AMBITION “Living Memory” [ 4.11 ]♮PART 1, half 2
INT. CHEY APARTMENT - KITCHEN - DAY
Nigel is grabbing a quick lunch before his afternoon class, taking the peace of most of his family being out in the middle of the day to catch up on some reading. So he isn’t expecting his father to step back into the kitchen, lifting his eyes from his book.
For a moment, the two stare at each other, not sure what to say. Then, Ernesto fills the silence.
Ernesto: Another job just came up over in Queens. So will be heading over there soon. [ off his nod ] What are you reading?
Nigel holds up the book so he can see the title. Titus Andronicus. Ernesto hums.
Ernesto: That is a good one. Heavy, though.
Nigel: Yeah. You’re the one who raised me on Romeo & Juliet.
Ernesto: True. Perhaps I am guilty as charged.
That manages to earn the smallest of smiles from Nigel. It definitely is a bit easier to breathe around his dad, who has shared his appreciation for literature and always seemed to “get” him.
Even if his reaction to his ambitions wasn’t the most encouraging either. Ernesto chooses to try to address that, clearing his throat.
Ernesto: It’s been very quiet around here. Since that… big conversation. Your mom is quite upset.
Nigel: Is she? That makes two of us.
Ernesto: The things that were said… there wasn’t any ill intent, Nigel. You know that we both are very proud of you, and all your passions.
Actually, Nigel thought he knew that, but now it all feels up in the air. That’s precisely the problem. Words are just words, after all… and if someone hears the wrong ones more than the right…
Ernesto: It was just surprising. You didn’t bring it up to us with much time to consider it.
Nigel: When exactly was I supposed to? How much time would you have needed? A day? A week? My whole life? Because based on what mom said, sounds like she would’ve been ready… never.
Ernesto: That’s not true. That’s not how she feels.
Nigel: Well, that’s what I heard. And she’s not the one standing here trying to convince me otherwise, so doesn’t that kind of speak for itself?
Ernesto frowns, but he can’t argue against that. The fact is, Nigel is more like Liezel than he realizes -- both of them are quiet, and a bit stubborn when they feel they’re in the right, and absolutely hate confrontation.
Ernesto: We just want what’s best for you, Nigel. It takes a bit of time to figure out what that is.
Nigel: Cool. Glad what I want seems to be a big factor in that equation.
Ernesto sighs. Not getting anywhere. Not that it really matters -- he knows this isn’t really about him. It’s up to Nigel and Liezel to work it out. All he can do is try to smooth out the ruffled feathers.
Right now, not going so well. Nigel heads into the living room and grabs his backpack from the couch.
Nigel: I’m sorry, dad. I’m sorry… that this sucks, and that I’m not doing it right. That I’m not being what you guys want me to be.
Ernesto: That isn’t how we feel. It’s not how I feel.
But he can’t speak for Liezel, and that’s what stings the most.
Nigel: Well, thanks. But now I’ve gotta go to class.
You know, at the school he doesn’t want to be at anymore. He steps out without waiting for a response, Ernesto rubbing his face once he’s alone.
INT. CHEY APARTMENT - EXTERIOR HALLWAY - DAY
Nigel exhales a weighted sigh of his own, leaning back against the apartment door. The apartment he’ll probably never leave, trapped in the limitations of his own talent and the expectations of his mother. Perpetual disappointment, potential unfulfilled, destined to always be second string and three steps behind the curve.
Is this all he has left to look forward to? Is this really the rest of his life?
Nigel pushes off the door and starts down the hallway, as the eclectic backing instrumental kicks up --
Song Cue ♫ ♪ “23” as performed by Wallice || Performed by Nigel Chey
Nigel launches into the off-beat soliloquy with gusto, emotion leaking through despite his flat, unaffected delivery. The song is somewhat mocking in tone, but there’s a real insecurity underneath, a youthful desperation that goes deeper than poorly fitting universities. He sings directly towards the camera as he moves down the hall, arriving at the stairwell.
INT. APARTMENT BUILDING - STAIRWELL - DAY
He plods through the remainder of the first verse as he descends the flights of stairs to the lobby, glimpsing the banal existences of other residents as he passes the doorways. Kids blowing off school with the conviction that there’s nothing more important in life than what they’d rather do right now; women juggling babies on their hips that they couldn’t seem to care less about. Lonely elderly folk with no one to share company with, toddling back to the lonely apartments they’ve inhabited for decades.
All different phases of stuck, stunted by the reality of life.
INT. APARTMENT BUILDING - LOBBY - DAY
Nigel makes it into the lobby in the build-up to the first chorus, backing up against the main doors and letting the musical confession claw out of his throat.
I’m terrified of the future
Scared that I’ll still be a loser!
Then he falls backwards through the doors --
EXT. NEW YORK STREETS - DAY
And bursts into the chorus as he traverses through his neighborhood. Passing by more folks looking disillusioned with life, each of them including Nigel suddenly accompanied by a little rain cloud over their heads. So overshadowed by what isn’t working, the things that are haunting them, that they can’t see the sun right above them.
Nigel rolls through the high-energy chorus, daydreaming about a future where he maybe he just gives up. Skips all the pain of figuring things out, marries his badass successful partner and plays trophy husband instead. Having dreams doesn’t seem to be working out for him otherwise.
He reaches the subway entrance and jogs down the steps…
INT. SUBWAY CAR - MOVING - DAY
Just as the raucous guitar solo takes over, accenting the mundane chaos of the train ride into Manhattan. Nigel is packed into the center of it all, ironic rain cloud still over his head, staring dead at the camera as he sways with the uneven rhythm of the subway. All the other passengers mimic his empty expression, going through the motions just the same.
EXT. NEW YORK STREETS - DAY
Nigel is back above ground as he slips into the second verse, this one vulnerable than the first. He’s heading towards NYU campus with his hands stuffed in his pockets, dragging his feet the whole way there. Riffing off how he imagines his parents must feel about him, what they dread is going to be his inevitable future if he screws everything up.
Art school dropout at 21,
Disappointed my mom, did it just for fun
He doesn’t want to throw everything out of whack. He doesn’t want to let them down. But as he stares up at the NYU buildings looming over him, promising three more years of contorting into a box he doesn’t quite fit, he just can’t stomach it. He shakes his head and turns the other way.
Had to choose between being broke and bored
So I cut my losses and I left New York
EXT. CENTRAL PARK - SHAKESPEARE GARDEN - DAY
So he finds solace in his favorite space, retreating to the familiar comforts of the Shakespeare Garden. This is where he truly starts to crack, the frustration and fear of how everything is spinning out a powerful adversary against his wiser instincts.
Don’t know why I feel so dumb
The best of my years are yet to come
But at this point in their lives, when everyone keeps saying you have to have it all figured out, it’s hard to see the light at the end of the tunnel. Everything feels like the end of the world, and the possibility that there’s better things waiting on the other side feels like a cruel trick to gamble on.
EXT. CENTRAL PARK - BOW BRIDGE - DAY
Nigel finishes up the performance while traipsing through the park, repeating the chorus to its conclusion. As the guitar noise fills the soundscape again, he stops in the middle of the bow bridge, dangling his lanyard over the side while he looks down at his reflection in the water.
He doesn’t like what he sees, on a number of fronts. It just isn’t right. He fussily removes an NYU keychain from his key ring, giving it a dissatisfied scowl.
I just can't wait to be all grown up and 23
And tell me what is wrong with me
Reflection frowning back up at him, he throws the keychain away, abruptly cutting off the music as it hits the water. Disrupting his image in a series of ripples as it disappears under the surface, sinking into the darkness.
Grace, pre-lap: Will you please just tell me what’s wrong?
INT. KENNETH’S BEDROOM - FLASHBACK - DAY
Grace is over in her boyfriend’s room, decorated with all the trappings of a typical nineties teenage boy. He’s got some country and punk band posters on the wall, along with taped up baseball cards and mementos from their high school. On a shelf by the door, medals and trophies sit on display from football and baseball alike -- though they don’t seem to get much attention from him.
Right now, Grace is hovering underneath the shelf, arms crossed and feeling equally ignored. Another trophy in his collection, whether he’s always happy about that or not. Because for now, he’s intent on ignoring her, reclined on his bed and absentmindedly tossing a baseball into the air. Pointedly pretending she isn’t there.
Although so much of their romance has been a whirlwind, dreamlike and heart-racing and deep, this is an angle that Grace hasn’t yet figured out how to crack. These odd times where Kenneth seems to morph, to lose his natural charm and become something else. Moody, uncommunicative, cold. So unlike the thoughtful, sunny guy she knows -- the one she’s fallen in love with.
She knows she can be equally reserved, just by nature, but she’s trying. At least she’s trying to communicate and let him in. When he gets like this, it feels like talking to a wall.
Grace: I’m trying to help you, you know.
Kenneth: Huh. Don’t remember when I asked for help.
Grace: You’ve been in a terrible mood since this weekend. Every time I try to talk it through, you just totally shut me down. If I can do anything to help, I will, but I can’t do that unless you tell me what’s wrong.
Kenneth: [ with a scoff ] Yeah, right.
Okay, seriously, what is his deal? She came all the way over here, snuck out to do so since her parents don’t let her visit (on the record) when his parents are out of town, and he’s just going to treat her like this?
Kenneth: I didn’t ask you to come over here. You did that on your own.
Grace: Yeah, I did. Because I’m worried about you. But if you’re just going to snipe at me like this, then yeah, maybe I’ll just go --
Kenneth: Ugh, no! Don’t get like that, damn.
As if she’s being the unreasonable one. Grace huffs, eyeing him sharply as he pushes upright to sit on the edge of his bed.
Grace: Then what is your issue?
Kenneth: You wouldn’t get it, okay? It doesn’t mean anything to you.
Grace: Try me.
Kenneth: I’m honestly surprised you don’t already fucking know, since I’ve told you more than once. The game on Friday, the one where we lost by a fucking landslide? That I screwed up?
Grace: It wasn’t your fault. It’s a team sport. Maybe the other team was just better.
Kenneth: Wow, thanks. You’re so supportive.
Grace: I wasn’t -- what I’m saying is --
Kenneth: [ cutting her off ] The point is, we absolutely bit it. And that’s bad shit, because like I told you -- if you cared to listen to anything I say -- the scouts from A&M were there. This was my chance to show them what I’ve got, and they saw me play the biggest loss of my career instead.
Grace: … well, there will be other games.
Kenneth: Ha, tell that to my fucking dad! You should’ve heard him when we got home.
Grace: They scout more than once, right? So when they come back --
Kenneth: Ugh, are you stupid? Do you hear anything I’m saying?! [ getting to his feet ] I screwed up! It’s over for me! I had one shot, and I just had to go and --
He growls and throws the baseball as hard as he can into his laundry basket, a true fastball in such short distance. It has enough power on it to bang the wall behind the basket, causing Grace to flinch.
Even so, she feels for him. She knows the pressure his dad puts on him, how hard he works to be perfect on and off the field. She can empathize with that.
Grace: I’m sorry. I’m sorry it didn’t go as planned. Like I said, there will be other opportunities. A&M would be insane not to want you on their team.
Kenneth: Well, tell them that. You can follow my dad on the march right now -- where do you think he and my mama went this afternoon? [ with a snarl ] He’s doing everything he can to grease the right palms so I still have a shot.
Grace: You’ll get on your own merit, I know it. You don’t need his help.
Kenneth: You don’t know shit, Grace. Stop talking about shit you don’t know.
Well, if being kind isn’t going to work, what is she possibly supposed to do? She holds her arms out in surrender.
Grace: Okay, well, what do you want from me? I’m trying to be supportive --
Kenneth: You’re not doing a great job.
Grace: Then tell me what you want. Tell me what you need me to do, and I’ll do it. But if you don’t tell me --
Kenneth: Oh, just stop. Stop lying!
Grace: How the hell am I lying?
Kenneth: Because we both know that ain’t true. You won’t do anything. We already know there are plenty of things you won’t do.
Grace shakes her head, totally bewildered. Kenneth seems to grow more frustrated at her innocent confusion, pacing slightly and clenching his fists at his sides.
Kenneth: And that just makes it worse. The way you act like you never know what I’m talking about. C’mon, Grace, just cut it out and be real with me.
Grace: I don’t know what you’re talking about. What?
Kenneth: I’m talking about the fact that you are so fucking frigid! That’s how I know you wouldn’t do “anything” -- because you haven’t. [ with a huff ] I mean, how many times have I told you I wanna be with you, that I’m dying to have you --
Oh, so this is about sex. Sex, and how apparently, she won’t put out. It’s clearly not the first time they’ve discussed it, either, because Grace visibly grows more reserved.
Grace: I don’t get what that has to do with anything. I’ve told you, I just don’t know if I’m ready.
Kenneth: No, what you don’t know is whether you love me. If you actually feel about me the way I feel about you.
Grace: That is not true. We do plenty of other stuff --
Kenneth: No, it is. It’s obvious. Because when I’m with you, I feel crazy. I feel like I’m on fire, and even just being near you makes me want to kiss you. I’m so in love with you, it’s driving me insane, and it’s all I can do to control myself around you. I want you that badly. But it’s never that way with you. I know it’s not the same.
Grace: You don’t know how I feel, clearly, because none of that is true. It’s not that I -- it’s different for me. You’re a guy, you don’t get the pressure --
Kenneth: [ with a bark of a laugh ] Believe me, I know plenty about pressure. Pressure is my whole fucking life. You know that.
Grace: It’s not the same. You keep jumping topics --
Kenneth: But I get it. I already know I’m lucky to be with you, that you chose me -- fact is, I wouldn’t want to have sex with me either. I wouldn’t want anything to do with me. It’s about time you figured that out.
Grace hates when he gets like this, when he talks about himself this way. Parroting the things his father tells him, grinding his own self-worth into the dirt. It’s worse than the cold silence, because it hurts her too. It hurts to hear him speak so poorly of the person she loves so much.
Grace: Ken, stop. That’s not true.
Kenneth: I’m not good enough for you. We both always knew it. It was just a matter of time. [ cracking ] I’m not good enough for anything, so it’s fitting. I’m a failure, and a waste of space, and can’t do anything right. I’m destined to be that way forever. So just… quit while you’re ahead, all right? Go give it to someone who deserves it.
Grace: Kenneth --
She closes the distance between them and touches his arm, turning him to face her. At first, he reacts without thinking, smacking her hand away. But she doesn’t shy away, having gotten used to his thoughtless physical movements -- a side effect of defensive play, she figures -- and pushes past it.
She takes his face in her hands and pulls him into a kiss, allowing that to say what words apparently can’t. Speaking a language he can understand.
It works. He kisses her back instinctively, automatically, as hungrily as he claims being around her makes him feel. Once they break apart, Grace continues to hold him close, waiting for him to meet her eyes.
Grace: You are not a failure. You are not a waste of space.
Kenneth: But --
Grace: No. You’re not. You’re good. You are good enough. For everything, but especially for me.
She gives him another kiss, which he eagerly accepts. This one deeper, heavier, than the last. When they manage to pull apart again, Grace holds his gaze… then lowers her hands to start unzipping his jeans.
Kenneth: Grace…
Grace: You are good enough. You deserve this. You deserve me. [ with a shaky exhale ] Let me show you how much.
He’s right, after all -- she does want him, even if she’s better trained at hiding it for the sake of Southern decorum. If she’s waiting for the right time, or whatever, what better moment is there than now? When she can make it mean something -- when it can prove just how much she loves him?
If it’ll make him happy, if it’ll fix his broken edges, she’ll do it.
Song Cue ♫ ♪ “Giving Him Something He Can Feel” as performed by En Vogue || Performed by Yindra Amino, Tabitha Flores, Ronica Lewis, Madisyn May, Kimmy Price, and Aleena Sayyid
She doesn’t have to ask twice, considering it’s been what Kenneth has been begging for. He doesn’t hesitate once she signals the willingness, pulling her into another loaded kiss. He nudges her back onto his bed and climbs on top of her, letting her remove his t-shirt.
Grace closes her eyes as he starts to kiss down her neck, losing herself in the moment. Convincing herself it’s right, that it’s what they need -- because it’s love.
As the girl-group harmonies of En Vogue float in… transitioning to a newer mix of voices…
INT. JUPITER RECORDS - RECORDING STUDIO - DAY
The major nineties hit serves as the mixing base for the final girl-group tests, the producers and label executives combining different varieties of the remaining six girls to seek that perfect bombshell combination of five. They isolate certain voices, test their ranges, and pull them in and out of the formation to have them listen to the others -- dreading that they’ll be the one who doesn’t fit.
It’s also a chance to pit them against one another, as they have certain girls sing the same parts nearly back to back. Yindra is highly aware of this as the process unfolds, after the way she’s already been set up against Aleena -- the latter of whom won’t even look at Yindra as the exercise goes on.
She especially feels this with Ronica, who is asked to sing basically every single line that Yindra is, sometimes one right after the other. She’s always known they were the closest direct competition for one another, given their vocal qualities and strength, only now it is being rubbed directly in their faces. At one point, they both record riffs at the same time, looking one another dead in the eye as they sing.
Feeling the pressure, Yindra doesn’t back down. She takes her riff solo to absolutely eviscerate Ronica’s more measured stylizations, belting her heart out and showing off her range. It might even be too much, objectively speaking, but Yindra is desperate. She’ll do whatever it takes to leave her mark -- even if it means humiliating her competition in front of everyone else.
For now, it seems to have the desired effect. The producers seem impressed after their riff-off, and Ronica looks a bit perturbed… as well as sheepish for being outshone. The other girls are clearly abuzz about it as well, whispering to one another. Yindra beams as she’s moved to a different part of the formation, accepting a nod of approval from Tabitha for her good showing.
But once the moment passes, the fierce bite of competition ebbing, Yindra feels weirder about it. She glances at Ronica, then looks away in embarrassment of her own.
INT. TURNER ACADEMY - THEATER - DAY
Meanwhile, Zay is in the midst of trying to decide what to do for his talent slot at the transfer gala, pacing the stage. He’s dressed for rehearsal, but it doesn’t seem like he’s done much actual dancing. He’s more so just brainstorming, thinking out loud, occasionally doing a light spin for no reason in particular because when he moves his body is just made to dance.
Zay: I could throw together another whole routine. Or maybe even just do my audition performance again -- I wonder how many times someone has done that -- but to be honest, I don’t really wanna bare my soul out there like that in front of everyone. Not that I couldn’t do it, but once was enough for a semester. Not to mention if I did do that, and then I didn’t get announced as a finalist, that would be enough humiliation to last a lifetime I think.
As it turns out, he’s not just talking into the ether. Charlie is there with him, standing down by the lip of the stage rather than on it. He’s supposed to be helping Zay come up with an idea, seeing as he respects his tastes (mostly) and he’ll be there to see him pull it off anyway.
Only Charlie isn’t doing a great job of that. Even though he’s usually a good listener, he’s zoned out this afternoon, mind elsewhere while Zay rambles on stage.
Zay: If I’m being frank, I think I’m just going to forgo dance all together at this point. Like, all of us know why we’re there. We’ve watched each other dance all year. It’s redundant. You’d hope that most of them would realize I’m already leagues better than they’ll ever be, so I don’t think I need to like rub salt in that wound. But what to do otherwise, well…
Zay trails off when he turns to face the front, catching a better look at Charlie. Noticing he’s uncharacteristically tuned out; eyeing the melancholy expression he’s let slip back onto his face. Although he was able to come off neutral enough when they ran into each other at Chubbies, spending more time together makes the cracks in his facade more obvious. Like by spending even a few more minutes in his company, Zay is holding him up to the light, able to assess all of his less-than-perfect features.
Chubbies didn’t seem like the right place to ask. It wasn’t the right time. But now it’s just the two of them, and Zay has a valid reason to nudge… it feels weird to think about, to contemplate peeling back the lid of the Pandora’s Box between them when they’ve spent so long at an emotional distance…
But it’s Charlie. It’s Charlie, and Zay knows that if he saw him with a similar expression, he’d ask him about it in a heartbeat.
And if there’s anything he can do, for whatever it is, he wants to do it. So Zay clears his throat, starting to saunter back towards the edge of the stage.
Zay: You know --
Charlie jumps slightly, pulled out of his thoughts by the more direct address. He looks up at Zay and quickly plasters on a smile, as if he wasn’t just a million miles away in his own head.
Zay: I know it’s been a while, but I would still consider myself a pretty decent study in the field of Charlie Gardner. And as someone who knows you’re usually a very eager and engaged collaborator, I can’t help but notice you’re a bit… out of sorts.
Charlie shrugs, still maintaining the practiced smile. So convincing.
Charlie: What do you mean?
Zay: Dude, you’re like a thousand miles away. Metaphorically, that is. Don’t get me wrong, I’d rather have that than you literally that far away, in like France or whatever, but the distance is still felt.
Charlie: I don’t… I don’t know what you mean. I’m all good. What were you thinking about for your performance, again?
Zay: Ah, classic Chuckles maneuver -- innocent diversion. Which it’s nice that you want to pretend to care about this, but if it were genuine, you would’ve been paying attention like two minutes ago.
Damn… it really is something to be known so well. Charlie scoffs, trying to shrug off the commentary, but it’s pretty difficult when he has him so pegged. Years of friendship don’t just evaporate.
Zay raises his hands in surrender.
Zay: I’m not saying that you have to talk about it -- if there’s anything to talk about. If you’re telling the truth, and there isn’t, okay, no biggie. What I am saying is that if there’s something going on, I’m down to hear about it.
He arrives at the front of the stage, plopping down into a sitting position on the edge and letting his legs dangle. He’s much closer to Charlie this way, only a couple of inches taller and much more effective at looking him in the eyes. Charlie tries to hold his gaze, to prove he’s fine…
But then Zay tilts his head, narrowing his eyes suspiciously, and he cracks. He laughs quietly in spite of himself at first, looking away and pretending the flush in his cheeks isn’t there. Zay cracks a light smile, but doesn’t rush him, patiently waiting for if he decides to share.
So… after a moment, Charlie sighs, nodding in defeat.
Charlie: It’s… you know that thing I was doing the night of your audition? Why I left early? [ off his nod ] Well… um -- that “plan” was telling my mom.
He doesn’t have to say what. All levity from moments before is gone in an instant. Zay grows serious, jaw dropping open.
Zay: Holy shit. No way.
Charlie, bleakly: Way. So… that happened. [ with a sheepish laugh ] And you know how I said that it went fine? I lied. It… did not go great.
Charlie laughs again, mostly because if he doesn’t he thinks he might choke on it. Saying it out loud makes it sting more, somehow, like acknowledging it makes it more real.
Zay understands. Because he knows how big a deal this is, how much importance this moment held in Charlie’s mind. He honestly wasn’t sure it would ever happen. Now that it has, and apparently did not go well -- not that he’s surprised, as he’s always had zero faith in Eleanor and her capacity for compassion…
No wonder he’s so subdued. Zay hops down from the stage so they’re at the same height, looking at him with an empathetic frown.
Zay: Shit, Charlie.
Charlie nods, keeping his eyes on his shoes. Mainly to hide the way his face is twisting up, how much he’s working to keep it together. As if Zay can’t tell anyway.
Zay wants to make it better. He wishes he could do something, find some way to make Eleanor’s judgment or the sting of her cruelty hold less power. He wishes he could carry it himself, so that it wouldn’t have to weigh Charlie down any more than it already has for years, even when it was just a threat rather than a reality. Especially now, when he’s been riding such a high, with a newfound confidence and shine that has been impossible to ignore since he got back.
Zay wants to touch him. To comfort him the way he used to, hold him close and share his warmth and give him something to lean on. Being there for him in a way that feels almost dangerously natural, even more so now given that he’s no longer hiding from his own complicated feelings. He nearly does, his hand instinctively reaching out to close the distance between them.
But he can’t. This isn’t about him, or what he wants. It would be selfish, and probably unwise, to bridge that gap when Charlie is so vulnerable. Even if he could just pass it off as friendship, as platonic camaraderie, he’d know damn well in his heart that wasn’t the case.
So Zay stops short, letting his hand come to rest on the stage between them instead.
He still wants to help, though, in whatever minor way he possibly can. He searches for an alternative.
Zay: Look, man. We don’t have to do this right now. My whole stupid -- let’s just forget about it. We can go do whatever, something you wanna do. It’s chill.
Charlie lifts his head to meet his eyes. Despite the thickness to his voice and the gloss in his eyes, when he responds, a bit of fond amusement bleeds through.
Charlie: You seriously think that you blowing off an important opportunity is going to make me feel better?
His number one fan? Be so serious. Zay shrugs, offering no good explanation, but he doesn’t know what else to say. He’s all out of things to give, and he really would give anything to make this hurt less. It’s all he has, and if Charlie needed it, he would let him have it. Easy.
But no. That won’t be necessary. Charlie scoffs out another weak laugh and shakes his head, swiping at his eyes quickly as he pulls himself back together.
Charlie: It’s okay. I’m okay, really. Is it ideal, no, but it is what it is.
It hurts, but it won’t shatter him. He’s not as fragile as he was just a few years ago. He exhales a deep breath, Zay watching him sympathetically.
Zay: I mean it, though. I know you were nice enough to accept my invitation, but you really do not have to go through with this shit just for me if you’re not up for it. I get it.
Charlie: No. No, I want to come. And it’s good. The distraction is nice, honestly. I think I just didn’t -- it was harder when you didn’t know, because I didn’t want to like, burden you with it --
Zay: It’s not. A burden. You know you can always talk to me about stuff. Especially this.
Charlie: … yeah. Yeah, I know. It’s not that I didn’t want to tell you. I just didn’t want to like, make a big deal or anything when you’ve got all this important stuff to work on. But now that you do know, I think… I’ll be able to focus better. Won’t feel as weird, hiding this big thing from you.
Speaking of, they should get back into it. Charlie shakes his arms to shake off the heaviness and suggests they start from scratch, pushing himself up onto the stage. Before he can go too far, Zay reaches out after him and takes his forearm, instantly getting his attention.
Zay: Again, just so we’re clear. If you need to talk about it, I’m here.
Charlie absorbs that -- the sincere declaration, and the warmth of his fingers on his skin. Then he nods, offering a smile that feels lighter than the forced ones from before.
INT. CHARLIE’S APARTMENT - LUCAS’S BEDROOM - NIGHT
Dylan and Asher are helping Lucas put together his outfit for the funeral tomorrow, assessing his nicest clothing spread out on his bed. It’s just a big wash of grey and black, so they’re off to a strong start.
Asher: This might actually be easier than I thought.
Riley comes to join them, asking if Grace and Jack were able to negotiate with the funeral home to land on a good schedule. Lucas claims they texted him the schedule, passing his phone to Dylan so they can take a look for themselves.
Whatever Riley sees, it’s not good news. She frowns.
Riley: Shit.
Asher: What?
Riley: The start time -- it’s like right before I go on for the matinee. I was hoping to at least make part of it --
She wanted to be there the whole time. For all of them. She’s evidently distressed about this news, but Lucas doesn’t seem concerned.
Dylan: It’s no big deal, Riley. The whole thing is last-minute anyway, it’s not like you’d be expected to change plans.
Asher: Least of all for Kenneth.
Riley: I know, but --
Lucas: Riley, it’s fine. Seriously. You don’t need to be there -- fuck, I wouldn’t be there if I could get away with it.
His reassurances are genuine, but they don’t make Riley feel any better. She bites back her emotion and lets them go back to discussing proper funeral attire.
INT. GLOBAL BEAT - OFFICES - DAY
As the work day is winding down, Josh returns to his desk from the coffee dispenser just as JUSTIN MILLER and Melissa are wrapping up their last meeting of the day. They exit Justin’s office with another YOUNG STARLET (18) in tow, bright-eyed and gorgeous.
In fact, she could be a near dead-ringer for Maya. Josh has to do a double-take, thinking for a second she’s returned, but this girl is just like a carbon copy. As they walk her to the elevator, Justin takes care to introduce her to Josh.
Justin: Oh, Joshie, check this out -- meet Lindsay, our next great find.
Josh: Hi, I’m Josh.
Young Starlet: Nice to meet you.
They shake hands, Josh polite as always.
Melissa: Josh is the one who keeps the ship running around here. We owe him everything.
Justin: No kidding. You’ll learn that quick, friend. And Josh, meet the next big thing. I’m telling you.
He pats Lindsay’s shoulders bracingly, just like he used to with Maya. Almost as if she’s a has-been, or never was, and they’re onto searching for the next instant hit-maker.
Josh says nothing as they walk away and continue chatting, but the resemblance feels striking and he can’t shake the weirdness of it. He’s never paid much attention to the kind of clients Justin and Melissa rope in before, but if he thinks about it, they do seem to have an eye for young, attractive bombshells.
Even so, none of them were Maya Hart. None of them had the talent, or the spark, that she so obviously brought to the table. So it feels even more bizarre that they’re scouting out new talent already, and acting as though her pause is just par for the course.
Like they’re wasting it. Yet again. Once he’s confirmed they’re out of sight, Josh sits back down at his desk and pulls out his phone, pulling up the email he’s had drafted for days. All of his notes on the songs in Maya’s portfolio, locked and loaded and ready to send her way.
He knows she ignored his voicemail. He knows she’s probably over him, working hard on her own stuff, and he should take the hint. But this industry is built on bold moves, and it’s killing him to sit on it and the sense that something isn’t quite right…
Jade, pre-lap: Are you actually seeing this right now?
INT. YINDRA’S BEDROOM - NIGHT
JADE BEAMON and Yindra are on a video call with Nigel, the three of them poring over the list of nicknames the label has sent Yindra for if she decides to be the one to take the name swap. Based on their reactions, it’s not a promising start.
Jade: “Drea.” That’s not even part of your name.
Nigel: Yindrea?
Jade: “Yi Yi.”
Nigel: Sounds like Ariana Grande record scratching.
Yindra: That’s “yuh,” Nige.
Jade: More like sounds Kanye adjacent, which is a big no.
Nigel: “Yincé.” Is that just Beyoncé lite?
Case in point, Yindra’s name is simply not built for cutesy nicknames. She paces the room and rubs her temples, trying to block them from her memory.
Jade: “Yinnie.”
Nigel: That’s kind of cute.
Jade: Yeah, if you’re Yinnie Youse and you work at Yisneyland.
Yindra: The bad nicknames are not the issue.
Nigel: I’d say they’re part of the issue.
Jade: A decent 20%, at least.
Yindra: Okay, yes, they’re terrible. But that’s not the point. The nicknames are irrelevant. It’s the principle that I can’t stand.
She resents being encouraged to change who she is -- let alone on the premise that her name isn’t Euro-centric enough to pass. Never has she once cared about that, and she isn’t about to start now.
Yindra: One of the reasons I wanted to go into this industry was to be what I wanted to see. I know how important Destiny’s Child was for me, seeing talented women who looked and sounded like me. If I change those things about me, the things that apparently others deem unconventional… then what am I even doing? What career am I building?
If she’s going to get her start, she wants to be her when she does it. Others may be fine bending to get their break, but that’s not who she is. She can’t stomach it.
Nigel: I hear you. I think you’re right.
Jade: Me too. So maybe you just need to tell this other girl that and stand your ground.
Yindra doesn’t seem comfortable with that either. She already feels like an asshole for how she behaved during the last vocal session, even if it objectively worked in her favor. It’s dumb, but this whole thing feels like a trap -- like she’s going to be marking herself as a problem either way.
Yindra: I care about this, but I also don’t want to be the girl starting fights and getting on people’s bad sides before the group is even formed. I don’t want to make that reputation for myself. And the thing is, I like Aleena. She seems chill. I don’t want to make an enemy where I could desperately use an ally.
So the solution is… who knows. She doesn’t know. She knows what she wants, but she isn’t necessarily brave enough yet to assert it -- and she’s dreading the moment Aleena beats her to it and backs her into a corner she’ll have to battle her way out of. And it sucks to be assuming the worst in people, because so far in this industry, she hasn’t been shown she can bet otherwise.
Even so, as challenging as this all is, it’s easier than some of the stuff going on in New York right now. Yindra changes the subject, asking Nigel how things are going for him. Based on how he grows reticent and dodges the question, it’s obvious he hasn’t told either of them about what’s going on with his family -- or his pie-in-the-sky ambition to transfer either.
Thankfully, he has a convenient topic to redirect to that’s far more pressing.
Nigel: Could be worse. Believe me, I know this shit isn’t fun, Yindra, but there are much worse emotional places you could be right now.
INT. FUNERAL HOME - ENTRANCE HALL - DAY
But not everyone is so fortunate. The day of the funeral has arrived, Grace dutifully standing vigil at the door to greet guests as they enter. ERIC MATTHEWS is present as well, taking on the task of helping to hand out programs for the service.
If Grace is feeling mixed emotions about the whole thing, she does a great job of concealing it, passing for grieving but gracious widow with practiced precision.
INT. FUNERAL HOME - BACK HALLWAY - DAY
For as well as she’s doing, Lucas is the opposite. He’s dressed for the part, but the more guests and former friends of Kenneth arrive and file in for the service, the less steady he becomes. He tried to stay cool, to use his typical aloof approach, but it’s failing him. He’s breaking into a cold sweat, and his hands are starting to shake even as he balls them into fists. Guests keep trying to get a glimpse of him around the corner as they shuffle into the main parlor.
Kenneth isn’t there, but it’s also like he’s all around them. All these people here, so mournful and fondly memorializing the man who made his life a living hell.
That, and he’s never been good at being in the spotlight. It’s like he’s suddenly a kid again, the anxiety and stress of the moment hitting him like a ton of bricks just as Grace steps in to check if he’s feeling ready to go into the service.
Lucas, hastily: I’m gonna be sick.
He darts away from the group and stumbles down the hall towards the bathroom. Asher rushes after him without a second thought, Dylan not far behind. But he does double back to offer reassurance to Grace.
Dylan: We’ll take care of it. Don’t worry. He’ll be okay.
Even as he says it, he doesn’t sound convinced of it himself. Grace manages a nod, concern in her features, but she isn’t sure what else there is to do. The show must go on, whether they like it or not.
Isa has other ideas. They watch this whole scene unfold, and they know Dylan and Asher aren’t going to be able to cure him. Not this kind of grief; not this level of trauma. It’s going to take a force of nature, one of the only things they’ve ever known that can ground Lucas James Friar.
Ducking around the corner, Isa pulls out their phone.
INT. NYU - DRESSING ROOM - DAY
Riley is just finishing up her make-up for Ghost, looking pretty but begrudging as she does the final touches. She’s going through the motions, but today of all days, her heart is just not in it.
So when her phone buzzes with a text on the countertop, it feels like a message from more than just Isa.
“Funeral about to start, Lucas NOT doing well”
“I know ur about to go on, and this might not mean shit, but if I can pull an SOS on his behalf this is going to be the time”
Honestly, hearing it from them is about as crystal clear as it could be. Lucas would never ask Riley to put him first, or tell him how bad it really is when she has something else going on. He wouldn’t do that to her, but Isa can. Isa has no reason to lie, in either direction, and they know Lucas almost as well as Riley.
If they’re sounding the call, then they mean it. Lucas needs her. If there’s any time where he deserves to be put first, this may very well be it.
And Riley knew that. She’s known that the whole time, has felt it in her gut and been dragging her feet along doing what’s expected of her instead this entire time. She knows how important this is, how hard this whole thing is for Lucas, and wants nothing more than to be there with him to survive it. Despite her “professional” obligations, that was never a question for her.
So as she looks at her reflection in the mirror, dolled up for a show and just a step away from being in costume and launching into another rote performance, all she can think is one thing.
What the hell is she doing there?
And just like that, she makes her decision. Riley takes action, removing her mic pack and starting to gather her things. The other girls in the production notice her shift in behavior, none more so than Imogen, who stares at her.
Imogen: Um, what do you think you’re doing? You’re going to be called for places in like two minutes.
Riley: Nope, I’m not. You said you studied your lines, right? Well, congratulations, you get the chance to prove it.
Riley marches over and hands her the mic pack.
Riley: You’re on, understudy. Break a leg.
Imogen is so stunned, she for once doesn’t have a pithy remark ready to go. Riley doesn’t wait for one, grabbing her bag and slinging it over her shoulder. By the time she makes it to the door, one of the other girls manages to speak up.
Cast Member: Where are you going?
Riley: I can’t be here. I have to go. [ assertive ] Family emergency.
And she isn’t going to wait for permission. She leaves the ladies in shocked silence, Imogen only rallying when she realizes she is literally going to be onstage leading the show in mere minutes.
INT. NYU - BACKSTAGE HALLWAY - DAY
Riley runs into Evan as he’s on his way to the wings, the two of them twirling around one another. It only takes a second to see that Evan is all dressed for curtain, and Riley is very clearly not.
Evan: Whoa, whoa, where are you going? Stage is that way. [ looking her over ] And aren’t you forgetting something?
Riley: I’m not going on. I have to go.
Evan: Wait, what?
Riley: Don’t worry, Imogen is already getting ready. She’ll be great. And if Hill has questions or blows a gasket, please tell her I’m sorry. I’ll touch base with her tomorrow and explain everything. But I can’t be here right now.
Evan, bewildered: But --
Riley: I have to go. Lucas needs me.
That’s all she says. It’s all she has time for. She starts to jog away without further explanation, only pausing when Evan calls after her in disbelief.
Evan: Riley -- !
Riley: I’m sorry, Evan. You’ll be amazing, though, like always. I know it. Break a leg.
She offers him a sincere smile, then dashes down the hall and out of sight. No hesitation to leave him, and their entire production, behind. Evan stares after her, totally dumbstruck.
He’s only pulled out of it when a stagehand pokes their head through the doors, claiming they’re getting into places. With that, the show must go on… but he does look back over his shoulder as he pushes through the doors, still processing that Riley is throwing everything aside like that.
Just because of Lucas.
Rachel, pre-lap: I’m only saying all of this because I care about you. I wouldn’t if I didn’t think it was necessary.
INT. GRACE’S BEDROOM - FLASHBACK - NIGHT
Rachel is over at Grace’s, the two of them hanging out in her room. But “hanging out” feels too casual, because based on their posture this evening, they’re not having an easy-breezy conversation. Grace is definitely on defense, Kenneth’s oversized letterman jacket around her shoulders and arms crossed tightly over her chest as Rachel makes her case.
Rachel: But this is getting… I mean, Gracie, this is nuts.
Grace: I don’t know what you mean.
Rachel: Come on. Since when do you give one solitary shit about Texas A&M?
Grace: It’s a great school. There’s no reason not to go there.
Rachel: Lots of schools are great schools. But what I know is that until summer, when Kenneth enrolled there, you had never once mentioned it. But now that he’s spent a semester there and is on football scholarship, you suddenly have it as your top choice?
Grace huffs, shuffling uncomfortably.
Rachel: What happened to California? You were talking non-stop about that creative writing program at Berkeley. Hell, I helped you edit your portfolio. You spent so much time on it, and it was fucking good. What happened to all that?
Grace: I decided to be realistic. We know I’m not going to get in there.
Rachel: No, we do not. Who says?
Grace: My parents will be happier with this anyway. Me not going so far away. And I won’t have to leave the horses --
Rachel: Oh my God, Grace, please be serious. You know it’s not about any of that. You know this is about Kenneth, and your codependent as hell relationship. He wants you to stay here with him.
Grace: That’s not true.
Only her delivery is far from convincing. So she tries to deflect instead, bristling.
Grace: Is this the only reason you wanted to come over tonight? To grill me from some random high horse you just suddenly adopted? Rather than, I don’t know, hanging out since we haven’t gotten to spend much time together in like, weeks?
Rachel: No kidding! You tell me! How do you think it felt to have our English teacher ask me about your college plans, kindly informing me of your apparent decision to go for A&M, when you’re supposed to be my best friend? And gee, I wonder why we haven’t hung out in ages -- maybe because every single millisecond of your free time is spent at A&M glommed onto your bland, cocky boyfriend?
Grace: I can’t believe you’re saying all of this to me! As if you weren’t the one who set us up in the first place! As if you didn’t encourage and encourage me to get out there, to give Ken a chance --
Rachel: I just wanted you to be happy. I wanted you to experience things, to get out of your shell. I didn’t expect him to want to date you.
Grace: … wow. Okay.
Rachel: And then when he did, I thought, okay. Great. This’ll be great for you, a confidence booster. A chance to prove hey, you are so much more than you let yourself believe. And for a while, it was. For a while, I was all for it. But if I had known you two would become inseparable and this borderline toxic, follow-your-man fifties bullshit, I never would’ve done it. Biggest mistake of my life, for real!
Grace: Well, sorry to disappoint you. Sorry that I fell in love. Sorry that a boy dared to love me back, and have it mean something.
Rachel: [ with an eye roll ] Oh, puh-lease…
Grace: Sorry that I’m not also a fucking slut who can’t see any man as longer than a one-time plaything!
Woof. Grace wanted the focus off of her, and she took whatever weapon she had at her disposal -- with massive impact. Rachel blinks, taking the hit hard, staring at her best friend like she doesn’t even recognize her.
Suppose practically swimming in the embrace of Kenneth’s jacket, whoever she knows and loves is hidden away.
But like hell is Rachel going to let her hurt show. She scoffs and blinks back the tears, steeling her expression and holding Grace’s glare.
Rachel: You know, I thought we had it all figured out. I thought you and I were gonna get out of this state, and we were gonna be something. Whatever you wanna call it, I thought we were one in the same. Kindred spirits, or whatever. [ looking her over ] Obviously, I was wrong.
Grace wants to cry, overwhelmed and defensive and terrified of the doubt creeping up her spine at Rachel’s words. She doesn’t understand; she just doesn’t get it. She doesn’t know Kenneth -- not the way she does.
And if she can’t see that, then suppose she doesn’t really know her either.
Grace: Yeah. I guess you were.
Terrific. A tear slips down Rachel’s cheeks, but she doesn’t bother to swipe it away. She isn’t going to give it that much power. Instead, she grits her teeth, making sure to look Grace dead in the eye as she walks away.
Rachel: Good luck, letting Kenneth determine the rest of your life. Hope all that love is worth it. Have a fucking blast at A&M playing shadow.
She whips around and storms out of her room, slamming the door behind her. Grace jumps at the sound, which feels even louder in the empty room she left behind… she wraps herself tighter in the letterman jacket, burrowing deeper into whatever comfort she can glean from it.
Digging into the belief that she’s making the right choice.
INT. L.A. APARTMENT - MAYA’S BEDROOM - DAY
Back in the present, Maya is seeking a similar sense of comfort. She’s bundled up in her comforter, using her laptop to look through old videos of her performing. As far back as when she was a kid, less refined yet just as full of bravado and volume, but even as recent as her years at Adams.
She seems so enthusiastic in all of them, filled with the joy of performing regardless of what other bullshit was going on in the meantime. Fairweather friends, abandoning fathers, near-miss suicides -- none of that can touch her when she’s allowed to sing, when she gets to put on a show. When she’s in performer mode, she’s invincible.
It was only a year ago that she was there, but it feels like a lifetime. That easy confidence and instant joy feels so foreign, like her memory has been wiped and she doesn’t know how to access it. It’s been on shaky ground since she came to L.A., and she’s been trading bits of it away in pursuit of whatever it was that was supposed to matter more than anything.
And then in one night, Justin took it all like it was nothing. Just another day in the business.
Maya’s cheeks are flushed, her eyes taking on that uncomfortable teary feeling again. She grits her teeth and shuts her laptop, cutting off her younger self unceremoniously. She climbs out of her blanket cocoon, suddenly feeling suffocated.
As the sultry, melancholic synths ease in…
EXT. LOS ANGELES STREETS - DAY
Song Cue ♫ ♪ “In L.A.” as performed by Fame - The Musical Original Off-Broadway Cast || Performed by Maya Hart
Fittingly, as the certified A class Carmen Diaz, Maya finds herself singing her devastating second-act soliloquy as she wanders the sunlit streets of Los Angeles in a desperate search for fresh air to breathe. Much like the original rendition, Maya has discovered the promises and allure of fame and Hollywood aren’t all that they seemed, even for someone as savvy and strategic as her.
She starts off quiet, unsure, almost like a murmur and distinctly un-Maya. A reflection of how out of sorts she feels, how out of control things are and how removed she feels from her voice.
EXT. ECHO PARK LAKE - DAY
After the first chorus, we arrive in Echo Park for the second verse. Maya walks the pathway around the iconic lake with her head down and arms crossed, on defense even though the joggers, college kids, and dogwalkers are hardly a threat.
After the booze and the coke, the visions of the blue Pacific
After the two-hundredth time I told him he was “just terrific”
She makes her way down to the lake, looking into the murky water. Her reflection stares back at her, feeling unfamiliar, just as she starts to recount the things about being here that have left the strongest scars.
I woke up one late afternoon and couldn’t tell quite where I was
Leftover taste in my mouth and with a morning after buzz
As she continues, getting deeper into the memories she’s been working for weeks to repress, her voice grows gradually in volume but also frenzy. While her vocals are emotive, they lack their usual discipline. These lines aren’t coming from a well-trained star performer -- they’re slipping out from the scared girl underneath, the one who has rarely needed to sing.
EXT. LOS ANGELES HIGH SCHOOL - DAY
Maya continues her walk, passing by a local high school. She’s basically invisible to the students here, lost in their own worlds, so she has to dodge to avoid being knocked into by a crowd of enthusiastic pals just getting out for the school day.
She looks over her shoulder after them, eyes welling up.
You try to stop the thought from coming but it never ends
You think about how far you are from home and friends
She keeps walking, the lyrics becoming more strained as they fight to get out of her -- until she stops still at the end of the block, staring up at a towering advertisement plastered onto the side of one of the office buildings like a billboard.
One of her. One of the last ones she approved with Melissa and Justin before “Haute Stuff” dropped, the single that was never hers to begin with. Where she’s looking perfectly plastic, hot as hell but devoid of substance, the perfect bubblegum pop Barbie doll just begging to be played with.
Maya’s face is full of disgust, an almost visceral revulsion.
Don’t look in the mirror to see what you’ve become!
EXT. LOS ANGELES STREETS - DAY
The despair can’t be contained anymore. It practically bleeds out of Maya as she barrels through the remainder of the performance. It’s still unpolished, and raw, and far from her usual level of excellence, but God is it powerful. It’s spilling out of the deepest corners of her soul -- the loss of her ambition, her dreams, her sense of security. Her sense of self.
So smile when they say it’s only a dream
And you’ll get what is coming to you
All swept away by the glitz of L.A., where all your dreams come true.
Maya finishes belting out the last blockbuster set of lines…
EXT. LARCHMONT - DAY
Then dwindles into the final lyric as she arrives back outside her building. But she can’t bring herself to go back inside -- there doesn’t feel like a need to. It’s not home. This place can’t be home anymore.
Instead, she leans back against the brick and slides down into a sitting position. As the music peters out, she wraps her arms around her knees and tucks her head against them, smaller than she’s ever been.
INT. SVORSKI’S COFFEE - DAY
Nigel steps into the coffee shop, surprised when he finds Vanessa waiting by the counter. They exchange awkward smiles, the former questioning what she’s doing there. He doesn’t think of her as a regular here.
Vanessa: Definitely not. But most of my usuals are over by Turner, and right now…
She’s kind of avoiding the place as long as she can hack it until this stupid gala thing is over. One more night! Unfortunately, that means higher risk of running into Zay, but she’ll take that chance.
Nigel: Oh, yeah. Sorry about that, by the way.
Vanessa: So Zay’s telling everyone?
Nigel: Actually, not really. He told Riley, and she told Lucas because she tells him everything even though he doesn’t care and probably won’t remember seventy percent of it. But I think Asher was there when she did, which meant it took less than twenty-four hours for Dylan to know, and at that point it becomes kind of impossible to track the thread within our group. Jade told me, for the record, not that it matters.
Vanessa: Cool. That’s just swell.
Nigel: If it helps, though, I don’t think anyone like… feels any type of way about it. Other than sorry it didn’t work out. As in, we love Zay, but we like you too. It’s just a bummer for everyone.
That is nice to hear, honestly. Part of the biggest anxiety Vanessa was nursing about the whole thing was the loss of the friendships she was starting to make beyond Zay -- which maybe says something in it of itself. She shrugs.
Vanessa: No need to take sides, really. Wasn’t exactly anyone’s fault. It just… didn’t work. Like you said.
But whatever. She’d rather talk about anything else. She changes the subject.
Vanessa: How did talking to your parents about London go? Did you tell them?
Speaking of things we’d rather not talk about… based on how Nigel’s expression dims, and he hesitates, the answer is obviously “not well.” And since Vanessa is one of the only people who knew Nigel was considering it, it seems clear that he hasn’t had the chance to really unpack it with anyone.
After a beat, Vanessa holds up a hand.
Vanessa: First things first. You need coffee.
INT. FUNERAL HOME - BATHROOM - DAY
Asher has talked Lucas back from the ledge, at least enough that he’s no longer crouched in front of the toilet in case he vomits. Lucas splashes cold water on his face while Asher hands him a paper towel.
Asher: Okay?
Lucas: Better. [ a lie, but whatever ] I’m sorry. I don’t know -- I’m being so fucking stupid --
Asher: Lucas, it’s fine. Totally understandable. But you’re gonna be fine, too.
Lucas does not look convinced, and still looks a bit ill, but he doesn’t have much of a choice but to pull it together. He just has to get through the next few hours.
Once he’s dabbed his face dry, Asher leads him through one more calming breath. If he has to hold it all afternoon long to survive, so be it.
INT. FUNERAL HOME - BACK HALLWAY - DAY
Dylan is doing his best to reassure Grace that Lucas will be fine, but it’s not going well.
Grace: He didn’t want to do this. I only felt like we should -- if he can’t, then he shouldn’t --
Dylan: He’s going to do his best. He doesn’t want you to do this alone. And we’ll do everything we can to help.
But what if it’s not enough? Grace struggles to express just that, uncertainly stumbling over her words -- like mother, like son -- but Dylan’s outlook brightens significantly moments later when he spots something behind Grace over her shoulder.
Dylan: I think our odds just got a lot better.
Grace turns to look, following his line of sight.
Riley. She made it, just a few steps behind Isa as they lead her back into the hallway where they’ve been taking shelter. She’s changed out of her pre-show clothes and into an elegant semi-formal black dress, while her stage make-up and hair did her the favor of looking polished.
She outpaces Isa once she spots Lucas, finally emerging from the bathroom with Asher. She breezes past Dylan and Grace and rushes to meet him, colliding with him in the middle of the hall. Lucas is genuinely shocked to see her, like he can’t believe his eyes -- but the relief in his voice is palpable.
Lucas: [ voice cracking ] Riley?
Riley: Yeah. Yeah, I’m here.
Her touch proves it, the two of them gripping each other’s arms to stay steady. Lucas shakes his head, even more out of breath than before.
Lucas: What -- what are you doing here? Your show --
Riley: Shh, it’s fine. Everything’s handled. You worked in show business long enough, surely you remember what understudies are for? Trust me, mine is thrilled.
Lucas is so overwhelmed, he doesn’t have it in him to argue. And selfishly, the solace of her presence is so immediate, so soothing, he wouldn’t let it go for anything right now. He lets Riley take his shaky hands, squeezing them tightly.
Riley: I’m exactly where I need to be. Now we just have to get through this. Which you will.
Lucas: Okay. Yeah, okay.
Riley: Just a couple hours. You’ve faced way harder things before. And I’m right here. I’m with you.
There’s nowhere else she’d rather be. Lucas nods, closing his eyes and pressing his forehead against hers. Finding the grounding comfort of being close to her just for a moment, before they have to face it for real.
Honestly, Riley’s surprise appearance is a relief to just about everyone. Grace exhales a breath, while Isa smiles to themselves at the fast impact Riley has on Lucas.
Dylan approaches and pats Riley on the shoulders, both as a welcome and a subtle nudge that it’s time to go. The service is about to start. When Lucas steps back from her, he meets Dylan’s eyes, who raises his eyebrows at him.
Ready?
Lucas takes a deep breath, still shaky but holding it together. He looks to Riley again, who gives him a warm smile. He intertwines their hands and grips it like an anchor, then gives Dylan a nod.
Grace leads the way back to the entrance hall, Isa following behind. Then Lucas and Riley, taking the march one step at a time; Dylan and Asher bring up the rear, the former throwing his arm around the latter and hugging him close.
INT. GLOBAL BEAT - OFFICES - DAY
Another quiet morning at the office. No sign of Justin or Melissa, but that’s not out of the ordinary. It’s just Josh, the other assistants typing away, and his thoughts.
Still no Maya. At this point, he wonders if she’s ever going to come back. Did he make it weird with his voicemail, and now she’s avoiding him? Did he overstep? Or worse, is she having doubts? Given the direction Melissa and Justin are taking her, putting her in a plastic shoebox of bland pop, he can’t say he’d blame her if she was.
So maybe it’s worth it to speak his truth. At least give her the ammunition to take her work further, the stuff that’s already good, even if he doesn’t get his name on the credits. Not like it would be the first time…
But if it helps her do more of her own stuff, showing her true range, then that’s worth it. That’s a legacy he’d want his fingerprints on, invisible as they may or may not be. Maybe she just needs a little bit of feedback or encouragement, since Justin and Melissa are clearly so busy spread across other clients. Whether she includes him, or ever speaks to him again, so be it.
As long as she keeps making killer music, he can live with that.
Before he can second-guess his instincts, Josh pulls up his drafts and opens the notes email to Maya, crafting a new leading message.
INT. L.A. APARTMENT - MAYA’S BEDROOM - DAY
Maya has at least managed to stay out of bed, hair still unkempt and far from her stylish best. She’s at her desk, struggling to force herself to eat so as to not make her lingering perpetual nausea any worse.
She’s hesitant when her phone lights up on her nightstand, not sure she wants to see who it is. What a grim change of pace, considering she used to get a burst of energy every time a new opportunity could potentially be gracing her phone. Now, she finds herself dreading what she may have to stuff down and avoid.
When she sees it’s from Josh, at first she’s wary, but then she sees the subject line. “Demo Notes.”
Curiosity winning out, she opens the email and gets to her feet, anxiously pacing as she reads through it.
“Hey,
If I made things weird again somehow, I’m sorry. I wanted to tell you this when I caught you in the office, but I haven’t managed to see you recently. Anyway, I listened to your demos, and they’re really good. There’s some serious stuff here. At the risk of being an arrogant asshole and overstepping again, I jotted down some thoughts I had while listening.
If you wanna do anything with them, by all means, go for it. A peace offering.
See you soon?”
Josh wasn’t kidding. He took time with these notes, evidently having deeply listened and thought about her demos. He took the time to listen at all, which is more than she’s been getting the last few months.
More than that, he’s talking to her. Just her. No mention of Justin, or Melissa -- and based on what she knows about him, his intentions are legit. He’s pathetically awkward, and a terrible actor. If he was trying to fish for his bosses, that would come through no matter how hard he tried.
He’s reaching out because he cares.
Struck with a sense of urgency, the overwhelming desire not to be trapped in isolation anymore, Maya finds herself frantically opening her text messages.
INT. GLOBAL BEAT - OFFICES - DAY
Whatever he was expecting after his olive branch, Josh is not anticipating such a fast response. He’s surprised when his phone buzzes within minutes, even more so when Maya’s contact lights up his screen. He opens it immediately, sitting up straighter.
“Lunch today?”
Josh stares at the message, then glances over his shoulder towards Justin and Melissa’s office. No one’s around to see…
He starts to type his reply.
Nigel, pre-lap: To be fair, I don’t know what I was expecting.
INT. SVORSKI’S COFFEE - DAY
He and Vanessa have taken a table in the corner, and Nigel has just finished giving her the rundown of how unideal his pitch to his parents went.
Vanessa: Ouch. Yeah… I can imagine the comment about Zay was a deep cut.
Nigel: Definitely wasn’t my favorite critical commentary to receive, no. Unfortunately, that’s a common casualty of being his friend.
Vanessa: Oh, even with my comparatively brief experience, I got that.
Nigel: It’s not like it’s intentional or anything. And like I said, I had to adjust to that fast. I don’t hold it against him. But… sometimes it sucks. Constantly being in someone’s shadow. Especially when you love them.
Vanessa: Mm. It’s that bigass head of his. It’s really good at soaking up all the sunshine.
Sorry, he can’t help it that he’s so legendary! Anyway, they’d both rather not focus on that angle of it, so it’s easy enough to push past it. Vanessa redirects to the actual core of the issue rather than the details of what was said -- his parents. Nigel nods.
Nigel: But yeah. Obviously did not go how I hoped. In fact, I can’t imagine how it could’ve gone any worse.
Vanessa: Oh, come on, don’t say that. They could’ve disowned you, or threatened to pull you out of school entirely. It can always be worse.
Nigel: That’s very comforting and inspiring, thank you.
Vanessa: That’s what I’m here for. Master of emotional warm and fuzzies, didn’t you know this about me?
Nigel can’t help but smile at that, albeit weakly. He may not know Vanessa that well, all things considered, but he at least knows that much is a heaping dose of sarcasm. Then he shrugs.
Nigel: I don’t know. I guess I just thought… I mean, it’s not like my parents are hardcore art lovers. My dad is into lit and stuff, but… they’ve always been chill about the acting thing. So I guess some part of me just though, okay, they’ll have to think about it some, but they’ll be cool with it. They’ll want me to be happy. And their reaction was just so… not that.
Vanessa: Not what you anticipated.
Nigel: No. So maybe that was my mistake. I set myself up from the start.
Vanessa: It’s nice you even had that illusion, though. That speaks more highly of them than you realize. Me, I know any time I bring up my “dreams” or whatever, I’m guaranteed to get an eye roll from my parents, if not an earful about it.
Nigel: Yikes. Sorry.
Vanessa: Yeah, my pops is not a fan of the dance thing. To say the least. Suffice to say, I get unsupportive parents. [ a beat ] I just wonder if that’s actually what’s going on.
Nigel raises his eyebrows. Skeptical, but also hoping she has something impactful to say. That there’s any way to change the gloom that’s settled over them.
Nigel: I’m listening.
Vanessa: Like, don’t take my word for it, since I’m just extrapolating. I wasn’t there, you were, and I don’t really know you like that to get all psychoanalytical on your family. But… I mean, you said just now that you figured they’d have to think about it, even if they were gonna have a good reaction.
Nigel: Yeah…
Vanessa: Part of you clearly knows that they weren’t going to be all rosy and happy about it right off the bat. You just got lost in the heat of the moment, in the pressure of saying it at all, that you forgot to keep some of your armor on. Because trust me, I know, if you’re not properly suited up, rejection hurts like a motherfucker. It totally blindsides you, makes any other sort of logical thought in the moment impossible.
There’s a reason she’s so guarded, as a general rule. Feels safer that way, albeit lonelier. And that’s not what she’s suggesting Nigel emulate, but looking back, she’s just trying to find where he left room for expectations to fall so short of reality.
Vanessa: Like, if you knew it was gonna take some time, how are things now? What does your mom think now?
Nigel: … I don’t know. We haven’t said much to each other about it. [ a beat ] About anything, really, lately.
That’s a feeling Vanessa knows too. She gives him a sympathetic look.
Vanessa: Remember that I don’t know your business, so take this with a grain of salt. But I think it might be worth talking to them about it one more time. They’ve had time, so give them the chance to say their piece now.
Nigel: I wouldn’t even know what to say.
Vanessa: You don’t have to say anything. This time, they have to speak up. All you have to do is listen, and decide for yourself if you can vibe with it. Wherever they’ve landed. Just go into it with your eyes wide open and armor well fitted this time.
It wouldn’t be worth it with her parents, since they’ve been a lost cause for ages now. But she doesn’t get the sense Nigel’s family is the same way. It’s not going to be comfortable, or maybe end up perfectly tied up with a bow, but better to give it one last shot than accept a fate of fractured trust for the rest of his life.
Speaking of complicated families…
INT. GRACE’S BATHROOM - FLASHBACK - NIGHT
Months have passed, now placing us firmly in Grace’s freshman year of college. Winter break to be exact, so it has already been a full semester of collegiate activity and fun.
Perhaps a little too much fun. Grace is pale and grim as she paces the tiny bathroom in her childhood home, now wrapped in a cozy crewneck from Texas A&M University. But no matter how comfortable it may be, it can’t insulate her from the reality blow she’s about to receive.
She checks her wristwatch, then reluctantly reaches towards the sink and retrieves a small piece of plastic. A pregnancy test.
A pregnancy test that reads positive.
Grace would be sick, if she was capable of feeling anything at all. She’s numb from shock, staring down at the test with a blank expression and absolutely no idea what to do.
Kenneth, pre-lap: What the hell is going on, Grace?
INT. KINSLEY FAMILY FARM - STABLES - FLASHBACK - DAY
It’s the last few days of winter break, and the world outside the wooden shell of the barn is frigid cold, even for Texas. Grace is bundled up in a coat as she cares for the horses that afternoon, using all of her focus to tend to them and have every excuse not to look at her boyfriend.
Kenneth is less bundled up, only sporting a sweatshirt from A&M -- he’s always ran hot. And he’s feeling especially so right now, frustration bubbling up as he tries to get Grace to speak to him. For whatever reason, she’s just started icing him out, and he has no clue why.
A fact that evidently does not please him. It makes him angrier to have her do it right in front of him, for him to be addressing her and her to go on as if he’s not even there.
Kenneth: You’re seriously not going to talk to me? You’re fucking pissed at me, and you won’t even have the decency to tell me why?
Grace, quietly: I’m not mad at you.
Kenneth: Then what the hell is wrong with you?
Grace: Nothing. I’m fine.
Bullshit. But at least she’s finally biting. Kenneth doesn’t let it go, stepping closer.
Kenneth: You haven’t talked to me since Christmas Eve. You won’t take my calls. Seriously, what did I do that’s so terrible? [ with a huff ] And if you’re gonna dump me, is this really how you’re gonna do it? You ain’t even gonna look me in the eyes and tell me to fuck off?
Grace: I don’t want to dump you.
Kenneth: You know what you do to me, don’t you? You drive me crazy. It makes me crazy, how much I love you. I can’t deal when things are like this -- when you’re a thousand miles away. I want you -- I need you to talk to me. Tell me what’s going on.
Grace wants to. Part of her does, but the rest of her that’s gripped with fear is stronger. So she stays silent, making sure Judy gets her fill of oats.
Once again rebuffed, and not understanding why, Kenneth snaps.
Kenneth: Jesus, Grace! This is ridiculous. [ a beat ] You found someone else. You found another guy, didn’t you?
Grace: What? No. That’s --
Kenneth: I saw the way Jake was looking at you at the finals party. I swear, he is always trying to step on my shit. He’s mad he’s not quarterback, and then he sees that I’ve got the most beautiful girl on campus, and he just -- but he succeeded, didn’t he? He got what he wanted.
Grace: No, Ken.
Kenneth: Then why won’t you talk to me? Why can’t you look me in the eyes and say it to my face? [ impatient ] Grace --
He marches forward and takes her arm, tugging her in his direction to face him. She recoils and slips from his grasp, putting a few paces between them. But he manages to yank the truth out of her anyway.
Kenneth: Why can’t you just --
Grace: I’m pregnant!
The stable goes silent. Kenneth stares at her, dumbstruck; Grace can’t stare at him, dropping her humiliated gaze to the floor.
Kenneth: What?
Grace: You wanted to know. That’s it. I’m pregnant.
She can say it all she wants, it won’t make it any easier to process. Kenneth shakes his head lightly, as if that’ll make the bomb un-detonate. When he manages to speak, it’s in a stunned murmur.
Kenneth: Are you serious?
Grace: Yes.
Kenneth: How long have you known? When did you -- ?
Grace: Last week. [ a beat ] My period didn’t come. During Christmas.
Kenneth: Fu -- you’re sure?
Grace: [ resisting the urge to snap ] Yeah, I’m pretty sure.
Kenneth chokes out an exhale, spinning away from her and pressing his hands behind his head. He screws his eyes shut, fighting the wave of panic washing over him. Grace watches his every move, uncertain…
Then he knots his hands in his hair, letting out a profound cuss.
Kenneth: Holy shit!
Yeah, sounds about right. Grace makes herself smaller, crossing her arms.
Grace: Yeah. I know.
Kenneth: Fuck. How the fuck did this happen? We didn’t -- we always use protection --
Grace: I know. I don’t know.
Kenneth: What the hell are we going to do? [ turning to face her ] What did you do wrong?
Um, excuse me? Grace scowls, cheeks flushing.
Grace: What did I do? Um, I think you would know.
Kenneth: Yeah, but -- but I wear a condom. I used protection.
Grace: Well, it didn’t fucking work.
Kenneth: Don’t talk to me like that. [ stammering ] You could’ve -- I kept telling you to get on the pill --
Grace: And I told you exactly why I couldn’t. You think my parents would ever let me do that? My dad still pretends to get out the shotgun every time you come over. And I could never do it behind their backs, I’m still on their insurance.
Kenneth: There were ways. We could’ve gotten it --
Grace: Not safe ways. I said all this, and told you all this, but you said it was okay. You wanted to do it anyway.
Kenneth: Because I love you! Because I wanted to be with my girl! I didn’t think --
No one ever thinks it’s going to happen to them until it does. Yet, here they are, party of two and counting.
For now, at least.
Kenneth: And what, were you just never going to tell me? If I hadn’t marched over here and made you talk, what were you gonna do then? [ rubbing his temples ] God, what are we gonna do now?
Grace: Take care of it.
She says it calmly, despite the quiver in her voice. Like she’s already made up her mind. Kenneth locks eyes with her, absorbing that… and realizing what she’s implying.
Kenneth: Are you crazy? You can’t do that.
Grace: I already figured out how. There’s a Planned Parenthood in Austin. I’ll go on the drive back to A&M, since it’s on the way.
Kenneth: You -- you can’t. You cannot fucking do that. Do you hear what you’re saying?
Grace: I don’t have any other choice.
Kenneth: Any other choice than murder? How are you going to live with that? And -- fuck, what if people find out?
Grace, shaky: They won’t.
Kenneth: What if our parents find out? Grace, my parents will fucking murder me if they learn you got an abortion. If you killed --
Grace: Well, what’s the alternative?! Please, enlighten me, Ken. Show me what better choice there is, because I’m one-hundred percent sure you’re not ready to be a father.
Damn right, but that doesn’t help the stress at all. Kenneth presses his palms to his eyes, but the room keeps spinning anyway.
Kenneth: It’s all over. My life is over. This is going to fuck up everything.
Grace: Exactly. I don’t want that to happen. That’s why I’m going to take care of it.
Kenneth: No. No, Grace, you can’t. You can’t do this to -- to our --
Grace: To our what? You’re not the one who’s going to have to carry it. You realize that, right?
Kenneth passes her as he frantically paces, palms sweaty and feeling light-headed. Grace is tearing up.
Grace: I get that it’s fucked up. I get that I’m going to have to live with it for the rest of my life. But what’s the alternative, Ken? Be serious. I’m nineteen. I don’t want to be a mom -- I don’t want a fucking baby!
And they both know Kenneth doesn’t want one either, despite what Southern societal pressures might be weighing on their shoulders. So she’s going to do something about it, before both of them end up in a situation they know they’ll regret.
Still, the dread of the implications behind her choice is so visceral it’s near paralyzing. It keeps Kenneth fighting back even when he doesn’t know what for, when the other choice he’s indirectly advocating for is also a dead-end.
Kenneth: Grace, don’t do this. Listen to me. You cannot do this --
Grace: Sorry, but I don’t think it’s actually your choice.
In an instant, under enormous stress, something in Kenneth snaps.
Kenneth: Like hell it’s my fucking choice! It’s my baby!
Grace stares at him, bewildered at his outburst. She doesn’t understand why he’s fighting so hard, when she knows logically the alternative will be worse for both of them. What is he holding on so tightly for?
Grace: I’m doing this for both of us. You don’t want this, Ken. Neither do I.
Kenneth: You don’t get to tell me what I want or don’t want. And you’re not going to send us both to Hell for your selfish choice. I’m not letting you take me down with you.
Grace: What are you even talking about? Do you hear yourself?!
Kenneth: You aren’t fucking listening to me.
Grace: You can’t really think --
Kenneth: Goddamn it, Grace, would you just fucking LISTEN TO ME?
In a fit of rage, Kenneth reaches out for the first thing he can grab, ripping it off the wall and throwing it as hard as he can. It flies past Grace, causing her to duck away, and crashes against the door of one of the horse stalls, shattering into dozens of pieces.
Once Grace regains her bearings, she looks over at where the object landed, expression riddled with horror.
Her horseshoe. One of her most prized possessions, now shattered into oblivion across the ground.
Kenneth threw it away like it was nothing. Like it held no importance -- or maybe precisely because it did. It’s impossible to tell, especially now that the heat of the moment has passed and he looks as mortified as she does. He meets her eyes.
Kenneth: Grace. I’m sorry.
She can’t look away from him, heart pounding, even as she starts to back away. When he tries to close the distance between them, she scrambles further apart.
Kenneth: Let’s just talk about this --
Then she’s running. Full speed, down the slope of the stables and out into the cold embrace of the farmland in winter. Kenneth curses, stumbling after her.
Kenneth: Grace. GRACE!
He huffs out another “fuck” and kicks at the nearest beam, causing the horses to bray in fear.
EXT. KINSLEY FAMILY FARM - FLASHBACK - DAY
Grace runs as fast as her legs will carry her, not daring to look back. Not even sure what she’s running from after a certain point, but positive from the fear in her bones and the desperation coursing through her veins that she has to get away.
She blinks back any tears that surface, allowing the brisk winter chill to dry them away.
INT. FUNERAL HOME - MONTAGE - DAY
Grace’s eyes remain dry in the present, expression skillfully schooled and delicately somber as the funeral gets underway. A brief montage reflects the passage of the afternoon into evening, Christian rites being done in honor of Kenneth’s extended family.
Interwoven throughout, guests of all sorts give little voluntary speeches at the podium. Gushing about how much they loved Kenneth Friar, what a guiding light and stalwart force he was in their communities. Filled with genuine grief, full of fond reminiscent memories to share.
Grace and Lucas remain quiet. They let everyone else fill the time, listening silently but not willing -- or able -- to step up and share any memories of their own. For now, this absence goes unnoticed.
Lucas continues to look a bit nauseous, particularly every time young men from the Quincy football team praise Kenneth for his paternal wisdom and support. But he gets through it. He remains steady, surviving the bulk of the funeral without incident.
In no small part thanks to Riley, who stays faithful by his side the entire time. He keeps his hand locked with hers, using it as an anchor to ground him to the present.
EXT. NORTH HOLLYWOOD PARK - DAY
Josh’s hands are interlocked with his own, fingers twisting anxiously as he paces the park in his neighborhood. He’s waiting by a bench where he agreed to meet up with Maya, rehearsing what he thinks he’ll need to say in his head to make his case about her artistic direction before convincing himself he’s being an idiot and scrapping it out loud.
He’s saved from his own spiral when Maya arrives, making her way down the sidewalk towards him. He tells himself to pull it together and not at least act like a freak when she’s in front of him, managing to conjure up a somewhat convincing laid-back smile as she approaches.
Maya is about as stable, far from her usual starry sheen. She’s gone to the effort to dress closer to her usual style rather than sweatpants, but it’s still leagues from her standard. The only reason Josh doesn’t notice is because he’s too caught up in his own head.
Josh: Hi. Hey.
Maya: Hi. Thanks for agreeing to meet here.
Instead of in Hollywood near Global Beat, which is where Josh initially assumed they’d get together. But Maya very quickly made it clear she did not want to be in that neighborhood. Considering she’s willing to chat with him at all, he was happy to oblige.
Josh: No worries. It’s my scene over here, after all, so. No biggie.
Maya: Right.
Right… well. Now that they’re both there… Josh’s mental gymnastics does him no good, because he stumbles into the conversation about as haphazardly as one could.
Josh: So. Your demos. I know I probably overstepped and rubbed my big, egotistical producer hands all over it, so I’m more than open to hearing your clapbacks. If we argue about it and do nothing else, that’s all good. I just wanted to make sure you at least saw my thoughts. [ off her silence ] Just ‘cause -- like I said, they’re good. You’ve really got something beyond just like, “Haute Stuff,” you know? I figured if you saw that I put in the effort, you’d get that they’re worth --
Maya’s silence becomes more understandable the longer he rambles. It was defensive, the last ditch fight to keep it together, because the moment sound does escape her it’s certainly not confident clapping back.
In an instant, she’s crying. And once she starts, then it’s even worse, because the utter mortification of crying in front of anyone, Josh Matthews especially, is damning enough. She brings a hand up to her face to try to hide it, to cover it any way she can, but it’s no use.
Josh blinks, totally caught off-guard. What the hell did he say? What could he have possibly done if Maya is tearing up? He’s horrible with comforting people as it is, particularly criers, and now he’s gone and made this niece-shaped frenemy turn on the waterworks.
Josh: Shit. Are you -- I’m sorry, whatever I did --
Maya shakes her head. It’s not him. God, based on what he just said, he could not be further from the problem.
Then she’s sobbing, closing the space between them and pulling him into a hug.
Josh has no idea what’s going on. He has no idea what to do, or how a lunch meeting went south so quickly, or how on Earth he ended up with Maya Hart crying into his sweater and holding onto his torso like a life preserver. There is no version of reality where he would’ve predicted this is how things would go.
But what he does know is Maya needs him. If she of all people is broken down this badly, showing her cards so easily, it has to be for good reason. And he knows if Riley were in a situation like that, he’d want her to be in the best, safest company she could find.
So that’s all there is to do. That’s all that matters. Josh opts to put the music aside, rolling with the punches and doing his best to comfort her in spite of the awkwardness. He lightly returns the hug and pats her back.
Josh: Hey. Hey… it’s gonna be okay. You’re good. It’s okay.
He really has no idea. Maya hugs tighter and only cries harder.
The two of them are just another everyday spectacle, lost in the land that made a business out of it.
END OF PART 1.
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