ACT 5, SCENE 30
INT. SYLVESTER RESIDENCE, STUDIO
MOST OF THE GROUP HAVE GATHERED. THEY'RE ON THE CHAIRS, NOW ARRANGED IN ROWS, WATCHING TINA, BEING BACKED UP BY RORY ON DRUMS, AND SAM AND BLAINE ON GUITAR AND KEYBOARDS.
TINA
Mother's on the stoop, boys in souped-up coops,
On this hot summer night.
Between fight and flight, is the blind man's sight,
And the choice that's right.
THE GANG ARE GRINNING, INTO THE SONG, BOBBING THEIR HEADS.
CUT TO:
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ACT 5, SCENE 31
EXT. LIMA, OHIO
FINN AND RACHEL ARE DRIVING ALONG.
TINA (V.O.)
I roll the window down,
Feels like I... I'm gonna drown,
In this strange town.
I feel broken down...
I feel broken down.
WITHOUT SAYING A WORD, FINN REACHES ACROSS THE SEAT, AND TAKES HER HAND. RACHEL'S STARTLED FOR A SECOND, BUT THEN SHE GIVES HIS HAND A SQUEEZE, AND CARRIES ON LOOKING OUT THE WINDOW.
TINA (V.O.) (cont'd)
Do you need me?
Like I need you?
CUT TO:
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ACT 5, SCENE 32
INT. SYLVESTER RESIDENCE, STUDIO
TINA
Or am I standing still?
Beneath the darkening sky.
Or am I standing still?
With the scenery flying by.
Or am I standing still?
Out of the corner of my eye,
Was that you passing me by?
Passing me by...
AS THE SONG COMES TO AN END, THE DOOR OPENS AND QUINN ENTERS. MOST TURN TO WATCH HER COMING IN. TINA FINISHES AND THEY APPLAUD.
SANTANA
Great! You know Tina, that would be perfect if we were performing the ribbon-cutting ceremony at a Wendy's.
TINA STICKS HER TONGUE OUT AT SANTANA AND GOES TO TAKE HER SEAT. QUINN APPROACHES THE CHAIRS. PUCK SCOOTS OVER, MAKING ROOM FOR HER BESIDE HIM. SHE HESITATES FOR A SECOND, BEFORE SITTING DOWN.
QUINN
What's going on?
PUCK
Still choosing the set-list.
MIKE
Where's Finn?
QUINN
I don't know. I thought he was here.
SUGAR
He went out to the van a while ago.
QUINN
I didn't see him when I came in.
ARTIE
Sue probably called him. She and Mr. Schu are setting up the school gym for tomorrow night. Maybe they needed him.
SANTANA
(STANDS)
Okay, since Quinn's a fresh pair of ears in here...
SUDDENLY THE WHOLE GROUP IS UP IN ARMS:
GROUP
No! No! Sit down! No!
SANTANA
(TRYING TO TALK OVER THEM)
She can... decide... if... it...
QUINN
What is it?
SANTANA
These rioting plebians over here don't want me to sing-
SAM
Fernando! She wants to sing Fernando!
TINA
Rioting plebians?
QUINN
Abba?
SANTANA
Yes, Abba! It's a great song!
KURT
It's a terrible song!
SANTANA
Oh, shut it, Dorothy!
(BEAT)
Quinn, back me up here!
QUINN
Well, what other choices do we have?
SANTANA
Hussy! You're gonna take their side?
QUINN
I hate Abba.
SANTANA
No wonder you never cut it as a lesbian.
KURT
Abba's too gay even for me.
BLAINE
I second that.
BRITTANY
And I second his second.
RORY
You third.
BRITTANY
I, what?
SANTANA
Brit!
BRITTANY
I'm sorry, honey. But when you're wrong, you're wrong.
SANTANA
Fine!
SANTANA FOLDS HER ARMS AND SITS DOWN IN A HUFF. PUCK LEANS OVER TO QUINN, KEEPING HIS VOICE DOWN SO ONLY SHE CAN HEAR.
PUCK
Where were you?
QUINN
I-
(BEAT)
I took a nap. Overslept.
PUCK STARES AT HER, DISBELIEVING.
QUINN (cont'd)
What? Why are you looking at me like that?
PUCK
Do you need to... like, figure some stuff out, or something?
QUINN
Stuff like what?
PUCK
Quinn, I'm just asking.
QUINN
No.
PUCK
Good, coz... we're together, right?
QUINN
Puck...
KURT
Puck!
IT TAKES A SECOND FOR HIM TO REACT.
KURT (cont'd)
Puck!
PUCK
What?
KURT
You said you had a song?
PUCK
Yeah.
BRITTANY
Come on, Mr. Rockstar! Show us what you got!
ONE LAST, HARD LOOK AT QUINN, THEN PUCK STANDS.
PUCK
Guys?
ARTIE GRABS A GUITAR, AS DOES PUCK AND SAM JUMPS BEHIND THE DRUMS.
PUCK(cont'd)
The strands in your eyes,
That color them wonderful,
Stop me, and steal my breath.
And emeralds from mountains,
Thrust towards the sky.
Never revealing their depth.
HE IS LOOKING ROCK STAR - EYES ON QUINN, STRUMMING THE PAIN IN THAT GUITAR.
PUCK (cont'd)
And tell me, that we belong together.
Dress it up with the trappings of love.
I'll be captivated,
I'll hang from your lips.
Instead of the gallows of heartache,
That hang from above.
QUINN SQUIRMS UNDER THE WEIGHT OF HIS GAZE. SANTANA AND BRITTANY GLANCE AT HER, BUT SHE WON'T RETURN THEM. PUCK, MEANWHILE, HAS SOMETHING TO SING:
PUCK (cont'd)
I'll be... your crying shoulder.
I'll be love's suicide.
And I'll be better when I'm older.
I'll be the greatest fan of your life.
THE MESSAGE IN HIS SONG IS TUGGING AT MORE EMOTIONAL STRINGS THAN HE EVEN REALISES. QUINN'S EXPRESSION IS HARD AS GRANITE AS SHE FIGHTS TO KEEP IT ALL INSIDE.
AS HE LAUNCHES INTO THE SECOND VERSE, WE:
FADE TO:
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FLASHBACK
INT. HOSPITAL
PUCK AND QUINN STAND AT THE VIEWING WINDOW IN THE MATERNITY WARD, LOOKING DOWN ON LITTLE BETH AS SHE GENTLY SLEEPS.
PUCK
She looks like you.
(BEAT)
Do you wanna keep her?
QUINN
No.
(BEAT)
Do you?
PUCK DOESN'T ANSWER, JUST LEANS HIS HEAD AGAINST THE WINDOW, REGRET IN HIS EYES.
QUINN (cont'd)
Did you love me?
PUCK
Yes.
(BEAT)
Especially now.
PUCK (V.O.) (cont'd)
And rain falls,
Angry on the tin roof,
As we lie awake in my bed.
And you're my survival,
You're my living proof,
My love is alive and not dead.
FADE TO:
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ACT 5, SCENE 33
EXT. FIELDS LEADING TO WATERTOWER
CAMERA TRAVELS FAST, AND LOW OVER THE OHIO CORNFIELDS - NOW SILVER STALKS IN THE PALE MOONLIGHT. LIKE SOMEONE FLYING OVER THEM, CLOSE ENOUGH TO REACH DOWN AND BRUSH THEIR FINGERS OVER THE TIPS.
PUCK (V.O.)
And tell me, that we belong together.
Dress it up with the trappings of love.
I'll be captivated,
I'll hang from your lips.
Instead of the gallows of heartache,
That hang from above.
FADE TO:
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FLASHBACK
INT. WILLIAM MCKINLEY HIGH, AUDITORIUM
FINN HAS PLACED RACHEL ON A STOOL, WITH THE PROMISE TO BE QUIET AS HE TRIES TO GET THROUGH THIS:
FINN
Let's face it, I got High School Hero - Life Zero written all over me. Except for one thing...
(BEAT)
You.
SHE STARES AT HIM, UNABLE TO COMPREHEND THE PLACE OF PAIN AND PURE LOVE THIS IS ALL COMING FROM.
FINN (cont'd)
You're like a... a beacon of light, guiding me through the darkness. You're like this... this big gold star, and for some bizarre reason, you chose to let me love you.
FINALLY, RACHEL SMILES A SOFT SMILE.
FINN (cont'd)
And I feel like if I can just convince you to let me keep doing that... I'm gonna be okay.
(BEAT)
Everything's gonna be okay.
NERVOUS NOW, HE FUMBLES FOR SOMETHING IN HIS POCKET.
FINN (cont'd)
Uh... I opened up my first credit card to get this.
(HE PULLS OUT A RING BOX)
I know it's not a... a swimming pool full of dancers, or a... or a tux, or... it's not very big...
(BEAT)
But it's a promise. A promise to keep loving you for the rest of my life.
HE DROPS TO ONE KNEE. SHE LOOKS SHOCKED.
FINN (cont'd)
All you've got to do is say 'Yes'.
HE OPENS IT UP.
FINN (cont'd)
Rachel Berry... will you marry me?
PUCK (V.O.)
I've dropped out, I burned up,
I've fought my way back from the dead.
I've tuned in, I turned on,
Remembered the things that you said.
FADE TO:
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ACT 5, SCENE 34
EXT. WATERTOWER
WE PASS OVER THE CORNFIELD, INTO AN OPEN PATCH OF GROUND. WE SEE RACHEL'S CAR PARKED BESIDE THESE LARGE METAL STRUTS EMBEDDED IN THE GROUND. WE PASS STRAIGHT OVER THE CAR, THEN TILT SHARPLY UPWARDS, AND FOLLOW THE STRUTS HIGHER AND HIGHER, UNTIL WE COME TO A PLATFORM AROUND THE TOWN WATERTOWER. IT'S A HUGE THING, EMBLAZONED WITH THE WORDS: "LIMA, OHIO. HOME OF THE TITANS!" EXCEPT SOME WISE-ASS - PROBABLY PUCK - HAS SPRAY PAINTED OVER THE 'A' AND 'N', SO IT ACTUALLY READS: "LIMA, OHIO. HOME OF THE TITANS!"
PUCK (V.O.)
And I'll be... your crying shoulder.
I'll be love's suicide.
And I'll be better when I'm older.
I'll be the greatest fan of your life.
RACHEL AND FINN ARE SITTING WITH THEIR CHESTS AGAINST THE LOWEST BAR OF THE SAFETY RAIL, ARMS FLUNG OVER IT, FEET DANGLING OVER THE OPEN SPACE AHEAD.
PUCK (V.O.) (cont'd)
The greatest fan of your life...
ALMOST UNCONSCIOUSLY, RACHEL REACHES FOR HIS HAND AGAIN. LIKE THE HIGH SCHOOL SWEETHEARTS THEY ONCE WERE...
RACHEL
It was ridiculous. There we were - New Year's Eve - and instead of joining the millions of revellers out on the streets, Kurt and I are doing this... godawful off-off-off-
FINN
Off-off-off-
RACHEL
Off-Broadway disaster of a play called Hijack His Heart.
(BEAT)
It was terrible. Or... no, terrible isn't the word. It was-
FINN
Sucktastic!
RACHEL
Yes!
(BEAT)
When we auditioned, the director immediately got this idea in his head to cast Kurt in the female lead, and me in the male part. Have you ever heard a worse idea?
FINN
Can't think of one off the top of my head. And I was here the day Puck jumped off this thing with an umbrella.
RACHEL
But, of course, we were professionals. Sort of. We spoke those awful lines, and wore the awful costumes...
(BEAT)
Except that New Year's. It was the finale of the second act. And Kurt's telling me he's leaving me for another man. And I'm supposed to be all emotional, but my line is...
FINN
"Please, baby, you'll always be a junkie for this junk."
RACHEL'S TAKEN ABACK.
RACHEL
What?
FINN
That was the line, wasn't it?
RACHEL
Yeah, but... how did you know that?
FINN DOESN'T ANSWER. RACHEL'S EYES WIDEN.
RACHEL (cont'd)
You saw it.
STILL FINN DOESN'T SAY ANYTHING.
RACHEL(cont'd) I... I can't believe you were there.
FINN
(SHRUGS)
I've seen everything you've ever been in.
RACHEL
What?
(BEAT)
Are you serious?
FINN
What do you think?
RACHEL
Why did you never say anything? Why didn't you come backstage, or-
FINN
I didn't think you'd want me to.
RACHEL
Finn, that's crazy! There has never been a day - never - when I didn't want to see you.
FINN
Thanks, but... I guess that's not the point.
RACHEL
It isn't?
FINN
I just wanted to see you. That was enough for me.
HE'S ONE OF THE FEW PEOPLE WHO CAN LEAVE RACHEL SPEECHLESS, AND SHE'S SPEECHLESS NOW.
PUCK (V.O.)
The greatest fan of your life...
THEY WATCH THE MOONLIGHT ON THE SWAYING HEADS OF CORN FOR A WHILE.
RACHEL
It's so beautiful here.
FINN
It's peaceful.
RACHEL
Yeah.
FINN
And sometimes...
HE TRAILS OFF, SWALLOWS, SUDDENLY EMBARRASSED. RACHEL GLANCES AT HIM.
RACHEL
What?
FINN
Nothing. It's stupid.
RACHEL
No. Tell me.
FINN
Rachel...
RACHEL
Why won't you tell me.
FINN
It's just-
(BEAT)
I started coming up here a few years ago. When I felt lonely.
RACHEL
When you felt lonely you came to the one place in town no one can find you?
FINN
(IGNORING THE SARCASM)
Yeah.
RACHEL
Why?
FINN
Coz on nights like this I could sit here... looking out past the fields and I could almost imagine that...
AGAIN, HE TRAILS OFF, EVEN MORE EMBARRASSED. SHE GIVES HIS HAND AN ENCOURAGING SQUEEZE.
FINN (cont'd)
I could imagine that I could see all the way to New York.
RACHEL'S BREATHLESS AGAIN. FINN'S EYES ARE TRAPPED BY THE HORIZON, LIKE HE'S TRYING TO FIND THE MANHATTAN SKYLINE IN THE DISTANCE.
RACHEL
I always thought...
FINN
What?
RACHEL
Well, I just always assumed that, when I left...
(BEAT)
You know, after Quinn, and what you did for us, that...
FINN
I'd just get over you?
(WHEN SHE NODS)
I thought you knew me better than that.
SHE THROWS HIM A SHARP GLANCE, BUT HE'S RESOLUTE IN HIS DETERMINATION NOT TO LOOK AT HER.
RACHEL
Finn...
FINN
What happened tonight? Why the sudden desire to pull an Ayrton Senna with your car?
RACHEL
Ayrton who?
HE DOESN'T BOTHER EXPLAINING, JUST WAITS HER OUT. RACHEL SIGHS, AND RELENTS.
RACHEL (cont'd)
Same old, same old...
(BEAT)
Got my heart broken again.
SILENCE. AN INFINITY OF SILENCE.
RACHEL (cont'd)
Do you ever wonder if it's worth it?
FINN
What?
RACHEL
What we do to each other. The make- ups, the break-ups, the tears...?
FINN
No. I don't wonder.
RACHEL
You don't?
FINN
(SHAKES HIS HEAD)
I know it is.
RACHEL CHUCKLES.
RACHEL
What is with you tonight?
FINN
That's easier to explain.
RACHEL
Really?
FINN
I'm sitting here with you. Never thought I'd be able to do that again.
THE MOMENT IS HEAVY. WHEN FINN FINALLY LOOKS AT HER, IT'S LIKE SHE'S DRAWN INTO HIS ORBIT. THE PULL OF HIS EYES. SHE LEANS IN... AND...
THEY HEAR THE SOUND OF A CAR CUTTING ACROSS THE FIELD. THEY BREAK AWAY FROM EACH OTHER, GLANCING UP AT A PAIR OF HEADLIGHTS BOUNCING THROUGH THE DARKNESS. A SMALL CONVERTIBLE PULLS UP RIGHT NEXT TO RACHEL'S CAR. IN FRONT ARE A COUPLE OF TEENAGERS. A BOY AND A GIRL. DESPITE THE PRESENCE OF THE CAR, THEY DON'T EVEN BOTHER LOOKING UP. THEY JUST UNCLIP THEIR SAFETY BELTS AND JUMP EACH OTHER. THE SOUNDS OF HEAVY MAKING OUT DRIFTS UP TO FINN AND RACHEL. RACHEL LAUGHS, CLAPPING HER HANDS OVER HER MOUTH.
RACHEL
Oh, my God!
FINN
Whoah... easy boy.
RACHEL
Were we ever that young?
FINN
Once upon a time.
THEY WATCH THE COUPLE FOR A FEW SECONDS, THEN RACHEL STANDS.
FINN (cont'd)
Where are we going?
RACHEL
Come on...
(LAST GLANCE AT THE YOUNG LOVERS)
Let's leave them to their youth.
SHE OFFERS HIM HER HAND. HE TAKES IT.
CUT TO:
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