as they buckle in. Harper is helping direct them to their proper seats, noting that they’re welcome to swap seats with each other if they wish only once they’re settled and within their share of the plane.

That’s news to Nigel -- and good news at that. He perks up from his seat in front of Yindra and Zay (paired by the window on the left side), then makes eye contact with Jade still hovering in the aisle making her way down to board. Yindra gasps.

Yindra: No way. Nigel Chey, are you ditching us?

Nigel: You’re sitting together. I’m not. I’m the third front wheel.

Zay: But you’re with us in our hearts. You’d really toss us aside so callously to sit with your girlfriend?

Nigel: You are the last person who should be making that accusation, or did you forget freshman year? [ off Yindra’s snort ] But to answer your question --

Jade catches his eye, nodding her head towards a couple of seats just two down in front of Zay and Yindra. Nigel spots an opportunity as Isadora starts to settle in, leaping for it.

Nigel: Yep. See you in London.

Zay and Yindra boo him as he jumps forward in the aisle, getting Isadora’s attention and asking if she’d be willing to swap seats. She hesitates, then sees Chai coming down the aisle behind Jade, and something compels her to agree. Nigel happily passes off his ticket and settles into her spot, waiting for Jade to make it next to him.

Only somehow there’s a mix-up, and things don’t go quite as planned. Just as Jade arrives at their row, Eric pops over. He’s surprised Nigel is seated there -- he was under the impression Isadora was supposed to be in this seat, but he digresses -- and he explains that somehow his ticket got mixed up and he’s ended up in the middle of one of the four-seat rows in the center. But he’s an older gentleman, as they know, and he isn’t sure a cramped flight sitting like that for seven hours will be very healthy… so would Jade be so kind as to be willing to swap with him so he can have the aisle?

Well... what are they gonna do, say no to their counselor? Jade sheepishly agrees, spinning to look at where Eric says is his old seat. Naturally, it’s smack in the middle of the techie boys.

Jade: You’ve got to be kidding me…

She makes her walk of shame over to them, the boys greeting her enthusiastically. Jade! Pins N’ Needles, back at it again! Eric settles down into the spot next to Nigel, giving him a friendly smile. Nigel returns it weakly, then glances over his shoulder -- Yindra and Zay are silently laughing at him, giving him cheeky middle fingers. That’s what he gets!

And, despite her quick moves, somehow Isadora has ended up with Chai as her seat partner. Chai seems enthused about it, but Isadora less so. She kind of tunes out even as Chai tries to chat with her, curling closer towards the window. Chai can obviously tell this isn’t typical girlfriend behavior, and thinks about saying something, but Isadora pulls her headphones back on.

Not much to be done about that, then. Chai tries to brush it off as nothing -- just travel nerves, maybe -- pulling out her book.

In a pair of seats to the right behind Harper, Maya and Farkle are settling in. She’s being oddly snippy with him, putting on a thin air of aloof as she questions whether he’s accepted his admission to USC yet. Ever since she found out about the business card, she’s been prodding him about it every day.

Farkle: I haven’t made any decisions yet. For the thousandth time.

Maya isn’t satisfied with that answer. She curtly says -- not for the first time -- that if she had an opportunity flying into her lap like that, she certainly wouldn’t be hesitating to take it. It’s deranged, is what it is. Self-sabotaging, perhaps. Farkle rolls his eyes at her theatrics, leaning back into his seat and knocking his head back.

Farkle: This is going to be a long flight.

Maya: Farkle, darling, you’re my best friend -- it’s going to be a long life.

You got him there, Maya! And with that, we’re ready for take off --

EXT. AIRPLANE - NIGHT

Night passes and brightens to day as the airbus makes its way over the Atlantic, making a timely and early descent into the United Kingdom. As the pilot’s voice welcomes us to London over the intercom, we get our first sprawling, establishing shots of the commonwealth.

INT. HEATHROW INTERNATIONAL AIRPORT - DAY

The A class emerges through customs and gathers their things at the luggage carousel, grateful to be able to stretch their legs and move freely. Dylan does some cartwheels to loosen up -- guess the American circus really has arrived! Yindra and Zay pick on Nigel when they reunite with their bags. Did he enjoy his flight with Eric, his best friend?

Nigel: I will have both of you know that Counselor Eric is a lovely conversationalist. You can stay mad.

Oh, ho ho! Big talk! Eric passes him and thanks him for the compliment, embarrassing Nigel and causing Zay and Yindra to crack up. Then he beckons them all out towards the bus -- it’s time to kick this trip off for real!

EXT. LONDON - VARIOUS LOCATIONS - DAY

Song Cue ♫ ♪ “London Calling” as performed by The Clash || Performed by AAA Seniors

The A class file onto a double decker BUS as the guitar and drums start, a friendly if bland tour guide called SIMON greeting them once they’ve all taken seats on the open top deck. He’ll stay with them for the entire trip, but the double decker bus is only for today. 

They set off around the streets of London, the unofficial British anthem the soundtrack for our montage of them enjoying -- and exploring -- the views. They drive past the electric billboards of Piccadilly, Cleopatra’s needle, a large statue of Queen Victoria -- all the while taking pictures and listening to Simon’s narration of the city (which, perhaps thankfully, we can’t hear).

As they drive past Trafalgar Square, we cut to them exploring that same location. They’re sped up to match the tempo of the song and the chaotic nature that is tourist sightseeing tours. The techie boys sit atop the iconic lion statues while Maya, Farkle, Riley, Isadora and Zay walk in a line in unison to the beat, heads bobbing and knees bent like Madness in the One Step Beyond music video and cover art.

Back in the bus, we see that while Jade and Nigel managed to sit together this time, they’re both peacefully snoozing. Yindra laughs and takes a picture of them.

They pass the Tower of London and the Tower Bridge, then we see them arrive at the British Museum. 

Simon, flatly: I’m very excited to show you all the many things that British colonists stole from people all around the world and that we still refuse to give back to the rightful owners.

We see members of the A class posing in front of various different statues and artifacts throughout the museum -- Maya and Yindra with the Pharaohs of Egypt; Dave and Nate with the Easter Island head; Nigel and Jade with the Rosetta Stone; Farkle, Isadora, Riley, Asher and Dylan mimicking the poses of the Elgin Marbles as best they can considered each figure is missing a significant amount of limbs; Sarah, Darby and Chai in front of the painting Dancers Practising at the Barre by Edgar Degas.

We return to Trafalgar Square to see Nate being chased by two BOBBIES, one of whom is missing his hat. Nate shouts gleefully as he runs past his classmates, police hat proudly on top of his head. He provides the “ow ow ow owww!”

Eric struggles to keep up with the bobbies and pauses to catch his breath. Riley hands him her water bottle. 

The bus drives past Buckingham Palace while Maya teaches everybody how to do the royal wave. Then the Science Museum, which Simon seems more much interested in. Farkle and Isadora are hot on his heels. We see the enormous dinosaur skeletons, the great whale, the wacky mirrors that distort your image, the escalator that takes you up into the centre of a volcano.

By the time the class are climbing back onto the bus after the science museum, they’re full of energy, excitedly chatting while Harper and Eric drudge behind them. Simon, on the other hand, shows no signs of either energy or lack thereof -- or any emotions at all, really.

The class groove on top of the bus, dancing around and laughing together while Nate provides more wolf calls. They shout-sing the lyrics together, having the time of their lives. 

With the very last clash of the drums, Nate tosses the police hat back to the bobbies and sprints away with the other techie boys, cracking up. 

We’re in for one exciting trip, folks!

INT. AAA - JACK’S OFFICE - DAY

Back in the states, a perfectly normal school day at Adams is progressing as usual. Only the news that Lucas shares with Jack as they sit in their usual spots across from one another is far from it -- he informs him about his tentative admission to Davis, and that he’s up for a potential scholarship (something he sorely needs). Jack is stunned, then elated, nearly getting to his feet.

Jack: Lucas, that’s fantastic! Congratulations.

Lucas: Um, yeah. Thanks. I mean, doesn’t really matter if I don’t get the money, since I still haven’t made enough on my own and it’s going to take like, everything I’ve got either way, but --

Jack: But still. This is a major accomplishment. I know how hard you worked. You should be proud of yourself.

Lucas is obviously uncomfortable with the effusive praise, as nice as it is. So he brushes it off, shifting instead to the reason why he told Jack in the first place. He was hoping that he could give him a ride to his interview. It’s a ways upstate for some reason, and he’ll never be able to borrow the family car for that long.

Jack is, of course, more than willing to do so… until Lucas mentions the date.

Jack: Tomorrow? [ reluctant ] I’m sorry, I can’t. I already have a prior engagement.

Lucas: Oh… oh.

Well, shit. That’s what you get for hiding your small victories until the last minute. Jack frowns, obviously wishing he had a different answer.

Jack: I’m sorry. If I could shift around these plans, I would, believe me. But it’s not exactly within my control.

Lucas: No, it’s um -- it was my mistake waiting so long to -- no, yeah, it’s cool. Thanks anyway.

Jack: You’ll figure out something else, I’m sure. You’re nothing if not resourceful.

Lucas: Yeah… yeah, definitely.

But Lucas doesn’t seem very convinced. Jack can tell he’s deflated, but there’s not much he can say to improve the situation. Lucas escapes before he can even try, claiming he better get back to class -- he and Shawn have lots of work to do, sitting around doing nothing as the only two left.

EXT. LONDON EYE - DAY

The A class arrive at the final destination of their city tour: the London Eye. It looms above them, slowly going round against the London skyline. It’s a magnificent thing to behold, but the techie boys seem disappointed. 

Nate: Is this it? I thought it was meant to be the best ferris wheel in the world. 

Dylan: It’s barely even moving. Is it broken? 

Dave: Where’s the other eye? Is London a cyclops?

The tour guide listens to these complaints in horror. Eric can only mutter an apology, but Simon takes it in his stride and uses the opportunity to explain the history of the London Eye. Farkle listens keenly while Nate and Dylan ask as many ridiculous questions as they can. Leaving the class in safe hands, Eric and Harper go over to the ticket stand to collect their pre-booked tickets. 

Simon: Does anybody know how many capsules there are on the Eye? 

Chai: Thirty-three, right? 

Simon: Close, but not quite.

Isadora’s hand shoots up. Simon nods at her, allowing her to answer. 

Isadora: There are thirty-two capsules. When numbering them, they skipped thirteen for good luck, so they’re numbered one to twelve, then fourteen to thirty-three. There are thirty-two boroughs in London, so each capsule represents one of them. It’s a common misconception that there are thirty-three boroughs, but the City of London isn’t actually classed as a borough.

Simon: You’re exactly right, Miss De La Cruz! But I will kindly ask you not to take over my job in future. London is a very expensive place to live and I need rent money.

Isadora blushes but has a proud smile on her face. Next to her, Chai looks a little irritated at being shown up, given that she was the London transfer for a whole year. Rather than dwell on it, she returns her attention to Simon, who goes through the thirty-two boroughs that the capsules represent.

On their way back from the ticket stand, Eric and Harper pass a man with a basket full of roses.

Rose seller: What a lovely couple! Miss, wouldn’t you like your boyfriend to get you one of my roses?

He holds out a rose, smiling innocently. Harper and Eric meet eyes and struggle not to laugh.

Harper: We’re both gay.

The man falters, realising his mistake, and steps back to allow them on their way. He spots an actual couple walking towards the queue hand in hand, so skips over towards them. A smattering of the A class watches him go, having tuned out of the history lecture.

Yindra: What a guy. Wouldn’t want to have that job.

Zay: I wouldn’t spit on it. That might be you in Los Angeles in a few months.

Yindra elbows him pointedly. Asher shakes his head, watching the rose seller try to convince another group.

Asher: Could never be me. Walking up to strangers like that is a nightmare.

Dylan: Gotta respect the hustle. I love talking to random people. [ brightly ] Maybe I should do that.

Asher: Please don’t.

Dylan: I could sell my cookies. You’d buy food from a stranger on the street, right?

Zay: That’s what the hot dog vendors in Manhattan do every day and they’re considered a staple. Follow your heart, Orlando.

Jade: I don’t know about street food, but I would totally go for one of the flowers. Those roses are beautiful, look at them.

Nigel takes note of her reaction, but the moment passes pretty quickly. When Eric and Harper rejoin the group, focus drifts back to them. Simon finishes his list of boroughs and Eric takes over, announcing that they have to split up into two groups.

Eric: There would only be enough room for four more people if we were all in a capsule together, and since we didn’t specifically book to have one to ourselves, they’ve asked if we can split up so that we don’t prevent other, smaller groups from being together. 

Maya: That can’t be right. I remember specifically requesting we had a capsule to ourselves in my proposal for the trip schedule.

Eric: If you want to fork over the extra cash, then sure thing.

Maya admits defeat. Eric announces that he’ll take ten of them, and Harper will have nine. But aside from that, they’re all mature enough to sort out the groups themselves.

That’s giving them a lot of credit. Haley and Clarissa cling onto each other for dear life as everyone begins moving around. They stand in front of Harper and stay there, determined not to get split up. Jade and Chai both have the same idea, each trying to get a hold of Nigel and Isadora, respectively. Chai successfully ends up standing in front of Eric along with Isadora, Darby and Sarah, but Jade and Nigel are less fortunate. Yindra loops her arm through Nigel’s and moves him over to Eric’s side where Zay is waiting, while Dave rests his chin on top of Jade’s head, anchoring her to her place by Harper.

Riley, Dylan and Asher are chatting merrily in Eric’s group, while Maya and Farkle are still undecided. Farkle is happy wherever, but Maya is having a hard time picking between being stuck with Dylan and Asher -- but having Isadora, Riley and the plastics -- or being with the rest of the techie boys. She decides that she can just stay on the other side of the capsule as Dasher, and walks towards Isadora and the plastics.

While Maya moves towards them, Isadora realises that she will take them up to eleven, meaning somebody will have to move. Neither Eric nor Harper have realised that Eric’s group is already full. She looks between Chai, who has her back to Isadora while she chats with Darby and Sarah, and Farkle, who frowns as he realises the same thing about the numbers.

He’s about to speak up and call Maya back over to Harper’s side, but Isadora uses the opportunity to get away from a potentially uncomfortable situation and darts over towards him. She grabs Farkle’s wrist and pulls him properly into Harper’s group before he knows what’s happening.

When Maya joins Darby and Sarah, she realises that Isadora is no longer there and turns around. Chai notices the same, both of them frowning in confusion at Isadora. She avoids eye contact with both of them, turning and letting Harper know that the groups are done. 

Harper: Oh, thank you Isadora. Eric, I think we’re ready. 

There’s no chance for anybody to voice their displeasure at the arrangement, with Eric already setting off towards the queue. Farkle looks down at Isadora, confused and a little concerned. 

Farkle: What happened?

Isadora: Hm? Oh, I... noticed that Jade was the only techie girl on this side so I wanted to join her. Maya and I must have ended up swapping somehow.

Farkle doesn’t look convinced, but Jade mumbles a thank you while watching after Nigel.

As they join the queue, Simon waves the group goodbye. Once all of their backs are turned, his customer service smile drops. 

Simon, sighing: Americans…

Americans, indeed.

EXT. LONDON EYE - QUEUE - DAY

Now split up, the A class settles into distracting themselves while waiting in line. Yindra and Riley pass the time by playing I Spy, assuming incorrectly that Zay is paying attention and playing along. But he’s not, staring into space and lost in thought as the girls survey the scenery. It’s like they’re not even in another country -- Zay could just as easily be sitting in Cory’s history class, bored out of his mind, for all the energy he’s giving right now.

Yindra is quick to call him out on it, raising an unimpressed eyebrow when her gaze settles on him during her turn.

Yindra: I spy with my little eye something short, yellow, and boring.

She snaps in front of his face, snapping him out of it. He swats her hand away, Riley laughing along as they point out he is completely on another planet.

Zay: Also, don’t insult me -- this shirt is gold, not yellow. Get it right.

Riley: I thought we agreed at the airport that we were going to live in the moment. Seize the day. Enjoy the trip and not get lost in our own heads.

Yindra: Please, don’t even bother. He’s been like this for weeks. At this point, I’m begging for Turner to get back to him so I can be put out of my misery.

Zay: Look, it’s easy for you to say, all right? You can afford to be chill about it, you don’t have a dream school.

Yindra: That’s right. You know what I’ve got? The dream. And at least in chasing that into the uncertain future, I’m not totally dialing out of right now. Like, we’re in London, Zayby. Drink some tea. Take the tube. Kiss a dude with an accent. Carpe diem.

Yeah, okay, Zay will not be doing that. And he doesn’t need the reminders or reprimands. He gets it, they’re in London, they’re in London, they’re in London… but what does locale matter, really, when your heart, mind, and soul feel thousands of miles away? Always tantalisingly out of your reach?

Suffice to say, it’s not going to be so easy to pry Zay out of his own head -- so for now, well, we’ll just have to go into it with him.

Song Cue ♫ ♪ “The Kiss of Venus” as performed by Dominic Fike (feat. Paul McCartney) || Performed by Zay Babineaux

As the music-box-like opening twinkles in, Yindra waves Zay off and gives up on him, letting him drift back into space. And he does, directing his gaze upward towards the giant ferris wheel and the skyline of London behind it.

Yep, they sure are in the UK… as he sings the first opening lines, somewhat detached, we slowly ease in closer to his face…

EXT. LONDON EYE - MIRROR WORLD - DAY

Until we’re close enough that it’s darkness and a blur, then we’re pulling back out, still with Zay as he continues to sing -- only everything’s flipped around. We’re occupying his mindscape, free from the conventions of reality, and with a lot of new ground to discover. He starts walking backwards on the beat, his trendy kicks stomping against the pavement, quickly reminding us that he finally, blissfully has full control of his limbs again.

And with that beautiful fact being the truth, it doesn’t take long for him to break into dance. He launches into movement as he breaks into the first chorus, the scenery of London taking more vivid shape around him.

From there, the performance acts as an artistic, groovy snapshot of this new city we’re suddenly inhabiting. Zay explores iconic landmarks and imagery of London as he goes -- dancing along the edge of the fountain in Trafalgar Square; grooving unapologetically in front of the stone-faced Queen’s Guardsmen stationed in the city; riding center in a crammed tube carriage and staring dead at the camera as he sings.

About a minute in, we’re close on his face again, and he seems to be laying down facing up at us… and as we ease out, we realize he’s not just laying in any old place. He’s on the clock face of Big Ben -- yes, the Big Ben -- his limbs mocking the movement a second hand. As the bridge continues, the screen slowly starts to tilt upright, Zay adjusting with it until he’s balancing sideways on the structure.

And this launches us into the electric second half of the number, where he really leans into the energy, fantasy, and freedom of the performance. Each of his sceneries becomes a little less restrictive and more bent to his creative will -- the tube carriage is empty now, allowing him to swing on the hand rails and climb along the seats; he’s splashing and spinning in the water in the Square; he’s now dancing amidst the whole brigade of the Queen’s Guard as they run through the changing of the Guard at Buckingham Palace.

In case the message wasn’t loud and clear already -- we’re in London! We get it! More importantly, it’s so good to see Zay Babineaux moving again. Even as the song peters out and we return back to mundane, rules-of-physics-following reality, there’s a lingering energy from the mere sight of seeing him dance that sprinkles a little more magic into the scenery than before.

INT. LONDON EYE - CAPSULE 1 - DAY

Farkle is getting a good look at the view of the city from so high up, Isadora coming over to join him. She asks if it looks any different from the last time he was here, and he admits he honestly can’t remember. It was a long time ago that his family visited. He asks her a question in return, wondering aloud why she isn’t on the same capsule as Chai.

Farkle: You’d think you would’ve fought a little harder to stay together. You know, given that she’s your girlfriend.

Isadora: [ with a scoff ] It’s not my fault the class got split up. What would you have me do? Bully the tour guide into letting me jump groups?

Farkle: You have bullied less deserving people for less pressing things.

Isadora: No clue what you’re talking about. I’m a fucking delight.

Farkle snorts, earning a playful sneer from her. As charming as her deadpan delivery is, Farkle isn’t completely won over by it. Because what it really signals is that she’s avoiding answering the question, which isn’t like her at all. Farkle tries to dig deeper, asking if everything is okay between her and Chai.

Isadora: Yes. Yeah. Duh. [ defensive ] Why wouldn’t it be?

Farkle: Maybe the fact that you’re standing in this carriage arguing with me rather than enjoying time with her.

Isadora: As if bickering with you isn’t the joy of my existence.

Farkle: I’m not trying to like, judge, or whatever. I’m just asking if --

Isadora: What do you want me to say, Farkle? I said it was fine. I mean, what, do you want there to be a problem? Do you want me to tell you everything’s gone weird and I don’t know how to fix it?

Dangerous questions, Isadora! Don’t ask something like that! She’s asking it in a rhetorical way, totally unaware of the fact that Farkle doesn’t know how to honestly answer that question -- to her, or for himself.

Lucky him, he’s spared from addressing it when their conversation is interrupted. An ELDERLY WOMAN -- the kind who can’t help but share their opinion in an overly friendly way -- breaks away from her ELDERLY HUSBAND to tell them their back-and-forth is really quite loud.

Farkle: Oh, sorry about that. We’ll quiet down.

Woman: Oh, no no! Don’t mind me, loves. I find it a bit amusing to be frank -- reminds me of me and my husband here. We can bicker up a storm.

Husband: [ making her point ] No we don’t.

Woman: Married fifty-seven years, if you can believe it. [ cheerfully ] You two make an adorable couple.

Um? The two of them exchange a look, Isadora bewildered and amused whereas Farkle seems slightly panicked.

Isadora: We’re not --

Farkle: It’s not like that, we’re just --

Woman: [ ignoring their protests ] Do you want a picture? The backdrop of the city really can’t be beaten from this angle. It’s so gorgeous, isn’t it?

God, old people… really can’t keep up with them. Farkle stammers, searching for a polite way to reject the well-meant but misguided offer. But Isadora surprises him even more.

Isadora: Sure.

Farkle stares at her as the woman chirps happily, needling her husband to come take the photo because he has less shaky hands. Isadora passes over her phone, only noticing Farkle’s expression when she steps closer for the photo. She shrugs.

Isadora: What? A picture’s a picture. Might as well preserve the memory, right?

Well… yes… but… hard to argue with that. Farkle relents, still a bit stiff, but he’s not going to pass up the opportunity for a keepsake when Isadora is rare to photograph as it is. He manages to pull together a smile as they huddle together and he drapes an arm around her shoulders. His gaze lingers on Isadora as she steps forward to retrieve her phone, thanking the nosy tourist.

INT. LONDON EYE - CAPSULE 2 - DAY

Speaking of nosy women, Riley is taking some photos of her own. She’s capturing as much of the view as she can in her phone, but it obviously can’t replace the real thing. She seems dissatisfied by that fact, only pulled out of scrutinizing her work when Asher stumbles over to join her. He blindly finds the rail and holds onto it for dear life, eyes screwed shut.

Riley: [ with a chuckle ] What are you doing?

Asher: I’m such an idiot. I’m an idiot, Riley -- you are Riley, right?

Riley: Yes, rest assured. I’m actually surprised you’re on this. Aren’t you scared of heights?

Asher: Yes. Yes, I am. But I thought, why not, what better a time to conquer my fears. Gonna be doing a lot of it in the next few months, might as well start now. When in London, right? Wrong. So, so wrong.

Riley aws in sympathy, patting his back and then looping her arm through his to help brace him further. She focuses on distracting him, explaining that she’s trying to take as many photos as possible to show Lucas when they get back. She knows he said he didn’t care, but…

Asher: No, no, I think that’s nice. He’ll appreciate it. You know Lucas claims he doesn’t care about everything when he actually does like seventy percent of the time.

Riley: Yeah. I mean, he honestly probably won’t care much about the London stuff.

Asher: True. He barely tolerates Manhattan.

Riley: But later in the week when we go to like, the parks and the nature reserves and stuff… you know he’d love that. He’d act like he wasn’t into it, but he so would be. So I’ll just try to bring as much back to him as I can.

Asher: For sure. He’s lucky he has you.

Maybe it’s the crippling anxiety talking and blocking his usual filter, but Asher usually isn’t one for such casually stated declarations, so Riley takes the sentiment to heart. It’s nice to hear Lucas’s best friend say something so validating. She smiles to herself.

Riley: Anyway, I’m planning to show the pictures to Charlie, too. He loves travel and history and that sort of stuff, so I’m sure he’ll want to see all of it. So either way, won’t go to waste.

Asher: Oh, yeah. Sucks that he didn’t get to come after three years of sticking out of the worst of what Adams has to offer.

Yeah… a lot of things have felt that way with Charlie this year. But he’s got plenty of his own going on this week while they’re traipsing across the pond.

As the gentle, unassuming guitar floats in…

INT. GARDNER HOME - CHARLIE’S BEDROOM - DAY

Song Cue ♫ ♪ “New Start” as performed by Weary Friend || Performed by Charlie Gardner

CHARLIE GARDNER’s soft vocals drift in as we settle in his bedroom. A couple of boxes have cropped up in corners of the room, one of them labeled “donations.” Inside are discarded pieces of the Haverford uniform, the first willing sacrifice to the specter of college packing.

And I’m packing up and I’m moving out And I’m walking across the stage into a world that I’ve never seen

On the back of Charlie’s desk chair, a pale blue graduation gown is folded -- on the desk, his cap and high school diploma.

So it’s done. A graduation come and gone, just like that. When everyone else was halfway across the globe -- another important walk made alone.

EXT. GARDNER HOME - CHARLIE’S BALCONY - DAY

On his balcony, CHARLIE GARDNER is seated with his guitar, delicately strumming through the notes. He’s dressed plainly in a tee shirt and jeans, not dressing to impress or concealed behind a uniform, and his hair has grown back out long enough that pieces of it are falling in his face as he focuses on the strings. Despite the mixed emotions of the song, he appears at ease -- honestly the most relaxed he’s looked in months. No more selling himself for applications, no more blackmailing peers.

And they ask me where I’m going And they ask me what I see ahead But if I’m being completely honest…

The threats of the past are done now. All that’s left is the daunting uncertainty of the future. Charlie pauses for a moment, taking a breath… then he exhales into the final line of the verse.

I can’t see a thing

INT. HAVERFORD PREP - AUDITORIUM - FLASHBACK - DAY

As the performance continues, a flashback allows us to actually see Charlie graduate. He rises the steps to the stage and crosses with a bashful smile to accept the diploma from AARON JACKSON. In the audience, ELEANOR GARDNER watches with tears in her eyes, AMBROSE GARDNER applauding proudly next to her.

Charlie glances towards them as he begins his exit from the stage, smiling wider when he locks eyes with ROSIE GARDNER. She’s applauding too, trying to look unimpressed, but she can’t hold back her smile. AGATHA GARDNER and DAISY GARDNER are also present, cheering along.

As he disappears into the darkness of the wings --

INT. DANCE STUDIO - FLASHBACK - DAY

At about two minutes in, Charlie emerges into an empty dance studio at a local fitness center, flicking on the lights. Plain-clothed, free for the summer, left to his own devices.

No one else around to follow. No group choreography to adhere to, no brotherhood to obey, no expectations. But he wants to dance. He wants to reconnect, find that piece of his identity again.

So he does. Slowly, imperfectly, but it’s a new start. As the music swells into the orchestral middle, Charlie rediscovers dance, pursuing and practicing the art solely for himself.

INT. GARDNER HOME - CHARLIE’S BEDROOM - FLASHBACK - NIGHT

At the same time, intercut with the lyrical, improvised choreography in the studio, Charlie starts the strange process of going through his stuff in preparation for college packing that we see in progress in the present. He discards his Haverford stuff, tossing it haphazardly into the donations box.

It gets harder, though, when the decisions aren’t so surface-level. Like old photographs, books, notebooks from Adams with notes in the margins -- nervous notes to self, scribbled conversations with Clarissa and Haley, teasing doodles and messages in Zay’s chicken scratch from studying together.

It’s easy to discard the things you’re ready to let go of. The rest, not so much.

INT. DANCE STUDIO - FLASHBACK - DAY

As the orchestration winds down, Charlie finishes a fouette turn and lands without stumbling -- a promising sign if anything. He lowers himself into a sitting position, then exhales a breath and falls onto his back, laying in the center of the dance floor and staring up at the ceiling.

I used to think that when I was grown up I’d have my life figured out I’d know exactly who I was, I’d be set in my ways not needing to change

INT. OLD DANCE STUDIO - FLASHBACK - DAY

In a different studio, dated and decorated like the late 2000s, a YOUNG CHARLIE GARDNER lays at the center of the dance floor the exact same way, staring up at the ceiling. Smaller, geekier, yet doing the same cool down, centering routing. Finding solace in the quiet of the studio even so many years ago.

But now that I’m here, I feel more like a child Still learning my lessons and needing direction Still needing direction…

EXT. GARDNER HOME - CHARLIE’S BALCONY - DAY

As the piece swells into the final crescendo, Charlie leans into it, emotional and vulnerable. Many pieces come together in tandem with his simple vocals on the balcony, interweaving around one another. Photographs of him as a kid on the mantle in the living room, the same ones he scrutinized at the start of Season 2 during “I Hope I Get It,” now share space with his senior portrait. He continues to dance solo in the community center studio, while his younger, less polished self does the same.

He brings it all to a close back on the balcony, letting the final chords reverberate for a moment before he releases the strings. For a moment, he stays still and enjoys the quiet, the slow bleed of the familiar soundscape of the Upper East Side returning to focus around him. The distant echo of traffic. The coo of neighborhood birds. The chatter of neighbors down the street.

His home, for at least a little while longer -- before he ends up who knows where. Then he releases a sigh, taking his guitar and stepping back inside his bedroom.

EXT. LONDON EYE - DAY

The A class recongregates on the sidewalks, Riley’s group still trickling in from being released from the wheel. While Eric and Harper avidly attempt to head count and take attendance, Maya greets Farkle as he returns. She asks what he thought about the view.

Maya: Like, it was nice and all that, but eh. I’ve seen better.

Farkle: It was cool. Someone even took a picture of me and Isadora.

Maya: Oh? Paparazzi already.

Farkle: Yeah. She said we made “a cute couple.”

Maya cracks up, shaking her head. She takes his hand, patting it with her own.

Maya: Oh, Farkle, sweetie. No one would say that to you.

Farkle holds out his free arm in indignation. Well, it happened! Still, Maya remains unconvinced -- and thoroughly tickled.

INT. LONDON HOTEL - RILEY’S ROOM - NIGHT

The rooming arrangements for the trip are… unique to say the least, considering Eric had to balance gender, sexuality, and a handful of romantic entanglements that he’s trying not to enable. That explains how Riley, Isadora, and Dylan ended up as roommates, though they seem more than content with the grouping.

Well, at first Isadora does, until her chatty roommates shift onto topics she’d rather not discuss. It starts with college, a reality she’s trying to ignore, as Riley points out this whole exercise in travel is probably good for a lot of them in preparing for whatever journeys they’ll make for the future. She also notes it’s good practice being away from Lucas with this kind of time difference -- if he goes to Davis, like she’s hoping he will, they’ll be dealing with this distance all the time.

Dylan: Totally. But you guys are going to be fine. You’ve never been like super clingy or anything. And you’re already used to him being a terrible communicator even when he’s right in front of you. Won’t have to worry that distance is causing that when you know he’s like that all the time.

Isadora: That is actually so true.

Dylan: I think the much more pressing question is how are you ever going to survive being away from me? When I’m all the way in Rochester, a whole five hours away?

Riley: I know, you’re so right… well, I guess I just have to get my fix now!

Riley surges forward and tackles Dylan with a hug, the two of them collapsing into a giggly heap on their bed. Isadora eyes them, rolling her eyes affectionately. Once they’ve rearranged themselves into some semblance of a cuddle pile, Dylan conspiratorially continues the conversation.

Dylan, jokingly: Do you think Lucas would be jealous that I’m sharing a bed with you?

Riley: Considering you’re the gayest teen in Manhattan and are happily dating his best friend? No, I think he’ll live. [ coyly ] Besides, believe it or not, Lucas and I have shared a sleeping space… more than once already.

The statement itself is factual, nothing objectionable about it, but the message is all in Riley’s mischievous delivery. They may not have had sex yet, but the extracurricular implications are clear enough even Isadora catches on. Dylan gasps in faux shock, which Riley rolls her eyes at.

Dylan: OMG… Miss Riley...

Riley: Which you already knew.

Dylan: [ another gasp, then a beam ] I did. I did already know that actually.

As cute as Dylan and Riley’s friendship is, their comfort and casual intimacy in talking about sex is pretty much the last thing Isadora wants to hear. The context of Lucas and Riley is bad enough when she has to confront it, but on top of her own recent choices, she can’t stomach it.

Isadora: Are you going to be like this all trip? If I knew I was getting Elle Woods’ sorority sisters for roommates, I would’ve asked Eric to switch my room assignment.

Yikes. Dylan and Riley quiet down immediately, exchanging an uncertain look. To engage or not to engage… just as Riley opens her mouth to ask if everything is okay, there’s a knock at their door. Dylan climbs up to get it, pulling open the door where Chai is waiting on the other side.

Perfect timing… Isadora immediately gets to her feet, Dylan offering Chai a smile before stepping back to make room. He goes and rejoins Riley on their bed as Isadora approaches the doorway, the two eyeing the couple with interest and sharing another tacit exchange.

INT. LONDON HOTEL - CORRIDOR - NIGHT

Isadora steps out into the corridor, shutting the door gently behind her. Chai gives her a smile, but it’s tight and doesn’t reach her eyes. 

Chai: Thought I’d come by and say goodnight before lights out. 

Isadora: Oh, okay. Goodnight.

Isadora begins to turn, but Chai reaches out and places a hand on her arm to stop her. Isadora flinches at the unexpected contact, pulling her arm away and rubbing the spot where Chai’s hand was.

Upset, Chai crosses her arms. She tries to start a conversation, but her heart isn’t in it, and she can tell that Isadora would rather be talking to anybody else. 

Chai: Are you okay? You haven’t been like yourself. 

Isadora: Probably just jetlag. I’m super tired. 

Chai: Yeah, maybe. [ a beat ] But you haven’t really been yourself for a while now. Are you sure --

Isadora, snapping: You haven’t really known me that long, though, have you? You’re not my therapist or Eric, so please don’t pretend like you know what’s going on with me.

Ouch. Chai is taken aback, unable to hide the hurt on her face. Isadora realises what she said and exhales, trying to take a step back from her emotions.

Chai: I wasn’t trying to --

Isadora: I know, I’m sorry. Like I said, I’m really tired. I’ll be better once I sleep.

Chai nods, unsure, but figures it’s best to just leave it. She bids Isadora a quiet goodnight and leans forward to place a gentle kiss on her cheek, but Isadora doesn’t notice this and turns to open the door. Familiar feelings of being invisible and ignored cause Chai’s eyes to gloss over as she walks away.

INT. LONDON HOTEL - NIGEL’S ROOM - NIGHT

Nigel is getting his stuff ready for tomorrow, Nate and Jeff debating something from the bathroom nook. Jeff quickly asks Nigel if he needs to use the bathroom before he takes a shower, which he claims he’s all good, and Nate declares he’s going to go adventure around the halls until the last possible minute before lights out.

Jeff: I’m sure Eric and Harper will love that.

Nate: It’s only like six in the evening in my New York brain! What do they expect me to do, go to sleep? We’ve got hours before I hit that wall.

Oh, Nate, is the jetlag gonna come for you… but no stopping him for now. Jeff ducks into the bathroom and Nate disappears into the hall, leaving Nigel alone in the room. He settles onto his bed, absorbing the uncharacteristic quiet for a moment… then he gets an idea.

He leans over and pulls the hotel phone towards him, picking up the receiver and looking for how to find the right number...

INT. LONDON HOTEL - TECHIE ROOM - NIGHT

For as much as she planned to take a break from them this trip, Jade remains stuck with a majority of techie boys as her bunkmates. Dave and Yogi have claimed one bed while she’s planning to share the other with Asher, though at the moment she’s searching for a semblance of peace and quiet by brushing her teeth in the bathroom nook.

Dave pokes his head around the doorway, quietly asking if she’s okay. Jade spits out her toothpaste then raises her eyebrows.

Jade: Yeah? Why wouldn’t I be?

Dave: Well, you said you wanted to spend less time with us this trip.

Jade: I didn’t say it like that.

Dave: But here you are… stuck spending time with us. [ sincerely ] Sorry if we’re annoying you.

Jade sighs, tilting her head at him.

Jade: You could never annoy me, Dave Williams.

Dave smiles, somewhat reassured. Jade continues with a shrug, reminding him that it’s not like she hasn’t spent the last four years with ample time getting used to them. And it’s not that anything has changed about that -- she still loves them, they’re her boys, even if the ones like Nate and Dylan sometimes drive her crazy.

Jade: I just… I was hoping for something a little different this time. That’s all.

Dave clearly isn’t sure what that means, but he doesn’t get the chance to ask. The hotel phone rings, making all of them jump.

Yogi: Oh my God, those work? I thought they were just decorative.

Asher stops journaling, tentatively reaching to pick up the receiver when it’s clear no one else is going to. He says hello, listening thoughtfully, until his expression shifts to recognition. Then he cracks a small smile, glancing towards Jade hovering by the bathroom.

Asher: Yeah, sure. I’ll see if she’s available. [ holding out the receiver ] It’s for you.

Dave and Yogi exchange intrigued looks, the latter making a point of ooh-ing. Jade shoots him a look but comes to take the phone from Asher, who gives her some space and takes his journal over to the desk.

Jade, uncertainly: Hello?

INT. LONDON HOTEL - NIGEL’S ROOM - NIGHT

Nigel exhales a sigh of relief, settling back against the headboard. He returns her greeting shyly.

Nigel: I’m glad this actually worked, I wasn’t sure it would. I sort of thought these phones were mainly decorative.

The conversation cuts back and forth between the two of them, both of them speaking more softly than they probably need to under the guise of pretending they have privacy. Nigel explains he just wanted to say goodnight, which Jade smiles at. She apologizes for the fact that today didn’t really go as planned, but Nigel shrugs. Always tomorrow.

Jade: Yeah. Yeah, definitely.

Nigel: So I’ll see you tomorrow. For real this time.

Jade: [ with a laugh ] Okay. Can’t wait.

Neither of them want to say goodbye, but they must. To delay it just a minute more, though, Nigel tells Jade to make sure to check outside her door before she goes to sleep. She frowns, confused, but he refuses to elaborate. He simply insists she do her due diligence, then with one more goodnight, hangs up.

Jade gets up and heads to the door, hesitant and feeling silly… but it’s Nigel, and she trusts him. He wouldn’t tell her to do something without a good reason. Glancing over her shoulders to make sure her roommates are preoccupied, she gently pulls open the door.

INT. LONDON HOTEL - CORRIDOR - NIGHT

At first, Jade doesn’t find anything to see… until her gaze drifts downward. She lowers herself to a crouch, picking up the small gift left just outside her door.

One of the roses from the street vendor, the ones she said were beautiful, with a delicate ribbon tied around the stem. Jade laughs quietly in disbelief, then turns her focus to the small note folded underneath it with her name on it. It’s a brief message, scrawled in Nigel’s handwriting, on a piece of hotel notepad paper:

For aught that I could ever read, Could ever hear by tale or history, The course of true love never did run smooth.

A Shakespeare quote. Of course. How perfectly, quintessentially Nigel -- and the perfect antidote to their befuddled plans. Jade smiles, twirling the rose in her fingers and then smelling it.

Maya, pre-lap: I mean, it’s insulting, really. The complete disregard for my plans.

INT. LONDON HOTEL - DIVA ROOM - NIGHT

Maya is in the careful process of brushing her famous golden locks before bed, pacing the hotel room as she does. She’s ranting about the situation with the London Eye, remarking that with their little split she got separated from all the cool people and had to be stuck with Chai and like half of the techie gremlins -- including Asher of all people.

Maya: I really should file a complaint -- though I don’t know if it would be more effective to report Eric, or the tour company. I was very clear in my directions.

Zay: Yeah, yeah, it’s a travesty. While you’re at it, can you Karen the hotel and get them to improve their wi-fi? This service is shit.

At least, not good enough for him to compulsively check his application portal. Maya softens a bit, confirming that he still hasn’t heard from Turner. Zay tosses his phone onto the end of the bed, claiming that at this point he’d rather get a loud rejection than continue to be in suspense.

Farkle emerges from the bathroom, walking right into a trap for Maya’s ire. She comments on Zay’s predicament by pointing out that some people have confirmed opportunities right in front of them, and yet don’t appreciate it. Farkle rolls his eyes.

Zay: What, USC? Big whoop. You know Farkle was going to get in anywhere he applied considering his dad has a wealth reputation the size of Bezos.

Farkle: Um, well, I think we could give a little credit to my grades and applications.

Zay: Eh.

But no, that’s not what Maya was talking about. She loftily mentions the existence of the business card, getting the immediate attention of both boys. Zay sits upright.

Zay: Wait, what?

Farkle: Maya!

Maya: … oh, was I not supposed to mention it? [ flatly ] Oops…

Zay eyes Farkle, expecting further information. Reluctantly, Farkle gives him the short version -- that when they were in Los Angeles, he crossed paths with a talent agent who liked what he saw. So now he’s got this business card for if he’s ever back in the area. Zay blinks, shaking his head.

Zay: I’m sorry, let me see if I got this right. When we went to Los Angeles for Valerie De La Cruz’s funeral, you somehow managed to stumble into a situation to show a talent agent what you have to offer, and they liked it? Enough to give you their card?

Farkle: It was actually an audition. They wanted me to take the part, but I wanted to come back and finish senior year, so --

Zay scoffs, even more disbelieving. Maya holds out a hand, emphasizing her unspoken point. Farkle scrambles to explain himself, to validate his reasons for putting everything on hold and still not being sure he’s going to pursue it, but after a few moments Zay waves him down. He shuts down the conversation, claiming he can’t process this information right now.

Zay: Unbelievable. I can’t with this. I’m going to bed, and I’m going to sleep off this reveal and pretend I never learned it. Goodnight.

Farkle: Zay, it’s not like --

Maya: That’s all? I need you to give him one of your tough love bitch smackdowns --

Zay: I’M GOING TO SLEEP. GOODNIGHT.

Zay hits the light switch by his bed and sends the room into half-darkness, flopping onto his side and turning away from them. Maya and Farkle eye each other, the latter scowling at her. She smiles innocently.

Farkle marches over and hits the other light switch, throwing us into darkness --

INT. COACH - MOVING - DAY

But the sunlight is bright as the A class embarks on their second day, en route to the famous Westminster Abbey. It should be an exciting prospect, and it would be -- if the A class wasn’t thoroughly jetlagged and half-asleep on the bus. Dylan is asleep, leaning against a drowsy Asher.

Simon does his best to rouse them, trying to energise the bus with some riveting Westminster trivia. But it falls flat, especially on such a dead crowd. Their bus driver for the trip, a portly and blunt woman named FREYA, tells him to give it up. They’re second-day Americans, they’re gonna be pretty useless for much of the day.

Eric offers some optimism, though, patting Simon on the shoulder and assuring him they’ll put together. They’ll perk up soon… hopefully… Dave yawns loudly, not accenting Eric’s point well.

INT. GARDNER HOME - KITCHEN - DAY

Back in Manhattan, Eleanor has plenty of energy to spare. She’s in full-on planner mode as she pieces together final details for Charlie’s graduation reception, binders and notes spread out on the kitchen table and phone cradled between her shoulder and ear as she confirms some last-minute details.

Rosie and Daisy watch from the kitchen counter, since she’s taken over the dining table, having their breakfast. It’s quite the intimidating spectacle, watching their mom helicopter parent.

Daisy: Intense. Imagine what it’ll be like if he gets married.

Rosie: Think I might drop out to avoid this -- though I doubt she’d put in this much effort for me.

Daisy: I’d do that, but unfortunately, I need secondary education to get into a good college for environmental science. So.

Well, Daisy sure dropped that life plan nonchalantly. Seems she’s got it all figured out -- if only she would share some of that with Charlie! Rosie starts to ask follow up questions, but Daisy is done eating, walking away without comment.

Eleanor glances up from her things while she’s on hold with the caterers, asking Rosie if she’s heard from Charlie at all today. She feels like she hasn’t seen him since yesterday. He’s supposed to be picking up his suit, but if he doesn’t let her know, how is she supposed to know for sure… Rosie shrugs, claiming she doesn’t know. Then she pulls out her phone, crafting a quick text.

INT. THE GAP - DAY

Charlie is picking up his suit jacket as instructed, but there’s a reason he’s not keeping Eleanor updated. He glances at the text from Rosie, warning him that Mom is running just under nuclear and wondering where he is. How much longer is he going to be out?

Before he can type a response, that reason for secrecy returns to his side -- BRIDGETTE GARDNER, running the errand with him. She hands over the suit jacket put on hold for him, complete with a tie selection and suggested slack colors to match. Charlie informs her that they need to work fast because Mom is in blitz mode. Bridgette isn’t surprised, gesturing for him to try on the jacket then.

He does, pulling his arms through the sleeves. Once he’s straightened out the sleeves and adjusted the buttons, they both get a look at him in the standing mirror. It doesn’t look bad at all -- pretty classic and inoffensive in plain navy. The tie pulled to go with it is just a shade off from black, making the whole ensemble very unremarkable.

Bridgette: Looks nice. Just exactly like Mommy laid it out for you the night before.

She playfully pats his cheek, earning a scowl from him. She comments that she’s surprised Eleanor hasn’t made him cut his hair for the occasion, as it’s getting pretty long again.

Charlie: … she might have suggested it once or twice. I changed the subject.

Bridgette scoffs. Of course. But at least Charlie is resisting her influence. Bridgette thinks he could afford to do it more, given that this ensemble for the reception is so insanely boring he might as well be going to a funeral.

Bridgette: Hear me out. What about… glitter? Just a little on the lapels. Oh, or maybe like some leather -- walk into church in some actually well-fitting pants and I promise you about half the congregation will drop dead.

Charlie: Gee, thanks, but I’m not trying to commit mass murder. You may as well have me wear a bedazzled rainbow suit and tattoo a pride flag on my face.

Bridgette: Would be an improvement from what you’ve got now.

Be that as it may, Charlie just wants this reception to go smoothly. If that means wearing what mom thinks looks best, then whatever. Not like it matters.

Bridgette: See, I used to think like that, and then I discovered lace bralette tops. Never going back. [ a beat ] I’m just saying, it’s your party. I think you should be able to express a little bit of yourself while you’re there. At least consider a different tie?

Charlie: … fine. You get three chances to change my mind.

Bridgette accepts the challenge, settling into digging through the displays of neckties to find the strongest contenders. Charlie changes the subject, reflecting on the fact that Bridgette doesn’t even get to be at the reception to see him wear it if he does decide to shake it up. She states that the knowledge of her assistance will be enough, but he doesn’t agree.

Charlie: It’s not fair. I mean, you didn’t get to go to the ceremony, you don’t get to come to this…

Bridgette: Yes, such are the trials and tribulations of being the exile. Missing out on all the thrilling social engagements of blessed high society.

Charlie: I’m serious. Don’t you want to be there?

Bridgette pauses, taking in his sincere indignation. While confronting their mom isn’t exactly high on her agenda, it’s clear from the expression on his face that he wants her there. She shrugs, focusing on the ties.

Bridgette: I already accepted the fact that I was gonna miss out on this stuff. You know? I got over that when I got over everything else. You have to -- if you get stuck on shit like that, it just… makes it harder. And at that point, you can’t handle harder.

Bottom line, he shouldn’t get all worked up on her behalf. He can have his perfect, polished graduation reception without her, and then they’ll do something to celebrate on their own. She finishes pulling a third selection and double checks that she’s satisfied with her picks, then hands them to Charlie and swaps for his boring Eleanor-approved tie.

Bridgette: I’m taking this back to the personal shopper. He can put it back on the rack -- that or burn it, which will be my humble suggestion. You’re wearing one of those.

Charlie: Oh, so it’s bad when mom tells me what to wear, but when you do it, it’s fine.

Bridgette: Yes. Obviously. Just think of it as representation on my behalf, as the poor little exile.

The comment is said in jest, but it’s clear Charlie genuinely isn’t satisfied with how she’s being left out from all his celebrations. She may have made peace with it, but he’s struggling to do the same. He glances down at the neckties, sifting through the colorful and patterned selections.

EXT. WESTMINSTER ABBEY - CLOISTERS - DAY

With its high ceilings, ancient decor and dark lighting, Westminster Abbey very much gives Hogwarts vibes. Simon is in the midst of leading a walking tour around it, holding up a small but bright yellow flag to ensure the group doesn’t get lost. The class is still a little groggy, since Simon’s monotone voice doesn’t inspire much excitement. 

Simon: One of the many monarchs buried here at Westminster is the queen known as “Bloody Mary,” also known as Mary Tudor. She was the last Catholic monarch --

Dave: I wonder if Charlie knows her. 

Simon: And was responsible for 280 people being burned at the stake due to their protestantism. The myth of Bloody Mary is often combined with that of Mary, Queen of Scots, who’s also buried here. She was Queen of Scotland, and claimed that the English throne belonged to her, not her cousin Elizabeth I. Because of this, Elizabeth had her cousin beheaded. 

Nate: Sick. 

Simon: Rumour has it Bloody Mary haunts various sites across the UK, and that if you say her name three times in a row, she’ll make an appearance.

The techie boys all share excited looks while Darby and Haley both look outright disturbed. Simon continues on, unaware of the reactions behind him.

Eric steps through the crowd with his phone to his ear, nodding, then lowers it against his chest as he approaches Riley. He pulls her aside from where she’s listening with Dylan and Asher, speaking to her quietly so as to not interrupt. As the one with the unlimited international plan for this trip, he’s the point person for any important communication.

Eric: Hey, your dad’s on the phone.

Riley: What? Is everything okay?

Eric: Yeah, yeah, it’s fine. He just… your Tisch letter came in the mail. He wants to know if he should open it or not.

Oh. Riley processes that, glancing towards Dylan and Asher. They nod her along, and she nods to Eric, taking the phone from him and stepping a bit away to talk to Cory. She gives him permission to open the letter, waiting on the other end of the line impatiently. She twists a thread on the end of her lavender silk blouse, the seconds ticking by impossibly slow…

Then the results are in. Riley absorbs what her dad tells her, blinking.

Riley: Waitlisted. [ a long beat ] Um, are you sure? What does it --

She’s cut off as Cory presumably reads from the letter, confirming the intel. She’s been waitlisted for Tisch.

For as unbothered as she acted about the whole thing, the news is still a bit overwhelming. She clears her throat, assuring Cory that she’s fine and really needs to catch up with the group. Once they say goodbye, she makes her way back over to Dylan and Asher, managing a smile. But they can tell she’s not herself, cautiously asking what the verdict is.

Riley: Um, waitlisted.

Dylan: No way.

Asher: Oh, well… look, that’s not bad. It could still turn around.

Riley: Yeah. Yeah, absolutely.

Asher: It’s not so much a rejection as it is, like… you know, just waiting to see if --

Riley: The better people say yes first.

Well, when you put it like that… Asher bites his tongue, deciding not to add anything since he’s clearly not helping. Dylan asks if she wants to take a minute, or if she wants them to wait with her, but she waves them off. She’ll be fine.

Riley: Think I just want to be alone for a second. If that’s okay.

Dylan and Asher nod, offering condolences one more time but also assuring her that Tisch doesn’t know what they’re holding out on. It’s their loss. She smiles, appreciative, but it’s faint.

Then she’s alone, left to absorb these new developments. She could hold out on the unlikely, pretending like she’s on the same level as Maya, Nigel, or any other of her incredibly talented friends… or she can let it go, start thinking more practically, and be able to start planning her future.

There’s just that lingering worry, the one creating the lump in her throat, that if she makes the wrong choice, she’s going to regret it forever.

Song Cue ♫ ♪ “Chasing Pavements” as performed by Adele || Performed by Riley Matthews

Rather than focusing on unrequited romance, Riley’s soulful rendition of the early Adele hit is concerned around her future. For as composed as she’s been able to appear about the whole thing while her friends spiral, the pressure of such major decisions has been weighing on her too -- and with a result like “waitlist,” she’s simultaneously let down yet still trapped in uncertainty. She was hoping for this admission decision to make the tough choices for her, to show her how she feels and what she wants from her future.

Does she want to risk it all and pursue a lofty goal like performing when it’s never been her core motivation, when it’s not her whole entire world like her friends -- but she might be just good enough to make something out of it? Is it worth chasing that elusive maybe, when that maybe might never materialize, waitlisting her forever… and when she could conceivably imagine herself doing something else, even if she doesn’t know what that something else is yet?

And maybe it hurts so much because it speaks to an even greater problem, which is that Riley herself feels stuck on an eternal waitlist. The blow just reiterates what she’s always known: that she’s second best, second choice, the belle of the ball only when all the other debutantes have passed. Maybe a single college acceptance shouldn’t feel that way, but it does, and the ache of it is loud and clear as Riley meanders her way through the corridors of Westminster Abbey and belts it out. It’s a rather poignantly beautiful performance with the historic, grand abbey as her stage.

As the song comes to an end, Riley slips down and settles onto one of the stone benches, tilting her head back against the glass window behind her. The empty feeling expands as we ease away, her solitude emphasized by how vast the corridors seem around her.

INT. CHUBBIES - DAY

Riley isn’t the only one feeling stranded in regards to their dreams. Lucas is in a low mood, spending his time moping behind the counter at Chubbies when he should be on his way to Albany for his interview. It would be easier to be angry, but the only person he can get mad at is himself, so muted frustration and disappointment will do.

He lifts his gaze from the register when Charlie walks through the door, one of the only customers who’s trailed in so far that morning. He makes a point of noting the emptiness himself as he approaches the counter.

Charlie: Quiet in here, huh? Guess when Adams heads out there’s really no one left to patronize this place.

Lucas: Would you judge me if I said I liked it?

Charlie laughs. He claims he wouldn’t judge, given that he’s out also looking for a little quiet and change of pace. He mentions his family and all of the hubbub around his reception, which it’s clearly nice to step away from for a bit.

Lucas: Oh, right. You graduated this week, right?

Charlie: Yeah. Basically the same day everybody else left.

Lucas: Great timing. But uh, congratulations, or whatever.

Not the most eloquent good tidings, but Charlie will take it. The conversation drifts to more general post-graduate discussion, ultimately prompting Lucas to admit when asked about his college prospects that he was accepted into UC Davis. In fact, he was even offered a potential scholarship. Charlie brightens, knowing from Riley how big a deal it is.

Charlie: Seriously? That’s amazing! Congratulations. You must be excited.

Lucas: You’d think I would be. Only it’s not happening. I can’t get the scholarship, so I can’t go.

Charlie: What? Why not?

Lucas isn’t one to just dump his personal baggage out for anyone to see, but there’s something so inexplicably disarming about Charlie that he finds himself saying it anyway. That, and all that frustration he’s been stifling all morning is desperate to slip out.

Lucas: Because for whatever reason the stupid thing is upstate in Albany, rather than like, a centralized logical location like downtown.

Charlie: They probably had more than one session for out-of-state applicants. At least it’s in New York.

Lucas: I guess. It’s my fault, anyway, because I could’ve planned accordingly, but I’m a fucking idiot who waited until the last second to ask for a ride, and my only resource can’t help. And I tried looking up ride shares but it’ll take like a million dollars to get there and back, which defeats the purpose anyway since I’m going to this interview to lick some boots for a scholarship because I don’t have any money.

Lucas concludes his mini-rant by pointedly shutting the cash register drawer, which dings in protest. Charlie processes his complaints, trying to keep up.

Charlie: Where’d you say it was again?

Lucas: Albany. [ irritably ] It’s only like a couple hours away, which honestly makes it worse, because it’s that damningly close and yet I still can’t get to it --

Charlie: Dude, I can drive you.

Oh. Wasn’t expecting that. Lucas pauses his irritable fidgeting, staring at him for a long moment before realizing he’s genuinely offering.

Lucas: … are you serious?

Charlie: Yeah! Like you said, Albany’s not even that far. I like a drive, and I don’t think you should have to miss out on the chance to see this through just because you don’t have the means to get there. Besides, I owe you one for helping me with Brandon.

Lucas: No, no. No, we’re already even. I evened it. Because that was for you doing the transfer thing --

Charlie: [ with humor ] Look, we could do this all day. Or, we can get going so you can make it to your interview on time -- though you’ll probably want to change first.

Perhaps. Lucas glances down at his Chubbies uniform.

INT. SCHOOL BOARD OFFICES - MORRIS’S OFFICE - DAY

Meanwhile, Jack is at his prior engagement, sitting down for coffee with GEORGE MORRIS (60s). He’s a member of the old guard for sure, conventional and establishment, but unlike Jefferson and Yancy he tends to formulate his opinions on each issue independently and votes accordingly. He’s not easily influenced... which makes his impending retirement of particular interest. Whoever rises to occupy his vacant spot may just tip the scales of the school board towards a progressive or conservative lean.

It’s a fact that is clearly on Jack’s mind as they chat, starting on the subject of Jack’s forced probation and reapplication for the leadership role at Adams. Morris voted during the Bradford debacle for Lucas to be able to stay at Adams -- he found the whole situation quite ridiculous and time-wasting, to be frank, more spectacle than anything worthwhile -- but he admits that he also voted for Jack to be put up for reapplication.

Morris: My thinking was that if you were still best suited for the position, then your reapplication should be swift and effortless. You have a strong track record despite Yancy’s observations, which are biased, and it wouldn’t take much to win the job back. Sure, it’s another symbolic, time-wasting gesture, but it would settle the matter.

That being said, he did note that Jack has yet to actually submit said reapplication… which provides a perfect segue into why he knows Jack is really here.

Morris: You don’t have to beat around the bush, Jackson. I’m sure you’ve heard the rumors that I’ll be taking my leave at the end of this contract year.

Jack: That might be true, yes.

Morris: Evelyn mentioned you very well may eye my spot. In fact, she seemed to suspect such a thing before you even caught wind of the possibility. She’s keen, Evelyn, insightful. Knows her colleagues much better than most, sees potential that others don’t. That’s why she makes an excellent board member.

Jack admits it’s not out of the realm of possibility in his mind… in the time that he’s been an administrator, he’s learned a lot, but one thing that always frustrates him is when he loses the ability to tackle bigger issues once they elevate beyond his pay grade. There are bigger, more systemic issues affecting the students of Manhattan that he wishes would get more attention, that he could dedicate more concerted effort towards without sacrificing his attention to Adams or risking overstepping his bounds. And certainly becoming a school board member wouldn’t magically fix any of those problems, but it’s a new angle on it. A new starting point, a place where he can create initiatives and try to organize funding towards the things he believes matter above all else.

That’s true, and Morris commends his passion. The board can be a painfully bureaucratic institution, and it could benefit from some fresh spirit. But he has to advise him to seriously consider the process it would entail as well. The school board is an elected position. Jack would have to campaign, build a following, and garner enough support to win the spot. And like most elected positions, he wouldn’t be able to hold onto his current position in the meantime -- if Jack decides to throw his hat in the ring and run for the board, he will have to forfeit his role at Adams to do it. And if he doesn’t make the cut, he’ll be starting over.

Still, that doesn’t mean he shouldn’t consider it. It’s just important to examine all the angles before he makes a move as big as this -- and it’s evident that Jack seriously is.

INT. WESTMINSTER ABBEY - HENRY VII CHAPEL - DAY

At the same time, the A class has begun their free roam at the abbey, allowing them to break off into smaller groups. There’s a lot to explore, so they’ve got a decent chunk of time to do so.

Jade and Nigel have wandered off on their own and arrived at the chapel, Clarissa and Haley the only other two A class folks in the same chamber. Jade approaches the steps in awe, complimenting the architecture and talking about how she remembers watching Kate and William get married live on TV.

Jade: Wasn’t my idea though, for the record. My brother was weirdly obsessed with the royals for a time -- he’s one of those Americans that had a union jack hanging up in his room in middle school.

Nigel: Sure.

Jade: I was much more interested in the fashion. I remember being so amazed by Kate’s dress… I mean, the attention to detail on the lace sleeves, and the train…

Nigel’s turn to be fond of Jade nerding out. The two of them settle at the base of the altar, basically mirroring where the royals stood at said wedding with the beauty of the church towering behind them. He claims she’s already designed and created pieces equally as stunning, if not more impressive. Who knows? Maybe she’ll be designing for the royals one day.

Jade: Wouldn’t my brother love that... but I don’t know. To get that kind of gig I would have to actually have credentials first, which is not going to happen if I don’t get a really good apprenticeship.

Nigel: Still nothing from any of them?

Jade: No. And it’s not like that’s a bad thing, yet, most of them don’t start reaching out until like… mid-summer. But with everyone else figuring stuff out and starting to nail down all their plans, kind of just makes me feel… adrift.

There are certainly others who relate at the moment. Nigel steps closer and takes her hands, waiting for her to look at him.

Nigel: It’s all gonna shape out. Even if you don’t take the traditional path, I really don’t see how you couldn’t find your footing in the industry when your portfolio is literally spectacular. And if worse comes to worse, you’ll make your own way. You can like market your designs on social media and stuff -- Yindra’s good at the branding thing, she could probably help. Dylan, too, though I’m not exactly sure he has a method to his madness.

Jade: Well, he’s doing something right, with what, sixty-thousand followers and counting? Still can’t believe it.

Nigel: My point is, you’ll get there one way or another. And I’ll help, even if I have to go door-to-door at NYU singing your praises. I’m well-versed in the art of the monologue, you’d be impressed how much information I can eloquently cram into thirty seconds of time before they inevitably slam the door in my face.

Jade laughs, thanking him for his unabashed support -- and risking social pariah syndrome to do it. He nods, proud, and the moment grows soft between them. Nothing but fond smiles and the gentle beauty of the cathedral around them… they drift closer together, to share a regally romantic kiss of their own…

Only they’re startled out of the moment by Nate, who marches into the room and loudly comments on how great the acoustics are. The rest of the techie boys follow, officially disrupting the peaceful nature from moments earlier.

Nate: I swear, it’s like an amplifier in here. Echo game for days. [ quietly ] Nate’s the best. [ louder, playing with the echoes ] NATE’S THE BEST!

Yogi and Jeff shush him, but it’s not very effective when they’re laughing. Jade groans under her breath, lightly crossing her eyes in irritation before descending down from the altar. Nigel hesitates, then goes after her, the laughter of their peers echoing around the stone architecture.

EXT. WESTMINSTER ABBEY - DAY

Zay is fielding some annoyance of his own, meandering along with Farkle along the exterior grounds of the abbey. They’re near the perimeter of the burial grounds, Farkle rattling off an insane amount of trivia to fill the silence as Zay does his best to ignore him. How he got stuck with him, he doesn’t know, but Farkle seems more than content to trail behind him and bother him with facts he didn’t need to know.

Farkle: Did you know there are over three-thousand people buried at the abbey?

Zay: Why the hell would I know that?

Farkle: Well, I do.

As if that’s the marker for common knowledge. Zay shakes his head, stuffing his hands in his pockets, but Farkle isn’t thrown by his silence. He continues on unperturbed.

Farkle: That statistic includes many royals and all the Tudors -- save for Henry the VIII, that is, who opted to be buried with his favorite wife, Jane Seymour. Though there’s debate about that, too, considering many Tudor enthusiasts actually believe his true love was Catherine of Aragon, but Jane was the one who gave him a male heir. Which she then died for -- childbirth complications -- so guess maybe he felt a little sorry for her.

Zay: [ under his breath ] Think if he had a favorite wife it would be his only wife…

Farkle: Well, sure, maybe by our present-day standards. But monogamy and marriage for love rather than strategy and lineage is really much more modern a practice than most people realize. Anyway, definitely wouldn’t have been Henry the VIII’s game, since he literally created a new branch of Christianity so he could divorce his wife, which wasn’t allowed under Roman Catholicism. So he’s always been a bit of a I’m-Not-Like-Other-Monarchs guy.

They’re going to have to bury Zay at the abbey if Farkle keeps this up and bores him to death.

Farkle: But you think he’d be buried here, considering he’s the reason the church exists as an Anglican denomination like it does now. It used to be a monastery before he had England separate from the Catholic church. Charlie and I got into an argument about this once, actually, in Cory’s class -- well, I don’t know if I can say argument, since Charlie is really only capable of slightly lukewarm debate -- because he thought the date was before --

The relentless trivia is one thing, but a Charlie name-drop is just too much. Zay is trying to avoid thinking about all of the above. He stops walking, Farkle accidentally ramming into him.

Zay: No offense, Farkle, but I quite literally could not give less of a shit. I’m trying to enjoy the scenery, but I can’t even hear myself be unimpressed over your lecture.

Farkle: Some people find fun facts charming.

Zay: Well, you should go find those weirdos and flock with them then. Seriously, acres of ancient architecture for you to roam and somehow, you end up with me. Wouldn’t you rather be competing with Isadora for knowing how many stones make up the cathedral or some shit?

Farkle: Sorry! Maybe I would be, if things were normal. But at this point anything is better than having to trail around behind her and play third wheel with…

Oh, yeah. Right. Zay forgot about the little detail of Chai. He can empathise with that, wanting to avoid unpleasant circumstances that you have no power to change… he sighs.

Zay: Whatever. It’s fine. You can stay, but we’re going to walk quietly. Enjoy the posh, pretentious ambience. Quietly. Got it?

Farkle: Sure. Totally. I can do that.

Zay nods, beginning to saunter along again. Farkle does his best to follow the rule, biting his tongue as he dawdles behind him… but it doesn’t last long. It’s just not in his nature. It’s sweet of Zay to pretend it could be, but they both know that’s not reality.

Farkle: Bet you can’t guess what famous scientist is buried here.

Zay: Jesus Christ…

No, Zay, he wasn’t a scientist. Good try, though!

Charlie, pre-lap: And what unique eccentricities do you bring to the table that you think would make a meaningful addition to the UC community?

INT. CHARLIE’S CAR - DAY

Charlie and Lucas have made it to the interview venue with a few minutes to spare, so they’re maximizing their time. Charlie has his phone open to a list of typical scholarship interview questions and they’re essentially doing a mock interview. Lucas is now dressed in the nice button-down he wore to Topanga’s, looking much more put together than he did in his uniform.

And though they’re doing their usual thing of not making eye contact as they converse, it’s obvious that the practice is valuable to Lucas. He’s able to stumble through his thoughts, pausing and rethinking and starting over in the middle of a sentence, when he won’t be allowed such a luxury once he gets in there. Charlie listens attentively, tossing glances at him and nodding in approval if he says something particularly effective or well-spoken.

Once they’ve made it through the last question, Charlie compliments his efforts. It’s clear he has a lot to say once he finds the right words, and he can spin it all pretty well.

Charlie: These sort of things are more a formality anyway, honestly. They usually have their mind made up about who they want to give the scholarships to -- this is more about confirming that you’re not like, secretly deranged or a total recluse.

Lucas: Oh, really? Then I should skip it. Would hate to confirm their worst fears.

Charlie side-eyes him, smirking as he shakes his head.

Charlie: You’ll be fine. Deliver even a fraction of the confidence you usually have and you’ll win them over.

Lucas: [ with a snort ] Yeah, right. Sure.

That response surprises Charlie. He looks at him.

Charlie: I mean it.

Lucas: I don’t know what Kool-aid they had you drink at Haverford, but I think it fucked with your head. No one would call me the epitome of confidence.

Charlie: Oh, come on. That’s so not true. You’re like, one of the most unflappable people at Adams. Everyone thinks so.

Lucas: Did we go to the same school?

Charlie: I didn’t say it meant they liked you, but I bet if you asked anyone from our class they’d say you’ve got confidence. Maybe not the same brand as Maya, or Isadora, but you know who you are. You’re unapologetic about it. And you do your own thing, you’re not scared of anything. That gives you like… a quiet power. People notice that, it’s admirable. I wish I could be like that. I’m sure the interview panel will see it, too.

Charlie’s talent for saying the exact right thing in earnest strikes again, and at just the right moment. Lucas absorbs the sentiment. He’s so used to the narratives that are unflattering, all the ways he’s been villainized, it’s weird that in the midst of all that turbulence he may have had silent admirers for every disdainful naysayer.

Lucas quickly changes the subject, pointing out that Charlie was helpful at coaching him. He asks if he had to do a lot of interviews for his schools, which Charlie denies. He wasn’t up for scholarship in most cases considering his family is well-off, and he’s pretty sure his grades and community service did most of the selling for him. It’s all about the surface-level achievement anyway. No one is especially interested in getting to know him beyond the shiny stats, and he can’t blame them.

Lucas: Well, why do you want to go there?

Charlie: What?

Lucas: To Yale or whatever. I just mean like… you know, I’m only doing all this shit for Davis because it has something I really want. A way to get to something I think I want to do. Otherwise, it wouldn’t be worth the stress, and it definitely wouldn’t be worth the money. Why do you want to go there, beyond the… shiny stats?

Good question, Lucas. Very, very good question. One that Charlie can’t answer, even as he opens his mouth to do so. He feels invisible to their institutions, but maybe that’s equally as much about him as it is about them.

He’s spared for now. Lucas’s phone buzzes, warning him that he has ten minutes until his interview slot, so he better get going. Charlie wishes him luck as he climbs out of the car. Then it’s just him, stuck sitting with the huge hole in his future plans Lucas incidentally broke open.

INT. WESTMINSTER ABBEY - NAVE - DAY

Various students wander around the nave of the church -- the main area with pews, memorials and icons hung on columns. Amidst the students are Isadora and Chai, who walk in silence, awkward tension surrounding them following their not-so-pleasant goodnight the day before.

While Isadora focuses on the intricately decorated screen that leads to the quire, Chai takes a selfie with Isaac Newton. Well, his statue, anyway. Chai asks Isadora to be in a picture with her, so Isadora lightly smiles and poses. Chai snaps the pic, then puts away her phone. Things seem to be a little more comfortable between them, so Chai broaches the topic of last night.

Chai: Listen, about what happened yesterday --

From this side of the nave, Isadora has a better view of the pews and finds whatever it was she was searching for. Unaware of the fact that Chai is mid-sentence, Isadora rushes towards a particular row of pews. Chai takes a moment to swallow down her annoyance, then follows.

Isadora slowly makes her way down the pew, analysing the space and holding out her hands as a way to measure how much room would be needed for each person to sit. Curious, Chai watches as Isadora settles on one spot. Tension lifts from Isadora’s face and she lets out a breath of relief before turning and sitting down. Chai shuffles in to sit next to her and looks in the same direction, wondering if this particular spot allows for a better view, but doesn’t notice anything. 

Chai: Why are we sitting here? 

Isadora: This is where my mom sat at Will and Kate’s wedding.

Chai is surprised, and allows herself to take in the fact that she’s sitting next to where Valerie De La Cruz once sat. It’s impressive, honestly, that Isadora remembers exactly where Val sat a whole decade after. Despite how much Isadora once claimed she didn’t care about her mother, this goes to show that she always cared -- a lot. 

Chai: Wow. Were you her plus one or something?

Isadora: [ with a shake of her head ] I watched it on TV with my foster family. Her plus one was some race car driver.

Unsure what to say next, Chai lets quiet settle between them. The opportunity to discuss the night before is gone, but Chai reassures herself that things are better today, like Isadora said. Maybe it was just jetlag…

She tentatively slides her hand towards Isadora’s and brushes it with her fingers, but Isadora once again flinches at the contact and pulls her hand away. She slides down the pew a little to create distance between her and Chai, which only rubs salt into the wound.

Knowing where she isn’t wanted, Chai wordlessly gets up and leaves. Her absence doesn’t even register with Isadora, who continues to sit in silence.

A different collection of Adams students also wander around the nave, Yindra leading the charge. She’s on a mission, approaching the front pews and claiming she wants to get the chance to pray while they’re there. Maya raises her eyebrows, amused.

Maya: Really? I didn’t take you for that kind of religious zealot.

Yindra: Your dismissive attitude notwithstanding, I see it as less zealous and more seizing an opportunity. I’m not going to pass up the chance to send out a prayer for my future in one of the most famous places of Christian worship there is. I’ll take any moment to put good energy into the universe and give a little thanks to God for what I’ve already got -- especially given the odyssey I’m about to embark on.

Well said, Yindra. Touché… Maya takes this challenge, pointedly sauntering off to a kneeler of her own. She settles down with uncertainty, clearly unfamiliar with how any of this religious stuff works. She’s a bit subconscious about it, glancing around her to make sure no one can see her being so visibly out of her element.

Maya: Where’s Charlie Gardner when you need him…

But Charlie isn’t there, the one time Maya has probably ever thought he would be useful to have around, so she’s on her own. She takes a deep breath, blowing air out through her lips almost as if she’s doing vocal warm ups.

Maya: Dear God -- oh, no, wait --

She clasps her hands together, mimicking prayer as she’s seen in the movies. There, better. She nods, satisfied, then tries again.

Maya: So, like… hey there. God. Or, whoever you are. If you’re there. Look, I don’t really do this thing, but Amino made her point, and I can’t let her one-up me. She’s already my strongest competition in the world of up and coming female superstars. No special advantages for her. [ pausing ] Anyway, I know I don’t have the wherewithal to be asking you for anything, since I’m not exactly a “worshipper.” And I wouldn’t expect it anyway -- I’ll be making my own way, cosmic interference or not, so it’s no biggie.

If God is up there listening, he has to be laughing. No one can say Maya Hart isn’t one of his most entertaining creatures… then she grows more serious, clearing her throat.

Maya: I actually thought, if it’s like, allowed, that I’d put in a request for someone else. And don’t worry, he’s one of your precious children who actually practices religion and all that, so you’ll be more willing to help him I’m sure. But um… you should send some guidance to my friend, Farkle. If you do that sort of thing. He’s got… an amazing opportunity in front of him, and all of the talent in the world to see it through -- in a surprisingly frail package. And I know he wants to follow it, that in his heart he wants to break away and see where this takes him, but… something’s holding him back. I don’t know why. I guess he’s scared, maybe. But I think this hesitation is going to keep him stuck, and he’s going to regret it.

Maya pauses, glancing up at the elegant opulence of the church in front of her. Though she’s not a believer and probably never will be, she can appreciate why someone would be. There’s something to it, the feeling of kneeling there in humility and sensing just how small you are. Small, and yet, still worth listening to in even the quietest prayers. She has to love the drama of it, in any case.

Maya: He needs to take the leap and see how far he can go. He can’t pass this up. Please don’t let him pass this up. [ a beat ] Oh, and like, amen. Thanks.

Maya bounces back to her feet, stepping away from the kneeler. As we hang on the stained glass windows shimmering with sunlight…

Interviewer, pre-lap: And why, in your opinion, should we take a chance on you? All things considered.

INT. CONFERENCE ROOM - DAY

Lucas is seated opposite three representatives from UC Davis admissions, who we can only see from behind. We’re focused on Lucas instead, giving ample effort to put his best foot forward and make a strong impression. He’s not inauthentic -- no fake smiles or overt charm here -- but like Charlie said, he has a unique, quiet charisma. When he answers their question, speaking carefully and precisely to get every word right, there’s a soft intensity to it that is more compelling than any practiced grin could be.

Lucas: I want to study veterinary medicine, which has its roots in biology. And as far as I understand it, the core tenet to any living organism is growth. Being able to adapt, to evolve, become a better and more resilient version of what came before. And in many cases, organisms need support and the right environment to achieve that growth. The right nutrients, water, sunlight. There’s nothing in the randomness of the universe that says we have to support those things, to sustain life, but it happens anyway. [ a beat ] I know I’m not perfect. I’m not the ideal candidate on paper, and any look at my permanent record would warrant second thoughts. But I’m improving. I’m evolving. You can see it in my application -- it takes a lot of adaptation to go from expulsion at one school to being class president of another. It’s not easy, and it’s a lot of work, but… I’m putting in the effort to be better than I was before. You don’t have to take a chance on me, but… I believe with the proper environment -- Davis -- I can grow into something worth putting your support and money behind.

The interview panel considers this, one member nodding along while a couple others jot down notes. Lucas releases a breath, having endured the worst of it.

Behind his chair where his bookbag rests, his phone screen lights up with a silenced phone call. Eric’s contact name pops on the screen…

EXT. WESTMINSTER ABBEY - DAY

But the call goes unanswered, leaving Riley waiting on the other end even more disappointed. She leaves a quick message when it goes to voicemail.

Riley: Hi, it’s Riley. I’m calling from Eric’s phone because he has the international plan -- I hope everything is going okay. I just, um… I got some news and I wanted to share it with you, so give me a call back when you get the chance. No rush or anything. And try me on my cell first, because we’ll probably be at the hotel and should be able to at least try wi-fi… but um, yeah. Okay. I miss you. Hopefully talk to you soon. Love you, bye.

She reluctantly hangs up, Eric approaching cautiously. She hands the phone back to him, thanking him for letting her use it. He does his best to reassure her that getting waitlisted is not the end of the world by any means. In fact, there is a silver lining to it in that Riley is clearly good enough to keep under consideration rather than outright rejection.

Riley: Just not good enough to accept.

Eric: Hey, a delayed acceptance is still an acceptance. The destination is the destination, regardless of how long it takes to get there. And you’ve got some information now that you didn’t before, which should help you in figuring out what to do next.

Fair enough. Riley tries to accept that positive spin, allowing the hug Eric gives her. Then he braces her shoulders and waits for her to meet his eyes.

Eric: You get to decide what happens next. That’s the most important thing. Don’t forget that.

Hear, hear. Riley nods, offering a light smile. The two of them head back towards the rest of the group, off to their next stop.

EXT. REGENT’S PARK - CUMBERLAND GREEN - DAY

It’s the evening, but the bright sky and chirping birds don’t show it. Regent’s Park is somewhat busy with tourists and family walking around, and people in business suits on their way home from work. The A class arrive, Simon leading the way with his yellow flag. Eric and Harper carry two large ice box coolers, with a few of the students helping out by carrying foldable chairs, picnic blankets and shopping bags with paper plates and cups.

Once they find a spot big enough for them to spread out, Eric tells everyone to get a picnic blanket and sit in groups, then he and Harper will go around with the food. 

Simon: If anybody wants to learn more about Regent’s Park, or the history of England in general, you can sit on my picnic blanket with me. I’ll be sharing lots of fun facts and answering any questions you have for the duration of tea. 

Dylan: Oh no, are we having tea? Shit, Ash, what should I do? You said I shouldn’t have tea anymore after that time at The Lego Movie… I’m gonna fail London.

Zay overhears this, plainly informing Dylan that tea is just another word for dinner. 

Yindra: I’m dying to hear what happened at The Lego Movie, though. Please do share.

The four of them, along with Riley, get a picnic blanket to sit as a group. Meanwhile, Maya holds court with Darby, Sarah, Haley and Clarissa -- Riley and Zayby aren’t enough motivation to eat with Dylan and Asher.

Maya calls Isadora and Farkle over, but neither seem keen to join the group of girls. Farkle sits down in between Asher and Riley instead, Asher awkwardly shuffling closer to Dylan to make room for his long legs. With a pout, Maya beckons Isadora again. Elsewhere, Chai spots Darby and Sarah and heads towards them, passing Isadora on the way. 

Chai: Want to sit with me? I was going to go with Darby and Sarah but if you’d rather sit just the two of us I’m sure we can find a spare blanket.

Isadora looks around, noticing that everybody else has found a place and that Harper and Eric have started to hand out food.

Isadora: I actually was planning on sitting with Simon, but you go ahead. 

Chai: I mean, I’m happy to sit with Simon, too. 

Isadora: Honestly, it’s fine. I know you’re not into all the history stuff.

Way to tell somebody you don’t want to sit with them without actually telling them. Isadora walks over to Simon’s picnic blanket, where Jade and Nigel are already sitting. Nigel and Simon are in the midst of a debate over the meaning behind one of Shakespeare’s works, a conversation that Isadora easily slips into.

Rather than upset, Chai looks angry as she watches Isadora sit down. She has half a mind to follow Isadora and force her to spend time with her, but she realises that that would do more harm than good. Instead, she sets her jaw and marches towards Sarah and Darby. 

Maya, somewhat smug: Trouble in paradise? I knew you two would crash and burn. 

Sarah: Tell me about it.

Not exactly supportive, but Chai doesn’t care. It’s fuel to the fire that’s burning brighter with every new interaction with Isadora.

The mood isn’t too much better over in Riley’s group. Mainly that news about her waitlisting has spread, and they’re all fired up on her behalf. She tries to assure them that it’s no big deal, people get waitlisted all the time, but all of them are in agreement that if anyone deserves not to be, it’s her. Zay is especially adamant, though he might be projecting some of his own admissions frustration and impatience onto her.

It’s Dylan that finds the knack for truly cheering her though, adding a little melodrama to the rallying around Riley that makes it feel more fun and less heavy. He grows increasingly impassioned about all of the ways that Riley has changed environments for the better -- look at AAA for crying out loud! -- and Tisch simply won’t know what they’re missing. Fools, the lot of them. It’s so obvious, really, that Riley is a cut above the rest.

Song Cue ♫ ♪ “Jolly Holiday” as performed by Mary Poppins Original London Cast Recording || Performed by Dylan Orlando (feat. Riley Matthews, Asher Garcia, Zay Babineaux, and Ensemble) (starting at 00:15)

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

Perhaps the biggest number of the episode, so following along with the lyrics can be very helpful for this spectacle. In fact, I don’t even think I can do the performance justice trying to write it out, so I highly encourage a listen to the track and I will try my best! Dylan wastes no time in launching into the number, replacing every “Mary” fittingly with “Riley” as he showers her in compliments -- a trend that will continue throughout.

Dylan: Why, it’s a jolly holiday with Riley. Riley makes your heart so light.

Riley: Oh, really…

Dylan: When the day is grey and ordinary, Riley makes the sun shine bright!

Riley: You do talk nonsense, Dyl!

Dylan: Oh happiness is blooming all around her. The daffodils are smiling at the dove!

Riley: I haven’t the faintest idea what you’re talking about --

Dylan leans even further into the melodrama, falling onto his back and stretching across Asher’s lap as he really milks it. Suffice to say, he matches Bert’s cheeky charm near perfectly.

Dylan: When Riley holds your hand --

Asher: Dyl!

Dylan: You feel so grand. Your heart starts beating like [ pounding his heart to the beat ] a big brass band!

Asher: [ patting his side ] You’ve got enough brass for all of us…

Then Dylan pushes himself back upright and to his feet, concluding the opening verse by approaching Riley and offering her his hands. She takes them and lets him pull her to her feet, kicking off a visual journey in song through the idyllic park.

But first we take a detour to the plastics, complaining about their stop at the park. Boring! It’s just statues, ducks, and grannies! From there, once they’re done complaining about how it has nothing to offer them, we jump straight into the next set of sung lyrics (01:55), where Dylan takes over again.

EXT. REGENT’S PARK - SPORTS GREENS - DAY

He and Asher are guiding Riley along on their walk, playfully flirting with her and bolstering her confidence as they go. They weave their way through football players and pull them into the singing -- the whole performance definitely has some “That’s How You Know” energy from Enchanted. It’s also a good time to mention what Dylan and Asher are wearing this afternoon, which are purposefully but subtly meant to emulate this famous fashion moment.

Then Dylan takes a detour, leaning fully into the Bert silliness by delivering statue pun after statue pun (to the techie boys’ great delight, especially Dave). At one point, he yoinks a straw boater hat off an OLD MAN and continues on his merry way, which the old man complains about in a… bizarrely strong Cockney accent. His adult SON tells him to relax, though, and just enjoy the performance -- how can you disdain a fella with such spirit like that? As they have their brief comedic interaction, there’s definitely the sensation that the men look oddly familiar (for film and West End fans alike).

EXT. REGENT’S PARK - BOATING LAKE - DAY

Zay takes over from there for a verse or two, arm linked with Riley as the two of them traipse along the path around the boating lake. The ensemble out on the boats sings along, only increasing their share of infectious performing energy. These American students have a contagion of joyful singing, and it’s incurable!

A few paces behind them, Asher takes the Mary verse, turning some of the appreciation towards Dylan. Because of course, Dylan was the one who managed to rally Riley out of her low mood -- and get the whole Park singing along. It’s a cute little exchange between the two of them, cementing their Mary and Bert energies, and building us right along towards the big finish…

EXT. REGENT’S PARK - QUEEN MARY’S GARDENS - DAY

Dylan links his arm with Asher’s and then they’re leading the brigade, the A class and all the parkgoers they’ve collected along the way arriving at the beautiful and scenic Queen’s Gardens for the big finish. They proceed amidst the flowers with a flourish, many of them paired up as they dance their way along together -- Zay and Riley, Jade and Nigel, Isadora and Farkle. By the time they make it to the center of the rose gardens, they’re spread out all across the greens, energetically performing the choreography together and spirits most definitely lifted.

Dylan and Dave heft Riley up onto their shoulders at the centre of the crowd, causing her to laugh, as everyone brings it home.

No wonder it’s Riley that we love!

INT. CHARLIE’S CAR - DAY

The sun is just starting to set as Charlie pulls up at Lucas’s requested drop off, the Orlando community center just across the street. Charlie squints at it, confused.

Charlie: Isn’t this Dylan’s place?

Lucas: Yeah. I crash here sometimes. And Randall’s making calzones tonight. Hard to pass up.

Charlie: Oh. Cool.

Lucas: And they’ve got a dog, so.

He lets that be the end of the sentence, like it explains everything. And to Charlie, whose most consistent best friend is Skippy, it basically does. Lucas gathers his stuff and unbuckles his seatbelt.

Lucas: Your reception thing is tomorrow, right? At your church.

Charlie: Yeah. Lots of extended relatives, old people... none of my friends since they’re all out of town. Should be a hoot.

Lucas: Well, good luck with that.

He starts to climb out of the car, then hesitates, managing to do the vulnerable but decent thing.

Lucas: Thanks for the ride.

Charlie smiles, nodding. Lucas opens the door and climbs out, starting to cross the street to the community center. Then he remembers something else, doubling back and stopping in the middle of the street.

Lucas: Hey, Charlie.

Charlie is surprised he’s still being addressed, but more concerned with how Lucas is standing in the road just waiting to get hit by a car. But it’s Lucas, after all -- no fear. Charlie rolls his window down.

Charlie: Yeah?

Lucas: You could do it, too, you know. Your own thing. [ a beat ] I mean it.

Well. That’s an unexpectedly sincere sentiment. And impactful coming from Lucas, who Charlie apparently thinks of as the master of unapologetic authenticity. A return gesture, maybe, for the favor of driving him all that way.

That’s all he’s going to get at the moment, though, because that’s about as much vulnerability as Lucas can stomach in one day before he starts going into organ failure. He doesn’t give Charlie the chance to respond, jogging the rest of the way across the street to the community center and disappearing inside.

But it’s enough. It clearly lands with Charlie, leaving a mark… and making him think. After a moment, he pulls out his phone, dialing a number.

Charlie: Hey. We need to talk.

INT. LONDON HOTEL - TECHIE ROOM - NIGHT

Westminster was a bad idea for the boys, as now they’re obsessed with the Bloody Mary myth. Nate and Jeff have come over to join Dave and Yogi and they’re all crowded around the bathroom mirror, actively working to summon the vengeful spirit.

Nate: No, no, shut up. Shut up. Everyone has to commit to this. She’s not gonna come if we half-ass it.

Jeff: She’s not gonna come period.

Nate: That’s exactly what I fucking mean, Jeff. If you’re not committed to the cause, you can show yourself out.

For the record, Jade wishes she could do the same. She’s trying to focus on a book, but the boys are so loud, and there’s nowhere for her to escape to for a break. It’s a relief when there’s a knock at the door, and she’s even more grateful when it’s Nigel on the other side.

Nigel: Wondering if you might wanna take a walk before curfew?

Jade opens her mouth to answer, just as the boys finish chanting “Bloody Mary” at increasing volume. After the third repetition, Jeff screams, causing Nate and Dave to scream in turn... until they realize Jeff was just fucking with them.

Nate: JEFF. WHAT DID I SAY?

Jade blinks, then gives Nigel a flat smile.

Jade: I thought you’d never ask.

INT. LONDON HOTEL - RILEY’S ROOM - NIGHT

Asher isn’t party to the antics in his room, having smartly escaped to hang out with Riley and Dylan before Nate took over. He’s crashed on the bed with Dylan going through pictures that they took over the course of the day. Asher frowns at one that Dylan swipes to, squinting to get a better look.

Asher: What is that supposed to be of?

Dylan: It’s not obvious? [ zooming in ] Look at that squirrel, Ash! They’re like up chilling on the abbey, welcoming us to their domain.

Asher: That’s your favorite picture you took today, isn’t it?

Dylan: Vicar squirrel. Squirrel vicar. I want her to bless our marriage.

They drop the conversation when Riley reenters the room, freshly showered and looking more at ease than she was most of the day. They ask if she’s feeling better, if the shower helped, and she confirms it did.

Riley: I really think it was just mainly the shock, you know? A lot of information to process at once that I wasn’t prepared for.

Asher: Totally. I get that.

Dylan: But it’s okay to be upset about it, too. Like, just because it’s not news you wanted to get. You’re allowed to be bummed about things not going the way you planned.

Maybe so, Dylan… though that’s obviously not easy for Riley to accept. She’s all about validating her friends’ emotions, encouraging them to feel whatever they need to feel, but it’s not so easy to practice what you preach.

Asher commiserates about unideal circumstances, though, as it’s his turn to complain about the wi-fi. He comments it’s like this place may not even have it at all… are they sure it’s not just a ruse? But his theory is disproved moments later when Riley’s phone starts buzzing, getting an incoming call.

Asher: Of course…

Dylan: You are so magical.

Riley’s expression lights up when she sees who it is, a picture of Lucas surrounded by kittens at the shelter appearing on her screen. She answers immediately.

Riley: Hello?

INT. ORLANDO HOME - DYLAN’S BEDROOM - NIGHT

The United Kingdom is intercut with Lucas back in Manhattan, changed out of his nicer clothes and back in a tee and comfortable sweats for the night. He smiles lightly when he hears her voice, realizing the call managed to go through. On the bed behind him, Dylan’s St. Bernard dog Mr. Puff is resting, idly watching Lucas move around the space.

Lucas: Hey. I got your message.

INT. LONDON HOTEL - RILEY’S ROOM - NIGHT

They’re connected, yes, but the service is spotty at best. Their voices get a little warped and Lucas cuts out for a moment, prompting Riley to start moving to find the best signal. She tells him to hold on, but to keep talking so she can see how he sounds. Dylan and Asher perk up.

Asher: Is it Lucas?

Dylan: It’s Lucas! HI, LUCAS!

Riley: Shh, I’m trying to listen!

Asher: Let’s go, Lucas James!

Dylan: LET’S GO, LUCAS JAMES!

Riley cracks up, shushing them as she continues to hover into different parts of the room. Finally, she seems to find a solution, heading towards the small balcony while the signal improves with every step. She grants Dylan and Asher a second to say hi and holds the phone out towards them, letting them shout at their best friend, then she hushes them as she steps out onto the balcony and closes the door behind her.

EXT. LONDON HOTEL - RILEY’S ROOM - BALCONY - NIGHT

With the signal clear and a quieter environment, the two of them can actually hear each other. Lucas admits he only heard about half of whatever just happened in the last minute, but she assures him it was just Dylan and Asher being silly.

Lucas: Sorry I missed your call earlier. I was, uh, preoccupied with something.

Riley: Oh, it’s okay. It wasn’t like a big thing. I just wanted… I guess I just wanted to hear your voice.

Lucas smiles to himself, bashful.

Riley: But we’re talking now, so, it’s all good. Got what I came for.

Lucas: Cool. Good. You said you had news?

Riley: Yeah. Um… [ making herself admit it ] I heard from Tisch. I got waitlisted.

Lucas: Shit.

Riley: Yeah.

Lucas shakes his head, trying to find the right thing to say. Riley fills the silence in the meantime, downplaying it.

Riley: I mean, it’s not a big deal. It’s one school. And you know, it’s like, I wasn’t even sure if I would’ve gone if I had gotten in. So it’s not like everything is ruined, or anything. It was just a surprise. That’s all.

Lucas: Still, that sucks. But they’re shitty anyway if they’re going to put you out like that. They obviously don’t realize what they’ve got in front of them -- especially if Maya got in and you didn’t.

Riley: I don’t know about that…

She’s disagreeing for the sake of cordiality, and she knows Lucas is one-hundred percent biased, but it’s still nice to hear him say it. And given how well they know each other, how close they are, Lucas hits on the true reason it stings so much effortlessly.

Lucas: You’re too good to be a second choice, Riley. If they can’t see that, then fuck them. You deserve to go somewhere that understands exactly how spectacular you are.

And though he acts like he never has the right words, he knew exactly what to say. Riley fiddles with the L charm on her necklace and chews her lip, unable to stop smiling.

Lucas: And anyway, you were stoked about Barnard, right? I feel like we talked a lot about them when you were applying. And they accepted you with a competitive offer, so clearly they know what they’re doing.

Riley: Yeah, they were my top choice otherwise.

Lucas: So you can start thinking about how you want to make the most of that now. You get to focus on all the possibilities, which I know you never get tired of.

Riley: [ with a laugh ] That’s true, I do enjoy possibilities. [ fondly ] Thanks, Lucas.

Lucas: Of course. Any time.

It almost aches, talking to him like this. Being so far apart, feeling so much that she can’t express the way she wants. It’s practically radiating off her, how much she loves him written all over her face.

Riley: I wish you were here. I know it’s kind of silly, because it’s only been a couple of days, but I miss you. A lot.

Lucas: [ after a moment ] Me too.

But he isn’t there, so they’ll have to make do. Riley isn’t ready to say goodbye yet, especially since there’s no telling when the next chance she’ll have decent wi-fi will be, so she keeps the conversation going.

Riley: I thought about you a lot today, actually. We went to Regent’s Park, and they’ve got a zoo...

Lucas climbs onto Dylan’s bed next to Mr. Puff, reclining back and settling in for a while.

Lucas: I hope you’re going to elaborate. [ softly ] Tell me about it.

So she does. Riley drops into a sitting position on the balcony, leaning back against the metal bars and launching into a thrilling recap. As the camera drifts downwards to the room a couple floors below...

Jack, pre-lap: Sounds like you’re handling it well, then.

INT. LONDON HOTEL - ERIC’S ROOM - NIGHT

Eric is on the phone as well, though he has the luxury of the international phone plan so he can comfortably sit at the desk in his room rather than cram onto the balcony. He’s just finished catching Jack up on the trip so far, and yes, the fact that no one has gotten injured or disappeared is a source of weary pride. Jack assures him that everything is running smoothly on the home front too when he asks.

Eric: Look at us, dividing and conquering. What’s that known as… could it be effective leadership? No idea what Yancy thinks he’s got on us.

Jack: To be fair, your leadership capacity was never in question.

Eric: No being fair to that man. He’s a hack, and he’s wrong. Moving on.

Jack laughs, Eric pleased with how he’s managing to keep him in lighter spirits.

Eric: You’ll be happy to know, actually, that I’ve been giving your proposition some thought.

Jack: [ tentatively hopeful ] Really? About filling out the principal application?

Eric: Don’t get too excited, I just said I’m thinking about it. But you may have made a few compelling points.

Jack: I often do.

Eric: What would be the harm in the practice of it, you know? Could be good to flex those muscles. And I know it wouldn’t go anywhere, since like I said, you’re the ideal candidate. So… I don’t know. Maybe it would be worth the time. I’m considering it, at least, so I hope you’re pleased.

Jack: Eric, I have no doubt in my mind that you would make an excellent principal. Especially at Adams.

Wow… Jack sounds pretty impassioned about that concept, especially for something only hypothetical. But it touches Eric all the same, his expression not looking all that different from how Riley’s looked while talking to Lucas.

Eric: Well, I should go. My night to do curfew rounds.

Jack: Best of luck, authoritarian-in-training. Make me proud.

Eric: Still stand by my stance that it would be better if you were here.

Jack doesn’t seem inclined to argue with that. But for now, nothing to be done. The two exchange goodnights and warm wishes, Eric smiling as he hangs up the phone.

INT. LONDON HOTEL - LOBBY - NIGHT

Jade and Nigel have lost track of time, situated in a couple of comfortable chairs in a small corner of the spacious lobby. They’re deep in conversation, the casual traipse around the hotel having shifted into a philosophical, meaningful chat that neither of them want to end.

Naturally, they’ve drifted to talking about the future, contrasting it against the minor vent session Jade already had in regards to the techie boys. She admits that she doesn’t really think it’s their fault, her irritation. It’s more about her.

Nigel: Why do you say that?

Jade: This is going to sound crazy, but I’m like… I feel like I’ve outgrown it. All of it. Does that make sense? Like, I love the techies. They’re like my brothers, they’re family. And I love being part of the A class. But the way everyone feels, this kind of drama around everything ending or whatever… I don’t feel that. If anything, I’m ready for something new. Sometimes it almost feels like it can’t get out of here fast enough. [ with an embarrassed laugh ] Does that make me a bitch? Am I way more soulless than I thought?

Nigel: I don’t think so. And I definitely don’t think you’re a bitch.

Jade: That’s impressive, considering the amount of Jade-specialty vent sessions you’ve had to listen to by now.

Nigel: You’re human. And remember, even your harshest mood is probably still leagues kinder than Maya Hart on any given day. Don’t forget context when you’re self-analyzing your own ugly emotions.

Good point. Jade runs a hand through her hair, tilting her head as she listens attentively to his perspective on it.

Nigel: But honest, it doesn’t make you a bitch. I get what you mean. Everyone is going to come around at different times, and deal with change in their own way, but I’m excited about what comes next. I think you said it right, the thing about outgrowing Adams. It’s not that you don’t appreciate it, and the people are always going to be family. But we’re ready to move onto the next thing. That’s okay. That’s a good thing, actually, most people would probably be jealous of how ready for it you are.

There is truly nothing so bonding and validating as a late-night conversation with someone you love. Jade smiles, grateful. She reaches out and takes his hand.

Jade: At least there’s one thing I know I’m never going to outgrow.

Aw… yeah, it’s kind of crazy to remember how long Jade has had feelings for Nigel. And it’s true that even as they’ve changed, she hasn’t outgrown them -- they’ve simply matured with them. Nigel beams, lifting their hands and planting a brisk kiss on her knuckles.

It would be nice if they could outgrow their rotten luck on this trip, though. They’re startled out of their quiet comfortability when Eric comes into the lobby on his rounds, spotting them sitting there. They blink at him, realizing they probably shouldn’t be hanging around in the lobby, and Nigel quickly checks his watch.

Jade: What time is it?

Nigel: Oh, shit --

From where he’s staring at them, dreading having to actually reprimand someone, Eric releases a pained sigh.

Eric: I really didn’t want to have to be an authoritarian…

EXT. LONDON HOTEL - ROOFTOP - NIGHT

The view from the top of the hotel isn’t the best, looking down on the streets of London and other hotels, but tonight is a little more interesting. There’s a night market going on, with vendors selling various cuisines and tourists who don’t have curfews wandering around. A SITARIST gently strums, creating a calm atmosphere.

Chai, who watches the scene from the rooftop, is anything but calm, though. She paces around, chewing on her nails as she waits.

When Isadora opens the door and creeps out, Chai drops her arms and halts. 

Isadora: I got your text. 

Chai: [ passive aggressive ] Nice of you to show up.

Confused and uncomfortable, Isadora asks what’s going on, to which Chai rolls her eyes. 

Chai: What do you think, Isa? [ off Isadora’s visible confusion ] You’ve been pushing me away this whole trip. No, even before the trip. I feel more like your annoying friend you secretly hate than your girlfriend. I’m fed up of it.

Oh. Isadora isn’t sure what to say to that. A STAFF MEMBER gets up from where they’re sat in a smoking area. They put out their cigarette and mutter a good luck to Isadora as they pass. She’s gonna need it. 

Chai: Why? I deserve to know. Did I do something wrong? Do you not want to be together anymore? What is it? 

Isadora: I… I don’t know. 

Chai: [ with a scoff ] You don’t know. Wonderful. That’s great, Isadora. Real great.

Isadora gets angry, not appreciating being shouted at. 

Isadora: What do you want me to say? Sorry? I’m sorry I offended you, Chai. There. 

Chai: I want you to tell me what’s going on with you! I may not be your therapist or Eric, but I’m your girlfriend and I deserve to know why you’re treating me like this. I deserve to be recognised.

Tell her, Chai. All of Chai’s frustration and anger over being ignored and feeling invisible yet again comes out as she vents. While this helps Chai feel somewhat better, as expressing your feelings always does, it overwhelms Isadora. She wraps her arms around herself and chews her lip. 

Chai: Relationships take work, Isa. If my parents divorce taught me anything, it’s that communication is key. But you don’t talk to me. You can’t even stand to be in my presence. It’s not fair. Either break up with me or act like my fucking girlfriend and COMMUNICATE!

Isadora opens her mouth, but nothing comes out. Rather than give Isadora time to process everything she just said, Chai snaps that this just goes to prove her point. Her patience has worn too thin to be considerate. 

Isadora, quietly: Are you saying you want to break up? 

Chai: If that’s what you want, yes. I don’t want to be strung along when you want out.

Is that a yes or a no? Isadora isn’t sure. There’s no time to clarify, because Eric comes out of the rooftop door. Both girls turn to look at him. 

Eric: One of the staff told me two Americans were up here. You two okay? 

Chai, flat: Dandy. 

Eric: … great. It’s past lights out, so I’m going to have to punish you both I’m afraid. 

Chai: Fine. I don’t even care anymore.

Chai shoots one last glare towards Isadora before moving past Eric and heading downstairs. Yikes. Eric frowns, concerned. 

Eric: What’s going on there? Do you want to talk about it? 

Isadora, snapping: No. Leave me alone.

She marches through the door and into the lift, pressing the button for the lobby before the doors slide shut. 

Eric: Wait, where are you going? Your room is on the third floor. Isadora?

It’s too late. She’s gone. With a sigh, Eric pulls out his phone and enters the stairwell. 

Eric, into the phone: Harper? You’re gonna have to take over for me…

EXT. LONDON - NIGHT MARKET - NIGHT

Isadora steps out of the hotel into the colourful, lively night market. No longer in her clothes from the day, but a ‘60s punk inspired look complete with hair sticking up in spikes, heavy eye makeup and a leather jacket with chains on it. Despite the world around her being in colour, Isadora herself is in black and white.

Song Cue ♫ ♪ “Paint It, Black” as performed by The Rolling Stones || Performed by Isadora De La Cruz

The sitarist strums to start us off. Isadora gets a couple of coins out of her pocket and drops them into the sitarist’s open case. The gentle-looking Indian man gives her a nod in gratitude, and when Isadora nods in return, the drums kick in. In an instant, the sitarist transforms. He’s now dressed in punk clothes, and becomes monochrome like Isadora, who sets off down the street.

I see a red door And I want it painted black No colors anymore I want them to turn black

She sings in a flat voice, staring dead into the camera, unaffected by the jovial people around her.

A few feet behind her, Eric struggles to catch up as he moves through the crowd. While Isadora channels her inner Medusa and turns the people and scenery around her into a black and white 60s pink fever dream, Eric remains in colour and modern.

Isadora passes a flower stall and picks up a handful of colourful flowers.

With flowers and my love Both never to come back

She scrunches up the flowers in her fist, the now colourless petals fall to the floor. When Eric gets to the florist, he apologises and gives them some money for the ruined flowers.

Isadora arrives at the end of the street where she can look at the river Thames in the distance. The last of the sunset reflects on the water, the only remaining colour around her.

If I look hard enough Into the setting sun My love will laugh with me Before the morning comes

She finishes off the performance in the same spot, dancing like a punk rocker in a mosh pit. She slows to a standstill and looks across at the sunset.

I wanna see the sun Blotted out from the sky I wanna see it painted, painted, painted Painted black, yeah

A downpour of rain brings an end to the performance, melting away the monochrome and punk as it drenches everything. Isadora allows the rain to shower her, but Eric -- who’s finally reached her -- covers his head with his arms. 

Eric: Are you done being an angsty teenager now? 

Isadora: Yes. 

Eric: I’m going to have to add another punishment for this, you know that, right?

They walk back to the hotel as the vendors pack up their stalls and tourists run inside for cover. Isadora is certainly more colourful now with her green hair, but she still looks just as punk and angsty as before. 

Isadora: Whatever.

She quickens her pace so that Eric lags behind. He shakes his head. 

Eric: Adopt a teenager, they said. It’ll be so rewarding, they said.

EXT. LONDON HOTEL - DAY

 The A class is filing onto the bus the next morning, Freya standing by the doors and helping count as they board while Simon flatly delivers a rousing explanation of their itinerary for the day. They’re on their way to the National Theatre, so better get ready for some fantastic playacting.

As the techie boys board the bus, they each greet Freya cheerfully, mimicking tipping their hats at her. For her brusque demeanor, she seemed relatively charmed by their silliness.

Meanwhile, Harper and Eric have pulled aside Jade, Nigel, Chai, and Isadora. Harper has taken over the tough love authority role, informing them that due to their breach of curfew yesterday, it’s been decided that they will spend the remainder of the day separated. Nigel and Jade attempt to plead their case.

Nigel: We really weren’t trying to skirt curfew. We just lost track of time.

Jade: I’ve been a perfectly rule-abiding student my entire career at Adams.

Isadora, helpfully: You participated in the techie revolt.

Jade: [ without looking at her ] Thank you, didn’t ask for your input. Mister E, you know we weren’t doing anything wrong. Please.

Eric, reluctantly: Being out past curfew is doing something wrong, Jade. You and Nigel will have plenty of time to spend together on the rest of the trip. [ nodding towards the bus ] Let’s go.

Jade sighs, spinning and heading towards the bus in defeat. Nigel waits a moment and then uncertainly follows, not sure exactly how much distance he’s supposed to put between them. Harper and Eric turn to Chai and Isadora.

Eric: And Isadora, your extra punishment for leaving the hotel on your own --

Isadora: You were with me the entire time. 

Eric: Yes, but you left without me. I simply followed you. Regardless, your extra punishment is no spending money for two days. Every time you leave the hotel, or group, without supervision or permission, another two days will be added. 

Isadora: I’m eighteen, I can spend my money if I want to.

Eric gives her a warning look. Not one from the school trip supervisor, but one from a dad. Isadora sighs and nods.

Harper: Any other arguments from you, ladies?

They glance at each other, still fuming from their argument. Chai shrugs, projecting aloof.

Chai: A little space will be nice, actually.

She turns to go, marching towards the bus. Eric watches the exchange, eyeing Isadora curiously. Ready to talk about it yet? Isadora shakes her head defiantly, not in the mood. She stomps away, Harper offering Eric a supportive pat on the back. Being the authority ain’t no joke!

INT. NATIONAL THEATRE - LOBBY - DAY

Simon and Eric make sure each of the students has a ticket to the production they’re about to see of Oliver! Harper instructs them that although they can’t control which seat they get, they’re welcome to swap amongst themselves if they see fit like the plane.

INT. NATIONAL THEATRE - OLIVIER THEATRE - DAY

Farkle has settled into his seat, one of the first in the class. As fate would have it, who should have the seat next to him but Isadora. They exchange smiles when she drops down next to him, Isadora already more relaxed than she’s been on the rest of the trip so far.

Farkle: We’ve got to stop meeting like this.

Isadora: Why do you make everything weird? Stop.

Farkle: I’m just saying, there’s some kind of karma going on here that you and I somehow always end up stuck together. I’m just not sure which one of us is getting punished.

Isadora: Mutual destruction.

Oh, aye. Farkle nods, accepting that with an amused smirk. He does ask though if she didn’t bother to try and swap a seat so Chai can sit with them. Isadora shrugs.

Isadora: We can’t anyway. We got banned from interacting today.

Farkle frowns, bewildered. He starts to question further, but they’re interrupted by Maya arriving to join them. She plops into the seat on the other side of Farkle, greeting them brightly.

Farkle: You too, huh? Guess we really are tied by the red string.

Isadora: Strangled, maybe.

Maya: What? Oh, no, this wasn’t luck. I threatened Yogi into trading with me. [ with a beam ] Should be a jolly good show.

Another ominous statement that needs elaboration… but no time. The lights dim, signaling the start of the show as the orchestra tunes below. Farkle and Isadora exchange a look, the latter playfully bumping his elbow on the arm rest between them as they settle in for the first act.

INT. GARDNER HOME - CHARLIE’S BEDROOM - DAY

Charlie is nearly ready for his reception, looking cute and polished in his khakis and dress shirt. No tie yet though. He pulls on the navy suit jacket and adjusts the sleeves, touching up his hair in the closet mirror. It needs to look combed and styled just the right way so that most of his guests won’t even notice the length.

Rosie knocks on the door, stepping inside the room when Charlie nods her in. She’s dressed in a cute floral sundress.

Rosie: You look like a nerd.

Charlie: Wow, thank you, dear sister of mine. What a nice thing to say to me, on this, the day of my celebration.

Rosie: I didn’t say it was a bad thing. It’s just a fact. And you are a nerd, so it’s fitting.

Charlie: You look nice, though. Bit bold on the eye makeup. I mean, I don’t mind, but don’t you think mom is gonna say something?

Rosie: Who cares? And honestly, no. You are the sole recipient of her smothering attention today -- I’m just the errand girl. [ holding out her hand ] She wanted me to bring you this, so you didn’t forget it.

A Yale lapel pin. Just in case anybody forgets for five seconds that he got accepted. Charlie takes it, barely hiding his reluctance.

Charlie: Great. Thanks. I’ll be down in a second.

Rosie nods, then hesitates. It’s obvious there’s something on the tip of her tongue, something she wants to say… but she doesn’t really know how to say it, or maybe even really exactly what it is, so she doesn’t try. She retreats and leaves Charlie alone.

Charlie looks at his reflection again, really scrutinizing it. It’s going to be a long day of presenting… he needs to brace himself as much as he can. He goes to get some fresh air, stepping out onto his balcony as the orchestration kicks up…

EXT. GARDNER HOME - CHARLIE’S BALCONY - DAY

Song Cue ♫ ♪ “Where Is Love?” as performed by Oliver! London Palladium Cast || Performed by Isadora De La Cruz, Farkle Minkus, Riley Matthews, Charlie Gardner, and Zay Babineaux

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

Charlie leans against the rail of his balcony, turning the Yale pin over in his fingers. A shiny accessory for all those shiny stats… he sighs, looking out to his neighborhood and closing his eyes. Absorbing the temporary calm.

INT. NATIONAL THEATRE - OLIVIER THEATRE - DAY

At the same time, the production of Oliver! is in full swing, teeing up the famous track. Our key A class players watch with varied levels of interest, the actual Oliver actor kicking off the song with the first verse.

Then, things get a little interesting. Smooth transitions and creative camera angles allow us to seamlessly move from one performer to the next, creating a tapestry of interpretations.

Isadora picks up the slack first, echoing the sentiments of the show as she takes over the next couple of lines from her spot in the audience next to Farkle. Her expression is pensive, heavy, speaking to any number of things -- her late mother, her fracturing romance, her friends going in any number of directions. She and Farkle harmonize on “that’s only meant for me,” cueing the first transition…

Only it seems at first glance like the actual performer is taking back over -- and that’s because Farkle is now occupying the stage. He’s inhabiting the role of Oliver (finally reaching his peak as sickly Victorian orphan), dressed in the costume and smeared with dirt, but fully immersed in the performance. It isn’t until his actual self chimes in, taking over halfway through and watching himself from the audience, that we understand his take -- is love the dream, the art, the opportunities he could chase to a stage in Los Angeles… or is it sitting right next to him, not wanting him to go anywhere? He glances at Isadora, contemplative.

‘Til I am beside the someone who…

Riley and Farkle’s vocals overlap next, and she takes his place on the stage. Only her set up is different -- stripped down, simplistic, and she’s plain-clothed -- and there’s only one member in the audience. She looks directly at an imaginary Lucas as she sings the famed title lines, eyes shining and the world just the two of them. The only audience she cares about; the one who has been elevating her to be more almost since they met.

Where is love?

EXT. GARDNER HOME - CHARLIE’S BALCONY - DAY

Charlie examines the Yale pin, growing more and more averse the longer he does. He knows for sure that it isn’t love -- that there’s nothing he’s more apathetic about -- but if Yale isn’t the answer, what is? If not there, then where? Where does he truly belong?

Who can say where she may hide Must I travel far and wide?

Zay’s vocals ease in and harmonize effortlessly with Charlie’s, the screen splitting in a fade to show both of them as they share the next line. Then focus is solely Zay’s for a moment, him standing alone on the empty stage.

INT. NATIONAL THEATRE - OLIVIER THEATRE - DAY

There’s no one watching his performance, his question more of a shout into the void. With everything so frozen in time, on every front, he has to wonder when things will resume -- when someone will start putting him first again, that he can mean something to.

Then he prompts the final crescendo, all of the vocalists joining back together for a strong harmonized finish.

EXT. GARDNER HOME - CHARLIE’S BALCONY - DAY

As the orchestration peters out, Charlie takes another look at the lapel pin… then pockets it, choosing not to put it on. He heads back into his room.

INT. NATIONAL THEATRE - OLIVIER THEATRE - DAY

The audience breaks into applause as the performer wraps up the rendition, the A class clapping along. The production rolls right along, oblivious to the projection the ensemble just imagined through the performance.

INT. CHARLIE’S CHURCH - BANQUET HALL - DAY

Charlie’s reception is off without a hitch, a pleasant and charming gathering set up in the lovely banquet hall of their church. It’s well-attended for a graduation party, though it’s anyone’s guess how many of those people are there for Eleanor versus the actual man of the hour. She’s clearly in her element, entertaining a gaggle of church ladies and getting ample opportunity to brag about her golden son and all his accomplishments.

Eleanor: That’s right, Yale. Oh, we’re so excited. And you know, I don’t want to jinx anything -- but he’s been quite friendly with one of his good friends these last few months. Riley?

Trina: Oh, of course. You’ve mentioned her plenty.

Danielle: And we saw the prom photos! Such a gorgeous duo.

Maitland: Eleanor… you’re not saying --

Eleanor, coyly: I’m only saying, ladies. Keep your ears to the ground -- there might be some big news on that front any day now.

Well, I wouldn’t bet your pass to Heaven on it, Eleanor. The ladies twitter enthusiastically anyway, though, all sold on the concept of dear, darling Charlie perhaps announcing a commitment to Riley Matthews.

As misrepresentative as that sentiment is, Charlie isn’t completely without peers of his own. EVAN SCOTT has shown up to offer his congratulations, chatting with Charlie comfortably by the gift table where he’s easily accessible for guests to come and pay him well wishes. It’s nice of Evan to show up, and Charlie clearly appreciates it -- perhaps an actual friend came out of the hell that was Haverford after all.

Evan: I’m sure the rest of the guys would’ve come too, but I guess there’s a lot going on right now. Lots of post-graduation travel, you know?

They’d have to be invited to even know to show up, Evan, and even if they were, Charlie knows damn well that would never happen. He offers a tight smile anyway, opting not to get into it.

Charlie: Totally. Ha ha.

He’s about to gain another unexpected ally. He nearly falls over when Rosie bolts over and rams into him, speaking so fast and in a hushed whisper that he can’t even understand her.

Charlie: You excuse me for a second, Evan? I think my sister’s been possessed.

Evan laughs, giving them space. Charlie gets Rosie to calm down, instructing her to speak slowly so he has even a chance of understanding what’s got her so energized. She’s breathless, and her eyes are wide.

Rosie: Bridgette. She’s -- did you know that she was -- Bridge, she’s --

Her name was all Charlie needed to hear. He stabilizes Rosie by steadying her shoulders and then glances around her, looking towards the doorway.

Lo and behold, the rumors are true -- and spreading quickly throughout the congregation. Bridgette Gardner has arrived, timid but decisively, making an unexpected and triumphant return to the fray. She’s at least spared Charlie the drama of wearing a lace bralette by showing up in a casual but classy black jumpsuit, but her mere presence is enough to get people talking no matter what she chose to wear.

She and Charlie lock eyes, the latter breaking into a smile. Yes, it’s clear he was actually expecting her. He ignores all the eyes on him as he makes his way across the room and goes to greet her at the entrance, then suspends any potential assumption that she isn’t welcome by pulling her into a hug.

Well, this is guaranteed to be the talk of the event when everyone heads home this afternoon -- forget all of Eleanor’s careful planning. The woman herself is shell-shocked, doing her best to maintain appearances and appear unflappable but obviously stunned by the surprise arrival. Ambrose stares from across the room where he’s chatting with other husbands, equally caught off guard but seemingly not affronted by his daughter’s sudden reappearance.

Bridgette and Charlie pull apart. She scans the room around them, the nosy partygoers eyeing them with rapt interest, then raises an eyebrow at him. She offers a brave smirk.

Bridgette: Nice tie.

She’s right, it is a nice tie -- and she’d know, since she picked it out. Charlie glances down at it, a tasteful but simple floral pattern in soft blues, greens, and purples. Fresh, understated, and far more like Charlie than anything else picked out for the reception.

He returns her smile, then invites her further into the party.

Grace, pre-lap: So you think it went well?

INT. LUCAS’S APARTMENT - KITCHEN - DAY

Lucas and GRACE FRIAR are chatting at the kitchen table, Lucas helping her go through bills as they recap the gist of his interview. It’s hard for him to say, but all things considered, he didn’t think it went poorly. There’s a chance, at least, which is more than Lucas usually has to go off of.

It’s clear from the expression on her face that Grace is proud of him. She doesn’t know how to articulate that, and she’s only able to really show it in the moments when he’s not looking, but the glimmer in her eyes and small smile on her face leave little room for doubt.

She reiterates that she hopes it works out, because they really need the financial support. Going through the bills just makes that all the more clear… but she thinks he can do it. He can get the aid. And he’s been saving all that money to supplement it -- which he’ll need every cent of, to be sure -- but it could really happen. He might get out of here.

Lucas is obviously trying to keep his expectations subterranean levels of low, but even he has an excited edge to his voice when he talks about it. They transition to discussing the rest of the day, Grace asking if he’s got plans. With Riley and Dylan and Asher out of town, he must be bored stuck here with her.

Lucas: I’ve found bizarre ways to keep myself busy. But I have a quick thing to do in a few minutes, then I’m probably gonna go to the Orlandos again for dinner. I think Randall is making tacos.

Grace, wistfully: That sounds delicious. I can’t remember the last time I had a really good taco. I don’t know what I’m going to be doing for dinner… just pick-up, I suppose.

Lucas: Dad’s not eating with you?

Grace: He has a doctor’s appointment. Said he probably wouldn’t be hungry after.

Lucas: [ with a scoff ] Since when does anyone in this apartment go to the doctor…

He doesn’t bother to hide the bitterness in his voice. But Grace merely shrugs, claiming he just told her about it this morning. She thinks it’s just his annual physical -- something the two of them don’t get the privilege of having, of course -- but that’s all she knows.

Lucas gets up to get ready to go, claiming if she wants, he can ask Randall if she can come over for dinner. She waves him off, not wanting him to go to the trouble, but Lucas insists.

Lucas: Come on, mom. You deserve to have a really good taco sometimes.

Well, when you put it like that… Grace laughs to herself, then shrugs.

Grace: Why not. Better than anything I would throw together here, I’m sure.

That’s settled, then! Lucas tells her he’ll let her know when to head over tonight. First, though, he’s got business to take care of.

EXT. COVENT GARDEN - DAY

Covent Garden is bustling with people, tourists and locals alike. Boutiques line the streets, along with plenty of cafés and restaurants. The class is free to roam on their own (even Isadora), and they have a good couple of hours to do all the shopping they desire (except Isadora).

As the class sets off to explore, Eric thanks Freya for filling in for Harper. 

Freya: Don’t worry about it. Got nuffin’ else to do but sit in my bus, ‘ave I?

Eric is a little bewildered by Freya’s thick West Country accent, not having heard her talk this much before, but thanks her once again. He turns to Simon and asks him to show him where the best coffee is. If he’s going to survive any longer on this trip, he’s going to need a lot more caffeine.

Elsewhere, the techie boys arrive at the square where professional street performers work. There’s a STRING QUARTET playing music that matches the sunny weather and upbeat atmosphere, a CIRCUS PERFORMER walking around on super high stilts in stripy colourful trousers, and… a dog? A DOG MAN? A man’s head somehow stuck in a kennel? Whatever it is, their attention has been caught.

The dog man greets them as they run over to him, his accent northern and his tone depressed. It’s unclear whether the depression is part of the character or because of the fact that he’s playing this character. 

Nate: Dude! This is amazing! Quick, get a pic of me and this guy.

Jeff: Genuinely iconic. 

Dylan: Can I film you for my vlog? 

Dog Man: What the hell is a vlog?

Well, this’ll certainly keep them entertained for a while.

Jade and Isadora are wandering around the fruit market. Both separated from the other half of their couples, but one a lot more upset about it than the other. 

Jade: This whole thing is so insanely stupid. It’s totally cruel to ban us from interacting... we were literally just talking.

Isadora: Is it really that big a deal? It’s like one day. Why do you care?

Jade: ... because he’s my boyfriend? Because we were excited to hang out on this trip together? I don’t know. [ a beat ] You know, Dora, don’t take this the wrong way, but you’ve been a little sharp.

Isadora: No kidding?

Jade: Like I get it, I’m not in the best mood either. But... especially since you don’t even seem to care about your punishment, seems kind of weird.

Someone actually calling Isadora out on her behavior -- someone other than her father figure, that is -- kind of snaps her out of it. She blinks, twisting her fingers together.

Isadora: Sorry. Didn’t even realize.

Jade: It’s fine. I’m just saying. And like, you don’t even have to deal with it, really, since your girlfriend isn’t even here...

Isadora gets lost in thought, contemplating what Jade said. Has she been as barbed as everyone seems to think? Speaking of, where is Chai? And Harper, for that matter?

INT. GUILDHALL SCHOOL - CORRIDOR - DAY

The women sit in a makeshift waiting area along with other hopeful university students and their guardians at Guildhall University, a school dedicated to the musical and theatre arts. Chai seems nervous, but determined, tapping her foot lightly as they wait.

TRUDY, a short middle-aged woman with bright blue hair and a multi-patterned dress on, pushes open a door. 

Trudy: Rebecca Fresco?

Chai stands up and follows Trudy into her final audition. Harper gives her a thumbs up.

Harper: You got this.

Chai gives Harper a nervous smile. The door swings shut.

INT. GUILDHALL SCHOOL - REHEARSAL ROOM - DAY

Along a table sit the ADMISSIONS PANEL. There are six of them, including Trudy, who sits down in her chair while Chai takes position in the middle of the room. 

Chai: I actually go by my middle name -- Chai -- not Rebecca.

Trudy apologises and makes a note of her preferred name. She tells Chai that she’s the only American who’s gotten this far in the process. There are a couple of other foreign students, but they’re all from Europe. She goes on to explain that because this is the first year of their new, experimental arts degree, there’s a lot of things still in the air, and it will be shaped around what the students need and want. 

Trudy: Is there any particular part of theatre arts that you’re most interested in? I know you went to a performing arts high school, so I expect that’s your main focus? 

Chai: It is currently, yes. I’m very open to exploring other areas of the arts, though. My school has a way of bringing people together no matter what their focus is or where their talents lay, so I’ve gotten the opportunity to learn about the technical production side of theatre, too. 

Trudy: That’s great. What do you think you’d gravitate towards when studying here? 

Chai: Definitely dancing and vocal performance, but also stage makeup and costuming. I’m skilled in hair and makeup, and this past semester I’ve been learning the basics of designing and making clothes. 

Trudy: Brill. We can definitely cater to that. [ a beat as she and the others write things down ] Okay. You’ve prepared a performance for this audition, correct?

Chai nods. She has a vocal performance, then a dance performance. One of the admissions people gets the prepared music up on their phone and presses play.

Song Cue ♫ ♪ “I Know I Have A Heart” as performed by Cinderella West End Original Cast || Performed by Chai Fresco & Isadora De La Cruz

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

Chai takes a breath, then sings. Her voice is bright and clear and she hits the notes with relative ease. She’s come a long way since the beginning of her journey at Adams and the days of being a backup singer for Maya. What makes this performance so impressive, though, is the passion behind it. The lyrics hit close to home at the moment, and the emotion she expresses packs a punch.

I was so not naïve With no heart on my sleeve Always walked out before I was rejected

When the orchestra comes in, Chai begins to move. She uses the space as if it’s a stage, treating the panel as an audience rather than the people deciding her fate. Her stage presence shines, the role of heartbroken princess a perfect fit.

I was so unaware That I could fall so hard But what good is a heart If you don't care?

EXT. COVENT GARDEN - NEAL’S YARD - DAY

We cut to the person in question, Isadora. She’s in a smaller part of Covent Garden full of colour. Some of the buildings have their walls painted, while others leave the bricks bare and instead paint the window frames and shutters.

Isadora looks through a shop window, then turns as she takes over the song.

Should have known all along That I need to be strong For a girl who's like me There's no happy ending

She walks towards a boutique, fancy dresses and glass slippers in the window. When the music swells into the chorus, she begins to waltz around the yard. We cut between her and Chai, who’s doing the same. A slow dance cut in two.

And it's shattered and bruised And now the laugh's on me Anyone want a heart that's barely used?

We continue to transition between the two as they both take on the final chorus together. They both put all of their anguish and frustration into the song, their vocals even more powerful and heart wrenching when harmonised.

INT. GUILDHALL SCHOOL - REHEARSAL ROOM - DAY

We end on Chai, breathing heavily after the final belt. For a moment the room remains silent, the emotional performance having suddenly made the atmosphere heavy, but then the panel burst into applause.

Chai allows herself a small smile, but knows that it isn’t over yet -- both for her audition, and relationship with Isadora.

INT. CHARLIE’S CHURCH - BANQUET HALL - DAY

Bridgette saunters over to Charlie by the food table, leaning close to speak in conspiratorial tones as she reaches for a carrot stick. Both of them are very aware that all eyes continue to drift towards them, but for once Charlie doesn’t seem afraid of the attention. In fact, in a weird way, he almost feels a sort of pride.

Bridgette: Am I correct in guessing you didn’t let mom in on your little plan to invite me to the party?

Charlie: I don’t know what you mean? Doesn’t she seem completely in the loop?

Bridgette: Mm mm mm mm mm. Blasphemous behavior, and on such a momentous day. What gave you such a dastardly idea, Charlie -- the devil himself?

All jokes aside, Bridgette admits that she’s glad he asked her to come. It’s nice to be with the sisters again, and the look on Eleanor’s face was worth it alone. But it was a pretty sharp change of pace from wanting everything to go “smoothly” -- what made him change his mind? Charlie smiles, shrugging nonchalantly.

Charlie: I can do my own thing now and then.

That doesn’t make much sense to Bridgette, but it’s Charlie. She’s not going to question it. She lightly pinches his side, enjoying the feeling of being co-conspirators again -- but she clams up when Ambrose approaches. He clears his throat, gently getting Charlie’s attention.

Ambrose: Think there might be a bit of a mix up with the guest list. Are you expecting someone else?

You mean, aside from resurrecting the long-lost sister? Charlie looks appropriately confused, following Ambrose’s nod towards the entrance where Eleanor seems to be debating with a wayward soul who she is desperately trying to gatekeep from the party. She’s already had enough trespassers for one reception, thank you very much!

When Charlie recognizes who she’s confronting, his jaw drops open slightly. Lucas?

He exchanges a look with Ambrose before making a beeline for the door, intercepting his mother before she tears a biblical new one into Lucas.

Charlie: Mom, mom, it’s cool. I know him. He’s -- he’s a friend from Adams.

Eleanor: Well, he isn’t on the guest list.

Lucas: I’m not much of a list person.

Charlie: Seriously, mom, it’s okay. I’ll take care of it.

Eleanor remains displeased, but she allows Charlie to take over. She flurries back over to her friends in a huff -- how many other ways could this go wrong? Charlie waits until she’s out of earshot, turning his gaze back to Lucas with a million questions.

Lucas, deadpan: She seems nice.

Charlie: What are you doing here? I mean, not that it’s a problem. Despite the indignation of my mom -- she’s having a rough day.

Lucas: Rest assured, I’m not here to gate crash. I’m in and out; I think if I hung around too long in this place I’d probably burst into flames.

You’re not the only one, Lucas. He continues, removing his hands from behind his back to reveal he’s holding an envelope.

Lucas: I’m just playing messenger.

Charlie raises his eyebrows, looking at Lucas in surprise as he takes the parcel. It’s decently-sized for an envelope, and his name is scrawled on the front in Riley’s familiar loopy handwriting.

When he opens it and pulls out the card inside, though, it’s much more than just a message from Riley. It’s a custom-made card -- with the artistic expertise of Dylan, Asher, and Jade behind the design -- and on the back and all along the inside, his A class peers have written him congratulations sentiments and signed it. Even the teachers contributed, a kind message from Jack, Eric, and Harper present on the inside flap.

And yes, even Zay. He’s found a way to keep it casual while still meaningful, depth behind the message concealed in plain sight amidst all the other well wishes and in spite of how weird things are between them at the moment.

Good job surviving. Wherever the hell you’re going after this, don’t forget where you belong… or whatever 1D would say.

Charlie laughs, a bit choked up. Sure, none of them could be there in person due to bad scheduling, but he was dead wrong if he thought they were going to let him celebrate alone -- least of all when Riley Matthews is involved. 

Charlie: This is great. Thanks for delivering. You can tell Riley it was well-received.

Lucas: My life’s work.

Charlie: Are you sure you don’t want to stay? I know my mom seems scary, but --

Lucas: Believe me, she is far from the scariest thing I’ve ever confronted. But I’ll pass. It’s taco night at the Orlandos, so I’ve got better places to be.

So with that, he’ll leave him be. Charlie thanks him again for bringing the card, letting his focus drift back to the gift once Lucas is gone. Then he lifts his gaze, something across the room catching his eye.

Ambrose has taken the spot he vacated, actually talking to Bridgette. It doesn’t look like the easiest conversation in the world, but it’s something, amicable communication for the first time in years. And if Ambrose is willing to open up the door for her, to give her a chance… well, who knows what he might hear out from Charlie, too.

Charlie can’t help but smile, hugging the card to his chest while he watches part of his family slowly rebuild.

INT. COVENT GARDEN - SHOPS - DAY

The A class are free to roam throughout the centre, Riley and Farkle taking some time to browse for souvenirs. Farkle hesitates when he spots something he’s sure Isadora would love -- an embroidered patch with something darkly silly, a perfect match for her aesthetic -- pointing it out to Riley. She agrees Isadora would like it, he should grab her and show her while they’re there.

Farkle: Well, I was thinking more like…

Farkle stops his own sentence. He was thinking what, that he’d get it for her? That he’d give her a gift for no reason, as if that’s something normal people do? As if he’s not continuing to kid himself, playing into these weird instincts with her when she has a girlfriend and only sees him as a friend?

Farkle: Never mind. I don’t know what I was thinking.

Riley commiserates, commenting that shopping for others can be tough no matter who it is. Like, she’s been keeping an eye out for something to get Lucas all trip so far, but nothing has jumped out to her.

Farkle: Is he that picky?

Riley: No, although that’s kind of the problem. He’s not really a gift person, because he never like… thinks he wants anything, so he’ll basically accept anything and be cool with it. But that makes him impossible to shop for, because there’s not really a clue as to where to begin.

Dylan and Asher chime in from the opposite side of a shelf.

Asher: Seriously, he’s awful.

Dylan: So true, bestie.

Riley: Besides, it’s not even necessarily him that’s the problem. It’s just like… there’s nothing good enough.

Farkle: I’m sure the artisans here will really appreciate that review on Yelp.

Riley: [ elbowing him ] Not like that. I just mean… nothing is going to convey what I want to say properly. [ softer ] No souvenir gift is going to capture how I feel about him. It’s too much.

Doesn’t help that her primary love language is physical touch, and he’s currently thousands of miles away. Sort of makes Farkle’s angst about Isadora feel trivial in comparison. He gives her an awkward pat on the shoulder, though he’s not going to be of any help to her gift dilemma.

Some jaunty, understated guitar floats in, echoing throughout the Garden…

EXT. COVENT GARDEN - DAY

Song Cue ♫ ♪ “Step Inside Love” as performed by Cilla Black || Performed by Covent Street Performer

A new STREET PERFORMER has taken the limelight, gathering the attention of much of the wandering crowd. She’s blonde and spritely like Maya, only with a head of curls, but her vocals pack a serious punch. She’s animated and riveting, delivering a soulful rendition of the classic British tune and earning a decent chunk of change in tips in the meantime.

One of the people captivated by her performance is Maya, who stops wandering the stores to listen. Her eyes sparkle as she gets closer, sensing a kindred spirit in the brassy busker. And she’s impressed by how deftly she can hold a crowd -- the Garden breaks out into applause as she finishes her rendition, Maya an eager participant.

She makes a point of approaching when the crowd has mostly dispersed, launching into effusive praise. The street performer listens with mild interest as Maya… well, does her Maya thing, dramatically insisting upon their twin soul energies and lauding her ability to command a space with her stage presence. That, and she has such admiration for someone like her, out there busting her chops to follow the dream wherever it might take her. Starting from nothing, scrounging towards the goal. It’s inspiring, really.

At this, though, the street performer snorts, catching Maya by surprise.

Street Performer: Oh, fuck me. You think I’m some poor bastard, don’t you? Singing for pennies to earn my daily bread.

Maya: Oh, no. No, I just meant --

Street Performer: Love, I went to a conservatory. One of the top bleeding performing arts programs in the country, at that.

Maya, stunned: What?

Street Performer: That’s right. Class of 2015, in the flesh. Oh, and they promised us everything. Going to such an elite school, with such strong credentials, it was supposed to be a direct pipeline. That’s what they said, anyways. Straight to the West End! Well, look around us -- does this look like the West End to you?

Maya: … no. No, there must be a mistake. If you were to have graduated from a top program, then you wouldn’t be --

Street Performer: I did, and I am, love. Look right in front of you, see me with your eyes. And read my lips: it’s all a sham. I sing because it would kill my soul not to, but it’s a thankless time. Do yourself a favour, jump off this train before it runs off the tracks. Unless you want it to be you wiping your bum with your fancy university degree with nothing to show for it in five years time belting classics for spare change next to a little dog man!

Dog Man: Hey… woof. 

Street Performer: An absolute farce!

Whatever Maya was expecting from the networking moment, it sure as hell wasn’t that. She’s dumbstruck, completely bowled over by this unanticipated reality check -- and not even sure how to move past it. She’s rooted to the spot, the rest of the world continuing on around her as if she’s not even there.

INT. AAA - JACK’S OFFICE - DAY

Jack is working on the final details of his reapplication, all the pieces polished and ready to submit. Just a tweak here and there… but something about the process feels emptier now. Like he’s doing it, but somehow, his heart is no longer in it. It’s hard to see how that could’ve happened, when this place has been his whole entire world for so long.

But there are new paths stretching out in front of him now… if he chooses to follow them. He releases a sigh and leans back, surveying the office that he’s inhabited for so many years. It’s strange to think that he could be anywhere else… but it doesn’t feel impossible anymore.

At the moment, though, he’s sure of one thing -- there’s somewhere else he’d rather be right now. Struck with inspiration, Jack pulls his laptop closer, settling into new work.

EXT. GARDNER HOME - CHARLIE’S BALCONY - DAY

Rosie and Charlie deposit the last of the graduation gifts on his bed for him to go through -- mainly envelopes, lots of money. Rosie scoffs as she sifts through them.

Rosie: I can’t believe this. People are basically paying you for getting through high school. This is such a double standard.

Charlie: What? How?

Rosie: Male privilege. Everyone just loves to hand you cash. You know what they’re going to give me when I graduate? Flowers. And like, probably gift cards to Pottery Barn.

Charlie: Hey, you can find some pretty neat things at a Pottery Barn if you look hard enough. And flowers are nice. I could go for some flowers.

Rosie: Of course you could. Nature boy. But flowers die in like a week, and I can’t buy movie tickets or eye shadow with $15 to Pottery Barn.

Charlie shakes his head, amused. Speaking of nature… the two of them meander their way out onto the balcony, opting for the pseudo-privacy and fresh air. After a full day of church community socializing, it’s nice to take in some quiet for a minute… until Rosie breaks it, surveying his room through the sliding door.

Rosie: Do you think I could swap the blinds on the door for drapes? I’m trying to decide how I’ll decorate once you’re gone and I take over your room.

Um, she thought! Charlie refutes this, claiming there’s no way she’s getting his room. He’s going to college, not military school, so he’ll still need a house to come back to every few months. And sorry, he’s not giving up his sacred balcony that easily.

Rosie: … so you’re planning on coming home? Or like to visit. At least sometimes?

Seems Rosie found an indirect way to ask the questions she really wants to know… Charlie realizes from the subtle nerves in her voice that this is the first time she’s had a sibling leave home since Bridgette. And she might be back now, in a surprise twist, but when she left the first time she really just left.

Charlie remembers how that felt. It would scare him too. He quietly assures her that he’s not planning on going anywhere for too long, and he’s never going to disappear out of her life.

Charlie: No matter where I am, or how long I’m there, you can always talk to me. You know that, right?

Rosie: … yeah. Yeah, I do. [ a beat ] I guess like… maybe I might miss you. Or something. Whatever.

No kidding… Rosie takes the chance to reiterate that Charlie can talk to her, too. About anything. She knows she’s the younger sibling and he’s like weird about taking pride in being the “role model” or whatever, but she’s getting older too. So if he wanted, he could talk to her about stuff. Like with Bridgette. And with him going off to college, there will probably be lots of new things to discuss.

She’s doing her best to tee him up… Charlie exhales a laugh, scratching his ear.

Charlie: Honestly, think there’s still plenty of stuff for us to discuss here.

Rosie: Like what? Daisy’s sudden career in climate change --

Charlie, quickly: That I’m gay.

Oh. Well there it is. Charlie obviously didn’t mean to stumble through it like that, to just spring it on her so haphazardly, but the instant he realized he was actually going to say it, it’s like it just slipped out. And the silence that follows doesn’t make it any less clunky, Charlie keeping his gaze anywhere but at her as he braces for potential rejection from one of the people he cares about most.

But Rosie isn’t going to reject him. In fact, she smiles instead, clearly pleased he finally said it.

Rosie: That’s nice.

Charlie: … you don’t sound surprised.

Rosie: I had my guesses. [ off his expression ] Charlie, you went with me to 1D concerts. You’ve never had a girlfriend. We’ve watched probably forty Riverdale makeout scenes together, and not once did you ever react to Cami Mendes or Lili Reinhart. The only time you ever reacted at all aside from getting all awkward was when I said KJ Apa looked good during a shirtless scene, and you agreed.

Charlie: I don’t even remember that --

Rosie: Also you’re like, the nicest boy I know, and I’m not just saying that because you’re my brother. In fact, the fact that you’re my brother and I’m still saying that shows how ridiculously nice you are. No straight boy is that nice. That was my main reasoning.

Well, damn. You think you’re covering all your bases… anyway, Rosie is just really, really glad he finally told her. That means a lot to her. And she promises, sincerely, that his truth is safe with her. He keeps her secrets and always protects her -- now it’s her turn to do the same.

And that’s clearly a relief to Charlie. His greatest fear was always that he’d fall from grace, that if she knew she’d no longer look up to him, but it seems like the opposite is true. He steps forward and pulls her into a hug, one that she happily reciprocates.

When they pull apart, she throws an “ew” out there, just for the sake of bratty sibling consistency. Charlie laughs and messes with her hair, telling her to ew herself. After a moment of silence, now that they’ve cleared things up, Rosie has a new topic she wants to unpack.

Rosie: So you had a boyfriend, right? Like a secret one.

Charlie: Um, what --

Rosie: Who was it? Charlie, tell me. I have to know now.

Charlie: No. No, mm mm, we’re not doing that.

Rosie: I have theories. Wait, just listen to my theories and tell me if I’m hot or cold.

Charlie: [ heading back into his room ] Nope. Not doing it.

Rosie: You need to tell me! I put research into this! I’m only asking you to hear out my potential suspects --

Charlie: La la la la la --

Rosie eagerly follows after him.

EXT. LONDON STREET - NIGHT

Audition over, Harper and Chai are on their way back to the hotel as evening falls. Chai excitedly talks about the course that she auditioned for and how student-focussed it is. Harper nods along, having already heard all of these earlier in the year when Chai was working on her application. 

Chai: You just don’t get this sort of stuff in America. You have to take so many different classes, you don’t get to just focus on your major. But here, they do specific courses. Honestly, there are degrees for everything under the sun. While I was researching I saw one for stand-up comedy. 

Harper: Not sure how I’d feel if I knew John Mulaney had a degree in comedy. Gives a totally different spin on the college bit he does. 

They change topic to London, Chai reminiscing on her time here as an exchange student and mentioning how excited she’ll be to come back if they accept her. 

Harper: I hate to dampen the mood, and I know you have your heart set on this place, but have you seriously thought about what moving here would mean? 

Chai: What do you mean?

Harper: You wouldn’t be moving here as a high school student. You’d be an adult. That means finding your own housing after freshman year, getting a job, building an entire new network when you already have one in New York. It’s not all red buses and hot accents, Chai. You’re entering the real world, with nobody to help you out. It’ll be damn hard. That’s not to say you shouldn’t do it, I fully believe you can. But you should really think about what studying here will be like.

Chai hadn’t really thought about it from that perspective before. Everyone she knows is in New York. Her entire support system is in New York. Would she be able to hack it on her own on a whole other continent?

But then again, does she really want to stay in New York for people who can cast her aside so easily? Her parents barely noticed she was gone during the exchange programme, and the way things are with Isadora right now… there’s not much tying her to the states. 

Noticing Chai’s now uncertain mood, Harper tries to lift her spirits by asking her if she’s excited for the rest of the trip. This does perk her up, but the questions surrounding her future are still strong in the forefront of her mind.

EXT. LONDON HOTEL - PATIO - NIGHT

Zay has stationed himself on the patio of the hotel restaurant, offering him a decent view of the city as the evening descends into night. Farkle peers out from inside the building and spots him, coming over to join him.

Farkle: Rooming with me and Maya truly that bad? You don’t have to hide out, you know. You could just ask us to cool it.

Zay: You know that joke doesn’t land when you know damn well telling you two to chill would do fuck all. Since when have you ever listened to me?

Farkle: Touché.

Zay: But no, amazingly, not every choice I make is about you. I’m just getting my fix of the nightlife before curfew. Based on how Eric cracked down on Nigel and Jade, I’m not trying to incur his chillingly supportive wrath.

Farkle: Understandable. Especially Eric’s unique brand of scary. Mind if I join?

Zay gestures blasély to the chair next to him, Farkle taking it. He asks Zay, now that he’s observed it so much, how he’d rank London.

Zay: Well, it’s no New York City, but it has its charms.

Farkle: Loyalist, I see.

Zay: NYC is a hellish pit, and I wouldn’t trade it for anything. What can I say, it’s home.

True enough. They settle into silence for a few moments longer, Farkle actually lasting an impressively long time for his usual standard, before he breaks it again.

Farkle: I was hoping to ask you something.

Zay: Just when I thought you might actually manage a peaceful moment.

Farkle: Hey, I was quiet. For like, thirty seconds. And you should know me better than that at this point.

Zay: Unfortunately, I do. [ with a sigh ] Go on.

Farkle: Now that Maya’s told you about the business card… what would you do? If you were in my position?

Zay: I hope you realize that you stumbling into this opportunity, having a bona fide connection to the industry fall into your lap based solely on your talent and potential, and then saying fuck it and throwing it all away would be the most privileged white people shit ever. You do realise that, right?

Farkle: Yes, I’m aware of the potential optics.

Zay: Okay, good. Just checking. Otherwise… I mean, I guess the bigger question is why wouldn’t you? Go after it?

Farkle: Why wouldn’t I?

Zay: Yeah. Like I said, this is the kind of thing basically everyone at Adams would kill to have in their pocket coming out of graduation. And you appreciate that, obviously, if you’re seriously considering it. So that just leaves the question of why not? What’s making you hesitate?

Farkle contemplates the question, not sure he wants to face it. Because it means being vulnerable, and he’s never been especially good at that.

Farkle: I suppose it’s just like… it’s kind of what you said. New York is home. You know? And I know that’s part of what college is all about, leaving the nest and all that, but… I like the way things are here. I like… [ searching for the words ] I know the city. I know the culture, I know the people. I love the people. Everybody I love is in New York.

Zay knows that feeling. He nods.

Farkle: And for a long time… the friends I have now are everything to me. I know what it’s like to have nothing, to have no one in your corner. I don’t ever want to go back to that. I’m just worried that… if I go away, if I put those aside to pursue this thing that might not even pan out… it’s not worth the trade. I know now that it’s not an even trade. And I’m so good at accidentally fucking everything up… [ timid ] I don’t want to risk chasing the dream somewhere unknown if it means losing my team.

Given Farkle’s history, Zay can see how this concern is particularly gripping for him. And the root of his fear is something all of them are feeling -- everything is about to change in a few weeks, they’re all going to go their separate ways, and there’s no way to know that these friendships will hold. Especially if they go in such different directions.

Still, can’t put your life on hold to cling to the way things are.

Zay: I get what you mean. I had my diva phase this year, you saw it, so you know I know what I’m talking about. I get how chasing after one thing can feel like you’re neglecting the other, that this stupid art kind of makes us so crazy that we push everyone else away in the pursuit of it. I think it’s a valid worry.

Farkle: Yeah?

Zay: Yes. But I don’t think that means you shouldn’t do it. I think you just have to find your balance -- which you should be good at now, considering how much damage control you’ve already had to do.

Farkle: Fair point.

Zay: As for the distance… look, I’m not gonna act like I’m some kind of expert. I’ve been in the same place my whole life. I’m not planning to go far if everything goes as planned, least for now. And being away from people you care about sucks, no matter how big or small the space between you. But… sometimes it’s necessary. Sometimes it’s for the better, getting some separation from the way things are.

Farkle: Really? You think so?

Zay: Yeah. I didn’t always, trust me, but it’s like… sometimes I guess it’s like you get stuck, and the only way to get past it and continue to grow is to step back. Branch out on your own, see who you are without that crutch. And the thing is, man, if someone is really your friend, they’d want you to do that. If we’re all just trying to find the best version of ourselves, and someone cares about you, then they’d want that for you too.

Farkle: Huh...

Zay: I don’t know what I’m saying, okay, I’m just talking out of my ass here. I’m not Riley, I don’t have the perfect advice. But I just think that… there’s no guarantee that going somewhere different, leaving the life you have right now, is going to irreparably damage everything. Especially if you’re doing it for a good reason, like pursuing your passion. And if your friends are true friends, they’ll push you towards that goal rather than pulling you back. If someone really loves you, they’ll want to see you at your best. They’ll set you free… and if it all works out, and you come back stronger for it, then even better.

Took Zay a lot of struggle on his own to reach that conclusion, but it seems like he’s pretty sure of it. And Farkle evidently appreciates the honesty, absorbing the sentiments and trying to figure out what that means for him.

Zay: I don’t know if that helps. Like I said, I’m just talking.

Farkle: No, no, you’re -- it does. Thanks, Zay. [ off his nod ] You know, you’re part of it. That team I don’t want to fuck up.

That’s sweet. A little weird, since they don’t really do the whole sentimental thing with each other, but it’s clear it means something to Zay. He clears his throat.

Zay: Well, don’t worry about hopping to LA, then. Your fun facts and trivia are going to kill this thing way before long distance ever would.

It’s true, distance makes no difference on whether he’s annoying or not. Farkle laughs, raising his hands in surrender. Then he grants Zay what he’s been asking for this whole time -- some actual quiet, leaving him be after thanking him again for the help.

Zay settles back in his chair, leisurely rotating his left ankle to keep it loose. Although he’s finally starting to wean off the habit, given how useless reception has been, he pulls his phone from his pocket and nonchalantly checks it anyway. Not expecting much.

So it’s a major shock to discover he has a notification in his email -- from Turner Academy. Even just from the message preview on his lock screen, he can see what it says.

Your portal status has been updated.

Zay jolts upright, cursing to himself. Heart suddenly pounding, his hands shake as he unlocks his phone and pulls up his web browser to log into the portal. He needs the wi-fi to hold together just long enough for him to look… but then he hesitates. Does he want to know? Is he ready to know? Is he prepared to face the consequences of whatever he finds out?

The hesitation only lasts a second. Yes, he’s ready -- he’s been ready. He’s ready for the torture to be over, to have closure either way. He clicks into the portal and selects the dropdown menu for application status, which has a notification bubble indicating it’s been updated.

It takes eons to load with the shitty internet. Zay holds his breath, watching the wheel in the center of the screen spin.

Then it loads. Zay takes a couple of seconds to read… and his expression shifts not to elation or devastation, but confusion. He reads the message again, then over again, even refreshing the page to make sure he’s not getting an error.

But the status displayed remains the same.

Additional Action Required. Please call the admissions office to learn about your admission status.

It takes a few more moments for that to properly sink in. Then Zay frowns.

Zay: What the everloving fuck --

EXT. LONDON HOTEL - DIVA ROOM - BALCONY - NIGHT

Maya is taking in the same scenery on the tiny balcony outside their room, though her expression is far more melancholy. She’s lost in thought, not even noticing when Farkle returns to the room.

He pokes his head out and greets her, leaning back against the doorframe. He asks if she’s okay, as she’s been uncharacteristically demure since they left Covent Garden. She brushes off his concern, claiming she’s just absorbing the spirit of the city before they go waste the next few days out in the middle of nowhere.

Farkle: I wouldn’t call Stratford or Liverpool the middle of nowhere.

Maya: To each their own.

She delivers it with her usual melodramatic snark, but Farkle is right that there’s a muted quality to it. The easy confidence isn’t quite as sharp as it usually is, and a seasoned veteran of Maya Hart can tell the difference.

Still, she assures him that she’s fine, so he lets it be. He suggests she not stay out photosynthesizing too long -- they’ve got an early start tomorrow as they head out of the city. She nods him along, waving off his concerns.

Farkle: By the way, I am seriously considering my choices. I’m going to give the LA opportunity all the thought it deserves. I promise.

Maya, delicately: I know. I know you are.

Farkle steps back inside, gently cracking the balcony door behind him. Maya watches him disappear into the bathroom nook, waiting until she’s alone again to let the facade crumble. She turns to face the city twinkling around her, confidence zapped entirely. It’s clear the words of the Garden performer really hit her, that they’re taking a toll she didn’t anticipate anything could.

Even with the best performing education money -- or scholarship -- can buy, could it still all be for nothing? Is it even worth it? And even more terrifying, is the dream even accessible at all, or is she destined to discover that she’s wasted the best years of her life chasing a passion that she’ll never be able to catch -- even with all the talent, drive, and preparation she can muster?

Could everything she believes in actually be totally, utterly empty?

Song Cue ♫ ♪ “Where Is Love?” as performed by Oliver! London Palladium Cast || Performed by Maya Hart (starting at 2:25)

Acting as a reprise of sorts, Maya eases into her own rendition of the West End classic by singing through the final verse and chorus. But it’s a meek performance, timid in a way Maya never is, real fear and uncertainty cracking the notes in her delivery.

Becoming a star has been her driving force for as long as she can remember. If the dream isn’t real, then where is love?

INT. CHUBBIES - DAY

It seems a day trip to Albany and gate-crashing a graduation party are the fires that forge friendship, because Charlie and Lucas are hanging out again. They’re not doing much, Charlie writing thank you notes at the counter while Lucas goofs off during another slow shift, but they’re choosing to occupy the same space while they do, which is certainly not nothing.

That, and they seem remarkably at ease around one another for having only just really started talking. At least enough to do silly, dumb shit that boys find entertaining -- Lucas has built a catapult out of silverware, assuring Charlie that he’s got many hours of food-flinging expertise under his belt and he’s about to see a champion in action. This is very important, complicated Chubbies work at play. Then he picks a fry off Charlie’s half-finished plate and loads the catapult spoon with it, pausing for dramatic effect.

Lucas: Ready… ready… 3, 2 --

He hits the base of the spoon and sends the fry flying into the air, easily managing to catch it in his mouth. An expert champion indeed, clearly of very important matters. Charlie gives him a round of applause, Lucas holding his arms out in victory and giving a pseudo-bow.

Charlie: Wow. I see why they pay you the big bucks.

Lucas: Damn straight.

Lucas just starts to load the catapult up again when Jack pushes into the diner, spotting him and marching over. He seems a bit frazzled, a man on a mission, but there’s an excitement charging his movements. An almost youthful glow about him, eyes twinkling with a mischief you’d never see when he’s in the halls of Adams.

Lucas: Jack? What are you doing --

Jack: Good, you’re here. I was hoping you would be. [ noticing Charlie ] Oh, hi, Mister Gardner. You’re here too. That’s nice.

Charlie: Um, hi, Principal Hunter.

Lucas: Everything okay? You seem a little --

Jack: You want to go to London?

That stops Lucas in his tracks. His eyebrows shoot up, completely caught off guard.

Lucas: What?

Jack: I’m going to London. You want to come to London? Because if you want to go, we can go. I’m going.

Charlie, uncertain: Maybe I should go...

Jack: Oh, Charlie, you can come too. I’ve got an extra ticket. I was going to invite Shawn, but… you know, you’d actually probably appreciate it more.

Charlie: I -- um -- ?

Lucas, bluntly: Are you on crack?

He sure seems high on something all right. But no, Jack Hunter is one-hundred percent sober, and one-hundred percent serious. He’s cruising on the freedom of new beginnings, and he just might take the two of them along for the ride. 

Charlie: Principal Hunter, sir, I’m --

Jack: You can call me Jack, you know. You’re not my student anymore.

Charlie: … right. Well, Princi -- Jack -- you just said it. I don’t go to Adams anymore.

Jack: Yeah, well, you don’t go to Haverford anymore either, do you? So you’re not really anything, technically. And you know we had you for three years, which is more than enough in my book.

Lucas: I can’t go on the trip. I don’t have the money, remember?

Jack: As if most of your peers aren’t on the trip on their parents’ dime. And I’m here with a spare ticket -- it’s not a matter of “can” you, it’s a matter of “will” you. Obviously, no one has to go if they don’t want to, but that’s exactly my question.

A question that completely turned their worlds upside down. It’s truly crazy, how things can change in the blink of an eye -- one moment you’re wandering Los Angeles, you’re participating in a student protest, you’re signing thank-you cards and catapulting French fries, and in the next an opportunity comes knocking that could change everything.

The question is, do you answer the door? Do you take the leap?

Jack: So? Are we going, or what?

Charlie stares at Jack, dumbstruck, then shifts his gaze to Lucas. Are they? Lucas contemplates the offer… then he locks eyes with Jack.

The subtlest of smiles sneaks onto his face.

TO BE CONTINUED.

END OF EPISODE.

[angeltrapz]

oosdkk dude im sorry ur mood dropped too.. i hope u feel better soon <3 but like i wld love 2 hear more abt ur thoughts on Art in general bc Boy Is He Interesting, and also a lil more abt Daniel coming out as nonbinary to his dad (whether he knows Eric is trans or not at that moment skjdfhdskf)! + if ur feelin it just more abt Mallick in general ESP cuz we agree that Brit doesn't make it thru V

djhfjdks thank u sm <3

okay Art first. I genuinely wonder abt him so much, something in specific I think abt is that aside frm Amanda (+ Eric, obviously, but talkin abt disciples) Art is one of the only trap victims EVER 2 be tested twice and it’s like... what’s that abt? Why? as u’ve said b4 it rly depends on how you personally view his character: whether he’s a disciple or not. fr me, both options are equally plausible, n honestly I don’t rly confine myself to either; it sorta depends on what I’m feeling/writing. if we’re talking abt art being a disciple, then the Spinecutter not going off (one of my BIGGEST questions) makes total sense, as Hoffman’s side of the trap was never set up to work either, + Jigsaw disciples have a history (aside from Lawrence) of appearing as victims in other tests/traps. if he were not just another pawn and was in fact a disciple himself, then the Spinecutter was never meant to go off - it was there just to make Eric think it COULD go off/make it look convincing to outsiders. which brings me to ANOTHER question: what does Art know abt Eric? does he know anything? what does he think of Eric?

(lil side note: if Art is a disciple, then I kinda wonder if it’s a lil bit of a Hoffman + Lawrence situation where Hoffman didn’t know abt Art either? just bc he looks so shocked when he sees Art’s face fully fr the first time... that could’ve just been acting on Hoffman’s part but IDK. food fr thought)

personally, I feel like Art probably does know a lil bit abt Eric - at the very least, he’d know tht Eric had been previously tested + failed by John’s rules, but then I feel that he wld also know Eric didn’t rly have a chance in his second test. that is why Art trying so fucking hard to keep Eric alive is interesting 2 me: what is his motivation 2 do that? like he’s been told Eric’s basically just there to get Rigg to participate, he doesn’t have any personal obligation or anything like that. sure, the aim is to keep Eric alive + see if Rigg can pass his “test,” but nobody said anything about grabbing a man you barely know around his ankles to keep him frm hanging himself w a noose made of chains. nobody said anything abt speaking to him so softly, not even raising your voice beyond saying “hey,” and asking him do you understand? when you tell him to keep still and prevent him frm killing his counterpart (which, if Art is a disciple, he knows it won’t, but he still speaks to Eric so softly, so compassionately, doesn’t he?)

nobody said anything abt grabbing him around the waist and steadying him again after being punched by said man. but Art does that. he stabilizes Eric’s feet on the ice as best he can and he keeps his hips straight and he basically says “look, we’re all stuck here, you need to keep it together ‘til that clock counts down if you want us to live, but I’m giving you a choice,” and he presses the gun w the single bullet into Eric’s hands and tells him it’s up to him. nobody said Art had to care but he does, I think, and it’s just like. he really didn’t have to keep Eric alive over the course of Rigg’s test. he didn’t. but he did and I just,, where does it come from? why does he care? this is even going beyond the fact that we’ve talked abt them being together after their test in a scenario where they both survive - I just think that Art at his core is a very stubborn but very compassionate person, whether he wants 2 be or not. like he HAS to know that kind of involvement cld prove to be extremely detrimental but he cares. I feel like that says a lot abt him (even if he does call Eric an asshole a couple times while doing it,,).

plus I also just. I think his reason for being tested (as it seems to be in most cases) is extremely flimsy. he was doing his job. he’s a LAWYER. often times it has nothing 2 do w personal feelings; they’re there to do their job and sometimes, unfortunately, that is defending possibly reprehensible people (in cases like Rex’s & Ivan’s). + John was already upset w him regarding their argument abt the urban renewal group so like it just feels So Very Petty, y’know?? even in the scenario where he IS a disciple, testing him twice seems entirely like John having a personal vendetta against him. Amanda is the only other person to be tested twice aside from Eric, so like. what. is that abt Mr. Kramer.

like I’ve said b4 in dms one could argue that Art is grey morally, bc we never rly see anything of him outside of flashbacks + acting as a test controller in IV, esp given that he... rly doesn’t seem too bothered abt it all? which is fair. but I also feel like the concern he shows towards Eric is smth to be considered as well.

-

+ YESS NONBINARY DANIEL I know I’ve mentioned it b4 but for reference, I read Daniel as masc nonbinary (he/they)! so I feel like Daniel wld b pretty comfortable w his identity, he’s never rly had a reason not to be (it’s rly anyone’s guess here tho bc we never see Eric + Daniel + Kate... as a family unit, for obvious reasons), so I feel like he’s vry chill abt it? and in the scenario where Eric survives n is dating Adam, I feel like Daniel wld talk 2 him abt it first (Adam is an adult they quickly come to trust + he’s vocal abt being trans himself so there’s that added layer of understanding - other than his mom maybe Adam might b the first person they come out 2). they’re just kinda like “so I wanna tell my dad I’m nonbinary but like I’ve literally never thought abt coming out what do I do” and Adam’s just like. Aha. bc he knows Eric is Also Trans so like, he doesn’t tell Daniel that bc it’s not his info to share, but he’s definitely like “oh it’ll totally be fine. trust me you have no reason to worry” so Daniel’s just like Okay. I Got This

+ I know I mentioned this in dms but Daniel wld absolutely wear those floral ripped hem skirts over jeans, so I feel like on one of his visits to his dad’s, he just. wears that combined w a completely random niche graphic tee he bought when shopping w Adam (I adore this hc n I am Holding Onto It) n is just like. not super open abt it bc he doesn’t know what to expect? he just kinda waits fr Eric to comment on it but when he doesn’t, Daniel gets nervous n is like “do I look okay?” and Eric’s rly chill abt it, like “yeah! it looks vry cool, vry alternative.” n like Daniel is relieved, of course, but also he’s just like God Pls Say Something so he just comes out w it like “okay this is not working. I’m nonbinary.”

and he’s COMPLETELY SHOCKED when Eric is just like “oh why didn’t u say so? do u have a different name u wanna go by? is Daniel still okay?” bc he wasn’t sure how much Eric knew, so he’s just like “uh no Daniel is still good, he/they pronouns though” and Eric’s just like alright cool but internally Daniel’s just like ??????

n THAT is when Eric asks him 2 come sit out on th front steps w him n is just like. “I don’t think I ever told u this but I’m trans. I transitioned during training in my early 20s” n Daniel is nodding while internally he’s like Adam I’m gonna throttle u. he worked himself up fr NOTHING. he just kinda laughs abt it and Eric is like “are u good?” ‘cause he’s a lil worried but then Daniel just smiles and is like “yeah I’m fine! just realizing I had nothing 2 be worried abt” and it’s a rly good moment fr them. they sit out there together talking abt their experiences for quite a while n at some point Adam steps outside 2 find them deep in conversation + he just smiles n goes back inside bc he cares abt them both so much and seeing them talk like that makes him so 💞💞 (Eric is SO PROUD u can see it on his face)

-

ohhh gosh Mallick,,, I spend a lot of time thinking abt him actually. he’s just one of those characters I feel vry connected to (me 🤝 Mallick: Ambiguous Disorder 💕) n one I got surprisingly attached to? hello (he IS one of my f/os)

I feel like Mallick is a very lonely person at his core. the way he sort of clings to Brit (w out the whole like. adrenaline of being in very very real danger w ppl trying to kill u SEVERAL TIMES) somewhat confirms this fr me. this is someone who has no reason to look out fr him, no reason to keep protecting him when their fellow captives hit him over th head w a club or attempt to push him into a bathtub to ELECTROCUTE him, but she keeps doing it and he’s just. in awe of it a little bit? ‘cause she could just let Charles knock him tf out or let Luba push him in but she fights for him, some1 she has no obligation to n met fr the first time literally when they woke up.

the moment they share b4 they stick their arms into the saws to activate the 10 Pints of Sacrifice is so very vulnerable and maybe even a little tender. yes he calls her a monster, yes she calls him one back, neither of them deny it. it’s an admission and an acceptance. they’re monsters, sure, fine, okay. but they are monsters and they are in this together. Brit tells Mallick it’s okay when he says he can’t do this alone. she says okay, okay, it’s okay, we’ll go together. and they help each other secure their tourniquets and they stick their hands in together bc it’s the two of them, literally hand in hand, fighting for their lives n for each other n they’re in so so much pain but they are doing it TOGETHER. I lose it thinking abt it!!! they even have a head bonk moment!!! I very much feel like it has some cinematic parallels to Adam & Lawrence’s moment in SAW 2004!!!!

+ as u mentioned, we both share the thought that Brit likely died since she wasn’t present at Bobby’s meetings, and. I want to touch on how fucking despondent and lost Mallick looks when we see him again in 3D. lights on but no one’s home. I feel like for Mallick, losing Brit was losing the first chance at a real connection he’s had in god knows how long - and for him, that’s just very shattering. he’s been thru hell, he’s watched three people die right in front of him, he sawed his ARM IN HALF, n the person he went through all of that with didn’t make it. but he did. and I feel like for Mallick that’s just like... he doesn’t understand it. but he feels even lonelier than he ever has b4 because the One Person who was there w him thru it all, the one person who could ever possibly understand what happened that night, is gone.

the Mallick we see in V would NEVER sit down n willingly listen to Bobby Dagen’s bullshit abt loving yr scars n taking pride in the fact u survived. he wld hate that man with a passion n I am very much sure of this. the fact that he’s sitting in that chair looking numb and glassy-eyed and silent? Mallick is trying to find some1 to connect to, find a place where maybe he belongs. trying to fill that hole that losing Brit made. why else wld he be sitting there, listening to someone he would ordinarily tell to shove his self-love bullshit up his ass? he’s lost. he’s just trying to keep his head above water and find a way to shore even though everything in him is fighting not to. he’s adrift without her.

+ ALTERNATIVELY, bc the reality of that is just. crushing n maybe not where I needed 2 go, in the scenario where Brit survived + just doesn’t want to put up w Bobby’s bullshit, I imagine them to actually move in together after a lil bit of time getting 2 know each other better w out the pressure of “oh god we’re gonna die.” she kinda helps him build up a sense of self-worth bc GOD it’s practically non-existent n thinking abt possible reasons why makes me sad. she’s definitely just like “no, you do deserve to be cared for and you deserve help when you need it, you deserve good things n to be happy.” she just kinds shuts it down while still making sure to talk 2 him abt WHY he feels that way (she’s not dismissing, but she’s trying to nip it in th bud) n Mallick is just like. huh. bc no one’s really done that fr him before. but it rly does end up helping in the long run, even if it is a very slow pace toward actually getting 2 a place where he recognizes his own worth + realizes he deserves all the things he wants Brit 2 have too. they’re there for each other thru thick n thin and if they made it thru their game, they can make it thru anything.

[lady-star-strings]

DNF/Georgebur PotO & LND AU

Okay, to begin with, thank you so so much for giving me the chance to blab about this @dtvibez because I’ve always wanted to work with this AU, but I’ve just never had the characters to do it with and my musical nerd heart is thriving right now. Alright, anywhodilydo, geek-out over, let’s get into it - just a warning kiddos, this is gonna be a long one so strap in and hold on...

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Roles

To start off, let’s address the roles here for how I believe these plots would fit best with the characters involved - it’s purely up to individual interpretation, but these are my thoughts as an in-depth lover of these musicals.

Obviously, our dear George is the leading lady Christine Daae in this story, that was pretty much a given - let’s just be honest here guys, he’s the simp-bait through and through and if that wasn’t Christine, I don’t know what was. Meg - Christine’s friend - and her mother Madame Giry I’m going to combine and make Fundy for reasons I shall disclose later in this post, and Sapnap will have a role to discuss later down the line too, just lemme get there. Now as for the love interests, I can easily say that Eric/The Phantom is Dream and Raoul is Wilbur in this situation. Some of you might be questioning why it wouldn’t be switched because Raoul was her childhood friend and Eric was a gifted musician, but I have answers for you ahead on that, don’t you worry~ ;)

Phantom of the Opera Arc

After studying under Dream - or the Nightmare of the Opera as people prefer to call him - for years to be the star singer he was always destined to be, George is finally granted the chance to do so when some strings are pulled behind the scenes to give him a leading role in an opera. There isn’t anything George wouldn’t do for his Angel of Music after giving him such a chance at success, and Dream is practically preening with pride over how astounding his Georgie has turned out to be. Before Dream can whisk George away in triumph, however, his childhood friend Wilbur shows up out of the blue to shower him in praise and remind him of the puppy love they shared as children before George moved to the opera house. George is smitten with nostalgia, to say the least - it’s nice to put a face to the affection for once.

Needless to say, Dream is hardly pleased with this turn of events and actively tries to keep George not only away from Wilbur, but also to himself because George is quite literally all he has in the world - not even his music can compare to how much George means to him. Of course, the way he goes about this is hardly morally right and only serves to drive George further and further away from him and into Wilbur’s arms as a safe haven from all of the horrors. In the end, though, even after so much heartbreak and all the terrible things Dream’s done to keep him hostage as his muse and love, George finds it in his heart to forgive him for being how the world made him to be and genuinely offers to give up his freedom if it means he won’t be alone in that darkness anymore and Wilbur won’t die.

As expected, Dream realizes he really can’t do that George when it comes down to it - he simply loves him too much to force him to stay if it means he’d wind up hating him for it in the end. He’d rather let him be free and live the life he’s been dreaming of with Wilbur than have him stay and live the rest of his life resenting him. Even so, George is surprisingly hesitant to leave and can only offer to return the wedding ring Dream gifted him as a final goodbye and a silent show of his remaining love for him before he let’s him go in return and goes off with Wilbur. Following that night, Dream disappears from the opera house altogether, never to be heard from again...

Love Never Dies Arc - *SPOILERS*

...Or so the story goes in Paris 10 years ago. Little did anyone know, Fundy actually helped Dream steal away from the opera house when the mobs came searching for him and was unyieldingly by his side as they made their way to America for a fresh start. Once there, Dream - with a little seedy behind-the-scenes help from Fundy - founded a successful side show on Coney Island where he and others like him such as Sapnap and Punz - Miss Fleck and Dr. Gangle - are able to live freely and are treated with respect for their unique traits. Fundy has actually taken to training under Dream to be a successful singer in his own right with a well-known show in the attraction, his only goal to gain Dream’s favor and hopefully prove he’s able to replace George in his life. Dream unsurprisingly has no interest in anything of the sort and still actively mourns the loss of his muse - not even his music brings him joy anymore because it only reminds him of what could’ve been, and Fundy will never be his Georgie despite how much he insists otherwise.

But Dream is a clever thing, and he winds up securing a contract for George - who is now married to Wilbur and is raising a 10-year-old son with him - to come perform at the side show for one last performance. George takes the contract with little to no thought as to the odd pseudonym on the paperwork because Wilbur has lost himself to gambling and alcohol over the years, and they’re desperate for money to survive. At first, George is irate and somewhat heartbroken to learn that Dream’s been alive after all these years, especially after how their lives have turned out following the one night of passion they shared before he disappeared. He admits he still loved Dream when he left and would’ve gone with him, but because he thought they couldn’t be happy and left without him, that ship has long since sailed. They both wish things could have been different, but also accept that what happened happened and all they can do now is move forward with the choices they’ve made.

Much to everyone’s immense shock, though, George’s son is actually Dream’s and not Wilbur’s - a fact which Dream deduces on his own after connecting the dots between his age and musical prowess. Unfortunately, the child is terrified of Dream’s true face just as George once was and after getting the truth confirmed about the child’s real parentage, he begs for him to never know. George ultimately blames himself for what’s happened, and although he can’t take back not telling Dream of their child and the fear said child feels toward him, he swears to perform for him one last time to make up for it before they return to Paris to avoid hurting him further. Meanwhile, Dream vows everything he’s worth in the world to be the child’s once he’s gone even if he can’t be his father, and Fundy isn’t happy to hear that in the slightest because he will have nothing after all the sacrifice he’s made for Dream. All of the sleazy deals and late nights in his dressing room plying people for Dream’s success, and he will get nothing - his mind is just too fragile to face that reality at this point without doing something rash.

Naturally, Wilbur has no clue about any of this at first and makes a drunken deal with Dream regarding George - if George sings for him, he and the child will stay with Dream and Wilbur will leave. If George doesn’t sing, he and the child will leave with Wilbur with all of their debts wiped away as not to burden their family further with his problems. Wilbur then proceeds to try his best to convince George to stay with him by using nostalgia yet again since he now knows who the child belongs to as well, but in the end, George realizes that although he may have loved Wilbur at one time, his love for Dream transcends all that and has never once wavered despite everything they’ve been through. Throughout everything, Dream has always been there waiting for him and wants nothing more than for George and their child to have the life they deserve - Wilbur lost all of that a long time ago. George makes his choice, and Wilbur leaves as promised with the acceptance that he while no longer makes George happy, Dream does and he’ll take care of him - but the child, however, leaves with a distraught Fundy seeking to “right his problems.”

They manage to catch up to Fundy in time to avoid disaster, but not completely as he still views George as the reason he could never be happy with Dream and winds up fatally shooting him in the midst of a mental breakdown. Dream can do nothing but hold George - the man he loved and was finally loved by in return  - as it’s revealed to the child who his real father is, only for him to flee the scene in horror of the truth. For once, Dream is at a loss for what to do because there isn’t any more time for them to have their happy ending and he hasn’t any idea what to do about their child without George. In his dying moments, George soothingly reminds him of one simple fact: Love never dies, and the best thing he can do is just live and give everything he can for both himself and the child now as all they have is each other. With a final kiss, George slips away and a sobbing Dream is left cradling his body when the child and Wilbur - who he ran to find to help George after he was shot - arrive on the scene. 

Dream isn’t cruel. He understands how Wilbur must feel in the same situation, so he allows him to mourn the loss of George in his own way with the child as he contemplates whether or not he can continue on. While he debates what to do with himself, the child slowly comes to him unafraid and willing to face the man he now knows to be his father in a new light. In his eyes, Dream can see George, and that’s more than enough for him to stay just a little longer in the world.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Sorry if that’s a lot to process and read through, but it was a lot to get out and I wanted to be crystal clear on things as not to confuse people. This is for the most part just hitting the main plot points of the musicals, however, tweaking and adjustments and further deep-dive analyses can be done now that I’ve gotten the main idea out of the way. I definitely don’t want to stick too strictly to it myself and want to tailor it more to the SMP events and characters, but I’ll save that for later since it’s already super late and I should be writing my fic instead.

Happy writing kiddos, thank you for letting me indulge myself with this concept and I hope you enjoyed it~ <3

[pleom]

The end of the world is near, and you’re sitting on your patio step smoking a pack of cigarettes, all while your childhood friend spends his last hours trying to convince you that there’s meaning in life. 

The air is thick with the scent of rotting meat. You catch a whiff of some of your family; the perfume your mother used to wear, the musk of your father dabbling with the stench of burnt innards and old saliva. You wrinkle your nose and try to focus on your cigarette. 

Eric is covered in blood and batting at your knees. He aims for the stick in your hand but you grab him just in time to glare. He meets you with a look that is just as unimpressed.

“You’re really gonna go out like this?” He asks, his voice hoarse from screaming and crying and ranting. “Your whole life, just boom—gone?!”

Really, it shouldn’t be surprising. You never did mirror his ferocity a day in your life. Always cynical, with just enough snarky pessimism to make life interesting enough. Your friends used to tease you, say that quality is what makes you two work so well. It’s the perfect dynamic!

God, you wish they were still here.

You swat Eric away once again, ignoring the way he sinks back all forlorn. He’s the last person you’ve got, and you would rather die right here, right now, than to witness another precious person of yours fall. That’s the point you want him to understand. 

“My life has already gone, with all my friends and family. Listen, doesn’t it sound better to just reconnect up there—in the afterlife, than to run around looking for places that aren’t already filled with lost or corrupted souls?” To him—and to you, to some extent—this sounds like utter gibberish. You, of all people, believing in an afterlife? You, of all people, getting all spiritual and reverent on him? Casting your gaze downward, you flick off the butt of your cig, and exhale a sooty breath. 

Silence rains over you both, passing by through swift, putrid winds. An alarm sounds. Your heart descends deep inside, you almost lurch, but you hold it in, taking another drag. Eric is very much bothered by your complicity, makes no attempt to hide his disturbance. He’s shaking, from head to toe, his hair looks much like the dead leaves hanging onto the trees. So he tries again, placing his hands on your leg and gripping them tight. 

Sniffing, you hear, and droplets fall in your periphery. You don’t look up to confirm, wouldn’t dare It would break you to see your childhood friend hanging on by his last thread. If there’s one thing you can mirror him on, it’s this. It’s the desperation to protect all dear to you. Except here, it’s obvious your definitions of ‘protect’ are on opposite poles. 

Eric calls your name softly. You hum.

“You would rather leave me?” He can barely get himself through the words, his voice cracking. You have to squeeze your eyes shut to steady yourself before looking back at him. 

And it hurts, seeing that anguish inside Eric’s eyes. It manifests physically in every sense; his shirt is drenched and covered in blood, his palms are coated in sweat, his grip seems to loosen with each attempt to tighten. 

And your chest, oh, God! You feel like you’ve sunken into yourself. The world around you no longer seems real, this moment shared between you and him, a dream for all you know and care. It’s too much effort to feel anything at this moment. Dread crawls up your body like exhaustion. And really, it’s too, too much!

You snub out your cigarette and shove Eric’s hands off, decidedly. 

You stand up, walk a few steps away just to breath. Eying the night sky, counting the stars and tracing the clouds’ patterns. Eric’s bike lays on its side beside you.

The alarm blares on. 

There isn’t enough time to make it out anyway.

[redhoodsjacket]

Splash - Tony Stark

Soooo... First time I’m writting a Tony Stark thing. Tell me what you think. Also this is a part of the mutant serie.

Mutant serie masterlist

Pairing: Tony Stark x reader

Genre: Comedy/bit of action

Word count: 2377

Warnings: The usual, y’know, language, attempt of murder by drowning, whatever.

Disclaimers: So this happens BEFORE the IW Nanotech suit

"Where am I?"  You didn't even flinch when the startled gasp resonated on the stone walls of the cavern. Tony Stark looked frantically around until his eyes stopped on you. "Who are you? Where am I? And what in hell are you doing to my suit?"  You slowly looked up from the metallic boot on your laps and gave him a small smile. "I'm (Y/N), you're in a cave somewhere in the south of the Mexican Gulf and I am fixing your left thruster" You answered calmly. His eyes scanned the small space once again, still not reassured. You went back to your fixing. "How did I even get here?"  You weren't watching him, but you just knew he was trying to stand. "I wouldn't do that if I were you" You warned. "You hit your head pretty badly on the coral reefs when you hit the bottom of the Gulf. You might be concussed"

He sat up anyway and you rolled your eyes. What else could you expect from Tony Stark? "How did I get here?" He repeated with a warning edge to his voice. You sighed and looked up once again, not threatened at all.  "Simple" You shrugged. "I brought you here before water entered the suit and drowned you" "Are-" He flinched, holding his forehead in pain. "Are you some kind of recreational diver or whatever?" "Do you see any diving equipment?" You raised an eyebrow with a sly smile. "I- I... There's none" He drew his eyebrows together in confusion. "Who are you again?" "I'm guessing that by that, you meant to ask me 'what' I am rather than who" You corrected, and the look in his eyes confirmed it. "Am I a bad guy? Did I kidnap you? Am I some sort of sea monster?"  "Yeah I'd like to know all of that" He nodded, then hissed in pain again.  "No to all three" You replied. "Well, more like not that I think of, definitely not and depends on your definition of sea monster really" "So, you live here?" He asked again.  You eyed him with humour, wanting to play with him a bit. "What would you do if I said yes?" His eyes went wide. "This is your lair? How long have you been away from society? How do you even have tools to repair a thruster?" You couldn't help but laugh at his questions, not able to continue on with your plan. "I actually live in a small house in Miami" You admitted. "This is just a cave I like to come to. My chill cave if you will. I've been away from society from approximately an hour, when I got back home to get these tools" He blinked slowly, then laid on his back again. "What the fuck" "You tell me" You scoffed. "You ain't the one who can turn into a freaking mermaid" "How does one even becomes a mermaid?" He mumbled in disbelief. "Apparently, by drowning" You said as you went back to the piece of mechanic. "I was a pilot in the army back then. It was a test flight over the gulf, until something went wrong with the engine. It sent me spiralling down into the water, and my ejecting seat was stuck. So I crashed into the water, and when I thought I was gonna die, surprise! I can breathe again" "Wow" He breathed. "That's... Unfortunate? Sorry" "Meh" You shrugged. "It wasn't bad, once the initial shock that I had grown a fish tail and gills passed. Beside, I'm like, super strong and fast when I'm in the water. Could sink a military ship, I tell ya" "Wait" He turned his head toward you. "Have you tried to do it before?" "No" You snorted. "But I wish I had. I only punched through the heavy steel of my jet to get out of there" "Why are you telling me all of this?" He frowned. "Usually people like to keep their special abilities a secret" "Who are you gonna tell?" You asked sarcastically. "The guy who turns into a giant green monster, or the guy that was turned into a super soldier back in World War 2 and survived 70 years in the ice?" "I could tell the press" He blurted out. "Oh sure you could" You grinned. "I can already see the headlines: "Tony Stark kidnapped by a mutant mermaid". That would be quite the news, wouldn't it?" "Stop being a smartass would you?" He snapped. "And also stop touching my suit! I doubt a mermaid is qualified to handle it" You playfully raised an eyebrow, lifting your hand in surrender. "You know that mermaid isn't my job right?" "Then what is it?" He pressed. "Mechanical engineer" Your smile widened. "For the army. I fix military jets for a living" He paused, his glare not leaving you. He understood that you might have been qualified to fix his thruster, after all. "... Is it just the thruster that was damaged?" "Not exactly" You said as you reached for his helmet and left blaster. "The blaster cracked and water got in. I drained it and cleaned the salt, and did my best to recalibrate it. I don't exactly have a lab here. Then your helmet wouldn't close, but that was because a piece of coral got stuck into the mechanism. That was easy to fix" "Wait" He sprung up again. "I was being chased by this psychopath-" "Yeah, I figured. They came for you but scattered when I showed up, mermaid style and all" You explained. "That's why I brought you here to recover, so they wouldn't find you" "Oh" He sighed in relief. "Uh. Thanks. I guess" "You're welcome" You chuckled. "It's not every day you get to save Tony Stark" "Saving?" He repeated, offended. "I didn't need saving" "Alright then..." You trailed off. "It's not every day you get to rescue Tony Stark" "That's worse!" He exclaimed as you busted with laughter. "No you don't get to say you rescued me!"  "Alright Mr. Big Shot, no rescue then" You said when you caught back your breath. "By the way, you really should have pressure released floaters in there in case you crash into the ocean again" You suggested. "You have a parachute, but that's not good in water now is it?" "Did you snoop around my suit?" He asked yet again. "No. I mean I did, but only because I wanted to check if there wasn't any more coral damage" You justified yourself. "Those fuckers are beautiful, but a major pain in the ass" "Alright whatever so is it fixed?" He asked hurriedly.  "Do I smell that much of fish?" You joked, but he didn't laugh. "Okay fine Mr. Grumpy Billionaire. Your suit is fixed"  You pressed the thruster's core back in the booth, and just like that it was functional again. He snatched the pieces out of your hands and he shakily stood up, making his way to the rest of the suit. He started to put it back on himself, careful not to slip on the humid rocks and moss. He was almost done, but then he paused before putting his helmet on. "Thank you" "You're welcome" You smirked. He put his helmet and looked down at the crystal clear water. You called after him before he jumped. "Hey Megatron! Don't forget me" "That will be very hard to, Ariel" You nodded with a laugh as he jumped feet first into the water, disappearing under the surface. ///// 1 Year Later ///// "You better speak little girl" A rugged man with foul breath crouched in front of you. You were tied on a chair in a humid room, with two armed goons at the door plus two flanking that annoying man. "Or you'll die a painful death" "Won't I die anyway?" You asked, feigning innocence. "Oh you will" He smirked. "But telling us where are your little friends will grant you a quick, painless death" "Okay" You nodded. "You can still go fuck yourself though. I ain't telling you a thing my good bitch" He chuckled dryly, looking away. Then his hand came into hard contact with your cheek. He gripped your jaw and forced it up so you could look at him directly. "What's even your power uh?" He asked. "Surely they wouldn't have sent a simple whore to do the job" You tried to smile through his grip. "Ih a ehhaid" You poorly managed to say, so he released your jaw. "Ah, thanks. As I was saying, I'm a mermaid" He stayed stoic for a second, before he and his good erupted in laughter. You joined in with your fakest laugh.  "Of course you are" He grinned wickedly. "So you won't have any problem with drowning, would you?"  You masked all feeling of smugness at managing your plan and forced your eyes to widen in fear. He nodded at his goons, who now flanked you. The man walked to the sink in the corner and started filling it while you were taken by the arms and lifted up easily.  "No wait!" You resisted, trashing around in their grip. "Please, don't do this" "Should have thought about it before playing all smartass, darlin" He mocked. "No! No please" You cried as the guards tightened their grip around your arms. They brought you to him, hovering your head above the water.  "Let's get this over with" He ordered, and your head was plunged under the surface. You trashed like you were truly choking and drowning. But you just allowed your gills to take their place on your neck and counted the seconds to move around the expected amount of time before going still. When you did, they released you and left you in the water. You vaguely heard them say they'd come back for the body, followed by the door closing. You waited another minute to be sure, but the room was dead quiet. You were alone.  You used your half shift strength to break the tie wrap with one hard tug, then retracted your gills and pulled yourself out of the water. You dried your face on your sleeve and grabbed the earplug in your pocket, turning it on and putting it in your ear.  "Ariel in position" You said with a satisfied smile. "Sebastian?" "Hell yeah baby" Tony exclaimed. "I can't believe you pulled that off"  "Of course I did" You huffed as you took off your wet shirt. Your shape shifting accommodating tactical suit was conveniently under. "Prince Eric?"  "Ready to go" Steve answered his cue, and you could hear the laughter in his voice at the nickname. "Wait, how does HE get to be Eric?" Tony spoke again. "I'M your boyfriend" "Sorry Tones, Rogers plays the part better" You teased. "Besides, you’re the one with the hard shell"  "We'll talk about this later" He grumbled. "Sure" You rolled your eyes. "Flounder? Scuttle?"  "In position" Nat confirmed. "You know, I'm really digging these codenames" Clint interjected. "Who would have thought?" "That's all Tony" You said. "And Triton? How are we looking?" "We are looking good" Bruce spoke, clearly entertained by these exchanges. "All paths are clear around your position" "Perfect" You nodded. "I'm going out in three, two..." You shut up and opened the door quietly, stepping outside in the hallway. You made your way out of the maze undetected and took the main staircase to go up. That ship was large, but it was similar to any other military ship you've been on before.  Steve, Nat and Clint were there to clear your path while you extracted the latest Peace Nobel Prize recipient from the hostage situation. Terrorists had taken him on a ship financed by shady organizations, but you were right there to intervene.  You managed to get to the room he was kept in, where two big guys were guarding the door. They noticed you and immediately pointed their guns at you. "Who are you?" One barked. You slowly held up your hands in surrender. "I'm Ariel" You said cautiously. "My father Triton has all the powers of the sea"  You hinted, and right at that moment the lights went off. You took your three seconds of darkness to cross the distance and disarm them. As the lights flickered back on, all that was left to do was to knock them out cold. "Thanks Triton" You huffed. "May I have the door now, please?" "Right away" Bruce replied, and the access pad flashed green in front of your eyes. "You're welcome"  You pushed the door open, to see the man you had to extract in poor shape and terrified. "I'm here to get you out of this hell" You nodded toward the hallway. "Come" He didn't hesitated as he followed you out. You took a second to grab the knocked out guard's glock, then guided the Nobel Prize up to the deck. Tony was already waiting for you there, securing the parameter. "Hi honey" He greeted, then turned toward the man. "Sir" "Hi babe. When is the chopper set to arrive?" You asked, shielding the man in between you and Tony, just in case.  "In twelve sec..." He trailed off as heavy footsteps approached your position. Soon enough, a small army was closing on you.  "We don't have that time! Take him!" You yelled, still facing the terrorists.  "But-" "I'll get out, now go!" You ordered, and he complied. You felt him take off with the man behind you, and you backed up until you hit the rail. Soon enough, you were surrounded. You dropped your weapon and kicked it overboard.  The man who ordered your execution pushed his way to the front of the crowd and looked at you with disbelief. "How the fuck did you survive?" "I told you" You smirked. "I'm a mermaid" "I'll make sure you don't survive this time" He grunted as he took one step forward. "Who said you'll get another chance?" You challenged.  "You're surrounded, little girl" He snorted. "How are you gonna even escape?" "You'll sea" You winked and you threw yourself overboard backward.  The last thing you heard before water ruined your earpiece was your boyfriend's discouraged sigh. "I'm in love with the biggest drama queen"

•••

Tag list

@thehabssuck-getoverit @potato-with-possible-standards “@ fortisetgloriosusinarduis

[weapon13whitefang]

I know you're not Team D, but what do YOU think happened to Beth and her body? I have theories but I like to hear what others think...

Ahaha! That’s funny. I was just talking to @leftmywingshome about this a few days ago… Are you a mind reader nonny?? Spoookyyyy…

Anyway, to be honest with you, my belief on what happened to Beth stems from a few solid things that we’ve seen since 5x08 aired and ended… And they don’t paint the nicest picture, honestly. But that doesn’t mean I’m right or wrong… Anyway, walk with me here.

I think something bad happened with Beth… I’m gonna quote what I said to my friend here: “I think we’ll see her again but it might not be in a way we expect or even like… Here’s the thing… They’re not talking about her for a reason. And when they do it’s always “what happened to beth” or “I’m sorry about Beth”. It’s like this mystery around Daryl and Michonnes scars. It’s not something pleasant… I think - personally - they had to abandon her. As in leave her behind. And when they tried to fix it and go back, it was too late… Kinda like with Aaron and Eric, you know? Why do I think that? Daryl’s reaction to the blonde walker tied to the tree. Daryl was AFRAID of that walker. Daryl DOES NOT get scared of Walkers…”

Watch this gifset done by @c-sand and look at Daryl’s reaction to this Walker. Just look at this reaction, look at how even Aaron notices that something is going on with Daryl here… This isn’t a normal reaction from Daryl freaking Dixon. This man is not afraid of the dead. He is not afraid of Walkers. He is not squeamish or uncomfortable over shit. He makes nasty comments or has a dry sneering wit about him over those that die…Or he doesn’t really react to it…. This walker - this blonde woman tied to a tree and left to be ravished by walkers - made Daryl Dixon scared. He BACKS AWAY from the Walker. He doesn’t want to look at it. He doesn’t want to touch it. He is VERY uncomfortable and in a fight or flight mode. This is NOT his normal reaction and NO ONE talks about this! It’s not freaking normal… Aaron could see that Daryl WAS UPSET over this Walker… A walker we see with blonde hair in a SIMILAR color to a very familiar blonde haired character we all know… I believe - Truly believe - that Daryl was afraid that somehow – Even after going so many miles from Georgia – this walker was Beth. I think… He truly believed he was going to find Walker Beth Greene and he looked NOT okay by it.

This scene right here - along with the scene of everyone pretty much NOPING the fuck out of wanting to approach the vehicles in the middle of the road in episode 5x10 and then Maggie FREAKING out and HAVING to get that trunk open and Glenn HAD to calm her down and help her - paints a story off camera. A story we either are one day going to be told or are meant to really try and piece together.

I believe - like many others - that Beth’s body had to be left behind. Where or why leaves much to be determined - we have hints of a HUGE walker hoard heading that way or maybe they got hit by some kind of storm or enemy, I don’t really know but something showed up and made them all run to those cars like we see for a flash in 5x09 - and they had to leave her because carrying a body around is LITERALLY carrying dead weight. Not a smart or easy thing to do i9f you’re in a tight situation… Which is why a big part of me DOES believe this has to do with Walkers coming out of nowhere or being attacked by SOMETHING…

But we all KNOW Daryl Dixon. Daryl Dixon DOES NOT just leave his people behind. No matter how you look at Beth and Daryl’s relationship - no matter what you think of it - you CAN NOT deny that Daryl is NOT one to just abandon his family/friends/loved ones for no goddamn reason. The man searched six-eight years for Rick Grimes’s body for fuck sakes - WHAT DOES THAT TELL YOU ABOUT DARYL DIXON?? So the idea that he would just let Beth Greene - someone he considered family or more or whatever - rot away in some makeshift tomb… Is NOT Daryl Dixon… Not if he can help it. Not if he has a way to honor someone… He just doesn’t leave people behind.

In 5x10 Daryl is not only sad and crushed… He is angry. You can see it in his eyes, on his face. He is MAD and Rick tries to reach out to him when he brings up Atlanta but Daryl cannot - will not - speak of it because he’s hurt and angry. We have seen Daryl be cold when he’s angry and that was definitely a cold, angry Daryl. A broken man who is not okay… Who looks betrayed and just… He’s angry and he’s hurt and he’s distant from everyone….

What is he angry about? Well… Let us move to Tyreese. As Tyreese is dying, he has his fever dream and dreams of a few people. Now, of course, he dreams of Lizzie and Mika. Understandable. He feels responsible for their deaths and that he failed them and thought they could settle at The Grove but that obviously didn’t happen… He obviously just didn’t see what was happening with the girls until it was too late…

He sees Martin, a former member of Terminus, and someone who he was deeply disturbed by because he sees his interaction with Martin as a failure and the fact he was coldly taken out by Sasha affected him deeply because of his failure with him and his sister having to step up like that… The Governor is also there and understandable, he is with Martin as an antagonist for Tyreese and his “inability” to adapt to the new world and way of things while also being a regret for Tyreese as he sees what he or those he loves can become/are becoming and it frightens and upsets him.

These four have a reason for Tyreese - they are symbols of his struggles and regrets in this new world… Everyone but Beth Greene makes sense. Of course, you could argue that he feels guilty for Beth’s death as it was his idea to do a peaceful exchange to get Carol and Beth back and it backfires horrible and a good person was lost… But out of all the others, Beth’s death was not directly connected with Tyreese. He was not a connection to Beth before she died…He didn’t have any real connection to Beth besides the fact they knew each other at the prison. So this leads me to believe that - off camera - Tyreese was a key in WHY Daryl is angry/why Daryl reacted to the walker as he did.

This is of course speculation and not based in ONE HUNDRED PERCENT hard facts, but… Tyreese is showing signs of regret for past actions with Lizzie, Mika, Martin, and The Governor… Beth must be there as a symbol of regret for some kind of action from Tyreese… This is fueled for me by how Tyreese and everyone reacts to the walker in the car in 5x09… A Walker in a car made everyone pause in discomfort. Not just Tyreese. Rick looked uncomfortable and upset as well… So that just instills even more that something occurred with a vehicle and it goes with Beth and I say that because this is RIGHT AFTER Beth was last seen in Daryl’s arms in the parking lot…

So what solid evidence do I have?

The blonde Walker tied to a tree made Daryl very uncomfortable and act out of character.

Maggie’s seemingly sudden discomfort of the blonde nurse walker in the trunk that she shut back in only to panic and try to open again and had to have Glenn calm her down.

Before that everyone’s reaction to the cars in the small pileup on the road they’re on and how Daryl RAN AWAY into the woods to get away and around going up to those vehicles.

Tyreese and Rick staring down that walker silhouetted and patting at the car as they approach Noah’s community.

 “After it happened, right after with Beth in the hospital, I saw that woman, Dawn… She didn’t mean to do it” “Didn’t have a thing to do with Beth… She wanted to get him here. She wanted to get him back home. This was for her” “Losing Washington, losing—losing Beth right after just finding her.” “Its been three weeks since Atlanta… I know you lost something back there.” “… And then finding out she was and then she wasn’t in the same day. Seeing her like that, it—” “I’m so sorry for what happened to you. To Beth and Glenn… For everything Maggie’s lost.”

Sentences like these that never truly mention that she’s dead… Just that she was there and then she was gone.

So… What is that saying to me? It’s saying Beth Greene’s body was left behind… And it’s telling me that everyone is acting like Beth was left and showed signs of either turning or maybe being alive and they couldn’t confirm it because they couldn’t see her/get to her again… That is what it tells me.

I think TF thinks Beth turned in a car that they left her in. That is what I have gathered from the solid evidence I can see… And maybe it’s just speculation but these are the most solid “hey something is really here” moments for me with Beth Greene and what seems to have happened/maybe happened to her…

While I will dabble in the theories and poke at the possibilities, these are solid things that make me pause and ponder… This is what I think happened to Beth, nonny

[twdmusicboxmystery]

9x02: First Thoughts

Good morning! How did everyone like the episode last night? I LOVED it! I'm basically going to talk about the three major things aspects of TD that I saw in last night’s episode for today. Tomorrow I'll do a lot more detail.

I’m also going to apologize for going over these super-quick today. I got back from my trip in time to mostly watch the episode live last night, but as with any vacation, I'm going to be playing catch up for a few days, so I’m keeping it short today.

 ***As always, spoilers abound below for 9x02. Don’t read until you’ve watched! ***

1. Probably the most shocking thing we saw last night was a picture of Beth in the background. Did y'all catch this? I honestly didn't while watching the first time through. But it was posted in my group. The show decided to be sneaky and they focused on one of the pictures on Maggie's wall: the one of Glenn. The rest were in the background when Jesus sat at Maggie’s desk.

So, we have pictures of Glenn, Herschel, and Beth. We’re unsure about the others, but we think they could be Sean (Beth's older brother), and then either their mother or perhaps Patricia or Otis from S2.

The idea is that Anne drew them. When talking to Father Gabriel, she said she liked doing these drawings for people because it helped her feel like one of the group. The implication is that she's done them for others. Because she didn't know any of the subjects, it's sort of a sketch artist thing. They tell her what the person looks like, and she does her best to draw them.

What's really interesting is that this picture is almost an exact replica of a well-known one of Beth from 4x10, Inmates. Credits to @boltthrutheheart for this visual comparison.

This is a big deal We all know no one has said Beth’s name since 5x10. In fact, once the sun rose, and the music box awakened, it’s like they all forgot her name. Over the seasons, I've been asked several times, if somebody mentions Beth, will that make me doubt her return? I've always said no. That I’ll see it as a sign of her imminent arrival.

And granted, no one mentioned her by name in this episode. But this is the next best thing. We saw a visual representation of her, which we haven't seen on the show since 5x09. And it's very reminiscent of a picture that most of her fans would immediately recognize. It's also interesting how much green is used. Almost as if to tell us that green is her color (as if we didn't already know that). Notice that while there's a lot of color in all the pictures, hers is the only one that is predominantly green.

Like I said, more details tomorrow, but I also want to mention that Beth and Edwards discussed artwork at Grady. I think this is a nod to that. The first time we’re seeing her since 5x09 is as a piece of artwork, and Beth believed in the transcendence of artwork.

And yes, @wdway, I will totally run with the fact that it’s a dude named JESUS that’s sitting directly in front of Beth’s picture, as if to confirm all the symbolism we’ve been pointing at for 4 years. But I won’t go into any more detail than that for today.

So everyone in my FB group is totally hoping for a moment when Daryl goes into Maggie’s office and stares at a picture of Beth. How sweet would that be? *fingers crossed*

This was a very exciting thing to see, and I do think it foreshadows that will see her later in the season in some way.

2. Father Gabriel and Anne. I’ll admit that when I read the spoilers about FG and Anne making out, I had to laugh. I thought it was funny and very random. Don't get me wrong, I wasn't against the idea. More power to them, but it also felt to me like the writers looked around for the most unlikely couple, and decided to help them make out.

But, I was surprised at how sweet their relationship ended up being. On TTD, Denise Huth explained the rationale behind it and how these two actually do have a lot in common. I won't go into that too much today because I'm probably going to do a more detailed post about them in a few days. But for now, did everyone else see Bethyl in this relationship? Please tell me you saw this parallel!

Think about what father Gabriel says here. "I cared about her very much." And the fact that Anne asks about his celibacy as a priest shows that this “caring” is meant to be romantic. He didn't care about her as a sister or friend. He had feelings for her. "But I was afraid, and then I lost her.” Those exact words would be more than appropriate for what happened with Daryl and Beth, and S4/S5.

Then Anne asks, "Are you still afraid, because if you are, I’ll be very disappointed."

I'm seeing this as a foreshadow of Beth and Daryl coming back together. Lots of people in my group have wondered, when Beth and Daryl come back together, whether he'll make the first move or she will. I've always thought it would have to be her. We know Daryl super shy about that sort of thing. I think of Beth kissed him first, he would be a little surprised by it, but also happy and relieved that she felt the same way.

But this parallel suggests otherwise. Gabriel kisses Jadis first, which is surprising given Gabriel’s laid back personality. But I think this could definitely be true of Daryl when Beth returns. Even though he was afraid/unsure before, after everything Daryl's been through, I don't think that will be the case anymore. He seen too much now. He lost Beth the first time, which is the biggest thing that changed him. He's also seen Glenn die, Rosita lose Abraham, Tara lose Denise, Aaron lose Eric, and Rick lose Carl. I think he'll have a “life's too short” mentality and won't be afraid to tell her how he feels anymore.

One other quick mention: Gabriel emphasizes that he’s Episcopalian. I think we already knew that because it said so on the sign at his church in S5. We’ve definitely discussed it in our TD theories before. But it was emphasized here. And it’s always interesting to me because one, radical sect of Episcopalians (not all; let me emphasize that) worships snakes. So I feel like this is a snake reference, which is also a Bethyl think. ;D

Either way, this relationship made me very happy. I thought it was sweet and I like Anne and FG together. But I also see it as a foreshadow of Beth and Daryl. It's coming guys. Just a matter of time.

3.The bridge analogy. Near the beginning of the episode, Ezekiel talks to Henry about the bridge, he says, "It’s not just a bridge. Roads are the life blood of civilization. Rome rose and fell with its roads. Without this bridge there’d be no trade…this boring structure connects us all. "

First, he mentions Rome! As in Up the Wolves and “there’s gonna be a party when the wolf comes home?” I’ll just leave it at that for now.

But I thought this was all very interesting. We have the whole bridge theory, and I do still think all the bridges are analogy for Beth's arc. All of them point toward it coming. We've also seen the bridge be applied to many different characters. Like Abraham, Dwight, and even the characters in Fear. So it's interesting to say the bridge unites everyone. I'm sure it will end up being an analogy for all arcs on the show and a way to unite even the people who never met each other.

There are plenty of people since who never met on the show. For example, characters who died pre-S4 never met those who didn't show up until S4 or after. I know a lot of us had had canons about Beth meeting various characters who have now died before her return. I think it's really interesting that they're telling us that the bridge symbolism is important and will end up uniting all the arcs in some way. I really liked that.

That's it for today. There was a ton more stuff in this episode. I promise I will get all the details hashed out for you tomorrow. I really really loved this episode. So much great stuff happened (RIP Aaron's arm) and I'll show you all the other parallels I found tomorrow. Happy Monday!

[theonceoverthinker]

OUAT 3X06 - Ariel

Who’s ready to hear an amazing TAIL that only slightly FISHY?!

Yeah, yeah. They’re not all winners. Hit me up under the cut to read my thoughts!

Press Release

Back in the Fairy Tale Land that was, when Ariel saves Snow White from drowning in the ocean’s depths, Snow returns the favor by helping her new friend get acquainted with Prince Eric, with whom she has fallen madly in love with. Meanwhile, Emma, Mary Margaret, David and Hook attempt to save Neal, who is imprisoned in one of Pan’s encampments, and Regina and Mr. Gold begrudgingly team up to find a way to take down Pan.

Main Thoughts - Characters/Stories/Themes and Their Effectiveness

Past

Ariel is the main focus of this segment. Her character introduction is the reason for it.

And honestly, that’s pretty great.

I think that’s pretty evident by how much the fandom loves Ariel as a whole. I’ve never met a single person who doesn’t love her and there’s a good reason why. She’s energetic, kind, has a solid introductory story that gives you everything you’ve ever needed to know about her character. Johanna’s performance is so enjoying to watch as she captures the innocence of the character of Ariel as well as the bubbliness that made the Disney version so memorable.

Present

So, we all agree, the main focus of this segment are the secrets. It’s not to say there isn’t more meat there (Ex. Rumple and Regina), but I cover more of it in other segments and my thoughts on the secrets is what you want to hear.

”The deeper the lie, the more truth in its echo.” I guess that means the more you deny the truth to yourself and others, the more true or big it really is.

And to be experimental and do something different (And because I don’t really feel like delving into the revelations that will come to pass in future seasons), I’m going to just focus my review of the present by tackling these secrets as they are and with that mindset in mind:

Killian: Killian reveals that he kissed Emma and that the kiss exposed that he can move on from Milah and love again. I buy this as a secret. To keep this short as to not get too shippy (You can find THAT bit of shippy goodness in it’s home), it makes perfect sense to me that with Killian’s redemption underway and that he’s at least willing to let Rumple live, the idea of him moving on romantically works as both a story concept and a character concept. I also like how he was apparently fighting it at every step of the way, only being fully convinced with last episode’s kiss.

Snow: Snow reveals that for as much as she loves Emma and their life together, she longs for the firsts that were denied to them and thus, wants another baby. I feel like Snow addresses David more with this secret than she does Emma and for the secret of ‘I want another baby/another chance,’ there are too many instances of “our daughter” and not enough “Emma”s for me. Now, with that out of the way, the secret itself is very in-character for Snow. I like it in terms of enjoying it as something very in-character. It’s a believable desire for her to have and Ginny really sells how badly Snow wants it. It’s also heartbreaking for Emma and that de-emphasis on her (Or rather, de-EMMA-sis -- holy shit, that may have been my best pun ever) as she tells it really sticks out because of it. It sucks that this is never brought back up too because this is sort of another case of Emma being told she’s not enough and by her own parents who she saved.

David: David, of course, reveals that he’s trapped on the island. There’s really nothing else to elaborate on here. I like how the focus is on Snow and her anger at the lie is hard and fast. It builds on what she was saying about secrets and honesty in both segments of the episode.

Emma: Finally, Emma reveals that while she’s never stopped loving Neal, the pain of losing him again caused all of the pain from long ago to return with a vengeance, and that rather than being forced to deal with the pain that their past together caused her, she wished that he’d died. Again, I’ll try not to talk about all of the shippy goodness here (Again, there’s more down below), but some will be delved into, so fair warning. Looks like I’m 4/4 because I like this one too. I get that wanting someone to die as their best self seems better than having to come to terms with the complications in their relationship. When Neal “died,” he had just apologized to Emma and made a heroic sacrifice for her and Henry. That was his last impression and believing him to be dead allows for Emma to close the book on the pain that was between them. Him being alive brings those problems to the present and makes them active again and Emma would rather that pain not be the thing that ultimately impacts her memory of Neal the most. I also love Neal’s response and fast forgiveness. For a few episodes now, Neal has been discussing all of his regrets concerning Emma and how he felt about her and that hug really says a lot about just how sorry he is.

Insights - Stream of Consciousness

-”Did you really think you could hide from The Evil Queen?” “Actually, yes.” This line never fails to crack me up! The shrug and surprise in Ginny’s voice really sells it.

-Look at the synchronized swords on those guards! How long do you think they practiced that?

-Damn, the water here is beautiful. The way the lighting is done paints something mystical and yet deadly af!

-”No. There has to be a way without going dark.” No, Emma. Anger does not necessitate going dark. Anger is an emotion that everyone’s entitled to feeling and it’s one that can be a force for good. The way Regina’s teaching you at the moment doesn’t go against that. Coming right after the stellar subplot in “Good Form,” this really is a disappointment to hear from Emma. Emma knows righteous fury better than anyone. That said, I completely agree with this scene for framing Regina as in the right because it’s completely warranted.

-YASSSS! Thank you, Killian for telling the truth about Neal!

-I’m fully with David and Killian here. Emotionally and strategically, it made the most sense to keep Emma in the dark about Neal being alive until they could confirm it.

-”Can you keep a secret?” Fuck no, she can’t!

-”Sorry. She deserved to know.” THEY WERE GOING TO TELL HER THE TRUTH, SNOW! PATIENCE. IT’S A REAL THING.

-Rumple, while trying to look into the future, looks like he’s either trying to summon a Final Flash from DBZ or the Doctor Strange magic hands.

-I spend a lot of time thinking about Rumple and his future telling abilities and why they never came up after this season. Like, I honestly don’t care that much about plot holes, but they can matter when they’re character-based. When a character has a power like that (One that’s been established since the pilot), there needs to be a reason for them not to use it, and Rumple, who has an over-reliance on magic as a major character trait, would use that as often as he could. In Neverland, Pan made it clear why he couldn't. But why not afterwards? Is the power just that vague that we can infer that he was using it? My personal HC is that they just went away after his first death.

-Okay, Pan is the one hell of a villain, but he’s also one hell of a chef, too! No wonder Fiona loved him!

-”You’ve lost your son Neal. Again.” You’re such an asshole, Pan, but it is like the greatest thing to watch.

-Okay, so real talk: I have misophonia and loud chewing and talking with one’s mouthful often enrages me. And Pan didn’t! I was ready to cringe when he picked up that egg in a basket, but he was fine. Pan, you may be the villain of this arc, but you’re the Savior to my ears! Thank you, Robbie Kay for enunciating properly as you eat!

-”That by killing you, all our troubles end?” Rumple: Sass Master Extraordinaire.

-Okay, so it looks like Rumple specifically has to die to kill Pan. Da fuq?

-”Have you forgiven YOUR father?” Wow, the writers of this show were just milking that twist with everything they had, didn’t they?

-”She looks fertile.” I repeat: Da fuq?

-I feel like I’d hate Snow a lot more in this episode if it weren’t for her tracking abilities finally being put to good use.

-I like Regina’s decision to leave the group from a character perspective. While the group should definitely try to save Neal, Regina, who doesn’t care about him would have no interest and after the second stop in their journey AND after talking to Henry, I can understand how all that frustration would just explode at the thought of another deviation.

-”It [the fork] is really not that valuable.” I don’t know. That is a really well made fork. XD

-”I may be heartbroken, but I’ll understand.” People, I give you Prince Eric: The only true unproblematic fave.

-Ooh! That mirror transition effect from the party to Regina’s castle was amazing!

-”Come home to Storybrooke.” Rumple, that’s as big of a red flag as there can be that that’s not Belle!

-”Are you really going to fall for this?” My sentiments exactly, Regina!

-You know, this is some great acting on Emilie’s part! She has to pull off a suffocation scene as the victim with no physical help from another actor. She really sells fake Belle’s desperation and panic!

-Speaking of good acting, look at Robert’s face when he discovers that Pan’s shadow was fake Belle. For the first time, we see a full display of the true fear Rumple has for his father!

-For as much as I’m apprehensive about Snow in the present segments, I’m LOVING her in the past. She’s so kind and supportive.

-”Thanks. For nothin’.” A little ungrateful there, aren’t you, Ariel?

-I giggled for a good twenty seconds at Regina saying “Ah-riel!”

-”You’re not gonna die at anyone’s hands but my own.” Honestly, Rumple dies at EVERYONE’S hands but your own!

-”Because I came here to kill him and die in the process!” Rumple, you are so fucking extra! Still bring the freakin’ weapon! You are so gloriously extra!

-Lana is having such a fun time playing Regina playing Ursula and I’m loving it! XD

-I took another five second giggle at “Dil-EMMA.”

-”I lost half my crew inside those rock walls.” Wow. This has gotta hurt.

-”He believes once we do [Reveal our secrets], we’ll destroy each other.” I love how this just doesn’t happen. It threatens to happen, but the strength of the group is strong enough to overcome them.

-Okay, so Snow’s a total boss during this Regina confrontation! Not only is she once again completely supportive of Ariel, BUT she decides to egg on Regina as much as she can before dying at her hands by saying that she’ll never be happy. For this point in Regina’s life, it’s an incredibly satisfying sight to see.

-SAME GOES FOR ARIEL! She fucking stabs Regina in the neck! WITH A FORK! Not even Snow or Charming could do that with a sword!

-”I don’t know the particulars. Only what I’ve been told.” So Killian didn’t go in?

-I love the video game that is the Echo Caves!

-”You know that’s not how this works.” Emma’s reaction to this line is just the best, her body screaming “can’t blame me for trying.”

-Anyone feel like if they were trapped in the Echo Cave that they wouldn’t know their own deepest secrets?

-REGINA! FUCK YOU! It’s an amazing evil plan and as a viewer, I’m loving this, but for breaking Ariel’s spirit, FUCK YOU!

-Real Ursula. Both powerful and kinky as all hell. <3

-”Storybrooke.” Regina’s so proud of the name, and to be fair, quite rightly!

Arcs - How Are These Storylines Progressing?

The Mission to Save Henry - We have a way of defeating Pan! XD Once again, the main plot focuses on something else than this mission, but I don’t think it was a bad idea. The subplot keeps the momentum going quite nicely.  

Killian’s Redemption - GREAT on Killian for telling the truth about Neal! That’s really the biggest point here, but it’s an important one nonetheless that speaks to how seriously he’s taking his redemption. He doesn’t hesitate telling her family and only keeps Emma in the dark temporarily as to spare her further pain.

Regina’s Redemption - Regina gets some great moments here! First, how she teaches Emma is fantastic! Like, I’m so glad that she showed the value of anger and how it and darkness are not necessarily one and the same! Second, she saves Rumple’s ass! Third, “maybe we can find another way.” The third way has been the heroes philosophy for a while and to see Regina trying that outlook rather than sacrificing Rumple is a nice bit of foreshadowing to her eventual fates and abilities! I actually think Regina may be in her best form this season! She’s still snippy and hates everyone, but she’s focused on doing right by her son. Because of that, she’ll use the darkness for the noble cause of saving him, and rather than waste time (As she puts it), she’ll look for faster means when working with those that are good isn’t making what she deems as acceptable progress.

Rumple’s Redemption - Despite Neal’s betrayal and his doubts from “Nasty Habits,�� Rumple is still sincerely all in for his redemption, as much as he can be, at least. His self preservation habit is still eating at him, making him trust more in Shadow Belle, and it really works!

Favorite Dynamic

Regina and Rumple. Regina came to Rumple at just the right time. She dragged him fighting and screaming away from danger and self loathing and back to reality and the point of this mission. It’s actually a great relief to see Rumple again with someone who won’t take any of his shit. Characters like that challenge Rumple and with Regina, it allows for us to see just what happens when they combine their dark magic and few fucks together for a good cause. It’s as Regina says: “We’re the two most powerful practitioners of magic who have ever lived. The Evil Queen and The Dark One joining forces? I’d say we can find another way of handling some smug teenager.” And together, they’re effective at coming up with a real strategy to defeat that smug teenager!

Writer

Adam and Eddy are “Ariel’s” writers and I really like what they did here. All three stories are balanced well, everyones motivations are really understandable in the present and that fits the framing of everyone being sympathetic, and the material in the past is just engaging.

Rating

10/10. It’s a great episode! Ariel is a compelling character and watching her learn the value of honesty is a nice story that cleanly fits Snow and Regina into it. The present really delves into the further conflicts of the main characters and shows how honesty can be both an aid and a curse. The episode itself is given nuance because of that and the sets of interactions chose for the most part do a lot of good for expanding on the character’s mindsets. Also, as you’ll see below, this episode is FILLED TO THE BRIM WITH SHIPPY GOODNESS!

Flip My Ship - The Home of All Things “Shippy Goodness”

Captain Swan - I think it says so much about how Killian cares for Emma that he’s willing to tell her family immediately that Neal’s alive, only holding out on telling Emma herself so that they can confirm it and save her from more pain. Pan said it himself: There is a good chance Emma won’t return his affections after its revealed that Neal’s alive. But he does it anyway because he knows how devastated she was from his loss. Whether you believe he’s completely in love with her or not, that is what caring for another person truly is. Also, look at how Emma looks to Killian to confirm whether or not that’s true when the beans are spilled (Thanks, Snow). She really does trust him now! And on Emma’s side, she actually tells her mom she kissed Hook! “I was feeling good.” And she says it in such a gossipy practically bursting way! It’s not-at-all giddy, but still a little giddy at the same time! And when Snow asks her if it meant anything, she says “i-it was just a kiss,” but everything from her tone to the fact that she actually told someone about this kiss means that it definitely was more! Now let’s talk about the Echo Cave. Killian reveals his secret and Emma’s first response is “It’s just a kiss.” But just look at the vulnerability in her eyes! And the first panel comes roaring out once he reveals what it fully meant to him! Truth! And as Emma goes towards Neal, there’s this dark acceptance in him, but it’s a respectful possible resignation.

Swan Fire - I genuinely adore how soft Neal is with Emma. The entire time he’s in his cage, he gives Emma gentle nudges in the right direction and oodles of comfort. And Emma’s confession to never stop loving Neal was beautiful. Jen’s performance here is just beautiful, soft and tender features all around as she admits that. And even as she’s admitting that she wished Neal was dead, she’s crying, clearly wishing to herself that it wasn’t true because of the love she has for him. And what’s Neal’s response to this when he gets out? An IMMEDIATE hug. It’s a tender, desperate, emotional hug. I actually found myself choked up here. He completely understands what she means. Emma gives this genuine apology for how she feels and Neal just gets it. And he’s still going to fight for her.

Ariel/Eric - Damn, Eric is romantic af! He cares about no one’s thoughts but Ariel’s and it’s really charming. “If I want to dance, I can.” <3 I almost find it a touch too forward for him to ask her to explore the world with her after one date, but given that they’re going full in on the Love at First Sight trope and Ariel says twice that she wanted to see the world, it works! He’s also a full on gentleman, stepping back (Literally) the second he feels she might decline for her comfort and even says” “I’m pressuring you: That’s unfair!” The dude’s an honest-to-goodness heartthrob! And Ariel really cares about him too! She doesn’t want him to be forced to choose between her and his dreams. And together, they’re just a cute, optimistic, lovey-dovey pair!

Millian - Short blurb, but I think it really says something about the depth of Killian’s feelings for Milah that he could NOT move on from her for over a century and when he finally found someone, he had to kiss her to finally push the denial out of his system. Like, that’s some powerful love.

Snowing - “At least not with me.” Okay, so David definitely lied and that sucks, but holy shit. In this one line, David gave his blessing for Snow not only to move on, but to have another child with someone else. And that’s gotta hurt! Like, LOVE! That’s love!

-----

This review was admittedly much shorter than I usually make them, and I’m sorry, but not too sorry because ONCE CON!!!! If you want to keep up with my con adventures, I’ll try posting some pics to my Instagram, protochan44, and hell, maybe I’ll do a live video at some point! And yeah, I’ll probably post some shenanigans on my blog too! But yeah, I am so excited and also pretty relieved that I was able to get through all of these!

Thanks for reading and thank you to the beautiful folks at @watchingfairytales, at least two of whom I’ll be meeting either tonight or tomorrow! Next time, we hit up “Dark Hollow!”

Season 3 Total (59/220)

Writer’s Scores: Adam and Eddy (19/60) Kalinda Vazquez (10/40) Andrew Chambliss (10/50) Jane Espenson (10/30) David Goodman (10/40) Robert Hull (10/40) Christine Boylan (10/20) Daniel Thomsen (10/30)

Operation Rewatch Archives

[swanqueeneverafter]

29. Ariel, Pt.1

Enchanted Forest. Past. (Snow White is running through the woods from two of the Evil Queen’s guards. They spot her and begin to chase her.) Guards: “Hurry! After her! Stop!” Snow White: (She stops running when she reaches the edge of a cliff:) “Uhh! Oh! Really?“ Guard 1: “You're a long way from home, Snow White. Did you really think you could hide from the queen here?” Snow White: “Actually, yes.” Guard 1: (As he and the second guard unsheathe their swords:) “Well, don't worry. We're here to take you back. The queen is eager to see you again.” Snow White: “Not gonna happen.” (Goes to the edge of cliff.) Guard 1: “No, no, no! Wait!” (The guards run towards the edge of the cliff to get her, but she jumps off before they can catch her. The guards watch as Snow White hits the water. Under the water, a pair of arms grab her and bring her to the surface of the water. When Snow’s pulled up to the surface she gasps for air. She swims around to face her savior.) Snow White: “Thank you.” Ariel: “No problem. You might wanna try diving in calmer waters next time.” (Snow White looks down at the water and notices Ariel has a tail.) Snow White: “You're a...” Ariel: “Yeah. I'm a mermaid. Name's Ariel.”

Neverland. Present. At The Operation Cobra Rescue/Henry Camp. (Emma is standing in front of an unlit campfire, concentrating. Regina is teaching Emma how to harness her magic as the Charmings watch on.) Regina: “Focus. Concentrate.” Emma: “It's kind of hard when you're talking in my ear.” Regina: “And when the wind blows or it's raining, or... if your parents are watching you. Yes, concentration's hard. That's the point. You have to find your anger and use it to focus.” Mary Margaret: (Speaking up:) “No. There has to be a way without going dark.” Regina: “And what would you know about using magic?” Emma: (To Mary Margaret:) “Regina’s right. Gold told me that magic is about emotion. That I have to remember who I’m using it for and that’ll help me control it." Regina: “That’s exactly right. (Circling Emma:) You have to take all your emotions. All of your anger, all your love, all your hate. And push it way down into the pit of your stomach then let it explode-” Mary Margaret: (Speaking up again:) “You learned your magic from the Dark One. Your magic is evil, Emma’s doesn’t have to be.” Regina: “You're such a pathetic goody two shoes.” Mary Margaret: “And you're a monster.” Emma: (Glaring at her mother:) “That’s ENOUGH!” (Mary Margaret falls silent, subconsciously squeezing David’s arm at this reprimand from her daughter.) Regina: (With a satisfied smile:) “...Smell that?” Emma: “What?” Regina: “Smoke.” (Emma looks at the campfire, which has now lit. Emma kneels by the fire watching as it grows while Regina takes a seat, pleased by Emma’s progress.)

David: (Sighs, quietly to Snow:) “This is a bad idea.” Mary Margaret: “No, she has it in her. She should learn to use it. We just have to trust her.” (Despite her words, Snow watches the two women as they continue practicing with an uneasy eye.) David: “Yeah, it's not Emma I don't trust.” (Hook enters.) Hook: (To Mary Margaret and David:) “We need to talk. Pan paid me a visit. He, uh... He told me that Neal is alive, that he's on this very island.” Mary Margaret: (Shakes her head:) “Emma saw him. He was shot. He fell through a portal. No one could survive that.” Hook: “Well, he did, and now he's here. Pan said he took him from this very camp while we were off in Baelfire’s cave.” Mary Margaret: “According to Pan, if he's telling the truth.” David: “And, uh, why would he tell you? What does he hope to gain?” Hook: (Bows his head, thinking:) “Who knows why he does anything? He has his reasons, but it's a sure bet they're not good ones.” Mary Margaret: (Looks around camp:) “He's telling the truth. (Walks over to a broken branch:) Tracks... and a scuffle. Someone was here while we were gone. We have to tell her.” David: “No, no, no. If this is a game, we can't raise Emma’s hopes.” Hook: “He's right. Either way, telling her is what Pan wants, which is why we shouldn't do it.” Mary Margaret: “You want to find him without letting her know?” Hook: “Why hurt her unnecessarily?” Mary Margaret: “I've never lied to her before.” Hook: “You're not lying. You're just keeping a secret until confirmation.” Mary Margaret: “Secrets always seem to keep us from the people we really care about.” David: “And sometimes secrets protect the people we love.”

Enchanted Forest. Past. (Snow and Ariel are by the shore.) Ariel: “What on earth would possess you to jump like that?” Snow White: “You ever been chased by an evil queen?” Ariel: “I can't say that I have.” Snow White: “Makes you do crazy things.” Ariel: “Well, that I know.” Snow White: “Are you on the run from someone?” Ariel: “More like on the run to someone.” Snow White: “What's his name? Come on. The one thing that makes everyone crazy is love.” Ariel: “Eric. He's a prince in this kingdom.” Snow White: “So wait. He... Lives on land? He's human?” Ariel: “Okay. Here's the thing. About a year ago, his ship wrecked, and I rescued him. I do that. He was unconscious. We never spoke, but... When I looked at his face, I just... I knew.” Snow White: “Love at first sight.” Ariel: “It sounds dumb. I know.” Snow White: “No. It doesn't sound dumb at all. (As Ariel empties her bag on the ground:) Interesting.” Ariel: “I collect things... And I found this. (Shows her a piece of paper:) There's a ball at his castle tonight... the annual under the sea celebration honoring the sea goddess Ursula... And I was hoping to meet him there.” Snow White: “How are you planning on doing that? With a tail? (Ariel lifts herself fully out of the water. As she does, her tail transforms into two very human legs:) How did you do that?” Ariel: “You really know nothing of your mermaid mythology, do you?” Snow White: “Uh, probably about as much as you know about people mythology, I think.” Ariel: “Good point. Well, anyway, every year at the highest tide, the legend says that the sea goddess Ursula grants our kind with the ability to walk on dry land until the next high tide.” Snow White: “Which is when?” Ariel: “Twelve hours. Enough time for dinner and dancing and...” Snow White: “Twelve hours? Why don't you ask this Ursula for a little more time?” Ariel: “Well, no one's seen her in a thousand years. She's a bit of a myth.” Snow White: “Well, myth or no myth, you saved my life. The least I can do is help you find the love of yours.” Ariel: “Thank you. But can you keep a secret?” Snow White: “Mm-hmm.” Ariel: “I'm a mermaid.” Snow White: “Yeah, I got that.” Ariel: “But Eric doesn't know that. So... Can we just maybe... Keep that under the sea for now?” Snow White: “Isn't that something he eventually needs to find out?” Ariel: “Just let him fall for me first, okay?” Snow White: “Okay. Your secret's safe with me.” Neverland. Present. (Hook, David & Mary Margaret are preparing to go look for Neal.) Mary Margaret: “If we're gonna hide this, we need a good cover story.” David: “Done.” Hook: “That's not a problem.” (Emma & Regina approach.) Emma: “Where are you guys going?” Hook and David (at the same time): “Firewood. To get water.” Emma: “Guys, what's going on?” Mary Margaret: “Neal's alive.” Emma: “Neal i... is... Alive?” Mary Margaret: “Maybe. (To David and Hook:) Sorry, she deserved to know.”

Neverland. Gold’s Camp. (Gold sits, deep in concentration when Pan appears.) Peter Pan: “You can't see the future here. (Gold flinches and opens his eyes:) It's impossible to see the future in a place where time stands still.” Gold: “I may not see the future here, but I can make one happen.” Peter Pan: “Was that a threat? (He scoffs:) And here I made you your favourite breakfast... eggs in a basket. I thought you could use it. You looked a little down in the dumps.” Gold: “I'm fine.” Peter Pan: “Sure you are, Rumple. You lost your son, Neal. Again. And Henry's unattainable because... Well, you'd have to go through me, and we both know you can't. You still like the yolk runny, don't you?” Gold: “What do you want?” Peter Pan: “Well, if you won't eat, then I will. (Takes a bite of food:) I'm just trying to point out the silver lining in your cloudy life.” Gold: “That by killing you, all our troubles end?” Peter Pan: “We both know that's not going to happen, because the only way to do that is for you to die, too. You can go, leave the island.” Gold: "And abandon my son? And Henry? I don't think so.” Peter Pan: “Look, even if you did save them... which you won't... what would be the point? They'll never forgive you for all the horrible things you've done.” Gold: “You don't know that.” Peter Pan: “Have you forgiven your father? ...You see my point? Back to that silver lining... you have a nice girl waiting for you back in Storybrooke. Belle, is it? Stop this foolishness and go back to her. Make a new start. She looks fertile. Maybe a new child? You and I both know that's the only future for you... Assuming you want to live. Enjoy the eggs.” Neverland. Operation Henry Camp. (Regina, Emma and the others are debating at the camp.) Regina: “This is a waste of time. He's toying with us.” Mary Margaret: “I don't think so. (Walks over to the tracks as the others follow:) Look. More scuffling. Someone was definitely resisting.” Emma: “How do we know that means Neal?” Mary Margaret: “Well, it means someone was fighting for his life.”

Regina: “Are you really going to fall for this? (Sees that Emma is unsure, looks to Mary Margaret who shakes her head disapprovingly:) Fine. You wanna follow the Evil Munchkin's dirt road? Be my guest.” Emma: (As Regina begins to leave:) “Wait. Where are you going?” Regina: “To save our son.” Emma: “We need to stick together.” Regina: (She laughs:) “No, we don't. You may be prepared to risk Henry's life to go running after your ex boyfriend on some fool's errand, but I'm not. I'm tired of waiting around.” (She leaves.) Emma: (Turns to Mary Margaret:) “What if she's right? Pan could be lying.” Mary Margaret: “Just because it seems too good to be true doesn't mean it is. Don't give up. You owe it to Henry to find out if his father's still alive, and you owe it to yourself.” Emma: “What is that supposed to mean?” Hook: “Ladies, I hate to intrude, but are we going to look for Neal or not?” (Emma studies her mother for a long moment, as if trying to read her thoughts. Eventually, Emma nods and the quartet head off in search of Neal.)

[stargleeksil-blog]

Criminal Minds s04e19 House on Fire - or more aptly named, the episode where Kirsten Vangsness acted her life out through a computer and a phone and I love her.

Episode 19 – House on Fire

Hey guys! So I’m seriously still reeling from how awesome that last episode was. And by awesome, you know I mean that we got to see Shemar’s abs on the actual show and not just those awesome interviews on YouTube.

I’m scared of the name of this one, but let’s see what happens.

Oh lord. He’s setting the fucking movie theatre on fire? Oh god.

They just imitated the movie? Why?

“And they’re sure it’s arson?”

I’m sorry. I can’t focus. Because, for some reason I caught this shot of my poodle’s tongue out, standing behind Derek in a hoodie. I can’t.

“So whoever set these went from no victims to thirty-one in less than two weeks.” Damn.

“Thirty one victims is not accidental.”

And once again, my cupcake is a hundred per cent right.

Tennessee Williams: “We all live in a house on fire. No fire department to call, no way out.”

Well, that is depressing.

“What, arson is a sexist industry?”

Oh honey.

“Apparently, women just aren’t inclined to burn things.”

Ooh, burn.

“Well, we can scratch hero complex off the list. He hasn’t left anyone to save.”

How can someone be so smart and sexy? That’s a crime.

“How’s about I do a background check on all local firefighters and EMTs?” I love how she’s talking in a different lingo. It’s amazing.

“I will look at everything from firebug to flamethrower.”

Love you.

“I will cast a wide net, sir.”

Love her!

Rossi just said he didn’t want this to turn into a witch hunt.

“Sir, if I’m hearing you right, you’re saying I’m the witch hunter.”

Was that Thomas showing through the Aaron façade? Oh god.

“When he strikes again, he’s gonna be aiming for even more victims.”

Dang.

“I also have a third-grade teacher, third cousins, and at least three potential affairs.”

Seriously? Oh my god, no one ever let this lady near the Kardashians.

“With all due respect, sir, my brain muscles are comfortable with being intuitive with information, not people. Looking at people like that is not part of my job description. I’m not a profiler.”

“Well, you’re gonna have to be.”

Wait. What?

Wait. So the fucker lit up a bar while everyone was at the memorial? Damn.

“He really wanted to make sure nobody got out this time.”

God.

“And what good are you guys doing us?”

Hey! Not nice!

“That chain is different than the first two fires.”

Wait. What?

“Now, either we’re looking at an entirely new arsonist or this unsub wanted to make absolutely certain nobody got out.”

“Now, if this is true, that means something changed.”

“Maybe his emotions changed. Maybe his agenda. But something.”

“See, this chain tells us this is the fire that matters.”

“This fire’s gonna help us catch this guy.”

Someone give Derek an award for being awesome.

“Hello?”

“Hey, how’s Miss Smart and Sexy doing today?”

“Fair warning, cupcake. As much as I love you and our witty banter, I am all out of witty and banter and am struggling with love.”

Oh god, I love this.

“What’s wrong, baby?”

“I am standing at the crossroads of thirty-one lives and what I see is a train wreck.”|

“You want a little tour? This is what I mean. Here we go.”

“Flip Phillips – he beat his wife. It went on for years. Although you wouldn’t know if you looked at the police reports, because that’s one of the perks of being the mayor.”

Oh honey.

“David Alexander – he sued his boss for five million dollars over something totally lame, and what makes it even more erotic is he was sleeping with the boss’s daughter.”

Oh baby.

“And then there is … where is she? Oh! One of the town councilwomen, now, she had a terminally ill husband and also three boyfriends under the age of twenty.”

“I want to believe that the world is just teeming with awesome people, but all of this is giving me great pause.”

“I want to go back to cyberspace.”

Someone hug this woman and make her marry me.

“I’m sorry, sweetheart, not yet. I got a few more names for you.”

Why you gotta be such a wet blanket, baby?

“Please tell me they’re still alive.”

“I wish I could do that, Garcia.”

FUCK.

Someone take this man’s leather jackets. I can’t. I have all kinds of hot black James Dean fantasies going on up in here.

“Or he didn’t attract the attention of the right person.”

Oh boy.

“This type of rage tends to stem from things that people keep buried.”

Oh boy. They’re gonna have to get real up and personal with these townies.

Ugh. I hate burn victims. It’s obvious they’re in pain and I can’t stand it.

I’m seriously staring at this Word document to avoid watching the scene. Fuck.

Linda and Roger Drake.

“Friends? Enemies?”

“Oh, no, nothing like that. They seemed sweet. Their biggest problem was finding baby names. Hilda was pregnant.”

“Are you sure? The M.E. hasn’t even started yet.”

That’s why Garcia’s the best.

So they basically post everything in the ads? Oh god.

“There was a belly watch on Hilda.”

Poor lady.

“Oh, Eric was a boozer.”

Lol.

So he was harmless, too. Hmm.

“What if he grew up in Royal and he moved away?” uh-oh, genius on the scene.

“And then I did some more aggressive digging, which I should remind you, you asked me to do.”

Oh god. I love this lady so much.

So the bar owner’s new wife’s parents died in a fire when she was five? Uh oh. And she had a brother and a grandpa.

So amazing she gets scenes on her own. So proud.

“Sir, I think I have something.”

I love this woman beyond measure. She is so amazing.

Actress and character, before you ask XD

“Granted, I don’t have a medical degree, but my guess is, watching his parents die in a fire didn’t help Tommy’s emotional well-being.”

True.

“What about Tina? How did the fires affect her?”

So there were rumors about how they were too close for social norms. Oh god.

“Nothing was ever confirmed, though.”

“No, it wasn’t. but then, the truth didn’t matter.”

I love emotionally-invested Garcia. Whoo.

“Based on nothing but hearsay.”

“Not true. The school had cause.”

“No, they didn’t.”

Wait. What?

“I spoke to the teacher. She told me how the whole school and the whole town turned against him, based on nothing but a rumor.”

I love this woman.

“So they moved Tommy to a Colorado boarding school, and they cut off all ties between him and his sister.”

Oh lord.

“If what Garcia said is true, then this town’s actions went a long way towards making Tommy who he is.”

Yup.

Where is Tina?

How come I didn’t notice he was so familiar before? That’s fucking Michael Rooker! Oh my god, I love you baby!

“So how mad do you think he is?”

“Well, if I was him I’d be pretty mad.”

“Oh god.”

I love how she takes Morgan’s scale of anger. Love you two.

Wait. She’s worried about Hotch? Oh god.

“I men, he did tell me to dig, right? So I dug. And, granted, I’m not supposed to have direct contact with the public, or purport  myself as an FBI agent. And – OK, I’m definitely not supposed to accuse someone of a felony or even a misdemeanor, especially when I don’t have any actual evidence. Oh god.”

“I did just what they did.”

“I … I based everything on a rumor. I got sucked right in.”

“I didn’t mean to. I …”

Oh god, I love her freakouts.

“Garcia, come on, baby. Stick to Tommy.”

Oh honey.

“Right. Sorry.”

“You couldn’t find him?”

“No, I said the trail went cold, I didn’t say it disappeared.”

And that’s why she’s the boss.

Oh god. Someone needs to get Derek into that lady’s lair and hug her from the inside out. And yes, that was my sweet way of saying that they need to do the horizontal hoedown.

So that brother was just fucked up on the inside and just wanted to love his sister and everyone just made fun of him and hated him. Oh god, poor Tommy.

Poor Tina.

Oh shit! No! Don’t do this, Tommy!

Oh thank goodness.

Francoise Sagan: “I have loved to the point of madness. That which is called madness. That which to me is the only sensible way to love.” Oh god, that is beautiful.

“You guys choose this … turning people over like rocks and looking at all their creepy crawly things underneath.”

Oh honey.

“I want to see the good in people.”

“I choose to see the good in people.”

“And … getting into someone’s mind and trying to find the god-awful thing that happened to them that made them do the god-awful thing to somebody else has seriously impaired my ability to giggle, and it makes my brain all wonky, and I don’t like it.”

“I just wanted to thank you for your excellent work on this case. And I understand that what you did was, for you, very difficult. But your contributions are essential to the success of this team.”

Amazing. So amazing they finally show how much she is appreciated.

In all aspects.

“I know you see the good in people, Penelope. Always.”

“And I would never want you to change that.”

 Oh god. So this episode was amazing on so many levels. It brought out Penelope in so many amazing ways that I can’t even tell you. We got to see Kirsten do her amazing stuff, we finally got to see how much she is truly appreciated in the team. We got to see her as a profiler. I just can’t explain to you how much I love this episode.

And how much did we love Derek in a hoodie? Eh?

Anyway.

As much as I wanted to finish the season today, my body betrayed me and I snoozed for a hwile and binge-watched YouTube the fuck out of my poor computer, so I’m gonna end this right here right now, to my chagrin. And bid you farewell.

It’s nearing 10pm here, and I have work tomorrow, and I still need to do the dishes and get in the shower and get ready for bed or else the poor coffee-starved assholes will have to deal with a bitch. And I don’t want to get fired.

So, I’ll leave the rest of my pictures that didn’t make it into the post above and give you all millions of kisses to show my appreciation xoxoxoxoxoxoxoxo

[mugsywrites]

The Salt Must Flow

I wasn’t going to make this post because 1)I’m opening myself up for some Discourse™ 2)It’s going to take forever to write. But whatever, I’m salty as fuck right now for lots of more important real life reasons so I’m just going to spread it around on this.

ANYHOW. This post is my longass response to seeing comments like “I don’t understand why people ship Desus, they’ve had zero meaningful interaction” or “Desus shippers are all straight girls who want to watch two guys make out, there’s absolutely no other reason” and then in the very next sentence say “Anyway, Jesus is going to get with Aaron, the fact that you don’t ship this 110% canon ship is just because you fetishize gay men :)“

So I’d thought I’d explain, with visual aids, why I prefer Jesus & Daryl to Jesus & Aaron at this particular point in time. Warning for length, my god did I ramble on, what is wrong with me.

I’m gonna compare the two ships by four criteria 1)Both characters must appear in the same episode, in the same general vicinity, at some point 2)Of those episodes, how many times both characters appear onscreen in the same shot together, 3)In those moments when they’re in the same frame what if any interaction (dialog, or acknowledging each other’s existence at all) they have and 4)What interaction we can logically infer they’ve had offscreen based on the previous three criteria.

Criteria 1: Both characters must appear in the same episode and in the same general vicinity

Jesus and Daryl:

6x10: The Next World

6x11: Knots Untie

6x12: Not Tomorrow Yet

7x07: Sing Me a Song

7x08: Hearts Still Beating

7x09: Rock in the Road

7x14: The Other Side

7x15: Something They Need

7x16: First Day of the Rest of Your Life

Total: 9 out of the 10 episodes Jesus has appeared in.

Jesus and Aaron:

6x12: Not Tomorrow Yet

7x15: Something They Need

7x16: First Day of the Rest of Your Life

Total: 3 out of 10 of the episodes Jesus has appeared in.

Criteria 2: Of those episodes, how many times both characters appear onscreen in the same shot together:

Jesus and Daryl 6x10:

Jesus & Daryl 6x11:

Jesus & Daryl 6x12:

note: These are all similar shots but they’re from different sequences, so I included each one. Also, there’s a scene where they’re both helping map out the Sanctuary but you never see Jesus, just hear him offscreen.

Jesus & Aaron 6x12

note: I had to go over the church scene like it was the Zapruder film to find that cap. I broke my rule in the second cap because even though they’re not onscreen together Jesus is right there, and I thought it was significant the only time he’s in the general vicinity of Aaron there’s a giant RV blocking him from view (also Daryl is in that shot as well)

Desus 7x07:

Desus 7x08

Note: I didn’t include the scene where Daryl kills Fat Joey and leaves the Sanctuary with Jesus because you don’t see them both in the same frame. But it’s a significant interaction.

7x09

Daryl & Jesus 7x14

Jesus and Daryl 7x15

Jesus & Aaron 7x15:

note: But Mugsy, you tell me, aren’t all those also Daryl and Jesus scenes? And I say that yes, they are.

Daryl & Jesus 7x16

Criteria 3:In those moments when they’re in the same frame what if any interaction (dialog, or acknowledging each other’s existence at all) they have

Daryl & Jesus in 6x10: Daryl finds Jesus, they’re antagonistic toward each other, the first dialog Jesus exchanges with any character is with Daryl, Jesus steals the truck forcing Daryl to chase him along with Rick, more antagonism when they catch up, Daryl throws an Orange Crush soda at him, Jesus climbs on the roof of the truck and Rick knocks him off, followed by Daryl chasing him through a field, they physically wrestle each other at one point, Jesus grabs his gun and shoots a walker coming from behind Daryl, Daryl rides in the backseat with Jesus on the way to ASZ (sidenote, why didn’t Rick ride in back? Would make more sense as Daryl has already expressed way more hostility toward Jesus. Nothing would have changed), Daryl and Rick carry him to the infirmary, Daryl leaves Jesus a cookie and a Rick leaves him a note.

In 6x11: Daryl runs in gun raised and doesn’t take his eyes off Jesus once, even though everyone else is blown away by Richonne, Daryl’s lurking in the background while Jesus talks about the Hilltop, Jesus thanks him for the cookie, they all go to Hilltop, Daryl’s lurking in the background when they discuss raiding the Saviors.

In 6x12: No interaction, but of note is that Daryl is in one of the pews near the front directly in front of Jesus. Sidenote: In the scene where Jesus decides to go into the Outpost to help TF and makes his badass boast of “They’re not going to see me” the episode cuts to Rixonne killing saviors together, then Aaron all by his lonesome fighting Saviors. He opens a door and is surprised by another Savior, and is saved when someone shoots the Savior from offscreen. What a great opportunity to show Jesus kicking ass, right? Logically you’d think it could be Jesus, but nope, it’s Rosita.

Jesus & Aaron in 6x12:  They don’t interact. Of note is the fact that Aaron is one of the back pews on the opposite side of Jesus. At one point Aaron gets up and talks, and Jesus looks at him for a second.

Jesus and Daryl in 7x07: Daryl spies Jesus on top of the truck leaving the Sanctuary, Jesus sees him as well and jumps off the truck, presumably to help Daryl.

In 7x08: Jesus watches Daryl beat Fat Joey to death, the only dialog either character has in that ep is to each other, we next see them together safe and sound at the Hilltop.

In 7x09: No interaction, although they’re in the same group that confronts Gregory then goes to the Kingdom.

In 7x14: Just a brief bit of dialog, Jesus asks if he’s ok, they Daryl asks after Sasha and Rosita.

In 7x15: Set up explosives together, talk about Sasha and Rosita, capture a group of Oceansiders together, later Jesus comes down with the group to see Dwight in the prison, he tries to grab Daryl along with Michonne to stop him from getting to Dwight.

Jesus & Aaron in 7x15: Don’t interact. Both on strike team gay and round up some hostages together, Jesus and Daryl bring them back to where the other prisoners are gathered while Aaron and Eric disappear for the next sequence where the zombies attack and TF and Oceanside kill them. Even nobodies like Tobin and Francine were in that attack, but I couldn’t find Aaron and Eric. Another interesting thing: the gang takes two rowboats across to Oceanside, Jesus is in the first (with Daryl) and Aaron is in the second. Going back to the ASZ they take a van, the RV, and Daryl rides his bike. Jesus is seen coming out of the RV and Aaron out of the van, after which he vanishes for the episode. 

Daryl & Jesus in 7x16: They don’t interact directly with each other really, both participate in the interrogation of Dwight, later at the battle for ASZ they’re shown fighting in the same group.

Jesus & Aaron in 7x16: I included this because they both participate in the battle for the ASZ, even if they’re never in the same shot or shown fighting in the same group.

Criteria 4: What, if any, interaction can we logically infer they had offscreen?

Daryl and Jesus in 6x10-6x12: Seems like everything important was shown onscreen. They might have talked in the RV on the way to Hilltop in 11, or helped strategize in 12.

Jesus and Aaron in 6x12: They probably introduced themselves and talked in the RV on the way to the Outpost.

Daryl and Jesus in 7x08: Jesus probably rode double behind Daryl on their ride back to Hilltop, Jesus brought him clothes and helped him get cleaned up.

In 7x14: We can logically infer that they’ve interacted at the Hilltop; Daryl is staying near or in Jesus’s trailer.

Jesus and Aaron in 7x16: They probably talked after the battle.

So anyways, right now there is a lot more to go on with Daryl and Jesus. There interactions with one another have been significant to both their storylines (Jesus meets the peeps in ASZ because of Daryl, Jesus scouts the Sanctuary for Maggie and finds Daryl, Jesus brings him back to the Hilltop, Maggie’s friendship helps make Jesus feel like he’s an actual part of the communities for the first time and we next see him fighting side by side with Daryl and ASZ peeps) Daryl is single and his sexuality is a question mark (I know what Kirkman said, but don’t put much stock into it for a lot of reasons, most importantly because of what we have and haven’t seen onscreen, which I wrote about here)That could change, it wouldn’t be the first time TPTB dropped a budding friendship of Daryl’s. Aaron is in a happy relationship with Eric and has had no onscreen interaction with Jesus and only a fraction offscreen.

At this point there are a lot of seeds planted between Jesus and Daryl that could grow into a relationship (haven’t touched much about similar backgrounds featuring unhappy childhoods and difficulty forming bonds with people). Jesus and Aaron has nothing yet, it’s based on nothing but the fact they’re both gay men and might have a relationship in the comics, although it has yet to be confirmed. So for me to prefer them over Jesus and Daryl a lot would have to change. Daryl and Jesus would have to never be seen together and their dynamic abandoned, Jesus and Aaron will have to actually talk to each other onscreen, and Eric will have to die and Aaron spends an appropriate amount of time mourning him onscreen. They could have an interesting dynamic, Aaron mentioned his mother forced him to eat apples to make him manly, so it’s possible he had an unhappy childhood as well. He was a scout and spent a lot of time outside of ASZ recruiting new people, similar to Jesus’ job. Hell, even if they only get together because they’re each other’s only option could work, after all Glenn and Maggie had a loving, special relationship and it started under similar circumstances. But that’s all stuff that I’m speculating on *maybe* happening versus what I have already *definitely* seen.

[not-another-imagine-blog]

Future Baby Mama (Chris Kreider)

Anonymous said:

Would you possible be able to write one for Chris kreider?? I love that man and I love your writing! Could it be about him having to babysit a teammate's kids and needs helps so he calls the reader over and you guys just have a fun time and he starts talking about one day have kids with the reader.

Word count: 1649

“I am in way over my head.” You’re not quite sure what to think when the first words out of Chris’ mouth upon calling you are not the standard greeting.

“Hello to you too, Chris. Why are you in way over your head?” You ask.

“(Y/N), I’m serious. I’m literally at DEFCON 1 right now.”

“Why are you ready for nuclear war?” You deadpan.

“Marc and Lindsay are having a date night tonight and they asked me if I could watch the girls. I figured that it wouldn’t be too difficult; they’re three and one, what harm could they do? You wanna know the answer?”

“A lot of harm?”

“A lot of harm!” He says. “I caught Anna trying to give the cat a bath in the toilet and the baby is constantly crawling away from me!” You can’t help but to laugh at your poor boyfriend’s situation right now. “Can you please come over and help me?”

“I don’t know, I’m a little busy right now.” You tease, when in reality you’re just sitting on your bed and watching Riverdale.

“Please? The baby’s cute when she’s not trying to escape.” He barters. You’re already up and grabbing your keys before he uses the baby’s cuteness as a weapon.

“I’m on my way.”

“Oh thank God-Anna do not draw on the wall!” He yells as you laugh and hang up.

When you enter the Staal residence 20 minutes later, you’re not all that shocked to see Anna Staal jumping up and down on the couch while baby Emily laughs and throws food at a frazzled Chris. At the sound of the door, Anna stops jumping and Chris lets out a loud sigh.

“Thank you so much for coming!” He says, looking at you like you’re carrying the Stanley Cup.

“Of course. I couldn’t miss seeing this cute little face!” You lift Anna into the air and swing her around, smiling as she laughs hysterically. You dramatically flop her down onto the couch. “Have the girls had baths yet?” You ask.

“I’m supposed to bathe them?” You stare at Chris.

“Have you ever babysat before?” The bewildered expression on his face gives you your answer as you pick Anna back up. “Finish feeding Emily while I give Anna a bath, and then we’ll switch and you can put a movie on for Anna. Do you want some fruit snacks after your bath?” You excitedly ask Anna, who nods enthusiastically. “Alright, go get your jammies for me!” You set the little girl down and watch her run to her bedroom before grabbing a washcloth and wetting it, cleaning Emily’s face off.

“How did you get her to listen to you? She just laughs whenever I tell her to do something!”

“I’m the kid whisperer.” You whisper dramatically, heading to the bathroom once you hear the water start to run at the hands of an eager toddler.

After two baths filled with bubbles and four towels dirtied by having to mop up all of the water on the floor, the girls are snuggled in between you and Chris on the couch, Anna happily munching on fruit snacks and Emily gnawing on yogurt drops. Frozen plays on the TV, the girls enthusiastically singing along to every single song, something that makes you both smile and cringe.

“(Y/N), look.” Chris whispers to you. You glance up from the screen to see Anna sound asleep on Chris’ lap. Emily is also on the verge of sleep, her head dropping every so often as she fights to stay awake. You stifle a lap and motion to Chris to pick Anna up, making your way to Emily’s bedroom to put her to sleep.

After making sure that the baby’s going to go to sleep, you gently close the door and sit on the couch. You slide next to Chris, letting him sling an arm around you as you cuddle into his side. It’s quiet for a few minutes, the only sounds in the room coming from you and Chris’ breathing and the movie playing faintly, neither of you wanting to actually find the remote and turn the TV off.

“Thank you for coming to rescue me.” Chris says, breaking the comfortable silence. You intertwine your fingers with his, leaning your head up to kiss him.

“Please, I think that you were just overreacting. Those little girls are the sweetest!” Chris hums in agreement. You can tell that he’s thinking by the way that he bites his lip.

“Have you ever thought about having kids?” Chris finally asks. You’re not quite sure whether to be honest or not.

“Of course. I think that any person who’s in a committed relationship has had the thought cross their minds at least once or twice. Have you?” Chris automatically nods.

“This probably sounds really unappealing to you, but I want at least three kids and then I want to adopt a couple of kids.” And, much like the Grinch, your heart grows three sizes, although your wasn’t nearly as small as his in the first place.

“That’s so frickin’ cute, Chris!” The idea of adopting kids who need a good home is one that’s always been appealing to you.

“Really?” You nod.

“You have such a big heart; that’s why I fell for you in the first place.” Chris raises an eyebrow.

“That and my dashing good looks, right?” You giggle in agreement.

“Oh yes, who could forget that?” Chris pulls you onto his lap and you lay your head on his chest, his steady heartbeat comforting you. “So let me guess, you want all boys, right? That way you can have a bunch of little hockey players running around the house?”

“No. Look at you and your family. Girls can be just as enthusiastic about hockey as boys. Plus, I think it’d be adorable to have a little girl with her momma’s looks and personality.” You groan, covering your eyes.

“I don’t think either of us could handle having two of me running around the house. But it would be pretty cute to have a little Kreider girl kicking her brothers’ butts in pond hockey. Maybe even beating her dad, too.”

“All of our kids would have your gorgeous eyes, and your nose and laugh.”

“What would they get from you, though? They’re all going to have beautiful, thick dark hair like yours.” You run a hand through his hair, confirming your statement.

“I’d want them to look just like you. You’re the looks in this relationship.” Your face goes red.

“You flatter me too much. Theoretically, what would their names be?” You ask curiously.

“I’ve always really liked Eric for a boy and Mary for a girl.” You scrunch your nose.

“Eric, I agree with, but I really don’t like the name Mary.” Chris looks down at you.

“Oh yeah? What names do you have, wise one?” He asks.

“James and Margaret, but her nickname would be Maggie.” You say definitively. Chris lets out a loud laugh before covering his mouth and quieting, making sure that he didn’t wake the kids.

“There’s absolutely no way we’re naming our kid James. Vesey would totally try to call him Jimmy!” That’s definitely something that you hadn’t thought about. Before you can speak, you’re cut off by a gasp in the doorway.

“Are you pregnant, (Y/N)?” You look up in alarm to see Marc and Lindsay with huge grins on their faces. You try to stutter out an answer as Chris blushes deep red and hides his face in your shoulder.

“Wha-no no no, you just came in at a very bad time! We were just talking about how cute your kids are and then the topic kind of shifted to our own hypothetical kids.” Lindsay nods, obviously not convinced.

“You better not be lying to me.”

“I’m not!” You squeak out, extremely embarrassed.

“Wait, what are you doing here? Could Chris not handle it?” Marc asks, looking over the scene once again.

“He claimed that your daughters were causing him to go into a nuclear meltdown, but when I got here they were perfectly fine. I’m convinced that he’s just overreacting.”

“How’s he going to handle your own kids, then?” Marc jokes.

“Oh my God!” Chris groans before standing up and pulling you with him. “Since you guys are home now, we’re gonna get going. I hope you both had fun tonight.”

“Aw, c’mon buddy, you know we were just joking with you! Have a good night and get home safe, okay?” Chris nods, grabbing your coat and slipping it onto you. As Chris opens the door, Lindsay looks at you with a grin on her face.

“Use protection, kids!” You let out a shriek as Chris shuts the door. Both of you are bright red as you hail a cab, ready to go home, crawl under the covers and die there out of embarrassment.

“You know…” Chris says suggestively as the cab weaves through the New York City traffic. You cut Chris off before he can get any further.

“Oh no, mister! You are not getting me into anymore trouble than we’re already in. I’m sure Lindsay’s convinced that I’m pregnant! The cab’s dropping me off at my apartment, where I’ll watch Netflix and sleep in late because I don’t have to work tomorrow, and then it’ll drop you off, where you’ll go to bed early since you have an away trip starting early tomorrow morning.” Chris groans as the cab rolls to a stop outside of your apartment. You swing open the door and climb out, but not before giving Chris a kiss. “Goodnight, Chris.” Chris leans to close the door, but not before his eyes start twinkling with a comeback.

“Goodnight, future baby mama!” Chris lets out a loud cackle as the cab pulls away, leaving you stuttering on the sidewalk, cursing your lovable boyfriend.

[bluebunnybias]

BNHA 242 SPOILERS

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This has officially topped my top ten best bnha chapter list what the fuck

IT'S A FILLLER CHAPTER BUT SO MANY PLOT POINTS ARE (RE)INTRODUCED, THE NEXT ARC IS GOING TO BE WILD

Hello traitor theory I missed you! I still think the traitor is one of the teachers, but Hori could be going for misdirection

MERRY CHRISTMAS

SO MANY GOOD PICS OF KIRISHIMA BEST BOY, IM GONNA DIE HAPPY

I love how Ashido and Kaminari are just. Sneaking around the gremlin boy. Trying to not so subtly make him wear his festive costume.

There are so many good scenes in this chapterrrrr

SATO FORCE FEEDING BAKUGOU

That means he's part of the Bakusquad right (you fool, he's always been part of the squad)

Also congrats to Ashido for being confirmed to be Bakusquad, it's canon now

SET UP TO BAKUBOY'S HERO NAME, FINALLY

Please do him right, Hori

And finally, big three internship with Endeavor? Is the shit finally gonna hit the fan? Is Dabi finally getting his big reveal?? Will Horikoshi be able to pull it off????

Also I like how shocked and kind of concerned Bakugou looked when Todoroki made his offer, while Midoriya just looks mildly surprised.

Eric Claus is adorable and I would die for her, definitely the MVP of this chapter

[twdmusicboxmystery]

8x02: General Analysis

***Spoilers About for 8x02. Don’t Read until you’ve watched***

How did everyone like the episode? I thought it was great! Except that once again it cut off in the middle of the action and I was cursing. I need more! Grrh! 

First, let me revise what I said last week about the plot. I said they seemed to be going to three different places, which is still true, but I think It's all part of the same operation, not three different operations as I first thought. There's those at the Sanctuary (Aaron and co) who are just trying to keep all the people there and contained, Jesus/Tara/Morgan who are at the same satellite station from S6, which is in a different place than the Sanctuary. It's unclear why they are specifically attacking the satellite station, but it's obviously a three-pronged attack to make sure they take care of everything all at once. And then it seems Dwight told them that the "heavy artillery" is in that building Rick and Daryl are searching. But the guns don't seem to be there. I'll come back to that.  

I'm going to start by something said on The Talking Dead. I'll do a TTD post tomorrow because there was lots of good stuff in it this week, but I think this one comment is extremely relevant to understand the structure of the episode.  

They specifically asked Gimple what was up with the extreme closeups of each character at the beginning and ending of the episode. Gimple said it's because each of the characters it showed are going to go through a major arc. And while we did see them again at the end of the episode, those arcs definitely aren't over. Gimple confirmed we'd continue to see this motif as the system progresses. This is SUPER significant, especially where the 101 Days Without an Accident sign is concerned. But I'll come back to that. Promise.  

Aaron: 

Only two things to say about Aaron's arc here.  

1.    The obvious is that Eric was shot. Comic Book spoilers: Eric does die in the books during AOW. It’s possible they'll change it for the show (they do that sometimes) but I kind of doubt it. I think Eric's done. We'll have to wait and see. So this is going to be Aaron's major trial. 

2.    Major callbacks to 5x06, Consumed here. Aaron runs over three people with his car to try and save Eric. It LOOKED a whole lot like when Carol was hit in Consumed. Then, despite Aaron's efforts, Eric was shot anyway. Kinda like Beth? When it showed Aaron and Eric limping away, I was also reminded of Noah's limp in that episode, which was pronounced just before Carol was hit. Remember Daryl was helping him, which was why Carol walked out of the building alone.  

Not sure what to make of that, yet. Interested to see where it goes.  

Jesus and Tara: 

They're at the satellite station, and arguing over whether to let various saviors live or not. I actually think their tactical plan for going into the satellite station was super-cool. They had to spread out and enter three (I think; there were lots of 3s in this episode) doors at once. It was well-thought-out and coordinated. I only have two other notes for this arc: 

1.    They talked of Denise quite a bit. Just a callback and of course she had lots of parallels to Beth. 

2.    Dean. The guy in the closet who lied and tried to kill Jesus was named Dean. Remember this in 7x13? 

I tried to figure out why Dean was used both times. The only thing I can think of is that there was deception both times. In front of Dean's hardware was where Richard hid the melon and lied about it. It got Benjamin killed. Here, Dean lies about who he is and it nearly gets Jesus killed. Any other insights? 

Carol and Ezekiel: 

Their big thing for this episode was to track the Savior that got away. It's still unclear what exactly is going on here, but what we have so far is that Carol, Ezekiel and co went to the place that has the research building in it. They were trying to take out the dude stationed there so he couldn't warn the Saviors that they were coming from that way. He threw an explosive at them, which let out a horde of walkers, and ran away. This whole episode they track him while Carol and Ezekiel talk about Ezekiel's confident attitude.  

1.    They use an orange golf ball to mark their way, pointing the T in the way they went so that those who come after them can follow. I totally didn't realize it was a golf ball when I first watched it, but obvious callback to Still and the golf club. You could interpret that two ways. A) Beth. Obviously. B) Once again, Carzekiel paralleled with Bethyl = romance.  

2.    They come across a strange walker that suggests a mystery the writers haven't revealed to us yet. Jerry axes the walker and Ezekiel says, "what befell this creature?" I couldn't tell for sure but it looked like it had been burnt with bleach or acid. Carol said they didn't have time to figure it out, but obviously they'll be coming back to that later.  

3.    I loved Ezekiel's attitude. I see a lot of people online who are annoyed with how he talks, saying it's "over-the-top." And okay, it kind of is, but I love it. It feels over-the-top to us because we're sitting in our living rooms, watching TV. But his way of speaking gets his people all hyped up and keeps them positive. I think it's super-effective.

4.    Let's not overlook the fact that Ezekiel calls Carol, "Baby." "Fake it 'til you make it, Baby!" 

5.    And, you know, SHIVA!!! ;D 

 Morgan:  

Morgan's had some super-interesting TD stuff. Obviously Morgan is in a dark place, which we predicted after Benjamin's death last season.  

1.    He stared at the walkers behind the fence for WAY too long. That was kind of disturbing. Visually it looks a lot like when Gareth did this with the walkers in the school in 5a. That probably doesn’t bode well for Morgan.

2.    He kept having flashbacks to Rick's speech in the church in S6. I thought that was interesting, because Morgan himself is seeing it differently than before. At one point, he heard Rick say, "We can't leave them alive." Then Eastman's voice says, "Where there's life, there's possibility." Then Rick's voice says, "Of them hitting one of us!" And then Morgan almost kills Jared. It's like he's hearing the speech, but where before he saw it as flawed, now he's using it as a justification to kill everyone. (I gotta say, I wouldn't be sad if he took out douchebag uh Jared.) 

3.    He also tells Jesus, "We're supposed to," which is exactly what Rachel says to Cindy when she wants to shoot Tara and Cindy stops her. This is obviously a theme we're seeing. Not sure where it's going yet though.  

4.    Also, when Morgan steps into the light, it's painful for him. Another way to show what a dark place he's in.  

5.    This shot of Morgan walking away after waking up

reminded me of two others, both of which revolve around Beth. The first is Noah trapped under the shelf and Daryl walking away from him in Consumed. (We don’t get the exact same shot, but the setup is the same.) The second is in 5x09. It's Rick, Michonne and Noah running back to Ty after he was bitten. 

I don't know if these things are purposely paralleled or if someone just likes to do shots this way, but I’ve wondered before if this shot in 5x09 could have symbolized them leaving Beth behind. Given that Morgan just woke up after being left for dead, in my mind, this kind of proves that theory right.

6.    Finally, *drum roll please* DEATH FAKE OUT!!! Morgan, Freddy and Andy are all shot. They all go down together (rule of threes). But one of them survives. Notice how Morgan was left for dead, and even appeared dead for a time. Then his eyes suddenly open. Where have we seen THAT before? 

Andy and Freddy are interesting choices. I'm sad Andy died. Remember that Freddy was the dude in S6 who saw Abraham coming toward him and suddenly thought he saw his dead wife standing in front of him. Just kind of interesting.  

Morgan's in a dark place and I wonder if his arc that's begun here will resolve his PTSD for good, or perhaps lead to his death. He said, "I don't die," and so far, that much is true.  

Rick:  

Rick is looking for guns here, which he did a lot last season as well. I'll talk about that more in my titles meta.  

1.    It gives us a closeup of the note Dwight gave them, which is super interesting. The place they're in is SHEPHERD office plaza. It talks about guns being on the 4th floor, and then Rick and Daryl climb up an elevator shaft. You gonna tell me that having "Shepherd" and "elevator" on the same note is a coincidence. Yeah, really not. There are also tons of Xs on this note.  

2.    I also notice that RIck tells Daryl that if he finds the guns, he should go to the window and use the guns to help those in the courtyard right away. I'm not sure how far away this building is from the Sanctuary, but I was thinking that maybe Aaron's group is waiting for Rick and Daryl to find the guns and come help them. Not sure if I'm interpreting that right, but if that's the case, you can see that, without the guns (they don't seem to be there) this plan is gonna south super-fast now.  The other option may be that there are still guards in the courtyard that Rick and Daryl slipped by, but need to be taken out once they have the guns. That may be who Morales called.

3.    So we have Rick in the dark tunnel. I can't help but notice that the light is behind him. It's like he's walked out of the light and into the darkness of the tunnel. That's probably a foreshadow of his arc this season. Based on the red eyes in 8x01, he's probably heading for some emotional darkness, and the dark tunnel often has to do with death. Not good. 

4.    So just before trying to enter what turns out to be the baby's room, he peers into another room, and I'm really side-eyeing that room. The curtains are red and green, 

and it's a really happy room. Flowers on the bedspread, yellowish walls, candles.

Yeah, it could be the baby's father's room, but it feels pretty feminine to belong to a guy. Could be another child or a woman who's been staying there.  

5.    Rick fights the Savior who tries to keep him from entering the room. That man, it seems, is probably the baby's father. He tells Rick, "No guns." 

So here's the next question. We're dealing with one of three scenarios here.  

1. Dwight was telling the truth about guns being there, but Negan moved them before Rick and Daryl got there. I've been wondering if there will be a twist where Negan knew they were coming and has something up his sleeve and theeeve and they'll find themselves trapped. That could be. It would also suggest Negan is on to Dwight, which wouldn't bode well for him. But why would Negan leave two guys and a baby on the 4th floor if he knew Rick and Daryl were coming? Not sure this option rings true for me. 

2. Dwight lied about the guns. That would definitely be bad for TF, and a departure from Dwight in the comics. I actually could see that because, unlike the comics, I think they'll eventually kill Dwight, and they're really not making Daryl look for reasons to make good on his promise to kill him. Then again, we don't see any particular reason for Dwight to lie. He told them he wanted Negan gone and seemed sincere. Again, unless there's something that's happened (like Negan found Sherry or something) and they haven't told us yet, I don't see this being the case either. Though it's a possibility. 

3. I think the third option is the most intriguing. Maybe Dwight didn't lie about the guns. He truly thinks they're up there. But they aren't. That would suggest Negan is lying to even the other Saviors (including Dwight who's one of his most trusted) about what's in this building. I mean, what's he hiding up there that he would hide from his own people? 

The first thing that came to mind (all Beth theories aside) is that maybe this is Negan's baby. Maybe one of his wives got pregnant and this is his daughter. Still not sure why he would hide her this way, or what the hell Morales has to do with it. But it opens up some interesting possibilities.  

6. Key theory. At one point, Mara tells Todd to lock all the stairwells. Then, when Rick and Daryl try to use the stairs to explore the upper floors, they're locked. We just see Daryl trying to kick in the door and a clear shot of the lock. 

The next thing we see is them climbing up the elevator shaft. We must assume they couldn't get the door to the stairs open. They didn't have the key. This theme is continued because Rick didn't get into the baby's room until he took the key off the Savior. Just kind of interesting. 

7. Gracie, has a TON of interesting symbols around her. There's her name, which has religious connotations. "Grace of God." Then there's the mobile over her bed. I'm seeing a dog and a frog, both Beth symbols. And there's a stuffed rabbit in the crib beside her. 

That is part of the theme we've seen around Beth. We've seen baby rabbits/bunnies and baby carrots. Remember when Rick found a jar of baby carrots on one of the wolves while in the RV in 6x03 (you know, the beginning of Glenn's fake death?) I feel like we might be seeing the fulfilment of that symbolism here. 

7. Rick also sees a mirror. We could relate that to the mirror theory, but I also think it's a matter of looking at himself in the mirror and not liking what he sees, which will probably affect his mindset moving forward. I mean, he can't help but compare himself to this dude he just killed. He just offed a father trying to protect a daughter that simply MUST remind him of Judith. That's gonna be hard for him to deal with. 

8. Annd Morales! Check out MY POST FROM YESTERDAY about why Morales is great for TD. Other things I noted: We see a fishing pole and fishing nets in his room. And yes, the obvious reference is to Oceanside.

I also wonder if it’s another callback to S1. Remember in episode 1x02, Amy and Andrea (2 sisters, one of whom is the origin of Beth's scars) in a boat talking. I wonder if Gimple relied on that to build Beth's Oceanside arc at all. 

Directly after that, in Tell it to the Frogs, Rick and Daryl first meet. Morales plays a role in that first meeting. He's the one who "warns" Rick that Merle has a brother who won't be happy they left Merle behind. We have a lot of interesting elements coming into play here. Two sisters on a boat on the water, the episode where Morales kind of facilitates Rick and Daryl's first meeting, and Merle, who was left behind (which Daryl kind of went ape shit about) and presumed dead, but popped up alive and well several seasons later. Meanwhile, we now have Rick, Daryl, and Morales in the same building, with all these interesting Beth symbols hanging out around them. 

9. Finally, there's also a mirror in Morales' room. A lot of people are wondering why they brought Morales back as a bad guy. We don't know why in the plot; what he's been through that's led to him being a savior. But Gimple did hint at the arc in TTD. He said Rick isn't who he was in S1, and neither is Morales. I think they may be setting up a situation where Rick doesn't like what he sees in the mirror, and he'll see that Morales has become twisted and evil because of his experiences, and Rick doesn't want to end up like him. Remember that in the flash forward in 8x01, he said the line Siddiq said to Carl, "My mercy overcame my wrath." And that doesn't seem to be the case with Morales, so far as we've seen in this episode. 

Daryl's arc: 

Like Rick he climbed up an elevator shaft and the key thing was around him. 

1. @thegloriouscollectorlady also told me something interesting. She said she'd just re-watched Clear because we'd been discussing where Morgan's story line might be going this season. In this episode, Daryl mentioned that it made sense for them to keep the guns on the top floor because it was "Higher ground" and that's where he'd keep them. There's a LOT of talk in Clear and on Morgan's walls about "higher ground." Didn't TD always say those walls would reflect Beth's arc? We're really seeing all of this come together now. 

2. The other thing we saw with Daryl was him find what was obviously a cell used for someone else. The dog food was obviously a callback to his time at the Sanctuary and I’m sure reminded him of being a prisoner there. But here's the super-interesting thing. Daryl was never handcuffed in his cell at the Sanctuary. Here we have handcuffs attached to a bar and blood on them. That's a MAJOR callback to Merle in S1, not only being left behind, but cutting off his hand to escape. And once again, Merle disappeared when Daryl went back for him and showed up several seasons later. So we have all the stuff with Rick and Morales I mentioned earlier, and Daryl meanwhile getting reminders of Merle. Can't help but wonder who was actually being kept in that cell. Hmm. 

The other thing is that whoever was in those cuffs obvious got out of them. There’s blood, which suggests escape. The food left there may suggest it was sudden. There’s not a hand lying on the floor as there was with Merle, so it’s safe to assume the hand wasn’t cut off, but maybe just pulling the hand out of the cuffs drew blood. Either way, someone was left in those cuffs but improvised and managed to escape. Just like Merle.

So maybe Merle is alive and will show up any time. Hehe. Or maybe someone else who’s been heavily paralleled with him will. ;D

Other than that, not much happened with Daryl. He's one of the characters with the closeups, so he's entering a major arc or trial, as Gimple said. I just don't think we saw much of it here. The promos for next week do make it seem like that will be a Daryl-heavy episode. And remember that there was an 8 and a 3 behind him in the trunk in Still.

This is getting long, so I'll talk details and theme tomorrow. The day after that I'll do my TTD post. 

Let me close by saying this: I've had a lot of people express worry over the past few days who read spoilers and knew Morales was returning. They thought the 101 Days without an accident sign was significant for this episode and would mean something for Beth. Now it may not seem that way on the surface, but I think the meaning is there if you look. 

Gimple said the characters with the closeups would all "go through something" by the end of this. But these closeups didn't appear in episode 1. They appeared here. This is the beginning of those arcs. The 30 Days Without an Accident sign was seen in 4x01 which was the beginning of Beth's arc. Both were the beginning of something big and the fact that we can tie it back to Beth makes me think it's the beginning of events that will lead to Beth. 

It's very subtle, but then I think sometimes Gimple is subtler than even we give him credit for. So that's what I got for today. What did everyone else think?