the times they are a-changin' (spec script - glee)

7/24/2019 The Times They Are A-Changin' (spec script - Glee)

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glee"The Times They Are A-

Changin'"

written by:Diane Carol Harder

Liliath & Penumbra(323) [email protected]



RECAP

NARRATORHere’s what you’ve missed on Glee:Will had the chance to be onBroadway, but gave it up to keep

directing the glee club. Sue’srunning for office, and used hercampaign to bash Burt - and Santanaended up getting outed in theprocess. Shelby cut Quinn out ofBeth’s life after she heard fromPuck about her attempts atsabotage. Kurt and Blaine aregetting pretty serious in theirrelationship. And that’s whatyou’ve missed on Glee.

TEASER

INT. MCKINLEY HIGH -- MORNING

WILL SHUESTER enters McKinley’s hallways, ready for work,only to find them strangely quiet. As he passes, he noticesSTUDENTS whispering to each other and looking further downthe hall, where a hum of voices can be heard.

He pulls a piece of paper out of his pocket --

-- it has a picture of SUE SYLVESTER on it. He flips it overto reveal an invitation, which reads:

SUE (V.O.)Hey, Butt-Chin! You’ll want to cometo my office pronto this morning!

Curious, Will continues down the hallway, and the hum growslouder, until he turns the corner and finds--

-- Sue, wearing her best track suit business suit, standingin front of her office, addressing a gaggle of REPORTERS andPAPARAZZI from her own podium of microphones.

EMMA PILLSBURY, PRINCIPAL FIGGINS, and COACH BIESTE are allstanding nearby, watching the hullabaloo.

Will joins them.

WILLWhat’s going on?



Emma hands him her own personalized invitation, complete with mocking picture of Sue on its front.

EMMA Sue’s called a press conference.

WILLWhy?

FIGGINS(shrugs)

I am not sure, William, but I hopeshe will not mention to the pressthe scabies outbreak we had last week. Or the protest the studentsheld against it.

SMASH CUT TO:

EXT. MCKINLEY HIGH -- DAY (FLASHBACK)

A group of STUDENTS, including NOAH “PUCK” PUCKERMAN, standsnear the door, holding picket signs with slogans like “DOWNWITH SCABIES!”, “SCABIES SUCKS!”, and “LEGALIZE MARIJUANA!”

Emma patiently tries to approach each of them, giving thempamphlets with the title “DON’T SCRATCH THAT RASH!”

Meanwhile, Figgins just glares at Puck and pulls the“LEGALIZE MARIJUANA!” sign out of his hands.

SMASH CUT TO:

INT. MCKINLEY HIGH -- DAY (PRESENT)

Figgins surreptitiously scratches himself, while Will turnsto watch Sue hush the crowd in front of her.

SUEAs you all know, I am currentlyrunning for the U.S. House ofRepresentatives.

She glares over at BURT HUMMEL and REGGIE “THE SAUCE”

SALAZAR, also holding their personalized invitations.

SUE (CONT'D)Every freeway has its life-threatening oil slicks, and myfreeway to the Senate has one namedBurt Hummel and another with astupid nickname I don’t even careenough to remember.

glee - "The Times They Are A-Changin'" - Diane Carol Harder -12/05/11 - 2.



She turns back to the crowd in front of her.

SUE (CONT'D)I’m here to announce that I takefull responsibility for the tonethis campaign has taken up to this

point. I apologize to the student who got hurt as a result. That wasunacceptable, and I pledge to leada more positive campaign from thispoint forward.

(dramatic pause)I’d also like to take thisopportunity to remind my opponentsthat I will, as only a championknows how, throttle them onelection day, and will then mockthem publicly on multiple occasionsafter doing so. I only hope Burt’s

delicate simian heart can handlethe humiliation.

(off their shockedsilence)

Oh - and when I win, I promise thatthe first thing I do will be todivert every single penny from artsfunding toward Special Education.The second thing will be to seethat Reggie “The Stupid One”Salazar’s pizzeria is audited bythe IRS every single month I’m inoffice. That is all.

The reporters jump to life and begin shouting questions ather.

Emma’s, Figgins’, and Bieste’s faces are all pictures ofdisbelief.

Will, meanwhile, just shakes his head.

TITLE UP“GLEE”

ACT ONE

INT. PRACTICE ROOM -- DAY

Will stands in front of the white board, on which he writes:

“60’S FOLK MUSIC.”




The GLEE KIDS all groan, except RACHEL BERRY and RORYFLANAGAN.

RACHELFrankly, I’m surprised we haven’tdone folk music before.

QUINN FABRAY shakes her head with disbelief.

QUINNDon’t tell me you have some deep,personal relationship with folk music.

RACHEL(puzzled)

Well, no - I just think itshowcases my vocal range really well.

Will holds his hands up to get their attention.

WILLI’m sure by now you’ve all heardabout Coach Sylvester’s statementto the press.

Puck nods at him.

PUCKYeah - she’s running for senate. Orthe house. Or something to do withthe freeway? Actually, I’m notreally sure - but she really hatesthat Sauce dude after what he didto Santana.

FINN HUDSON sighs.

FINNThat’s my fault - if his niecehadn’t heard what I said toSantana, The Sauce never would’vebeen able to put it in his ad.

He turns to KURT HUMMEL.

FINN (CONT'D)I really hope your dad wins. It’dbe awful if either Coach Sylvesteror that Sauce guy won.

Will steps forward.




WILLThat is actually the reason forthis week’s assignment. The 60’s were a time of extreme social andpolitical change. This week, I wantyou to find a song that expresses

not only the frustration andyearning of that time period, butof ours as well.

The glee kids nod their agreement, starting to look moreexcited.

INT. HALLWAY -- DAY

SANTANA LOPEZ approaches BRITTANY PIERCE’s locker, only tofind her and Rory talking together.

Brittany nods and Rory walks away.

SANTANA What’s with you and the potatoeater?

Brittany shrugs.

BRITTANYRory may not actually be aleprechaun or have magical powersto grant wishes, but BarbaraWalters flaked out on her Fonduefor Two interview this week so Iasked him to sub in. I’ll just haveto put in subtitles or something.

SANTANA Oh.

She bites her lip.

SANTANA (CONT'D)Hey Brit?

BRITTANY

Yeah?

SANTANA When are you going to have me onFondue for Two?

Brittany shuts her locker.




BRITTANYI asked you last year, remember?And you didn’t show up?

(she shrugs)I thought that meant you didn’t want to be on it.

SANTANA Oh. Yeah.

Brittany smiles and moves to kiss Santana on the cheek -

- but Santana pulls away.

BRITTANY(sighs)

Look - I know it happened in a bad way, but everybody knows about younow, so why do we still have to be

a secret?

SANTANA I’m just not ready yet, okay?

BRITTANYThen let me know when you are.

Brittany turns and walks away.

Santana looks around to make sure no one noticed what justhappened, then follows her.

INT. CLASSROOM -- DAY

Brittany and Santana join MERCEDES JONES by a piano, whereshe stands, reading through sheet music.

Then SHELBY CORCORAN and SUGAR MOTTA come in.

SUGARIt’s just something to consider.Obviously, my dad will pay foreverything.

Shelby takes a deep breath.

SHELBYNo, Sugar, we will not shoot a music video for your cover of TilaTequila’s “Get Me Off.”

SUGARWhy not?




SHELBYBecause I really need this job.

Mercedes looks up.

MERCEDES

But that’s a good idea - why don’t we make a music video as a group?

She catches Shelby’s wide-eyed expression of fear.

MERCEDES (CONT'D)Of something more school-appropriate, of course.

Santana nods.

SANTANA That chick Sunshine has a lot of

online fans. A video might help TheTroubletones steal them.

Shelby closes her eyes and takes a deep breath, like shealready has a migraine forming. But then she smiles.

SHELBYI must be really sleep-deprived toagree to this, but if Sugar’s dadapproves the costs, then okay - we’ll do it. But it has to be G-rated.

The girls all squeal and high five.

INT. KURT’S BEDROOM -- DAY

Kurt and BLAINE ANDERSON hang out on Kurt’s bed, doinghomework and sipping coffee from paper cups stamped with theLima Bean logo.

Blaine looks up and catches Kurt staring off into space. He waves a hand to get his attention.

BLAINE

Hey there, space cadet - what’s up?

KURTSorry - what?

BLAINE(smiles)

I knew something was up when yougot your coffee black.

(MORE)




I have never seen you with anythingso unembellished before.

Kurt offers a weak smile.

KURT

My bedazzler does get a lot of use.

BLAINEAnd now you’re zoning out.

He takes Kurt’s coffee and puts both cups aside. Then hepulls Kurt close.

BLAINE (CONT'D)I just want to know what’s going oninside your head.

KURT

I’m just worried about myapplication to NYADA. I don’t knowif it’s strong enough.

Blaine kisses him - a bit intensely. Kurt starts toreciprocate, but then pulls away.

BLAINE(puzzled)

If that’s it, then you don’t haveanything to worry about--

He kisses Kurt again, and things start to get pretty hot--

-- but then Kurt pulls away again.

BLAINE (CONT'D)(cluing in)

--but that’s not it, is it?

He tenderly cups Kurt’s face with his hand.

BLAINE (CONT'D)Tell me.

Tears begin to slide down Kurt’s cheeks. Blaine starts tokiss them away, but Kurt pushes him away.

BLAINE (CONT'D)(hurt)

Please tell me if I’ve donesomething--

BLAINE (CONT'D)




KURTIt’s not you! But all of this -it’s just too much sometimes.

BLAINEWhy?

KURTIt’s just - we’re so... I’m sohappy.

BLAINE(smiles)

And that’s bad?

Kurt shakes his head.

KURTNo - it’s perfect. You’re perfect.

(he sighs)I wish my mom could’ve met you.

BLAINEOhhh...

KURTI miss her so much sometimes. I mean, I love my dad, but he’s not a mom, you know? And Carole’s reallygreat, but...

Blaine pulls Kurt into a hug, and Kurt begins to cry. Blainekisses him, and this time Kurt lets himself go.

Their coffees wait for them on the side table, long sinceforgotten.

INT. WILL SHUESTER’S APARTMENT -- NIGHT

Will comes in the front door, tired after a long day, andgoes to hang up his jacket.

He does a double-take when he sees the door to Terri’s oldcraft room ajar.

INT. TERRI’S OLD CRAFT ROOM -- NIGHT

Will pushes the door open to find Emma, sitting in front of apile of his boxes on the floor.

EMMA You still haven’t unpacked?




WILLEmma, I can explain--

She looks up at him.

EMMA

Please do.

Will shifts uncomfortably.

WILLI’ve just been really busy withglee and preparing for sectionals--

EMMA You had the whole summer, Will.

Will can’t look at her.

EMMA (CONT'D)All this time, I thought you’d leftthis room locked because itreminded you too much of Terri orsomething - not because you werehiding anything from me.

She stands and grabs her things to leave.

EMMA (CONT'D)I think I’m going to sleep at hometonight.

Will watches her go, not knowing what he can say to make herstay.

END ACT ONE




ACT TWO

INT. SUE’S OFFICE -- DAY

Artie knocks on the door.

None of Sue’s usual stuff - the megaphone, the pompoms, thehuge tubs of protein powder - are present. Instead, she’sconverted the space into a mini-recording studio.

Sue looks up.

ARTIEYou wanted to see me, CoachSylvester?

Sue walks to the door and closes it. Then she hands Artie aclipboard and pen.

SUEI need you to sign this.

Artie reads the form on the clipboard, then signs it.

ARTIEWhy am I signing a release form?

SUEHow do you feel about a life inpolitics, Wheels?

BECKY appears out of nowhere and hands Artie a set ofheadphones.

Off of Artie’s puzzled reaction:


Artie’s in front of the whole glee club.

ARTIEShe wanted me to sing her campaignsong for her.

Rachel looks at him with disbelief.

RACHELYou? She asked you to do her song?But why?

This gets her a few dirty looks.




ARTIE(shrugs)

She wanted the gimp sympathyfactor.

Tina looks at Artie.

TINA Did you do it?

Off of Artie, taking a breath to respond:


Artie sighs.

ARTIEYou realize you’re asking me tohelp you destroy the glee club,

using a skill I’ve honed in thatvery same glee club?

SUE(nods)

Exactly. Fighting fire with flamethrowers.

Artie shakes his head.

ARTIEI’m afraid I can’t do that.

SUEI’ll make it worth your while. I’llgive you all my tater tots for a month. The ones they give staff areeven bigger and more perfect thanthe ones they give students.

ARTIEYou don’t get it, do you?

SUENo. Please educate me.

Artie begins to sing Bob Dylan’s “The Times They Are A-Changin’”:




ARTIE“Come gather ‘round people/Wherever you roam/ And admit thatthe waters/ Around you have grown/And accept it that soon/ You’ll bedrenched to the bone/ If your time

to you/ Is worth savin’/ Then youbetter start swimmin’/ Or you’llsink like a stone/ For the timesthey are a’changin’...”

Sue winks at Becky, who nods and presses a button on thesoundboard on Sue’s desk.

INT. HALLWAY OUTSIDE SUE’S OFFICE -- DAY

A red “Recording In Session” light turns on outside Sue’sdoor.

Students stop to listen, as Artie’s song is broadcast throughspeakers next to it.

ARTIE“Come senators, congressmen/ Pleaseheed the call/ Don’t stand in thedoorway/ Don’t block up the hall/For he that gets hurt/ Will be hewho has stalled/ There’s a battleoutside/ And it is ragin’/ It’llsoon shake your windows/ And rattleyour walls/ For the times they area-changin’...”

The students start to nod, agreeing with the lyrics to thesong.


We’re back at glee, and Artie’s still at front, finishing hissong:

ARTIE“The line it is drawn/ The curse itis cast/ The slow one now/ Will

later be fast/ As the present now/Will later be past/ The order is/Rapidly fadin’/ And the first onenow/ Will later be last/ For thetimes they are a-changin’.”

As the music ends, all the glee kids actually look sort ofenergized by the song.




Artie smiles - then sighs.

ARTIE (CONT'D)Then she informed me that she’dbeen recording my song nearly the whole time I’d been singing. She’s

going to use it in her ad.

He turns back to the other glee kids.

ARTIE (CONT'D)And I don’t even get those tatertots.

Rory pats him on the shoulder.

RORYThat is so unfair, mate.

Artie looks up at Will.

ARTIEI think this could be really bad.

The bell rings.

INT. HALLWAY -- DAY

Quinn walks with Puck. Suddenly, she stops and looks at him,smiling coldly.

QUINNI just have to know: why’d you doit?

PUCKDo what?

Quinn raises an eyebrow.

QUINNMiss C. cut me out of Beth’s life,but still lets you baby-sit. Ithink it’s pretty clear.

PUCK(sighs)

I didn’t mean for that to happen -I swear - but I love Beth, and Ithink Shelb- Miss C. - takes bettercare of her than I’ll be able toafford to...




Quinn looks away.

QUINNBut what about me? Beth is all Ihave.

She looks back at Puck, who doesn’t know how to answer. Hereyes harden again.

QUINN (CONT'D)I swear you’ll end up back in juvieif you ever get between me and mybaby again.

She walks away.

Puck watches her leave. Then Shelby and the Troubletones exittheir practice room, and he sighs.

He waves a small wave at Shelby, who smiles, then looksaround to make sure no one saw her. She waves a small waveback.

Meanwhile, Mercedes, all excited, seeks out Kurt at hislocker.

MERCEDESHi!

KURTHey.

MERCEDESI’ve missed you - how are you?

Kurt shrugs. Mercedes gives him a look, but can’t contain herexcitement.

MERCEDES (CONT'D)I am so going to need your help.

Kurt just keeps getting his books from his locker.

MERCEDES (CONT'D)

The Troubletones are shooting a music video - and I need you tochoose what I’m going to wear init.

KURT(shrugs)

I don’t know - I mean, no offense,but you ARE the competition now.




Mercedes is taken aback by his lack of enthusiasm.

MERCEDESAre you okay? You don’t seem likeyourself.

KURT(sighs)

Don’t worry about it.

He closes his locker.

KURT (CONT'D)I’ve got to get to class now.

And he leaves. Mercedes is in shock.

She approaches Blaine at his locker.

MERCEDESWhat’s going on with Kurt? I justoffered him a chance to pick my wardrobe for a music video, and heturned me down.

Blaine watches as Kurt turns the corner down the hallway.

Just then, the bell rings.

INT. EMMA PILLSBURY’S OFFICE -- DAY

Emma sits at her desk doing paperwork.

There’s a knock at her door, and she looks up --

-- it’s Will.

WILLHi.

EMMA Hi.

Will steps inside the room, and Emma looks away.

WILLLook, can we go out to dinner? I’dlike to explain everything.

Emma becomes preoccupied with folding a pamphlet as perfectlyas possible - and Will notices. It’s not good that her OCD isflaring up.




Emma sighs and stops folding.

EMMA Okay. I think I owe it to you andto our relationship to listen to what you have to say.

WILLThank you - I’ll see you laterthen.

Emma just nods and Will leaves.

END ACT TWO




ACT THREE

INT. HUMMEL MOTOR SHOP -- DAY

Blaine approaches Burt as he’s working on the underside of acar.

BLAINEHi, Mr. Hummel.

Burt looks up.

BURTOh - hey, Blaine. What’s up?

BLAINEI actually had a personal questionto ask you.

Burt puts down the wrench he’s holding.

BURTHow about some really bad coffee?

Blaine nods.

INT. BURT’S OFFICE -- DAY

Scattered amongst the parts catalogs and custom-madecalendars are Burt’s campaign flyers and posters.

He clears a spot on a chair for Blaine to sit, then leans onthe desk in front of him.

BURTSo. What’s going on?

Blaine looks down into his coffee cup.

BLAINEIt’s Kurt.

Burt stands up.

BURTIs he okay?

BLAINEHe’s fine. At least, physicallyfine.

Burt sits back down. Blaine looks up at him.




BLAINE (CONT'D)What can you tell me about his mom?

Burt smiles sadly.

BURT

Ahhh - yes. It’s that time of year.

BLAINEExcuse me?

BURTIt’s almost the anniversary ofElizabeth’s death. Kurt always getsa little quieter around this timeof year.

BLAINESo that’s why he’s so sad about her

right now.

Burt pats him on the shoulder.

BURTHe must really care about you tohave told you - he usually keeps itto himself. It’s a very privatething. For both of us.

Blaine nods. He opens his mouth to speak, but then hesitates.

BURT (CONT'D)What’s on your mind?

BLAINEWould it be presumptuous of me tosuggest you two celebrate Elizabethtogether this year? With all thechanges happening, I just think hecould really use someone to talk to who loved her as much as he did.

Burt gives him a thoughtful look.

INT. HALLWAY -- DAY

Finn walks with Rachel.

FINNSo, do you think you can make it?

RACHELOf course!




Finn motions for her to be quiet.

FINNIt’s just that it has to be keptsecret, okay? Just family, you, andBlaine.

Rachel glows at being included.

RACHEL(stage whispers)

My lips are sealed.

They walk into glee practice.


Quinn watches disapprovingly as Finn whispers with Rachel.She raises her hand.

WILL(pleasantly surprised)

Yes Quinn?

QUINNI have a song I’d like to perform,Mr. Shue.

Without another word, Will motions for her to take the floor, while taking a seat himself.

Quinn stands and faces the rest of the glee kids, then glaresat Puck.

QUINN (CONT'D)I don’t think it’s a secret toanyone that I’ve been through a lotover the past couple years.

Not a smart comment from anyone - no one’s going to jokeabout her pregnancy.

QUINN (CONT'D)Well, this is a song I’d like to

sing that expresses how I feelafter coming out of it all.

With that, she nods toward THE ACCOMPANISTS, who begin toplay the first strains of Joni Mitchell’s “Both Sides Now.”

Quinn looks right at Finn, and her voice is barely above a whisper.




QUINN (CONT'D)“Moons and Junes and Ferris wheels/The dizzy dancing way you feel/ Asevery fairy tale comes real/ I’velooked at love that way...”

Finn turns away from Quinn’s gaze.

QUINN (CONT'D)“But now it’s just another show/You leave ‘em laughing when you go/And if you care, don’t let themknow/ Don’t give yourself away...”

Quinn looks back at Puck, who leans back in his chair,challenging her with his gaze.

QUINN (CONT'D)“I’ve looked at love from both

sides now/ From give and take, andstill somehow/ It’s love’sillusions I recall/ I really don’tknow love at all...”

Quinn glances at Tina and Mike, who are holding hands. Theytighten their grip slightly when she looks at them.

QUINN (CONT'D)“Tears and fears and feeling proud/To say “I love you” right out loud/Dreams and schemes and circuscrowds/ I’ve looked at life thatway...”

She looks at the whole group.

QUINN (CONT'D)“Oh but now old friends are actingstrange/ They shake their heads,they say I’ve changed/ Wellsomething’s lost but something’sgained/ In living every day...”

Rachel watches Quinn, her gaze almost tinged with pity, and

Quinn meets her eye.

QUINN (CONT'D)“I’ve looked at life from bothsides now/ From WIN and LOSE andstill somehow/ It’s life’sillusions I recall/ I really don’tknow life at all...”




Quinn closes her eyes, refusing to let any tears fall.

QUINN (CONT'D)“I’ve looked at life from bothsides now/ From up and down andstill somehow/ It’s life’s

illusions I recall/ I really don’tknow life at all.”

The music stops, but no one speaks, not knowing how to reactto Quinn’s display of vulnerability.

INT. HALLWAY -- DAY

Santana stands outside the practice room, frozen, having justheard Quinn’s performance.

Then she sees Brittany standing over at her locker. She takesa deep breath and walks over to her.

BRITTANYI think Lord Tubbington’s smokingis really becoming a problem. Itused to be sort of sexy, but now Ithink it’s affecting his health.

She notices Santana’s kind of quiet.

BRITTANY (CONT'D)What’s wrong?

SANTANA I just-

She looks at Brittany, who’s waiting for her to finish.

Smiling, Santana reaches for Brittany’s hand --

-- but then pulls back when she sees JACOB BEN ISRAEL comearound the corner.

Looking back at Brittany, she sees that Brittany’s not amused- she knows what just happened.

SANTANA (CONT'D)Brit - I-

Brittany shakes her head and walks away.

The bell rings.




INT. BREADSTICKS -- EVENING

Emma and Will sit at a table, finishing their dinner, Emma wearing the disposable plastic gloves she uses whenever herOCD is flaring up.

Will watches her as she chews her food very carefully.

WILLThank you for coming out tonight.

Emma swallows.

EMMA I want to give you your chance toexplain.

Will puts down his fork.

WILLI love you, Emma - I really do--

She finally smiles at him.

WILL (CONT'D)--but I swear - I just kept puttingoff unpacking those boxes, andnever really thought about it.That’s it.

Emma puts down her fork.

EMMA Will, those boxes represent yourBroadway dream. I think yoursubconscious is trying to tell yousomething.

(she looks down)And it’s something I need toacknowledge, too.

Will takes her hand.

WILL

No! I swear to you - I will unpackthose boxes! They mean nothing.Just please come home.

Emma searches his face, then finally sighs.




EMMA I don’t think I can. Not yet. Iknow you don’t think this meansanything, but I need to know forsure. I’m sorry.

Will quietly lets go of her hand, unable to hold her gaze.

END ACT THREE




ACT FOUR

INT. HALLWAY -- DAY

Sue walks, looking directly into the camera, her arms aroundthe shoulders of Jacob Ben Israel and AZIMIO ADAMS.

SUE--and that’s the way Sue sees it.

(beat)Cut!

Sue turns to Azimio.

SUE (CONT'D)Look, Hulk, I need you to hunchdown a bit so you don’t look so much like you’re going tostrangulate and regurgitate the

populace’s small children.

Azimio bends down, sort of awkwardly.

AZIMIOLike this?

SUEYes! Good! Now people will thinkyou’ve got scoliosis or something.

She turns to her camera crew.

SUE (CONT'D)Roll cameras!

Just as the cameras start rolling again, though:

EMMA (O.C.)Excuse me!

Sue makes the sign to “cut,” and turns to look at Emma.

SUEAnd what have you got to

contribute, pygmy marmoset?

EMMA Sue, what you are doing here isbeyond repulsive.

SUEHow so, pray tell?




Emma motions at Jacob and Azimio.

EMMA You are exploiting our minoritystudents for your own benefit.

Jacob steps forward.

JACOBActually, Miss Pillsbury, I’m alsobenefitting. My polls show that myappearance on any state-wide ad will increase my popularity withthe ladies.

SUEYou hear that, my little Ewokfriend? There is no exploitationgoing on here.

AZIMIOOh - I’m being exploited.

Sue shoves him into a classroom and slams the door shutbehind him.

EMMA This is ridiculous! You’re tryingto play on the emotions of voters!I’m actually surprised you don’thave Becky making an appearance inyour ad.

SUE(deathly)

Whoah - watch it, Gizmo. You’reoverstepping.

By this point, their voices have become really loud.

Will rushes down the hall to try to break it up.

WILLWhat’s going on here, ladies?

SUEYour little Cabbage Patch friendhere objects to my campaign ad.

EMMA Cabbage Patch? Really?

Sue shrugs.




Will pulls Emma aside.

WILLWhat’s really going on?

Emma pulls free from his grasp.

EMMA What do you mean?

WILLDoes this have something to do withus?

Emma shakes her head with disbelief.

EMMA That’s a little narcissistic. Noteverything’s about you, Will.

SUEWhoa-ho-ho! There’s trouble brewin’in meerkat manor!

She signals to her camera crew.

SUE (CONT'D)Get this on tape.

Will glares at her.

WILL(to Emma)

Then tell me what it IS about,because we’ve got every student inschool staring at us right now.

Emma freezes, then slowly looks around. He’s right - everystudent has frozen in his or her tracks at the sight of threeteachers shouting at the tops of their lungs.

And at the end of the hallway, Principal Figgins stands, hisarms crossed, not pleased with any of them. He slowlyscratches an itch while he glares at them.

The bell rings.

INT. CLASSROOM -- DAY

Class has ended, and students are leaving. Santana andBrittany are the last ones to leave.




Santana goes to the door and closes it, so she and Brittanycan have some privacy.

SANTANA Look, I’ve been trying to find a way to tell you how I really feel,

but I can’t figure it out otherthan to sing it to you.

She smiles a small, hopeful smile at Brittany, who looksaway.

Santana starts to sing Peter, Paul, and Mary’s “Mary Beth,”substituting Brittany’s name in for Mary Beth.

SANTANA (CONT'D)“Oh, Brittany, I love you and thecity is so empty./ I cannot find mycomfort in the beauty of the morn./

Below the weary streets arebreathing,/ Softly they arewatching./ They are not quite readyfor the dawn...”

Santana catches Brittany’s eye, but she quickly looks awayagain.

SANTANA (CONT'D)“One by one the street lights closetheir eyes to greet the sun/ Theygreet the sun./ I hear my footstepsfalling on the pavement/ You arenot beside me./ What a hollow soundI make alone...”

Brittany wipes away a tear, but refuses to look at her.

SANTANA (CONT'D)“Why, with all this beauty, can Inot enjoy myself alone?/ Is there a piece of me a-waiting?/ Am Iincomplete and hating/ All thetimes I’ve never been with youbefore?/Brittany, I love you/

Brittany, I love you.”

Santana stops and becomes quiet, waiting for Brittany tospeak.




BRITTANYDon’t think that just becauseyou’re singing a song by mygrandparents’ close personalfriends that everything’s justokay.

Santana raises an eyebrow.

SANTANA You knew Peter, Paul, and Mary?

BRITTANYMary’s the one who taught me how todance.

Santana just shakes her head with wonder; this is too muchfor her to unpack.

Brittany looks at her.

BRITTANY (CONT'D)I’m tired of being with people whoare ashamed of being with me.

SANTANA But I’m not ashamed of you!

BRITTANYThen why does our being togetherhave to be a secret?

SANTANA But I’m trying! It’s just - I can’t- I don’t --

Brittany stands to go.

BRITTANYI need to be with someone whothinks I’m so amazing that they’reproud to be with me.

She shrugs.

BRITTANY (CONT'D)I thought that was you.

Brittany opens the door to leave.

Santana grabs for her hand.




SANTANA Brit! Wait - I--

Then she notices a STUDENT standing frozen outside the door.

Santana lets go of Brittany’s hand, letting her leave.

Then she hauls off and punches the student before stalkingoff in the other direction.


Will comes home to an empty apartment.

Taking off his jacket, he looks over at the closed doorbehind which all his boxes are stored.

He sighs.


Will turns on the light and comes inside, rolling up hissleeves.

Grabbing some scissors, he opens a box on top of the pile.

He holds up what’s inside - a sweater vest - but just can’tbring himself to take it out of the box.

After a moment, he puts it back, folds the box closed, andleaves, turning off the light.

END ACT FOUR




ACT FIVE


Sue leans back in her chair.

SUE(dictating)

“--and that, dear Senator Robbins,is why I find it so utterlyimportant for you to support me in my campaign. Especially if you ever want to see your precious rabbitalive again. Etcetera, etcetera,Sue Sylvester.”

She turns to Becky, who holds a pad of paper and a pencil.

SUE (CONT'D)

You get all that?

BECKYYes, I did, Coach. But what aboutthe Senator’s rabbit?

SUEOh - don’t worry about her. She’salready happily installed in apetting zoo in Oklahoma.

There’s a knock at the door, and Sue looks up. It’s Emma.

EMMA Can I have a minute?

Sue turns to Becky.

SUEI need that letter typed, pronto.

Becky stands and salutes her.

BECKYYes, sir, Coach!

She leaves.

SUEHave you come to yell at me some more?




EMMA Actually, no, I’ve come toapologize. I may not agree withyour politics, Sue, but shoutingabout them in the middle of thehigh school wasn’t the right way to

express that, and I’m sorry.

SUEOkay then.

Emma turns to leave.

SUE (CONT'D)I’m actually surprised you’re not more supportive of my campaign.

Emma turns back.

EMMA You’re surprised?!

SUEYour job, by its very definition,is to help children with specialneeds - whether it’s physical, mental, or emotional.

(beat)My goal is to increase funding forthe type of work that you do.

EMMA I appreciate that - but why does ithave to come at the expense of thearts? Why can’t the athletic budgetget a bit of a trim instead?

Sue snorts.

SUEHave you SEEN the obesity rate inAmerica these days? Do you reallythink we should be cutting gymclass funding right now?

EMMA I was talking about big schoolathletic program expenses, and youknow it.




SUE(dead serious)

But we both know that’s not what would get cut; it would be the gymclasses for the underprivilegedthat would disappear instead.

Emma nods - Sue has a point.

SUE (CONT'D)I’m not asking you to vote for me -although that would be fabulous,come election day. I’m just askingyou to consider that I haveactually thought through myplatform.

Emma takes a deep breath and nods again.

SUE (CONT'D)Good - now get out of here. Yourabnormally large eyes catch thelight in here in a way that reallycreeps me out.

Emma scowls and leaves.

INT. HALLWAY -- DAY

Upon exiting Sue’s office, Emma bumps into Will.

WILLHey!

EMMA Hi.

WILLLook, I’m sorry about everything. I miss you.

Emma tilts her head.

EMMA

What exactly are you sorry about?

Will’s eyes widen, and, flustered, he lets out a rush ofbreath. Finally, he just gives up.

WILLPlease level with me - why are youso upset about those dumb boxes?After all, you helped me pack them!




Emma looks away.

EMMA Yes, I helped you pack them. Myheart was breaking, but I helpedyou pack them. I wanted you to be

happy and to pursue your dream, soI helped you get ready to leave forBroadway.

She looks up.

EMMA (CONT'D)But then you came back. You chose me! And I was unbelievably happy.

She shakes her head.

EMMA (CONT'D)

But now I know you haven’t reallylet go of that dream. You still want to go, but you feel like you missed your chance.

She swallows, hard.

EMMA (CONT'D)So you’re settling for this, for me. But I’m not a consolationprize, Will. I’m worth so much morethan that.

Will doesn’t know what to say.

Emma smiles a sad smile and walks away.

INT. AUDITORIUM -- DAY

The Troubletones are in the midst of recording their musicvideo, complete with costume and makeup. They’re trying adance number that appears to be really complicated, withintricate footwork.

Suddenly, Sugar bumps into Mercedes.

SHELBYCut!

Shelby claps her hands to get the accompanists to stopplaying, and everyone freezes, looking at her.




SHELBY (CONT'D)No, Sugar, I need you to mirror what Brittany’s doing, otherwiseyou end up in the wrong place.

Sugar, panting heavily, stops whatever horrid move she was

trying to do and nods her head.

Mercedes rolls her eyes, clearly not in the mood for this.

SHELBY (CONT'D)(sighs)

Okay. Santana? Brittany? Ready tostart again?

Both nod at Shelby.

SHELBY (CONT'D)From the top.

The music starts and the girls start their dance.

For the first few bars, it’s lovely --

-- until one point, when Brittany and Santana are face toface and make eye contact --

-- Santana looks away and falters --

-- tripping Sugar in the process --

-- who falls into Mercedes --

-- sending her onto the floor with a loud BANG!

SHELBY (O.S.) (CONT'D)Cut!

The music stops, and Santana furtively looks at Brittany tosee her reaction --

-- but Brittany’s already rushing to help Mercedes up.

MERCEDES

Oh HELL no! This is worse than any“Boot Camp!”

She turns to the other girls.

MERCEDES (CONT'D)I left New Directions because I wanted to be in a better group, one where I could really shine.




She looks at Shelby.

MERCEDES (CONT'D)Call me when they’re ready to atleast sparkle.

Mercedes stalks off-stage, with her friends just watching herleave.

There’s a long, awkward moment of silence, then:

SUGARCan I have her solo then?

INT. STAGE WINGS -- DAY

Mercedes gathers her backpack and things to leave. She startsto sing Joan Baez’s “Babe, I’m Gonna Leave You.”

MERCEDES“Babe, I’m gonna leave you/ Tellyou when I’m gonna leave you/ Leaveyou when ol’ summer time,/ Summercomes a-rolling/ Leave you when ol’summer comes along...”

She leaves without looking back.

INT. HALLWAY -- DAY

Mercedes exits the auditorium and passes the practice room, where the New Directions are rehearsing. She smiles sadly,but doesn’t stop.

MERCEDES“Babe, that highway’s a-callin’/That old highway’s a-callin’/Callin’ me to travel on/ Travel on out the Westward/ Callingme to travel on alone...”

Down the hallway, she sees her boyfriend, SHANE TINSLEY,talking to Coach Bieste.

MERCEDES (CONT'D)“Babe, I got to ramble/ You know Igot to ramble/ My feet start goin’down/ And I got to follow/ Theyjust start goin’ down, goin’ down,and I got to go.”




Shane leaves Coach Bieste to join Mercedes. He puts his armaround her shoulders and gives her a hug. She smiles up athim and gives him a kiss.

But then, after he looks away, she sighs.

INT. AUDITORIUM -- DAY

Shooting has wrapped. Santana sees Brittany packing up herthings to go, and walks over to her.

She takes a deep breath.

SANTANA You like boys.

BRITTANYWhat?

SANTANA I mean, I ONLY like you. Literally.You’re the only person in this whole world that I like.

BRITTANYBut what does that have to do with me and boys?

SANTANA You’re so beautiful and happy andpopular - everybody likes you. Idon’t know why you like ME - andI’m scared one day you won’t knoweither and you’ll pick one of thehundreds of boys that likes you andgo off with him instead.

Brittany shakes her head.

BRITTANYThen why do you do everything youcan to make me feel like you don’t want anyone to know about us?

Santana doesn’t know how to answer.

BRITTANY (CONT'D)(sighs)

I was proud to be with you, until Irealized you didn’t feel the same way.

She gathers her things and leaves.




Santana breaks down.

END ACT FIVE




ACT SIX

INT. HUDSON/HUMMEL HOUSE -- DAY

Kurt walks in the front door, just getting home from school--

-- only to find Finn, Rachel, Blaine, Burt, and CAROLE all waiting for him.

KURTWhat’s this, an intervention?

Burt steps forward.

BURTNo - it’s a family celebration.

KURTOf what?

Burt puts his arm around Kurt’s shoulder.

BURTOf your mother’s life. I stillremember what today is.

Kurt tears up. Burt gives him a hug.

BURT (CONT'D)(whispers)

I still miss her, too, you know.

After a beat, Kurt pulls away, laughingly wiping away histears.

KURTYou all knew how I was feeling?

FINN(nods)

This was Blaine’s idea.

Kurt smiles at Blaine.

BLAINECarole, Rachel, and I even preparedyour mom’s favorite meal.

Kurt hugs him.

KURTYou guys made tourtiere?




RACHEL(nods)

From scratch!

KURTYou’re really all too good to me.

FINNYeah, well, your mom must’ve rockedbecause it turns out her favorite meal was a meat pie! And it smellsreally good and I’m hungry - so can we please sit down and eat italready?

Everyone laughs, but also complies.

INT. HUDSON/HUMMEL DINING ROOM - DUSK

It’s near the end of the meal, and everyone’s basically justlounging over their desserts, a little quiet and nostalgic.

Kurt takes a deep breath and stands.

KURTI just wanted to say thank you toyou all for this lovely dinner. Ithink my mom would have appreciatedit.

Burt pats Kurt on the back, while Blaine takes his hand insupport.

KURT (CONT'D)But I think I’d like to go pay hera visit now, if you don’t mind.

Blaine looks up at him.

BLAINEDo you want me to come?

KURT(shakes his head, no)

Thank you.

Burt stands.

BURTActually, I’ll come with you, ifthat’s okay.

Off of Kurt’s slight smile:




EXT. KURT’S MOM’S GRAVE -- NIGHT

Kurt and Burt stand at the foot of Kurt’s mom’s grave. Kurtcrouches and lays a flower near her headstone.

Then he begins to sing Simon and Garfunkel’s “For Emily,

Wherever I May Find Her.”

KURT“What a dream I had/ Pressed inorgandy/ Clothed in crinoline/ Ofsmoky burgundy/ Softer than therain...”

He reaches out and traces the words on her headstone.

INT. SANTANA’S BEDROOM -- NIGHT

Santana sits on her bed, in her pajamas, with her laptop open

in front of her.

On the screen, Brittany’s “Fondue for Two” is already in fullswing, with her getting Rory to try a shamrock shake mixed with real shamrocks.

KURT (V.O.)“I wandered empty streets down/Past the shop displays/ I heardcathedral bells/ Dripping down thealleyways/ As I walked on...”

Santana laughs at Rory’s sick-looking face, but then startsto cry, softly, her heart slowly breaking.

INT. QUINN’S BEDROOM -- NIGHT

Quinn sits at her mirror, frowning at her own reflection.

Then, slowly, she reaches for a picture stuck to the frame --

-- it’s of Beth.

KURT (V.O.)“And when you ran to me, your/

Cheeks flushed with the night/ Wewalked on frosted fields/ Ofjuniper and lamplight/ I held yourhand...”

Finally, she lets her tears fall.




EXT. KURT’S MOM’S GRAVE -- NIGHT

Closing his eyes, Kurt doesn’t see how moved his father is by what he’s singing.

KURT

“And when I awoke/ And felt youwarm and near/ I kissed your honeyhair/ With my grateful tears/ Oh, Ilove you girl/ Oh, I love you.”

After a moment of pregnant silence, Burt puts his hand onKurt’s shoulder, and Kurt stands, letting his father pull himinto his arms.

The two of them stand quietly in the moonlight, missingKurt’s mom together.

INT. BLAINE’S BEDROOM -- NIGHT

Surprisingly messy, considering how conscientious Blaine isabout his appearance.

Climbing into bed, Blaine turns out the light.

Just then, there’s a tapping at his window.

The light switches back on, and he climbs out of bed to see who it is.

It’s Kurt, waving for him to open the window.

As soon as he does, Kurt starts climbing inside.

KURTWoo! It’s getting cold out!

BLAINEWhat are you doing here?

Kurt shuts the window and takes off his coat.

KURTI miss my mom. I really do.

BLAINEOkay, but--

KURT--Shht! Let me tell you what I camehere to tell you.

Blaine nods.




KURT (CONT'D)Okay.

(he takes a deep breath)It sucks, not having your mom.Especially my mom - she was prettyamazing. And she would’ve liked

you, because you’re pretty amazing.(beat)

Thank you. Tonight was reallyspecial.

He kisses Blaine. It’s long and sensual. Blaine finally pullsaway.

BLAINEAre you sure?

Kurt nods.

Blaine smiles and kisses him again. Then he turns out thelight.


Will comes home holding a box of pizza. Kicking off hisshoes, he plops down on the sofa, grabs a slice, and opens acan of beer before turning on the T.V.

The strains of Artie’s rendition of “The Times They AreA’Changin” start to play - it’s Sue’s campaign ad.

On the screen, Mercedes sits, looking sad, on a bleacher, TheTroubletones dancing in the far background. Sue approachesher and puts her arm around her shoulder. Mercedes raises aneyebrow in surprise.

VOICEOVERIn these troubled times, we allneed someone who can ease our pain.

The ad cuts to shots of Sue high-fiving senior citizens.

VOICEOVER (CONT'D)We need someone who will take care

of our most vulnerable citizens.

Finally, the shot of Sue walking down the hall with Jacob andAzimio. Azimio has a hard time walking hunched over, anddoes, indeed, look like he has scoliosis or something.




VOICEOVER (CONT'D)We need someone who will make surethat your priorities are herpriorities.

A montage of moments from Sue’s broadcasts on the local news.

VOICEOVER (CONT'D)We need Sue Sylvester.

Will’s not in the living room anymore.


Will turns on the light and moves to the box of sweatervests, opening it back up.

With a look of determination, he picks it up and carries itout of the room to put its contents away.


On the T.V., Sue’s ad is finally winding up.

The camera shows the McKinley High football field; Sue jogsup to the camera.

She holds her hand up in her trademark “C”

SUEAnd THAT’S how Sue sees it. I’m SueSylvester, and I approve this message.

VOICEOVERThis ad was paid for by Americansfor Rabbit Liberty.

END EPISODE


the times they are a-changin' (spec script - glee)

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