ACT 4, SCENE 26
INT. SYLVESTER RESIDENCE, STUDIO
WE COME IN ON A VAST, PROFESSIONALLY TURNED OUT DANCE STUDIO. ONE WALL IS JUST A MIRROR, POLISHED TO A GLEAMING SHINE. ALONG THE RIGHT HAND SIDE IS A SOUND SYSTEM SO ADVANCED IT WOULDN'T LOOK OUT OF PLACE ON THE STAR TREK : ENTERPRISE.THE REST OF THE SPACE IS OPEN, WOODEN FLOORBOARDS DUSTED SO THAT ANYONE WALKING ON THEM COULD ONLY SLIP ON PURPOSE.
FINN HAS WRANGLED KURT, BLAINE AND PUCK INTO HELPING HIM SET UP MIC STANDS AND CHAIRS FOR AN AUDIENCE.
BLAINE
When did Sue build this place?
KURT
That isn't the question.
PUCK
It's not?
KURT
No. The question is... what did she build it for?
FINN
It's a dance studio.
KURT
That doubles as a torture room?
SILENCE FOR A GOOD FIVE SECONDS AS THE GUYS CONSIDER THIS. THEN, AS ONE, THEY SHAKE THEMSELVES OUT OF IT.
FINN
Nah, you don't know her anymore. She's different.
PUCK
Come on, dude! This is Miss Sylvester we're talking about.
FINN
I know. She made our lives miserable.
KURT
My name on the blogosphere is still Porcelain. I think it's a Stockholm Syndrome thing.
FINN
Well, she has changed. She's been great at school since they made her principal.
(BEAT)
It was her idea to make Mr. Schu co-principal.
BLAINE
You're kidding.
FINN
Nope.
(BEAT)
And why else would she let us use the place on short notice?
BLAINE
Man's got a point.
KURT
Still, I've got some holy water in a flask in my pocket.
THEY ALL SHARE A CHUCKLE AND CARRY ON WITH THEIR VARIOUS TASKS FOR A WHILE.
KURT (cont'd)
I like it when it's like this...
(BEAT)
You know, before all the screaming and the drama.
FINN
Why is everyone so convinced we're gonna fight?
KURT
Previous experience.
FINN PULLS A FACE, GOES OVER TO UNPACK A FEW SIX-PACKS OF BOTTLED WATER HE'S BROUGHT ALONG IN A COOLER. KURT STUDIES HIM FOR A MINUTE, THEN APPROACHES.
KURT (cont'd)
So... how are you?
FINN
What?
KURT
I'm asking how you're doing.
FINN
Right now? Fine.
KURT
Come on, Finn.
FINN
Kurt, look, we had this fight at Christmas, okay? When you brought that guy over... what's his name? The weenie from Turini?
KURT
Paulo.
FINN
Right. I hated that guy.
KURT
At least I brought someone. Seven Christmases in a row, you've been alone.
FINN
Look, you don't know what it's like in this town, okay? You left. It's not easy meeting women.
KURT
There must be tons!
FINN
Sure. And all of them look like they just stepped off the cover of Farmer's Weekly!
KURT
Ouch.
FINN
Yeah.
KURT
What about Rachel?
FINN
What about Rachel? She's in New York with you.
KURT
Is that the only reason you never gave it another shot?
FINN
Well... there's that, and - again, like you - she's gay.
KURT
No, she's not.
FINN
What?
KURT
I think she's bi.
FINN
You always said there was no such thing.
KURT
I know. But since she broke up with Quinn she's dated guys, girls, those co-stars of hers that count as both...
(BEAT)
Like that Jonathan Groff guy. I mean, seriously, pick a lane!
FINN
Who's Elaine?
(BEAT, THEN)
Doesn't matter anyway.
KURT
Why not?
FINN
I said my goodbyes to Rachel, alright? I let her go when she hooked up with Quinn.
KURT
Is that why you never came to see her perform? Is that why you missed her getting her Tony? Why you missed the concert in Central Park? The cruise for her 21st birthday, when most of us showed up to-
FINN
Alright! Alright!
FINN CLOMPS OFF TO THE OTHER SIDE OF THE HALL, WHERE HE STARTS CONNECTING CABLES FOR THE SOUND SYSTEM. KURT, NOT TO BE PUT OFF, FOLLOWS.
KURT
Sure... you are so over her!
FINN KNEELS DOWN SO HE CAN REACH SOME TRICKY WIRES, GRUMBLING AND MUMBLING UNDER HIS BREATH.
KURT (cont'd)
What was that?
FINN
She sang Without You.
KURT
What?
FINN
The concert in the park. She sang Without You. The same song she sang the day I...
(BEAT)
The day I proposed.
KURT DOESN'T SAY ANYTHING, JUST STARES AT HIM. FINN IS VERY AWARE OF IT, CAN'T CONNECT THE WIRES PROPERLY. EVENTUALLY HE STANDS, AND SWINGS ON HIS BROTHER.
FINN (cont'd)
What? Why are you looking at me like that?
KURT
You love her.
FINN
(STALKS PAST HIM)
You're crazy.
KURT
You still love her!
FINN
Shut up!
(BEAT)
I swear, you're gone for a few months and I start missing you, but you're back for five minutes and I want you gone!
PUCK
Preach it, brother.
BLAINE
What are we talking about?
KURT
Finn's still in love with Rachel.
BLAINE
Oh.
(TO FINN)
You didn't know that?
FINN
I'm not in love with her.
PUCK
Dude... who are you kidding?
FINN
It's been seven years!
KURT
So there's a time limit on it now?
FINN
Yes! It's like that thing... with murders...
BLAINE
Oh, I hope you're going somewhere good with this.
FINN
The statue of limitations.
BLAINE
Statute.
FINN
Whatever. It's over.
PUCK
It's never over. Look at me and Quinn.
KURT
How did that happen anyway?
PUCK
I was playing Dewey's, up in Cleveland. After the set, I get a knock on the dressing room door. I figure it's some bangin' MILF who just can't help herself - I get that a lot - and it's Quinn.
FINN
A bangin' MILF.
PUCK
Right!
(BEAT)
And it was just great to see her again, you know? So we go to dinner, she downs a coupla wine coolers and next thing you know we're in my hotel room, and-
KURT
Wow. Sounds like true romance.
PUCK
Kept the lights on and everything.
FINN
Well, that's great, man. I'm happy for you.
BLAINE
(SURPRISED)
You are?
PUCK
(EVEN MORE SURPRISED)
You are?
FINN
You love her?
PUCK
Yes.
FINN
Then I am.
PUCK
I'll tell you something, though. Rachel messed her up bad.
KURT
This coming from the guy who knocked her up.
PUCK
She doesn't wanna talk about it, but... I can tell.
FINN
(TO KURT)
What happened between them?
BLAINE
Yeah. You were there.
KURT
If they don't want to tell you, I'm not going to.
PUCK
Bro code really means nothing to you, does it?
KURT
Bro what now?
PUCK ROLLS HIS EYES.
KURT (cont'd)
Anyway, we're getting off topic!
BLAINE
What topic?
KURT
Finn and his all-consuming neverending love for Miss Berry.
FINN
Oh, give it a rest!
KURT
Only if you can look me in the eye and tell me - without a shadow of a doubt - that you are over her.
FINN DOESN'T MOVE.
KURT (cont'd)
Well?
FINN
I left the laptop in the van.
HE SPINS ON HIS HEEL AND STALKS OUT. KURT SIGHS.
KURT
Lady and gentleman...
PUCK
Wait. Who's the lady?
BLAINE GIVES HIM A 'WTF?' LOOK.
KURT
Prepare yourselves for some Finchel drama.
CUT TO:
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ACT 4, SCENE 27
INT. SHALOM MOTEL, RACHEL'S ROOM
POST-COITUS. RACHEL'S BACK ON THE CHAIR, PULLING ON HER BOOTS. QUINN'S ON THE OTHER SIDE OF THE BED, PULLING ON HER SHIRT.
RACHEL
(CAN'T STOP SMILING)
Well, that was-
QUINN
Yeah.
RACHEL
But it was really-
QUINN
Sure.
RACHEL
I mean, I-
QUINN
I know.
MY GOD, SUDDENLY IT'S SO AWKWARD.
THEY FINISH GETTING DRESSED. THEN, AT LAST, THEY STAND AND FACE EACH OTHER, WITH THE WIDTH OF THE BED - THE BED THEY JUST... YOU KNOW - BETWEEN THEM.
RACHEL
What now?
QUINN
Now?
RACHEL
Yes, now. What does this mean? For us? For you and Puck? Are you going to leave him? Are you-?
QUINN
I don't want to think about that.
RACHEL
What?
QUINN
Not now, okay?
RACHEL
Look, I didn't expect this either. But we can't pretend it didn't happen.
QUINN SAYS NOTHING, JUST LOWERS HER EYES.
RACHEL (cont'd)
(FIRM)
We can't pretend it didn't happen, Quinn. I'm tired of us pretending.
QUINN
But I thought that's all we ever did.
(POINTED)
Pretend.
RACHEL ACTUALLY STUMBLES BACK A STEP, LIKE SHE'S JUST BEING SUCKER-PUNCHED.
RACHEL
Don't.
(BEAT)
You're going to throw that back at me? Now?
QUINN
That's what you said four years ago.
RACHEL
What is this?
(BEAT)
Revenge? Some psycho trick you're trying to pull? Get me to feel something for you again, before you-
QUINN
Rachel...
QUINN STOPS HERSELF. RACHEL LOOKS AT HER WITH WET EYES.
RACHEL
You still hate me.
QUINN
No. I don't.
RACHEL
It's okay. I don't blame you. Not after what I did.
(BEAT)
But this is just cruel.
QUINN
I'm not trying to hurt you.
RACHEL
Really? Look inside yourself, Quinn. Down deep where we both know you keep your secrets... Look in there and ask yourself... is that really true?
QUINN HAS NO ANSWER FOR THAT. RACHEL NODS. SHE LOSES THE BATTLE AGAINST THE TEARS.
RACHEL (cont'd)
Well, then, I can tell you what this was.
(BEAT)
It was just... a memory. And a dream.
(BEAT)
And me... falling for it all over again.
RACHEL RUSHES OUT. QUINN DOESN'T TRY TO STOP HER.
CUT TO:
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ACT 4, SCENE 28
EXT. SHALOM MOTEL / LIMA, OHIO
RACHEL TEARS OFF DOWN THE HALLWAY. SHE'S SOBBING AS SHE GOES. SHE ALMOST SLIPS GOING DOWN THE STAIRWAY, AND HAS TO GRAB THE POLE SUPPORTING THE RAILING TO STEADY HERSELF. SHE DOESN'T LET GO, JUST PRESSES HER FACE AGAINST THE COOL METAL, TEARS STREAMING, AND SINGS...
RACHEL
You were all the things I thought I knew.
And I thought we could be...
You were everything, everything that I wanted.
We were meant to be, supposed to be, but we lost it.
All of the memories so close to me,
Just fade away.
All this time you were pretending,
So much for my happy ending!
RECOVERING HERSELF - AT WHAT LOOKS LIKE GREAT COST - RACHEL MAKES IT DOWN THE STAIRS AND RUSHES OUT INTO THE PARKING LOT. SHE CLIMBS INTO HER CAR, AND TEARS OFF. SHE HAS TO KEEP WIPING HER EYES SO SHE DOESN'T HIT ANYTHING AS SHE RIPS THROUGH THE STREETS OF DOWNTOWN LIMA.
RACHEL (cont'd)
It's nice to know that you were there.
Thanks for acting like you cared.
And making me feel like I was the only one.
It's nice to know we had it all.
Thanks for watching as I fall.
And letting me know when we were done!
CUT TO:
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ACT 4, SCENE 29
EXT. SYLVESTER RESIDENCE
FINN IS UNLOADING SOME BOXES FROM THE BACK OF THE VAN. HE HAS THE RADIO ON.
RADIO
It was everything, everything that I wanted.
We were meant to be, supposed to be, but we lost it.
All of the memories so close to me,
Just fade away.
All this time you were pretending,
So much for my happy ending!
OVER THE SONG, HE HEARS THE SQUEAL OF TYRES. HE FROWNS, PUTS DOWN THE BOX THAT HE'S HOLDING AND TURNS AROUND - IN TIME TO SEE A CAR COME CAREENING AROUND THE CORNER.
IT'S HEADLIGHTS ILLUMINATE HIS SURPRISED, TERRIFIED FACE AS IT SEEMS TO SHOOT TOWARDS HIM.
FINN
Hey!
RADIO
You were everything, everything that I wanted.
We were meant to be, supposed to be, but we lost it.
All of the memories so close to me, Just fade away.
All this time you were pretending, So much for my happy ending...
So much for my happy ending... So much for my happy ending...
FINN THROWS UP HIS HANDS - LIKE THAT'S GOING TO DO ANYTHING, AND AT THE LAST SECOND THE CAR SWERVES. WE HEAR THE SHRIEK OF THE BRAKES AS IT COMES TO A STOP INCHES FROM THE STREETLIGHT ACROSS THE ROAD.
FINN'S HYPERVENTILATING, BUT HE MANAGES TO SHRUG IT OFF, AND RUSH OVER TO THE DRIVER'S SIDE DOOR. HE WHIPS IT OPEN.
FINN
Rachel?
RACHEL DOESN'T RESPOND. SHE HAS HER HEAD RESTING AGAINST HER HANDS WHERE THEY'RE CLUTCHED ROUND THE STEERING WHEEL, SOBBING.
FINN (cont'd)
Hey... Hey, what's wrong?
RACHEL JUST SHAKES HER HEAD, NOT LOOKING AT HIM. FINN REACHES IN AND UNCLIPS HER SEATBELT. THEN HE SLOWLY PULLS HER OUT OF THE CAR AND FOLDS HER INTO HIS ARMS.
SHE CLUTCHES AT THE BACK OF HIS SHIRT, LEAKING TEARS INTO THE FABRIC ON HIS CHEST. HE JUST HOLDS HER.
FINN (cont'd)
It's alright... shh... it's okay.
RACHEL
Sorry.
SHE BACKS AWAY, TRYING TO PULL HERSELF TOGETHER.
FINN
What happened?
RACHEL WIPES HER EYES, DOESN'T ANSWER. INSTEAD, SHE LOOKS BACK AT THE HOUSE. THERE ARE NOW SEVERAL CARS PARKED IN THE DRIVEWAY AND ON THE STREET.
RACHEL
Everyone's here?
FINN
Pretty much.
(BEAT)
You wanna go inside?
RACHEL
No.
(SHAKES HER HEAD, FIRM)
No. Can we... can we just go somewhere else, please? Anywhere else?
FINN
Sure. Just let me-
RACHEL
Now. I need to go now.
FINN
Okay. But you're not driving.
RACHEL NODS. SHE WALKS ROUND TO THE PASSENGER SIDE AND CLIMBS IN. FINN GOES TO THE VAN AND TAKES THE KEYS OUT THE IGNITION, CUTTING OFF THE RADIO. BUT HE LEAVES IT OPEN AS HE JOGS BACK ACROSS THE STREET AND CLIMBS INTO THE CAR. HE GLANCES AT RACHEL, WHO HAS PULLED THE MASK BACK ON AND NOW STARES STOICALLY THROUGH THE WINDSHIELD.
FINN (cont'd)
You gonna be okay?
RACHEL
I have no idea.
FINN LOOKS LIKE HE WANTS TO SAY SOMETHING ELSE, BUT THEN HE NODS, BACKS UP, AND ROLLS ON DOWN THE STREET.
COMMERCIAL BREAK:
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