ACT 1, SCENE 6
EXT. RICKETT'S AIRFIELD
FINN AND BECKY ANDERSON (WEARING A SUE SYLVESTER STYLE RED TRACKSUIT) ARE STANDING ALONE ON THE DESERTED AIRSTRIP. THEY'RE HOLDING UP A LARGE SIGN, SAYING: 'WELCOME BACK!'
BECKY
Finn, what the hell are we doing here?
FINN
He said to meet him at the airport.
BECKY
The airport's in Bluffington, dumbass!
FINN
Becky, you know what Mr. Schu said about calling me a dumbass.
BECKY
(SIGHS, MIMICS)
Finn bruises like an emotional peach and not to do it.
FINN
And he said this airport. I wrote it down on my hand. See?
(SHOWS HER HIS HAND)
I just-
HE CAN'T CONTINUE, BECAUSE THE AIR'S SUDDENLY FILLED WITH THE WHUMP-WHUMP-WHUMPOF ROTOR BLADES. THEIR HAIR AND CLOTHES GET WHIPPED ABOUT AS THEY TURN THEIR FACES UP TO THE SKY AND SEE... A HELICOPTER COMING IN TO LAND.
FINN AND BECKY BACK THE HELL OFF.
BECKY
Is that him?
FINN
Uh... I guess so.
THE FORCE OF THE BLADES RIPS THE BANNER IN TWO, AND FINN'S LEFT HOLDING A SMALL PIECE SAYING 'WEL' AND BECKY A PIECE SAYING 'COME BACK'.
THE ENGINE IS KILLED AND THE BLADES SLOW DOWN AS SOMEONE JUMPS FROM THE PASSENGER SEAT IN THE COCKPIT. IT'S A MAN IN A BUTLER'S UNIFORM.
HE OPENS THE CABIN BAY DOORS AND LOWERS A SET OF STAIRS. SOON, A TALL FIGURE APPEARS AT THE TOP OF THE STAIRS AND WAVES.
MIKE
Hello, Ohio!
BECKY
Tell that idiot not to wave from a helicopter! He's gonna get his hand chopped off!
MIKE BOUNDS DOWN THE STAIRS, AND SOON HE AND FINN ARE CAUGHT IN A DANCING EMBRACE.
FINN
Hey! Welcome back!
MIKE
Good to see you, man!
ANOTHER FIGURE APPEARS. HE DOESN'T WAVE, JUST TROTS JAUNTILY DOWN THE STAIRS.
RORY
Finn! Becky! How are ya?
RORY HUGS FINN AND BECKY.
FINN
Where's-?
MIKE
Wait, you gotta check this out!
HE POINTS TO THE STAIRS. THERE'S A WHIRRING NOISE, AND THE STAIRS SUDDENLY SLAM FLAT, BECOMING A RAMP. A PAIR OF WHEELS APPEAR, AND THEY'RE GUIDED CAREFULLY ONTO TWO STRUTS, THAT CLAMP TO THE WHEELS LIKE MAGNETS. THEN THE WHOLE THING LOWERS TO THE GROUND IN A STATELY FASHION, WHILE ARTIE GRINS AT HIS FRIENDS.
ARTIE
What up, dog?
FINN
(MUTTERS)
Oh, God, I'd hoped he'd stopped talking like Mark E. Mark by now...
MIKE
Not a chance.
AS HE REACHES THE GROUND, ARTIE HITS A BUTTON ON HIS WHEELCHAIR'S FANCY CONTROL PANEL AND THE MAGNETS DISENGAGE. HE USES A SMALL JOYSTICK TO CRUISE ACROSS THE TARMAC TOWARDS THEM. BECKY RUSHES FORWARD AND GIVES HIM A KISS.
BECKY
I missed you, Artie.
ARTIE
I missed you too, Becky.
(TAKING IN HER OUTFIT)
Wow, you really have inherited Coach Sylvester's mantle, haven't you?
BECKY
The Cheerios need an ass-kicker in charge or they start slacking off.
(BEAT)
Cheerleaders!
ARTIE
Yeah, I know. I hate 'em too.
FINN
Artie, is this your helicopter?
ARTIE
One of my helicopters.
FINN LOOKS LIKE ARTIE JUST TOLD HIM HE WALKS ON WATER.
FINN
(CHOKED WHISPER)
You have more than one helicopter?
ARTIE
First resolution I made when I started getting rich - travel everywhere in style! Makes up for being in a wheelchair my whole life.
FINN
Well, uh, I brought the school van to accommodate the chair. But I could-
ARTIE
I don't care, Finn.
(BRIGHT SMILE)
The Glee Club's getting back together. You could piggyback me everywhere if you want.
FINN
(BEAMS, LOVES THE SOUND OF THAT)
Really?
ARTIE
No.
RORY
Come on, let's get going.
MIKE
Artie, our luggage?
ARTIE
Raul will see everything safely to the motel.
FINN
Well, come on then!
THEY SET OFF ACROSS THE TARMAC. BECKY'S ALONGSIDE ARTIE, HOLDING HIS HAND. FINN'S BETWEEN MIKE AND RORY, THROWS HIS ARMS AROUND THEIR SHOULDERS.
FINN (cont'd)
God, it's good to see you guys!
THEY HEAD OFF.
COMMERCIAL BREAK:
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ACT 2, SCENE 7
EXT. SHALOM MOTEL
THE SCHOOL VAN, WITH THE NAME STENCILLED ON THE SIDE, PULLS INTO THE PARKING LOT OF A LARGE, RAMBLING TWO-STORIED MOTEL. IT LOOKS VERY RUSTIC, WITH SPANISH-STYLE ARCHITECTURE, MAKING IT LOOK
LIKE SOMETHING OUT OF AN OLD WESTERN. IT LOOKS FRESHLY PAINTED. IN FACT, THERE ARE TWO PAINTERS FINISHING OFF ONE WALL.
FINN AND BECKY GET OUT, WHILE MIKE AND RORY HELP ARTIE DOWN FROM THE BACK.
MIKE
Place doesn't look half bad.
FINN
Shoulda seen it a week ago.
BECKY
It was a dump!
FINN
I've got the keys to your rooms. Follow me.
FINN LEADS THEM ON A BRICK PATH ROUND THE SIDE OF THE MOTEL. IT'S BUILT LIKE AN UPSIDE-DOWN HORSESHOE, WITH THREE SIDES FACING A CENTRAL POOL AREA.
THEY'VE JUST PASSED THE SECOND DOOR WHEN THE WHOLE GROUP STOPS.
RORY
Do you hear that?
FINN
It sounds like it's coming from...
HE LEADS THEM TO THE FIFTH, AND LAST DOOR ALONG THE LEFT-HAND 'ARM' OF THE HORSESHOE, AND SURE ENOUGH, THEY CAN HEAR NOISES FROM INSIDE. IT SOUNDS LIKE...
FINN OPENS THE DOOR, AND:
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ACT 2, SCENE 8
INT. SHALOM MOTEL SAMCEDES' ROOM
MERCEDES
I'll reach out my hand to you.
I have faith in all you do.
Just call my name,
And I'll be there...
FINN LEADS THE GROUP INTO THE LARGE MOTEL ROOM. THERE'S A KING- SIZE BED, A LOUNGE AREA WITH PLUSH SOFAS AND A KITCHENETTE. CURRENTLY, BRITTANY AND SANTANA ARE DRAPED ON THE COUCHES, WATCHING MERCEDES AND SAM, SITTING CROSS-LEGGED ON THE BED, SERENADING THEM. THEY ALL WAVE TO EACH OTHER AS THEY COME IN, BUT NO ONE INTERRUPTS THE SONG AS SAM CONTINUES:
SAM
I'll be there to comfort you.
Build my world of dreams around you.
I'm so glad that I found you.
I'll be there with a will so strong.
I'll be your strength.
You know I'll keep holding on.
ARTIE LEADS SOME RAUCOUS CHEERING. MERCEDES GRINS, AS SHE CARRIES ON:
MERCEDES
Let me fill your heart with joy and laughter.
Togetherness... well, its all I'm after.
Just call my name,
And I'll be there.
I'll be there to protect you...
SAM
Yeah, baby, yeah...
MERCEDES
With an unselfish love that respects you.
Just call my name,
And I'll be there.
SAM
I'll be there to comfort you.
Build my world of dreams around you.
You know I'm so glad that I found you.
I'll be there with a love so strong.
I'll be your strength.
You know I'll keep holding on.
EVERYONE WHOOPS AT THE UNEXPECTED HIGH NOTE.
MERCEDES
If you should ever find someone new.
I know she better be good to you.
Coz if she doesn't... then I'll be there.
SAM
(SHOUTS)
Everybody!
THE GROUP, GRINNING LIKE IDIOTS, JOIN IN:
GROUP
Don't you know, baby, yeah yeah...
I'll be there! I'll be there!
Just call my name,
And I'll be there...
I'll be there! I'll be there!
Just call my name,
And I'll be there...
AFTER THE BIG FINISH, THERE'S MUCH LAUGHTER AND HUGGING AS THE GROUP GET REACQUAINTED.
FINN
When did you guys get in? You shoulda called me. I woulda picked you up.
SAM
Finn, we can get from place to place by ourselves, dude.
FINN
I know. I just... I wanted to be the first to see everybody.
SANTANA
Oh, my God! Have you gotten sweeter?
(TO BRITTANY)
Kill me now.
BRITTANY
No. I'm done with that after we tried to make that snuff film.
MERCEDES
Say what?
ARTIE
It's good to see you guys.
MERCEDES
You too.
SANTANA
Surprised you could make time for us, Mr. Big Shot.
ARTIE
You know, I'm thinking of legally changing my name to Mr. Big Shot.
SAM
That'd be too awesome! Star Trek 4, directed by Mr. Big Shot!
ARTIE
You're not pissed at me? I know how big a fan you are, and Star Trek 3...
MIKE
Kinda sucked.
SAM
Oh, I'm totally pissed. You and me are gonna have words.
BRITTANY
(TO FINN)
So, what are we doing?
FINN
Uh, well, not everybody's here yet. So you can just take some time. Settle in. There's a dinner tonight.
RORY
Where?
BECKY
Breadstix.
MERCEDES
Is that place still open?
FINN
Of course. Nothing ever changes in Lima.
(BEAT)
I'm gonna go pick up Sugar and Tina. They caught the same flight from New York, and the shuttle's getting here in about 25 minutes.
SANTANA
New York? So, isn't Rachel...?
FINN
I don't know. I haven't spoken to Rachel.
BECKY
Finn! You told Mr. Schu you were handling it!
FINN
I am. I sent her the email. I left messages. She knows... what's going on.
(BEAT)
Okay?
SANTANA
Okay.
FINN
Alright, I'll see you guys at dinner.
FINN HEADS OUT.
SANTANA
He's right. Nothing ever changes.
CUT TO:
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ACT 2, SCENE 9
EXT. SHALOM MOTEL
WE FOLLOW FINN AS HE LEAVES THE ROOM, AND HEADS BACK TO HIS VAN. MEANWHILE:
FINN (V.O.)
I'm gonna be in for a whole weekend of this, I know it! "Finn, are you okay with seeing Rachel?" "Finn, is it tough being around Quinn?"
(BEAT)
I thought I put the issue to bed seven years ago. I was the one who told Rachel not to let Quinn get away.
(BEAT)
Well, I didn't exactly tel l her, I sang it to her. It's a Glee thing. But still, I proved I was okay with it then, right? Why should it be a problem now?
HE REACHES THE VAN AND CLIMBS IN, SLUMPING BACK AGAINST THE SEAT. HE CATCHES HIS OWN EYE IN THE REARVIEW MIRROR, STARING FOR A GOOD LONG WHILE.
FINN (V.O.) (cont'd)
I'm fine. I'm over it.
EVENTUALLY, HIS EYES NARROW IN ANNOYANCE, AND HE RUNS A HAND OVER HIS HEAD.
FINN (cont'd)
(OUT LOUD)
Get it together, Finn.
HE REACHES UP AND PULLS DOWN THE SUN VISOR. SOMETHING TUMBLES OUT AND FALLS INTO HIS LAP. HE LOOKS DOWN. IT'S A PHOTOGRAPH. A GROUP SHOT TAKEN IN THE CHOIR ROOM. THE WHOLE CLUB IS THERE, AND RIGHT IN FRONT, IS FINN HIMSELF. WITH RACHEL AND QUINN ON EITHER SIDE - BOTH WITH THEIR ARMS AROUND HIM, BOTH PLANTING EXAGGERATED KISSES ON HIS CHEEKS. AS FINN'S EYES MIST UP AS HE STARES AT THE PICTURE, WE HEAR:
RACHEL (V.O.)
Here's a photo I've been looking for.
It's a picture of the boy next door.
And I loved him more than words could say.
Never knew it til he moved away.
Faded pictures in my scrapbook.
Just thought I'd take one more look.
And recall when we were all... in the neighbourhood.
TREMBLING A BIT, FINN PICKS UP THE PHOTO, AND WE:
DISSOLVE TO:
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ACT 2, SCENE 10
INT. RACHEL'S NEW YORK APARTMENT
TIGHT ON THE VERY SAME PICTURE. WE PULL BACK, SLOWLY, REVEALING THAT IT'S JAMMED INTO THE FRAME OF A LARGE DECORATIVE MIRROR. THE SHOWBIZ KIND WITH ALL THE LIGHTBULBS. RACHEL BERRY IS SITTING ON A STOOL, BUT SHE'S NOT LOOKING AT HER REFLECTION. SHE'S LOOKING AT THE PICTURE, AS SHE KEEPS SINGING:
RACHEL
And all those friends, where did they go?
Oh, I don't know.
And all those friends, we used to know,
Oh... in the neighbourhood...
ALSO TREMBLING, RACHEL REACHES UP AND PLUCKS THE PHOTO OUT. SHE BITES HER LIP, STARING AT IT SO HARD IT'S LIKE SHE EXPECTS THE FIGURES CAUGHT FOREVER IN THAT MOMENT IN TIME TO MOVE - MAYBE DRIFT OUT OF FRAME THE WAY THEY DRIFTED OUT OF HER LIFE.
SUDDENLY, SHE'S CRYING. AND IN A FIT OF PIQUE, SHE RIPS THE PHOTO UP, AND DUMPS THE SHARDS ON A PIECE OF PAPER LYING ON THE DRESSER.
SHE STORMS OFF, BUT WE STAY ON THE PHOTO FRAGMENTS, AND MAKE OUT SOME OF THE WORDS PRINTED ON THE PAGE.
"Hey Rachel,
...everybody's going to be there...
...thought it would be fun to see you...
...hope you're doing okay...
...please be there...
...please...
...Finn."
AND ANOTHER SONG BLEEDS IN:
PUCK (V.O.)
Look at this photograph.
Everytime I do it makes me laugh.
How did our eyes get so red?
And what the hell is on Artie's head?
DISSOLVE TO:
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ACT 2, SCENE 11
EXT. INTERSTATE 75
PUCK IS AT THE WHEEL OF A MONSTER PONTIAC GTO. HE'S CRUISING DOWN THE HIGHWAY. BESIDE HIM, QUINN SITS WITH HER LEGS CURLED UP ON THE SEAT UNDERNEATH HER, STARING FORLORNLY OUT THE WINDOW.
PUCK
This is where I grew up.
I think the present owner fixed it up.
We never knew we ever went without.
The second floor was hard for sneaking out.
PUCK TURNS TO LOOK AT HER. IF SHE NOTICES, SHE GIVES NO INDICATION. PUCK REACHES ACROSS AND TAKES HER HAND.
PUCK (cont'd)
And this is where I went to school.
Most of the time had better things to do.
Criminal record says I broke in twice.
I must have done it half a dozen times.
QUINN SQUEEZES HIS HAND AND SHUTS HER EYES, ALMOST LIKE SHE'S PRAYING.
Hey...
PUCK (cont'd)
(WHEN SHE LOOKS AT HIM)
You alright?
QUINN
Truth?
PUCK
Truth.
QUINN
Not really.
PUCK
It's gonna be okay.
(WHEN SHE JUST GIVES A SAD LITTLE LAUGH)
I promise.
QUINN
I just... I never thought I'd ever come back here.
THEY ROCKET PAST A SIGN SAYING "WELCOME TO LIMA, OHIO. TITANS RULE, Y'ALL!"
PUCK
We made it out once. We'll do it again.
QUINN
I hope so...
PUCK HAS NOTHING TO SAY TO THAT, EXCEPT:
PUCK
I wonder if it's too late.
Should I go back and try to graduate.
Life's better now than it was back then.
If I was them I wouldn't let me in.
Oh, oh, oh... Oh, God, I...
AND WE SEE THAT IN QUINN'S FREE HAND, SHE'S HOLDING THE SELF- SAME PHOTO. SHE BALANCES IT CAREFULLY ON HER LEG, AND USES THE TIP OF HER FINGER TO SLOWLY CARESS THE SURFACE. CARESSING RACHEL'S FACE, AS SHE TAKES OVER THE CHORUS:
QUINN
Every memory of looking out the back door,
I had the photo, I was spread out on my bedroom floor.
It's hard to say it, time to say it.
Goodbye... Goodbye...
AND SHE'S CRYING TOO.
QUINN (cont'd)
Every memory of walking out the front door,
I found the photo of the friends that I was looking for.
It's hard to say it, time to say it.
Goodbye... Goodbye...
PUCK SEES WHAT SHE'S DOING, BUT QUICKLY AVERTS HIS EYES. HIS MOUTH PULLS INTO A THIN LINE, AND HE JUST KEEPS DRIVING.
CUT TO:
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ACT 2, SCENE 12
INT. BREADSTIX
IT'S OBVIOUS THE VENUE'S BEEN SET ASIDE FOR A GLEE CLUB FUNCTION. NOT ONLY IS THE ROOM NOW DOMINATED BY ONE LONG CENTRAL TABLE, AROUND WHICH FINN, ARTIE, SAM, MIKE, RORY, BECKY, MERCEDES, BRITTANY, SANTANA AND THE NEWLY-ARRIVED SUGAR, TINA AND BLAINE MAKE MERRY, BUT THERE'S A PSEUDO STAGE SET UP AGAINST ONE WALL. THE MOOD IS LIGHT AND JOLLY; LIKE A FAMILY THANKSGIVING DINNER, PASSING THE MASHED POTATOES AND EGGPLANT SALAD.
BLAINE
No, no, no... I beg to differ. What about the time Sam here-
SAM
Oh, are we starting now?
BLAINE
-decided to pretend he was a merman, in order to get Figgins to release the goldfish Mrs Crink was using in her Anatomy class?
MIKE
I remember that! Didn't he start calling you, "Your Watery Majesty" after that?
THEY LAUGH.
SAM
(SIGH)
Yeah. He carried a water gun to squirt me with his supplication.
SANTANA
That just sounds dirty.
MERCEDES
How did the guy manage to run the school for so long? He thought Tina was a vampire for three years.
BRITTANY
Wait, Tina's not a vampire?
TINA
Sorry, Brittany.
FINN
Well, it's better now. Mr. Schu and Coach Sylvester-
RORY
Wait. How does that work anyway?
FINN
Well, it all started with the underground Cheerios cage fighting ring, and-
HE BREAKS OFF WHEN THE LIGHTS SUDDENLY GO OUT.
ARTIE
(FROM THE DARKNESS)
Is there a storm?
SUGAR
No. The weather's fine.
ARTIE
Then, what-?
A SINGLE SPOTLIGHT ILLUMINATES THE STAGE. IT'S BRIGHT. VERY BRIGHT. ALMOST TOO BRIGHT.
BLAINE
Finn, what's going on?
FINN
I had nothing to do with this.
BLAINE
Sure.
FINN
I swear, I-
A FIGURE, DRESSED IN A SMART SUIT, SASHAYS ONTO STAGE AND STANDS, BACK TO THE NOW CURIOUS AUDIENCE, WITH IT'S HEAD BOWED.
THE MUSIC STARTS.
A VIOLIN, COAXING A MOURNFUL TUNE OUT OF THE AIR. THE INTRO ALMOST LULLS THE WATCHING CROWD INTO A TRANCE AS THEY SWAY TO THE SWEET SOUND.
THE FIGURE TURNS AROUND, AND:
SUGAR
Kurt!
SHE APPLAUDS WILDLY, AND THE OTHERS SOON JOIN HER. BLAINE, THOUGH, LOOKS STUNNED. FINN JUST FROWNS. KURT APPROACHES THE MICROPHONE, AND STARTS TO SING.
KURT
Last night... when we were young.
Love was a star, a song unsung.
Life was so new, so real, so bright.
Ages ago... last night.
THE SONG IS HAUNTINGLY BEAUTIFUL, AND EVERYONE'S SOON CAUGHT IN KURT'S SPELL. HE JUST STANDS THERE, BARELY MOVING, LETTING HIS VOICE DO THE MAGIC.
KURT (cont'd)
Today the world is old.
You flew away, and time grew cold.
(HE LOCKS EYES WITH BLAINE)
Where is that star the seemed so bright?
Ages ago... last night.
BLAINE BITES HIS LIP. FINN, SITTING NEXT TO HIM, SEEMS TO FEEL THE REEL OF TENSION RUNNING BETWEEN THEM, AND HIS EYES FLICK FROM ONE TO THE OTHER.
FINALLY, KURT BREAKS EYE CONTACT. HE TAKES THE MIC OFF THE STAND, AND MOVES TOWARD THE AUDIENCE.
KURT (cont'd)
To think that spring had depended,
On merely this.
A look, a kiss.
To think that something so splendid,
Could slip away in one little daybreak.
HE HOLDS UP ONE HAND, FINGERS FLARED OUT. AND ONE BY ONE HIS FRIENDS GIVE HIM A LITTLE FINGER-WIGGLE IN GREETING. KURT'S SMILE IS BROAD AND LOVING AND GENUINE.
KURT (cont'd)
So now let's reminisce.
And recollect the sighs and the kisses.
The arms that clung, when we were young,
Last night.
HE GLIDES BACK ONTO THE STAGE. THE TRUE PERFORMER, LOOKING EACH AND EVERY ONE OF THEM IN THE EYE.
KURT (cont'd)
So now let's reminisce.
And recollect the sighs and the kisses.
The arms that clung, when we were young,
Last night, oooooh, last night...
Oooooooh... last night.
STANDING OVATION. BECKY'S POUNDING THE TABLE, SHOUTING:
BECKY
More! More! More!
UNTIL A NEARBY WAITER ASKS HER TO STOP. KURT DOES HIS LITTLE HALF-BOW, HALF-CURTSY THING, THEN HOLDS UP THE MIC AGAIN.
KURT
Hello, McKinley!
GLEE CLUB
Kurt! Kurt! Kurt! Kurt!
KURT PUTS THE MIC BACK, AND STEPS OUT INTO THE CROWD TO RECEIVE HIS HUGS AND KISSES. AS THEY SWARM AROUND HIM, FINN TURNS TO BLAINE.
FINN
When last have you-?
BLAINE
Three years.
FINN
And you two haven't-?
BLAINE
Not a word.
FINN
Oh. Okay.
BLAINE
How is he, Finn? You're his brother, so...
FINN
I think you should ask him yourself.
(WHEN BLAINE HUFFS AND TURNS AWAY)
Hey, you two have too much history to just ignore. Go talk to him.
BLAINE
(SIGHS)
Okay. But I'm telling you the same thing when Rachel gets here.
FINN PULLS A FACE. BLAINE LAUGHS, AND MAKES HIS WAY TO KURT. WHEN KURT SEES HIM, THE OTHERS MELT BACK, AND THEY'RE LEFT STARING AT EACH OTHER. KURT'S STILL GRINNING, BUT IT WAVERS A BIT.
BLAINE(cont'd)
Always the one for the dramatic entrance, huh?
KURT
What can I say? It's a gift.
LONG, TENSE SILENCE. EVERYONE'S HOLDING THEIR BREATH. THEN:
BLAINE
Come here.
HE PULLS KURT INTO A FIERCE HUG. THE DAM BREAKS AND THEY BOTH START CRYING AS THEY CLING, DESPERATELY, TO EACH OTHER. THE REST OF THE CLUB SHARE KNOWING SMILES. THEN:
PUCK (O.S.)
Awesome! We putting on a show? I brought my axe!
THEY ALL TURN TO THE ENTRANCE, WHERE A GRINNING PUCK STANDS WITH A SOMEWHAT MORE DEMURE QUINN. THEY'RE HOLDING HANDS, AND SHE'S PRESSED IN TOWARDS HIM IN A WAY THAT LEAVES NO DOUBT AS TO THE NATURE OF THEIR RELATIONSHIP.
MIKE
Er... hey!
RORY
Hi!
ARTIE
How's it going?
SANTANA
Total sophomore year flashback!
BRITTANY
(MUTTERS)
Hold on. Isn't she a lesbian? Are we allowed to date boys now?
KURT
(SHAKES HIS HEAD)
Damn... stole my entrance.
CUT TO:
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