Rise (2018) s01e03 Episode Script
What Flowers May Bloom
1 Previously on "Rise" You know my dad had to move into a motel after your slutty mother threw herself at him? Hey! Do you want to, like, run lines, maybe? - Sure.
- Robbie Thorne, that's a pretty big catch.
Mom, we are just rehearsing lines.
It's not like that.
We need $20,000 to produce this show.
I need you to support me and not be a liability.
- You have a drinking problem.
- I wasn't drinking.
- The breathalyzer showed that - Yeah, I know.
You scared the hell out of us, Gordy! What, so you're taking me out of school? He's on my team.
That's what the team is for.
I want him.
Give me a chance with him.
Maashous is just here for a few days.
He was sleeping in the lighting booth.
What was I supposed to do? Gordy, can you bring the sleeping bag into your room? Are you kidding me? Hanschen is gay.
He he kisses a boy.
I'm I'm not gay.
Your mother and I spoke to St.
Francis Prep.
They have an opening for you.
We enrolled you.
What? [SNORING.]
[SNORING CONTINUES.]
[SNORING CONTINUES.]
[BIRDS CHIRPING.]
Why is Gordy sleeping on the couch? I don't know.
Morning.
Hope I didn't bother Gordy or anything.
- Oh, no, of course not.
- No, not at all.
Wow, those cookies look amazing.
Are they for the drama bake sale? Uh, yeah, they are.
Help yourself, Maashous.
And get some breakfast too.
I'll be right back.
[DOOR OPENS AND CLOSES.]
I know what you're thinking.
Maashous isn't our son.
Gordy's our son.
Why would I bring Maashous here when Gordy has all this stuff going on? [SIGHS.]
Something like that.
So what do we do? Our son isn't comfortable sleeping in his own room.
What do you think we need to do? Okay.
You're right.
I will handle it.
[EXHALES.]
Mom, these cookies are embarrassing.
Don't ever hide your light under a bushel, my love.
Morning.
These cookies look amazing.
- Yeah, Mom made them.
- Oh, yeah? Mm-hmm.
- Well, they look professional.
- Don't eat any.
[SIGHS.]
I I wasn't gonna.
All right, let's get these loaded up.
Hey, let me help you.
I don't need your help.
Honey, would you grab this last one? Yep.
Sorry.
Just give her some time.
["THE BITCH OF LIVING" PLAYING.]
[CHORUS VOCALIZING.]
It's the bitch of living ALL: It's the bitch of living And living in your head ALL: In your head - It's the bitch - Of living And sensing God is dead ALL: It's the bitch of living You watch me, just watch me ALL: And getting what you get I'm calling, and one day ALL: It's the bitch of living And knowing this is it ALL: God, is this it? [CHAIRS SLAM.]
This can't be it Oh, God, what a bitch Excellent.
Everyone, that was great! All right.
Love it.
Not bad, gentlemen.
Starting to look like something that might not just embarrass me.
[LAUGHTER.]
All right, guys, you are excused for the rest of the day.
Ladies, you are up.
- Hey.
- Hey.
Uh, do you maybe want to run lines again? I'm pretty sure that's what rehearsal's for, Robbie.
Excuse me.
Excuse me.
I I just I need to tell you all something.
Wow, this feels dramatic.
[LAUGHS NERVOUSLY.]
It's it's just that, um, I've been on the waiting list at St.
Francis for years now, and they finally got an opening.
I start on Monday.
Uh so you you will need to find a replacement for me in the show.
[SOFT MUSIC.]
Uh look, I I'm really sorry to not be able to do this production with all you guys.
I'm really gonna miss everyone here, especially the theater department.
[SIGHS.]
Uh anyway, that's it.
I want to take it back When will I ever learn? Will I ever learn? Saunders! Saunders! Lillette look, I'm sorry.
You're leaving the school, and you didn't tell me? What the hell? Look, I just found out myself.
We have been best friends since the second grade and you're leaving me.
- Without telling me? - [SIGHS.]
You're the one who got me involved in this stupid show in the first place.
- [EXHALES SHARPLY.]
- [SIGHS.]
Why are you doing this? St.
Francis? It doesn't even make sense.
Look [STAMMERS.]
You'll always be my best friend.
I have to rehearse.
It's just really important to my parents.
Uh, they worry a lot about college, and St.
Francis has a lot of facilities that Stanton doesn't, and and they feel more confident about my college placement if I'm at St.
Francis.
Okay.
Well, we wish you the best of luck.
But we are gonna miss you.
Did you buy any of that? Not a word.
Well, welcome to the first production meeting of the Stanton High production of "Spring Awakening.
" [FOOTSTEPS APPROACHING.]
Hello, everyone.
Hello, Denise.
Oh, I haven't had the pleasure.
- Denise Strickland, Gwen's mom.
- Ah.
Mrs.
Coach, head of parent-teacher outreach, and costume designer.
Great.
Welcome.
Gwen is incredibly talented.
- Yes, she is.
- Let's start with saying this is an amazing opportunity to tell an important story.
I mean, it tells a truth: being a teenager is hard.
Dealing with burgeoning sexuality without knowledge or guidance in a deceptive and hypocritical world is still rampant.
We have learned nothing.
I mean, these stories are as relevant today as they were in Germany in the 19th century - when it was first written.
- [CELL PHONE CLICKING.]
So my concept is, we pull it into the modern world.
Into our world, into Stanton a dying steel town, a community trying to dig itself out of the ashes Mr.
Klump, can you please put your phone away? After all, you're the one who's gonna be building this.
- [CELL PHONE SWISHES.]
- [PHONE THUDS.]
So the set should be a fusion of the past and present, and our town.
It should represent the fabric of our world.
A smokestack from one of the closed steel mills, a sign from the diner, a church steeple that replicates the one at St.
Cyril's.
Lou, you do realize that our current budget is $750.
Hopefully add, what, 200 bucks from the cookie sale? That gives us 950 bucks.
You know, we just need to be a little bit more realistic.
Yeah, right now, let's dream big, then we can figure out how to deal with the money.
Okay, let's talk.
Palette and lighting design.
All right.
Take a look at that.
Maashous, pay special attention.
[SIGHS.]
What's with the tuna melt? Did you go catch a tuna? Funny, Suarez.
Your little girl was so cute in here the other night with Robbie Thorne.
Wait, my little girl? Oh, yeah, sitting at table eight reading scripts or something, but sweet and flirting, and so adorable.
Huh.
She didn't mention that.
[ROCK CLATTERS.]
Hey.
Hey.
Um, I was just, um I was just standing here.
Uh [CHUCKLES.]
Um, I was just wondering, uh, how how are you doing with everything? Do you mean with you moving back in with your wife? Uh, yeah.
I'm doing the best I can.
It's the price you pay for getting involved with someone in a messy situation.
This is this is all my fault.
[STAMMERS.]
This is all my fault.
You don't deserve this.
I'm so sorry.
It's okay.
I was blinded by chemistry and, uh made a bad decision.
And I'm sorry.
Hey [LAUGHS.]
I saw this at Target.
It, uh it made me think of you 'cause you're always dropping your phone, and you you won't buy one, so but just do you have your phone handy? - Yeah.
- Can I see it? Okay.
Lady, your phone is a mess.
- Is that right? - That's right.
Mm.
[STAMMERS.]
Well, I better get back to the school.
Yeah, a coach's work is never done.
Yeah, that's kind of true.
Um thanks for the phone case.
Sure.
Sure.
[DISHES CLINKING.]
These potatoes are really good.
Mm.
I'm glad you like them.
I've always liked potatoes.
Me too.
Um sorry it's just us.
Lou and Gordy will be home soon, and the girls are at their dance lesson.
It's okay.
- I like this.
- Me too.
What are those? Oh.
[CHUCKLES.]
Deck lights.
We bought them about a million years ago and just never got around to putting them up.
I get that.
I heard you play piano the other night.
You're amazing.
It's Brahms, right? Wow! How'd you know that? One of my foster moms played classical.
You pick things up.
Thank you.
So what's it like? Being a foster kid? Yeah.
If you don't mind.
Pretty much 24/7 awesomeness.
I don't know, I guess you get used to living a certain way.
You know, just not letting yourself get too comfortable, too dug in.
My whole life's in my backpack.
I kind of like that.
You just learn not to expect much from anyone, I guess.
[TRAP MUSIC PLAYING.]
[KNOCKING AT DOOR.]
Turn down for what Yeah? Uh, is your mom or dad home? My mom and dad are dead.
Hey, don't change it! Don't put that Kesha crap on, or I'll beat your ass! Um, yeah, sorry, is there an adult here? Louise is in there.
In in the car? Yeah.
[MUSIC CONTINUES.]
Excuse me.
- Yeah.
- Hi, I'm Lou Mazzuchelli.
I teach at Stanton High.
Are you Maashous' foster parent? Yeah.
What did he do? No, he he didn't do anything.
Do you have any idea where he's been the last few days? He's a grown guy.
I can't follow him around all day.
I've got other kids to look after.
Yeah, I see.
Don't judge me.
I know where he is.
He's been staying at my house with my family.
Is there a reason he doesn't want to be staying at your house that I need to know about? There's nothing wrong with my house.
Look, I don't have room to keep Maashous.
I need to send him back here.
But I like this kid.
And I'm gonna be checking up on him.
Make sure he's being cared for properly.
Is that okay? - Yeah.
- Okay.
We'll be in touch.
Hey, superstar! Hey, Mom.
Rehearsal sucked, and I am hardly a superstar.
I was talking about girlfriend of QB one.
What? Nooreen told me she saw you and Robbie Thorne at the diner and that it looked romantic.
Well, it wasn't romantic.
It was a guy being a guy [SIGHS.]
Messing with a girl for his own amusement.
Like you said, all guys are the same.
Honey, I never said that.
Yeah, you did.
You do.
You basically say that every day, Mom.
If there's one thing you taught me, it's that a guy like Robbie Thorne is never going to care about a girl like me.
And to not believe in fairy tales.
No, no, no, no.
Whatever I said, you deserve a good guy.
You deserve a guy that treats you great.
Thanks, Mom.
Don't worry.
Honestly, it meant nothing to either one of us.
So I'm sorry if I disappointed you, but your superstar has to go practice her lines.
[SOMBER MUSIC.]
[KNOCKS AT DOOR.]
Denise.
What can I do for you? I did some sketches last night based on the production meeting.
It's kind of a Victorian/Stanton mash-up.
Victorian lines, but fabric of a working town.
Nothing too new or expensive-looking.
After hearing you talk yesterday, it got me excited.
Like you're really gonna shake things up, do something great.
Denise, these are incredible.
Thank you.
Good morning.
Tracey, come see these sketches that Denise did.
Nice.
- [CLEARS THROAT.]
- Okay.
Well, I will get out of your hair.
- Thank you for the feedback.
- Thank you.
I am really excited to work on these with you.
- Me too.
- Hmm.
I don't know what she's thinking.
We don't have the money to make those.
All right, so I was up late last night trying to figure out how we can make the show work with the budget that we have.
I get what you're going for, and I want to try and help to salvage some of it, okay? We can throw together costumes out of what we have if we give up the Victorian element and just go contemporary, and the set the set has to be way simplified.
I mean, we could get a few of these things, but, you know, there's no reason why we couldn't just do this up on a bare stage, and then use chairs to indicate different rooms.
Yeah, Tracey, stop.
Stop.
Just stop what you're doing.
What do you mean "stop"? I'm trying to help you.
Yeah, I get that you think that, and I appreciate it, but you're not.
[SCOFFS.]
We can make compromises that will be just fine.
I don't want "fine.
" And I don't want to make compromises.
At least not yet.
Look, I want this to be good.
I want it to feel special.
I don't want it to look thrown-together and second-rate like all the other shows that get done here.
Tracey, that came out wrong.
Sorry you think all the shows I've worked on look crappy.
I'm just trying to deal with reality.
Look, I I have an idea, okay, a concept.
I'd just like you to give it a chance.
This is high school, okay? You're not freaking Ziegfeld! - Hi, Miss Wolfe.
- Hi.
I just left my math book in here last night.
I'm sorry, I just I just love this theater so much, you know, and it's it's been like a family to me, and you're you're a big part of it.
And I'm gonna miss you very much.
You're like my family too.
Thank you, Simon.
- You keep in touch.
- I will.
Okay.
Maashous, can I talk to you about something? Yeah, sure.
The the lighting? I know, I was trying to keep up at the production meeting.
I took down a lot of notes.
I mean, it was really interesting, all that stuff you were talking about.
I never heard anyone talk about a play that way before.
You know, it made me feel, like, excited to work on it, you know? Like we're doing something important.
Well, it is.
I mean, we should all feel that way, right? Thank you for that.
What did you want to say again about about the lights? In addition to being the lighting operator, how would you like to do the lighting design? - Really? - Yeah.
Yeah, I mean, you know everything about this system, and I I really believe you could do it.
[CHUCKLES.]
Love to try.
Thank you.
Yeah, sure thing.
- Okay.
- All right.
Go get 'em.
[SIGHS.]
[MICHAEL NAU'S "WHILE YOU STAND".]
[ACOUSTIC GUITAR MUSIC.]
I am a mountain [straining High as can be Yes, and I am an ocean while you While you stand by me Oh, but I am the fool you know Anytime you don't Your dad's really been kicking my ass.
Well, yours has been kicking mine, so we're even.
[HUMMING.]
Don't even think about it.
[SIGHS.]
Hey.
- I've been looking for you.
- Yeah? Well, I'm looking for the branch Peaseblossom would used when we did "Midsummer Night's Dream.
" It'll work perfectly for the beating scene.
Great.
Uh, listen, Tracey, about before You know what's so funny about being in this room? I know every single one of these props.
Every one.
This? This was the broom from "The Music Man.
" Lewis Garcia played Harold Hill, spring of 2010.
This? This here is the tankard from "Once Upon a Mattress.
" I painted it myself with metallic paint.
It's actually a clear plastic mug.
This crystal ball? "Wizard of Oz," 2014.
I found it at a garage sale and traded it for a Starbucks Coffee card that one of the kids had given me for Christmas.
I can go on and on.
I know every single prop in here.
My life's in here.
And yeah, maybe I should have more of a life, and maybe this is too much of a family for me, but it is my family, and you are messing with it with your "vision," which I tried to support you in, even though you walked in here and took a job away from me that I wanted, that should've been mine! But I sucked it up because the kids and the theater come first.
But I got one more thing to say to you.
And we're gonna put this away and never talk about it again.
It's your fault that Simon is leaving.
You know it, and I know it, so let's just say it.
You gave him this role.
You knew what you were stirring up.
And now he's leaving.
[SIGHS.]
This isn't just about your vision, Mr.
Mazzu.
These are people's lives you're dealing with.
- ["LEFT BEHIND" PLAYING.]
- The talks you never had The Saturdays you never spent All the grown-up places You never went And all of the crying You wouldn't understand You just let him cry Make a man out of him - All things - [CHORUS HARMONIZING.]
He ever wished are left behind All the things his mama did To make him mind And how his dad Had hoped he'd grow All things He ever lived are left behind All the fears that ever Flickered through his mind All the sadness that He'd come to own [VOCALIZING.]
[ALL VOCALIZING.]
Hey, lady.
Don't come and see me ever again.
What happened? When you come see me, I think about you all day.
I turn into a different person.
I want you.
I get soft and weak.
I make stupid decisions.
Um, here.
I, um [BREATHING SHAKILY.]
I don't want anything from you.
Don't come and see me.
Don't text me.
Don't talk to me.
I care for you a lot.
But honestly, it doesn't amount to much in the grand scheme of things right now.
I need to be a better role model for my little girl.
I need to teach her that men aren't all users.
She'll understand the gray area better when she's older.
[SIGHS.]
I don't want you to leave, Simon.
I can't even think about it.
I'll fall apart.
[CHUCKLES.]
I'm gonna miss you too.
[SIGHS.]
[BACKPACK ZIPPING.]
[LAUGHS.]
Robbie Thorne.
He has a girlfriend.
I think.
I'm not gonna fall for a guy like that.
I've lived around that all my life.
Not gonna happen.
See you at rehearsal.
You won't be able to say that much longer.
Got to make these days count.
[DOORBELL RINGS.]
Can I help you? Uh, hi.
We've never met.
I I'm Lou Mazzuchelli.
I'm the theater director at Stanton High.
What's happened? Well, I I just heard that Simon is leaving - to go to St.
Francis.
- Yes, he is.
Yeah, well, I spoke to Simon and he he said it's because St.
Francis has so many more opportunities and facilities available - for college placement.
- Our minds are made up.
Yeah, just hear me out.
I don't really want to re Look, I I can help him with with college counseling free of charge, and he could do AP classes online.
I don't know why Simon told you that.
I guess he was too embarrassed to tell you the truth.
The production you're doing goes against everything we believe in.
- Have you read it? - Yes, we have.
I'm sorry, we just we don't agree with abortion, gay sex, premarital sex.
It talks about fathers molesting their daughters.
It's just too dark.
This is not the world of values we want our son growing up in.
But these are real things.
Hiding from them won't make them go away.
I'd expect your type to say nothing less.
This conversation is done.
I'm sorry.
Don't do this to your son.
Please remove your foot.
I'm sorry.
It's okay.
Good-bye.
[BELLS RING.]
- Hey, Lillette.
- Hi.
Uh, I have about 40 minutes, so maybe we can just start from the top? Sure.
How's your week been? Um, okay, I guess.
Hey, did I do something to make you upset or something? Because if I did, whatever I did, I really want to undo it.
No, you didn't do anything.
Um, I've just been in my head a lot.
But if we could just focus on the work, that'd be great.
Okay, sure.
Yeah, I I get it.
[CELL PHONE RINGING.]
Um, let's see what we can push through in 40 minutes.
I'm a lot closer to being off book, so it shouldn't take too long.
Hello? When did this happen? Is she okay? I'll be right there.
I'm sorry, I have to go.
Robbie, what happened? My my mom, she she fell, and I I'm sorry, I just have to go.
I'll come with you.
Thank you.
Yeah.
[DOOR OPENS AND CLOSES.]
Where is everybody? They're having a moment.
Can I be one of the bridesmaids at the wedding? - Sadie? - For real.
- All they do is flirt.
- Okay, well, you know what? The joke's getting old.
[OVERLAPPING CHATTER AND LAUGHTER.]
Hey, don't reach.
[LAUGHS.]
- Kaitlin.
Kaitlin? - Stop.
[LAUGHING.]
Stop it.
What was the best and worst thing that happened to you guys today? Hi, honey.
Look what Maashous and the girls did.
Wow, well done.
This looks great.
You're lighting my whole life, Maashous.
[LAUGHTER.]
Here, I'll get you something to eat.
[SOFT MUSIC.]
We can't send him back to that foster home.
[DAMIEN JURADO'S "KOLA".]
I love you so much right now.
When I look back upon my time - We'll figure it out.
- Okay.
You will not be surprised To see your name - [DOOR OPENS.]
- Mama, are you okay? [COUGHS.]
Honey, I'm fine.
I told them not to call you.
Where's the nurse? The nurse should be here.
- Who's on call tonight? - Uh, it's Jeanie.
Don't worry, she was just here.
[SIGHS.]
What happened? I was trying to get out of bed, and I didn't want to bother the nurse.
Mom, you can't do that.
Baby, you've got to stop worrying about me.
I'm okay.
Who's this? Uh - Mom, this is Lillette.
- Hello.
Hi.
She's in the play with me.
She sings like an angel.
No.
[LAUGHS.]
Not at all.
It's nice to meet you, Lillette.
It's nice to meet you too.
You look tired, Mama.
Get some rest.
I will be right here with you.
I will remember you the way you are right now The way you are right now I I didn't know about your mom.
- That must be so - It's okay.
It's, uh Is she gonna be okay? Yeah.
She has good days.
- Yeah.
- A lot of good days.
Um, thanks for being there tonight.
It meant a lot just to have you there.
Yeah.
[SOFT MUSIC.]
Um good night, Robbie.
Good night, Lillette.
- Um - I just Yeah.
[SIRENS WAILING.]
[WHISTLE BLOWS.]
So I talked to Simon's parents last night.
And? And I doubt it'll change anything.
I'm sorry.
I know how much Simon meant to you.
To everyone.
He meant a lot to me too.
Change is hard.
It's hard for me.
We can't even see the bigger picture, you know? All we can do is just plant the seeds, every day.
And pray.
Who knows what flowers will bloom, huh? [COINS JINGLE.]
[INDISTINCT CHATTER.]
[CLEARS THROAT.]
Simon.
Could we chat for a sec? Yeah.
My my parents told me you came to the house.
Look I'm sorry I didn't tell you the truth.
I I didn't want you to feel bad.
Look, I want you to know, if it would change things, I would do anything to keep you here at Stanton.
I I can edit the play.
We don't have to do that storyline.
With all respect, don't you dare.
You're doing this play for a reason, and it's an important reason.
It's about the truth, and nothing is more sacred.
So please, don't don't change it.
Not for me, or anyone.
Not a word.
Not ever.
I'm I'm counting on you.
[KNOCKING ON DOOR.]
Can I ask you something? [DESK DRAWER CLOSES.]
What's up? Uh, you know, I appreciate what you're doing and all, but can we just cut to the chase? - Cut to the chase? - Yeah.
You know, like have the talk.
The talk? Yeah, like, you ask me about my feelings, and I feel bad for what I've done, and talk about how I want to change what I want to do with my life.
Oh.
- Yeah.
- I don't do that.
- You don't? - No.
In fact, I don't like talking.
I find it annoying.
So what are we doing here? We're just putting one foot in front of the other.
Staying busy.
Doing our work.
Hoping maybe one day you feel better.
And one morning you wake up, and you feel different about things.
Okay.
[IRON & WINE'S "CALL IT DREAMING".]
[ACOUSTIC GUITAR MUSIC.]
Say it's here Where our pieces fall in place Any rain softly kisses us On the face Any wind means we're running Why are you leaving Stanton? It'll be good, Emma.
St.
Francis, it's it's a great school.
Yeah, but I like Stanton.
I like seeing you in the shows.
And the hot chocolate at the intermission.
You're breaking my heart.
I love you.
We can hear when we are hollow Where we keep the light we're given - Okay, girls, we got this.
- Ready, ready.
Hut one, hut two.
Hike! [LAUGHTER.]
Yeah! Girls! Every night knows how long it's supposed to last Where the time of our lives is all we have You should've had that yes! - Yes! - [LAUGHTER.]
Gordy, your dinner's on the table.
Hey, yo, Gordy! Come play, man.
These girls are killing us.
We could use some backup.
For all the love you've left behind You can have mine Okay.
Move over.
Let a benchwarmer show you how it's done, losers.
All right.
We do need some lessons.
So I pick you, and you guys be the receivers.
- Can I be a linebacker? - Yeah, you can be a linebacker, that's fine.
Ready? Set.
Hut.
- Open, open, open! Whoo! - Yeah! I'm linebacking you! - Yes! - [LAUGHS.]
Coach should really put you in with those moves.
That's Simon's mom.
I'll be right back.
Mrs.
Saunders, hi.
My grandmother used to say, "I don't care "if you don't believe in the same thing as me, but you have to believe in something.
" And I need to know what you believe in.
I believe in the kids I teach.
I believe in the truth.
I believe in helping them to grow up in the sun and not in the shadows.
Okay.
[SOBS.]
Okay, thank you.
For all the love you've left behind You can have mine - [ENGINE TURNS OVER.]
- [LAUGHING.]
Okay.
- All right.
- Yes! [OVERLAPPING CHATTER.]
- Robbie Thorne, that's a pretty big catch.
Mom, we are just rehearsing lines.
It's not like that.
We need $20,000 to produce this show.
I need you to support me and not be a liability.
- You have a drinking problem.
- I wasn't drinking.
- The breathalyzer showed that - Yeah, I know.
You scared the hell out of us, Gordy! What, so you're taking me out of school? He's on my team.
That's what the team is for.
I want him.
Give me a chance with him.
Maashous is just here for a few days.
He was sleeping in the lighting booth.
What was I supposed to do? Gordy, can you bring the sleeping bag into your room? Are you kidding me? Hanschen is gay.
He he kisses a boy.
I'm I'm not gay.
Your mother and I spoke to St.
Francis Prep.
They have an opening for you.
We enrolled you.
What? [SNORING.]
[SNORING CONTINUES.]
[SNORING CONTINUES.]
[BIRDS CHIRPING.]
Why is Gordy sleeping on the couch? I don't know.
Morning.
Hope I didn't bother Gordy or anything.
- Oh, no, of course not.
- No, not at all.
Wow, those cookies look amazing.
Are they for the drama bake sale? Uh, yeah, they are.
Help yourself, Maashous.
And get some breakfast too.
I'll be right back.
[DOOR OPENS AND CLOSES.]
I know what you're thinking.
Maashous isn't our son.
Gordy's our son.
Why would I bring Maashous here when Gordy has all this stuff going on? [SIGHS.]
Something like that.
So what do we do? Our son isn't comfortable sleeping in his own room.
What do you think we need to do? Okay.
You're right.
I will handle it.
[EXHALES.]
Mom, these cookies are embarrassing.
Don't ever hide your light under a bushel, my love.
Morning.
These cookies look amazing.
- Yeah, Mom made them.
- Oh, yeah? Mm-hmm.
- Well, they look professional.
- Don't eat any.
[SIGHS.]
I I wasn't gonna.
All right, let's get these loaded up.
Hey, let me help you.
I don't need your help.
Honey, would you grab this last one? Yep.
Sorry.
Just give her some time.
["THE BITCH OF LIVING" PLAYING.]
[CHORUS VOCALIZING.]
It's the bitch of living ALL: It's the bitch of living And living in your head ALL: In your head - It's the bitch - Of living And sensing God is dead ALL: It's the bitch of living You watch me, just watch me ALL: And getting what you get I'm calling, and one day ALL: It's the bitch of living And knowing this is it ALL: God, is this it? [CHAIRS SLAM.]
This can't be it Oh, God, what a bitch Excellent.
Everyone, that was great! All right.
Love it.
Not bad, gentlemen.
Starting to look like something that might not just embarrass me.
[LAUGHTER.]
All right, guys, you are excused for the rest of the day.
Ladies, you are up.
- Hey.
- Hey.
Uh, do you maybe want to run lines again? I'm pretty sure that's what rehearsal's for, Robbie.
Excuse me.
Excuse me.
I I just I need to tell you all something.
Wow, this feels dramatic.
[LAUGHS NERVOUSLY.]
It's it's just that, um, I've been on the waiting list at St.
Francis for years now, and they finally got an opening.
I start on Monday.
Uh so you you will need to find a replacement for me in the show.
[SOFT MUSIC.]
Uh look, I I'm really sorry to not be able to do this production with all you guys.
I'm really gonna miss everyone here, especially the theater department.
[SIGHS.]
Uh anyway, that's it.
I want to take it back When will I ever learn? Will I ever learn? Saunders! Saunders! Lillette look, I'm sorry.
You're leaving the school, and you didn't tell me? What the hell? Look, I just found out myself.
We have been best friends since the second grade and you're leaving me.
- Without telling me? - [SIGHS.]
You're the one who got me involved in this stupid show in the first place.
- [EXHALES SHARPLY.]
- [SIGHS.]
Why are you doing this? St.
Francis? It doesn't even make sense.
Look [STAMMERS.]
You'll always be my best friend.
I have to rehearse.
It's just really important to my parents.
Uh, they worry a lot about college, and St.
Francis has a lot of facilities that Stanton doesn't, and and they feel more confident about my college placement if I'm at St.
Francis.
Okay.
Well, we wish you the best of luck.
But we are gonna miss you.
Did you buy any of that? Not a word.
Well, welcome to the first production meeting of the Stanton High production of "Spring Awakening.
" [FOOTSTEPS APPROACHING.]
Hello, everyone.
Hello, Denise.
Oh, I haven't had the pleasure.
- Denise Strickland, Gwen's mom.
- Ah.
Mrs.
Coach, head of parent-teacher outreach, and costume designer.
Great.
Welcome.
Gwen is incredibly talented.
- Yes, she is.
- Let's start with saying this is an amazing opportunity to tell an important story.
I mean, it tells a truth: being a teenager is hard.
Dealing with burgeoning sexuality without knowledge or guidance in a deceptive and hypocritical world is still rampant.
We have learned nothing.
I mean, these stories are as relevant today as they were in Germany in the 19th century - when it was first written.
- [CELL PHONE CLICKING.]
So my concept is, we pull it into the modern world.
Into our world, into Stanton a dying steel town, a community trying to dig itself out of the ashes Mr.
Klump, can you please put your phone away? After all, you're the one who's gonna be building this.
- [CELL PHONE SWISHES.]
- [PHONE THUDS.]
So the set should be a fusion of the past and present, and our town.
It should represent the fabric of our world.
A smokestack from one of the closed steel mills, a sign from the diner, a church steeple that replicates the one at St.
Cyril's.
Lou, you do realize that our current budget is $750.
Hopefully add, what, 200 bucks from the cookie sale? That gives us 950 bucks.
You know, we just need to be a little bit more realistic.
Yeah, right now, let's dream big, then we can figure out how to deal with the money.
Okay, let's talk.
Palette and lighting design.
All right.
Take a look at that.
Maashous, pay special attention.
[SIGHS.]
What's with the tuna melt? Did you go catch a tuna? Funny, Suarez.
Your little girl was so cute in here the other night with Robbie Thorne.
Wait, my little girl? Oh, yeah, sitting at table eight reading scripts or something, but sweet and flirting, and so adorable.
Huh.
She didn't mention that.
[ROCK CLATTERS.]
Hey.
Hey.
Um, I was just, um I was just standing here.
Uh [CHUCKLES.]
Um, I was just wondering, uh, how how are you doing with everything? Do you mean with you moving back in with your wife? Uh, yeah.
I'm doing the best I can.
It's the price you pay for getting involved with someone in a messy situation.
This is this is all my fault.
[STAMMERS.]
This is all my fault.
You don't deserve this.
I'm so sorry.
It's okay.
I was blinded by chemistry and, uh made a bad decision.
And I'm sorry.
Hey [LAUGHS.]
I saw this at Target.
It, uh it made me think of you 'cause you're always dropping your phone, and you you won't buy one, so but just do you have your phone handy? - Yeah.
- Can I see it? Okay.
Lady, your phone is a mess.
- Is that right? - That's right.
Mm.
[STAMMERS.]
Well, I better get back to the school.
Yeah, a coach's work is never done.
Yeah, that's kind of true.
Um thanks for the phone case.
Sure.
Sure.
[DISHES CLINKING.]
These potatoes are really good.
Mm.
I'm glad you like them.
I've always liked potatoes.
Me too.
Um sorry it's just us.
Lou and Gordy will be home soon, and the girls are at their dance lesson.
It's okay.
- I like this.
- Me too.
What are those? Oh.
[CHUCKLES.]
Deck lights.
We bought them about a million years ago and just never got around to putting them up.
I get that.
I heard you play piano the other night.
You're amazing.
It's Brahms, right? Wow! How'd you know that? One of my foster moms played classical.
You pick things up.
Thank you.
So what's it like? Being a foster kid? Yeah.
If you don't mind.
Pretty much 24/7 awesomeness.
I don't know, I guess you get used to living a certain way.
You know, just not letting yourself get too comfortable, too dug in.
My whole life's in my backpack.
I kind of like that.
You just learn not to expect much from anyone, I guess.
[TRAP MUSIC PLAYING.]
[KNOCKING AT DOOR.]
Turn down for what Yeah? Uh, is your mom or dad home? My mom and dad are dead.
Hey, don't change it! Don't put that Kesha crap on, or I'll beat your ass! Um, yeah, sorry, is there an adult here? Louise is in there.
In in the car? Yeah.
[MUSIC CONTINUES.]
Excuse me.
- Yeah.
- Hi, I'm Lou Mazzuchelli.
I teach at Stanton High.
Are you Maashous' foster parent? Yeah.
What did he do? No, he he didn't do anything.
Do you have any idea where he's been the last few days? He's a grown guy.
I can't follow him around all day.
I've got other kids to look after.
Yeah, I see.
Don't judge me.
I know where he is.
He's been staying at my house with my family.
Is there a reason he doesn't want to be staying at your house that I need to know about? There's nothing wrong with my house.
Look, I don't have room to keep Maashous.
I need to send him back here.
But I like this kid.
And I'm gonna be checking up on him.
Make sure he's being cared for properly.
Is that okay? - Yeah.
- Okay.
We'll be in touch.
Hey, superstar! Hey, Mom.
Rehearsal sucked, and I am hardly a superstar.
I was talking about girlfriend of QB one.
What? Nooreen told me she saw you and Robbie Thorne at the diner and that it looked romantic.
Well, it wasn't romantic.
It was a guy being a guy [SIGHS.]
Messing with a girl for his own amusement.
Like you said, all guys are the same.
Honey, I never said that.
Yeah, you did.
You do.
You basically say that every day, Mom.
If there's one thing you taught me, it's that a guy like Robbie Thorne is never going to care about a girl like me.
And to not believe in fairy tales.
No, no, no, no.
Whatever I said, you deserve a good guy.
You deserve a guy that treats you great.
Thanks, Mom.
Don't worry.
Honestly, it meant nothing to either one of us.
So I'm sorry if I disappointed you, but your superstar has to go practice her lines.
[SOMBER MUSIC.]
[KNOCKS AT DOOR.]
Denise.
What can I do for you? I did some sketches last night based on the production meeting.
It's kind of a Victorian/Stanton mash-up.
Victorian lines, but fabric of a working town.
Nothing too new or expensive-looking.
After hearing you talk yesterday, it got me excited.
Like you're really gonna shake things up, do something great.
Denise, these are incredible.
Thank you.
Good morning.
Tracey, come see these sketches that Denise did.
Nice.
- [CLEARS THROAT.]
- Okay.
Well, I will get out of your hair.
- Thank you for the feedback.
- Thank you.
I am really excited to work on these with you.
- Me too.
- Hmm.
I don't know what she's thinking.
We don't have the money to make those.
All right, so I was up late last night trying to figure out how we can make the show work with the budget that we have.
I get what you're going for, and I want to try and help to salvage some of it, okay? We can throw together costumes out of what we have if we give up the Victorian element and just go contemporary, and the set the set has to be way simplified.
I mean, we could get a few of these things, but, you know, there's no reason why we couldn't just do this up on a bare stage, and then use chairs to indicate different rooms.
Yeah, Tracey, stop.
Stop.
Just stop what you're doing.
What do you mean "stop"? I'm trying to help you.
Yeah, I get that you think that, and I appreciate it, but you're not.
[SCOFFS.]
We can make compromises that will be just fine.
I don't want "fine.
" And I don't want to make compromises.
At least not yet.
Look, I want this to be good.
I want it to feel special.
I don't want it to look thrown-together and second-rate like all the other shows that get done here.
Tracey, that came out wrong.
Sorry you think all the shows I've worked on look crappy.
I'm just trying to deal with reality.
Look, I I have an idea, okay, a concept.
I'd just like you to give it a chance.
This is high school, okay? You're not freaking Ziegfeld! - Hi, Miss Wolfe.
- Hi.
I just left my math book in here last night.
I'm sorry, I just I just love this theater so much, you know, and it's it's been like a family to me, and you're you're a big part of it.
And I'm gonna miss you very much.
You're like my family too.
Thank you, Simon.
- You keep in touch.
- I will.
Okay.
Maashous, can I talk to you about something? Yeah, sure.
The the lighting? I know, I was trying to keep up at the production meeting.
I took down a lot of notes.
I mean, it was really interesting, all that stuff you were talking about.
I never heard anyone talk about a play that way before.
You know, it made me feel, like, excited to work on it, you know? Like we're doing something important.
Well, it is.
I mean, we should all feel that way, right? Thank you for that.
What did you want to say again about about the lights? In addition to being the lighting operator, how would you like to do the lighting design? - Really? - Yeah.
Yeah, I mean, you know everything about this system, and I I really believe you could do it.
[CHUCKLES.]
Love to try.
Thank you.
Yeah, sure thing.
- Okay.
- All right.
Go get 'em.
[SIGHS.]
[MICHAEL NAU'S "WHILE YOU STAND".]
[ACOUSTIC GUITAR MUSIC.]
I am a mountain [straining High as can be Yes, and I am an ocean while you While you stand by me Oh, but I am the fool you know Anytime you don't Your dad's really been kicking my ass.
Well, yours has been kicking mine, so we're even.
[HUMMING.]
Don't even think about it.
[SIGHS.]
Hey.
- I've been looking for you.
- Yeah? Well, I'm looking for the branch Peaseblossom would used when we did "Midsummer Night's Dream.
" It'll work perfectly for the beating scene.
Great.
Uh, listen, Tracey, about before You know what's so funny about being in this room? I know every single one of these props.
Every one.
This? This was the broom from "The Music Man.
" Lewis Garcia played Harold Hill, spring of 2010.
This? This here is the tankard from "Once Upon a Mattress.
" I painted it myself with metallic paint.
It's actually a clear plastic mug.
This crystal ball? "Wizard of Oz," 2014.
I found it at a garage sale and traded it for a Starbucks Coffee card that one of the kids had given me for Christmas.
I can go on and on.
I know every single prop in here.
My life's in here.
And yeah, maybe I should have more of a life, and maybe this is too much of a family for me, but it is my family, and you are messing with it with your "vision," which I tried to support you in, even though you walked in here and took a job away from me that I wanted, that should've been mine! But I sucked it up because the kids and the theater come first.
But I got one more thing to say to you.
And we're gonna put this away and never talk about it again.
It's your fault that Simon is leaving.
You know it, and I know it, so let's just say it.
You gave him this role.
You knew what you were stirring up.
And now he's leaving.
[SIGHS.]
This isn't just about your vision, Mr.
Mazzu.
These are people's lives you're dealing with.
- ["LEFT BEHIND" PLAYING.]
- The talks you never had The Saturdays you never spent All the grown-up places You never went And all of the crying You wouldn't understand You just let him cry Make a man out of him - All things - [CHORUS HARMONIZING.]
He ever wished are left behind All the things his mama did To make him mind And how his dad Had hoped he'd grow All things He ever lived are left behind All the fears that ever Flickered through his mind All the sadness that He'd come to own [VOCALIZING.]
[ALL VOCALIZING.]
Hey, lady.
Don't come and see me ever again.
What happened? When you come see me, I think about you all day.
I turn into a different person.
I want you.
I get soft and weak.
I make stupid decisions.
Um, here.
I, um [BREATHING SHAKILY.]
I don't want anything from you.
Don't come and see me.
Don't text me.
Don't talk to me.
I care for you a lot.
But honestly, it doesn't amount to much in the grand scheme of things right now.
I need to be a better role model for my little girl.
I need to teach her that men aren't all users.
She'll understand the gray area better when she's older.
[SIGHS.]
I don't want you to leave, Simon.
I can't even think about it.
I'll fall apart.
[CHUCKLES.]
I'm gonna miss you too.
[SIGHS.]
[BACKPACK ZIPPING.]
[LAUGHS.]
Robbie Thorne.
He has a girlfriend.
I think.
I'm not gonna fall for a guy like that.
I've lived around that all my life.
Not gonna happen.
See you at rehearsal.
You won't be able to say that much longer.
Got to make these days count.
[DOORBELL RINGS.]
Can I help you? Uh, hi.
We've never met.
I I'm Lou Mazzuchelli.
I'm the theater director at Stanton High.
What's happened? Well, I I just heard that Simon is leaving - to go to St.
Francis.
- Yes, he is.
Yeah, well, I spoke to Simon and he he said it's because St.
Francis has so many more opportunities and facilities available - for college placement.
- Our minds are made up.
Yeah, just hear me out.
I don't really want to re Look, I I can help him with with college counseling free of charge, and he could do AP classes online.
I don't know why Simon told you that.
I guess he was too embarrassed to tell you the truth.
The production you're doing goes against everything we believe in.
- Have you read it? - Yes, we have.
I'm sorry, we just we don't agree with abortion, gay sex, premarital sex.
It talks about fathers molesting their daughters.
It's just too dark.
This is not the world of values we want our son growing up in.
But these are real things.
Hiding from them won't make them go away.
I'd expect your type to say nothing less.
This conversation is done.
I'm sorry.
Don't do this to your son.
Please remove your foot.
I'm sorry.
It's okay.
Good-bye.
[BELLS RING.]
- Hey, Lillette.
- Hi.
Uh, I have about 40 minutes, so maybe we can just start from the top? Sure.
How's your week been? Um, okay, I guess.
Hey, did I do something to make you upset or something? Because if I did, whatever I did, I really want to undo it.
No, you didn't do anything.
Um, I've just been in my head a lot.
But if we could just focus on the work, that'd be great.
Okay, sure.
Yeah, I I get it.
[CELL PHONE RINGING.]
Um, let's see what we can push through in 40 minutes.
I'm a lot closer to being off book, so it shouldn't take too long.
Hello? When did this happen? Is she okay? I'll be right there.
I'm sorry, I have to go.
Robbie, what happened? My my mom, she she fell, and I I'm sorry, I just have to go.
I'll come with you.
Thank you.
Yeah.
[DOOR OPENS AND CLOSES.]
Where is everybody? They're having a moment.
Can I be one of the bridesmaids at the wedding? - Sadie? - For real.
- All they do is flirt.
- Okay, well, you know what? The joke's getting old.
[OVERLAPPING CHATTER AND LAUGHTER.]
Hey, don't reach.
[LAUGHS.]
- Kaitlin.
Kaitlin? - Stop.
[LAUGHING.]
Stop it.
What was the best and worst thing that happened to you guys today? Hi, honey.
Look what Maashous and the girls did.
Wow, well done.
This looks great.
You're lighting my whole life, Maashous.
[LAUGHTER.]
Here, I'll get you something to eat.
[SOFT MUSIC.]
We can't send him back to that foster home.
[DAMIEN JURADO'S "KOLA".]
I love you so much right now.
When I look back upon my time - We'll figure it out.
- Okay.
You will not be surprised To see your name - [DOOR OPENS.]
- Mama, are you okay? [COUGHS.]
Honey, I'm fine.
I told them not to call you.
Where's the nurse? The nurse should be here.
- Who's on call tonight? - Uh, it's Jeanie.
Don't worry, she was just here.
[SIGHS.]
What happened? I was trying to get out of bed, and I didn't want to bother the nurse.
Mom, you can't do that.
Baby, you've got to stop worrying about me.
I'm okay.
Who's this? Uh - Mom, this is Lillette.
- Hello.
Hi.
She's in the play with me.
She sings like an angel.
No.
[LAUGHS.]
Not at all.
It's nice to meet you, Lillette.
It's nice to meet you too.
You look tired, Mama.
Get some rest.
I will be right here with you.
I will remember you the way you are right now The way you are right now I I didn't know about your mom.
- That must be so - It's okay.
It's, uh Is she gonna be okay? Yeah.
She has good days.
- Yeah.
- A lot of good days.
Um, thanks for being there tonight.
It meant a lot just to have you there.
Yeah.
[SOFT MUSIC.]
Um good night, Robbie.
Good night, Lillette.
- Um - I just Yeah.
[SIRENS WAILING.]
[WHISTLE BLOWS.]
So I talked to Simon's parents last night.
And? And I doubt it'll change anything.
I'm sorry.
I know how much Simon meant to you.
To everyone.
He meant a lot to me too.
Change is hard.
It's hard for me.
We can't even see the bigger picture, you know? All we can do is just plant the seeds, every day.
And pray.
Who knows what flowers will bloom, huh? [COINS JINGLE.]
[INDISTINCT CHATTER.]
[CLEARS THROAT.]
Simon.
Could we chat for a sec? Yeah.
My my parents told me you came to the house.
Look I'm sorry I didn't tell you the truth.
I I didn't want you to feel bad.
Look, I want you to know, if it would change things, I would do anything to keep you here at Stanton.
I I can edit the play.
We don't have to do that storyline.
With all respect, don't you dare.
You're doing this play for a reason, and it's an important reason.
It's about the truth, and nothing is more sacred.
So please, don't don't change it.
Not for me, or anyone.
Not a word.
Not ever.
I'm I'm counting on you.
[KNOCKING ON DOOR.]
Can I ask you something? [DESK DRAWER CLOSES.]
What's up? Uh, you know, I appreciate what you're doing and all, but can we just cut to the chase? - Cut to the chase? - Yeah.
You know, like have the talk.
The talk? Yeah, like, you ask me about my feelings, and I feel bad for what I've done, and talk about how I want to change what I want to do with my life.
Oh.
- Yeah.
- I don't do that.
- You don't? - No.
In fact, I don't like talking.
I find it annoying.
So what are we doing here? We're just putting one foot in front of the other.
Staying busy.
Doing our work.
Hoping maybe one day you feel better.
And one morning you wake up, and you feel different about things.
Okay.
[IRON & WINE'S "CALL IT DREAMING".]
[ACOUSTIC GUITAR MUSIC.]
Say it's here Where our pieces fall in place Any rain softly kisses us On the face Any wind means we're running Why are you leaving Stanton? It'll be good, Emma.
St.
Francis, it's it's a great school.
Yeah, but I like Stanton.
I like seeing you in the shows.
And the hot chocolate at the intermission.
You're breaking my heart.
I love you.
We can hear when we are hollow Where we keep the light we're given - Okay, girls, we got this.
- Ready, ready.
Hut one, hut two.
Hike! [LAUGHTER.]
Yeah! Girls! Every night knows how long it's supposed to last Where the time of our lives is all we have You should've had that yes! - Yes! - [LAUGHTER.]
Gordy, your dinner's on the table.
Hey, yo, Gordy! Come play, man.
These girls are killing us.
We could use some backup.
For all the love you've left behind You can have mine Okay.
Move over.
Let a benchwarmer show you how it's done, losers.
All right.
We do need some lessons.
So I pick you, and you guys be the receivers.
- Can I be a linebacker? - Yeah, you can be a linebacker, that's fine.
Ready? Set.
Hut.
- Open, open, open! Whoo! - Yeah! I'm linebacking you! - Yes! - [LAUGHS.]
Coach should really put you in with those moves.
That's Simon's mom.
I'll be right back.
Mrs.
Saunders, hi.
My grandmother used to say, "I don't care "if you don't believe in the same thing as me, but you have to believe in something.
" And I need to know what you believe in.
I believe in the kids I teach.
I believe in the truth.
I believe in helping them to grow up in the sun and not in the shadows.
Okay.
[SOBS.]
Okay, thank you.
For all the love you've left behind You can have mine - [ENGINE TURNS OVER.]
- [LAUGHING.]
Okay.
- All right.
- Yes! [OVERLAPPING CHATTER.]