ACT 5, SCENE 29
EXT. WILLIAM MCKINLEY HIGH, PARKING LOT
RACHEL HAS JUST PULLED UP. IT'S OBVIOUS SHE PARKS IN THE SAME SPOT EVERY DAY, BECAUSE FINN'S ALREADY THERE WAITING FOR HER.
RACHEL
Hey.
FINN
You didn't call me when you got home last night.
RACHEL
It was late.
FINN
I was up.
RACHEL
I was tired.
FINN
Okay.
HE FALLS INTO STEP BESIDE HER.
RACHEL
You were waiting just to walk me to class?
FINN
No.
RACHEL
Then, what?
FINN
Are you gonna tell me what happened at the bachelorette party?
RACHEL STOPS. FINN CARRIES ON A FEW STEPS, THEN TURNS BACK TO LOOK AT HER.
FINN (cont'd)
I know something happened, Rachel.
(BEAT)
Something. Not nothing.
(RACHEL BOWS HER HEAD)
Please... just tell me.
RACHEL
Okay. Okay...
(BEAT)
I kissed Quinn.
FINN
Excuse me?
RACHEL
I kissed Quinn.
FINN
You-
(BEAT, CONFUSED)
Wait, what?
RACHEL
We were drunk, okay? And we were playing this game, and-
(BEAT)
And I didn't wanna tell you because I didn't want you to get worked up over nothing.
FINN
Wait, so it was like one of those drinking games where girls in their underwear dare each other to like strip and kiss - like on Casa Erotica?
RACHEL
You watch Casa Erotica?
FINN
Uh...
(BEAT)
I...
(BEAT)
Burt musta had it before he married my mom, and I think he forgot to cancel the subscription. I've seen like five minutes. Tops! Total!
RACHEL ALMOST WANTS TO LAUGH. ALMOST.
FINN (cont'd)
I don't know why you thought that would upset me.
RACHEL
It doesn't?
FINN
No! It's hot!
RACHEL
Finn...
FINN
I'm serious. If you guys ever wanna do it again, for like... a visual demonstration, I'd be totally okay with that.
RACHEL
Oh, you would?
FINN
Absolutely.
THIS TIME SHE DOES LAUGH. HE PUTS HIS ARM AROUND HER.
FINN (cont'd)
Come on, I'll walk you to class.
RACHEL
So you were waiting for me?
FINN
All my life.
THEY HEAD INTO THE SCHOOL.
CUT TO:
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ACT 5, SCENE 30
INT. WILLIAM MCKINLEY HIGH, LIBRARY
QUINN HAS TAKEN REFUGE IN THE BACK OF THE LIBRARY. SHE'S ON ONE OF THE PLUSH LITTLE ARMCHAIRS, HER SNEAKERED FEET UP ON THE SEAT, WITH A NOTEBOOK RESTING ON HER LAP. SHE'S DOODLING, BUT NOT EVEN REALLY LOOKING AT THE PAGE. SHE BARELY NOTICES WHEN SANTANA SITS DOWN ACROSS FROM HER.
SANTANA
Hey slut.
QUINN
What's up, big homo?
SANTANA GRINS.
SANTANA
You ready for Glee today?
QUINN
Just say it, Santana.
SANTANA
Say what?
QUINN
I know you're not done with whatever rant you started yesterday, so just... get it over with.
SANTANA
I was just trying to get you to be honest with yourself.
QUINN SNORTS. SANTANA ROLLS HER EYES.
SANTANA (cont'd)
You don't believe me?
QUINN
Have you ever given me a reason to believe you?
SANTANA
Guess not.
QUINN
There you go.
SANTANA
But it's the truth.
QUINN
Please! To do that, you'd actually have to give a damn about me, and I know for a fact that you don't.
SANTANA
What are you talking about?
QUINN
It's the truth, Santana. You don't care! You're just bored and stirring up some imaginary tryst between me and Rachel will relieve your boredom. At least for a little while.
SANTANA
Maybe the old Santana would have done that, but-
QUINN
The old Santana? I'm sorry, but since when is there a beta version?
SANTANA
Since Brittany.
(BEAT, WHEN QUINN ROLLS HER EYES)
The biggest change I made this year isn't coming out of the closet. It's finding out that there's someone out there I care about more than me.
(BEAT)
Someone I'd jump in front of a bus for.
QUINN
And I'm happy for you. That's great. It really is, but-
SANTANA
Don't tell me you haven't noticed the same thing happening with you and Rachel.
QUINN
You're imagining things.
SANTANA
Am I? Who was the first person you told about Yale?
QUINN
Yeah, but that's because-
SANTANA
And everytime Rachel has a problem, who does she run to? You... or Finn?
QUINN
You're making all these giant leaps, and I know you think it's all connected, but you're just... wrong.
SANTANA
Really?
QUINN
Yes.
SANTANA
Really?
QUINN
YES!
SANTANA
Okay.
(STANDS)
I'm looking forward to your song.
SANTANA TURNS TO GO, BUT THEN SEEMS TO REMEMBER SOMETHING AND TURNS BACK.
SANTANA (cont'd)
Oh... and I love the art.
SHE LEAVES. QUINN FROWNS, THEN LOOKS DOWN AT THE NOTEPAD. SHE DROPS THE PEN IN SHOCK. COMPLETELY OBLIVIOUS, SHE'S DRAWN THE NAME 'RACHEL'OVER AND OVER AND OVER AGAIN.
CUT TO:
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ACT 5, SCENE 31
INT. WILLIAM MCKINLEY HIGH, CHOIR ROOM
GLEE IS IN SESSION, AND FINN AND KURT ARE PERFORMING.
FINN
Yes, the lady...
KURT
The lady, the lady...
FINN
Yes, the lady...
KURT
The lady, the lady...
FINN & KURT
Is a tramp!
STEP, STEP, AND...
FINN
Jazz hands!
CALLING THE RESULTING APPLAUSE LUKEWARM WOULD BE A MASSIVE OVERSTATEMENT.
KURT
Finn!
FINN
What?
KURT
You're not supposed to say jazz hands!
FINN
Why not?
(BEAT)
It's the one dance move I can do properly.
WILL
Okay, thank you Finn and Kurt.
(BEAT)
That was great.
MIKE
Please don't lie to them, Mr. Schu. For their own sake.
DEJECTED FINN AND KURT TAKE THEIR SEATS.
WILL
Okay, last - but I'm hoping not least... Rachel and Quinn! Come on up, guys.
RACHEL AND QUINN SHARE A NERVOUS LOOK, DON'T MOVE.
WILL (cont'd)
What's wrong?
RACHEL
Uh, Mr. Schu... I'm sorry, but we don't have a song.
WILL
Why not?
FINN
You guys were rehearsing all night.
QUINN
Yeah, but we couldn't find one that felt right.
RACHEL
We went through everything, from the Broadway catalogue to 90's bubblegum pop!
(BEAT)
I'm sorry, Mr. Schu, but your experiment failed. Maybe there's a reason sopranos and altos aren't paired together.
QUINN
They don't work.
(BEAT)
As a pairing.
SANTANA REACTS TO THIS, THROWING QUINN A SHARP GLANCE. QUINN PURPOSELY KEEPS HER EYES AWAY FROM HER.
WILL
Well, that's disappointing.
(BEAT)
But there's still five minutes left, so... do you want to sing something else?
RACHEL
I'm sorry?
WILL
If you don't want to then, well... I'm pretty sure the world's coming to an end if you're not up for a solo.
RACHEL
No, of course, I'm-
RACHEL GET TO HER FEET, BUT SHE LOOKS LOST AND HESITANT.
WILL
What are you going to sing?
RACHEL
I'm not sure.
SHE HEADS OVER TO THE PIANO, HOLDS A HURRIED, WHISPERED CONVERSATION WITH THE PIANO PLAYER.
RACHEL (cont'd)
Okay?
(BEAT, WHEN HE NODS)
Great.
STILL LOOKING NERVOUS AND JITTERY, RACHEL GETS A STOOL, PERCHES ON TOP OF IT. SHE FOLDS HER HANDS IN HER LAP, DOESN'T SEEM TO KNOW WHERE TO LOOK. THE PIANO PLAYER DANCES HIS FINGERS ACROSS THE KEYS. RACHEL CLOSES HER EYES.
RACHEL (cont'd)
There's a song that's inside of my soul.
It's the one that I've tried to write over and over again.
I'm awake in the infinite cold.
But you sing to me over and over again.
WE DRIFT THROUGH THE CLASS, NOTING THE EFFECT THIS BEAUTIFULLY UNDERSTATED SONG HAS ON THE CLASS. MIKE AND TINA HOLD HANDS. BRITTANY LAYS HER HEAD ON SANTANA'S SHOULDER. KURT AND BLAINE CAN'T STOP SMILING.
RACHEL (cont'd)
So I lay my head back down,
And I lift my hands and pray...
To be only yours, I pray...
To be only yours, I know now...
You're my only hope.
FINN IS SITTING DIRECTLY IN FRONT OF RACHEL. SHE'S LOOKING AT HIM - AT THE QUIRKY, DORKY SMILE ON HIS FACE - BUT, RIGHT BEHIND HIM... IS QUINN.
RACHEL (cont'd)
Sing to me the song of the stars.
Of your galaxy dancing and laughing and laughing again.
When it feels like my dreams are so far.
Sing to me of the plans that you have for me over again.
AND THAT'S WHERE HER EYES KEEP GOING, AND EVENTUALLY COME TO REST AS, LIKE ALWAYS, SHE GETS SWEPT UP IN THE MUSIC.
RACHEL (cont'd)
So I lay my head back down,
And I lift my hands and pray...
To be only yours, I pray...
To be only yours, I know now...
You're my only hope.
AND FINN CAN'T HELP BUT NOTICE. THAT DORKY SMILE DIES ON HIS FACE, REPLACED BY A WORRIED FROWN. HE TURNS HIS HEAD AND LOOKS RIGHT AT QUINN, AND SHE DOESN'T EVEN NOTICE. HER EYES, DROWNING IN UNSHED TEARS, ARE LOCKED ON RACHEL.
RACHEL (cont'd)
I give you my destiny.
I'm giving you all of me.
I want your symphony.
Singing in all that I am.
At the top of my lungs.
I'm giving it all!
NOW EVERYONE'S NOTICED. IT'S HARD TO HIDE EMOTION IN GLEE CLUB. IT'S PURPOSE IS THE OPPOSITE. QUINN AND RACHEL HAVE LOWERED THEIR GUARD FOR THE BRIEFEST OF MOMENTS, AND NOW...
RACHEL (cont'd)
So I lay my head back down,
And I lift my hands and pray...
To be only yours, I pray...
To be only yours, I pray...
To be only yours, I know now...
You're my only hope.
A SINGLE TEAR LEAKS OUT THE CORNER OF RACHEL'S EYE. BUT SHE BLINKS IT BACK AS SHE NOTICES THE STUNNED LOOKS ON HER FRIENDS' FACES. SHE OPENS HER MOUTH TO SPEAK, LOOKS TO MR. SCHU, BUT HE LOOKS EQUALLY SHOCKED. SHE LOOKS AT FINN. THERE'S JUST HURT ON HIS FACE.
THE BELL RINGS. IT MIGHT AS WELL HAVE BEEN A STARTER PISTOL. RACHEL SHOOTS OFF THE CHAIR, AND DASHES OUT INTO THE HALL BEFORE ANYONE CAN FOLLOW.
FINN TURNS TO QUINN, AND THIS TIME SHE DOES MEET HIS GAZE. HE HASN'T LOOKED AT HER WITH SO MUCH ANGER IN A LONG, LONG TIME.
CUT TO:
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ACT 5, SCENE 32
INT. WILLIAM MCKINLEY HIGH, AUDITORIUM
RACHEL'S IN A DARK PLACE - LITERALLY AND FIGURATIVELY, I GUESS. SHE APPEARS TO HAVE HER ARMS FLUNG OVER A THIN BAR OF SOME KIND, WE PULL BACK, AND SEE HER LEGS DANGLING DOWN IN FRONT OF HER. PULL FURTHER BACK, AND WE SEE THAT SHE'S SITTING ON ONE OF THE EAVES, UP IN THE WINGS OF THE STAGE.
SHE JERKS WHEN SHE HEARS FOOTSTEPS ON THE BOARDS. SHE LOOKS DOWN, AS FINN APPEARS IN THE DIM LIGHT ON THE STAGE, LOOKING RIGHT UP AT HER. IT'S ALMOST THE BALCONY SCENE FROM ROMEO AND JULIET. BUT NOT QUITE.
RACHEL
How'd you find me?
FINN
You were upset. You needed to go somewhere you feel safe.
(BEAT)
I know everything about you, Rachel. Or, I thought I did.
RACHEL
There's nothing going on.
FINN
Don't-
RACHEL
(SCREECHES)
There's nothing going on!
FINN JUST STARES AT HER. RACHEL'S FIGHTING TEARS.
FINN
Clearly.
RACHEL
This isn't funny.
FINN
I'm not laughing.
NO. HE ISN'T.
RACHEL
It's just stress.
FINN
Stress?
RACHEL
Yes! My whole life's gonna change in a couple of months! Moving to New York! There's the wedding! There's just a lot going on, and I'm just feeling... muddled, okay? Confused!
FINN
I'm sorry, Rachel, but the idea of my confused fiancee'...
RACHEL
I'll be fine.
FINN
Will you? Really?
RACHEL
Yes. I love you.
FINN
I love you too, but...
RACHEL
But?
FINN SIGHS, THRUSTS HIS HANDS IN HIS POCKETS, STARTS TO WALK AWAY.
RACHEL (cont'd)
Finn! What do you mean? But what?
CLOSE ON FINN'S FACE. WE CAN SEE RACHEL OVER HIS SHOULDER, HIGH IN THE STAGE HEAVENS.
FINN
I know there's something on your mind,
That distant look is in your eyes,
I thought with time you'd realise,
It's over... over...
CUT TO:
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INT. WILLIAM MCKINLEY HIGH, SPANISH CLASS
THE CLASS IS TRYING NOT TO FALL ASLEEP AS MR. SCHU TRIES - AND FAILS - TO CONJUGATE VERBS. UP FRONT, RACHEL AND QUINN SIT ACROSS THE AISLE FROM EACH OTHER. FINN IS IN THE BACK, JUST WATCHING THEM. FOR ANY LITTLE SIGN...
FINN
It's not the way I choose to live,
And something somewhere's got to give,
A share in this relationship,
Gets older... older...
CUT TO:
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INT. HUMMEL RESIDENCE
FINN IS IN BED, ON TOP OF THE COVERS, PROPPED UP AGAINST THE HEADBOARD BY A MASS OF PILLOWS. HE HAS HIS HANDS IN HIS LAP, SEEMINGLY AT EASE, EXCEPT FOR THE STRAINON HIS FACE.
HE'S WATCHING RACHEL, WHO SITS AT THE VANITY MIRROR, COMBING HER HAIR. SHE SPOTS HIM IN THE REFLECTIVE GLASS, GIVES HIM A SMILE, BUT HE JUST SINGS...
FINN
You know I'd fight for you,
But how can I fight someone who isn't even there?
I've had the rest of you, now I want the best of you,
I don't care if that's not fair.
AND AS THE MUSIC SWELLS, WE
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INT. WILLIAM MCKINLEY HIGH, CHOIR ROOM
FINN HAS PUCK, ARTIE, MIKE, SAM AND RORY BEHIND HIM AS BACK-UP VOCALS - AS HE PUTS ON A PERFORMANCE THAT WRENCHES THE HEART FROM THOSE WATCHING.
FINN
Coz I want it all, or nothing at all.
There's nowhere left to fall,
When you reach the bottom it's now or never.
Is it all, or are we just friends?
Is this how it ends, with a simple telephone call?
You leave me here, with nothing at all...
SEVERAL OF THE GIRLS ARE ABOUT TO CRY. FOR RACHEL AND QUINN, IT'S ALREADY TOO LATE.
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INT. HUMMEL RESIDENCE
WE'RE BACK IN THE BEDROOM. RACHEL PUTS THE BRUSH DOWN, AND CLIMBS INTO BED BESIDE FINN. STILL SINGING, HE PUTS HIS ARM AROUND HER AS SHE DRIFTS OFF TO SLEEP.
FINN
There are times it seems to me,
I'm sharing you with memories.
I feel it in my heart,
But I don't show it... show it...
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INT. CHAPEL
RACHEL AND FINN STAND BEFORE THEIR FRIENDS, FAMILY, GOD AND EVERYBODY - A MINISTER BETWEEN THEM - HOLDING HANDS. SHE'S IN A STUNNING WEDDING DRESS, AND HE LOOKS SO GOOFY JAMES BOND IN HIS TUX.
FINN
And then there's times you look at me,
As though I'm all that you can see.
Those times I don't believe it's right,
I know it... know it...
CUT TO:
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INT. WILLIAM MCKINLEY HIGH, CHOIR ROOM
BACK IN FRONT OF THE CLASS AGAIN.
FINN
Don't make me promises,
Baby, you never did know how to keep them well.
I've had the rest of you, now I want the best of you,
It's time to show and tell.
ON THAT LAST LINE HE TAKES AN AGGRESSIVE, ALMOST THREATENING STEP TOWARDS RACHEL. INSTINCTIVELY, SHE FLINCHES. JUST AS INSTINCTIVELY, QUINN, SITTING BEHIND HER, PUTS A HAND ON HER SHOULDER. FINN SEES THIS, AND STEPS BACK.
FINN (cont'd)
Coz I want it all, or nothing at all.
There's nowhere left to fall,
When you reach the bottom it's now or never.
Is it all, or are we just friends?
Is this how it ends, with a simple telephone call?
You leave me here, with nothing at all...
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INT. WILLIAM MCKINLEY HIGH, AUDITORIUM
BACK TO WHERE IT STARTED. FINN STOPS AT THE EDGE OF THE STAGE, TURNS BACK TO LOOK UP AT RACHEL.
FINN
Coz you and I...
Could lose it all if you've got no more room,
No room inside,
For me in your life...
CUT TO:
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INT. WILLIAM MCKINLEY HIGH, CHOIR ROOM
THE BIG FINISH
FINN
Coz I want it all, or nothing at all.
There's nowhere left to fall,
When you reach the bottom it's now or never.
Is it all, or are we just friends?
Is this how it ends, with a simple telephone call?
You leave me here, with nothing at all...
THE CLASS APPLAUDS. BUT REALLY, THERE ARE ONLY THREE PEOPLE IN THIS ROOM. AND NONE OF THEM ARE HAPPY.
FIFTH COMMERCIAL BREAK:
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