ACT 4, SCENE 24
INT. WILLIA MMCKINLEY HIGH, HALLWAY/ PARKING LOT
THE BELL RINGS AND ALL ALONG THE HALL DOORS BURST OPEN AND STUDENTS SPILL OUT, MAKING FOR THE EXIT. RACHEL AND FINN EMERGE. HE'S GOT HIS ARM AROUND HER, BUT RACHEL'S EYES ARE DOWNCAST - SHES IN A VERY PENSIVE MOOD.
FINN
What's the matter?
RACHEL
What?
FINN
You've been in a weird mood since Mr. Schu gave us those assignments.
RACHEL
You're imagining things.
FINN
Look, I know you and Quinn have a history, but I thought things were better lately. You know, that you've been getting along.
RACHEL
We have. I mean, we are...
FINN
Then what's the problem?
RACHEL HAS TO PLASTER ON A FAKE SMILE.
RACHEL
I'd just rather sing with you.
FINN BUYS IT, GIVES HER A KISS.
FINN
Tell you what, how about I take you out tonight? Somewhere that's not Breadstix.
RACHEL
Really?
FINN
Yeah, there's this Greasy Spoon down by the highway - they got the greatest bacon-cheese burgers with jalapeno poppers.
RACHEL
A Greasy Spoon?
BEFORE SHE CAN TELL HIM JUST HOW MUCH SHE THINKS THAT IDEA SUCKS, KURT BARRELS RIGHT IN-BETWEEN THEM.
KURT
Finn! I told you to meet me after school!
FINN
The bell went, like, twenty seconds ago.
KURT
Come on, we have no time to waste if we're gonna beat Mariah and Christina!
FINN
Who?
RACHEL
Mariah?
KURT
Rachel and Quinn!
FINN
Okay.
(TO RACHEL)
I'll see you tonight.
KURT
No, you won't.
FINN
I won't?
KURT
We'll be practicing all night. And tomorrow morning, and in-between class until Glee Club.
FINN
(AGAIN, TO RACHEL)
Wanna switch partners?
RACHEL
Oh, no.
KURT
Come on!
KURT GRABS FINN, LITERALLY, BY THE SCRUFF OF THE NECK AND HAULS HIM OUT THE FRONT DOORS. RACHEL PAUSES IN THE DOORWAY, WATCHING WITH A SMILE AS FINN TRIES TO FIGHT HIM OFF. THEN:
QUINN (O.S.)
So, when do you want to hook up?
SHE ALMOST JUMPS OUT HER SKIN WHEN QUINN SPEAKS BEHIND HER. TRYING TO GET HER BREATH BACK, RACHEL TURNS ROUND.
RACHEL
I'm sorry?
QUINN
To rehearse.
RACHEL
Well, looks like I'm free all day, and tonight, so...
QUINN
Okay. You want to come to my place?
RACHEL
Is your mom still out of town?
QUINN
Yes.
RACHEL
Then I think the auditorium is fine.
QUINN
How are we gonna get in after hours?
RACHEL
I have an... arrangement with the janitor.
QUINN
What kind of arrangement?
RACHEL
Let's just say it involves vocal lessons, a stepladder and a can of whipped cream and leave it at that, okay?
QUINN
O-kay...
RACHEL
So, I'll meet you there at-?
QUINN
It has to be tonight. Shelby's letting me spend the day with Beth.
RACHEL
Oh. Oh, okay. Tonight is fine.
QUINN
Good.
RACHEL
Good.
QUINN
So...
RACHEL
Yeah. Later.
RACHEL HURRIES OFF. QUINN WATCHES HER GO, HER EXPRESSION INSCRUTABLE. BUT JUST LIKE SHE INTERRUPTED RACHEL'S REVERIE, HERS IS INTERRUPTED BY:
SANTANA
Okay, slut, spill!
QUINN JUST GIVES HER A DIRTY LOOK, HUSTLES DOWN THE STAIRS, HEADING FOR THE PARKING LOT. SANTANA FOLLOWS.
SANTANA (cont'd)
You're not getting away that easily.
QUINN
You know, if you've got something to say, why don't you just come right out and say it? Stop with the side-of-your-mouth bitchy remarks, and don't pull a stunt like you did with Finn in the cafeteria.
SANTANA
Oh, you want me to lay it out there?
QUINN
Yes.
SANTANA
You really want that?
QUINN
Yes!
SHE STOPS, SWINGS ROUND TO FACE A STEELY SANTANA.
SANTANA
Fine.
(BEAT)
How long have you had feelings for Rachel?
QUINN REACTS LIKE SHE'S JUST BEEN SMACKED. SHE LOOKS AROUND, APPEARS TO REALISE FOR THE FIRST TIME THAT THEY'RE IN A CROWDED PARKING LOT, AND PEOPLE ARE STARTING TO STARE. SHE GRABS SANTANA'S HAND, DRAGS HER OVER TO A LITTLE PATCH OF GRASS HOLDING THE FLAGPOLE, DESERTED OF PEOPLE.
QUINN
Look, I know what last night must have looked like to you guys-
SANTANA
Oh no, I'm not gonna let you play this off as some kind of mistake, okay? Like it didn't really mean anything, and it was just the alcohol-
QUINN
It was!
SANTANA
Quinn, listen to me. If anybody knows what it's like to lie about who you really are, it's me.
QUINN
Santana...
SANTANA
Quinn, please...
QUINN STUDIES HER FRIEND'S FACE, AND NOTICES THAT, FOR ONCE, SANTANA IS VERY SERIOUS. AND VERY SINCERE.
SANTANA (cont'd)
I look back now, and I think... how could I have been such an idiot? Why was I fighting so hard to be miserable? Because that's exactly what I was doing.
(BEAT)
So many wonderful things are happening for you now. You're going to Yale, you're forming a relationship with your daughter...
QUINN
Yeah, what's your point?
SANTANA
My point is, if you get a chance to have everything you ever wanted - why won't you take it?
THE QUESTION STRIKES DEEP, AND TRUE, AND YOU CAN SEE IT ALL OVER QUINN'S FACE. SO CAN SANTANA.
SANTANA (cont'd)
So, when did it happen...?
QUINN
I...
SANTANA WAITS, BUT QUINN SHAKES HER HEAD, BACKS AWAY, TRYING TO PUT PHYSICAL DISTANCE BETWEEN THEM.
QUINN (cont'd)
It's all in your head.
SANTANA
Quinn, wait!
QUINN
I have to go!
QUINN ACTUALLY FLEES. SANTANA SIGHS.
CUT TO:
.
.
ACT 4, SCENE 25
EXT. HUMMEL RESIDENCE / GARAGE
BURT'S POKING AROUND UNDER THE HOOD OF HIS TRUCK. THERE'S A KNOCK ON THE OPEN GARAGE DOOR AND HE JUMPS, BUMPING HIS HEAD ON THE HOOD.
BLAINE
Oh, God! Mr. Hummel, I'm so sorry!
BURT
Blaine!
BLAINE BLANCHES.
BLAINE
Yes... sir?
BURT
How many times have I told you...?
(BEAT)
Call me Burt.
BLAINE
Oh.
(RELIEVED, SMILES)
Oh.
BURT
You looking for Kurt?
BLAINE
Yes. Is he here?
BURT
He-
SUDDENLY, THERE'S A LOUD BANG FROM INSIDE THE HOUSE.
BLAINE
What-?
FINN (OFF)
NO! I'M NOT DOING THAT!
KURT (OFF)
DO YOU WANT TO WIN THIS THING OR NOT?
BLAINE
I take it rehearsals aren't going well.
KURT (OFF)
JUST TRY IT ON!
FINN (OFF)
I'LL WEAR A TUTU BEFORE I PUT THAT THING
ON!
BURT
What gave you that idea?
BLAINE CHUCKLES, HEADS THROUGH THE CONNECTING DOOR TO THE HOUSE. HE PASSES THROUGH THE KITCHEN, IS ABOUT TO CLIMB THE STEPS WHEN THERE'S ANOTHER BANG.
FINN (OFF)
Get that thing away from me!
BLAINE HURRIES UP THE STAIRS AND DOWN THE HALL TO FINN'S BEDROOM, CALLING:
BLAINE
Kurt! Kurt, what are you doing to him?
HE COMES THROUGH THE DOORWAY, TO FIND FINN ON TOP OF THE BED, CROUCHING IN THE FAR CORNER. AND KURT STANDING OVER HIM, HOLDING:
BLAINE (cont'd)
A waistcoat?
FINN
Blaine! Thank God you're here! Get him to back off!
BLAINE
Finn, what is so bad about a waistcoat?
FINN
HAVE YOU SEEN WHAT'S ON IT?
KURT
You mean the clowns?
SURE ENOUGH, THE WAISTCOAT HAS LOTS OF LITTLE PICTURES OF CLOWNS.
BLAINE
Finn, do you have coulrophobia?
FINN
No, I'm just scared of clowns!
KURT
Really?
KURT GIGGLES, WAVES THE WAISTCOAT AT FINN, WHO SCREAMS AND TRIES TO SCRATCH HIS WAY UP THE WALL.
BLAINE
Kurt! That's mean!
KURT
Sorry. Couldn't resist.
(CHUCKS WAISTCOAT UNDER THE BED)
There, it's gone.
FINN SLOWLY OPENS HIS EYES.
FINN
You sure?
BLAINE
Yes, the big bad clowns are gone.
KURT
You mean the tiny happy clowns?
BLAINE
Stop it.
FINN MANAGES TO GET TO HIS FEET.
FINN
Thanks.
KURT
I don't get it. You're the size of a truck. You play football. That means you play a game where 300 pound behemoths hit you in the head for fun. How can you be scared of clowns?
FINN
Because!
KURT
Wow, great argument. Very erudite.
FINN
(A LITTLE MANIC)
You can't tell what they're thinking, alright? You just- you just can't! They got those- those freaky painted smiles! How do you know they're smiling under there? How? Tell me, Kurt! How?
KURT
Okay, okay... calm down. Sorry I asked.
BLAINE
Have you two even started rehearsing?
KURT
Not yet. Before the waistcoat... incident... there was a disagreement about the song and the choreography and the-
BLAINE
You guys know you're brothers, right?
FINN
Wait, aren't you supposed to be rehearsing right now?
BLAINE
We're done.
KURT
Already?
BLAINE
Mercedes and I picked a song from Dreamgirls.
KURT
So you both already know the words and choreography off by heart.
BLAINE
Smart, right?
KURT
Then, can you help us? Please?
FINN
We really need it, or we're not gonna make it to class tomorrow, nevermind have a chance to win.
BLAINE
You want me to direct?
FINN & KURT
Yes!
BLAINE
I'd love to.
HE'S CHUFFED.
CUT TO:
.
.
ACT 4, SCENE 26
INT. WILLIAM MCKINLEY HIGH, AUDITORIUM
NIGHT HAS FALLEN ON MCKINLEY HIGH. THE AUDITORIUM IS DARK. THE DOOR OPENS IN BACK AND QUINN ENTERS WITH A MAN IN A JANITOR'S UNIFORM.
QUINN
Thanks.
(BEAT)
Rachel will settle with you.
THE JANITOR GIVES A LASCIVIOUS GRIN.
JANITOR
I'll switch on some lights for you.
HE EXITS OUT THE BACK. QUINN WALKS DOWN THE DARKENED AISLE, AND AS SHE REACHES THE STAGE, THE LIGHTS COME UP. NOT THE HOUSE LIGHTS, BUT RATHER THE FOOTLIGHTS IN FRONT OF THE STAGE.
QUINN SCOOTS UP ONTO THE STAGE, SO SHE'S SITTING WITH HER LEGS HANGING OFF THE EDGE. SHE TAKES OUT HER CELLPHONE, SEES THERE'S A VOICEMAIL WAITING. SHE CHECKS IT:
RACHEL (V.O.)
Hey, Quinn, it's me. Uh, Rachel. It's Rachel.
(BEAT)
I just wanted to let you know I'll be about fifteen minutes late. I have to run an errand for my dads. Honestly, you'd think two grown men would be able to pluck up enough courage to be seen at a make-up counter buying tweezers, but nooo...
(BEAT) Anyway, I'll try to be as quick as possible, and uh... I'll see you there.
QUINN PUTS THE PHONE AWAY, SIGHS, LEANS BACK. SHE STARTS DRUMMING HER FINGERS AGAINST THE WOOD, HUMMING A BIT TO
HERSELF. SHE LOOKS AROUND, SPOTS THE PIANO STAGE RIGHT. SHE FROWNS, APPEARS TO COME TO A DECISION. SHE GETS UP, GOES OVER TO THE PIANO, SITS DOWN HESITANTLY. SHE LIFTS HER HANDS TO THE KEYS, PLAYS A SINGLE NOTE. IT WAFTS IN THE AIR... THEN DIES.
SHE'S STARING AT THE KEYS LIKE THEY HOLD SOME ANSWERS, FEARFUL FOR SOME REASON. THEN SHE TRIES AGAIN. THIS TIME, SHE STARTS PLAYING... AND SINGING.
QUINN
Have you ever fed a lover with just your hands?
Closed your eyes and trusted... just trusted?
Have you ever thrown a fistful of glitter in the air?
Have you ever looked fear in the face and said, 'I just don't care'?
SHE'S STRUGGLING TO HOLD HER COMPOSURE, AS HER TREMBLING VOICE LENDS WROUGHT EMOTION TO THE SONG. IT'S A SONG FULL OF QUESTIONS. QUESTIONS SHE APPEARS TO BE ASKING HERSELF.
BUT SHE APPEARS TO DRAW SOME STRENGTH FROM... SOMEWHERE. SHE SQUARES HER SHOULDERS AND LAUNCHES INTO THE CHORUS.
QUINN (cont'd)
It's only half-past the point of no return.
The tip of the iceberg, the sun before the burn.
The thunder before the lightning, and the breath before the phrase.
Have you ever felt this way?
SHE'S GETTING LOST IN THE MUSIC NOW. CARRIED AWAY BY THE NOTES AND THE THOUGHTS AND FEELINGS THEY'RE STIRRING INSIDE.
WE CIRCLE HER SLOWLY AS SHE PLAYS, IN THE CENTRE OF THE LIGHTS. BUT THEN WE PUSH OUT INTO THE DARKNESS. UP THE AISLE. TO THE DOORS, WHERE RACHEL HAS ENTERED, UNNOTICED. SHE STANDS THERE, JUST WATCHING QUINN PLAY...
QUINN (cont'd)
Have you ever hated yourself for staring at the phone?
Your whole life waiting on the ring to prove... you're not alone...
RACHEL REACTS TO THIS - A CURIOSITY AND A PAIN BORN IN HER EYES. SHE STARTS UNCONSCIOUSLY COMING CLOSER.
QUINN (cont'd)
Have you ever been touched so gently you had to cry...?
QUINN LOOKS ON THE VERGE OF TEARS OR LAUGHTER OR BOTH.
QUINN (cont'd)
Have you ever invited a stranger to come inside?
RACHEL IS ALMOST UP TO THE LIGHTS NOW, BUT STILL QUINN DOESN'T NOTICE HER.
QUINN (cont'd)
It's only half-past the point of oblivion.
The hourglass on the table, the walk before the run.
The breath before the kiss, and the fear before the flames.
Have you ever felt this way?
RACHEL STOPS JUST OUTSIDE THE CIRCLE OF LIGHT, UNWILLING TO BREAK THE SPELL.
QUINN (cont'd)
There you are sitting in the garden, clutching my coffee...
Calling me sugar...
(SHE'S BELTING IT NOW)
You called me sugar...!
HALFWAY THROUGH THE LAST NOTE, SHE FINALLY SPOTS RACHEL AND BREAKS OFF. RACHEL IMMEDIATELY RUSHES FORWARD.
RACHEL
No! Please, don't stop.
(WHEN QUINN JUST STARES AT HER, CAUGHT OUT)
Quinn, please...
QUINN STARTS PLAYING AGAIN. STARTS SINGING AGAIN. RACHEL LEANS ON THE STAGE, RESTS HER CHIN ON HER CROSSED ARMS, AND GETS LOST IN IT.
QUINN
Have you ever wished for an endless night?
Lasso the moon and the stars and pull that rope tight.
Have you ever held your breath, and asked yourself,
Will it ever get better than tonight?
Tonight...
HER VOICE TRAILS AWAY, CARRIED OFF INTO THE DARKNESS.
CUT TO:
.
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ACT 4, SCENE 27
EXT. HUMMEL RESIDENCE
FINN, KURT AND BLAINE HAVE MOVED OUT INTO THE BACKYARD TO PRACTICE THEIR DANCE ROUTINE. THE MORE SPACE THEY GIVE FINN'S EXTRA-LONG ARMS, THE BETTER.
BLAINE
And... step, step, turn... step, step, plant the foot, back, and... jazz hands!
KURT AND FINN FOLLOW HIS CHOREOGRAPHY, AND FINISH LIKE THE WORLD'S WORST IDEA OF THE ODD COUPLE. BUT:
BLAINE (cont'd)
That's it! We're done!
FINN
Hey, thanks Blaine. We appreciate it.
KURT
My boyfriend does have a monopoly on wonderful.
KURT GIVES HIM A HUG. FINN TRAMPS UP THE PORCH STEPS AND COLLAPSES ON THE PORCH- SWING. BLAINE AND KURT PERCH ON THE RAILING, WITH THEIR ARMS AROUND EACH OTHER.
FINN
So... think we have a chance tomorrow?
BLAINE
Truth?
KURT
Truth.
BLAINE
Not a chance in hell, no.
FINN
(SIGHS)
You're probably right.
EVEN KURT LAUGHS AT THIS.
KURT
Ah, well...
FINN
Hey, can I ask you guys something?
KURT
Sure.
FINN
Did you guys see that video everyone was talking about at school? That weird kid's blog?
BLAINE AND KURT SHARE A WARY LOOK.
BLAINE
Uh, yeah, it's- uh...
KURT
His usual non-sensical raving.
FINN
(TAKES OUT HIS PHONE)
Can you show it to me? I got this new phone, and it's a touch-screen, and I swear they are not made for people with hands as big as mine. I keep hitting the wrong - are they still called buttons?
KURT
Why would you even wanna watch it?
BLAINE
Yeah, it's really nothing.
FINN
I just wanna see for myself.
KURT
Trust me, it's a waste of time.
FINN
Okay, now you're acting like Rachel.
KURT
What?
FINN
Insisting that it's nothing, but the whole school's talking about it.
(BEAT)
I know I'm not the smartest guy in most rooms, but I got eyes. I got ears. I know when stuff's going on.
KURT
Finn-
FINN
What happened last night?
KURT IS SUDDENLY STRUCK DUMB. HE LOOKS A LITTLE DESPERATE.
FINN (cont'd)
Kurt...
KURT
I really think you should talk to Rachel about that.
FINN Why?
(BEAT)
Okay, now I'm freaking out. Did something happen?
KURT
Please, just talk to Rachel, okay? Please.
BLAINE
Sounds like something did happen.
KURT
(ROUNDS ON HIM)
Are you starting too?
BLAINE
I'm just saying-
FINN
Kurt, if there's something I should know-
KURT
Look, honestly... I think it's a big deal being made out of nothing. But it really isn't my place to tell. Please, Rachel's my friend. Don't make me betray her trust.
FINN
Okay.
(BEAT)
Okay, I'm sorry.
KURT
Thank you.
FINN NODS, STANDS.
BLAINE
Are you gonna call her?
FINN
No. She's still at the school with Quinn. Rehearsing.
FINN HEADS INSIDE. KURT HEAVES OUT A BREATH, PLANTING HIS HANDS ON HIS KNEES.
BLAINE
What is it?
KURT
I don't know. I just... I have this feeling that... that I can't shake.
BLAINE
A feeling about what?
KURT
That everything's about to change.
CUT TO:
.
.
ACT 4, SCENE 28
INT. WILLIAM MCKINLEY HIGH, AUDITORIUM
IT'S OBVIOUS SOME TIME HAS PASSED. SHEETS AND SHEETS OF MUSIC ARE SCATTERED ON THE FLOOR. RACHEL AND QUINN BOTH LOOK EXHAUSTED.
QUINN
I feel like we've sung every song ever written.
RACHEL
Well, we just have to keep looking. We can't show up tomorrow without a song.
QUINN
Why not? Rachel, it's okay to not be perfect for once.
RACHEL
The day I let myself believe that, is the day I stop trying.
(BEAT)
And I will never stop trying.
QUINN LAUGHS.
RACHEL (cont'd)
What? What's so funny?
QUINN
No, I'm sorry. You just...
(BEAT)
I don't know how you do that. No matter what's happening to you, you always keep going. You're relentless.
RACHEL
Like a bulldozer?
QUINN
Sometimes.
(BEAT)
But maybe that's not a bad thing.
RACHEL
Well, you're in a majority of one with that opinion.
QUINN
Do you remember last year? Just before Regionals we were here on this stage - and we were supposed to be working on a song?
RACHEL
I remember.
(BEAT)
You told me Finn and I wouldn't end up together.
QUINN
And look where we are just a year later.
RACHEL
Quinn, I'm really sorry that-
QUINN
(WAVES THIS AWAY)
Please, we're not going to dig that up again. It's in the past.
(BEAT)
I'm just trying to point out that when you want something, you go get it. And I think that's amazing.
RACHEL
Thank you.
QUINN
Are you happy?
THE QUESTION'S SO SUDDEN, RACHEL'S TAKEN ABACK FOR A MOMENT.
RACHEL
What?
QUINN
Are you happy? The wedding's getting closer. You're leaving for New York in a few months. I just-
(BEAT)
I know what it's like being in a position where your life can look perfect to people on the outside, but, in reality...
RACHEL DOESN'T ANSWER. SHE DOESN'T MEET QUINN'S EYE, EITHER, SUDDENLY TAKING GREAT INTEREST IN THE GRAIN OF THE WOOD MAKING UP THE STAGE.
QUINN (cont'd)
I'm sorry. I made you uncomfortable.
RACHEL
No, no it's okay. I just...
(BEAT)
How do I answer that?
QUINN
Honestly. If you can.
RACHEL
(NODS)
Yes, and no.
(BEAT)
When I think about the wedding, I feel like it's... an accomplishment. I know people think my ambition eclipses any good qualities that I might have, but when I think about everything that Finn and I have been through, I...
(BEAT)
It's hard not to feel proud that we made it this far.
QUINN
Fair enough.
RACHEL
And you? Are you happy?
QUINN
Why don't we find a song, shall we?
RACHEL
Quinn...
QUINN
Please, Rachel, can we just find a song?
RACHEL STARES AT HER FOR A LONG BEAT. THEN SHE NODS.
RACHEL
Okay, last ditch effort... I downloaded some instrumentals of popular songs... maybe something will click if we listen to it.
QUINN
Sounds good.
RACHEL GETS UP, HEADS OVER TO THE SMALL SOUND STAGE IN THE WINGS. SHE PLUGS IN HER IPOD, AND HITS PLAY.
MUSIC STARTS.
SHE HITS STOP. QUINN LOOKS UP AT HER. RACHEL DOESN'T TURN AROUND, BUT SPEAKS WITH HER BACK TURNED.
RACHEL
You're not happy.
QUINN
What?
RACHEL
You're not happy.
LONG SILENCE.
QUINN
How would you know?
ONLY NOW DOES RACHEL TURN AROUND.
RACHEL
Because we've both been running a race that wasn't a race to begin with. And it's only now that we're coming to the end that we're starting to realise that.
(BEAT)
I mean, look at me. You ask me if I'm happy, and I describe my wedding to Finn as if I won something! What did I win?
QUINN NODS, TAKING THIS IN.
QUINN
You're right. I'm not happy. God, it feels like the past three years have been one screw-up after another, and it has nothing to do with pregnancies, and break-ups and dying my freakin' hair, it's...
(BEAT)
It's the fact that I've been trying to fit into this idea of who I should be. Who I want me to be. Instead of-
RACHEL
-just being who you are.
QUINN
Right.
AGAIN WITH THE HEAVY SILENCE. THIS TIME, IT'S TOO MUCH, AND RACHEL TURNS BACK TO THE SOUND STATION AND HITS PLAY.
AS THE INTRO PLAYS, RACHEL COMES TO SIT BESIDE QUINN. THEY'RE CLOSE, BUT NOT TOUCHING. THEY JUST STAY THERE - IN THE SPOTLIGHT BOTH WERE BORN TO BE IN, AND THEY JUST SING...
RACHEL
The best thing about tonight's that we're not fighting.
Could it be that we have been this way before?
QUINN
I know you don't think that I am trying.
I know you're wearing thin down to the core.
RACHEL
But hold your breath...
QUINN
Because tonight will be the night that I will fall for you...
Over again, don't make me change my mind.
I won't live to see another day, I swear it's true.
Because a girl like you is impossible to find.
You're impossible to find.
NO DRAMATICS THIS TIME. NO CHOREOGRAPHY. IT'S ALL IN THEIR EYES AND THE MUSIC.
RACHEL
This is not what I intended.
I always swore to you I'd never fall apart.
QUINN
You always thought that I was stronger,
I may have failed, but I have loved you from the start.
Oh, but hold your breath.
RACHEL
Because tonight will be the night that I will fall for you...
Over again, don't make me change my mind.
I won't live to see another day, I swear it's true.
Because a girl like you is impossible to find.
You're impossible to find.
QUINN
Am I imagining this?
RACHEL
What?
THE MUSIC KEEPS PLAYING, BUT THEY'RE NOT LISTENING ANYMORE.
QUINN
You know what I'm talking about.
RACHEL
I have to go.
SHE SURGES TO HER FEET, ALMOST LEAPS OFF THE STAGE.
QUINN
Rachel!
RACHEL
I'm sorry! I-
SHE'S ALREADY HALFWAY UP THE AISLE. QUINN MAKES TO STAND, BUT THEN CHANGES HER MIND. AND JUST LETS HER GO.
FOURTH COMMERCIAL BREAK
.
.