ACT 5, SCENE 35
EXT. SHALOM MOTEL
IT'S LATE. THE BONFIRE'S GOING AGAIN. ONLY TWO PEOPLE OUT THERE AT THIS HOUR: ARTIE AND SUGAR. SUGAR'S SITTING IN HIS LAP, TRYING TO BASICALLY EAT HIS TONGUE. AFTER A FEW MOMENTS OF HEAVY FRENCHING, ARTIE BREAKS AWAY TO TAKE A BREATH.
ARTIE
Wait. Why are we doing this? Why are you doing this?
SUGAR
Well, I'm used to a life of leisure, and you own your own helicopter, so...
ARTIE
Actually, I own three.
SUGAR
Three?
IF ANYTHING, SHE STARTS KISSING HIM EVEN HARDER. THEY ONLY STOP WHEN THEY HEAR A DOOR OPENING, AND GLANCE AT THE FACADE OF THE MOTEL. A FIGURE COMES OUT OF ONE ROOM AND STARTS WALKING ACROSS TO ANOTHER.
SUGAR (cont'd)
Is that Blaine?
ARTIE
Going into Kurt's room.
(BEAT)
You know, if we sit here and watch, you can bet it'll look like a game of musical motel rooms.
SUGAR
Ooh! That sounds fun!
ARTIE
Look...
PUCK COMES OUT OF HIS ROOM, WEARING SLEEP-SHORTS AND CARRYING AN ICE BUCKET. BEHIND HIM, THEY CAN JUST BARELY MAKE OUT THE FIGURE OF QUINN GETTING UNDRESSED.
AWKWARD MOMENT AS HE PASSES BRITTANY AND SANTANA'S ROOM, JUST AS THE DOOR OPENS AND BRITTANY COMES OUT, WEARING A BARELY-THERE SLIP. SHE'S ALSO CARRYING AN ICE-BUCKET. AFTER SOME AWKWARD CONVERSATION - ARTIE AND SUGAR CAN'T HEAR THEM FROM SO FAR AWAY - BOTH PROCEED TO THE ICE MACHINE DOWN THE HALL. WHILE THEIR BACKS ARE TURNED:
SUGAR
Wait. Who's this?
THEY GLANCE BACK ALONG THE CORRIDOR IN TIME TO SEE:
SUGAR (cont'd)
Oh, it's just Rachel.
THEY WATCH AS RACHEL HEADS DOWN THE HALL. SHE STOPS FOR THE BRIEFEST SECOND OUTSIDE PUCK AND QUINN'S ROOM, LOOKING IN, THEN MOVES PAST IT. SHE WAVES TO PUCK AND BRITTANY, THEN GOES INTO HER OWN ROOM. AFTER A BRIEF CHAT, PUCK AND BRITTANY RETURN TO THEIR ROOMS.
SUGAR (cont'd)
Oh, well, looks like everyone's paired up for the night.
THEY START MAKING OUT AGAIN. OVER SUGAR'S SHOULDER, WE SEE ARTIE HAS HIS EYES OPEN, EVEN AS SHE WORKS HIS MOUTH. HE'S FROWNING.
ARTIE
(WITH A MOUTH FULL OF TONGUE)
Wsh e dnin ear?
SUGAR
Huh?
SHE BREAKS AWAY, AND LOOKS WHERE ARTIE'S POINTING. SHE SEES FINN EMERGE FROM THE STAIRWELL.
SUGAR (cont'd)
Doesn't he have his own place in town?
ARTIE
That's what I thought.
SUGAR
Well, we never asked him. Maybe he stays here permanently.
ARTIE
I don't think so.
SUGAR
How do you know?
ARTIE
Coz...
HE POINTS AGAIN. THEY SEE FINN KNOCK ON RACHEL'S DOOR. A SECOND LATER, SHE OPENS IT AND HE SLIPS INSIDE.
SUGAR
Scandalous!
CUT TO:
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ACT 5, SCENE 36
INT. SHALOM MOTEL, VARIOUS ROOMS
AND NOW WE SLIP INTO A MONTAGE OF ALL THE CHARACTERS IN THEIR ROOMS, WITH LIFEHOUSE PROVIDING OUR SOUNDTRACK.
LIFEHOUSE
I can't be losing sleep over this,
No, I can't.
And now I cannot stop pacing.
QUINN SITTING UP IN BED, SHEETS OVER HER, WATCHING AS PUCK MIXES MARGARITAS AT THE MINI-BAR.
LIFEHOUSE (cont'd)
Give me a few hours,
I'll have this all sorted out.
If my mind would just stop racing.
RACHEL IS SCURRYING AROUND THE ROOM, PICKING UP THE CLOTHES THAT GOT TOSSED AROUND DURING THE LOVEMAKING WITH QUINN EARLIER. FINN WATCHES HER.
LIFEHOUSE (cont'd)
Coz I cannot stand still.
I can't be this unsteady.
This cannot be happening...
KURT IS LAYING CROSSWISE ON THE BED, WITH HIS HEAD IN BLAINE'S LAP. BLAINE HAS THE NIGHTLIGHT ON, AND READS TO HIM FROM A WORN COPY OF THE VELVETEEN RABBIT.
LIFEHOUSE (cont'd)
This is over my head,
But underneath my feet.
Coz by tomorrow morning,
I'll have this thing beat.
MERCEDES RECLINES AGAINST A BUNCH OF PILLOWS, REGALING SAM WITH SOME STORY. HE'S SITTING BETWEEN HER OPEN LEGS, PAINTING HER TOENAILS AND LAUGHING.
LIFEHOUSE(cont'd)
And everything will be back,
To the way that it was.
I wish that it was just that easy.
RORY IS ALONE IN HIS ROOM, TALKING ON THE PHONE. HE'S SMILING THE MOST GENUINE SMILE, LOOKING AT A PICTURE IN HIS HAND. ITS A FAMILY PHOTOGRAPH SHOWING A BEAUTIFUL FLAME-HAIRED WOMAN, AND TWO YOUNG CHILDREN, WHO LOOK EXACTLY LIKE RORY.
LIFEHOUSE(cont'd)
Coz I'm waiting for tonight.
Been waiting for tomorrow.
And I'm somewhere in-between.
What is real and just a dream?
MIKE AND TINA ARE DANCING IN HIS ROOM. IT'S A SLOW DANCE. NONE OF THAT FANCY MIKE FOOTWORK - JUST TWO PEOPLE - THE CLOSENESS - AND THE DANCE.
LIFEHOUSE(cont'd)
What is real and just a dream?
What is real and just a dream?
What is real and just a dream?
SANTANA AND BRITTANY AREN'T MAKING MARGARITAS. BRITTANY IS LYING FLUSH ON THE BED, NAKED. SANTANA HAS AN ICE-CUBE CAUGHT BETWEEN HER LIPS AND RUNS IT OH SO SLOWLY UP THE EXPANSE OF BRITTANY'S STOMACH AS SHE SQUEEZES HER EYES SHUT AND GASPS.
LIFEHOUSE (cont'd)
Would you catch me if,
I fall out of what I fell in?
Don't be surprised if I collapse,
Down at your feet again.
I don't want to run away from this.
I know that I just don't need this.
QUINN'S GOT HER FEET PROPPED UP, A BOOK IN HER LAP, SIPPING THE MARGARITA. PUCK PLUCKS IT OUT OF HER HAND, CLOSES THE BOOK, AND KISSES HER.
LIFEHOUSE (cont'd)
Coz I cannot stand still.
I can't be this unsteady.
This cannot be happening...
FINN AND RACHEL, ACROSS THE ROOM FROM EACH OTHER. LOOKING AT EACH OTHER THE WAY THEY ALWAYS DID WHEN THEY WERE PERFORMING. A CHOREOGRAPHED STEP FORWARD. THEN ANOTHER, AND ANOTHER...
FINN
I've been waiting for...
RACHEL CLOSES THE DISTANCE BETWEEN THEM AND PUTS A FINGER TO HIS LIPS.
RACHEL
No. No talking.
(BEAT)
We've done enough of that for two lifetimes.
FINN NODS, AND KISSES HER.
LIFEHOUSE
Coz I'm waiting for tonight.
Then waiting for tomorrow.
LATER.
LIFEHOUSE (cont'd)
And I'm somewhere in-between.
What is real and just a dream?
WE HOVER ABOVE QUINN'S BED. PUCK SLEEPS SOUNDLY. SHE'S ON HER BACK STARING UP AT US, A SINGLE TEAR RUNNING DOWN HER BEAUTIFUL FACE.
LIFEHOUSE (cont'd)
What is real and just a dream?
AND WE FLOAT BACK, BACK, INTO THE CEILING AND DARKNESS. MORE DARKNESS.
THEN WE COME FORWARD AGAIN, NOW ABOVE RACHEL'S BED. THE SAME TABLEAU. FINN FAST ASLEEP. RACHEL AWAKE, HER EYES ON US.
SHE'S CRYING TOO.
LIFEHOUSE (cont'd)
What is real and just a dream?
COMMERCIAL BREAK:
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