#this episode is kind of like a 90 minute special its so packed fjdsklgds

[ambitionsource]

AMBITION Season 2 ♫ “Valerie De La Cruz” [ 2.04 ]

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

MOTHER KNOWS BEST – A guest appearance by Isadora’s starlet mother throws AAA into disarray. As Jack attempts to maintain control with a full plate, Valerie encourages the students to channel their current woes into more authentic performances. But lighting a match in dry woods might just set the whole forest ablaze.

72 Minutes (21K words) || No warnings apply.

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

( Follow along with the music on Spotify here! )

EXT. AIRPLANE - DAY

Song Cue ♫ ♪ “The Bitch Is Back / Dress You Up” as performed by Glee Cast || Performed by Zay Babineaux & Maya Hart (feat. AAA Juniors)

As the opening guitar riffs launch us headfirst into another episode of AMBITION, a commercial airliner makes its way into a safe and timely descent at John F. Kennedy airport.

INT. AAA - AUDITORIUM - DAY

But it’s ZAY BABINEAUX and MAYA HART who are leading the number, the A class goofing around before the school day officially begins. The two reigning divas don’t pull any punches with the rendition, delivering it with impressive runs, infectious energy, and undeniable talent.

The two of them interact with the rest of their classmates as the performance unfolds, grooving around and spreading the energy. Maya leans back against ISADORA DE LA CRUZ during one particular run, giving her a wink. Zay spins RILEY MATTHEWS. Amidst the spectacle and during a fun dance sequence between the two divas, CHARLIE GARDNER watches with his jaw hanging open and looking especially captivated.

EXT. NEW YORK STREETS - DAY

Intercut with the loose performance, a series of shots convey a new guest making their way into the world of AAA. A pair of glossy stilettos step their way out of an expensive town car. A generous tip drops through the window into the passenger seat.

Those stilettos march their way down the streets, heads turning as the figure passes. People whisper excitedly. Is that…?

We follow those heels as they cross a busy intersection, not bothering to wait for the signal. Jaywalking is New York tradition, and traffic will wait. Especially for them.

As the song comes to an end and Zay and Maya belt out their best ending note, those heels strut their way up the vast steps of Adams and push through the doors with a flourish.

INT. AAA - AUDITORIUM - DAY

The class rounds out the number with enthusiasm, Zay and Maya standing front and center back to back as they soak in the theatrics of a spectacular performance. Here we go again!

INT. AAA - BLACK BOX THEATER - DAY

Well, for those in the know, anyway. FARKLE MINKUS is seated alone in the black box, glancing at the clock and all the empty seats around him. It’s clear he missed a memo, but he has no idea what he’s supposed to be doing instead.

The silence of the room is stark compared to the bombastic opening number we just saw. He slouches further in his seat, lightly tugging at his hair absentmindedly.

He’s saved from isolation when JACK HUNTER pokes his head in. He asks what Farkle is doing in there, considering they’re supposed to be meeting in the auditorium this morning. Embarrassed, Farkle quickly gets to his feet.

Farkle: Well, uh… nobody told me.

Jack waves him off, stating they can walk there together seeing as that’s also where he’s headed. Not the most ideal social cred, to be walking around with your principal, but suppose it’s better than being alone.

INT. AAA - AUDITORIUM - DAY

The two of them arrive right on time, HARPER BURGESS showing up as well and gearing up to start the day. She quiets the upbeat chatter of the class, Farkle feeling the sting of being left out simply based on the good mood they’re all carrying that he didn’t experience. As Harper gets them to settle in the front and center section, LUCAS FRIAR descends from the booth and comes to join the other techies.

Harper explains that they’ll be having a special guest lecturer this week, and instantly the class grows excited once again. This launches into a series of guesses as to who it could possibly be, none of them even close to the mark.

Darby: Is it my mom? They just made a huge breakthrough on her cancer research. She should’ve told me she was coming!

Haley: Again, Darbs, someone we care about.

Yogi: It has to be Dick Cheney. If Sean Spicer can be on Dancing With the Stars --

Other names are thrown around. Barack Obama. The kid who invented flossing. DYLAN ORLANDO offers another idea, sitting up in his seat next to ASHER GARCIA.

Dylan: Jesus H. Christ. It’s Jesus, isn’t it?

[ He leans forward in his seat, tapping Charlie’s shoulder to get his attention. ]

Dylan: Charlie, you’re friends with Jesus, right?

Charlie clearly has no idea how to respond to that, mildly horrified, but SARAH CARLSON beats him to it anyway.

Sarah: Why would Jesus come to Triple A?

Nate: Someone has to save us from our sins.

Dylan: If he can do Queer Eye, I think he could make an appearance.

Of course, no one can top DAVE WILLIAMS when it comes to ideas.

Dave: Is it Ice T? He’s my godfather.

Before that little bombshell can be unpacked, the mystery is solved. ERIC MATTHEWS eagerly makes his way onto the stages through the wings, followed closely behind by the glamorous VALERIE DE LA CRUZ. Tall, tan, gorgeous, wearing those stiletto heels and looking absolutely fabulous. Her smile is brighter than the stage lights as she gives a wave to them all.

As expected, the class erupts into chaos. Maya can’t believe this is happening, claiming she’s going to pass out. Isadora looks torn between excitement and dread. Lucas looks disgusted, glaring at the adults assembled on stage with his mouth hanging open.

When Valerie is ON, it should be noted that everything that comes out of her mouth is at peak theatrical.

Valerie: And let me just say -- what an honor it is to be here with all of you. This week, we’re going to reach your highest heights… but also dig deep. Do you all want this insufferable beauty of a lifestyle badly enough? Can you be the beast necessary to live it? What are you willing to share -- or sacrifice -- to have it? And, of course, do you have the talent? [ a beat ] Suffice to say, my dear, dear dreamers in training, I bet this week will change your lives.

Oh, there’s no doubt about that, Madame De La Cruz. Off her charismatic wink --

Cue title sequence.

INT. AAA - CAFETERIA - DAY

Maya is sitting with Isadora at lunch, DARBY WINTERS arguing about something with NIGEL CHEY and YINDRA AMINO a couple seats down. Maya is brimming with excitement, unable to contain it as the two of them talk about Valerie’s visit.

Maya: I can’t believe it. Did you know?

Isadora: [ mirroring her enthusiasm ] It was so hard not to tell you.

Maya pretends to swat at her, shaking her head but still grinning wide. They immediately launch into eager discussion.

EXT. AAA - LUNCH COURTYARD - DAY

From the usual techie table, Lucas watches Maya and Isadora through the window to the cafeteria with evident disdain. Dylan and Asher are seated across from him, trying to distract him and talk him down from the turbulent emotions Valerie’s presence might have brought.

The subject of the upcoming holiday of Thanksgiving comes up, Lucas explaining his and Isadora’s usual tradition of ditching their respective familial obligations (in his case, none) and just going to eat somewhere together. Nothing remotely holiday-inspired, but more fun than either of their other plans and distinctly theirs. Considering Valerie’s presence, however, he figures that will likely not be happening this year.

Dylan states that if he doesn’t have better plans, then he should come have Thanksgiving with their families. Asher smiles, taking his hand on the tabletop and agreeing. The soft moment lingers between the two of them. Dylan goes on to explain that there’s nothing better than a Garcia-Orlando holiday gathering, especially Thanksgiving.

Asher: Well, my dad did set the oven on fire last year.

Dylan: And you know, I think that was exactly what we needed. I think every holiday needs a little bit of character.

Asher: I would not call “a degree of separation away from bodily injury” character.

Dylan: And that is what you have me for.

Asher rolls his eyes, Dylan giving him one of his sunshine smiles. Lucas watches them in mild amusement, effectively distracted enough to concede and state he’ll join them for the holiday.

INT. AAA - CAFETERIA - DAY

At the opposite end of the cafeteria, Zay and Riley are eating lunch with CLARISSA CRUZ and HALEY FISHER. As Haley arrives and settles into the seat next to her best friend, she breathlessly declares that she’s figured it out. She has finally figured out why Charlie isn’t giving her -- or anyone else, for that matter -- the time of day.

They prompt her to continue, Zay subtly more intrigued than Riley or Clarissa. Haley boldly announces her revelation, convinced of its truth.

Haley: Charlie is so into Maya!

She goes on to explain how she can’t believe she didn’t see it before, but the way he was so obviously thirsting this morning before class while she and Zay were riffing off made it painfully clear. Not to mention Maya is so unattainable, so it makes sense why he’s been harboring this for so long. Zay listens and nods along, no longer the least bit concerned and fully amused.

As Clarissa pulls Haley into the holes in that theory, Zay and Riley focus on their own conversation. They get into discussing their current celebrity lecturer, Riley admitting that it’s an exciting prospect, but considering she hardly knew about Valerie before she got here it’s not quite as major for her as it seems to be for the rest of them.

Zay: I know you had a whole other life before Triple A and all that, but were you like, Amish or what?

Riley nudges him playfully. She says she can’t even think much about it anyway, as she’s totally preoccupied with the upcoming holiday. Considering the mess her family is at the moment, she has very little faith that this is going to go well. She can’t stomach the idea of having to watch her parents pretend to get along and then having Auggie ask her every five minutes if they seem like they like one another again and having to find ways to tell him they’re not getting back together.

Riley: Not to mention everyone here is still all over the place and I -- sorry for complaining, but could one thing in my life not be falling apart?

Zay waves off her unnecessary apology. He points out that if she’s frustrated with how things are going with their class, then maybe this week is the time to say something about it. With Valerie here people are going to be paying way more attention than usual, so maybe she can take the chance to actually make a statement and have people listen. Make everyone stop being so stupid, if nothing else.

A nice idea, but easier said than done. Especially when you can’t even let go of your own grievances. This is true as ever as Charlie approaches to join them, exchanging an awkward smile with Riley. She still doesn’t know how to deal with him and excuses herself, vacating the seat for Charlie to occupy.

The dismissal clearly stings for Charlie. He watches her go before plopping into the seat next to Zay, engaging in conversation about Valerie. Charlie questions if Zay is excited about her presence, which he admits to but also clarifies that he’s nowhere near as fanatic as Maya. Valerie is great, but she’s no Rihanna or Queen Bey.

More than that, Zay is intrigued by what chaos she’s going to bring to the table. Seems like it’ll be a week for bold choices -- to which he jokingly makes a quip about how maybe Charlie can admit his feelings for Maya. Charlie is confused, asking him what he’s talking about, but Zay just waves him off playfully.

Charlie: Zay, what? [ with a laugh, but also indignant ] What are you talking about?

Zay shrugs like he doesn’t know what Charlie is bothering him about, but he can’t hold back his grin. He pops a French fry into his mouth, raising his eyebrows.

INT. AAA - JACK’S OFFICE - DAY

Jack is seated at his desk, obviously already exhausted as he discusses the plan for the week with Eric and Harper. As he sees it, he’s already doing everything he can to keep the junior class from imploding, and bringing in such a high-profile figure with the means to cause chaos is just throwing a wrench into things. Eric and Harper defend their belief that perhaps her presence will actually prime the students to work together more effectively, but Jack is skeptical.

Jack: I’m just saying, I’m not breaking my back like Atlas holding up the sky only for it all to come crashing down for some Hollywood bim --

His less-than-complimentary description of Valerie is interrupted by her arrival, Jack quickly changing tracks and offering her a polite smile as he rises to his feet. She jokingly states he doesn’t need to get up on her account, accepting his hand to shake.

Jack: We were just discussing the current… fragile status of the junior class. It’s imperative that we don’t do anything to upset that precarious balance or do anything that might… aggravate rather than mediate.

Valerie: Oh, say no more, Jackson. I know all about conflict mediation. When my mentor JLo got into a tiff with my other mentor Mariah, it was basically up to me to single-handedly snuff out that inferno --

Jack looks like he is not going to survive the week. Harper swoops in to change the subject, stating that she and Valerie should go set up the classroom. She agrees happily, giving one more thanks to Jack and Eric -- especially Eric, given how wonderful he is with Isadora and for arranging this week -- before fluttering off.

Once they’re alone, Eric and Jack take the opportunity to reiterate their plans for Thanksgiving. Presently, Eric is planning to join the Hunters for the holiday in an effort to avoid the Cory & Topanga drama for the year. It’s clear they’re both looking forward to it, as they haven’t had much time to actually enjoy one another’s company outside of school-related business.

Jack also makes a point of reminding Eric that his and Shawn’s +1s will be there as well, so Eric is more than welcome to bring along a friend or… whomever. Eric nervously laughs off the notion, fumbling through an excuse for why he likely won’t have one but appreciating the sentiment either way.

INT. AAA - AUDITORIUM - DAY

Farkle is still sitting in the same spot as when they dismissed for lunch, flipping through Death of a Salesman half-heartedly. It’s unclear, but it seems like he didn’t bother to go for break at all.

As his classmates begin returning and settling back in around him, none of them pay him any attention. It’s like they don’t even notice him. Farkle has basically become furniture at this point -- just incidentally iced out of the picture rather than intentionally ostracized.

Somehow, this is worse than being villainized. He’s being forgotten, and it evidently hurts Farkle to realize it as he watches the rest of the class meander in. He thinks about saying something to Nigel who has sat down nearby and is discussing something avidly with NICK YOGI, but Shawn takes the stage before he can speak.

As Shawn informs them, they will not be meeting in here for class, but actually, in the black box. Although the techies point out that they always meet in here first, Shawn flatly claims that their current guest lecturer had other plans. So away we go…

INT. AAA - BLACK BOX THEATER - DAY

Valerie greets the junior A class with a flourish, surrounded by a completely rearranged black box theater. Most objects have been pushed to the sides, and the desks are now organized in a circular socratic style -- with Miss De La Cruz in the very center. She opens her arms wide and welcomes them to the classroom.

Valerie: Come in, come in, and take a seat. Sit wherever your instincts draw you to go.

While most of the class is excited by this introduction, not everyone is so starstruck.

Lucas: I’m being drawn out of this building...

Shawn: [ spinning him back around by the shoulders ] Sit down, Friar.

As everyone settles in, Valerie explains what her approach for the week is going to be (and yes, her delivery does feel a little bit like Cooper Anderson on Glee). She greatly looks forward to getting to know each of them, and notes that she is endeavoring to sit down with each of them one-on-one through the course of the week to discuss their aspirations, their hesitations… and sign autographs if they so desire, ha ha ha!

In the midst of this lecture, she begins randomly picking students from the class to try and get them to speak about who they are. She picks the worst example to start with, turning to Charlie and asking him to tell her who he is in front of the entire class.

Charlie: … who, me?

Valerie: Well, you and me are locking eyes, aren’t we? We’re forming a connection. You sense that?

Charlie: Um --

Valerie: So, tell me then…

Haley, amused: Charlie.

Valerie: Charlie! Tell me, Charlie. Who are you?

Charlie is speechless, the rest of the class snickering or reacting accordingly. From where he’s sitting next to Riley, Zay grimaces. Being put on the spot doesn’t help, and Valerie catches onto this. She assures Charlie that it’s fine, and that they’ll have plenty of time to chat later. She manages to spin it into something positive, claiming his uncertainty highlights exactly what she thinks is the key to the week for them.

Valerie: You saw, there, how Charlie hesitated? That’s not a bad thing. What that is showcasing, my dears, is the internal search for authenticity. He did not merely throw out some practiced answer -- he took the time to contemplate the question, to dig deep and consider what such an answer might be.

Sarah: [ under her breath ] Like there’s any depth to dig.

Emotional authenticity, Valerie elaborates, is the core of any talented star in the making. Audiences don’t connect to glitz and glamour -- although we love some glam! -- they connect to the emotion a performer is conveying through their work.

All in all, it’s clear that Valerie really does intend to make progress with these students and wants to help them in any way she can. But the A class is far from ready for emotional vulnerability, which she quickly realizes, so they’ll have to start a little smaller first. Thusly, Valerie decides they could do with a warm up.

Maya: This is the best day of my life.

Lucas: This is insane.

Song Cue ♫ ♪ “When I Grow Up” as performed by The Pussycat Dolls || Performed by Valerie De La Cruz (feat. AAA Juniors)

Yes, this is an insane choice to sing while mentoring at a high school. Yes, it’s also a direct homage to Valerie’s actress’ PCD roots. But the good aspect to the choice is how it energizes the students, just shocking and upbeat enough to create a compelling combination to break through the uncertainty and tension.

While most of the class gets pulled into the fun and starts grooving with their celebrity teacher -- Maya the first to jump at the chance -- not all of the junior A class is participating. Farkle stays slouched in his seat and doodles apathetically in his notebook, this out-of-character nonchalance catching the eye of Eric amidst the chaos. Isadora is somewhere between embarrassed and overwhelmed, covering her eyes and peeking out between her fingers to watch. Lucas looks disgusted, glancing around him as if he cannot believe this is happening.

Even still, the song actually does speak pretty pointedly to the situation. Valerie is coming from where they all believe they desperately want to be, and perhaps that’s not as rosy and desirable as it seems on the surface. “Be careful what you wish for, cause you just might get it…”

It’s also a nice change of pace to see most of our main cast enjoying a performance. Maya, Riley, Zay, and Charlie take the brunt of backing up Valerie, and it’s fun to watch. When they break into duos, Riley pairs with Zay while Maya ironically pairs with Charlie (which Haley definitely reacts to).

Valerie finishes off the number with a flourish, back in the center of the circle with the junior class surrounding her. What a way to kick off her week!

INT. AAA - JACK’S OFFICE - DAY

On the other hand, maybe not. Jack’s expression is dismayed as Lucas sits across from him, fiercely complaining about what he just witnessed in theatre lab.

Lucas: That was the most disturbing display I have ever been forced to bear witness to in my short, lamentable existence. And I was there for when Maya attempted to get our only relatively diverse school to perform The Lion King and casted Yogi as baby Simba because he was “the right size” for the part.

Jack: Good memory you’ve got there.

Lucas, flatly: I will never be free of that.

Yes, great thanks to Zay Babineaux for shutting down that concept. Subdued theatrics aside, it’s evident Jack isn’t going to argue with Lucas. He leans forward and lowers his voice, speaking conspiratorially.

Jack: Look, to be honest, I’m with you. I don’t think Miss De La Cruz’s presence is going to bring anything but trouble… [ wringing his hands ] and a strange amount of glitter that I cannot seem to wash my hands of no matter how hard I try.

Although Lucas does crack a small smile at Jack’s commentary, he’s not so easily distracted from the issue. He asks what Jack is going to do about it, then. Valerie being here is disgusting and wrong. Can’t he evict her from the premises? Ban her from the building?

While he might daydream about such things, Jack points out that the rest of the class is very enthused about her guest appearance, so it would be more of a hassle to try and remove her than just let her stay run its course. She can’t cause irreversible damage in a week, and who knows, perhaps someone will really get something out of the mentoring.

Lucas: So you’re doing nothing.

Jack: There is a difference between doing nothing and strategically maintaining the peace…

Lucas rolls his eyes, getting up to head back to class. As he’s heading out, Jack grabs his attention once again and makes a point of tapping lightly at his temple. A subtle reminder within a dynamic that only continues to grow more interesting. Think.

Lucas makes a face, indicating that he got the message. Then he pushes out the door, Jack smiling lightly as he goes back to his work.

The smile falters when he takes another look at the messages from the secretaries in the main office. There are one or two pointed reminders regarding the “Bradfords,” which seems to put him on edge. He immediately goes to check his email.

INT. AAA - ERIC’S OFFICE - DAY

Eric is in the midst of work as well, although he seems in a much better mood about their guest. He’s humming to himself when there’s a light knock at his door. He beckons Harper in without looking up -- only it’s not Harper waiting in his doorway.

Eric, in surprise: Miss Hart?

Yes, indeed. KATY HART is peering into his office, timid as usual in the imposing presence of AAA. Eric leaps from his seat, coming to greet her and assuring her that it’s wonderful to see her again, albeit unexpectedly. He guides her inside, questioning what she might be doing there.

Eric: Hoping to catch a glimpse of our celebrity guest lecturer this week?

Katy: Oh, no. Maya definitely has already texted me about it, but… I couldn’t. That’s not what I came by for, in any case.

Eric is intrigued, settling back into his seat. Katy apologizes for stealing a moment from him, but she claims she needs some guidance. Urgent guidance. Eric’s expression grows more solemn, nodding for her to go on…

INT. AAA - HALLWAY - DAY

Maya and Isadora are chatting outside the black box, a gaggle of other students heading out from the classroom behind them. They’re not speaking softly when they discuss the new shake up for the week.

Haley: We are going to learn so much from Valerie. I can feel my star shining brighter already.

Darby: Can you really? How do I know if I’m growing brighter?

Nigel: Lost cause there, Darbs.

Sarah: She might be loony, but she’s got a fun way of teaching. She’s gonna be a better teacher than Burgess.

Focus shifts to Isadora and Maya just as Valerie flutters her way over to them. Isadora makes a point of formally introducing them, Maya more than a little starstruck as she shakes Valerie’s hand. She eagerly compliments her on her great first lecture and emphasizes how she cannot wait for the rest of the week. So Maya holds it together, but it is more than obvious how much she admires Isadora’s starlet mother.

Valerie is tickled, stating that their class is great and she can’t wait to see what Maya whips up for her performance. After a couple more stammered thank yous Maya gets going, leaving Isadora and Valerie in content but uncertain silence as they’re thrown back into figuring out what their dynamic is again.

Searching for a conversation starter, Valerie questions if that was the same girl who threw such a fit over Les Miserables. Isadora confirms it is.

Valerie: Well, she certainly seems to have screwed her head back onto her shoulders a little more securely. Wouldn’t you say?

Isadora: Yeah, well… people can change in a pretty short amount of time.

As the two of them start to head down the hall, Eric comes breezing by at a brisk pace. He slides through the black box doors, poking his head in to make sure all the students have departed.

INT. AAA - BLACK BOX THEATER - DAY

Harper greets him as he enters, lightly adjusting the layout of the room without incidentally messing with Valerie’s newly preferred set up. She enthusiastically states she feels good about their guest appearance for the week, as the students seem more energized than she’s seen them this semester.

Harper: That was a good start, wasn’t it? Or am I just suffering from wishful thinking and a dose of starry eyes?

Eric: Oh, no, I’m right on your page. That’s actually what I wanted to discuss.

Eric touches base with Harper, checking to see how she’s feeling about their new lecturer stepping on her teaching time. It’s unclear whether Harper overheard the commentary from Sarah earlier, but if she did she’s doing an excellent job of concealing it. She explains that Valerie’s presence is hardly a problem for her, in fact it’s a welcome change of pace. It gives her the chance to redirect her energies towards identifying problem areas in the class dynamic.

She does admit that the day has been a draining one, however, so she’s ready to get out of there for the afternoon. She questions if Eric is planning on heading home any time soon -- workaholic -- and he claims he is, he simply has a couple last minute tasks to complete…

INT. AAA - MAIN OFFICE - DAY

One of which seems to involve Jack. He breezes past the secretaries at the front desk with an upbeat greeting, jogging back towards Jack’s office before either of them can stop him. He returns moments later in confusion, wondering where their principal is.

As the secretaries tried to tell him as he rushed past them, Jack’s already left the office. He was gone a few minutes after final bell. Some personal engagements planned, it seems.

Eric’s usual cheery demeanor deflates somewhat. The secretaries offer to pass on a message for him as he glances back towards Jack’s office, but he shakes it off.

Eric: I, um… suppose I’ll just catch him tomorrow.

INT. MAYA’S APARTMENT - NIGHT

Katy and Maya are seated in their cramped living room, spending the evening together after a long day for them both. Dinner is leftovers from the diner, sitting open on the small coffee table in front of them on the couch.

The ladies are chatting lightly, having an impromptu girls night. Katy braids Maya’s hair, the latter pointing out that she still hasn’t figured out how she manages to do this one style so perfectly. She hasn’t managed to recreate it on her own yet.

Katy accepts the compliment, but she admittedly is still wrapping her head around how Maya really got to spend the whole day with a bona fide celebrity. Exciting, isn’t it? Maya grows excited and disrupts the braiding to whip around, gushing about the situation and how amazing the rest of the week is going to be. She’s going to get real feedback from one of her absolute diva heroes.

She also lights up with an idea, stating that Katy should 100% meet Valerie. Katy humbly claims they already met at the diner, but Maya means more officially. As parents of their daughters’ new best friends, if nothing else. She’s sure Isadora wouldn’t mind. Katy tentatively agrees that might be fun.

It’s evident there’s something else on her mind, but she’s struggling to find a way to discuss it. Maya thinks nothing of it, jumping to her feet to go and prep a soothing tea before bed. Only one problem -- the stove isn’t working. It won’t light. When Maya points this out, Katy fumbles before laughing and stating she must’ve forgotten to pay the gas bill.

Maya: You? Forgetting to pay a bill? It is a week for the unimaginable, huh?

Katy laughs along, Maya settling for warm milk instead. So long as she can take care of her voice and get all ready for bed. The moment to say whatever she wanted to say passes, Katy twisting her fingers together before beginning to clean up their dinner.

INT. AAA - BLACK BOX THEATER - DAY

As the school bell rings, we’re thrown into Valerie week truly beginning. This, as it were, seems to involve yoga of a certain variety -- Valerie takes a deep, theatrical inhale as she sits at the center of the classroom. The desks have been pushed along the walls and the performers are seated in a messy circle around her, emulating her breathing exercises with varying levels of commitment. Maya is following to a tee, breathing impassioned and declarative; Nigel, on the other hand, is lowkey checking his phone while everyone else’s eyes are closed.

The techies are even less convincing. They’re seated cross-legged on top of the desks rather than on the floor. Dave is seeing how long he can hold his breath as Valerie goes on to explain the importance of an even inhale and exhale, Jade and Nate timing him.

All the calm breathing puts Dylan to sleep. His head falls on Asher’s shoulder, who opens one eye to peek at him and fails to hold back a fond smile.

Lucas listens expressionlessly, watching everyone else but clearly not impressed himself. He breaks his stony facade only once, when Isadora opens her eyes to glance around and they make eye contact. For a moment, neither of them do anything -- then Lucas makes a face, almost causing her to laugh and disrupt her mother’s elaborate speech on the diaphragm.

Thankfully, the meditation doesn’t last much longer. As Valerie rises to her feet and cheerfully repeats the benefits of a nice and supportive breathing technique in every day life, the class works to put their desks back in relative circular order.

Now, Valerie declares, it’s time for the real fun to begin. Who will be the first to kick off performances and set the tone for the week? A challenge certainly, but she’s more than confident someone in this talented class will have the chops to pull it off…

Although it seems like Maya is chomping at the bit… someone beats her to it. No, it’s not Maya -- nor Isadora, as Valerie eyeing her curiously seems to wish -- but Riley who raises her hand and volunteers to step up to the plate. This causes a ripple of surprise amongst the A class, but Valerie is going to encourage whoever is bold enough to do it. She gestures Riley up, swapping places with her at her desk as she takes center stage.

Riley clears her throat and gets ready to perform, only for Valerie to immediately stop her. It catches her off-guard, wondering what she could’ve already done wrong, but Valerie merely reminds her to introduce herself. Make an entrance into their attention spans, really take the room by storm!

So Riley nods along, squaring her shoulders and trying the moment again. Who she is, what she’s there to do, and what she’s singing about.

Riley: I’m Riley Matthews, Junior A class. I’m here because I love to perform and would love to see where it might take me… but to be honest, right now I kind of just wish everyone would stop being so stupid.

A bold statement. The class reacts in amusement, Zay raising his eyebrows and exchanging an intrigued grin with Yindra.

Tell ‘em what they need to hear, Riles.

Song Cue ♫ ♪ “Come to Mama” as performed by Lady Gaga || Performed by Riley Matthews (feat. Valerie De La Cruz)

Upbeat and fun but also more than to the point lyrically, Riley delivers on this Gaga bop with the enthusiasm and gusto of a girl who truly has nothing else to lose. It’s a rallying cry just as Zay suggested she try, an anthem about letting go and forgiving and forgetting lest everything fall apart. She relays the important message of coming together to work things out while playfully interacting with her classmates.

Halfway through, Valerie jumps up and joins in on the song with her. As she goes, the two of them stay at center stage and Valerie gives non-verbal tips on how to improve Riley’s performance and confidence in the midst of the song. Adjustments to her posture, reminding her to smile, lots of cute touches and little details like that. It’s a fascinating dynamic to watch, as well as to observe how Valerie coaches.

Well, to most people. Whereas Lucas was moderately engaged while Riley was performing, he checks out the moment Valerie steps in.

As they conclude the number, Valerie leads the class in uproarious applause. She congratulates Riley for a grand performance and for being brave enough to lead the charge. Definitely a job well done!

She explains that she’ll want to meet with Riley that afternoon for their one-on-one so she doesn’t forget her notes, but she’ll also be meeting with other students regardless of whether they’ve performed yet. She directs them all to the sign-up sheet that Harper has set up, where they will sign up for a one-on-one time as well as when they plan to perform.

Valerie claps to herself again as the room moves around her, bustling to sign up and regroup. The week is off to a swimming start!

INT. AAA - PRACTICE ROOM - DAY

Well... not for everyone, exactly. Farkle is alone in the practice room, flipping through a song book and lightly tapping out starting notes on the piano. Nothing is settling right with him. The quiet of the room doesn’t offer much help either.

As long as it lasts, that is. Farkle lifts his gaze as footsteps and voices approach, Zay and Charlie appearing outside the practice room and in the midst of conversation. It seems his status as invisible is still in effect, because the boys don’t even notice Farkle in the corner as they step just inside the doorway to have a more private discussion.

They’re chatting about Valerie’s assignment and worldly advice, all of it obviously giving Charlie a good amount of stress. Did Zay see him wipe out on the first day of her visit? He laments how he doesn’t know how the hell he’s supposed to give emotional authenticity to a performance when he can’t even do that in his normal life half the time. Zay empathizes, pointing out that very truth in reference to something from earlier in their conversation -- the holidays.

Charlie: It’s like, what does she want me to do? Go up to my good Catholic mother and say “hello, Eleanor! Just wanted to give you the quick timely heads up that I, your darling only son, am a dirty sinner” --

[ Farkle visibly reacts to this, eyes widening in surprise. It’s evidently news to him. ]

Charlie: -- “and oh, can we invite my heathen bi boyfriend that you don’t know about over for Thanksgiving dinner? Hold that thought though, gotta go give a really emotionally authentic performance for my classmate’s crazy superstar mother!”

Zay pulls Charlie back from the metaphorical ledge, taking his shoulders and (ironically) encouraging him to breathe. He reminds him that he holds no expectations about Thanksgiving, so he shouldn’t consider that a concern.

And when it comes to the performance, he doesn’t have to do anything but give a good rendition of whatever he chooses to sing. Just because Valerie is here doesn’t mean that everything suddenly changes, and she’s not gonna know whether what he shows her is authentic or not despite claiming she can know them all in the span of a week.

Zay: So give a damn good performance like you always do, and you won’t have to worry about whether or not it’s emotionally “authentic” --

Charlie, in a murmur: Or the fact that she has a point…

Charlie lifts his gaze, locking eyes with him. His inability to be authentic -- or know what that even means for him -- isn’t something he can run from forever, and both of them know it. Zay gives him a soft look, squeezing his shoulders before giving him another reassurance. It doesn’t have to be solved today.

All in all, sort of an intense and intimate conversation to accidentally overhear. Farkle watches as the two of them exit back into the hall, obviously internalizing this new information but having no clue what to do with it.

INT. AAA - JACK’S OFFICE - DAY

Eric finally manages to catch up with Jack, catching him during the lunch hour. He promises to make it quick, before throwing in some offhand commentary about Jack’s early disappearance yesterday afternoon.

Jack: I’m sorry, I didn’t realize you would be needing me. I had plans with Anne-Marie.

Eric: [ with a stiff nod ] Prior engagement.

Jack: But, in my defense, a typical work day is 9 to 5.

Eric: It was 3PM.

Jack: I put in a lot of overtime already.

Details aside, Eric explains that he wanted to touch base about how they think Valerie’s visit is going. He thinks it’s going rather well, whereas Jack is still firm on his stance that it may be fun but still feels unnecessary. He’s not convinced that she’s not going to cause more trouble than improvement. There’s an odd tension between the two of them because of it, although it’s not clear whether all of the animosity is coming from this specific disagreement.

Eric chooses to avoid it for now, changing the subject. He starts to note that he thinks they should pay some additional attention to Farkle Minkus -- he observed some odd behavior in class the other day, and given how things ended last year…

Jack is obviously on the same page, but a phone call startles them both and disrupts the train of thought. Jack asks for just a quick minute and answers the call, Eric holding up his hands in surrender and claiming they’ll discuss it later.

They exchange nods and suddenly the conversation is over, Eric looking a bit dissatisfied as he steps out of the office.

INT. AAA - AUDITORIUM - DAY

In this particular case, Jack might be making the right call about Valerie. Trouble begins to brew right after lunch, as Lucas returns to the auditorium to find the rest of the techie crew grouped uncertainly on the stage. When he asks what’s going on and why they’re not at their usual stations, Asher explains that Shawn directed them here. Apparently, Valerie wants to chat with them about their “expectations” for the week.

Lucas: Oh, this better be fucking good…

With Valerie De La Cruz, it’s certainly guaranteed to be a spectacle. She greets them with a flourish as she struts over to join them and the performers filter in behind her, spreading out across the auditorium for individual rehearsal time. Jade timidly asks what they’ll be expected to do during this week of emotional authenticity, to which Val delivers what she clearly believes is a wonderful declaration.

Valerie: [ with gusto ] Nothing.

Dave: Nothing?

Valerie: Nothing! We won’t be needing your specific services this week.

It’s obvious none of them know how to react to this. Sure, the performers have been flippant about their contributions many a time, but never has the dismissal been so… blatant. Or stated as if it’s the nicest little treat. They’re stunned, they’re confused, Lucas is definitely miffed. Dylan is staring at Valerie with his jaw dropped open, totally lost.

Lucas: I’m sorry, you what?

Valerie: Well, given that this week is all about emotional authenticity, I don’t anticipate we’ll be needing many of your… elements. Well, except perhaps lighting --

Jeff: Oh, thank God.

Valerie: Besides, you all work so hard every single week. Consider this your reprieve, even if only for a short while.

Lucas: So what are we supposed to do instead?

Valerie: Take it easy! Enjoy the performances! [ Lighting up with excitement ] In fact, I would love to see the lot of you try your hands at a little performance art. I bet there’s lots of talent brewing in this flock of rare birds!

That sounds like the last thing any of them want to do. Jade blushes preemptively, already mortified. Asher instinctively turns away and half ducks behind Dylan, tucking his head against his shoulder to avoid eye contact.

More than anything, Lucas is pissed. He shakes his head wordlessly as Valerie flounces off to rally the rest of the class. Before class can get going again he gathers his things that he just set down, marching back the way he came.

Nate: Don’t wanna enjoy the performances?

Lucas: I’d rather die.

Dylan: Where are you going?

Lucas: Anywhere but here.

Hard to misunderstand that. The group of them watch him go, a bad mojo settling in the air. Asher lifts his head from hiding behind Dylan, exchanging a loaded look with him.

Back at front and center stage, Harper and Valerie are convening to discuss how the rest of the week will unfold. The students are in break-out sessions right now rehearsing, but Valerie is welcome to set up camp in her classroom for one-on-ones. She hands over the roster for sign ups, the starlet taking it with delight. Let the mentoring begin!

INT. AAA - BLACK BOX THEATER - DAY

A quick cut montage ensues of Valerie sitting in the black box at a desk, chatting with each of the junior A class in bursts of personality. You know how we love those montages here at AMBITION. However, there’s a lot going on in this episode already, so you can fill in the blanks for the most part. Good luck, Valerie!

INT. AAA - BLACK BOX THEATER - LATER

The montage wraps up as Riley timidly enters the black box, Valerie enthusiastically greeting her and guiding her over to sit in the desk across from where she’s set up camp. She starts by sharing congratulations again for being bold enough to kick off the week. It’s clear that Riley has a lot of talent, and Valerie is fully supportive of how brightly she can shine -- when she puts herself out there and steps up with confidence, that is.

Riley: Yeah, I… [ a beat, softer ] someone has told me that before, actually.

Valerie also commends the efforts she’s putting into quelling the dissent in their class. While she’s impressed by her initiative, she wonders if perhaps there might be some… inconsistencies muddying her overall effectiveness. When Riley asks for clarification, Valerie takes a moment to compose her thoughts before speaking again.

Valerie: I have no doubt that your endeavor to heal your broken class is motivated only by good intentions. But often times, a heroic mission can be… stilted, if the words seem to be coming from an untrustworthy source.

Riley: … so, you think I come off untrustworthy?

Valerie: Oh, no! Ha, ha, no, dear, not at all. And I’ve met Justin Bieber, okay, I know untrustworthy when I see it.  [ a beat ] I simply mean that… sometimes, what we preach isn’t what we practice, and that can make it more difficult for others to follow our example. You want your classmates to stop holding one another on trial for certain events, from what I understand. Forgive and forget, in a sense. [ beat ] I’m only wondering if perhaps there are places in your own life where… this logic has yet to be applied.

Although Valerie doesn’t know much of what she’s talking about, she’s doing a good job of swinging blindly. Riley absorbs this, Valerie going on to state that whatever she might be thinking about, it might be good to do it sooner rather than later -- if her fears about her class falling apart again are well founded.

Much to think about…

INT. AAA - DRESSING ROOM HALL - DAY

Charlie is heading out of the dressing room when Darby and Sarah catch his attention. They’re definitely giggly, which is already a warning sign.

Darby: Charlie, why didn’t you say anything?

Charlie: … about what?

Sarah: You know… [ knowingly ] about your little crush?

Charlie immediately tenses up, asking what the hell they’re talking about. But they’re just like hee hee hee, and generally unhelpful. He refutes having a crush on anyone -- poorly, since he’s so flustered -- which just makes them laugh harder. He rushes out of the dressing room hall, their laughter echoing behind him.

INT. AAA - COSTUME LOFT - DAY

Zay is chilling in the costume loft, jotting down some ideas for a performance for the week on his inner arm. He brightens when Charlie shows up, already out of breath as he finishes climbing the step ladder to the loft.

Before Zay can get a word in edgewise, Charlie launches into nervous musings about how people might be onto them. He paces, trying to figure out what could’ve given it away or where he went wrong while Zay just tries to keep up with how fast he’s talking. When he manages to ask what the hell prompted this and Charlie explains the moment with Darby and Sarah, Zay decides he might be reading into it.

Zay: I don’t think they’re talking about the same thing you think they are, Charlie.

Charlie: I mean, do I come off like I’m keeping a secret? Am I twitchy? Do I just radiate some kind of natural secret-y aura?

Zay, pointedly: Don’t think you want me to answer that, babe --

Charlie makes a face, taking a deep breath. When he’s pulled it back together, at least minimally, he states that he and Zay need to tread more cautiously. Clearly he’s not thinking enough, and if he’s not careful it’s going to come back to bite him.

Zay has no idea what that even means. They’re just… existing. What else does he want them to do? Charlie doesn’t know either, and Zay states that he thinks Charlie is thinking too much.

In search of ways to alleviate the imaginary problem, Charlie starts brainstorming ways to avoid any possible suspicion that they might be… involved. And lucky for him, there’s already a Broadway tune that can do just that…

Song Cue ♫ ♪ “People Will Say We’re In Love” as performed by Oklahoma! Original Broadway Cast || Performed by Charlie Gardner & Zay Babineaux

Continuing their pattern of taking romantic theater classics and making them iconically gay, Charlie takes the lead with the Laurey verses and gives Zay a list of ways for them to prove they’re not in love to the rest of the world. As he sings the line “Don’t sigh and gaze at me, your sighs are so like mine,” Zay realizes he is in fact gazing fondly and shakes it off, switching back into sarcastically amused.

When Charlie warns Zay not to start “collecting things,” and asks for his things back, Zay begrudgingly reaches into his pocket and places one of Charlie’s rosaries into his palm. Charlie uses the opportunity to take his hand, the two of them standing close as he finishes his verse.

Then Zay takes the reins, a little more playful in his delivery and somewhat mocking the intensity of all this secrecy. He jokingly points to the back wall of the costume loft when he claims he “carved our initials on that tree,” Charlie rushing to go check that he’s lying when Zay takes his arm and spins him back around. He taps Charlie’s chin affectionately as he reminds him to take some of his own advice, grinning as Charlie pulls away from him in a huff.

Naturally, Zay is much like Curly in that he personally doesn’t care much if the world knows they’re in love. The line “Don’t praise my charm too much, don’t look so vain with me” is practically custom built for them, Charlie catching his own disdainful expression and turning away from Zay in embarrassment.

While the dancing of the number is really just skirting around one another, it’s a nice change of pace to get to highlight their vocal ability and charm for a spell. Zay ends up back-to-back with Charlie as he gets to the verse how holding his hand feels, both of them obviously gleaning comfort from the touch even though they can’t see each other’s expressions.

As Zay sings the last couple of lines, he gently spins Charlie by the arm so that they’re facing one another again. All of the nervous energy that started the number has fizzled to something softer, the romantic tension palpable as always as they stand inches apart.

Problem solved or not (or problem at all to begin with), it’s clear that this is the most “emotionally authentic” performance Charlie will be giving this week.

INT. AAA - BLACK BOX THEATER - DAY

Valerie is at her highest pitch of enthusiastic as Isadora comes to join her for a one-on-one. They exchange some niceties, Valerie breaking the ice by commenting how silly it is for the two of them to have a structured meeting. She claims they can just have a real conversation -- they haven’t had much time to really catch up yet, as it were.

Isadora agrees that would be nice, but she expresses hesitancy about having an open dialogue. She doesn’t want to say something wrong. But Valerie points out she’s here all week, and nothing she could say will change that nor the excitement she has about getting to spend the upcoming holiday with her. From how earnest she is, Valerie clearly means it.

This means a lot to Isadora, but she isn’t completely sold yet. She offers a timid smile, and Valerie gets the picture that a deeper conversation might have to wait. She smartly shifts gears to the assignment at hand, prompting Isadora to tell her all about what sort of number she might want to pull off this week.

INT. AAA - JACK’S OFFICE - DAY

Jack is just in the midst of a phone conversation with one of the secretaries when Harper marches into his office, obviously on a mission. He glances at her, casually telling them to reschedule his 1PM call.

When he asks what he can do for her, she launches into a metered complaint about how Lucas has skipped class once again. This time, in fact, he just walked right out of the auditorium in plain view of the entire class. Jack takes a deep breath and closes his eyes as she continues her diatribe, stating that it’s not only going to impact his education, it’s also being blatantly disrespectful. She’s trying her best to remain calm and even-tempered about it, but the repeated offenses are clearly getting to her.

Jack claims he’ll have another chat with him, but Harper is quickly learning to associate that promise with doing nothing. Jack has had many chats with Lucas since she started at the school three months ago, and his behavior has hardly improved. She questions if he truly isn’t going to do anything about it, to which Jack evenly retorts that he just said he would handle it. Harper almost lets it be...

Harper: … doesn’t it seem a bit odd, though?

Jack: Odd?

Harper: You’re such an authoritarian -- which I respect, by the way. Lucas, it seems to me, is someone who seriously needs authority. Yet you don’t seem to be taking a -- I’m not attempting to criticize, sir, but don’t you think Lucas could do with a little bit of --

Jack: Lucas Friar is… [ a beat ] a special case.

Harper: So is the whole junior class, apparently. I’m only saying that --

Jack, firmly: I’ve got it under control, Harper. That’ll be all, then?

Jack’s shift in tone is subtle, but the message is clear. Leave it alone. Harper can identify a warning signal when she sees it, so she nods and apologizes for barging in. Jack thanks her for letting him know, nodding her out.

Still, Harper doesn’t seem convinced, even if she won’t continue to argue it to Jack’s face. She makes her way out without further comment.

Jack goes back to his work, releasing a sigh. His mood is not improved by the notations on more messages he’s gotten from the mysterious Bradfords. He picks up his phone, deciding to make a call and set the record straight.

EXT. CHUBBIE’S DINER - DAY

Farkle is making his way down the street, hands stuffed in his pockets and head ducked down from the wind as he shuffles into the diner.

INT. CHUBBIE’S DINER - DAY

Farkle pulls his scarf from around his neck and steps up to the counter, requesting a pick-up order for his family. The waitress informs him that it’ll be ready in just a minute, Farkle nodding and waiting restlessly by the counter. He taps his fingers on the countertop, glancing around him at the other patrons eating in good company at the booths and tables.

He’s startled when Katy says his name, gaining his attention. She’s obviously not 100% sure it’s him until he faces her, offering an uncertain smile and asking him how he’s doing. Although Katy is on Maya’s side in all things, it’s clear that she still maintains a friendliness towards Farkle even if her daughter is quite decidedly anti at this point.

Farkle is saved from more small talk by his order being ready. He wishes Katy well and heads over to gather utensils and condiments by the door, Katy looking after him with sympathy and a little bit of concern.

Maya doesn’t even notice him as she breezes through the doors with Valerie and Isadora in tow. She eagerly pulls Katy out from behind the counter and leads the more formal introduction of the single mothers, eyes sparkling with excitement as two of her role models really meet for the first time. Katy is flustered and gives her high compliments, not prepared to meet her again in such a humdrum setting. But Valerie thinks nothing of it, easing the tension with a joke or two about her own waitressing days. Ha ha ha!

As they’re chatting, the subject of Thanksgiving comes up. Maya gets the bright idea that since they’re both working with unconventional family dynamics, they should totally do the holiday together! Especially since she and Isadora are such good friends now.

Isadora enthusiastically agrees, perhaps a little too eagerly for someone who is supposed to be thrilled to be spending time with her starlet mother. Might be easier to stomach a holiday with her actual mother if she’s not facing it alone. Valerie asks Isadora if she’s sure she doesn’t have any other plans that might be conflicting with, and she only hesitates for a moment before confirming it’s all good.

Farkle, of course, hears all of this. It’s a bit surprising to hear Isadora dismiss any other plans so flippantly, considering even he knows about how she and Lucas would usually spend the holiday together because it was so sad and often the subject of performer dressing room gossip the week back from break. He also is doing a weak job of hiding his jealousy, finishing prepping his to-go bag and starting to head out before he hears anything else.

That’s when Valerie notices him, recognizing him from school.

Valerie: Oh, hey! [ waiting for him to stop and turn ] Aren’t you from AAA? In the A class with Isadora?

[ Awkward. While Valerie is all smiles, Maya and Isadora stare at Farkle as he gawks like a deer in headlights. ]

Farkle: … yes. Goodbye.

He doesn’t give them the chance to say anything else, pushing out the doors. Valerie raises her eyebrows, giving Katy a playful nudge.

Valerie: Little wiggly, that one, wouldn’t you say? Although, don’t I know the feeling! When I am away from the stage for too long, I’ll tell you, withdrawal jitters --

Maya and Isadora exchange a look, the former shaking her head dismissively and tuning back into the conversation with their moms. Isadora lingers on it a bit longer, glancing back over her shoulder where Farkle left.

EXT. CHUBBIE’S DINER - NIGHT

The sun has set by the time Valerie and Isadora head out from Chubbie’s, Valerie asking if she’d like to do something else. Catch a movie, perhaps? Something touristy? A trip to the salon -- she’s been contemplating some new looks that she thinks Isadora could totally rock. But Isadora is feeling a bit suffocated, so she claims she really needs to get back.

As they walk in the direction of the subway, Valerie holds up the conversation. She talks brightly about the A class, sharing her thoughts on who she’s chatted with so far and getting Isadora’s thoughts on it. When Farkle comes up, Valerie comments on his perceivable ostracism and how quickly he escaped their greeting.

Valerie: A bit strange, no?

Isadora: Not really. He kind of ruined everybody’s lives at the end of last year, so they’re all pissed at him. Sort of playing the villain… at least he was. No one is really paying him much attention anymore.

Valerie: What exactly did he do?

Isadora: Honestly, it’s not even worth talking about. It was just stupid and… whatever. He got what he deserved, so I guess people are just letting it die out.

Valerie: … is that really all there is to it, though?

Isadora: What do you mean?

Valerie: I just mean… is letting it go really letting it go? Forgetting is a far cry from forgiving, and believe me when I say I know all too well how important forgiveness can be. It’s more so for the other person than the one giving it, but… you know. Take you and me. You’re forgiving me -- for much worse than I presume Farkle Minkus could’ve done -- and that means all the world to me.

Isadora absorbs the sentiment, not sure how to handle the sudden vulnerability of the conversation despite how willingly Valerie offers it. She goes on to simply state perhaps letting the issue die down isn’t going to do anyone any favors… something to think about, in any case.

The subject slowly drifts to someone Valerie thought she would be interacting with much more…

Valerie: I haven’t seen much of Lucas. [ a beat ] You don’t seem to be hanging around with him much, at least.

Isadora: … yeah, well, it’s the focus change. You know, I’m in performing classes now more than I was before. So it’s just… scheduling things. Mostly.

Valerie: Oh, of course. Don’t I know about scheduling conflicts. [ tentatively ] But certainly, for best friends, you would find the time --

Isadora ends the conversation preemptively, claiming she can walk the rest of the way to the station from here on her own. She gives Valerie a smile, thanking her for the dinner and assuring her that she’ll see her again bright and early tomorrow.

Lucas is clearly something she’s not keen to discuss at the moment. However, you can practically see the little diva wheels start turning in Valerie’s head…

INT. LUCAS’S APARTMENT - NIGHT

Lucas is gearing up to head out somewhere, phone pressed to his ear as he tears from the hall to the entryway. He doesn’t seem to be in the best mood, given the circumstances of the week.

Lucas: What do you mean Asher isn’t coming? [ a beat ] No, I mean, it’s whatever, I’m not going to force him to hang out with me. [ beat ] No, no, I don’t think it’s that deep, I just -- no, I don’t care. I’ll see him tomorrow, it’s not like the end of the world. [ beat ] Whatever, Dyl, I’ll be down in two minutes. Bye.

He hangs up without waiting for a response, huffing as he focuses on jamming on his boots. GRACE FRIAR emerges from the kitchen to catch him before he goes, letting him know that there’s been a change of plans in the family schedule. She warns him that Kenneth is going to be home for the holiday week.

Lucas is obviously stunned by this. His reaction is indignant, although there’s a hint of something that goes just beyond commonplace discomfort.

Lucas: What? He wasn’t -- I thought he was gonna be in Texas. Gone for Thanksgiving, here for Christmas.

Grace: That’s what I thought too, but he called this morning from the school to let me know. They shifted around the dates. Here for Thanksgiving, gone for Christmas.

It’s evident neither of them are exactly thrilled. Lucas is suddenly tenser than before, pacing the confines of the entryway and rubbing his eyes. He tries to search for another explanation for his frustration to compartmentalize it.

Lucas: I already made plans. I’m going to Asher’s.

Grace: Oh? What about Isadora?

Lucas, bitterly: She’s got plans of her own.

Grace: [ after a moment ] Well, don’t change your plans. I’m sure the Garcias are going to host a lovely dinner. Just given how… neat Asher is. [ Lucas scoffs ] It’ll probably be good for you to be there. Better than here.

The resulting silence speaks volumes. Lucas looks at his mother, uncertain.

Lucas: I can ask Asher if you could come --

Grace: Oh, no. No, don’t worry about that. [ Crossing her arms ] Besides… someone has to share the holiday with your father.

The statement is nice, but the sweetness that goes with it isn’t genuine. It’s not a privilege, it’s likely a punishment, and they both know it.

Grace waves him off and tells him to go have fun, disappearing back into the apartment. Lucas looks after her, suddenly heavier with the weight of the conversation. With the knowledge that there’s nothing he can do about… well, anything, really.

He grabs his denim jacket off the rack, storming out the door in a flurry. Just as his apartment door swings closed --

INT. BLUE’S APARTMENT - NIGHT

Another opens, finding Isadora standing just outside. Rather than going home, she’s found herself outside the apartment of BLUE NGUYEN. Given that it’s been a hot minute since last season, it’s nice to see him again! He gives Isadora a light hug before gesturing her inside.

Isadora apologizes for texting so unexpectedly, but he reassures her it’s no biggie. He knows how sometimes going back to the Van Herschings is far from a sweet escape. She reiterates that point, before he prompts her to talk about what is really stressing her out -- the incomparable Valerie De La Cruz.

True enough. Isadora explains that she’s glad she’s here, and it’s clear she’s making a real effort to connect with her which she appreciates. But it’s just a lot to adjust to all at once, hence why she’s glad she’ll have the buffer of the Harts there for Thanksgiving dinner. She feels ungrateful too, since this should be exactly what she wants.

Blue points out that being a foster kid, relationships with your biological parents are guaranteed to be complicated. It’s never going to be a simple dynamic, and while Isadora should feel happy Valerie is there, she is allowed to feel confused and reluctant and even bitter too. Whatever she feels about it all, that’s valid, and she shouldn’t try to shut those feelings down because of what she “owes” anyone else.

It’s a relief to hear someone say it, even if Isadora logically knew it to be true. She thanks Blue, stating that it kind of feels like she can’t really talk to anyone else about this (Valerie, Maya, least of all Lucas...).

Blue: Any time. You know that. But are you sure you can’t talk to Maya about it? Seems like she’d know a thing or two about mixed up parents.

Isadora: Yeah, but… you have no idea how much she admires my mom.

Yeah, such a level of starstruck is difficult to encapsulate. And we’re about to get a full dose of it… as the bouncy bass line floats in…

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Valerie” as performed by Glee Cast || Performed by Maya Hart

Maya delivers a banging rendition of the song, clearly not afraid of pulling some direct punches to get across how much she idolizes their current guest lecturer. It’s cheeky fun in some ways, a little too much in others -- not to mention a sort of weird song choice that her classmates definitely don’t miss.

Dave, whispering: Isn’t this song about like… trying to get with Valerie?

Dylan: Shhhh.

Weirdness aside, it’s an undeniably well-crafted performance. Maya sells it with gusto, and her vocals and dancing are as impressive as ever. Valerie certainly seems charmed, if nothing else.

INT. AAA - ERIC’S OFFICE - DAY

Coming off of that interesting performance, Eric is checking in with Isadora to see how she’s handling the presence of her mom at school. The effort definitely means something to Isadora, considering how she was just expressing to Blue that she felt like there was no one she could talk to about the whole thing.

Although it’s not going badly all in all, suffice to say there are… awkward elements to it.

Isadora: Is there a good way to explain to your friend that she just sang a song that implies she wants to score with your mother?

Eric laughs, admitting that might be a tricky one. She goes on to say similar things to what she told Blue, lamenting the fact that while she’s glad Valerie is here, she feels as though there aren’t many people to talk to about how she feels. Eric reiterates his availability, but gently questions her perspective on it.

Eric: There’s… no hope with Lucas, you think?

Isadora: God, no way. He already hates her, and anything I say is only going to piss him off. Which I don’t want, even if it’s on my behalf. Not to mention he’s already so all over the place right now, skipping class and being careless, and then there’s the thing with the vandalism --

Eric: Wait, what? What are you talking about?

Isadora hesitates. Does he not know? Lucas was the one who vandalized the set piece during Into the Woods. Was she not supposed to say that? Eric is obviously shocked to learn this.

Isadora: … I told Principal Hunter about it. I assumed you guys just took care of it. Was I not supposed to...?

Eric: [ collecting himself ] No, no. It’s fine, you’re completely fine. It’s just… Jack told me…

A lie, apparently. He told him he couldn’t figure out who did it, but now Isadora is saying otherwise. Being hard to reach is one thing, but outright keeping him out of the loop...

INT. AAA - BLACK BOX THEATER - DAY

The techies are congregated in the black box, an unfamiliar grouping place for them. But they’re not “needed” in the auditorium, so goofing off in the only place not riddled with starstruck performers is the move. Nate, Dylan, and Jeff are playing cards. Jade is doing hem work on a costume piece, Asher being her model and standing carefully on a desktop while she circles him and does her thing.

Lucas is at the whiteboard, erasing the notes Harper has written and haphazardly replacing it with his own nonsense. He continues to do so as the other techies get into making fun of Maya’s performance, discussing how weird it was. Jeff points out that Maya probably wasn’t thinking about it all that literally, but Asher counterpoints with the fact that that certainly doesn’t keep the rest of them from thinking about it.

Nate: It’s just such a kiss ass move. If she really wanted to win over Valerie, she probably already did it by getting in Isa’s good graces.

Jade: Suppose she hardly needs the song to boost her after that.

Although he doesn’t contribute to the conversation, Lucas clearly absorbs the notion about Maya using Isadora to get to Valerie. It’s nothing he hasn’t already thought about, but hearing someone else point it out sure does make the possibility seem uglier…

As if summoned, who should float into the room and disrupt their relative peace than Valerie herself. She gives all of them her usual level of charisma, asking if they’ll pardon her intrusion and how wonderful it is to see all of them enjoying their time en repose. Jade removes the needle from between her lips, hiding it behind her back.

Dave asks if there’s something they’re needed for, which Valerie waves off. She assures them that the performers are all hard at work rehearsing or debriefing, so she thought she’d take the quick reprieve of her own to stop by. In fact, she was hoping to have a spot of conversation with Lucas James.

The other techies hesitate, before immediately making excuses to get out of there. Nate pats Lucas on the shoulder as he goes. Dylan helps Asher down from the desktop, the two of them tossing a look of solidarity towards Lucas before they make their escape with Jade. It’s not long before it’s only Valerie and Lucas left in the space, the vast distance between them much more prominent than before.

Lucas clears his throat, turning back to the whiteboard and continuing his shenanigans. Valerie doesn’t seem perturbed, as she came into this meeting knowing full well it wouldn’t be easy. She keeps her smile intact, sauntering further into the room.

Valerie: I was wondering when we’d finally get the chance to chat. Must admit I’ve been looking forward to it. [ a beat ] I couldn’t help but notice you neglected to sign up for a one-on-one slot.

Lucas, deadpan: Oh, did I? My mistake.

Valerie doesn’t let the shortness deter her. She elaborates, stating that she knows what an impact he has on Isadora’s life. A true friend, certainly, and as her mother she could only hope she would have such true friends. It’s all nice chatter, but Lucas looks unimpressed as he uncaps all the markers on the whiteboard to let them dry out.

Stiffness, she can handle, but being rejected attention entirely is a tough pill to swallow for a woman who has only ever known the spotlight. She doesn’t take the hint to leave him alone and continues to fill the silence, explaining how nice it’s been to spend time with Isadora and see all the growth she’s exhibiting. It makes her happy, and really proud. It’s been spectacular, seeing her daughter make so many strides.

This gets a snort out of Lucas. Valerie pauses, asking if something she said was particularly humorous. She wasn’t going for comedic in that moment.

Lucas: I just find it funny. You know, that you’re acting like Isadora is so important to you when you only decided to show up six months ago.

Blunt and to the point. Valerie gently corrects him on exactly how many months it’s been since Les Mis, but Lucas clearly doesn’t care about that. His point has been made. And he has better things to do than talk with a Hollywood puppet, so he is going to have to cut their chat short.

Valerie searches for something to make him stay while he gathers his things, already heading towards the door.

Valerie: I know that adolescence can be a difficult time for young men. So I will begrudge you the harsh words. I’m not one for holding grudges, personally. Surely my feud with Sofia Vergara that was famously put to rest with my generosity and quick thinking is a credit to that.

Lucas, flatly: By all means, grudge away.

Valerie: But I think you could return the same courtesy in granting me my truth. I know it might be hard to believe with your biases, but I care about Isadora. She’s my daughter, and… and I love her dearly.

This manages to stop Lucas in his tracks. He hangs in the doorway, debating whether or not to say anything. His logical brain knows he should just walk away, but his temper…

Lucas: What are her favorite shoes?

Valerie: .... beg pardon?

Lucas whips around, locking eyes with her. She’s successfully kept him from slipping away, but perhaps that isn’t such a good thing.

Lucas: Dora’s shoes. What’s her favorite pair?

Valerie: I -- I apologize, but I don’t exactly see how a pair of shoes is relevant --

Lucas: They’re black converse. She’s had them since seventh grade. They don’t even really fit anymore and they’re falling apart, and she’s doodled all over the soles. But she can’t get rid of them, because they’re basically a part of her. But okay, strike one. How about her favorite color? No parent really knows their kid’s favorite color, but since you don’t know anything else maybe you’ll at least randomly know that.

Valerie: I… again, I --

Lucas: Not even a guess?

Valerie: … green!

Lucas: It’s red. Strike two. How about her favorite movie? You’ve talked about movies, right? Or what about dream vacation? What kind of food makes her nauseous? What do you do if you’re in an overwhelming social situation and she starts to shut down? What would you do, Miss De La Cruz, if you were there?

Valerie is stunned. She’s suddenly in an overwhelming social situation, and she has no idea how to respond. She shakes her head, stammering over her words.

Lucas: Strike three. You’re out.

Valerie: That’s not fair. You may be right about certain things, but… we’re making reparations. We’re trying now, and that’s just as good. And if I were there --

Lucas: But you weren’t. You weren’t, so you don’t know shit about anything.

Valerie: Now, Lucas James, I won’t be --

Lucas: No, don’t talk down to me like you know better. Don’t speak at me like you know me. Because you don’t. You don’t know me, because you don’t know her! Suddenly showing up now doesn’t erase that. You weren’t there when she got into Adams, or when she pulled off her first stage managing gig. Or how about when the secret of your mere existence blew up and Dora had to be talked down in the bathroom, huh?

Valerie: … I --

Lucas, fiercely: You weren’t there, but I was! So don’t talk to me about caring about Dora!

… whew. That’s a lot of emotion to absorb. Valerie dips her head, all of her bravado peeled away and a shaky version of her left in its place. She searches for something to say, but nothing comes out. The streetsmart starlet with a motormouth has nothing to say.

Lucas steps back a bit, collecting himself. He never intended to get so heated, let alone in front of one of his least favorite people -- not when he was doing so well at pushing it all away. He shakes his head, letting out a scoff of a laugh.

Lucas: But it’s fine. It doesn’t matter. Isadora’s following in your footsteps now, and… [ swallowing ] barely needs me anymore. So I guess it’s the perfect time for you to swoop back in and play the perfect idol mother. Role of a lifetime.

Valerie tentatively locks eyes with him, but he can’t look at her anymore.

Lucas, derisively: Break a leg.

He storms out, leaving her alone. Valerie takes a deep breath, pressing her hands over her mouth and closing her eyes. Forcing herself to be zen -- which it seems she’s done many times before. But her hands are still shaking, even as she plasters on a well-rehearsed smile.

As any actress worth her salt knows, the show must go on…

INT. AAA - SCRIPT LIBRARY - DAY

Farkle is tucked away in the script library, continuing to sort through the masses. It looks like he’s made decent progress in the time he’s been working through his punishment, but he’s listless as he alphabetizes the only shelf he’s gotten into actual shape.

He’s startled out of his funk by voices just outside the script library, causing him to jump when they pass by.

Dylan: He was really upset that you weren’t there.

Farkle frowns, recognizing Dylan’s voice but not having any clue what he could be talking about. He moves back towards the door and leans against it, eavesdropping.

INT. AAA - HALLWAY - DAY

Asher and Dylan have stopped just outside the script library, hanging back for a moment rather than continuing towards the auditorium. Asher crosses his arms.

Asher: Oh, did he say that?

Dylan: Well, no, obviously not. I think we both know that the day Lucas actually says what he’s feeling his head is going to explode. [ off Asher’s expression ] But you know how he is, you can tell when he’s not acting like himself --

Asher: Kinda feels like every day.

Oh. It’s clear Asher didn’t mean to say that, and Farkle’s expression from listening behind the door proves exactly why. Lucas, Dylan, and Asher come across as such an iron-clad united front, so any inkling of dissent from either of them seems like groundbreaking news.

Dylan states that he understands why Asher didn’t go last night, the two of them having talked about how overwhelming his shenanigans have gotten for Asher after all. But Lucas evidently has no idea, and maybe choosing not to say anything about it is doing more harm than good.

Asher: And what am I supposed to say, Dylan? That he’s being ridiculous? That I think he’s being stupid and making things worse for himself, not to mention that you and I almost got in trouble for it during Into the Woods.

[ Dylan makes a face and nods, acknowledging the point. ]

Asher: He’s being so boneheaded about Isa, and I can’t even get started on Riley --

Dylan: She’s still being nice to him.

Asher: Yeah, duh, because she likes him.

Another interesting tidbit. Farkle is certainly learning a lot while being certifiably invisible.

Asher: And I get why he’s being so… whatever about that, he’s got his thing about humiliation -- but is that supposed to last forever? Is Riley supposed to just take whatever and continue to be kind and forgiving until he decides to come around? Which he might never do? I don’t see how she could fathom doing that when I’ve been one of his best friends for two years and I feel like I’m losing my --

Asher cuts himself off, thwarting a potential anxiety attack before it starts. Dylan watches him breathe himself down, obviously wanting to help but having no great ideas about how to fix the situation either.

Dylan: I mean... do you think maybe you and Lucas aren’t…

Asher, quickly: No. No, of course I’m not saying that. I just --

He shrugs, letting out an exhale. He doesn’t know what he’s saying or thinking. Dylan searches for a way to turn things around, rubbing Asher’s shoulders comfortingly.

Dylan: Things always get weirder around the holidays. We know that. But we’ll have a great time on Thanksgiving with Lucas. And no one will set anything on fire, and everything will be okay. It always is eventually.

Whether or not he’s right, the earnest delivery Dylan has is impossible not to believe. Asher lets out another deep breath, managing a smile and a nod. Better, for now. Dylan slides his hands down to take his, giving him a quick kiss on the cheek before leading the way back down the hall.

Farkle leans against the door, thoughtful. So much information he’s absorbed in the last few days, it’s like he knows his classmates better than he has in the last three years.

Yet, he’s still alone. He lets out a sigh and goes back to organizing.

INT. AAA - JACK’S OFFICE - DAY

Jack is currently focused on exactly that, going over notes on Farkle’s behavior from Harper and Eric and gearing up to set a meeting with him. But before he can make any definitive moves, who should march in a huff?

Eric: So were you just never going to tell me?

Jack blinks, holding up a hand in surrender.

Jack: Sorry, I just… I didn’t realize we had jumped back in time. When was the last time you stormed into my office like this, Eric? Early sophomore year?

The playful tone quickly evaporates when it’s clear Eric is not being theatrical. He’s genuinely upset, wondering why Jack decided not to tell him about Lucas being the vandal. As far as he was aware, they were tackling things as a team. As far as he was aware, that meant keeping one another in the loop and not withholding information that they deem the other unable to handle. Are they just not telling each other anything anymore? Is that what it’s come to?

Jack goes on the defensive, attempting to maintain his calm as he claims he made a call in the moment that felt right. But Eric calls bullshit, considering how pro-poetic justice he was acting for their entire investigation. Did Lucas end up getting that swift punishment? Or did he make a “call in the moment” about that too?

The situation escalates, the disagreement over communication quickly devolving into the other frustrations they have with one another but have been stifling for quite some time. Jack harps on how Eric has always acted like he just knows better than him, even though Jack was here before he was and has worked his ass off for years to keep AAA afloat. Eric fires back that he feels Jack is allowing his focus to be split, leaving work whenever and prioritizing his own personal fancies over who needs it most -- the students.

Jack is deeply offended by the insinuation, retorting that it’s not his fault Eric has no semblance of a work-life balance. It’s not his fault that Jack has a life outside the school, and that doesn’t make him any less serious about the school and the students in their care than Eric. It’s bullshit, and Eric knows it. The only reason he continues to dismiss him is because he’s not an “artist,” and so he’s never going to be good enough for him.

It’s a nasty argument, and shots are fired on both sides that they can’t take back. But the comment about having a life outside of work is a deep cut for Eric, enough to stop him cold and run out of things to say back. In terms of how Jack will never be good enough for him…

Eric: [ in a murmur ] Is that really what you think I think?

Jack shrugs, crossing his arms. Is he wrong? Eric thinks so, but then, he doesn’t have the words to explain the opposite. At present, he can hardly look at him without a lot of emotion he’s not prepared to deal with bubbling over.

Well, that’s that then. As Eric is heading out, he doubles back and states he doesn’t think he’ll be joining the Hunters for Thanksgiving anymore. He supposes he should be with his brother and niece, as they actually need him right now. After all...

Eric: I know where my priorities lie.

He flurries out without waiting for a response. Jack watches him go, obviously wounded by the confrontation and all worked up. He loosens his tie and attempts to pull himself back together, startled when one of the secretaries pokes her head in and explains that the Bradfords are on the line… again.

Jack has had about enough of this. He straightens up, expression growing determined as he tells her to put them through. He’s going to put an end to this irritation once and for all.

INT. AAA - PRACTICE ROOM - DAY

Farkle is alone at the piano, playing a few notes of a song but clearly not all that into it. He’s surprised when Valerie stumbles into the room, looking for a place to escape for a moment after her confrontation with Lucas. She’s not shaking it off as easily as she’s used to. She starts digging through her bag, obviously looking for something in particular.

Even more surprising, she actually seems to notice him. When she locks eyes with him she startles, letting out an airy laugh and apologizing for intruding. Farkle shrugs it off, claiming she’s not the first. Completely changing pace, Valerie saunters further into the space and pulls him into a conversation -- the first to do so all episode. She asks him what he’s planning on doing for Thanksgiving.

Farkle: Nothing. My family doesn’t really celebrate.

Valerie: Oh? Is Thanksgiving not a Jewish-approved holiday?

Farkle: Well, it’s kind of a dumb holiday to begin with that has its roots in colonization and the eradication and displacement of indigenous peoples, so you’d think less people would celebrate... but no. Nothing like that. [ playing a few notes ] Family is just busy this time of year, that’s all. We put a lot more stake into the December gatherings, I suppose.

Valerie: Oh… yes. Of course.

Valerie notes that the two of them have yet to have their one-on-one, which is a shame considering he seems like someone greatly worth talking to. Farkle scoffs, stating she’s the only one who thinks that… but also it’s whatever. He doesn’t have much to say. Given that he just gave a mini-diatribe about Thanksgiving unprompted she highly doubts that’s true, and instead prompts him on another subject that she thinks might set him off. Or at least, get him talking… then maybe the rest will follow.

So she asks him about music.

Song Cue ♫ ♪ “I Miss the Music” as performed by Curtains Original Broadway Cast || Performed by Farkle Minkus (starting at 00:15)

Valerie takes on the role of prompting Farkle to discuss the creation of a song, which then launches him into singing about his feelings much in the same way it unfolds in the original. He expresses wanting to avoid talking about feelings and yet ends up doing just that -- only in this case, it’s ex-friends rather than an ex-wife that he’s aching for.

Still, the message of the piece is clear. Farkle lost his team and so he lost his voice, and he has no idea how to get it back the way it was before. It’s the most vulnerable Farkle has been about the situation since it all went to hell, and in front of an unlikely party at that. Valerie doesn’t intrude much on the expression, sort of fading into the background.

At the 3:50 mark when the song is interrupted, it’s Maya accidentally stepping in and claiming she forgot her songbook. It is their usual studio, after all. Although Farkle says something snarky at first, before Maya heads out he tries again and congratulates her for a great performance. She accepts it, hesitantly, another small moment of warmth much like during Into the Woods that neither of them know what to do with now.

Then she leaves him again, pushing him into the final swell of the song. Just because no one is giving him the time of day, and he’s basically invisible, it doesn’t mean all of those emotions are invisible too.

As the song concludes, Valerie startles Farkle by applauding and immediately commending his abilities -- vocally and instrumentally. She also highlights how much raw emotion he’s able to translate into a performance, which he sort of shrugs off considering emotion has never been his strong suit.

Valerie leans against the piano, attempting to contextualize whatever happened last year that people keep talking about at length. Farkle isn’t interested in discussing it, but it’s clear he’d like to be able to actually move on from it. So Valerie gets her thinking cap on and gives him… well, it’s well-meant advice, that’s for sure, but as for whether it’s good…

Valerie: You know, I’ve had my fair share of scandal in the industry. Everyone does, if you hang around long enough. And you know what I’ve always found to be the quickest fix for a story that just won’t let you live?

Farkle, flatly: Expensive cover-up?

Valerie: [ with a laugh ] No, no. Only in grave emergencies. No, generally, I’ve always found that a new scandal always swiftly pushes out the old. Once people have latched onto the next thing, you’d be amazed how easily they forget the previous one.

This seems to inspire something in Farkle. He nods, thanking Valerie for the advice as well as the conversation. She brightens, absorbing the head-turn she managed after the horrible confrontation with Lucas.

As she flutters off, pleased with her work, Farkle goes back to the piano and ruminates on her advice. A new scandal… he plays a couple of discordant keys…

INT. JACK’S APARTMENT - DINING AREA - NIGHT

Jack is having dinner with ANNE MARIE WINTHROP, the latter in the midst of giving him a well-needed pep talk after the day he endured. While it’s evident that the dynamic that they have is good and solid, it’s worth noting that their mindsets are incredibly similar. Both authoritarian, both more logical thinkers rather than emotional. Not a lot of challenging their ways of thinking.

Anne Marie backs him up in his decisions that Eric criticized him for, pointing out that him blowing up demonstrates exactly why Jack kept the identity of the vandal under wraps. She thinks Eric is an incredibly thoughtful, sweet man from the times she’s met him, but being able to keep emotions in check is a pretty pivotal skill to have in an administrative role.

Anne Marie: Certainly wouldn’t fancy him a principal, you know?

She also backs his defense about having a work-life balance. He shouldn’t feel bad for separating his personal life from school, and getting more tangled up in the emotional in and outs wouldn’t help him be an effective leader anyway. No, she thinks he’s doing the right thing, and assures him as such with a comforting touch of the hand and logical reasoning.

Still, Jack doesn’t seem entirely placated. And when she points out that she’s positive he handled the behavioral issue with perfectly rational thought, he takes a long sip of his drink rather than choosing to comment. Interesting, how Jack can talk about most things work related with Anne Marie except for that one very special case...

INT. CHUBBIE’S DINER - NIGHT

Valerie steps into the diner, scanning the counter until she finds Katy cleaning up a spot a few seats down. She cheerfully greets the waitress, evidently surprising her with her presence.

Katy: I didn’t realize -- is there something I can do for you?

Valerie: Oh, just a little of your precious time would be lovely. Oh, and a slice of that peach cobbler? I will tell you, ever since we had some of that treasure the other night I have not been able to stop thinking about it. Like pure addiction, that is!

Katy laughs, obliging and bringing her a slice. She continues to clean the counter and wipe down other dishes as Valerie chats with her, enjoying the company of another woman her age that isn’t immured in the same celebrity sphere that she is.

Valerie states that Maya is an incredibly talented young woman, which Katy proudly echoes. When Valerie states it isn’t a wonder where she must’ve gotten it from, Katy sort of waves the compliment off. She then settles into something a little more somber, expressing gratitude towards Valerie for being so willing to humor them and spend time with Maya. It means the world to her, she knows, and it’ll really make the holiday special this year.

Katy: Given how things have been going lately, um… it’ll just be real nice to have an extra special Thanksgiving. One we’ll really remember.

Valerie claims she’s hardly worth such high praise, but she’s more than happy to oblige. Sensing some of the stress surrounding it, she also offers to handle all of the food and beverages for Thanksgiving. If Katy can provide the place, she’ll handle everything else. Katy is stunned and tries to argue, but Valerie won’t hear it.

Valerie: Please, not even a dent in my pocket. You just bring one of these fantastic peach cobblers, and I will arrange the rest.

An incredibly kind gesture. Valerie waits a moment before going on to express her admiration for Katy, how she raised Maya all on her own and is working so hard to give her all these opportunities. She could never do it -- in fact, she didn’t, and now she’s paying for it. She only wishes she could connect with her daughter as seamlessly as she does, and she has so much courage for doing what she couldn’t.

Katy bashfully accepts the compliment, stating that when it comes to Isadora, better late than never. In terms of how she manages to communicate so effectively, Katy gives one piece of advice that stands truer than anything else. Something that, perhaps, everyone could consider utilizing a bit more right now…

Katy: When it comes to nurturing that relationship, for how subtly and swiftly it changes as she grows up… I just think the most important thing I can do is listen. I can be there for her, and listening is always the first step.

Food for thought. Valerie is thoughtful, considering this as the opening tones of Isadora’s performance for the week float in…

INT. AAA - AUDITORIUM - DAY

Song Cue ♫ ♪ “Don’t Watch Me Cry” as performed by Jorja Smith || Performed by Isadora De La Cruz

Valerie’s expression is still thoughtful in the darkened auditorium, seated amongst the A class as Isadora gives her rendition of this hauntingly beautiful ode to being left behind. It’s a simple arrangement, Isadora silhouetted on the stage with a single spotlight highlighting her in some places but casting her in shadow in others. It’s the most she’s addressed the impact of Valerie in front of Valerie before, making for a shaky but quite emotionally authentic performance.

In fact, it might be too much for the preacher of authenticity herself. As the performance reaches its conclusion Valerie rises from her seat, overcome with emotion. Isadora sees her rush out, not hesitating to leave the stage and jog down the steps into the house after her.

The class watches them exit, definitely getting a taste of what a truly emotionally authentic moment feels like.

INT. AAA - HALLWAY - DAY

Isadora catches up to Valerie in the atrium, wondering why she left like that. Valerie is in tears, trying to wipe at her eyes and pull it back together with minimal luck. She didn’t mean to upset her, she was just doing her best to be “emotionally authentic” or whatever --

Valerie: Isadora, I am so, so sorry.

Valerie goes on to express how horrible she feels for all she put her through. Unintentionally or not, she had no idea how much her absence must’ve hurt her -- well, she had an idea, but not a true understanding of it. She knows she could never make up for that, as much as she now has decided she wants to. She is so deeply, deeply sorry.

It’s the first real apology Isadora has ever gotten from her mother. It’s the first real emotion she’s ever gotten from her even, and perhaps there’s a truth to emotional authenticity, because it’s more effective than any overt enthusiasm or compliment Valerie has ever given her. Suddenly, for the first time, Isadora actually feels connected to her biological mother.

She gently assures Valerie that it’s okay, and that she’s glad she finally heard her. Isadora means it when she claims she wants to try and have an actual relationship with her, but admittedly it’s not going to be easy. Valerie has done things in the past that make it hard to trust her, and so it’s going to take time. But if she’s okay with that, then Isadora is willing to put in the work if she is.

Valerie is somewhat placated by this, wiping her eyes again and nodding eagerly. She lets out a teary laugh and expresses embarrassment at how much of a puddle she’s become, before asking Isadora if it would be okay to hug her.

For once, Isadora allows it. It’s their first embrace as mother and daughter, whatever exactly that might come to mean for the both of them.

It’s more than evident, however, that it means a lot to them both.

INT. AAA - HALLWAY - DAY

Charlie is at his locker, scared out of his wits when he closes the door and Maya is standing there grinning at him. He yells, fumbling back a bit.

Charlie: OH MY… ah. Maya.

She gives him a winning smile, claiming that she just wanted to chat with him about the little “crush” she’s heard going around about him. His eyes widen, but before he can get a word in edgewise Maya is off on a tangent.

Maya: I’m flattered, truly, and to be honest you do have potential. You’re cute enough, and can keep up with me physically -- as a dancer, that is, the only physical activity that matters -- but I’m simply not interested in weighing down my star with a relationship right now. Or, ever, really.

Charlie is totally bewildered, barely keeping up with her explanation. Finally, it hits him.

Charlie: You think -- you think I like you.

Maya: Can’t fault you that. I hope you understand. I mean, not my problem if you don’t, but I’m wishing you the best either way.

She blows him a couple of kisses, patting his cheek and turning on her heel to walk away. Charlie stares after her, blinking and letting out a strained exhale. So that’s the crush people have been talking about this whole time.

He leans back against his locker, finally getting to relax for the first time all week.

Meanwhile, Farkle is making moves, chasing after Lucas as he attempts to break ground on launching a new scandal. Although Lucas has exactly zero interest in interacting with Farkle, he is refusing to let the issue drop as he’s the perfect catalyst for stirring up something new. That’s the price they pay, being the most unbearable people in the junior A class.

Lucas: And why on God’s green Earth and the forsaken halls of Triple A would I be at all interested in speaking to you anymore than I am legally obligated?

Farkle, confidently: Because I know something that you’ll want to know.

That’s enough to at least get his attention. Lucas pauses, turning to face him and give him a second of his time.

From the expression on his face, we can tell whatever Farkle is going to say isn’t going to be good. What piece of information is he going to choose as the match to set off this firecracker…

INT. AAA - AUDITORIUM - DAY

Class is reassembling on the stage when the fuse finally blows, Lucas storming through the wings and disrupting the chatter. He’s awfully worked up for someone who doesn’t care about anything because nothing matters.

Lucas: When were you planning on telling me?

For a second, we hang on each of our potential scandal victims. Charlie jumps, spooked by the sudden volume. Asher and Dylan stare at their best friend, looking like deer in headlights. Riley spins from where she’s speaking to Zay, eyes wide.

But focus lands on Isadora, in the midst of chatting with Maya and surprised that Lucas is approaching her like this. It’s obvious she has no clue what he’s so vexed about.

Isadora: Telling you what?

Lucas: About your little Thanksgiving plans? I mean, I figured you’d be spending it with your mom considering she deemed to be in your life for five seconds, but really, Maya too? Isn’t that just the picture of best friendship?

Isadora is stunned. Although she wasn’t intentionally keeping it a secret from him, she wasn’t ever planning on telling him about it either. Maya steps up and tells him to back off lest he get his toxic masculinity all over them. Farkle saunters up onto some of the half-built set pieces and gets comfortable, watching the scene unfold from above with a neutral expression.

Maya speaking may not be the best strategy, because it’s all too easy for Lucas to turn on her. He points out how transparent she is, obviously only using Isadora to get a chance to grovel more at the feet of her favorite spastic diva idol. The insinuation is like a slap to the face, not only to Maya but to Isadora. She knows Maya loves Valerie as an artist, but the simple conclusion so many people seemed to have drawn honestly didn’t occur to her.

Maya glances at her, shaking her head frantically and immediately trying to assure her that it isn’t true. But Lucas is there to easily refute it, and soon enough it’s just a shouting match between Friar and Hart that everyone else is too stunned or entertained by to interrupt.

That is, except for Harper Burgess. She enters with Eric just in time to catch the worst of it, having officially reached her patience threshold for one special lead technician. And if no one, even Jack, is going to do something about his terrible attitude, then she certainly will. She steps into the fray and chastises Maya for feeding into the drama before turning to Lucas, asking if this is really the time or place for such harsh accusations.

Lucas: Well this doesn’t really concern you, so --

Harper: I wasn’t. Done. Speaking.

All of the oxygen is zapped out of the room. No one is breathing. Lucas is caught off-guard by being talked back to enough to go speechless, giving Harper the full power to take to the soapbox and completely take him down. She laments his absolutely abhorrent attitude, criticizes his lack of respect, all in front of the rest of the class who are all reacting in varying states of shock. Farkle has gone pale, blank-faced as he watches his plan crash and burn more horrifically than he could’ve ever anticipated.

Harper: Do you want to know what I think, Mister Friar? I think that you’re scared. I don’t know why, and I don’t know where you got the idea that terrorizing everyone else would fix it. But let the record show that you are not in control here. From here on out, you will show your faculty their due respect. You will attend class, and you will participate, and you will do it without a snide remark or unwelcome comment. You will be, as you should have been this whole time, a student amongst the rest of your peers and if you feel you deserve differently, then I believe you’re well aware of the exits to this auditorium.

It’s a complete decimation. It’s humiliation in the most concentrated form it could be administered -- perhaps not unwarranted, but definitely not the most effective treatment in this case. The techies are dumbstruck, looking at their de facto leader in concern. Isadora is mortified. Eric seems to realize that perhaps Jack was right about how to handle Lucas. 

The whole class has their eyes on Lucas, waiting to see what he’ll do next, but he’s frozen. He can’t move. He can’t speak. It’s unlike anything they’ve ever seen from him.

As if she’s been gifted with the worst timing on Earth, Valerie enters right then, cheerful and unaware as she greets them all again. But she can sense the tension quickly enough.

Valerie, innocently: What did I miss?

Then Lucas is gone, marching off the stage and out of the spotlight. It turns into a run when he hits the dressing room hall, disappearing through the doors.

The rest of the class devolves into mild chaos, reacting to what they just witnessed or trying to do damage control. Riley takes off before anyone can notice, running into the wings and through the dressing room hall after Lucas. Maya turns to Isadora, frantically trying to assure her that what Lucas said wasn’t true. She has to know it wasn’t true. Doesn’t she?

Valerie realizes whatever happened can’t have been good, mostly due to the look on Isadora’s face. She tries to approach her and help console her, but Isadora backs away. She backs away from everyone, making a dash for the other exit.

Farkle doesn’t look lofty anymore from his perch above everyone else. He looks disturbed, and Maya catches sight of him so high above. She narrows her eyes, contemplating…

EXT. AAA - DAY

Isadora escapes onto the front steps, gulping down the fresh air and trying to keep her emotions in check. She collapses into sitting on the steps, digging for her phone and frantically dialing a number. They answer quickly enough, providing a much needed outlet.

Isadora: Blue? I -- everything just happened so fast. I don’t know -- [ cracking ] I don’t know what to do. I don’t know --

EXT. AAA - LUNCH COURTYARD - DAY

Riley passes by in the hall outside the courtyard, struck with realization and doubling back to step into the courtyard. Her memory serves her well, allowing her to find Lucas from experience where few other people might think to check.

He’s curled up on the bench closest to the back corner, most effectively out of sight. He’s got his knees pulled up onto the bench and is hiding his head in his hands, looking smaller than Riley has even seen before. She isn’t sure what to do, whether she should approach and try to say something or if being acknowledged would make everything worse.

But she can’t just leave him there. She tentatively approaches the table, staying on the opposite side of it but making her presence known by softly saying his name. He doesn’t look at her, but he regains his composure a bit and clears his throat.

Lucas: What are you doing?

Riley: … I just wanted to make sure you were okay.

That’s a new one. Lucas doesn’t know how to respond, especially in such a deconstructed state. He sort of brushes her off but doesn’t tell her to go either, simply stating that she doesn’t need to waste her time.

Riley obviously doesn’t consider it a waste of time. She comes around the table and sits on the opposite end of the bench, searching for something to say to make the scenario better. If there’s anything she could say at all, in the one moment where she finally has his attention.

Riley: I don’t think you deserved that.

The sentiment hangs in the air. Lucas is still turned away from her, so she doesn’t see the way his expression shifts in a dozen little ways before settling back into blank. There’s a moment where Riley moves her hand, debating whether or not to reach out to him… but ultimately deciding against it.

She quietly rambles instead, stating that she understands why Harper reacted the way she did after all the chaos she’s had to step into, but the way she went about it wasn’t warranted. And she doesn’t… she doesn’t know him. She doesn’t know him enough to say the things she did. Regardless, like everyone else in the A class, she figures Harper could’ve given him another chance before going full takedown.

Lucas: Yeah, well, some people don’t deserve second chances.

It’s unclear who the statement is directed towards. Harper? Valerie? Himself? Given how his expression twitches again and he climbs to his feet a second later to get away again, it sort of feels like the last one. Riley doesn’t try to stop him, glancing over her shoulder as he disappears back through the doors.

She sits in the chilly November air, absorbing the quiet and solitude for a long moment. A moment of still in a semester that has felt like a constant hurricane.

INT. AAA - BLACK BOX THEATER - DAY

Valerie is finally having her sit down with Maya. In spite of the awkwardness that just unfolded, Maya insists that she’s incredibly grateful and excited for this opportunity. She also makes it clear that she isn’t friends with Isadora just to get to Valerie -- considering she was barely in her life when they became friends in the first place, that wouldn’t make much sense.

Well, what a nice little pointed reminder. Valerie gently waves her off and assures her that she believes her, and she’s grateful for her friendship with Isadora. And while she only has good things to say about the logistics of her performance (Lord knows she has talent), she ends up knocking her down a peg in the sense that… Maya’s performance wasn’t authentic. She didn’t get any sense of who Maya actually was.

Maya: … what?

Valerie: Darling, your performance was entirely about me. Which, certainly, consider me flattered! But that wasn’t the assignment, and that’s not what a true artist needs to do. It makes me wonder, you know… what pieces of your own story are you hiding from amidst all the glamour?

Maya is at a loss for words. It’s hard to get criticism -- it’s even harder to get it from someone you so deeply idolize. It’s humbling in a way Maya has never had to endure before. Valerie warns her against becoming so deeply invested in a stardom persona that she loses sight of who Maya actually is, those pieces of her that make her a unique star in the first place. And if there are pieces in her constellation that feel unresolved… it’s up to her to close those chapters in whatever way she sees fit.

More well-intentioned advice. Whether it’ll pay off as intended, well…

INT. AAA - AUDITORIUM - DAY

Eric wanders into the auditorium, on the hunt for Isadora. He finds her where he least expects to, but maybe where he should’ve known to look -- amidst the set pieces, building something constructive to distract herself. Defaulting back to the world that feels safe when everything else is imploding around her.

He settles onto an acting block next to her, not disrupting her process but also checking in to see how she’s feeling. He doesn’t expect her to talk about it, but his door is metaphorically open for her to say whatever she wants or needs to say. He states that it’s okay for her not to be okay after all the tension of this week, in its varied forms.

Isadora pauses in her work, pushing her safety goggles onto her head. After a moment of thought, she gives her answer.

Isadora: No, I’m not fine. But I’m not gonna die either. [ slipping her goggles back on ] Same old, same old.

Eric: Well, hard to argue with that. [ a beat ] Things will work themselves out, you know. People make mistakes, but eventually, things will return to homeostasis.

Isadora, genuinely: I know.

Eric: Good. And until then…

Isadora: Show must go on?

Eric lets out half a laugh, shrugging in acquiescence. Maybe so. He gives Isadora a light shoulder pat, starting to leave her alone when she suddenly touches his hand to keep him from going. She pauses, finding what she wants to say.

Isadora: Thanks… for being there.

After the week he’s had, this hits Eric harder than he expects. He manages a smile and a nod, allowing her to get back to her coping mechanism.

INT. AAA - JACK’S OFFICE - DAY

Jack is holding a meeting, speaking very calmly and professionally about the terms of enrollment when it comes to AAA. He’s explaining what it takes to maintain one’s enrollment, so it seems at first that he might be reprimanding Lucas after what Harper said to him, but it’s not our favorite snapback in the chair opposite his desk.

No, seated in the usual chair is MISSY BRADFORD (16). She’s gorgeous, well-groomed, a walking testament to old money in her designer outfit. She keeps a pleasant, patient smile on her face as Jack finishes his lecture, ultimately concluding that those reasons are the cause for them continually dismissing her parents’ requests to enroll her.

When she simply states that if money is the issue, he should simply name the price, Jack scoffs and states that it’s not about the money. He’s trying his best to be patient, but the Bradfords are clearly pushing him to his wits end. Missy asks why their strict enrollment procedures should be so adhered to anyway, considering other students have joined the ranks of AAA under special circumstances. She mentions Riley Matthews specifically, having clearly done her research.

Jack explains that was a special case, and she filled their remaining open slot. It’s a delicate numbers game, a game of personality balancing, of course the talent of the applicant is of significance…

Missy: Special case… hm. Fascinating, what constitutes a “special case.” Isn’t it?

Missy’s tone is innocent, but there’s the slightest of edges to her delivery that speaks volumes. Jack remains strong on his stance, apologizing again but explaining that there’s simply no room for her in the junior class at this time. Missy pauses, nods, and then rises to her feet.

As she’s almost out the door, she turns back to give him a sweet smile.

Missy: Thank you for taking the time to meet with me, Principal Hunter. I think we’re going to get along swimmingly.

Whatever that is, it doesn’t sound like a goodbye. Missy steps out, Jack slouching back in his seat the moment she’s out of sight. He rubs his face, starting to feel some of that familiar AAA exhaustion…

INT. AAA - BOYS DRESSING ROOM - DAY

Maya goes to find Farkle, ending up where they seem to have all of their confrontations. He’s gathering his things together for the break. When he realizes she’s there, he attempts to fill the silence by casually commenting how insane the afternoon went. Seems there’s never a dull moment in the junior A class…

Maya, simply: I know it was you. That you told Lucas about Thanksgiving.

Farkle freezes, doing a poor job of remaining impassive. Maya approaches him, surprisingly not explosive in her accusation but rather calm about the whole thing. She explains that she knows it was him given how he overheard them at Chubbie’s, although she’s not going to pretend to understand why he did it. She has no idea what makes him tick, and she isn’t sure she wants to know anymore. She doesn’t know who he is at this point.

While the maneuver succeeded in getting her attention, what she came to tell him is far from what Farkle wants to hear. She looks him in the eye, calm as ever, and makes a definitive declaration.

Maya: This chapter is closed, Farkle. You and me, we’re not friends. We’re not ever going to be what we were before. And presently, I would like nothing to do with you.

The plainness of the statement is what makes such a deep cut. Maya leaves without another word, considering the matter of her broken constellation settled.

Farkle’s expression is blank, only crumpling into something closer to hurt as the reality starts to sink in and his eyes gloss over.

INT. AAA - PRACTICE ROOM - DAY

Charlie is just finishing up in one of the practice rooms, Riley poking her head in to find him there. He spots her and assures her that he was wrapping up, so she should be all set to take over if that’s what she needs. She steps inside and admits she was actually looking for him, and Zay said that this is where she’d find him at the moment. When she asks if he has a second to chat, he seems more than happy to give her the time of day.

She approaches the piano, keeping it as a safe barrier between them yet still coming to the table for negotiations. It’s more than she’s given him so far.

Riley: I’ve been talking a lot of talk about our class coming back together in spite of everything… but I haven’t really been walking the walk. It’s much easier to preach forgiveness than to give it out in your own... complex situations.

[ Charlie waits patiently, listening intently and holding his breath. ]

Riley: I still don’t know… why you did what you did. And I guess I never will. [ off Charlie’s guilty expression ] And I’m still not exactly happy with you, but… I don’t wanna be upset anymore. I’m tired of so much negative emotion, and I guess I should start with my own.

Charlie isn’t sure what to say. Riley states that things aren’t going to be the way they were -- although what exactly they were, she doesn’t even know -- but she’s ready to wipe the slate clean. She’s ready to start over, and let things simply be.

This is a huge relief for Charlie. He’s already smiling, but when Riley holds out her hand for a “truce” sort of hand shake he can’t help but smile wider. The two of them shake hands, a timid new start for whatever their dynamic is actually meant to be.

INT. AAA - AUDITORIUM - DAY

The class has gathered together for the end of the week, once again in an uncertain state. Jack and Eric are also present, although they stand at opposite ends of the stage. Lucas is pointedly absent, Harper making the observation but not looking thrilled about it.

Things feel fragile, but still Valerie’s bombastic personality adds some lightness to the situation. She applauds them all for being brave enough to confront their authentic selves this week, in spite of how difficult that can be. She would know, as they all saw her try to run from them.

The class chuckles a bit, before Valerie definitively states that emotionally authenticity is challenging, but the rewards of it -- the depth of your relationships, the ability to connect with others, the improved understanding of yourself -- far outweigh its fearsome nature. Hopefully, in her brief time with them, they at least got a taste of that.

When it seems the week has come to an end, Dave of all people claims that that can’t just be it. The class questions what the hell he’s talking about, and Dave states that they haven’t done their big group number yet. They haven’t used music to magically fix everything or make things feel light again.

Although this is sort of a silly way of putting it, Dave might actually have a point. They’ve been so wrapped up in the authenticity, they sort of lost sight of the other way music connects them -- the moments where it’s fun.

Riley picks up the slack, claiming she can kick them off. Emotional authenticity, energized fun… who says you can’t have both?

Song Cue ♫ ♪ “You Can’t Stop the Beat” as performed by Hairspray Original Movie Cast || Performed by AAA Juniors (feat. Valerie De La Cruz)

What a change of pace from the heaviness of the episode, but somehow exactly what everybody needs. It sort of feels like the presence of Valerie herself -- upbeat, a tribute of the artistic spirit, but also covering for something deeper underneath.

More than that, the number serves to give us a swift reminder of everything that unfolded this episode. As Riley launches us into the number, she pulls Charlie in to be her Link Larkin -- a duo that we haven’t witnessed in action in months. Maya and Zay take the start of the next verse, pulling Isadora into it with them for the chorus.

Eric kicks up the energy by stepping in to sing as well -- something he hasn’t done in ages. It feels timely and clearly delights the class, inspiring other uncommon performers to jump in with him -- Asher, Dylan, and Jeff hopping in alongside Yindra, Nigel, and Clarissa. Eric’s “So if you don’t like the way I am, well I just don’t give a damn!” is uncomfortably pointed towards Jack, who averts his gaze and crosses his arms.

Valerie naturally takes the Motormouth solo after the silly dance break, bringing the whole class back together behind her as a united front. The most impressive thing about the performance is how the whole class seems to be having fun in the moment -- even Farkle, who is putting all his energy into the singing and dancing.

As we launch into the last verse, we flash forward to glimpse Thanksgiving coming to fruition…

INT. GARDNER HOME - DINING ROOM - DAY

The Gardner family is assembled, extended family present as they engage in Thanksgiving traditions while ELEANOR GARDNER and her sister set up for dinner. One of these seems to be filling out “I’m thankful for” paper slips and hanging them on the wall, DAISY GARDNER and ROSIE GARDNER helping their little cousins stick them to the wall.

Charlie has already put a couple up, but he’s hesitating on this last one. Then it seems to strike him exactly what he wants to say, settling into writing.

INT. BABINEAUX HOME - KITCHEN - DAY

The Babineauxs are enjoying a comfortable and cozy Thanksgiving dinner. Zay receives a text, checking it under the table while his family laughs and debates something over their meal.

It’s from Charlie, the phrase nothing more than a happy Thanksgiving. But the picture he’s attached says far, far more. It’s the paper slip, obviously not one he plans to hang up on the wall but the most authentic one he wrote.

“I’m thankful for… Dizzy.”

Zay smiles.

INT. MATTHEWS APARTMENT - DAY

Thanksgiving dinner with the fractured Matthews clan is going about as well as it could, TOPANGA LAWRENCE and CORY MATTHEWS being quite cordial and AUGGIE MATTHEWS being cute as always. Riley smiles at something he says and then glances across the table, locking eyes with Eric and giving him a grateful look.

Eric returns the smile, obviously happy to be there. Somewhere where he’s truly appreciated, regardless of how hard or easy it is.

INT. JACK’S APARTMENT - DAY

The Hunters gathering is going well, ANGELA MOORE laughing hard in conversation with Anne Marie and Shawn helping Jack finish setting the table.

Jack almost puts another place setting than they need, but then remembers. He swallows his emotions, pulling it back and moving on from the moment.

INT. MINKUS HOME - FARKLE’S BEDROOM - DAY

As promised, Farkle’s family isn’t celebrating. He’s alone eating takeout in his room, reading The Great Gatsby as he consumes his lonely meal for the holiday.

INT. GARCIA HOME - DINING ROOM - DAY

In sharp contrast, the Garcia-Orlando Thanksgiving gathering is far more lively. They all cheer as LILY GARCIA and GRANT ORLANDO break the wishbone, the former successfully getting the larger half and dangling it in front of his face.

While the mood is upbeat, something isn’t quite right. Asher makes this clear when he looks over his shoulder towards the table and it becomes clear that Lucas is nowhere in sight in spite of the place set up for him. Asher’s smile dims somewhat, obviously concerned.

EXT. NEW YORK STREETS - DAY

Lucas is wandering the streets of Manhattan on his own, hands stuffed in his pockets and mood unstable. He gets distracted when he passes by a store window, spotting a pair of pretty nice and comfortable looking black boots. Considering how beat up his current ones are, suffice to say they catch his attention.

He glances over his shoulder, clearly contemplating. Then we see him step inside the store, disappearing from frame…

INT. MAYA’S APARTMENT - DAY

Even with all the uncertainty, it seems Isadora chose to believe Maya when she stated she wasn’t using her. Because the Harts and De La Cruz women are together for the holiday as promised, clearly enjoying a quaint but warm dinner that Valerie pulled together (aside from the peach cobbler, of course).

Valerie makes a speech, raising her glass and evidently saying something very sincere and sweet about Isadora. There’s real potential in their dynamic now, and its shining on this holiday afternoon. After they knock their glasses together, Maya shifts gears and gets them all to take a selfie. A cute photograph of some badass women, that’s for certain.

INT. AAA - AUDITORIUM - DAY

The class brings the number home, the faculty stepping back and Valerie spinning to stand with them again. She gives a proud little shrug, even Jack having to nod a compliment to how she brought the class together even if only for a moment. We end the episode on an energized high note, officially launching us into the next third of the season.

And boy, where could things go from here…

END OF EPISODE.