ACT 6, SCENE 41

INT. WILLIAM MCKINLEY HIGH, CHOIR ROOM

A FEW MINUTES HAVE PASSED, AND CLASS IS OVER. THE KIDS STRAGGLE OUT, ALL WIDE-EYED AND BUBBLY WITH THE ENORMITY OF WHAT THEY'VE JUST SEEN.

TINA

Can you believe that?

SANTANA

Tres' awkward!

BRITTANY

Who's Trey?

RORY

Did that just happen?

EVENTUALLY, EVERYONE'S GONE, EXCEPT FOR FINN, RACHEL AND QUINN, WHO ARE STILL IN THEIR SEATS. FINN HAS PURPOSELY SAT HIMSELF ON THE OPPOSITE SIDE OF THE CLASS FROM THE TWO GIRLS. IT'S LIKE THEY'RE ALL SCARED TO MOVE. EVENTUALLY, QUINN GETS TO HER FEET. SHE APPROACHES FINN, BUT:

FINN

Just keep walking.

SHE LOOKS LIKE SHE'S ABOUT TO ARGUE, STEALS A GLANCE AT RACHEL, BUT THEN SHE JUST NODS, AND LEAVES. FINN AND RACHEL ARE LEFT ALONE. THE ATMOSPHERE BETWEEN THEM IS CHARGED AND HEAVY.

RACHEL

How could you do that to me?

(WHEN FINN DOESN'T RESPOND)

Did you think it would be funny?

(WHEN HE STILL DOESN'T RESPOND)

Oh, how ironic! Rachel Berry got dumped with a song by a one-hit wonder!

FINN

I didn't do this! You did!

RACHEL

Me?

FINN

Do you know how it felt watching you sing that song to Quinn? Do you have any idea?

(BEAT)

The whole school's walking around laughing at me behind my back!

BY NOW THEY'RE BOTH ON THEIR FEET. ANGER BOILS BETWEEN THEM.

RACHEL

Well, you can go back to being their Neanderthal football god now that you're not tied to the geek from Glee anymore!

FINN

Don't you dare be angry at me! Don't you dare!

(STABBING A FINGER IN HER FACE)

You fell in love with someone else! You did this!

RACHEL

I didn't fall in love with anybody!

FINN

God! Blind and stupid! Sure they're gonna love that in New York!

HE TURNS ON HIS HEEL AND STALKS OUT.

RACHEL

Fine! Go! GO!

(BEAT)

Coward!

ONCE HE'S GONE HER ANGER FADES. AND THE MASK CRACKS. AND THE TEARS COME FREELY.

CUT TO:

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ACT 6, SCENE 42

INT. WILLIAM MCKINLEY HIGH, HALLWAY

WE FOLLOW QUINN AS SHE ENTERS THE SCHOOL, AND PROCEEDS DOWN THE HALLWAY. ALL THE WHILE:

QUINN (V.O.)

What a disaster!

(BEAT)

It's all anybody can talk about. This school makes such a big deal about what bottom-feeding losers us Glee kids are, but they're take an absurd amount of interest in our lives.

SHE PASSES JACOB BEN ISRAEL, COMPLETE WITH NEW CAMERAMAN AND MICROPHONE, OBVIOUSLY DOING A FOLLOW-UP REPORT (THOUGH WE DON'T HEAR IT).

QUINN (V.O.) (cont'd)

And for what? Stupid rumours and innuendo? Rachel and I never even did anything!

(BEAT)

Of course, you can't tell Finn that...

WE SWITCH TO QUINN'S POV, AND SPOT FINN COMING DOWN THE HALLWAY TOWARDS HER. BEFORE SHE EVEN GETS A CHANCE TO SPEAK, HE TURNS RIGHT AROUND AND STALKS OFF.

QUINN (V.O.) (cont'd)

And they say Rachel's the drama queen!

SHE TURNS A CORNER, AND SPOTS SAM, MERCEDES, ARTIE AND TINA HANGING OUT BY RORY'S LOCKER. WHEN THEY SEE QUINN COMING, THEY ALL TROOP AWAY TOO.

QUINN (V.O.) (cont'd)

That's the worst part. The kids in the club - people I thought were my family - are now treating me like a pariah too. Like I set out to dethrone their royal couple! I swear, it would be less of a stigma if I shot William and Kate!

HEAD BOWED NOW, QUINN CARRIES ON. AGAIN, WE SWITCH POV.

THIS TIME, A HAND, HOLDING A SLUSHIE, MAKING IT'S WAY TOWARDS HER. IT GETS CLOSER AND CLOSER... SHE LOOKS UP AT THE LAST SECOND, AND:

PUCK

Here. Thought you might be thirsty.

QUINN LOOKS WARY, BUT ACCEPTS THE DRINK.

QUINN

Thanks.

PUCK FALLS INTO STEP BESIDE HER.

QUINN (cont'd)

So, you don't hate me too?

PUCK

For what? Have you and Berry even done anything? Did you go behind Finn's back?

QUINN

No.

PUCK

That's what I figured. You wouldn't do that again.

QUINN

Thanks for reminding me.

PUCK

No problem.

QUINN

You know what they're calling me, right?

PUCK

Yeah.

(BEAT)

My favourite is queerleader.

QUINN PULLS A FACE.

QUINN

This reflects badly on you too, you know?

PUCK

Why?

QUINN

Well, me, Santana, Brittany, Rachel - all girls you've been with. People might start doing the math.

PUCK

Doesn't bother me. Long as I got my licks in first.

(GIGGLES)

Get it? Got my licks in?

QUINN PUNCHES HIM ON THE ARM. HE CASUALLY SLINGS THAT ARM AROUND HER SHOULDERS.

PUCK (cont'd)

I don't care of you're into chicks-

QUINN

I never said I was into chicks! Everyone's just assuming that.

PUCK

To me, you're Beth's mom.

(BEAT)

Nothing else matters after that.

QUINN (V.O.)

And the surprises just keep on coming. I never knew I'd actually be able to smile on a day like today.

CUT TO:

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.

ACT 6, SCENE 43

INT. BERRY RESIDENCE

RACHEL HAS TAKEN A DIFFERENT TACK AND REFUSED TO GO TO SCHOOL. SHE'S IN HER JAMMIES, CURLED UP UNDER HER SPAMALOT! BLANKET, LOOKING THOROUGHLY MISERABLE AND LISTENING TO SAD SONGS ON THE STEREO.

STEREO

Make-believing, we're together,

That I'm sheltered by your heart.

But in and outside, I turn to water,

Like a teardrop in your palm.

(A TEAR FROM RACHEL)

And it's a hard winter's day,

And dream away...

RACHEL STARTS MOUTHING ALONG.

STEREO (cont'd)

It must have been love,

But it's over now.

It must have been good,

But I lost it somehow.

It must have been love,

But it's over now.

From the moment we touched,

Til the time had run out.

It must have been love...

SHE BARELY REACTS TO THE KNOCK ON HER BEDROOM DOOR. IT OPENS, AND KURT ENTERS.

KURT

Hi.

RACHEL DOESN'T RESPOND, JUST BURROWS DEEPER UNDER THE COVERS. KURT SITS DOWN ON THE EDGE OF THE BED AND PUTS SOME TAKEAWAY PACKAGES ON THE NIGHTSTAND.

KURT (cont'd)

I brought you a chocolate frapacinno with extra cinnamon.

RACHEL

(FROM SOMEWHERE IN THE RECESSES OF THE BLANKET)

With skim milk?

KURT

It's chocolate, Rachel. I think it's a bit late for skim milk by this point.

RACHEL

(STILL BURIED)

Kurt!

KURT

Yes, with skim milk.

RACHEL DIGS HER WAY OUT AND GRATEFULLY ACCEPTS THE DRINK.

RACHEL

So you're not here to get some extra shots in on your brother's behalf?

KURT

Finn can fight his own battles.

(BEAT)

Besides, it would make for an awkward three years in New York if we were ex-best friends and roommates.

RACHEL SIPS AT THE DRINK. KURT WATCHES HER INTENTLY.

RACHEL

What? Looking for this?

SHE PUTS HER HAND UP TO HER BROW, THUMB AND FOREFINGER COCKED LIKE A GUN POINTED UPWARD, FORMING THE LETTER 'L'.

KURT

So what's the scarlet letter supposed to stand for?

RACHEL

Loser.

KURT

Not lesbian?

RACHEL

Kurt...

KURT

It's not a question you can run away from, Rachel.

RACHEL

I take it the whole school is abuzz?

KURT

A-Buzz and a-Lightyear, my darling.

(BEAT)

You and Quinn are the hottest thing to hit Ohio since Target discount stores and crop futures.

RACHEL

Quinn and I aren't... anything.

KURT

I know.

RACHEL

You know?

(WHEN HE GIVES A 'KURT' NOD)

Then why the interrogation?

KURT

Because that's not the point.

RACHEL

What is the point?

KURT

Do you want to be?

RACHEL GOES VERY QUIET, EXCEPT FOR THE SLURP SLURP OF HER 'COFFEE'.

KURT (cont'd)

I know you've been thinking about it since the kiss. Probably before that.

(BEAT, TRACE OF HURT)

Probably since she replaced me in the BFF stakes.

RACHEL

She never replaced you.

KURT

It's okay, Rachel. I'm not hurt.

(BEAT)

Well, not much.

(BEAT)

But what would hurt more is having to watch the woman I hold up as my future Broadway ideal lie to herself and drown in missed opportunities.

RACHEL

Opportunities? God! Finn and I broke up less than 24 hours ago!

KURT

For a reason.

AGAIN, RACHEL FALLS SILENT.

KURT (cont'd)

Look, no one's saying you have to go and declare your undying love for Quinn right now. But you do have to start asking yourself the hard questions. You have to find out if maybe there was a reason for all this. And most of all...

RACHEL

What?

KURT

You can't let her face this alone.

RACHEL

What are you talking about?

KURT

She's at school right now. The arrows are flying in from everywhere.

(BEAT)

And she's taking them. For you.

RACHEL

Are you serious?

KURT NODS. RACHEL PONDERS THIS FOR A SECOND, AND A STEELY RESOLVE SEEMS TO COME OVER HER.

RACHEL (cont'd)

Fetch me my red sweater!

KURT

Oh, good God no! Not that one!

RACHEL

Kurt!

CUT TO:

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.

ACT 6, SCENE 44

INT. WILLIAM MCKINLEY HIGH, HALLWAY / CHOIR ROOM

ALMOST IDENTICAL SHOT TO THE QUINN WALK - EXCEPT THIS TIME, RACHEL HAS KURT BESIDE HER AS SHE BRAVES THE HALLWAY. THERE'S VERY OBVIOUS POINTING AND STARING AND WHISPERING.

KURT

Chin up, eyes straight - don't let them get to you.

RACHEL

Is this what it was like for you?

KURT

Most days.

RACHEL

Kurt, I'm so sorry.

KURT

I'm not. I'm too strong for any of these people now because of it.

(BEAT)

You will be too.

RACHEL SEEMS TO TAKE VISIBLE STRENGTH FROM THAT. HER BEARING STRAIGHTENS AND THEY VERILY STRUT THROUGH THE SCHOOL.

JOCK

Hey, lesbatron!

RACHEL

Yes, inbreeder?

THAT SHUTS HIM UP. RACHEL SMILES TRIUMPHANTLY AS THEY TURN A CORNER, ONLY TO HEAR A RUCKUS COMING FROM THE CHOIR ROOM UP AHEAD.

FINN (OFF)

No! I don't accept it! Go to hell!

WILL (OFF)

Finn! Stop it!

QUINN (OFF)

It's okay, Mr. Schu. If he wants to act like this, he can shove it!

WILL (OFF)

Quinn, wait! Come back!

THE CHOIR ROOM DOOR OPENS AND QUINN, VERY UPSET, STORMS OUT. SHE PULLS UP SHORT WHEN SHE SPOTS RACHEL AND KURT. BEYOND HER, THEY CAN SEE FINN TOWERING ABOVE WILL IN THE CENTRE OF THE ROOM - ABSOLUTE FURY ON HIS FACE.

KURT

I'll run blockage.

RACHEL

You mean blocking?

KURT

What?

RACHEL

I can't believe you were ever on the football team.

KURT SHRUGS, HEADS FOR THE CHOIR ROOM. ON HIS WAY, HE TAKES A SECOND TO GIVE QUINN'S HAND A REASSURING SQUEEZE. HE GOES INSIDE, AND RESOLUTELY CLOSES THE DOOR. DOORS ARE CLOSING ALL OVER AS CLASSES START. SOON, RACHEL AND QUINN ARE LEFT ALONE.

QUINN

I didn't think you'd show.

RACHEL

I wasn't going to. Until Kurt told me you came in.

QUINN

So... what? You figured with two targets there'd be half the bullets? It doesn't work that way, Rachel. They'll just redouble their efforts.

RACHEL

I don't care about that.

QUINN

I do. What little reputation we had is gone now!

RACHEL

I don't care about that either.

QUINN

Oh.

(HANGS HER HEAD)

Because you lost someone and I didn't?

RACHEL

(TAKES A STEP)

Don't say that.

QUINN LOOKS UP AT HER. THEY'RE STANDING CLOSE NOW. AND LIKE ANY TIME THEY GET CLOSE TO EACH OTHER, THE VERY AIR BETWEEN THEM SEEMS TO CRACKLE WITH STRANGE ENERGY.

QUINN

(ALMOST A WHISPER)

What the hell are we doing?

RACHEL

I don't know.

QUINN

What the hell does this mean?

RACHEL

I don't know.

QUINN

What do you know?

RACHEL

(SMILES)

I don't know.

QUINN LAUGHS. IT'S A SAD LAUGH.

QUINN

I've never felt so scared in my life.

RACHEL

Me neither.

QUINN

Really?

RACHEL

Really.

QUINN

But you're still here.

RACHEL NODS. QUINN SMILES AGAIN. NOT SO SAD THIS TIME. SHE HOLDS OUT HER HAND. RACHEL STARES AT IT.

THIS IS THE MOMENT.

SHE TAKES HER HAND. QUINN TURNS, STARTS LEADING HER TO THE DOOR.

RACHEL

Where are we going?

QUINN

Back inside.

ONLY SOMEWHAT RELUCTANT, RACHEL FOLLOWS. THEY'RE STILL HOLDING HANDS AS QUINN OPENS THE DOOR AND THEY STEP INSIDE.

SMASH-PAN FROM THEIR ENTWINED HANDS TO THE WIDE-EYED EXPRESSIONS OF THE GATHERED KIDS. ESPECIALLY FINN, WHO LOOKS LIKE HE COULD CHEW ROCKS. WILL, FACING THE CLASS, TURNS AROUND AND OFFERS THEM A SMILE.

WILL

Glad you could make it.

QUINN

(WHISPERS, TO RACHEL)

Go sit.

NOW RACHEL APPEARS RELUCTANT TO LET GO OF HER HAND, BUT SHE DOES AND TAKES A SEAT BESIDE KURT AND BLAINE. QUINN STEPS UP BESIDE MR. SCHU, WHO GESTURES THAT SHE HAS THE FLOOR AND BACKS AWAY TO HIS SEAT.

QUINN (cont'd)

Is this still the place to be if you have a song to sing?

THE CLASS EXCHANGE PUZZLED GLANCES. THERE'S SOME MURMURING.

QUINN (cont'd)

Because some of you have been acting like you don't want me here. Like I don't belong here.

(BEAT)

Only Finn gets to feel that way, because I-

(BEAT)

We... hurt him.

(TO FINN)

I know you don't want to accept it, but I am sorry. I loved you once. I still do. And I never wanted to hurt you.

(BEAT)

But we don't always get to make that choice, do we?

(TO THE REST OF THE CLASS)

So... is this still the place?

SANTANA

What's the song?

QUINN TURNS, GOES OVER TO THE BAND AND GIVES THEM SOME QUICK INSTRUCTION. THE ACOUSTIC GUITAR PAYER IS THE FIRST TO PLUCK THE STRINGS. THE CHORDS JANGLE OUT IN A DITTY, ALMOST FOLKSY LITTLE TUNE.

QUINN SQUARES HER SHOULDERS AND FACES RACHEL. ONLY RACHEL. AND STARTS TO SING...

AS SHE SINGS, WE GET REACTION SHOTS OF THE CLASS. SOME ARE OKAY WITH THIS. MOST ARE NOT. QUINN DOESN'T SEEM TO CARE.

QUINN

Kiss me...

Out in the bearded barley.

Nightly...

Beside the green, green grass.

Swing swing, swing the spinning step,

You wear those shoes and I will wear that dress...

DISSOLVE TO:

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ACT 6, SCENE 45

INT. FANCY RESTAURANT, TERRACE

QUINN AND RACHEL, BOTH WEARING STUNNING, FLOWING SUNDRESS - RACHEL IN RED AND QUINN IN WHITE - STEP AWAY FROM THEIR TABLE IN A FANCY RESTAURANT. THEY'RE ON A DATE.

QUINN LEADS RACHEL OUTSIDE ONTO THE TERRACE, WHERE THERE'S A DANCEFLOOR SURROUNDED BY FAIRY-LIGHTS. THEY PUT THEIR ARMS AROUND EACH OTHER, AS QUINN KEEPS SINGING ALONG WITH THE HOUSE BAND.

QUINN

Oh, kiss me...

Beneath the milky twilight.

Lead me...

Out on the moonlit floor.

Lift your open hand,

Strike up the band, and make the fireflies dance, silver moon sparkling...

So kiss me...

THE MUSIC BLEEDS AWAY FOR A MOMENT, AS THE OTHER COUPLES ON THE DANCEFLOOR, WITH HATEFUL AND SUSPICIOUS LOOKS, START DRIFTING AWAY ONE BY ONE. RACHEL LOOKS AROUND.

QUINN (cont'd)

(WHISPERS)

Don't worry about it.

RACHEL

I'm not. I'm just wondering...

QUINN

What's to wonder?

(BEAT)

This can be so simple. We're just two people out for an evening. Just two people dancing.

RACHEL

Yeah, but... what happens after?

QUINN

After?

RACHEL

When the music stops?

QUINN IS QUIET FOR A WHILE, THEN:

QUINN

We pretend it never did.

RACHEL GIVES HER A SMILE SO BRIGHT IT SHAMES THE MOON FOR A SECOND. SHE LAYS HER HEAD ON QUINN'S SHOULDER, AS THE BLONDE BEAUTY STARTS TO SING AGAIN.

QUINN (cont'd)

So kiss me...

CUT TO:

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INT. WILLIAM MCKINLEY HIGH, CHOIR ROOM

QUINN'S STILL SINGING TO THE CLASS. THOSE WHO WERE FROWNING AT THE BEGINNING NOW HAVE DREAMY EXPRESSIONS ON THEIR FACES, AS THE MUSIC, AND HER VOICE, AND THE TRUTH OF IT STARTS SEEPING INTO THEIR SOULS.

QUINN

Kiss me...

Down by the broken tree-house.

Swing me...

Up on this hanging tyre.

Bring, bring... bring your flowered hat,

We'll take the trail marked on your father's map.

CUT TO:

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EXT. GLADE BY THE LAKESIDE

QUINN AND RACHEL, HAND-IN-HAND, WALK A PATH AROUND A LAKE. THE STARS ARE GLITTERDUST ON THE WATER.

QUINN

Oh, kiss me...

Beneath the milky twilight.

Lead me...

Out on the moonlit floor.

Lift your open hand,

Strike up the band, and make the fireflies dance, silver moon sparkling...

So kiss me...

AS THE PAN-FLUTE PLAYS, IN A MOVE OF SUDDEN, CRAZY SPONTANEITY, RACHEL TWIRLS QUINN AROUND, LAUGHING WITH DELIGHT AS HER DRESS SPIRALS OUT - THE MARILYN MONROE OF OLD.

QUINN (cont'd)

Oh, kiss me...

Beneath the milky twilight.

Lead me...

Out on the moonlit floor.

Lift your open hand,

Strike up the band, and make the fireflies dance, silver moon sparkling...

So kiss me...

THEY'RE FACE TO FACE. SO CLOSE THEIR BREATH MINGLES IN THE CHILLY AIR.

QUINN (cont'd)

So kiss me...

CLOSER... THEIR EYES DRIFTING SLOWLY SHUT.

QUINN (cont'd)

Kiss me...

MILLIMETERS NOW. MILLIMETERS AND A LIFETIME OF DREAMING.

QUINN (cont'd)

Kiss me.

SO SHE DOES. AND IT'S PERFECT.

CUT TO:

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