#hope this makes stuff a bit clearer!! and I always welcome further questions!!

[im-an-anthusiast]

ur ocs seem rlly interesting!!! could u maybe tell me more abt them if u dont mind? ^_^

Ah thank you so much!!! It's a little difficult to explain without me writing paragraphs unto paragraphs about the Magic system but I'll give a brief synopsis for each of my silly lil guys! If you ever plan to read the book I wanna write I guess spoilers? It's all Urban Fantasy btw

Erin - uses Magic that enhances her body! she is the teenage daughter to a púca, an Irish trickster spirit. She is very rambuncuous, chaotic, obsessed with mythology, and the resident lesbian menace. She loves having Maxwell play straightman to her jokes. Due to her heritage and having to lie to her best friend all her life, she is very insecure about being a liar. She's the physically strongest character by far btw. additionally, it is worth noting that she is incredibly tall and has unnaturally sharp teeth (due to a thing called a Remnant Signature, which is hardly worth getting into). also she tries to do a little vigilante stuff around her home city but Magic can only help so much, especially when the others also have Magic... Oh, who will help you now, my girl? Will you lay down and die, or doom your dearest friend to knowledge you held from him for so long?

Maxwell - Unknowingly the teenage son of king Midas, he is unaware of the world of Magic. He is incredibly pragmatic and has a strong moral belief in truth and upholding rules and laws. This worldview is very much shattered when he finds out about the entire world filled with Magic that all his loved ones knew of and never told him of.

By the end of book 1, due to his father's interference involving Magic drugs, flesh, and blood - he loses his eyes (they turn gold) and his body starts slowly turning into gold. Best friend to Erin, love interest to Calixte. oh and bi btw

Albion - Seeems to be a fav. I can't say I'm surprised - I can't stop writing about him. He seems insane, and he is. He is a Hexstarved, a kind of person who needs to feed on the flesh and blood of Magic users (Magebloods, or Magi). However, he doesn't seem to be quite as ferally consumed by the hunger as his kin. Or is that just another part of his seeming act? Horribly burnt, this lanky, 125-year-old ginger is truly disfigured (though you can still see his top surgery scars over the burns. Thomas works Magic, in some (literal and non-literal) ways), and his vivid, bright green-blue eyes glimmer like a tropical island in the ocean at the sight of a prospective, kicking meal

Santi - This allegedly- Albino Italian, aged in around their 200s, seems to never remove their dark grey suit, nor the nearly skin-tight cloth covering their entire head, face, and neck. An expert manipulator and liar, deceit comes easily to them, yet they seem to... hesitate, still. Has their master not trained them well enough? Or is yet another imprefection of theirs interfering? It seems this butterflies beautiful red eyes have not yet seen enough grief to know any better. Love interest to Thomas, btw. They may not have fallen first, but they have definitely fallen harder

Calixte - Insecure little French... boy. He says boy is close enough, anyway. daddy issues WHO? daddy issues this alt boy, yes sir! his spiked, sleek platform boots perhaps do not make you think you are about to meet a huge (classical) literature, linguistics, and philosophy enthusiast! He is an incredibly avid fan of Existentialism and he will let you know that. Anyway, in attempts to impress his father with his Magic, he may have hurt his body in horrible ways, overusing Magic drugs to get back in shape, leaving them horribly scarred and disfigured - before he eventually loses them all-together. Love interest to Maxwell, and a gay little endoboy

Thomas - half-australian, half-vietnamese, this BRICK WALL is descended from two very distinct Magic families, both of which discarded him shortly after realising his lack of willingness to cooperate, and his lack of a powerful Signature. Though he posseses both a Remnant Signature and a normal one, which is incredibly rare, the result itself is purely cosmetic (glowing green eyes) and harmful (Magic asthma/respiratory issues), respectively. The latter due to the families' own fault, of course. Noticing a poor, unregulated, unmanaged access to Magic drugs and medicine as he tried to get some for his own condition, he decided to take over, presently controlling about 1/3 of it. Reluctant best friend to Albion, whom he nursed back to health after the... accident. Very shy and anxious, especially in the presence of Santi, on whom he has had a crush for far too long. about 175 years old btw

[rqnvindr]

delicacies

pairing: baker!childe x gn!reader

genre: fluff, modern bakery!au, suggestive 

w.c: 1.5k

warnings: making out lol

synopsis: moving to a new country was quite the adventure. and you found new areas to travel further within the cute boy right down the road’s ocean eyes.

--

it had been a total of two weeks since you arrived in italy. getting settled was your top priority, but now that you’ve got your place set up and are getting used to college life in a new country, it was about time you started checking off some of the more leisurely activities on your checklist.

the streets were clearer, less busy than usual, on the weekend you enter the bakery. it seemed like an unpretentious, small business, with the simple, yet homely, beige walls and the old vinyl in the corner playing soft tunes. the bell rings when you enter, but no one seems to be behind the counter when you examine the array of cakes in the front display.

“welcome! i can help you when you’re ready to order!” a perky male voice interrupts you in the middle of eyeing a slice of strawberry cake. you look up to see a ginger with a warm smile, the crinkles around his blue eyes genuine. 

“hello! i was hoping to get this slice of cake right here.” you point to said strawberry treat.

“ah yes. my older brother has been WAITING for someone to try his new signature strawberry cake. but there honestly can’t be anything special about something that tastes the same no matter what.” you can practically hear the way he rolls his eyes as he takes the cake out to put it in a box. 

you raise an eyebrow. “complaining about your own products? that doesn’t seem like a very good marketing strategy, but i suppose reverse psychology will do its job.” 

“you sound like you know about sales quite a bit.” he smiles wryly. “are you a business major?”

“yup! i actually just moved here to study at the local university for an overseas program.” you only knew this guy for a maximum of 30 seconds, and he had already seemed so open and was able to read you like a book. it made you want to know more about him in exchange. 

“so your family bakes everything here?” you ask. 

“yes we do! my parents usually do the baking while my siblings and i work varying shifts here up front or stocking up the inventory. but we too, also experiment with different recipes to sell new things.” 

you hum in response. “you must have a lot of siblings then.”

the boy chuckles in response. “i do. i don’t know what i’d do without them.” he sounded so happy while talking about his family and it made you feel warm just hearing about how they worked together. 

“is this a competition for how much we can learn about each other within a span of a few minutes.” he smirks. “when we haven’t even learnt each others names yet?”

you inspect his attire, pausing at a name tag pinned to his shirt pocket. “ajax? nice to meet you, i’m (y/n).”

“well, (y/n), hope to see you again after trying my brother’s cake. hope it makes you realize that you gotta go for the chocolate or vanilla, not something that wasn’t meant to be a dessert in the first place.”

--

“i mean it was good so i came back for another one?” you can’t help but laugh when the same boy you met at the counter last week shakes his head.

“and you came to order right around closing time too, huh? guess this makes you a new challenge for me.” you avert your gaze to the ground, suddenly feeling nervous from his chastising. 

“fine, you can lose the pouty face. i’ll accept your questionable taste just this one last time.” he pushes his hair back with a sigh after packing up your order and you catch yourself staring. 

and of course, just when you allow yourself to indulge in the sight of a mysterious sea of unanswered questions in his blue eyes, he locks eyes with you. he knows you’re checking him out, causing him to smirk coyly. 

“ajax,” you begin, preventing the atmosphere from heading somewhere more tense. “have you lived here all of your life?” 

“as a matter of fact, no i haven’t. my family has been around, but i think we’ve finally found where we’re supposed to belong here. i’ve been living here long enough for people to start calling me by two different names too. ‘tartaglia’ and also ‘childe’.”

hm. so he was attractive and went by multiple names....

“‘tartaglia’? interesting, sounds like you’ve even earned yourself a name amongst the locals here.”

“i don’t know why they named me after the guy from that one play, though. maybe it’s because i leave a little bit of a stutter in people’s lives.” childe winks.

--

stutter, huh.

you thought he was just being a boastful young man. until you found yourself just happening to visit the bakery during times you predicted he’d be there. 

childe was like a peacock strutting his stuff out in the open, captivating, and divine. you had never met someone so adventurous yet down to earth at the same time. one moment he’d be bragging about his ventures with his friends, and then next thing you knew he’d do a 180 if his little brother called in the middle of your conversation. 

it wasn’t just his actions. he grew more bold with his words too. eyes shooting stars as he looked you up and down, noticing the new outfit you wore just for him when he purred about how good you looked and how it was always a treat to have someone as sweet as you visit after a long day at work. 

he was always full of surprises. you’re reminded of that when you find him standing behind the counter in a hoodie and jeans instead of his usual work attire.

“what’s up? disappointed that i’m not wearing the apron?” childe exits the space separating you two, and stands dangerously close to you. “don’t worry, i can put it back on when i show you the new frosting i’m working on.” he chuckles and rubs your shoulder, the small exchange of body heat making you feel warm all over.

“a new product, huh? is this to help your family business or to compete with your siblings?” you watch him count the cash at the register with your hands tucked underneath your chin. 

“sweetheart, even a guy like me can take on baking as a hobby rather than just a way to make ends meet or pick fights.” with that, he slides the cash register drawer closed. “come on, it should be processed by now.”

you slowly follow childe into the back. as promised, he puts the apron over his casual clothes, the sight rather domestic. 

he dips his finger into the light pink frosting after giving it one last stir and licks it off. the sight makes you shiver and lick your own lips.

“mmm. so i guess strawberry does taste pretty good. if done right of course.”

“what made you change your mind, mr.strawberry-anti?” you smirk.

“baking is a delicacy. i was never a ‘strawberry-anti’, just wary of how it’s supposed to mesh with desserts for the sake of compliancy. i made this frosting to test it out some more, and as a special treat. for you.”

before you can receive his gesture to claim your treat, childe gives you the same glimmering look that he always uses before pulling at your heartstrings even further. 

and it becomes way too much for you to handle when he leans his face closer to yours.

“here, have a taste.” childe teasingly presses a kiss to the corner of your mouth. he continues to leave gentle pecks on your lips, and you let out shaky breaths every time he pulls away.

“why did you stop?” you whine and he hovers over your entire body this time, pushing your hips onto the counter.

“hm, not enough? come closer then.” you wrap your arms around his neck, this time, getting a real taste of his creation when he claims your mouth whole. 

you grip onto his hair when he adds more pressure into the kiss, pulling especially harder when he nibbles on your bottom lip. as if having unlocked the key to your greatest depths, he effortlessly slides his tongue into your mouth, and you moan upon tasting the lingering strawberry flavor mixed with the feeling of your tongues connecting.

much to your dismay, you both pull away for air. your breaths mingle hotly before he coaxes you into taking a bit more for yourself. not long after you savor the sweetness, childe’s lips are back on yours. the way he sucks the cream off your lips makes your head spin, making you forget about everything else but this one boy in front of you, the mystery boy in a foreign country who sent you through a rollercoaster during only your first month of living here. 

“ajax...” you breathe out his name when he lets go of your now swollen and red lips. the boy proceeds to kiss your cheek and jawline gently, laughing softly against your skin.

“i can’t help it, baby. it tastes even better on you.”

[set-phasers-to-whump]

“i didn’t mean it”

prompt: “i didn’t mean it”

whumpee: nick burkhardt, also kind of monroe though the focus isn’t so much on his pain

fandom: grimm

hi hi hi!! this fic is for @misscrazyfangirl321 who requested this prompt with nick and monroe where one of them gets hurt and says something that hurts the other. i went with monroe for the first one and nick for the second. i really hope you like it!!

“This feels illegal,” Monroe says, stepping into the house after Nick. 

“It’s abandoned,” Nick replies, carefully pushing open a closet door and shining a light into it. “We’re fine.”

Monroe shakes his head at Nick’s back. He’s usually fine with this kind of stuff, but he’s had a weird feeling all day that he’s been unable to shake, so doing this feels like playing with fire. Still, he knows logically that they’ll be fine, so he gets down to business and breaks off from Nick to peek into the rotting wood of the kitchen cupboards. 

The two of them complete a thorough search of the downstairs area, then head upstairs, Monroe leading the way to what is probably a bedroom. He opens the door with a loud creak and steps in, Nick close behind him. 

He takes a step, and then hears a scuffing noise, and then there’s a hand on his back, pushing into him, and he falls forward before he has a chance to regain his balance. 

He lands hard, left hand folding underneath him with a snap that he actually feels, and then there’s a blinding pain, and he shouts, rolling over onto his back, cradling the broken hand to his chest. 

He looks up straight into Nick’s eyes, feeling tears of pain prick into his own. Through them, the blurry shape of Nick appears fairly unconcerned, and Monroe finds himself becoming angry along with his growing pain. Nick had been right behind him. Nick had pushed him. Nick had hurt him. 

“Are you okay?” Nick asks, and Monroe laughs out loud. Is he okay? Really? 

“What do you think,” he snaps, and through the tears in his eyes he can see Nick move back slightly. Good, he thinks. Leave me alone.

Nick’s hand reaches out, and then he’s touching Monroe’s hurting hand, touching the injury he caused, and Monroe pulls it away sharply, uncaring of the pain. He staggers to his feet and sees Nick mirror the movement. 

“I’m sorry, I just wanted to see if -”

“Shut up,” Monroe says, feeling a growl edge its way into his voice. “Shut up.”

“Monroe, please, I -”

“I said shut up!” Monroe shouts at him, shoving him backwards with all of his strength. He sees Nick’s body slam into the wall, hears his head connect with a loud thump, and before Nick has time to react, Monroe’s on him, pinning him to the wall with his uninjured arm. 

“Don’t touch me,” he says, and there’s no mistaking the growl in his voice now. 

Nick nods jerkily, and there’s a look of something on his face which Monroe is in no shape to decipher.

His mind is still reeling with pain and with anger, the former feeding into the latter like coal into a fire. Nick had hurt him, had pushed him down, had broken his damn wrist at the very least. He needs to make Nick hurt too. 

He presses the other man to the wall with even more strength than before, watches his eyes grow wide at the pressure, then says, “I don’t know what I expected from a Grimm,” spitting the last word from his mouth like it’s poison. 

He sees Nick flinch back as though Monroe has physically hit him. Satisfied with that reaction, Monroe lets go of him, then turns and walks out of the room, down the stairs, out the door, and to his car, which they'd driven here in. 

He hears Nick come running after him, shouting something that Monroe vehemently doesn’t listen to. He doesn’t want to hear whatever it is Nick is saying. All he can think about is the pain and the anger coursing through his body in equal measure.

He pulls away from the house and drives himself, one-handed, to the emergency room, where they run some x-rays, splint his wrist, give him some pain meds and a prescription for more, and tell him he’d better call someone to pick him up. 

--

By the time he and Rosalee get home, he’s starting to feel a good deal less pained and angry, and he can’t stop replaying what had happened in his mind. With a clearer head, he’s starting to feel bad about the things he’d said, but he can’t help wondering whether or not they’d been justified. Nick had pushed him down. He feels he’s got a right to be angry about that.

The two hadn’t spoken on the drive, but as soon as they’re inside, Rosalee’s bustling him onto the couch with a mug of tea and insisting he tell her what happened. 

He tells her, not leaving anything out, and when he’s finished, she sits there for a second, looking deep in thought. 

“You said he pushed you?” she asks, and he’s grateful she doesn’t sound upset. Just curious, like she wants to gather all the facts. 

“Well, it was his hand on my back and me falling on the ground, so I’d say yeah, he pushed me.”

“And you’re sure it wasn’t an accident?”

He...hadn’t considered that. But how could it have been?

“He could have tripped,” Rosalee says, “and stumbled into you.”

“Have you ever seen him trip?” Monroe asks. “He’s got those Grimm reflexes. I’m pretty sure they prevent him from tripping.”

Rosalee shrugs. “He’s still human, Monroe. And besides, has he ever hurt you on purpose before?”

She’s got a point, he knows. He really wishes she didn’t. What he’d said to Nick...he’s already regretting it, but if it had been completely unfounded? If it’d been an accident…? He doesn’t want to think about what Nick must be feeling.

--

The two of them sit on the couch for several minutes. Rosalee’s eyes haven’t left Monroe. He’d told her what he’d said in the heat of the moment, and she knows as well as he does that he hadn’t meant it, and further, that he’d been under a horrible cocktail of pain and anger when he’d said it, but Nick doesn’t know any of that. She wonders where he is, how he’s feeling. She worries. 

Outside, a heavy rain begins to fall, rather appropriately for the mood, she thinks. Monroe’s half asleep beside her, courtesy of whatever pain meds they’d given him at the emergency room. She’s considering calling Nick and asking him to come over to talk about everything, and has her hand on her phone about to unlock it when there’s a soft knock on the door. 

She stands up, careful not to wake Monroe, and heads for the door, pulling it open to reveal Nick, dripping wet and shivering, looking like he’s about to cry, which makes her want to cry. 

She opens the door a bit wider, reaching out a hand. “Come in, Nick. You must be freezing.”

He backs away from her, shaking his head. “I’m not gonna...not gonna bother you,” he says, and Rosalee hates it. He’s never before shied away from coming right on in to their house. He’s always welcome, and he knows that. So the fact that he’s standing on the porch, refusing to come in despite clearly being soaked and freezing, tells her how much he must be hurting.

“Listen,” she says, stepping out onto the porch with him. “Monroe told me what happened.”

He takes another step away from her, like he’s afraid she’ll be mad at him too. She sighs and follows him, staring at him resolutely until he looks back at her. 

“He didn’t mean what he said, you know that, right?”

Nick shakes his head minutely. “You weren’t there,” he whispers. 

“No, I wasn’t,” she agrees. “And so far, I’ve only heard Monroe’s side of the story. You want to maybe tell me what happened for you?”

He looks like he’s going to refuse, but eventually he speaks, voice low. “We were in an abandoned house. Not really for a case...just a hunch. I asked Monroe to come with me, and we went there early afternoon. We looked around downstairs, and then we went upstairs. Monroe was ahead of me. He went into a bedroom...I went behind him. There was a board sticking up from the floor, and he stepped over it without noticing but my foot hit it. I fell, and, and I reached out to try and get my balance and my hands touched Monroe but it was too late and I couldn’t stop myself from falling into him. He fell and I couldn’t stop it. I got myself out of the way so I wouldn’t fall on him, and then he was screaming and holding his wrist and I tried to help him and he wouldn’t let me.” Nick says all this incredibly quickly, breathing hard when he finishes. 

“And he said -”

Nick shakes his head, silencing her. 

“Nick, you know he didn’t mean it.”

Nick shrugs, and she can see in his eyes that he’d taken what Monroe had said to heart, that he’d been hurt. Which is completely fair, especially given his side of the story. 

“He didn’t mean them,” she says, a statement of fact that leaves no room to question it. “He didn’t know that you’d tripped, and he was hurting and upset and confused, and he took that out, misguidedly, on you. He already told me he regrets what he said, and if you come inside, he can tell you himself.”

Nick shrugs again, and Rosalee decides she’s had enough of that. She grabs his wrist and pulls him forcibly inside, leaving him dripping on the floor while she grabs some towels and dry clothes. 

“I’m fine,” he tries to insist, when she places a stack of Monroe’s clothes and two thick towels into his arms. 

“You’re shaking, Nick,” she says, and points him to the bathroom without another word. 

While he’s changing, Rosalee heads into the kitchen, brewing three mugs of tea. She’s in the middle of pouring the water when she hears Monroe stir on the couch. 

“Rosalee?”

She walks over to him, leaving the tea to steep. “Hey.”

“Hey yourself,” he says. “Who’s here?”

“Nick.”

He winces. “How is he?”

She tells him honestly. “He’s hurt. And confused. It was an accident, Monroe. He didn’t mean to hurt you.”

“And I hurt him,” Monroe sighs. “Where is he?”

“Changing.”

He looks at her quizzically.

“He was soaking wet. I think he walked here in the rain.”

Monroe sighs again. “I really messed all this up, huh?” he asks. 

“A little,” Rosalee says, “but you didn’t mean to. He’ll understand.”

“I hope.”

A minute later, Nick emerges from the bathroom in a thin t-shirt and a pair of sweatpants, both Monroe’s, both too big for him. His hair is still wet, dripping occasionally down his forehead. He’s still shivering slightly, Rosalee notes, and he looks altogether too small and too miserable for her liking. 

“Sit,” she tells him, standing up from her own spot on the couch to get the tea. 

Nick sits on the couch, at the opposite end from Monroe, not meeting his eyes. They both speak at the same time.

“I’m sorry.”

“I’m sorry.”

Rosalee sets down the mugs in front of them, then curls up in an armchair with her own mug, silently observing.

“Why are you sorry?” Monroe asks. 

“I hurt you,” Nick says, like he can’t believe Monroe doesn’t know. 

“Did you do it on purpose?”

Nick stares at him for a second, eyes wide. “On purpose? Why would I ever hurt you on purpose?” 

He should be angry, Monroe thinks. Why isn’t he angry?

He just looks sad. “I would never hurt you on purpose,” he says, looking at Monroe like he’s desperate for him to believe it. “I tripped and I fell into you, and before I could do anything you fell too. I’m sorry. I never meant to hurt you.”

“No, man,” Monroe says, scooting closer to Nick. “I’m sorry. I was hurting and I hurt you, too. I’m sorry.”

Nick nods, not meeting his eyes. A single shiver runs through his body. 

“Hey.”

Nick doesn’t look at him.

“Nick. Look at me.”

Nick’s eyes meet his, reluctantly. 

“What I said...I didn’t mean it. I have never expected to get hurt by you because you’re a Grimm. I shouldn’t have said that, and I really wish I could take it back. But I can’t, so I’m telling you I didn’t mean it, okay?”

“Okay.”

“Good,” Monroe says, and he knows all this may be about to turn super awkward, what with the important conversation out of the way and the two of them (or at least him, at any rate), not entirely sure where they stand. 

“Can I stay?” Nick asks, before they can reach an awkward silence. “Just until the rain stops,” he adds quickly. “Or I can go, if you… I can leave. But I’d rather not walk home in the rain.”

Monroe doesn’t know which part of that to focus on first: the actual question, the hesitancy in Nick’s voice when he’d asked it, the fact that he’d thought he had to ask it at all, the fact that he apparently had walked here…

“Of course,” Rosalee answers for him.

“Yeah, buddy, you know you never have to ask,” Monroe chimes in, deciding that everything else he’d wondered can wait for another time. 

“Thank you,” Nick says, relief evident in his voice. Monroe pulls him into a one-armed hug, frowning at the residual coldness he can feel on Nick’s skin. He holds on a little longer than he normally would, hoping to warm Nick up a bit, but eventually pulls away, patting Nick’s arm. 

“We good?” he asks, wanting to make sure they’re really okay. 

Nick answers him immediately, almost smiling. “We’re good.”

thanks for reading this!!! i hope you liked it!

[ambitionsource]

AMBITION Season 2 ♫ “Second Choice” [ 2.02 ]

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

TAKE YOUR PICK – The faculty organizes another duet week in an effort to bridge the student divides, but a change in rules creates more problems than solutions. Isadora gets a lesson in honing her inner diva. Harper and Shawn butt heads over how to handle the junior class.

59 Minutes (14.5K+ words) || No warnings apply.

[ ← Callbacks ] [ S2 Synopsis ] [ Are We Out of the Woods → ]

( Follow along with the music on Spotify here! )

INT. MATTHEWS APARTMENT - RILEY’S ROOM - DAY

Song Cue ♫ ♪ “Happy When I’m Sad” as performed by Jonas Brothers || Instrumental

Close on Riley’s coveted moodboard, only it’s in the process of transition. RILEY MATTHEWS is slowly taking items down, trying to reorient herself in this new world and find her sense of gravity again. If that means starting from scratch, then so be it.

Still, she hesitates as she takes the scrap of notebook paper down from its central spot. The notes she and Lucas were passing back and forth last semester, still boldly declaring “you’re better” in his untidy scrawl.

Riley gazes at it, handling it gently in her fingers. Obviously torn on how to feel about it now in spite of how many times she’s looked to it for inspiration. That, and painfully wistful.

CORY MATTHEWS interrupts her daze, startling her. He asks if she’s ready to go, not catching onto her earlier moment of melancholy. She moves fast and stuffs the note in her pocket, nodding and tossing her bag over her shoulder.

INT. MINKUS HOME - FARKLE’S ROOM - DAY

FARKLE MINKUS is getting ready for the day, scrutinizing himself in the mirror. He’s wearing one of his favorite sweaters, but he’s dissatisfied with how it looks. It’s a little too loose around the middle. He pulls it off in a huff, sorting through his other clothes in his closet.

As he pulls a different selection, the dark fabric of this one allows for clearer imperfections. There are a couple of stray hairs clinging to the cashmere, a slightly more perceptible amount of shedding than one might typically notice.

He hardly focuses on that as he pulls it on over his head. What the dark color does accomplish is a more fitted appearance, so he decides that’ll have to do for now. As his mother calls for him, he runs his hands through his hair one more time in the mirror. Still attempting to maintain that perfectly polished exterior, yet there’s a frayed edge he can’t seem to smooth over.

INT. AAA - DANCE STUDIO - DAY

Bright and early, MAYA HART is in the building before anyone else. She’s in the midst of an intense practice, not giving up any scrap of rehearsal time.

She stretches and moves with expert precision. The only aspect out of shape are her dance shoes, pretty worn and even falling apart in some places. She certainly can’t afford new ones.

Hence why she’s working harder than everyone else. She checks her phone for the time, tightening her ponytail before running through another routine.

INT. FOSTER HOME - KITCHEN - DAY

ISADORA DE LA CRUZ is finishing up a quick breakfast as she gets ready to head out, almost missing KAREN VAN HERSCHING as she enters carrying a crying ADRIEN WOODS. Isadora winces at the noise, but that’s only the beginning of her problems.

Karen questions why she didn’t wake up Ava and Arianna for school. They both overslept, and now they’re likely all going to be late.

Isadora: That’s not… my job?

It’s evident that Karen is not impressed with this response. She reminds Isadora that now that Blue is gone and moved out, she should be pulling more weight to help the family around here. It’s part of the expectations in this household.

Isadora looks less than thrilled about it. She mutters about being late herself and shuffles out, Karen looking after her in disappointment.

INT. AAA - HALLWAY - DAY

More students are beginning to file in for the day, the hallways becoming lively and filled with chatter. Still figuring out her way around, HARPER BURGESS half-jogs through the halls until she runs into ERIC MATTHEWS. He asks if she’s heading to Jack’s office for their meeting.

Harper: Well, I’m certainly trying.

Eric laughs with her, offering to help guide the way. She questions if he just got here, but he explains he’s been here for a bit. He likes to show up early and get things in order before another full day at AAA -- and boy, has there been a lot to get in order these days.

EXT. AAA - DAY

Skateboarding up the street, DYLAN ORLANDO is on the phone with Asher. He explains that Lucas wasn’t at their usual spot to walk to school, so he doesn’t know where he is. He hopes he’ll still be on time, if he shows up at all.

As Dylan zooms by, focus shifts down the street a little further… around the corner and conveniently out of view, a parked car comes into frame --

INT. ZAY’S CAR - DAY

Which is where we find ZAY BABINEAUX, leaning forward across the median to kiss CHARLIE GARDNER. It’s clear they’ve been here for a hot minute, just out of sight and ready to head into school yet very… distracted.

They exchange a couple more enthusiastic kisses before Zay finally manages to pull away from him, catching his breath.

Zay: We should really go. We’re going to be late.

Charlie: [ humming ] I… think we can take another minute --

Another minute, another kiss. Zay can’t help but laugh, and “another” becomes a handful.

Zay: Oh, so being late isn’t a heavenly sin?

Charlie: [ over Zay’s laughter ] Shut up!

Charlie lightly shoves him and pouts, Zay laughing harder. He takes his face in his hands, making him meet his eyes. Although the mood is playful, there’s no doubt from the way they handle one another that they’re crazy about each other.

Zay: One more minute, then.

It’s difficult to maintain the pout when Zay is looking at him like that. Charlie fails to hold back a smile, allowing him to pull him back into another kiss.

Just as the school bell rings...

INT. AAA - JACK’S OFFICE - DAY

Eric, Harper, and SHAWN HUNTER are grouped around JACK HUNTER, who is standing behind his desk organizing papers. He thanks them all for being willing to meet so quickly, then states they need to address the tension they’re still grappling with from the first week.

All of the faculty members agree, and Eric echoes Jack’s thought that it’s going to take a more concerted effort from all of them to get everybody back on the same page. Jack opens the discussion to ideas of how to accomplish this task.

Shawn: I’m thinking mortal combat. Throw ‘em in a ring Hunger Games style, last one standing is new top dog.

Jack: Remind me why I haven’t fired you yet.

Eric: Besides, we all know what our odds are and the last thing we need is Lucas taking over and setting the place on fire.

Jack: Or instituting a code of silence in a school for the arts.

Shawn, intrigued: … now that you’ve mentioned it --

Eric & Jack: No, Shawn.

Harper is lagging a bit behind, not accustomed to the faculty banter the way Angela once was. It’s hard to discern what’s serious and what isn’t, so she fires a shot and hopes for the best.

Harper: Have we tried just… speaking to the students?

[ Pointed silence. Shawn gives her a look, crossing his arms. ]

Shawn: Okay, I know you’re new here, but give us a little bit of credit.

She doesn’t appreciate Shawn’s tone, but they’re already moving past it.

Eric: Well, there’s always more paint in storage for another safe tactical --

Jack: NO. We’re still scraping paint off the asphalt in the parking lot from the last time.

Bad ideas aside, Eric reminds them that all things considered, the duet assignment from last semester was a rather effective way to bridge gaps between students. It brought the class closer together before it inevitably… fell apart again, and that same tactic could be just as impactful this time around.

This seems to sit well with the others. Harper obviously doesn’t remember what they’re referring to, but she nods along anyway. Jack declares that it’s settled, they’ll do duets this week. Shawn and Eric agree and leave it at that, heading out.

Harper hangs back for a moment, hoping to ask Jack for advice. But it’s evident from the way he settles into his desk and starts going through work that there is a lot on his plate, so she hesitates. When he lifts his head and asks if there’s something he can do for her she denies it, shaking off the uncertainty and assuring him she’s fine.

Jack: Are you sure? You know you’re always welcome to --

Harper: No, no it’s all good. No worries, I’ll… I can handle it. Thank you, though.

She gives him a confident smile, spinning on her heel and marching off to do just that.

INT. AAA - TECHNICIAN’S BOOTH - DAY

As Isadora enters the technician’s booth, the reason for Dylan missing Lucas becomes clear. It’s because LUCAS FRIAR is cooped up in his nook, still asleep from the looks of it. Given how haphazardly the panel is put to the side, it’s likely he showed up late at night.

Isadora sighs, shaking her head and marching over to him. She shakes him awake, surprised he’s still “in bed” given that the bell has already rung. That’s careless for him, and as she warns him when he grumbles at her and blinks himself awake, next time it’s going to be someone else other than her who finds him like that. Then they’ll have more problems than they already do.

Lucas waves her off, sitting up and starting to pack up. But Isadora made some important points, and she looks both irritated and concerned as she waits for him to get ready.

INT. AAA - HALLWAY - DAY

Maya stops by her locker before class, running into SARAH CARLSON and DARBY WINTERS. While Darby gives her a cheerful greeting, Sarah instead zeroes in on Maya’s decrepit shoes.

Sarah: Might be time for a new pair, Hart. [ a beat ] Oh, wait, that’s not an option, right? Why bother when the illusion’s already been shattered?

Certainly one way to remind us that Maya’s big money facade from last season was blown. She sneers as Darby laughs along, slamming her locker closed and leading the way to class.

INT. AAA - AUDITORIUM - DAY

The class is congregating in the front and center section like usual, Isadora and Lucas descending from the booth to join them. Dylan and ASHER GARCIA seem relieved as Lucas comes over to join them, fresh shirt disguising his overnight stay and bedhead hidden behind an increasingly familiar snapback.

Harper and Shawn enter the auditorium, the former taking front and center stage and eagerly getting the attention of the class. She begins to discuss the assignment for the week and what it might entail, when she’s suddenly interrupted by Shawn pulling her back. He tells the class to talk amongst themselves and pulls Harper aside, embarrassing her as he implies that she doesn’t know what she’s doing.

Shawn: I just want to make sure we’re on the same page before you go off saying whatever you’re going to say.

Harper: And you couldn’t have thought to do this… twenty minutes ago? Or any time before right now in the middle of class?

Shawn: There’s just certain things that you need to emphasize if you want this assignment to work. Mostly, they cannot choose their own partners. It will not help the situation.

Harper: What are they, toddlers?

Shawn: Have you met them?

Although Shawn has to be coming from experience, Harper still doesn’t care for the way he’s talking down to her. She nods along to his further notes before taking the stage again… and completely disregarding what he told her. She explains the assignment, and sets them loose to choose their own partners.

It’s instantaneous madness. Shawn is visibly like are you kidding me, but Harper seems proud of herself for standing her own. The chaos has already been unleashed, in any case.

Off Shawn’s mortified expression --

Cue title sequence.

Once the mandate has been laid down, everyone jumps into deciding their partners. Riley turns around and finds Zay, the two of them agreeing to work together as it’s been a while since they had a good team up.

Riley immediately begins brainstorming ideas, but Zay is distracted when he catches Charlie heading out of the auditorium. He offhandedly tells her they’ll catch up later, subtly jogging his way after Charlie. Riley watches him go, reluctantly accepting the dismissal.

Riley, flatly: Sure. No problem.

Panning to the techies, Isadora doesn’t even get the chance to breathe before she’s summoned from center stage. Maya points at her, already ready for action.

Maya: Izzy! Come on. I’ve got a lot of ideas.

It’s not a question, it’s a statement. No room for discussion. Lucas looks more than bothered as she tosses him an apologetic smile and heads towards the stage, obviously expecting things to go quite differently. Behind him, Dylan and Asher begin discussing their take.

Dylan: I’ve got it. It’s perfect. We have to do Spiderman: Turn Off the Dark.

Asher: [ catching his hands and shaking his head ] No, babe, no --

Dylan: I know it was a flop, but I think we could save it. I think we could really do something with it.

INT. AAA - HALLWAY - DAY

Zay catches up to Charlie, who seems surprised he even noticed he left. Zay begins to apologize for partnering with Riley without thinking about it, but Charlie doesn’t seem at all upset.

Zay: You know, she’s just going through it right now and I think she could use a friend in her corner.

Charlie: Oh, hey, no problem. It’s probably for the best anyway, considering…

You know. They both know what goes without saying -- the same factor that has them having this conversation in the hallway alone rather than in front of their peers, or parking down the street to kiss before school. Charlie shrugs off the bleak reminder, remaining positive.

Charlie: Besides, Yindra is a great partner. She agreed we’d be excellent, so long as I promised never to kiss her again.

Zay laughs, coming around to stand in front of him. He speaks softer.

Zay: Well, I don’t have to worry about that, do I?

Charlie, coyly: … no…

It’s a flirtatious little moment, and it’s effectively squandered as a couple of other students exit from the classroom nearby and head down the hall. They don’t pay them any attention but Zay and Charlie still take a couple steps back from one another, shifting into something stiffer.

They conclude that they’ll see each other later, heading off in separate directions as Zay jogs back to the auditorium.

INT. AAA - BLACK BOX THEATER - DAY

Harper is gathering her things together for lunch when Farkle pokes his head in. He awkwardly states that he doesn’t see how he’ll be able to complete the assignment this week, given that there’s no one left for him to partner with.

Harper doesn’t seem to buy this, as she’s certain the numbers are right from her last count. Farkle obviously is a bit miffed she doesn’t believe him, so he reiterates the statement again despite not wanting to keep saying it.

INT. AAA - AUDITORIUM - DAY

At the same time, Lucas is meeting with Shawn to express the same thing. He has a more blase approach, shrugging and claiming that he supposes he’ll just have to do something else.

Lucas: I mean, you know how not getting to perform is really gonna break my heart.

Shawn: Oh, I didn’t realize you switched your focus to comedy.

Harper and Farkle enter through the wings, coming to find Shawn. He explains that he was just discussing with Lucas what his alternative assignment might be, since he doesn’t seem to have a partner.

Harper: How interesting. Because Mister Minkus just came to me expressing the exact same dilemma. [ Clapping her hands together. ] There you go. Simple solution!

Lucas and Farkle stare at each other, and immediately both of them launch into complaints. No way. Nuh-uh. Not gonna happen.

Farkle: I’d rather be skinned alive.

Lucas: That can be arranged.

Farkle’s eyes widen, looking to Shawn for a life preserver. He steps into the discussion, expressing that knowing these two and their unique dynamic this is probably not a good idea. He insists that Harper should trust him, after two years of being their teacher.

Harper: Is that so? Because what I’m seeing is a problem that two students are experiencing, in which a clear and present solution is sitting right in front of us. A good teacher would perhaps challenge those students to get over their own egos.

Lucas and Farkle both continue to argue, but Harper has had enough of the three of them. It’s only been a couple weeks, and yet they’re all tap-dancing on her last nerve. She lays down the law, stating that it’s either work together or fail the assignment.

Shawn is displeased, and the boys are downright livid. They storm off in their opposing directions, leaving Shawn to ruminate on it as Harper leaves him behind on the stage.

INT. AAA - CAFETERIA - DAY

Isadora is making her way towards the techie table in the courtyard, JADE BEAMON and NATE MARTINEZ waving her over. However, she gets sidetracked by Maya, who swoops to her side and is already buzzing with a million new ideas she’s brainstormed over last period. She’s pulled in her direction without much effort, joining her at her usual table.

EXT. AAA - LUNCH COURTYARD - DAY

Lucas arrives just as they watch Isadora get steered away from them. Jade grimaces. JEFF MONROE makes room for Lucas.

Jeff: Well, that’s an unexpected twist.

Nate: Damn ugly one at that.

Lucas, deadpan: Given how today is going so far, can’t say I’m fucking surprised.

INT. AAA - CAFETERIA - DAY

Isadora joins Zay and Riley at Maya’s table, all of them happy to have her join them. As they launch into eager conversation about what their number might be like, the girls agree that they’ll meet after school at Maya’s place to start rehearsing.

Although unintentional, Riley’s attempts to contribute to the conversation are brushed over. She gives up about halfway through, focusing on her food instead and keeping quiet.

INT. MAYA’S APARTMENT - DAY

So meet up Isadora and Maya do, the latter already launching into a myriad of ideas and energetically going on and on about how their voices should compliment one another and they’ll have no trouble getting Isa up to snuff on her dancing. Isadora tries to keep up, finding ways to get a word in and contribute which Maya eagerly builds upon.

Once they take a second to breathe, Maya states that she’s glad they decided to be partners. There’s an electricity in the air… perhaps a duet is coming on…

Song Cue ♫ ♪ “Popular” as performed by Wicked Original Broadway Cast || Performed by Maya Hart (feat. Isadora De La Cruz)

The rendition of the Broadway classic picks up right from the start, Maya declaring that Isadora is going to be her new “project.” As the number unfolds, both girls dance around the apartment, don some of Maya’s fancier knock-off clothes, totally fall into the theatrics of the number.

Just as Maya is giving the declarative “Look at you, you’re beautiful” line, it’s not a fear of the new friendship but a text message that disrupts the number. Isadora checks her phone, reading whatever text she just received and growing panicked. She hastily exclaims she has to go, Maya calling a playful “you’re welcome” after her.

Maya finishes out the song on her own, at as full Galinda power as ever.

EXT. AAA - DAY

Isadora is rushing back up the steps to school, cursing out a “shit” with every step she takes. The sounds of heavy equipment being moved float in...

INT. AAA - AUDITORIUM - DAY

While the performers have vacated the premises the auditorium is buzzing with activity, all of the techies present for their annual technical inventory. Students from every grade are in attendance, the freshmen learning the ropes from the upperclassmen of what goes into one of their most important days of the year.

Lucas is overseeing the inventorying of the items in the construction racks, DAVE WILLIAMS digging through the wood and two-by-fours to shout to him how many pieces they currently have. Lucas makes him count again, reminding him they need an accurate take on all of their materials before Shawn goes and places the order for the year before the first production.

Isadora clambers in and pushes through the underclassmen, searching for Lucas. He rolls his eyes when she spots him, not waiting up for her as he continues his march around with the clipboard she was supposed to be carrying.

Lucas: Look who decided to show up.

Isadora: I’m so sorry. I totally spaced.

Lucas: No kidding. I mean, if you have better things to do --

Isadora: I’m here, aren’t I? What can I do to help? Give me something to do.

Lucas exhales a sigh, shrugging and stating that she can do a walkabout and see who might need help. He feels like they’ve got it covered, though, so maybe she should just go.

Isadora swallows the sting over the dismissal and pushes past it, grasping for a new conversation to ease the tension. She asks him what ended up happening with his assignment, who did he get partnered with? Lucas scowls.

Lucas: I don’t want to talk about it.

INT. MINKUS HOME - DAY

Farkle is seated on the couch in the living room, helping EZRA MINKUS with his homework. Ezra is working hard, but Farkle is zoned out. When his little brother complains about his half-hearted state, he snaps out of it but argues against the fact that he’s acting any sort of way. Regardless, it’s evident that Ezra greatly values the attention of his favorite brother.

JENNIFER MINKUS comes into the living room, jokingly commenting that it’s such a surprise to see Farkle out of his bedroom. He’s been acting too much like Uri as of late. She asks if it’s nice to be back at school and in routine, also seeing how he’s feeling. She touches his forehead to check his temperature.

Farkle shrugs away from the touch, brushing off the topic and instead focusing on school. He complains about the current assignment they’re doing.

Jennifer: Who are you working with, then? Maya?

Farkle: [ with a snort ] I wish. I mean, she wishes. No, I’m stuck with Lucas.

Jennifer: Lucas? Is that the shifty-looking one who used to chase you around during class and threaten you with power tools?

Farkle: Only in theory. But yes.

Jennifer: … well, I suppose it’s nice you’ve become… friends, then.

Farkle looks disgusted at the notion. He goes back to focusing on Ezra’s homework page.

Farkle: Believe me, we are not friends.

INT. AAA - JACK’S OFFICE - DAY

To that end, Jack is meeting with Lucas to discuss his feelings over being partnered with Farkle. He also takes the opportunity to lightly broach the topic of his absence earlier during the first week and his overall… headspace coming off of how last year ended.

Although it’s the first we’ve seen of Lucas being back in Jack’s office this season, the atmosphere between them is comfortable. Lucas looks perfectly at home in the chair across from Jack’s desk. The friction from the start of last year is long gone, instead building on the familiarity and rapport the two of them started to build during the spring.

Still, that doesn’t mean Lucas is an easy conversationalist. He’s surprisingly aloof about the duet assignment, but it’s a clear projection that Jack can see right through. For all the effort Jack puts into trying to have an honest dialogue, he doesn’t get very far, but it’s clear that he’s taking this unique position he has with a student like Lucas more seriously than before.

Jack: I’m only trying to see where your head’s at.

Lucas: Sure you wanna go down that rabbit hole? [ Cheekily. ] Scary place.

Jack, deadpan: Yes, I’m quaking. [ a beat ] I just want you recognize that I’m listening. There’s a place for you to express your opinions.

Lucas blinks at him, the conversation taking on a more meaningful slant. For a moment, it seems as though he might actually say something of value.

Lucas: … I gotta go.

He doesn’t wait for approval, slipping out the door and back into the crowd transitioning between classes. Jack sighs, sauntering out after him.

INT. AAA - ATRIUM - DAY

As Jack emerges from the front office, he takes a second to look around him. The students running from place to place, the school day continuing on in spite of everything that has unfolded in these halls. He looks at it all with a mixture of pride and exhaustion -- for all the things they’ve built in these walls, there’s so much work to be done.

Something has to make the struggle worth it. Something has to give the job meaning…

Song Cue ♫ ♪ “A Sentimental Man” as performed by Wicked Original Broadway Cast || Performed by Jack Hunter

The song conveys just that, highlighting Jack’s attachment to the school and the students as he wanders the halls. He feels responsible for all of the students in their care, and wants to help them reach their greatest potential with any opportunities they can offer them.

Where the lyrics shift focus to Elphaba, Jack’s focus shifts to Lucas. He watches from afar as Lucas closes his locker and disappears into the crowd, expressing his dedication to making sure he’s taking advantage of all he’s capable of just like everyone else (“Cause I think everyone deserves the chance to fly…”)

Case in point, Jack takes his role at AAA quite seriously, and he intends to zero in on one of their most troubled students. For whatever reason he’s been granted a shred of respect and trust where others have not, and he’s not going to waste it.

As the orchestration peters out, he leisurely makes his way back to the office.

INT. AAA - DANCE STUDIO - DAY

Zay and Charlie are rehearsing together in their usual studio, having put in a good morning workout. Charlie is in the process of stretching while Zay texts with Riley about their assignment, the former teasing him about he doesn’t take his cool down routine nearly serious enough. One day, it’s really going to come back to bite him.

Zay: It’s fine, I know my own body. I’ve got bionic muscles.

Charlie: That can’t be true.

Zay: It’s… it’s a joke. Like bionic… God, you are hopeless.

Charlie changes tracks, noting his frustration about how things are between him and Riley. He feels like there’s a wall up between them ever since the AAAC, and he doesn’t know how to fix it. As Zay comes and takes his hands to help pull him to his feet, Charlie questions if he’d be willing to keep an ear out since they’re working together this week.

Zay: I mean, I’m not going to be your spy or anything, but if it comes up I’ll see what I can figure out.

At this point, Charlie will take anything. He gives him an appreciative nod.

INT. AAA - HALLWAY - DAY

Farkle is at his locker, reading through a text exchange with Lucas (listed simply in his contacts as Jackass.) Given the simple “no” that he sent in response to Farkle’s last message regarding their assignment, it seems like they won’t be doing much work on it at all.

All things considered, Farkle doesn’t seem bothered. He’s resigned as he unloads his books and grabs his rehearsal duffle, surprised when Eric calls to him from down the hall. He asks if he has a moment for a quick chat. From the expression on his face, that seems like the last thing Farkle wants to do, but he obliges.

INT. AAA - ERIC’S OFFICE - DAY

It’s clear that Farkle is not at all relaxed in Eric’s usually comforting space. He avoids eye contact as Eric starts a conversation with him, asking how he’s feeling about the new year given everything that unfolded at the end of last semester. They haven’t exactly had the chance to unpack all of that.

Farkle shrugs it off, jittery as he sits under Eric’s psychological microscope. When the focus shifts to his sudden partnership with Lucas, Farkle seizes the opportunity to seem affable and claims that he’ll put in a more pointed effort to get that duet up and running. If it will get the well-meaning counselor off his back, he’ll do just about anything.

Eric starts to double back to everything that remains turned upside from last year, but the bell ringing for class gives Farkle the excuse to bolt. He requests a late pass, already gearing up to get the hell out of there.

INT. AAA - AUDITORIUM - DAY

Charlie, YINDRA AMINO, and Zay are talking on stage when Riley wanders over to join them, intending to discuss the project with Zay. There’s an awkward beat as she acknowledges Charlie, but avoids looking at him any further through the duration of the conversation.

However, the universe has other plans. In the midst of discussing their song choice, Dylan flutters over and starts to drag Zay away, reminding him that he agreed to help him and Asher with the staging of their assignment. Yindra also gets distracted, NIGEL CHEY pulling her into a different discussion. Suddenly, it’s just Riley and Charlie, stuck in conversation after not speaking to one another for months.

Charlie speaks first, trying to find a clever way to break the ice. It doesn’t work, so he instead switches into apologizing about everything with the AAAC.

Charlie: Look, I’m sorry about the Instagram. I shouldn’t have done what I did. Everything just blew up so fast, and --

Riley: Charlie, please, stop. I get what you’re trying to do, trust me. I’ve been attempting to smooth things over because of that stupid page basically since summer. But I’m not… I’m not ready to deal with this yet. With you.

Charlie is evidently disappointed. He wants to fix it, but he doesn’t know how. Especially given that he can’t give her a good reason for why it happened.

Riley: I can’t even figure out why you would -- I’m just not there yet. To forgive you, let alone forget. I’m sorry.

Either way, he can take a hint. He nods and backs off, Zay returning just in time to get a full dose of the strain. He tries to say something to ease the tension, but Riley simply tells him they’ll catch up later and excuses herself.

In the house, Farkle is straggling after Lucas and attempting to negotiate with him as they walk through the aisles towards the booth. Although he isn’t keen to do the assignment either, he thinks they need to do something just to get everyone off their backs.

Lucas: Look, pick whatever stupid loud song you wanna do, and I’ll put the spotlight on you and we’ll call it a day. There. Assignment finished.

Solid plan, but Farkle still isn’t convinced. Although he’s stuck with his least favorite person, he’s dying to have an actual conversation with someone rather than continuing to stay isolated. It’s a paradoxical dilemma, and he ends up suggesting they still meet to go over logistics anyway.

Lucas does his equivalent of a feral cat growl, but agrees. He can set the place to meet and he’ll give him fifteen minutes of his time.

INT. AAA - HALLWAY - DAY

Zay and Riley are leaving the auditorium together, deciding where they’ll meet for their after school rehearsal. For once it seems as though Riley has his full attention… until Maya swoops in, asking for help with her and Isadora’s choreography. She pulls him away, Riley somehow alone in the hall again.

She hesitates, looking around her and not knowing where to go. She spots CLARISSA CRUZ, HALEY FISHER, and Darby together chatting and starts in that direction, but they disperse before she can get close enough to join them. It’s a no go on the techies, seated on the steps outside the side entrance to the auditorium. It’s a no on Farkle, standing at his locker alone.

It’s a no on Lucas, although Riley clearly wishes it wasn’t. She watches from afar as he shuts his locker and takes off in the opposite direction, not even casting a backwards glance in her direction. With a sigh, she wanders over to her locker.

Inside the door, it’s practically a relic of the way things used to be. There are pictures from the past year much like Farkle’s locker, only the way Riley’s are arranged demonstrate the care and love she puts into maintaining them. It’s evidence of a different time, when she felt like she knew who she was and who her friends were.

She hesitates on a photo of her, Lucas, and Isadora, then drifts to one set up right below it. It’s solely of Lucas, taken sometime around last year’s duet assignment when they were spending a lot of time together alone. Feels like a million years ago.

Riley glances to her phone, finding the message thread between the two of them. The last messages were sent months ago -- early in the summer, apologies from Riley and a plead to talk about things that went unanswered.

Song Cue ♫ ♪ “Talk To Me” as performed by Bye Bye Birdie! Original Broadway Cast || Performed by Riley Matthews (feat. Asher Garcia, Nigel Chey, Charlie Gardner, and Nick Yogi)

As Riley closes her locker, she leans back against the metal and launches into the melancholy Broadway tune. It concisely captures her frustration with the situation at hand -- hoping that Lucas can’t just be completely over her, knowing that if they just had the chance to talk things through things might be different.

This is accented by different cuts to Riley watching him from afar and wondering the same things; in class, in the auditorium, separated by the courtyard windows during lunch. It’s similar to her former 50s crooner in 1.07, although the circumstances are more fraught than the simplicity of back then.

The barbershop quartet comes in the form of Asher, Nigel, Charlie, and Yogi, who saunter into the hall behind her and provide the vocal backing for her musical plea. They’re dressed in matching color-coordinated vests, obviously not an actual presence in the scene but more so a figment of Riley’s imagination.

INT. AAA - AUDITORIUM - DAY

They also serve the purpose of dancing with Riley, intercut through the other sequences. It’s all reminiscent of the dancing she used to do with Lucas -- up to the grand swell about 2 minutes in where her imagination fills in that gap. For a brief reprieve, it is Lucas dancing with her…

INT. AAA - HALLWAY - DAY

Until reality disrupts the dream. Riley nearly rams into Lucas in the hallway, him catching her from stumbling on instinct. There’s a moment where they lock eyes, all of the potential in the world between them…

Then Lucas walks away. He slides past her, leaving her standing there.

The quartet takes over the last vocals as Riley ends up back where she started, alone in the hallway with nowhere to go. She’s stranded herself, and the only person she truly wants to talk to is the one already walking away.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “God Is A Woman” as performed by Ariana Grande || Instrumental

Ariana is playing through Isadora’s bluetooth speaker, banged up and cheap but gets the job done. She and Maya are walking through steps for a potential routine to the pop hit, the latter speeding through it and enthusiastically discussing how certain elements will work in the final performance.

Farkle enters through the dressing room doors just as they’re running through steps for the chorus. He hangs back in the shadows and watches from the wings, witnessing his own replacement happening in real time.

Isadora is doing her best to keep up. Interestingly enough, she’s starting to look a little bit more like Maya -- her hair has been styled with more care than usual, and the color palette of her outfit is lighter, complementing the pink and white that Maya wears. Her lips have a bit of a shine to them, the most neutral lip gloss Isa could find amongst Catherina’s extensive makeup collection.

But she’s nowhere near at the same rehearsal level as the reigning diva yet, so she gives up about halfway through and claims she can’t do this. Maya jogs and pauses the music.

The two of them debrief, Maya offering to walk Isadora through whatever steps she might be having trouble with. But it’s not the routine itself, it’s everything. It’s just a lot  to adjust to at once, so she just needs some time to get used to it. She’ll keep practicing, but it isn’t clicking right now. Maya grants her the right to take a break, Isadora heading out through the other doors by the costume loft.

Farkle waits until Maya is alone to make himself known, stepping into the stage lights and making snarky commentary on how her new pet project doesn’t seem to be going so smoothly. She brushes him off and continues to gather her things.

But he doesn’t want the conversation to end. This is the most attention she’s paid him in weeks, and he doesn’t want to let it go. So he keeps it going the only way he can think of by digging the knife in further, insinuating that she must’ve had to stoop low if she had to go through the techies to try and find someone to replace him.

Maya turns on him, giving him her full attention as she tells him off. Despite what he might believe, she’s not using Isadora, and certainly not to fill some void he thinks he left. He shouldn’t flatter himself that much importance.

Maya: Izzy isn't just some “project” for me. Believe it or not, I don't compartmentalize my friendships by how they most benefit me.

The tension takes on a familiar slant, a competitive edge emerging that needs to be expressed through music. Clarissa and Haley enter together with their cellos just as Farkle and Maya are staring each other down, claiming that they booked the auditorium for this time slot. So what are they doing there? And aren’t they not partners this week?

Maya states they’re just in time, as they can help wrap this all up. When Haley is like “but we came to rehearse our thing,” Maya doesn’t seem bothered.

Maya: Consider it a warm-up… if you can keep up.

Clarissa and Haley roll their eyes, but they settle in anyway. The faster they can let them get out their antics, the faster they can actually rehearse.

Song Cue ♫ ♪ “Smooth Criminal” as performed by Glee Cast || Performed by Farkle Minkus & Maya Hart (feat. Clarissa Cruz & Haley Fisher)

Clarissa and Haley carry the heft of this number on their cellos, Maya and Farkle parading around them and channeling all their frustration with one another into the vocals. It’s an electric duet, and for what it’s worth, it’s the most energized Farkle has seemed since the school year started. There’s actual passion behind the performance, which he’s been lacking for some time.

It’s also undeniable that the two of them make excellent partners. They’re perfectly matched, as they have been since they met. There’s no one else who challenges them like the other to raise the bar, and there’s an appreciation of the other’s talent present despite how at odds they are.

But one quick duet isn’t going to set things right. Although Farkle seems to have gotten something meaningful out of the exchange, he’s obviously surprised when Maya continues to dismiss him as soon as they’re wrapped. She gathers her things and floats out with no more than a short goodbye.

Farkle swallows, not taking the rejection well. Clarissa and Haley break him out of it, asking if he can leave already so they can rehearse. Haven’t they done enough?

Backing off, he makes a dash for the dressing rooms.

INT. AAA - BOYS DRESSING ROOM - DAY

Given his shaken state, Farkle seems to be taking this harder than just a duet gone sour. He stumbles into the dressing room, leaning against the counter and trying to calm his breathing. His hands are shaking.

He lifts his gaze, looking at himself in the mirror. It doesn’t seem like he likes what he sees. He curses under his breath, suddenly feeling like it’s a thousand degrees. He pulls off his sweater, leaving him in his plain tee as he crumbles into a sitting position against the mirror and haphazardly bundling the garment in his hands.

Above him, the wall clock ticks to a new minute --

INT. AAA - PRACTICE ROOM - DAY

Just as the clock in the practice room does, where Lucas is sitting alone. He glances around him with mild interest and obvious distrust, having never been in this part of the school before. He taps his feet impatiently, checking his watch.

Clearly, Farkle isn’t coming. Rolling his eyes, Lucas gets to his feet. He takes some of the writing utensils from the communal stash just because he can, kicking at the piano bench for good measure before marching out.

INT. GARDNER HOME - LIVING ROOM - DAY

Charlie is seated on the couch with his homework, half paying attention while ROSIE GARDNER and DAISY GARDNER watch a show together. Daisy is playing with their beagle SKIPPY on the floor in front of the couch, making a face at something that plays out on screen.

Daisy: Why the heck did that happen? That doesn’t make any sense.

Rosie: It’s network TV, it doesn’t have to make sense.

To Rosie’s curiosity, Charlie doesn’t seem all that interested in the show. He’s focused on his phone instead, rereading his last text from Zay. He’s asking if he’s alright after the weird exchange he and Riley must’ve had, given how off things felt when he walked back over.

He wants to talk to him about it, but he’s not just going to give him a call while hanging out with his sisters. Especially not when they’re so nosy.

Rosie: Who are you texting?

Charlie: Huh? What? No one.

Rosie: Yeah you are. Your messages are open.

Charlie: Am I typing? No.

Daisy: Why are you acting surprised? He’s always on his phone.

Charlie: No I am not.

Rosie: Yeah you are. You basically live on it. It’s like you’re in love with it.

Daisy: [ laughing ] Charlie has a girlfriend.

Charlie: Shut up, no I don’t.

Daisy: Yeah you do. The phone.

Rosie: I don’t know where, but I’m positive there has to be something in the Bible about how love between man and technology is unholy.

Charlie: I bet if you look hard enough, you’ll find the verse where it says you’re annoying.

Daisy: Being annoying isn’t a sin. I’ve checked.

Both Rosie and Charlie seem to want to know more about that, but ELEANOR GARDNER entering interrupts the conversation. She explains what she’s planning on making for dinner, and then offhandedly mentions that someone needs to walk Skippy.

A lightbulb goes off for Charlie. He loudly volunteers to do it, demonstrating a little too much enthusiasm for something like walking their family beagle. But aside from judgmental expressions from his sisters, the moment passes without question. Charlie whistles for Skippy to follow him, going to grab the leash.

INT. AAA - DANCE STUDIO - DAY

Zay and Riley have convened for rehearsal, in the midst of walking through some harmonies together. It’s clear that Riley is enjoying the quality time. At least if everyone else seems to have inevitably lost interest in her, she still has her first friend.

After they decide on a certain chord progression, Zay subtly changes the subject and asks about what happened in class today. When he came back to work, things seemed pretty icy between her and Charlie. Riley doesn’t want to talk about it, but after a little bit of prodding she admits to the fact that it’s hard to warm up to him again. Not only because he so blatantly used her without any sort of signs, but more so because she has no clue why he did it. It would be easier to grapple with if she had a sense of closure around it, or a clear motive.

Zay obviously wants to grant her that, but he knows it’s not his place. He grows distracted anyway, getting a text from Charlie asking if he can meet him on his walk with Skippy. Zay jumps at the opportunity and tells Riley he has to go, promising they’ll pick this back up tomorrow. He’s booking it before she can argue against it, once again leaving her in the dust.

INT. CHUBBIE’S DINER - DAY

Maya saunters into the diner, nodding at some of the familiar busboys before hopping up to the counter to chat with KATY HART. Her mother senses her mood before she even opens her mouth, asking if something happened at school.

Maya goes on to lament the situation with Farkle as Katy slides a slice of pie across the counter towards her. She immediately digs in, accenting her frustration with stabs of her fork. She recounts the encounter with Farkle and derides his accusation that she’s simply replacing him with Isadora.

Katy: Well… do you feel like that’s what you’re doing?

Maya: No. No, I’m not. God forbid I like other people or make new friends. Maybe I like Isadora because she’s badass and talented and could also kill a man if she had to.

Katy: Ah, the true quality of a good friendship…

Maya: It’s not fair. It’s not fair of him to waltz in and act like I’m the one being shady when he’s the one who blew everything up in the first place. And then make it feel like a crime to move on. I shouldn’t have to feel bad about dropping someone who I don’t trust.

Katy is, of course, on Maya’s side. She agrees wholeheartedly, and even states that she likes that she’s branched outside of her usual circle. Isadora seems like a nice change of pace, and it’s always beneficial to make a friend who can teach you something rather than reflect the world you’re already familiar with.

On the other hand, she points out that there’s a whole side to this experience that Maya doesn’t know about. Neither of them have any idea what’s going on with Farkle, and it’s possible that his actions are less about her and more about his own attempts to grapple with the situation.

Katy: It’s impossible to know why people do the things they do until they tell you. And most of the time, it’s rarely a cut-and-dry reasoning anyway. There are so many different motivating factors at play, especially at your age.

Maya doesn’t seem convinced, stabbing at the pie and taking a grumpy bite. Katy finishes her musing, going on to state that nine times out of ten, people are acting out of their own insecurities rather than anything to do with the people who they’re confronting. Could be fear, could be jealousy, could be self-preservation…

EXT. NEW YORK STREETS - DAY

Charlie is walking along with Skippy, distracted as he waits for Zay to show up. He nearly jumps out of his skin when Zay sneaks up behind him, poking him in the ribs and surprising him. Charlie elbows him as he falls into step beside him, beginning to discuss what he wanted to talk about in the first place.

Zay gets right to the point, stating that he thinks Charlie should consider just… telling Riley the truth. It’s hard for her to hear him out when she has literally no clue why he even did it, and most of the reasons she’s probably contemplating make him look far worse than making her his unwitting beard for a sense of protection.

As logical as this reasoning is, Charlie does not seem ready to consider such a notion.

Charlie: What? No. I can’t do that.

Zay: Dare I ask, why not? I mean, not like why, I know why obviously.

Charlie: Yeah.

Zay: But like, Riley Matthews is the last person you should be concerned about knowing. She’s like the nicest human being alive, and also is part of the community. And I seriously doubt she’d ever say anything to anyone if you didn’t --

Charlie cuts him off, not able to wrap his head around it. He wants to make things right with her, but that kind of option is off the table. Zay seems a bit frustrated with this mindset, as it doesn’t bode well for their relationship if he’s still so deeply entrenched in keeping all of it a secret… but he also understands. Of course he does.

It’s a complicated situation, and there is no easy solution. So they’ll keep walking the tightrope, looking for compromises along the way…

INT. AAA - AUDITORIUM - DAY

The techies are convened at their usual spot in the back section, chatting in the morning before class. Isadora comes to visit them, but she looks different. She’s suddenly looking a lot more like a Maya carbon copy, her makeup enhanced with a darker lip gloss and eye makeup. Her outfit is made up of borrowed clothes from Maya and Catherina -- a high-waisted denim skirt with sheer dark tights, and dark sweater with a collar peeking out, a sparkling butterfly brooch pinned to the right lapel.

Lucas descends from the booth, decidedly disturbed as soon as he sees her. He asks her what the hell happened to her, and she claims she’s just trying a new look. Stretching her sense of style.

Nate: More like getting swallowed by it.

Isadora isn’t sure how to defend herself. To be honest, it’s not the worst to be dressed confidently like Maya, but she’d be lying if she claimed it felt true to her. Lucas can’t even look at her, pushing past her and heading out.

Lucas: If you’ll excuse me, I have to go bash my head into the wall until I wake up from this nightmare. Let me know when you’ve stopped being possessed by mini-Christina.

Dave: Applegate? I thought she was great in Alvin and the Chipmunks: The Squeakquel.

Asher: … I think he means Aguilera.

Dave: Oh.

Once Lucas is gone, Asher and Dylan assure Isadora that they think she looks fine. Jade agrees, even offering to help personalize it with some more Isa-like touches if that would be ideal. Isadora contemplates it, telling her she’ll get back to her on that.

INT. AAA - BLACK BOX THEATER - DAY

Shawn comes by Harper’s classroom, sauntering in as he announces that it seems the Lucas and Farkle “simple solution” isn’t going so well. How does he know? Because Lucas just informed him that Farkle blew off their second attempt at a meeting.

Shawn: Still so sure about your brilliant little fix?

Harper is unimpressed by his condescending attitude, sticking to her guns. She rises to her feet, coming around her desk to speak plainly with him.

Harper: So you would rather bend to their poor behavior and reward them for it, rather than, I don’t know… teach them to get along? Or punish such bad antics?

Shawn, seriously: Listen. There’s a very delicate balance at play here with these students that you don’t understand. The least you could do is take the advice of those who know better than you.

To be fair, Shawn isn’t entirely wrong. But his delivery is terrible, and Harper grows offended at the insinuation. Before she can retort, Clarissa and Haley arrive to complain about how Maya and Farkle used their rehearsal space unfairly.

This is about the tenth time Harper has taken a specific complaint about Farkle Minkus. She starts to construct a solution for them to consider, but Shawn intervenes and offers his own two cents. Once again talking over her without giving her the chance to learn the ropes or contribute.

Haley and Clarissa thank Shawn, not caring about who gives them the advice. Shawn tosses Harper one more stressed look, warning her to think a little as he storms out.

Oh, boy, is she going to think a little. And more than that, she’s going to take action.

INT. AAA - AUDITORIUM - DAY

Harper has pulled both Lucas and Farkle aside after class is dismissed for lunch, informing them that they’ll both be spending the break in detention in her classroom. Given that neither of them have provided her updates about their project, she’s certain they could use the designated collaboration time. That way, perhaps, they’ll at least scrape together a passing grade.

Both of them seem less than enthused, glaring at each other.

INT. AAA - HALLWAY - DAY

Riley is heading towards the lunchroom, but looking through the doors at all her classmates milling about and continuing on with or without her, it suddenly feels like too much. She spins on her heel and heads in a different direction.

INT. AAA - CORY’S CLASSROOM - DAY

Riley pokes her head in, finding Cory opening lunch at his desk. He seems surprised but happy to see her, granting her an invitation to join him when she asks if she can come in. He playfully questions why she would bother to do such a thing, giving her the opportunity to unpack what’s going on.

She sort of expresses her current feelings of isolation, explaining the general idea of the problem at hand and how she feels kind of left behind. Some of her friendships aren’t in the shape they used to be, and she doesn’t have a sense of belonging anymore.

Cory, being the dreamer that he is, encourages her to keep putting her best foot forward. In his opinion, the best thing she can do is to keep her chin high and refuse to be ignored. Not let those friends go without a fight, if they’re truly friends she wants to keep.

It’s well-meant and thoughtful advice, but nothing he hasn’t told her before. Riley seems disillusioned as she starts to chew on her lunch.

INT. AAA - CAFETERIA - DAY

Maya and Isadora are eating lunch together, sharing a table with Zay, Nigel, and Yindra. They’re dissecting the problem of progressing on their duet, Isadora admitting that part of it is that this is the first true performance she has to give in front of the class. Let alone alongside someone as strong as Maya. She’s just not prepared for it.

It’s stage fright, plain and simple. Maya claims she just needs to stop overthinking it, that no one is going to be focused on anything but how awesome they are. An idea seems to strike her as she’s explaining how to accomplish just that… that all Isadora needs to do is break the initial performance anxiety. And, well...

Maya, deviously: No better time than the present.

Song Cue ♫ ♪ “Looking At Me” as performed by Sabrina Carpenter || Performed by Maya Hart (feat. AAA Juniors)

Pushing up from the table, Maya launches us into our first big blowout number of the season. She playfully begins the iconic pop anthem, pulling her classmates into the fun as she goes and relaying the message loud and clear -- Isadora has nothing to worry about, because everyone will be looking at her anyway.

The lyrics “Don’t just stand there staring, honey, try to move your feet,” are directed at her duet partner, tugging Isadora into the fray and giving her the encouragement to just lose herself in the number. The two of them dance together a fair amount throughout the jam session.

The other reason it’s such a major number is because it’s the first number that loosely incorporates everyone. It carries the same energy as “Dancin’ On the Sidewalk” from all those months ago, only there’s no Lucas around to set off the alarm. And maybe he should be, because the performance is definitely fire.

The dancing has kicked up ten notches. Maya has small moments with Zay and Charlie, who also serve to lead other groups. The two of them also dance a little with each other, although evidently less comfortably than we know they could. Maya spins Isadora to dance with other fellow performers, and while she stumbles a bit at first, the more she gets into it the more confident she becomes. She’s engaging with others, focusing less on what they’re thinking and just having fun.

And when Lucas is away, the techie tots will play. There are a couple key shots of Asher and Dylan dancing together, charming as ever but also showing off that they’re maybe... actually good performers? Dave and Nate are grooving on the table tops. Nigel pulls Jade into a spin, getting her to join the dance. Jeff does some signature break-dancing.

It’s energetic. It’s a showstopping vocal from Maya, who ends it on a split with a hair flip and wink. It’s fun more than anything else, which feels groundbreaking for a semester that has felt so heavy with unresolved tension.

Now we’ve truly kicked off the season.

INT. AAA - BLACK BOX THEATER - DAY

The fun is not being felt in the black box, where Lucas and Farkle are trapped for detention. They’re sitting in silence, Farkle keeping his head down and waiting for the torture to cease.

Lucas isn’t making it easy. His version of whittling time away involves tapping his pencil, restless and fidgety as they wait for their sentence to end. He’s like a one-man drum show. Farkle lifts his head in irritation, glaring at him even though Lucas hardly pays him any attention. It takes Farkle snapping to get him to stop, startling him enough to drop the pencil.

Farkle grumbles about how of course he had to get stuck with the worst human being at AAA. Lucas claims that’s rich coming from him, pointing out that it’s both of them that are stuck in here alone with one another.

Lucas, mockingly: Maybe, in some sick, twisted way, we’re not so different. That’s what they want us to learn, isn’t it?

Farkle: Don’t make me laugh. Like I would ever be compared to you. I’m not so immured by self-satisfaction and smugness that I can’t recognize how useless I am.

[ Lucas doesn’t seem irritated by this assessment. He smirks, nodding along as Farkle reads him for filth. ]

Farkle: I don’t try to bring everybody else down to my level by constantly tearing down their passions until all that’s left is my insatiable need to burn down every good thing that crosses my path just for the sake of chaos. Just to fucking feel something other than my own overwhelming mediocrity that’s going to keep me directionless and alone for the rest of my sorry existence.

Lucas: … maybe so. But I think I should point out that it’s both of us who were deemed too unbearable by the rest of our peers.

Farkle glowers at him until he can’t stomach his detached expression any longer, looking away and gritting his teeth. While they may hate one another, the fact of the matter is so does everyone else. So there they are, stuck in hell together and facing the consequences.

The silence is suffocating with the truth eating away all the oxygen in the room. When the bell rings it’s an immediate relief, Lucas jumping to his feet.

Lucas: Well, I think we can both agree this assignment is not fucking happening. Guess we’ll be taking the L.

Farkle: … maybe so.

Lucas nods, not wasting another second to get away from him. Farkle doesn’t move nearly as fast, still processing the reality Lucas forced him to confront.

INT. HARPER’S APARTMENT - NIGHT

Harper is having dinner with her girlfriend, STELLA CASTILLO (27). She’s also a former alumni of AAA, and their dynamic somewhat seems to mirror Isadora and Maya in terms of personality. Stella is lively, opinionated, and not at all impressed by the behavior of Shawn and the students as Harper laments the treatment she’s been navigating.

Stella gives Harper the pep talk she’s been needing, reminding her that she’s perfectly qualified to be in this position. She needs to trust her gut.

Stella: Look, you know about Triple A, alright? You endured that school, you survived it, which is way more than John or whoever can say for himself.

Harper: Shawn.

Stella: Like it matters. The point is that you’re a badass, you’re in control, and you should not be bending to the criticism of some grumpy white dude who thinks he’s the authority on a job his older brother gave him when he was having his mid-life crisis.

True words, even if the nuances to the situation are a bit more complex. Harper thanks her, taking her hand and allowing her to lean forward and give her a kiss.

Still, the universe seems to disagree…

Jack, pre-lap: This has nothing to do with your ability.

INT. AAA - JACK’S OFFICE - DAY

Jack is meeting with Harper before school. From the expression on his face it’s evident he’s apologetic, whereas she simply seems peeved. She’s squinting at him, attempting to keep up with their conversation.

Jack: Believe me, I hired you for a reason. You know I think you’re more than capable of handling this job. But Shawn is correct in that this crop of students… they’re a unique group, like I’ve said. He might be right in that it could help for you to pay attention to --

Harper: So, what? Your baby brother decided to come crying to you about things not going his way, rather than discussing it with me like an adult?

Jack assures her that he’s not on anybody’s side, and he just wants to find a way for them to work effectively together and in a way that best benefits the students. But Harper is so angry at that point she sort of tunes him out, simply smiling and nodding along.

INT. AAA - ATRIUM - DAY

Song Cue ♫ ♪ “I Can Do Better” as performed by LOVA || Performed by Harper Burgess

As Harper emerges from the office, the opening whistles ease us into this sassy “fuck you” of a feminist anthem. As she marches through the halls in her leather-clad, badass fury, there is a certain power to her finally expressing all of her resentment towards the men who have been giving her grief since she stepped into the position (even in spite of all the complexities to each situation).

The AAA girls back her in passing, echoing the empowering sentiments. It’s a simple arrangement, but Harper’s delivery alone packs a real punch.

INT. AAA - GIRLS DRESSING ROOM - DAY

Isadora is in the dressing room when Riley arrives that morning, the two of them hesitating when they see one another. It’s been a hot minute since they’ve actually had direct contact, and although both of them don’t seem unhappy to see the other, they have no idea where they stand.

Riley makes a small joke about her new look, admitting that she actually thought she was Maya for a second. Although the comment is harmless, after enduring similar commentary all week long Isadora finds herself snapping at her. She’s sick of everyone making those judgements and throwing their opinions at her.

Riley is quick to apologize, explaining that she didn’t mean anything by it. Awkward silence settles between them again, but it’s clear that Isadora feels bad about the way things are.

Isadora: I… I don’t know how to handle this situation.

Riley: I know.

Isadora: With you, and with Lucas --

She cuts herself off, not even sure she should bring him up around her. Riley nods along, already knowing where this conversation is heading. Another dismissal. Before Isadora can say anything more, she beats her to it.

Riley: I just… I know how easy it is to get caught up in being someone else because you think it’ll make things easier. It’s easier to be someone else, sometimes… but I gotta tell you, the Dora I knew? [ a beat ] She’s already tough to beat.

Riley offers one more tight smile, finishing dropping her things. She leaves Isadora alone, hanging on that moment of kindness in spite of the strain.

INT. AAA - BLACK BOX THEATER - DAY

Harper marches into her classroom, still steaming. Farkle is there, waiting for her to inform her that he and Lucas weren’t able to reach an agreement. He doesn’t think he’ll be turning in anything this week after all.

Whereas this behavior might’ve flown with Angela, it’s not going to fly with Harper. Especially not now, when it feels like the entire world is against her. So Farkle inevitably ends up on the other end of all her anger, receiving a true verbal lashing.

Harper: Oh, is that so? You just don’t think it’ll happen? That all?

Farkle: I’m just saying, given the circumstances you forced me into --

Harper: No, no, I won’t be taking your blame, Mister Minkus. I don’t know what kind of treatment you’re used to from Miss Moore, but I’m not here to cater to your petulance. I’m here to teach you, which you might have known had you deemed it worthy to show up on the first day.

Farkle, stunned: I… I was sick --

Harper: Well, here’s your quick make-up lesson. There will be no more doing whatever you damn well please. I knew students just like you when I was enrolled here, Mister Minkus. You’re nothing new. And believe it or not, that horrible attitude of yours isn’t going to get a pass anymore.

[ Farkle is speechless. He looks a little sick as Harper concludes her tirade. ]

Harper: This isn’t last year. I’m not Miss Moore. And whether we like it or not, you better get ready for a whole lot of change.

Harper storms out, on her way to the auditorium. Farkle is shell-shocked, standing there in horror… until he suddenly bolts out of the door.

INT. AAA - BOYS BATHROOM - DAY

Farkle ducks into a stall just in time to vomit, whole body shaking as he collapses back against the wall. Only he’s not alone, which he discovers after the initial panic passes through him.

Charlie: … Farkle?

Farkle closes his eyes, cursing lightly to himself. When he pushes to his feet and emerges from the stall, Charlie is there at the sink and watching him warily. He tries to question if he’s okay, but Farkle ignores him and focuses on rinsing out his mouth at the adjacent sink.

Charlie can tell there’s something more going on than just an upset stomach. He’s familiar with the feeling, after all. He tries to find a way into the conversation, searching for a commonality to utilize as a bond.

Charlie: I get that this year isn’t turning out like we probably thought. [ sardonically ] I guess the confessions page didn’t do either of us any favors, huh?

Farkle is unimpressed by his attempt at bonding. In fact, the comparison sort of seems to piss him off. He turns on him, narrowing his eyes.

Farkle: Actually, I don’t think it’s quite the same. Because I didn’t feel so insecure in my own masculinity that I had to submit fake relationship posts about myself just to feel good, or maybe feel like I’m not just a background character in my own life.

Yikes. That’s a deep cut, and Charlie gets the message to back off. Farkle wipes his mouth with a paper towel and takes a deep breath, defaulting to defensive because it’s increasingly becoming all he knows how to be.

Farkle: So, no. I don’t think you have any idea.

Farkle flurries out. Although it’s clear his words stung, concern still lingers in Charlie’s features. Like he can sense something about the situation isn’t quite right.

INT. MATTHEWS APARTMENT - NIGHT

In a rare moment, Riley manages to catch TOPANGA LAWRENCE when she’s at home. She’s just finishing up a business call, pleasantly greeting Riley as she comes to join her at the kitchen table. Riley isn’t sure what she’s searching for as she starts the conversation -- advice, or maybe to simply be acknowledged by someone -- but she ends up asking for more time with her.

Riley: I know you’ve been doing a lot of small things with Auggie, and everything, so I was thinking that… I don’t know, maybe you and I could also --

Topanga: Oh, yes. Yes! Riley, I would love to do something. Some mother-daughter quality time would be spectacular.

Riley lights up, obviously happy about her mother’s enthusiasm. They begin attempting to sort out dates, although that quickly throws a wrench into things before they even get off the ground. Where Topanga is free this weekend, rehearsals for the musical are kicking up. When Riley is free, Topanga is balancing major trial meetings.

Topanga: Okay, I love this idea. But can we come back to this? Put a pin in it? I’ve just got a lot of stuff up in the air right now, I’ll be able to give it more focus after this deposition is wrapped and our divorce is fully finalized…

Riley internalizes her disappointment, giving her a smile and assuring her it’s no problem. Topanga reaches across the table and pats her arm, effectively ending the conversation.

INT. GARDNER HOME - CHARLIE’S ROOM - NIGHT

Charlie is on the phone with Zay, pacing his room as they talk. It’s clear that seeing Farkle so wigged out earlier really got to him, so he’s confronting some of his stressors head on.

Charlie: I just wanted you to know how sorry I am about how… weird all this has been. With my stupid thing. I know it’s been impacting… what we have.

Zay: It’s not stupid. You know I get it.

Charlie: Yeah, I know, but… [ with a sigh ] things were so much easier when school wasn’t a factor. I know I’ve been coming off like how you feel about this isn’t important, and that’s not true. I don’t feel that way. I wish it didn’t feel that way.

Zay continues to assure him that it’s fine, but his responses sound admittedly a little distracted. Charlie continues to pace, coming to lean against the door to his balcony.

Charlie: I just wish… in an ideal world, things would be different. We could just… be what we are, and we could be doing a duet together this week. Couldn’t it be that easy?

Zay: Well, don’t count that out just yet.

Charlie frowns, asking what he’s talking about. Zay tells him to come outside.

EXT. GARDNER HOME - CHARLIE’S BALCONY - NIGHT

Charlie steps out onto his balcony, stunned to see Zay jogging down the street. He’s both happy and horrified to see him, immediately shushing him as he greets him from down below.

Song Cue ♫ ♪ “Tonight” as performed by West Side Story Original Cast || Performed by Zay Babineaux & Charlie Gardner

In homage to the sequence in the Broadway classic, Charlie and Zay exchange an effortless back and forth reminiscent of the original film as the orchestra underscores them.

Zay: Come down.

Charlie: No. Are you crazy?

Zay: Just for a minute.

Charlie: [ gazing at him ] … a minute is nowhere near long enough.

Zay: For an hour, then.

Charlie: I can’t.

Zay, with humor: Then forever!

Charlie shushes him again, glancing over his shoulder to make sure his door is closed. Zay tells him he’s coming up, climbing his way along the side of the house to join him on his balcony. When he manages to clamber over the side Charlie immediately pulls him away from the edge, speaking in a hushed tone and claiming that he has to go. His parents will hear him, or see them. As he tries to argue the point Charlie shushes him again, Zay returning the gesture playfully.

It’s all fun and games until Eleanor knocks at the door, Charlie covering Zay’s mouth and responding to her questions of if he’s heading to bed. He lies and claims he is, Eleanor not questioning it and giving him a warm “goodnight, Chuckles,” through the door.

The two of them hang in silence for a long moment, Charlie grimacing as he realizes Zay just heard his embarrassing family nickname. He curses and pulls away from him, walking to the other end of the balcony as Zay clearly attempts to hold back a smile.

Zay: … Chuckles?

Charlie, embarrassed: Family nickname.

[ Zay laughs, but it’s endeared. He steps closer to him, earnest. ]

Zay: I like it. And you know, I think they’d like me.

Charlie: [ with a shake of his head ] No. They’re like I used to be. You know… scared.

There’s a beat of heaviness between them. Then Charlie exhales a laugh, shaking his head again and walking away from him as he absorbs the ridiculousness of the situation.

Charlie: Can you imagine? Being scared of Isaiah Babineaux?

Zay: [ laughing along ] See?

[ There’s a beat. Charlie looks at him, expression soft. ]

Charlie: I see you.

Zay, softer: … see only me.

Zay kicks off the song, taking Maria’s verses where Charlie takes Tony’s (specifically “There’s nothing for me but Isaiah / Every sight that I see is Isaiah”). The two of them harmonize together in the small confines of the balcony, dancing and spinning together where possible.

Where it was pretty obvious earlier that they were into one another, this is the moment where their chemistry and affection for another is impossible to deny. There’s something deeper than just attraction between them, growing more resolute with every day and every duet they share.

As it slows down before the second verse, Zay and Charlie have drifted awfully close together for being feet away from the rest of the Gardner household. Charlie manages to pull back from him simply to continue the dance, but as they wrap the first section of the song they end up inevitably back inches apart again.

Still, even the allure of Zay Babineaux isn’t yet powerful enough to make Charlie forget the way things are. He resists the urge to go for a kiss and instead claims he can’t stay, insisting that Zay should get going. Although he protests, Charlie’s soft “please” and bittersweet smile are convincing enough to make him oblige.

As Zay starts climbing down again, he hesitates. Thinking there’s one more thing he needs to say, lest he regret not vocalizing it in the moment.

Zay: You know, at the risk of sounding totally kitsch… [ turning around, locking eyes with him again ] You know you’re my favorite duet, right?

Charlie is clearly touched. A bashful smile crosses his features, and he manages a nod and a soft “yeah” of agreement. Zay returns the nod, giving him a fond smirk and lingering look before finishing the rest of the climb down the side of the house.

As he goes, Charlie leans forward against the balcony and watches him go. He hesitates before calling after Zay, double-checking that they’ll still meet up before school tomorrow. Zay agrees, starting to head down the street… until Charlie stops him again. He asks if they can ditch lunch and pay a visit to the costume loft instead. Zay rolls his eyes, but he’s obviously not opposed to the idea. He agrees, only making it a couple of steps before Charlie stops him one more time.

Charlie: Do you have a family nickname?

[ Zay pauses, debating whether or not to share it. Then he sighs, looking over his shoulder to deliver it. ]

Zay, reluctantly: “Dizzy.”

[ Charlie can’t help but laugh, but he’s appreciative of his willingness to share. His grin is fond as he gazes down at him. ]

Charlie: See you tomorrow, Dizzy.

Zay: [ unable to hold back a smile ] See you, Chuckles.

They hold each other’s gaze for a moment longer, easing into the last soft verse of “Tonight.” Then Zay jogs back down the street, disappearing as swiftly as he appeared.

Charlie watches him go, undoubtedly enamored. He’s still smiling as he steps back into his room, shutting the door to the balcony behind him.

INT. MINKUS HOME - FARKLE’S ROOM - NIGHT

Farkle is doing homework in his room, a half-eaten plate of food sitting forgotten on the bed in front of him. Jennifer pokes her head in, lightly knocking and trying to engage him in conversation. She notes that he didn’t eat much, which he brushes off by stating he felt nauseous at school so he’s just taking it easy.

Jennifer comes in to check his forehead and lymph nodes again, wondering when this relentless bug he has is going to let him live. Farkle shrugs away from her, insisting that he’s fine. He’d be better, in fact, if she could let him rest.

She relents, but pauses as a thought hits her on the way out. It’s unclear whether this is a brand new thought, or perhaps one she’s been ruminating on for a while.

Jennifer: You know, when do you think you’ll have Maya over again?

Farkle: I don’t know.

Jennifer: I’ve only been thinking, it might be good to have some of that vibrant theater energy around here again. Don’t you think? Maybe you should extend the invitation.

Farkle, tightly: I’ll do that.

Given how poorly their last interaction went, we know it’s a lie.

INT. AAA - DANCE STUDIO - DAY

Riley shows up to the dance studio early the next morning to rehearse, Zay already there when she arrives. She makes a joke about how she’s surprised he beat her here, but he states that was sort of the point. He also has something for her -- her favorite coffee order, as well as a scone from Svorski’s he’s deemed the “apology scone.”

Riley: Well I’m not going to say no to that. “Apology scone?”

Zay: Suffice to say, I’ve sort of been all over the place this week. There’s just… a lot going on. But a conversation with someone close to me recently made me realize that it’s important to let people know how much you mean to them.

He goes on to state that while she was the one with her head in the clouds last year, now it’s on him. He fully intended to be there for her this week and he dropped the ball, but no longer. And they’re always going to be in each other’s corners, a shoulder to lean on if they need it, which is a far cry from how many of the other dynamics in their class are doing at present.

Then, of course, they’ve still got a duet to perform. Zay takes the coffee and scone and puts it back on the piano tucked into the corner. He spins back to face her and holds out a hand.

Song Cue ♫ ♪ “I Like Me Better” as performed by Landon Austin || Performed by Zay Babineaux & Riley Matthews

Riley takes his hand, and Zay leads the vocals on this comfortable, endearing acoustic duet. The two of them pass around the verses as they playfully dance together in the studio, demonstrating the iron strength of their friendship.

INT. AAA - AUDITORIUM - DAY

The rehearsing is intercut with their final performance in class, Riley playing the guitar and harmonizing while Zay does most of the singing. It’s a stripped down rendition, no flash or glitz. But their voices blend well together, and it’s a nice change of pace.

As they wrap the number, Zay reaches out and takes her hand while the class gives them a round of applause. Back in the dance studio, Riley laughs and the two of them embrace.

A nice bright spot in the midst of so much uncertainty.

INT. AAA - JACK’S OFFICE - DAY

Harper stops by Jack’s office, finding the principal in the midst of picking through some particularly confusing correspondence. She questions what he’s puzzled over.

Jack: Oh, nothing, nothing… there’s some interested parties attempting to enroll despite our strict enrollment procedures. It’s fine, there’s always a few of these at the start of the school year.

He asks what he can do for her, to which she explains what happened with Lucas and Farkle and how they refused to do the assignment. She’s decided she’ll be punishing them both, as is in within her right as their teacher. Given the behavior she’s observed from both of them, she thinks they could use the discipline.

Jack seems supportive of the authoritarian stance, but he requests that she let him handle Lucas. Whatever she feels Farkle might need she should do within reason, but he’ll take care of their waspish technician. Harper is confused by the distinction, but is more than willing to let him take on the troublemaker so she doesn’t have to.

As Harper heads out, Jack takes another look at the paperwork about enrollment requests. He shakes his head, putting it dismissively to the side.

INT. AAA - GIRLS DRESSING ROOM - DAY

Isadora pokes her head in, relieved to find Maya getting ready and touching up her makeup before their class performance. Maya greets her cheerfully, only some of her confidence falters when she sees Isadora’s change of appearance.

She’s back to looking more like herself, basically back to her usual attire. However, touches of Maya’s influence still remain, such as a simple necklace that Maya had given to her as part of her makeover, her hair up in a pastel scrunchie, and colorful socks on display that have a pretty pattern on them.

Based on that change alone, Maya has a feeling that this conversation isn’t going to go well. She jokes that she’s somehow inevitably strangled another friendship in her own image, but Isadora refutes this.

Isadora: I’m glad you asked me to be partners. And I’m honestly grateful for your friendship, in some ways I kind of feel like it was something I didn’t know I needed. I think I’m going to learn a lot from you.

Maya: Go on, let me down gently. But…?

Isadora: But… I don’t want to completely become someone else to do it. And part of that is on me -- I think I become so focused on what the other person expects that I forget they should be liking me for me. So I sort of let things spiral out of control.

Maya: Doesn’t help when the other person is a diva control freak.

Isadora: [ with a shake of her head ] That’s called passion, and it’s not a bad thing. I’m just… trying to find the balance.

This, Maya can understand. Given how she is reevaluating her own image too now that she’s no longer pretending to be Prada, she gets that feeling more than ever. Isadora does comment that she does like some of Maya’s clothes, and might do a little personalizing of her own style to incorporate the things she likes. She jokingly tugs at Maya’s collar, disrupting the perfect crease.

Isadora: Maybe we can “grunge” you down a bit, too.

Maya: [ intrigued ] Oh, don’t try and stop me.

They exchange a laugh. Isadora admits she isn’t sure what this revelation will mean for their performance, but Maya is already brainstorming. She tells Isadora to focus on her killer vocals, and to leave the rest to her.

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “God Is A Woman (Acoustic)” as performed by Ceresia || Performed by Isadora De La Cruz (feat. Maya Hart)

Maya and Isadora follow Riley and Zay’s toned down lead, ditching the hyped up pop performance for something more stripped. Maya plays guitar while Isadora takes the brunt of the vocals, allowing her the chance to show off her already strong pipes while still having the flexibility to find her sound.

It’s also a change of pace that Isadora is front and center while Maya is taking a back seat, a far cry from her triumphant claim to center stage at the beginning of the year. The rendition and the way they harmonize is an indication of growth for the both of them.

Perhaps, they’ll be able to find the balance for both of their personas. All in due time.

INT. AAA - JACK’S OFFICE - DAY

Lucas is back in the chair opposite Jack’s desk, the tone of the meeting a little less casual than it was earlier in the week. Jack finishes reprimanding him for his refusal to participate.

Jack: Look, you’ve made good strides compared to the last couple of years. We haven’t had a complaint from the fire station at all this year.

Lucas: Yeah, well, stuff gets old after a while. [ with a mocking pout ] I’m tired.

Although it’s said like a joke, it feels like there’s some truth to the statement that Lucas won’t analyze for himself. Jack changes tracks, pointing out that for all the progress he’s made, it’s incredibly easy to back slide. And if he keeps disrespecting Miss Burgess or blowing off assignments, it’s going to come back to bite him.

Lucas questions if that’s the extent of his punishment, to which Jack simply laughs. He comes around the desk and leans against the front of it, tilting his head.

Jack: You remember stage-managing the musical last year, right? Intense job, lots of responsibility, you told me you’d rather down a bottle of drain cleaner than ever do it again? [ Off Lucas’s disdainful expression ] Well, do I have news for you, buddy.

Lucas frowns, looking more than displeased. Here we go again.

INT. AAA - SCRIPT LIBRARY - DAY

The door opens to a darkened, dusty closet, Harper grappling to find the light switch. As the cramped space is illuminated she and Farkle are framed in the doorway, showing him what his punishment will be. For the duration of the semester, he will be spending lunches and free periods assisting with technical jobs.

One of these involves cleaning out and organizing the script library, which is a mess of piles and piles of scripts that need to be alphabetized and sorted neatly. Better get to work.

Farkle saunters into the room as Harper leaves him to it, picking up the first play of hundreds. Death of a Salesman. He sighs and places it in a new pile, beginning the tedious job all alone.

INT. AAA - ATRIUM - DAY

Riley is heading out towards the main entrance as the bell rings, other students filing out. A couple of her classmates give her props on her performance or bid her goodbye, but no one stops to actually have a conversation. Riley keeps her smile on, though it’s thin.

She spots Lucas as he’s stepping out of the main office. The two of them lock eyes across the atrium, another weighted moment passing between them. So much left unsaid. So much they could say, if they could just talk about it.

But it doesn’t look like that’s in the cards. Lucas walks out the front doors in a hurry, not even looking back at her for a second glance.

Riley exhales, closing her eyes and trying to push past it. She stuffs her hands in her pockets, surprised as she remembers the note she hastily stuffed in there earlier in the week. She pulls it out and unfolds it, looking at the scribbled declaration of admiration.

“You’re better.”

Tentatively, she twists the note in her fingers. Then she’s crumpling it, making it as small as it can possibly be. Destroying it as quickly as everything else seems to have crumpled into nothing.

She drops it into the waste bin as she exits the building.

INT. AAA - HALLWAY - DAY

Isadora is at her locker, gathering her things. In the inside door, the same photo of her, Riley, and Lucas is hanging up that Riley has in her locker.

She looks at it, obviously reminiscent. She pulls out her phone, opening her thread with Riley and trying to think of something to say. Wondering if there’s anything to say at all. She certainly doesn’t know, like she told her earlier.

The contemplation is interrupted as Maya comes up to her, energized as usual. She shows off the new patches on her denim jacket.

Maya: Check it out. Already beginning the Izzy-fying of my wardrobe. You inspired me.

Yindra and Zay pass by them, asking if they’re all still planning on hitting up Chubbie’s. Maya asks if Isadora is coming, to which she tells them she’ll catch up with them in a second. She hesitates for a moment longer, glancing at that photo one last time.

Then she closes the door. The last image we see is the photo of the three them, sealed away in the closed, dark locker.

END OF EPISODE.

[accio-ambition]

what she’ll find

a/n: spec fic? from me? only one person can bring that out of me when I should be working on two other wips. @the-corsair-and-her-quill has exams for like a million more weeks and she was really stressed about this week, so i wrote this to provide a little respite during all that studying :)

about 2k of happy angsty? sad fluff? proposal stuff?

Before

It’s dark and dreary and something about this sort of dark and dreary makes her want to clean. Maybe something about making the house tidier makes their home seem more welcoming and lighter. Warmer. Or at least that’s what Emma’s going to tell herself for the time being.

She’s also the mother of a teenage boy who doesn’t seem to understand the idea of a laundry hamper and the love of a man who, despite his centuries at sea, leaves a surprising amount of small things around the house. Especially these days: after spending time talking with Archie, he comes home with a clearer mind, but the external objects show the mess that’s happening inside.

Emma herself is a bit of a mess, less emotionally so these days, but a strong believer in organized chaos. A look at her and Killian’s shared bathroom counter is proof of that. The only reason she can tell her and her boyfriend’s makeup apart is that his is in better shape.

In hopes of finding the counter beneath their shared mess, she places her earrings and other jewelry on the stand in the corner and puts Killian’s toothbrush on his side of the sink to dry properly. When she finally sees the granite of their countertop, there’s only one earring left on it. When she picks it up, Emma registers that it’s not one of hers. At least, not one she recognizes. It’s black and kind of dangly, with a red jewel set in at the end. A hue that she fondly recalls a certain man wearing beneath a long leather duster and atop a bounty of chest hair.  

She knows she won’t find a match, no matter how hard she tries. Killian’s only got single earrings. How he’s managed that in this day and realm, Emma doesn’t even want to contemplate.

Grinning like a fool, she goes back into the bedroom. Like a true pirate, he hides all his treasure in his chest, and hides his chest beneath the bed. That way, he reasoned with her, it’s always close when he’s most vulnerable.

Such a pirate.

He’s shown her a few of the thing he keeps in the chest, just as she’s shown him a few of the objects in that cardboard box with her baby blanket. Some doubloons, some journals, his surprisingly large collection of earrings.

But when she opens up the chest this time and goes to place his earring with the rest of his collection, she finds a new addition. A small box, black and leather like his jackets. With a cock of her head, Emma puts down the piece of jewelry and picks up the box.

It’s not that strange, or it shouldn’t seem that strange. Her cardboard box has turned into storage for her memories since moving to Storybrooke, even more so since beginning to date Killian. Ticket stubs from movie theater dates with Henry, pictures of the three of them out on the water, little things that she can fall back on when ugly self-doubt rears its head. It makes sense that Killian would do the same.

Curiosity gets the better of her though – and she knows she shouldn’t be snooping, but – biting her lower lip, Emma opens the box.

And immediately slams it shut.

Her eyes are wide and she can feel her breathing speed up. Slowly, Emma opens the box again, making sure to fully observe what’s inside.

When she does, she ends up shutting the box again and throwing it on the bed. Her knees buckle beneath her and Emma falls to the carpet.

It’s a ring. A new ring, a shiny, expensive-looking ring that is absolutely gorgeous. And it’s in her pirate’s sea chest, where he keeps all his important memories so that he doesn’t lose them. Right there, alongside his brother’s stories and sketches of Milah.

It hits her as she leans against the bed frame, connecting all the pieces until the puzzle is complete.

“He’s going to propose,” she whispers to herself. Her hand covers her mouth in shock. “Killian’s going to propose.”

And instead of the nervous cold sweat that greeted Walsh’s proposal so many months ago, there are butterflies in her stomach. Emma starts to giggle, almost hysterically, and her cheeks begin to hurt with how hard she’s smiling.

She’s up and on the mattress in a flash, grasping for the box to get a solid look at the ring.

It really is something else. Somehow, Killian’s choice has managed to capture her love of simplicity and his penchant for sparkles. Carefully, Emma pinches the band and takes it out of its case to further examine it.

“He wants to get married.”

Saying it aloud, with the ring between her thumb and pointer finger, makes her giggle anew. Emma feels giddy, like she did when she opened her parents’ door to find Killian looking suave for their first date. Their talk of feelings the other day and that off look in his eye ever since all make sense now.

Idly, she wonders how long this secret has been burning him up from the inside. They don’t do secrets anymore, especially with each other, but this…she’s glad he’s kept it for this long.

Emma nearly slips the ring on its proper finger, but holds herself back. They’ve been nothing if not the opposite of traditional for, well, all of their relationship. It’s what’s worked best for them – confessions of affection in front of old flames, traveling realms to help each other, kissing without recollecting who they are. Hell, he shouldn’t even be alive. They should’ve never met, ever. It’s just a stroke of magic that Emma stumbled about him under a pile of corpses, quite literally.

They’re not traditional, and that’s what she loves about their relationship, among other reasons.

But this. She wants this one small thing. She wants Killian to get down on one knee, ask her to marry him, and slide the ring on to its new home. It’s not much to ask, even with their track record, but this one thing she wants just like her parents had. Just like a fairy tale.

Still laying haphazardly across the mattress, Killian’s sea chest open by her feet, Emma sighs dreamily.

She’s going to say yes. Whenever he asks, she’s going to say yes.

And then Emma hears the front door open and shut. Killian calls out her name and, with ring in hand, she runs down the stairs to greet him.

After

She’s crying for a whole different reason today. And the dark and dreary rain that surrounds her reflects her mood completely.

The bench she sits on is wet, fat raindrops splash on the surface of the pond before her, and her hair is beginning to drip onto and underneath her jacket. Emma sniffles. She’s starting to feel the cold seep into her bones now, but she needed to get out of the house, needed some alone time to think through what Killian told her a couple hours ago.

Her grandfather. Captain Hook had murdered her grandfather out of cold blood. Left her father to be raised by a single mother and then that whole mess with his twin brother.

Emma groans. One of these days, she’s going to have to start some ever-growing family tree to keep all these people and stories straight.

It’s not like she didn’t know his past. He’s Captain Hook. He’d locked her and three others in a dungeon less than 24 hours after they met, and she knows he’s done worse, even if she was just going off what the cartoon told her. It should matter – it matters to David, for good reason – but something in her tells her that she doesn’t particularly care.

In her frustration, Emma finds herself twiddling with the ring, spinning it around with her thumb. She groans again, her head falling back and the rain hitting her straight in the face. It’s only been on her finger for two days and she can’t imagine it ever not being there.

“No.” She’s angry at Killian right now. He lied to her and they said they weren’t going to lie to each other anymore and he did.

But, as she contemplates the matter, did he really? In her haste and excitement of finding the ring, Emma sort of jumped the gun. He only asked her the question, got down on his knee because she assured him of her answer prematurely. Thinking back on what she remembers him saying, Killian’s words could have gone either way. And knowing him, he was going to do what he thought was best.

Tell her the truth.

“No, no, no.” Her head falls into her hand because he was trying to tell her. He was trying to tell her about her grandfather and she ruined it by drawing out his proposal instead.

This isn’t how she wanted it to go. She wanted her brief fairytale moment – wanted the man she loves more than she ever thought she could love to propose to her on his terms, because he won her heart – and not because she found the ring.

Emma sighs. He’s done bad things in his long life, she knows that, but so has she. They’ve both stolen. They’ve both killed. And god knows what the true extent of the damage they caused as Dark Ones. But they’ve both changed because of one another. Killian’s taken down her walls, brick by painful brick, and she’s given him a home to come back to each night, or so she likes to believe.

A small smile grows on her face, raindrops dangling off her top lip before dripping down on her hand. It’s by her neck now, and suddenly her grin goes wider.

Her fingers are wrapped around and playing with the other ring Killian gave her – Liam’s ring. The one thing that kept him safe for centuries, that he offered her as he told her he loved her for the first time. She still wears it around her neck because, that way, her pirate is with her everywhere she goes.

Her left hand holds up the ring, the chain going slack around her neck, and Emma looks at the two pieces of jewelry in her eye line. Different ring, different time, completely different situation surrounding it, but the same promise: forever. Together, the two of them, through thick and thin and whatever villain Storybrooke throws at them next.

The man who killed her grandfather – sure, technically he still exists, but it’s not her Killian. They’ve both changed for the better. Hell, Zeus brought them back together, death and life by divine intervention. That doesn’t happen for just anybody or any relationship: only the ones that are meant to be.

He’s learned from his mistakes, just as she has. He knows what he did and he’s remorseful for it.

And she loves him, just as he loves her, because of it.

The giggle that bubbles out of her throat is unstoppable. With exuberance, Emma looks up to the sky and laughs wholeheartedly.

“He wants to get married,” she tells the universe.

Wiping her face from the rain, Emma stands up and hops in front of the bench, trying to shakes some blood back into her veins. She’s been sitting in the cold and rain for so long, her limbs have fallen asleep, but she doesn’t care.

There’s a changed man who thinks their future is over before it’s even begun at home, waiting for the final shoe to drop. A pirate waiting to walk the plank of his own ship.

Her pirate.

Emma begins her jog back home. She’s got an important question to ask him.

[scotwresnet]

Creativity can come in many formats and not just through the normal channels of painting, drawing, writing or making music. The mere act of gathering, editing and presenting ideas is an art form in itself and I am lucky enough to have had the chance to speak to someone who does it for a living and on a grand scale. All very cryptic I’m sure you’ll agree but it’ll all become obvious to you very shortly so stay with me. Welcome to another edition of SWN Behind the Art. Let’s begin…

Can you start by introducing yourself and what it is you do?

My name’s Scott Reid, and I’m one of the Creative Producers for ICW.

My job covers a lot of bases, but long story short, I work with Dallas to put together and book ICW shows, produce Fight Club episodes, work on our video content that the company puts out, and generally help drive the creative direction of the show. Basically, if you can see it live or on screen, I’ve probably got something to do with it!

When did you start and how did it all come about?

It’s been a bit of a long journey to where I’m at right now. I was at the first ICW show at The Garage in 2012, and was just blown away by what I was seeing. A few chance meetings and conversations later over the next year, I started writing and creating the official ICW magazine in 2013. From there, I just became more and more involved with the company, be that through editing videos, filming backstage, helping sell merch, but the whole time, I was also around booking meetings and creative sessions, just soaking up knowledge, and learning as much as i could about how and why things are done.

Dallas always welcomed my opinion on things, even as far back as 2014/15, but it was probably from around early 2016 that I started making any real major contributions creatively to the show. Now I’m a fully fledged writer on the show, which is a great job. Definitely worth the time it took to get there.

To many of us fans it would be considered one of the dream jobs in the wrestling business but I’m sure it’s got as many fulfilling moments to complete headaches and heartaches. What are the highs and lows of being a creative producer?

Its definitely a fulfilling job. It’s an incredible feeling when you’ve been working on a show like Fear & Loathing for months, and then it all comes together on the night. Not just from a perspective of everything going the way you hoped it would, but knowing that fans enjoyed themselves is a great feeling. It’s one thing to write something and think “I would love to see this”, but when you hear an audience react to something positively in the venue, you just can’t beat that. If people are paying their money to come to our show, I want to leave the venue that night knowing they had a good time.

On the flip side, there’s definitely hard times with the job, specifically with things that are just completely out of your control. When you’re writing a show, you have your plan for the matches, but there’s so many things that can cause a change to a match, or even a whole story line, that you can’t do anything about. 

Wrestling’s very physical and dangerous, and with that comes injuries that can happen at any time. If someone gets injured the day before an ICW show, then we don’t have any other choice but to come up with an alternative. The show must go on, as they say! Learning to roll with the punches in a calm and logical way can be hard, but its just something that comes with the role.

In wrestling, I’m presuming, it’s easier to get a crazy angle or story line through than a tame one right? What is the craziest angle you’ve ever suggested?

We’ve had so many ridiculous conversations that I’ve probably forgotten most of them, but the most prominent one that springs to mind that actually happened was having Good Housekeeping III main event at Fear & Loathing. When Liam Thomson returned to ICW after his injury, there was initially very different ideas of what he would be doing. Fan outcry for a second Good Housekeeping Match was so loud though, so I went to Dallas, and suggested doing it, and building towards a third match at Fear & Loathing. The fact that we could even get a second match out of such a mental concept was amazing in itself, never mind doing another one a year later in the main event of the biggest show of the year! It’s a testament to how good Liam and Wolfgang are though. Those two made those matches really special.

I’m also responsible for the giant sponge in Good Housekeeping II. I didn’t really pitch that to anyone, I just showed up on the day of the show with a 6 foot tall sponge. I still don’t tell folk where it came from. I want it to become an urban legend of Scottish wrestling!

Haha I won’t persue that any further then, I like an urban myth too. With that being said what’s your favourite angle that you’ve created? Favourite people to work with?

It so hard to really appreciate how something’s going at the time, because so often, it’s over, and you just move onto the next thing.

That being said, i remember being really happy with the BT Gunn/Mikey Whiplash feud into Barramania 4, with the Death Match for the World Title. I was really heavily involved in that story, and the creativity from the others involved just made it all the better. The best stuff comes from collaboration, in my opinion. Ideas from one person building on the ideas of another can create gold.

There’s so many people that I enjoy working with. Coming up with ideas with The Kinky Party is always a lot of fun, as there’s very few things that are off the table with them. Wolfgang is another one who’s a lot of fun to work with, because despite having done this for 15+ years, he’s still got the same enthusiasm for wrestling. I say all the time, and i really mean it in the best way, he’s like a big kid who just loves wrestling, and it’s hard not to be drawn in by that type of love for what you’re doing. Kay Lee Ray’s always someone i look forward to working with as well, especially on a show day. Kay Lee’s someone I could probably say two words to, and I could trust that she’d still go out and absolutely nail it, but she’s a perfectionist, so it’s always good to be able to sit down and really flesh out ideas with her at a show.

I really enjoy writing some of the darker elements on the show, and when stuff like that is being put together, BT Gunn is someone who I can really get on the same wavelength with. He’s fearless when it comes to trying out ideas, so when we’re trying to push the envelope, he and I really work well together. Mikey Whiplash is very much the same. Producing stuff with him has always been like a treat for me. There’s almost nothing that’s out of bounds with him, and that makes my job a lot more exciting.

Has lockdown been a blessing or a curse for you? Have you had more time to write new storyline’s or plan for future shows etc?

At the beginning of Lockdown, i was obviously really gutted. I felt like we had some really good stuff going on, so it was sad to see it come to a halt, plus i love the thrill of a show day, so not having that has been weird. That being said, I feel like lock down has allowed us to shift our focus and do some good stuff elsewhere. We’ve really worked hard to make ICW On Demand as accessible and interesting to people as possible during this time. People are bored, so we wanted to make sure we can still give them some entertainment! The ICW iPhone/Android App is something that we’ve spoken about for a while, so it was great to get that released, and we’ve even recently launched the ICW App on Amazon Fire TV. That’s something people have been asking about for a while, so hopefully a lot of people are happy with it.

As far as storylines go, there’s not a day goes by where I’m not writing ideas down, but it’s everything’s so up on the air at the minute, that everything we’re doing creatively has a bit of a question mark over it. Once we have a clearer idea of when we’ll be able to run shows again, we’ll be diving head first into things though.

Now that I’ve completely freaked you out about what you’ll have to go back to after lock down, all the stresses and strains of being a creative producer haha. Are you creative outside of wrestling as well? Do you draw, write, create music or anything?

I’m nowhere as creative elsewhere as I once was. As a young kid, I was never without a pen or pencil in my hand, drawing something, but then I got older, and wrestling caught me! haha!

I really engulf myself in work, so when i’m not doing that, I just try and relax where I can. Cinema and comic books are two of my biggest loves. I’m always watching or reading something, and even then, I’m usually working in the back of my head. I’m always watching something and thinking how I can draw influence from it in filming promos, or the how I can present something a specific way on a show. All my creativity goes to ICW! 

Is there anything else you’d like to add?

Just really want to thank all the fans who have continued to support ICW in the past few months. Means a lot that in such a difficult time, people are continuing to share our content, pick up merch, subscribe to On Demand, and engage with us on the lock down show on YouTube and Facebook each week. Hopefully we can get back to normal sooner rather than later, and see everyone! Until then, everyone stay safe!

Where can people contact you? Social media pages etc.

Both my Instagram and Twitter are @scottreidicw. Nice and easy!

This slideshow requires JavaScript.

I’d like to thank Scott for taking the time to answer my questions and giving us all an insight into how the creative process works in the world of professional wrestling. An absolute pleasure to talk to him.

And if you’d like to be featured in Behind The Art you can send in your art to:

Instagram: @themaskedembroiderer Twitter: @TEmbroiderer Or email us ScotWresNet@gmail.com Or use the hashtags #scottishwrestlingart or #scottishwrestlingfanart

Behind The Art #17: Scott Reid

Behind The Art #17: Scott Reid

Behind The Art #17: Scott Reid

[scottish-wrestling-network]

Creativity can come in many formats and not just through the normal channels of painting, drawing, writing or making music. The mere act of gathering, editing and presenting ideas is an art form in itself and I am lucky enough to have had the chance to speak to someone who does it for a living and on a grand scale. All very cryptic I’m sure you’ll agree but it’ll all become obvious to you very shortly so stay with me. Welcome to another edition of SWN Behind the Art. Let’s begin…

Can you start by introducing yourself and what it is you do?

My name’s Scott Reid, and I’m one of the Creative Producers for ICW.

My job covers a lot of bases, but long story short, I work with Dallas to put together and book ICW shows, produce Fight Club episodes, work on our video content that the company puts out, and generally help drive the creative direction of the show. Basically, if you can see it live or on screen, I’ve probably got something to do with it!

When did you start and how did it all come about?

It’s been a bit of a long journey to where I’m at right now. I was at the first ICW show at The Garage in 2012, and was just blown away by what I was seeing. A few chance meetings and conversations later over the next year, I started writing and creating the official ICW magazine in 2013. From there, I just became more and more involved with the company, be that through editing videos, filming backstage, helping sell merch, but the whole time, I was also around booking meetings and creative sessions, just soaking up knowledge, and learning as much as i could about how and why things are done.

Dallas always welcomed my opinion on things, even as far back as 2014/15, but it was probably from around early 2016 that I started making any real major contributions creatively to the show. Now I’m a fully fledged writer on the show, which is a great job. Definitely worth the time it took to get there.

To many of us fans it would be considered one of the dream jobs in the wrestling business but I’m sure it’s got as many fulfilling moments to complete headaches and heartaches. What are the highs and lows of being a creative producer?

Its definitely a fulfilling job. It’s an incredible feeling when you’ve been working on a show like Fear & Loathing for months, and then it all comes together on the night. Not just from a perspective of everything going the way you hoped it would, but knowing that fans enjoyed themselves is a great feeling. It’s one thing to write something and think “I would love to see this”, but when you hear an audience react to something positively in the venue, you just can’t beat that. If people are paying their money to come to our show, I want to leave the venue that night knowing they had a good time.

On the flip side, there’s definitely hard times with the job, specifically with things that are just completely out of your control. When you’re writing a show, you have your plan for the matches, but there’s so many things that can cause a change to a match, or even a whole story line, that you can’t do anything about. 

Wrestling’s very physical and dangerous, and with that comes injuries that can happen at any time. If someone gets injured the day before an ICW show, then we don’t have any other choice but to come up with an alternative. The show must go on, as they say! Learning to roll with the punches in a calm and logical way can be hard, but its just something that comes with the role.

In wrestling, I’m presuming, it’s easier to get a crazy angle or story line through than a tame one right? What is the craziest angle you’ve ever suggested?

We’ve had so many ridiculous conversations that I’ve probably forgotten most of them, but the most prominent one that springs to mind that actually happened was having Good Housekeeping III main event at Fear & Loathing. When Liam Thomson returned to ICW after his injury, there was initially very different ideas of what he would be doing. Fan outcry for a second Good Housekeeping Match was so loud though, so I went to Dallas, and suggested doing it, and building towards a third match at Fear & Loathing. The fact that we could even get a second match out of such a mental concept was amazing in itself, never mind doing another one a year later in the main event of the biggest show of the year! It’s a testament to how good Liam and Wolfgang are though. Those two made those matches really special.

I’m also responsible for the giant sponge in Good Housekeeping II. I didn’t really pitch that to anyone, I just showed up on the day of the show with a 6 foot tall sponge. I still don’t tell folk where it came from. I want it to become an urban legend of Scottish wrestling!

Haha I won’t persue that any further then, I like an urban myth too. With that being said what’s your favourite angle that you’ve created? Favourite people to work with?

It so hard to really appreciate how something’s going at the time, because so often, it’s over, and you just move onto the next thing.

That being said, i remember being really happy with the BT Gunn/Mikey Whiplash feud into Barramania 4, with the Death Match for the World Title. I was really heavily involved in that story, and the creativity from the others involved just made it all the better. The best stuff comes from collaboration, in my opinion. Ideas from one person building on the ideas of another can create gold.

There’s so many people that I enjoy working with. Coming up with ideas with The Kinky Party is always a lot of fun, as there’s very few things that are off the table with them. Wolfgang is another one who’s a lot of fun to work with, because despite having done this for 15+ years, he’s still got the same enthusiasm for wrestling. I say all the time, and i really mean it in the best way, he’s like a big kid who just loves wrestling, and it’s hard not to be drawn in by that type of love for what you’re doing. Kay Lee Ray’s always someone i look forward to working with as well, especially on a show day. Kay Lee’s someone I could probably say two words to, and I could trust that she’d still go out and absolutely nail it, but she’s a perfectionist, so it’s always good to be able to sit down and really flesh out ideas with her at a show.

I really enjoy writing some of the darker elements on the show, and when stuff like that is being put together, BT Gunn is someone who I can really get on the same wavelength with. He’s fearless when it comes to trying out ideas, so when we’re trying to push the envelope, he and I really work well together. Mikey Whiplash is very much the same. Producing stuff with him has always been like a treat for me. There’s almost nothing that’s out of bounds with him, and that makes my job a lot more exciting.

Has lockdown been a blessing or a curse for you? Have you had more time to write new storyline’s or plan for future shows etc?

At the beginning of Lockdown, i was obviously really gutted. I felt like we had some really good stuff going on, so it was sad to see it come to a halt, plus i love the thrill of a show day, so not having that has been weird. That being said, I feel like lock down has allowed us to shift our focus and do some good stuff elsewhere. We’ve really worked hard to make ICW On Demand as accessible and interesting to people as possible during this time. People are bored, so we wanted to make sure we can still give them some entertainment! The ICW iPhone/Android App is something that we’ve spoken about for a while, so it was great to get that released, and we’ve even recently launched the ICW App on Amazon Fire TV. That’s something people have been asking about for a while, so hopefully a lot of people are happy with it.

As far as storylines go, there’s not a day goes by where I’m not writing ideas down, but it’s everything’s so up on the air at the minute, that everything we’re doing creatively has a bit of a question mark over it. Once we have a clearer idea of when we’ll be able to run shows again, we’ll be diving head first into things though.

Now that I’ve completely freaked you out about what you’ll have to go back to after lock down, all the stresses and strains of being a creative producer haha. Are you creative outside of wrestling as well? Do you draw, write, create music or anything?

I’m nowhere as creative elsewhere as I once was. As a young kid, I was never without a pen or pencil in my hand, drawing something, but then I got older, and wrestling caught me! haha!

I really engulf myself in work, so when i’m not doing that, I just try and relax where I can. Cinema and comic books are two of my biggest loves. I’m always watching or reading something, and even then, I’m usually working in the back of my head. I’m always watching something and thinking how I can draw influence from it in filming promos, or the how I can present something a specific way on a show. All my creativity goes to ICW! 

Is there anything else you’d like to add?

Just really want to thank all the fans who have continued to support ICW in the past few months. Means a lot that in such a difficult time, people are continuing to share our content, pick up merch, subscribe to On Demand, and engage with us on the lock down show on YouTube and Facebook each week. Hopefully we can get back to normal sooner rather than later, and see everyone! Until then, everyone stay safe!

Where can people contact you? Social media pages etc.

Both my Instagram and Twitter are @scottreidicw. Nice and easy!

This slideshow requires JavaScript.

I’d like to thank Scott for taking the time to answer my questions and giving us all an insight into how the creative process works in the world of professional wrestling. An absolute pleasure to talk to him.

And if you’d like to be featured in Behind The Art you can send in your art to:

Instagram: @themaskedembroiderer Twitter: @TEmbroiderer Or email us ScotWresNet@gmail.com Or use the hashtags #scottishwrestlingart or #scottishwrestlingfanart

Behind The Art #17: Scott Reid

Behind The Art #17: Scott Reid

[theliberaltony]

via Politics – FiveThirtyEight

Welcome to FiveThirtyEight’s weekly politics chat. The transcript below has been lightly edited.

sarahf (Sarah Frostenson, politics editor): This is usually the point in the primary season where the field has started to winnow — candidates who’ve had poor performances in Iowa or New Hampshire drop out. But no such luck this year. The debate stage tomorrow is actually getting larger, not smaller, if you can believe it.

But even though the field remains crowded, there’s an increasingly clear front-runner: Sen. Bernie Sanders. Sanders won, and he won pretty handily — he won the final, realigned popular vote by 21.6 points, so Sanders’s odds are pretty good in our model: He’s got a 45 percent shot of winning the majority of pledged delegates.

However, South Carolina, which is where the primary moves next, could be a bit of a curveball for Sanders, as it’s Biden — not Sanders — who is in the lead there. Things are really close, though, so it’s probably best thought of as a tie. But it also means the stakes at tomorrow’s debate are pretty high. Biden is banking on a strong performance and winning South Carolina, while other candidates like former Mayor of South Bend, Indiana, Pete Buttigieg, Sen. Elizabeth Warren and Sen. Amy Klobuchar need to demonstrate that they’re can build diverse coalitions, something they struggled to do in Nevada.

So what are you looking for going into tonight? Will the candidates finally attack Sanders as the front-runner?

perry (Perry Bacon Jr., senior writer): Buttigieg’s post-Nevada speech was basically a series of attacks on Sanders. Biden’s had some elements of that, too. Former Mayor of New York Michael Bloomberg is coming after Sanders. Tom Steyer, too. Yes, I think this debate will have several people going hard after Sanders, looking really toward Super Tuesday.

natesilver (Nate Silver, editor in chief): I think this whole week is gonna be CAN ANYONE STOP BERNIE SANDERS?!?!?!?!?!?!? week and that theme is likely to feature heavily at the debate.

The thing about Sanders is that he’s a pretty steady (if not always spectacular) debater and not the easiest guy to knock off-kilter.

And if it seems like everyone is attacking him, well, that plays into his message in certain ways.

sarahf: Yeah, and to Perry’s point, Buttigieg really didn’t mince words on Saturday when he told supporters that Sanders is waging an “inflexible ideological revolution that leaves out most Democrats.” But I’m struggling to wrap my head around how accurate that claim is. Buttigieg came in third in Nevada — significantly behind Sanders. So is Sanders’s “revolution” really leaving out most Democrats? Seems like a fair share of Democrats have been happy to vote for Sanders so far!

Buttigieg and the other moderates need to come up with something better, no?

geoffrey.skelley (Geoffrey Skelley, elections analyst): It’s possible they need something better, but things might look different if a couple of the more moderate candidates got out of the way. Sanders might still lead the field — recent national polls suggest he would — but if a few folks dropped out, it would make it a lot clearer who the alternative to Sanders is. At the moment, there isn’t really one obvious answer to that question. Yet, there’s plenty of evidence that points to the idea that many Democrats might not want Sanders as the nominee. After all, Sanders only won between 25 to 34 percent of the initial popular vote in Iowa and Nevada (so before realignment), and just 26 percent overall in New Hampshire — not exactly an overwhelming share of support.

natesilver: I don’t know … a lot of Democrats do want a more moderate nominee, at least in the abstract. And many associate moderation with electability.

Calling Bernie out as being uncompromising is maybe not a bad line of attack either, since Democrats tend to like compromise.

perry: Ten days of sustained attacks on Sanders could dip his numbers. It would help if the other candidates maybe moved away from Medicare for All, which seems likely it’s decently popular among Democratic primary voters, and found ways to attack him on different issues, though.

natesilver: I do think there’s something about sustained vs. sporadic attacks that matters here.

Like, few things in politics are truly new. Bernie has been around for a while. But there’s always been some shinier object that was rising in the polls — Harris! Warren! Buttigieg! Bloomberg! — that was always more the center of attention, but now that’s changed with Sanders being truly at the center.

perry: Also, a big part of the next 10 days or so is the other candidates working to keep Sanders in the 25-to-33 percent range. But if Democratic voters start falling in line and accepting Sanders as the inevitable nominee, and he gets closer to 40 percent in some states, that would be bad for the others.

natesilver: Yeah, it sorta feels like part of what candidates may be hoping to do is to prevent him from rising further, rather than actually lowering his numbers.

Because he’s likely to get a bounce from Nevada, so even if he has a mediocre debate/the scrutiny hurts him a bit, it might just cancel that out — not actually make his numbers negative relative to where he stood, pre-Nevada.

geoffrey.skelley: I do wonder if the fact that the stage will be even more crowded plays into that to some extent, Nate. Because Steyer has made this debate, there’ll be seven participants this time around, so if you’re trying to stand out as the No.1 alternative to Sanders, that might be even harder. Especially because I assume Bloomberg will still get a lot of attention, even though his standing may have taken a hit after the last debate.

natesilver: It’s kind of a big moment for Sanders, Bloomberg AND Biden, since Biden clearly needs to win South Carolina.

But I do think we’re at the point now where it’s in the mutual interest of every other candidate for Sanders to struggle. There are no longer tactical considerations that outweigh that.

If Sanders gets say, 26 percent of the vote on Super Tuesday instead of 34 percent, that’s a big deal and makes it much more likely that someone else wins.

perry: What was useful last week, in attacking Bloomberg, was that the candidates said interesting stuff — like Warren demanding on stage that Bloomberg release women who were former employees of his company from non-disclosure agreements. So a smart approach from at least one of the non-Sanders candidates would be to attack him in a way that goes beyond questions of electability and Medicare For All, etc.

sarahf: Is it enough for Biden to win South Carolina at this point if the margin between him and Sanders is really close, though? Or does Biden really need it to be as decisive as, say, Nevada was for Sanders?

natesilver: Our model says that the margin matters at the margins, but it’s mostly winning that counts.

Now, if Biden wins by 20 points, maybe we’re in a situation where “it’s not clear who’s the favorite anymore” vs. if he wins by 2 points, the story is, “at least this is still interesting, but Sanders is still in the best position.”

If he LOSES by 2 points, though, it’s hard to see his campaign recovering, and it puts Sanders in a very, very good position.

perry: It would be ideal for Biden to win South Carolina and be the clear second-place finisher on Super Tuesday, so as to flush out the other candidates and get it down to a two-person race. But if come next Wednesday, Biden has won South Carolina and Alabama (two states that vote in the next 10 days that have large black Democratic electorates) but finished say, third or worse in California and Texas, that is not ideal for him — or the people who want Sanders to be defeated.

geoffrey.skelley: Obviously, an unexpectedly large margin would be good for Biden, and the media might be quite open to a comeback narrative, but it’s hard to know at this point how strong Biden’s lead is there.

One potential bit of good news for the Biden camp is that longtime South Carolina Rep. Jim Clyburn, who is the highest ranking African American in Congress, may endorse Biden on Wednesday. This endorsement could be huge for Biden and would signal either that more black voters are ready to line up behind Biden, or it’d be enough to push some undecided black voters into Biden’s camp.

perry: Yeah, the CBS/YouGov poll released on Sunday suggested a fairly close race in South Carolina: Biden at 28 percent, Sanders 23 percent, and Steyer 18 percent.

But maybe a big push by black, pro-Biden officials like Clyburn and a sustained week of attacks on Sanders makes it less close. There is no big early voting drive in South Carolina like there was in Nevada, so the events of this week will matter.

natesilver: It’s a little hard to figure out where the conventional wisdom is on South Carolina. Do people see it as a toss-up? Or still as Biden’s state to win?

The polls are closer to a toss-up, although they slightly tilt toward Biden. It’s important to note, though, that we don’t have any post-Nevada polling yet.

I would also note that there’s a tendency for the polls in South Carolina to underrate the candidate who has more black support — namely Obama in 2008 and Clinton in 2016. Anecdotally, there seems to be some evidence that black voters are more likely to tell pollsters they’re undecided, and that seems to be true in South Carolina as well. In the Marist poll, for instance, 13 percent of black voters said they were undecided vs. 5 percent of whites.

geoffrey.skelley: Yeah, Nate, I realize this is anecdotal, but when I was down in South Carolina a week ago at a Biden event at a historically black church, a couple of voters told me they weren’t sure about supporting Biden, but they also didn’t really have another person they were considering.

perry: Sanders released his campaign schedule for this week, and at least as of right now, he is in Virginia on Saturday and South Carolina on Friday. On the other hand, Biden is in South Carolina both days. Sanders was also in Texas for the Nevada caucuses.

His team is super-focused on Super Tuesday, which is smart. But it also tells me that while they want to win South Carolina, they are not necessarily expecting a win, nor are they going to kill themselves to get one.

natesilver: According to the FiveThirtyEight primary forecast, that strategy might be short-sighted, i.e., they’d be better off going for the kill in South Carolina because that makes it so hard for Biden to come back.

But maybe they aren’t super confident about their prospects in South Carolina and want to lower expectations. There’s this tendency to look at African American voters as a monolith when the ones in South Carolina are liable to be far more conservative than the ones in, say, Nevada, among whom Bernie did fairly well.

perry: The other weird thing about South Carolina is Steyer. I tend to think he will decline in the polls as the week goes forward, and that he will be closer to polling in the low teens than the high teens. But I also don’t know who his support would go to. But maybe I’m wrong, and he does really well. He has spent a lot of time in the state, particularly in courting black voters.

sarahf: Where does South Carolina leave the other candidate who aren’t Biden or Sanders, though? As we’ve said, it’s important Biden wins there because he’s made so much of his campaign about his ability to win black voters. But what if Buttigieg, Klobuchar and Warren all finish in the single digits again?

Do they power through to Super Tuesday, even though this will now be the second state where they’ve failed to build strong, diverse coalitions?

natesilver: Our model doesn’t think Buttigieg has much of a path, although it’s worth noting that he’s had pretty good results so far (1st/2nd/3rd or 2nd/2nd/3rd if you prefer) so it seems a little much for people to be asking that he should drop out. His problem is that there aren’t any Midwestern states on Super Tuesday except for Minnesota, where Klobuchar is a big problem for him. But he’s closed strongly relative to his polling averages in most states so, I dunno, I guess he’s just hoping to do so again.

Warren has a — somewhat good! — excuse to continue based on her post-debate polling looking stronger.

I don’t get what Klobuchar is doing. Or Steyer, frankly.

geoffrey.skelley: Warren remains not that far behind Biden and Bloomberg in national polls. Whereas, yeah, Klobuchar is at about 5 percent in our national polling average, and Steyer is at 2 percent. Even if Steyer gets a strong third in South Carolina, I don’t see a path opening up for him in Super Tuesday states.

perry: Buttigieg, Klobuchar and Warren should be in South Carolina some this week to prevent being cast as ignoring black voters. But they should try to do as little as possible there. Super Tuesday just has better opportunities for them than a state in the South where the majority of the electorate is black. Not to mention, Steyer has camped there for weeks.

natesilver: Having Super Tuesday SO close to South Carolina is sort of an important wrinkle in the scheduling.

And probably a flaw, I’d say.

sarahf: Wait, why a flaw, Nate?

natesilver: Because it doesn’t really give voters and the candidates time to react to South Carolina? Or, conversely, maybe you get a fleeting reaction that isn’t durable?

perry: I agree with Nate. The first state with a lot of black voters is scheduled when the candidates also have a lot of incentive to focus on Super Tuesday, and it’s just difficult to manage.

sarahf: It seems as if campaigning in the Super Tuesday states has been really hard across the board, and only Sanders and Bloomberg have done an OK job of it, especially in California and Texas, which are delegate-rich.

natesilver: Well, maybe more advertising than campaigning in Bloomberg’s case. There’s been some of the latter but a lot of the former, obviously.

And if Bloomberg continues to slump in the polls, we could be looking at a case where he finishes just UNDER 15 percent in most places, and therefore, receives few delegates of his own, but nonetheless takes away 13 to 14 percent of the vote from other moderates. That would be very, very, very helpful to Sanders.

Conversely, if Bloomberg gets 20 percent, he would at least win some delegates and lower Sanders’s total, which isn’t as good for Bernie.

geoffrey.skelley: With that in mind, I wonder if we see a lot of Bloomberg bashing again in this debate and maybe not quite as much Sanders bashing as you’d expect. Pushing Bloomberg down probably helps someone like Biden a fair bit, and obviously in the last debate he was the chief target of criticism.

sarahf: That’s a good point, Geoff. But some of what happens next seems to hinge on Biden actually pulling off a strong victory in South Carolina. With the field still so crowded it’s hard for me to understand how the “moderates” mount a credible threat to Sanders at this point, when they’re all still in the process of competing with each other. It seems like the kind of chaos that Sanders mainly benefits from. Is that fair?

natesilver: For what it’s worth, I don’t think whether the chaos benefits Sanders is as clear as people assume.

If you have so much chaos that you wind up with a contested convention, that doesn’t necessarily benefit Sanders!

And he isn’t necessarily an underdog if the race comes down to 1-on-1. He might be a favorite, in fact, in several of the matchups. Would you rather bet on Sanders or Mayor Pete head-to-head, for instance? I’d take Bernie.

You could also wind up with a scenario — if last week’s debate had a big impact — where the three most viable candidates going forward are Sanders, Warren and Biden, which is a “chaotic” scenario that is not so great for Sanders.

geoffrey.skelley: Sanders may be aided by a crowded field in that, many candidates won’t crack the 15 percent delegate mark statewide or in most districts. That means, if say, Sanders wins 30 percent statewide and in most districts while another candidate wins 15 percent exactly, with the rest splitting the vote and finishing under 15 percent, then Sanders ends up with about two-thirds of the delegates that state has to offer. In a place like California, that works out pretty well for him!

perry: I think the lane stuff is both relevant and not perfect. Do I think it would help Biden or Buttigieg if either were the only candidate against Sanders? Probably. But I absolutely do not think that Sanders would keep just his current 25 to 30 percent and Biden would get the other 70 percent. The reasons this field is so fractured and Sanders keeps winning are: 1) Sanders is pretty popular among Democrats, and 2) The center-left candidates all have some flaws (Buttigieg’s weak numbers among black and Latino voters, for example).