The Times They Are A-Changin' (Spec Script - Glee)

glee
"The Times They Are AChangin'"

written by:
Diane Carol Harder
Liliath & Penumbra

(323) 647-5327
dch@liliathandpenumbra.com
RECAP
NARRATOR
Heres what youve missed on Glee:
Will had the chance to be on
Broadway, but gave it up to keep
directing the glee club. Sues
running for office, and used her
campaign to bash Burt - and Santana
ended up getting outed in the
process. Shelby cut Quinn out of
Beths life after she heard from
Puck about her attempts at
sabotage. Kurt and Blaine are
getting pretty serious in their
relationship. And thats what
youve missed on Glee.
TEASER
INT. MCKINLEY HIGH -- MORNING
WILL SHUESTER enters McKinleys hallways, ready for work,
only to find them strangely quiet. As he passes, he notices
STUDENTS whispering to each other and looking further down
the 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 over
to reveal an invitation, which reads:
SUE (V.O.)
Hey, Butt-Chin! Youll want to come
to my office pronto this morning!
Curious, Will continues down the hallway, and the hum grows
louder, until he turns the corner and finds--- Sue, wearing her best track suit business suit, standing
in front of her office, addressing a gaggle of REPORTERS and
PAPARAZZI from her own podium of microphones.
EMMA PILLSBURY, PRINCIPAL FIGGINS, and COACH BIESTE are all
standing nearby, watching the hullabaloo.
Will joins them.
WILL
Whats going on?
glee - "The Times They Are A-Changin'" - Diane Carol Harder 12/05/11 - 2.
Emma hands him her own personalized invitation, complete with
mocking picture of Sue on its front.
EMMA
Sues called a press conference.
Why?
WILL
FIGGINS
(shrugs)
I am not sure, William, but I hope
she will not mention to the press
the scabies outbreak we had last
week. Or the protest the students
held against it.
SMASH CUT TO:
EXT. MCKINLEY HIGH -- DAY (FLASHBACK)
A group of STUDENTS, including NOAH PUCK PUCKERMAN, stands
near the door, holding picket signs with slogans like DOWN
WITH SCABIES!, SCABIES SUCKS!, and LEGALIZE MARIJUANA!
Emma patiently tries to approach each of them, giving them
pamphlets with the title DONT 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 turns
to watch Sue hush the crowd in front of her.
SUE
As you all know, I am currently
running for the U.S. House of
Representatives.
She glares over at BURT HUMMEL and REGGIE THE SAUCE
SALAZAR, also holding their personalized invitations.
SUE (CONT'D)
Every freeway has its lifethreatening oil slicks, and my
freeway to the Senate has one named
Burt Hummel and another with a
stupid nickname I dont even care
enough to remember.
She turns back to the crowd in front of her.
SUE (CONT'D)
Im here to announce that I take
full responsibility for the tone
this campaign has taken up to this
point. I apologize to the student
who got hurt as a result. That was
unacceptable, and I pledge to lead
a more positive campaign from this
point forward.
(dramatic pause)
Id also like to take this
opportunity to remind my opponents
that I will, as only a champion
knows how, throttle them on
election day, and will then mock
them publicly on multiple occasions
after doing so. I only hope Burts
delicate simian heart can handle
the humiliation.
(off their shocked
silence)
Oh - and when I win, I promise that
the first thing I do will be to
divert every single penny from arts
funding toward Special Education.
The second thing will be to see
that Reggie The Stupid One
Salazars pizzeria is audited by
the IRS every single month Im in
office. That is all.
The reporters jump to life and begin shouting questions at
her.
Emmas, Figgins, and Biestes faces are all pictures of
disbelief.
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:
60S FOLK MUSIC.
The GLEE KIDS all groan, except RACHEL BERRY and RORY
FLANAGAN.
RACHEL
Frankly, Im surprised we havent
done folk music before.
QUINN FABRAY shakes her head with disbelief.
QUINN
Dont tell me you have some deep,
personal relationship with folk
music.
RACHEL
(puzzled)
Well, no - I just think it
showcases my vocal range really
well.
Will holds his hands up to get their attention.
WILL
Im sure by now youve all heard
about Coach Sylvesters statement
to the press.
Puck nods at him.
PUCK
Yeah - shes running for senate. Or
the house. Or something to do with
the freeway? Actually, Im not
really sure - but she really hates
that Sauce dude after what he did
to Santana.
FINN HUDSON sighs.
FINN
Thats my fault - if his niece
hadnt heard what I said to
Santana, The Sauce never wouldve
been able to put it in his ad.
He turns to KURT HUMMEL.
FINN (CONT'D)
I really hope your dad wins. Itd
be awful if either Coach Sylvester
or that Sauce guy won.
Will steps forward.
WILL
That is actually the reason for
this weeks assignment. The 60s
were a time of extreme social and
political change. This week, I want
you to find a song that expresses
not only the frustration and
yearning of that time period, but
of ours as well.
The glee kids nod their agreement, starting to look more
excited.
INT. HALLWAY -- DAY
SANTANA LOPEZ approaches BRITTANY PIERCEs locker, only to
find her and Rory talking together.
Brittany nods and Rory walks away.
SANTANA
Whats with you and the potato
eater?
Brittany shrugs.
BRITTANY
Rory may not actually be a
leprechaun or have magical powers
to grant wishes, but Barbara
Walters flaked out on her Fondue
for Two interview this week so I
asked him to sub in. Ill just have
to put in subtitles or something.
Oh.
SANTANA
She bites her lip.

Hey Brit?
Yeah?
SANTANA (CONT'D)
BRITTANY
SANTANA
When are you going to have me on
Fondue for Two?
Brittany shuts her locker.
BRITTANY
I asked you last year, remember?
And you didnt show up?
(she shrugs)
I thought that meant you didnt
want to be on it.
Oh. Yeah.
SANTANA
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 you
now, so why do we still have to be
a secret?
SANTANA
Im just not ready yet, okay?
BRITTANY
Then let me know when you are.
Brittany turns and walks away.
Santana looks around to make sure no one noticed what just
happened, then follows her.
INT. CLASSROOM -- DAY
Brittany and Santana join MERCEDES JONES by a piano, where
she stands, reading through sheet music.
Then SHELBY CORCORAN and SUGAR MOTTA come in.
SUGAR
Its just something to consider.
Obviously, my dad will pay for
everything.
Shelby takes a deep breath.
SHELBY
No, Sugar, we will not shoot a
music video for your cover of Tila
Tequilas Get Me Off.
Why not?
SUGAR
SHELBY
Because I really need this job.
Mercedes looks up.
MERCEDES
But thats a good idea - why dont
we make a music video as a group?
She catches Shelbys wide-eyed expression of fear.
MERCEDES (CONT'D)
Of something more schoolappropriate, of course.
Santana nods.
SANTANA
That chick Sunshine has a lot of
online fans. A video might help The
Troubletones steal them.
Shelby closes her eyes and takes a deep breath, like she
already has a migraine forming. But then she smiles.
SHELBY
I must be really sleep-deprived to
agree to this, but if Sugars dad
approves the costs, then okay well do it. But it has to be Grated.
The girls all squeal and high five.
INT. KURTS BEDROOM -- DAY
Kurt and BLAINE ANDERSON hang out on Kurts bed, doing
homework and sipping coffee from paper cups stamped with the
Lima 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 - whats up?
KURT
Sorry - what?
BLAINE
(smiles)
I knew something was up when you
got your coffee black.
(MORE)
BLAINE (CONT'D)
I have never seen you with anything
so unembellished before.
Kurt offers a weak smile.
KURT
My bedazzler does get a lot of use.
BLAINE
And now youre zoning out.
He takes Kurts coffee and puts both cups aside. Then he
pulls Kurt close.
BLAINE (CONT'D)
I just want to know whats going on
inside your head.
KURT
Im just worried about my
application to NYADA. I dont know
if its strong enough.
Blaine kisses him - a bit intensely. Kurt starts to
reciprocate, but then pulls away.
BLAINE
(puzzled)
If thats it, then you dont have
anything 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 thats not it, is it?
He tenderly cups Kurts face with his hand.
Tell me.
BLAINE (CONT'D)
Tears begin to slide down Kurts cheeks. Blaine starts to

kiss them away, but Kurt pushes him away.
BLAINE (CONT'D)
(hurt)
Please tell me if Ive done
something--
KURT
Its not you! But all of this its just too much sometimes.
Why?
BLAINE
KURT
Its just - were so... Im so
happy.
BLAINE
(smiles)
And thats bad?
Kurt shakes his head.
KURT
No - its perfect. Youre perfect.
(he sighs)
I wish my mom couldve met you.
Ohhh...
BLAINE
KURT
I miss her so much sometimes. I
mean, I love my dad, but hes not a
mom, you know? And Caroles really
great, but...
Blaine pulls Kurt into a hug, and Kurt begins to cry. Blaine
kisses him, and this time Kurt lets himself go.
Their coffees wait for them on the side table, long since
forgotten.
INT. WILL SHUESTERS APARTMENT -- NIGHT
Will comes in the front door, tired after a long day, and
goes to hang up his jacket.
He does a double-take when he sees the door to Terris old
craft room ajar.
INT. TERRIS OLD CRAFT ROOM -- NIGHT
Will pushes the door open to find Emma, sitting in front of a
pile of his boxes on the floor.
EMMA
You still havent unpacked?
WILL
Emma, I can explain-She looks up at him.
Please do.
EMMA
Will shifts uncomfortably.

WILL
Ive just been really busy with
glee and preparing for sectionals-EMMA
You had the whole summer, Will.
Will cant look at her.
EMMA (CONT'D)
All this time, I thought youd left
this room locked because it
reminded you too much of Terri or
something - not because you were
hiding anything from me.
She stands and grabs her things to leave.
EMMA (CONT'D)
I think Im going to sleep at home
tonight.
Will watches her go, not knowing what he can say to make her
stay.
END ACT ONE
ACT TWO
INT. SUES OFFICE -- DAY
Artie knocks on the door.
None of Sues usual stuff - the megaphone, the pompoms, the
huge tubs of protein powder - are present. Instead, shes
converted the space into a mini-recording studio.
Sue looks up.
ARTIE
You wanted to see me, Coach
Sylvester?
Sue walks to the door and closes it. Then she hands Artie a
clipboard and pen.
SUE
I need you to sign this.
Artie reads the form on the clipboard, then signs it.
ARTIE
Why am I signing a release form?
SUE
How do you feel about a life in
politics, Wheels?
BECKY appears out of nowhere and hands Artie a set of
headphones.
Off of Arties puzzled reaction:
Arties in front of the whole glee club.
ARTIE
She wanted me to sing her campaign
song for her.
Rachel looks at him with disbelief.
RACHEL
You? She asked you to do her song?
But why?
This gets her a few dirty looks.
ARTIE
(shrugs)
She wanted the gimp sympathy
factor.
Tina looks at Artie.
TINA
Did you do it?
Off of Artie, taking a breath to respond:
Artie sighs.
ARTIE
You realize youre asking me to
help you destroy the glee club,
using a skill Ive honed in that
very same glee club?
SUE
(nods)
Exactly. Fighting fire with flame
throwers.
Artie shakes his head.
ARTIE
Im afraid I cant do that.
SUE
Ill make it worth your while. Ill
give you all my tater tots for a
month. The ones they give staff are
even bigger and more perfect than
the ones they give students.
ARTIE
You dont get it, do you?
SUE
No. Please educate me.
Artie begins to sing Bob Dylans The Times They Are AChangin:
ARTIE
Come gather round people/
Wherever you roam/ And admit that
the waters/ Around you have grown/
And accept it that soon/ Youll be
drenched to the bone/ If your time
to you/ Is worth savin/ Then you
better start swimmin/ Or youll
sink like a stone/ For the times
they are achangin...
Sue winks at Becky, who nods and presses a button on the
soundboard on Sues desk.
INT. HALLWAY OUTSIDE SUES OFFICE -- DAY
A red Recording In Session light turns on outside Sues
door.
Students stop to listen, as Arties song is broadcast through
speakers next to it.
ARTIE
Come senators, congressmen/ Please
heed the call/ Dont stand in the
doorway/ Dont block up the hall/
For he that gets hurt/ Will be he
who has stalled/ Theres a battle
outside/ And it is ragin/ Itll
soon shake your windows/ And rattle
your walls/ For the times they are
a-changin...
The students start to nod, agreeing with the lyrics to the
song.
Were back at glee, and Arties still at front, finishing his
song:
ARTIE
The line it is drawn/ The curse it
is 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 one
now/ Will later be last/ For the
times they are a-changin.
As the music ends, all the glee kids actually look sort of
energized by the song.
Artie smiles - then sighs.
ARTIE (CONT'D)
Then she informed me that shed
been recording my song nearly the
whole time Id been singing. Shes
going to use it in her ad.
He turns back to the other glee kids.
ARTIE (CONT'D)
And I dont even get those tater
tots.
Rory pats him on the shoulder.
RORY
That is so unfair, mate.
Artie looks up at Will.
ARTIE
I 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.
QUINN
I just have to know: whyd you do
it?
Do what?
PUCK
Quinn raises an eyebrow.

QUINN
Miss C. cut me out of Beths life,
but still lets you baby-sit. I
think its pretty clear.
PUCK
(sighs)
I didnt mean for that to happen I swear - but I love Beth, and I
think Shelb- Miss C. - takes better
care of her than Ill be able to
afford to...
Quinn looks away.
QUINN
But what about me? Beth is all I
have.
She looks back at Puck, who doesnt know how to answer. Her
eyes harden again.
QUINN (CONT'D)
I swear youll end up back in juvie
if you ever get between me and my
baby again.
She walks away.
Puck watches her leave. Then Shelby and the Troubletones exit
their practice room, and he sighs.
He waves a small wave at Shelby, who smiles, then looks
around to make sure no one saw her. She waves a small wave
back.
Meanwhile, Mercedes, all excited, seeks out Kurt at his
locker.
Hi!
Hey.
MERCEDES
KURT
MERCEDES
Ive missed you - how are you?
Kurt shrugs. Mercedes gives him a look, but cant contain her
excitement.
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 to
choose what Im going to wear in
it.
KURT
(shrugs)
I dont know - I mean, no offense,
but you ARE the competition now.
Mercedes is taken aback by his lack of enthusiasm.
MERCEDES
Are you okay? You dont seem like
yourself.
KURT
(sighs)
Dont worry about it.
He closes his locker.
KURT (CONT'D)
Ive got to get to class now.
And he leaves. Mercedes is in shock.
She approaches Blaine at his locker.
MERCEDES
Whats going on with Kurt? I just
offered him a chance to pick my
wardrobe for a music video, and he
turned me down.
Blaine watches as Kurt turns the corner down the hallway.
Just then, the bell rings.
INT. EMMA PILLSBURYS OFFICE -- DAY
Emma sits at her desk doing paperwork.
Theres a knock at her door, and she looks up --- its Will.
Hi.
Hi.
WILL
EMMA
Will steps inside the room, and Emma looks away.

WILL
Look, can we go out to dinner? Id
like to explain everything.
Emma becomes preoccupied with folding a pamphlet as perfectly
as possible - and Will notices. Its not good that her OCD is
flaring up.
Emma sighs and stops folding.
EMMA
Okay. I think I owe it to you and
to our relationship to listen to
what you have to say.
WILL
Thank you - Ill see you later
then.
Emma just nods and Will leaves.
END ACT TWO
ACT THREE
INT. HUMMEL MOTOR SHOP -- DAY
Blaine approaches Burt as hes working on the underside of a
car.
BLAINE
Hi, Mr. Hummel.
Burt looks up.
BURT
Oh - hey, Blaine. Whats up?
BLAINE
I actually had a personal question
to ask you.
Burt puts down the wrench hes holding.
BURT
How about some really bad coffee?
Blaine nods.
INT. BURTS OFFICE -- DAY
Scattered amongst the parts catalogs and custom-made
calendars are Burts campaign flyers and posters.
He clears a spot on a chair for Blaine to sit, then leans on
the desk in front of him.
BURT
So. Whats going on?
Blaine looks down into his coffee cup.
Its Kurt.
BLAINE
Burt stands up.

BURT
Is he okay?
BLAINE
Hes fine. At least, physically
fine.
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. Its that time of year.
Excuse me?
BLAINE
BURT
Its almost the anniversary of
Elizabeths death. Kurt always gets
a little quieter around this time
of year.
BLAINE
So thats why hes so sad about her
right now.
Burt pats him on the shoulder.
BURT
He must really care about you to
have told you - he usually keeps it
to himself. Its a very private
thing. For both of us.
Blaine nods. He opens his mouth to speak, but then hesitates.
BURT (CONT'D)
Whats on your mind?
BLAINE
Would it be presumptuous of me to
suggest you two celebrate Elizabeth
together this year? With all the
changes happening, I just think he
could 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.
FINN
So, do you think you can make it?
Of course!
RACHEL
Finn motions for her to be quiet.
FINN
Its just that it has to be kept
secret, okay? Just family, you, and
Blaine.
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?
QUINN
I have a song Id 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 glares
at Puck.
QUINN (CONT'D)
I dont think its a secret to
anyone that Ive been through a lot
over the past couple years.
Not a smart comment from anyone - no ones going to joke
about her pregnancy.
QUINN (CONT'D)
Well, this is a song Id like to
sing that expresses how I feel
after coming out of it all.
With that, she nods toward THE ACCOMPANISTS, who begin to
play the first strains of Joni Mitchells 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/ As
every fairy tale comes real/ Ive
looked at love that way...
Finn turns away from Quinns gaze.
QUINN (CONT'D)
But now its just another show/
You leave em laughing when you go/
And if you care, dont let them
know/ Dont give yourself away...
Quinn looks back at Puck, who leans back in his chair,
challenging her with his gaze.
QUINN (CONT'D)
Ive looked at love from both
sides now/ From give and take, and
still somehow/ Its loves
illusions I recall/ I really dont
know love at all...
Quinn glances at Tina and Mike, who are holding hands. They
tighten 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 circus
crowds/ Ive looked at life that
way...
She looks at the whole group.
QUINN (CONT'D)
Oh but now old friends are acting
strange/ They shake their heads,
they say Ive changed/ Well
somethings lost but somethings
gained/ In living every day...
Rachel watches Quinn, her gaze almost tinged with pity, and
Quinn meets her eye.
QUINN (CONT'D)
Ive looked at life from both
sides now/ From WIN and LOSE and
still somehow/ Its lifes
know life at all...
Quinn closes her eyes, refusing to let any tears fall.
QUINN (CONT'D)
Ive looked at life from both
sides now/ From up and down and
still somehow/ Its lifes
know life at all.
The music stops, but no one speaks, not knowing how to react
to Quinns display of vulnerability.
INT. HALLWAY -- DAY
Santana stands outside the practice room, frozen, having just
heard Quinns performance.
Then she sees Brittany standing over at her locker. She takes
a deep breath and walks over to her.
BRITTANY
I think Lord Tubbingtons smoking
is really becoming a problem. It
used to be sort of sexy, but now I
think its affecting his health.
She notices Santanas kind of quiet.
BRITTANY (CONT'D)
Whats wrong?
I just-
SANTANA
She looks at Brittany, whos waiting for her to finish.

Smiling, Santana reaches for Brittanys hand --- but then pulls back when she sees JACOB BEN ISRAEL come
around the corner.
Looking back at Brittany, she sees that Brittanys not amused
- she knows what just happened.
Brit - I-
SANTANA (CONT'D)
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 her
OCD is flaring up.
Will watches her as she chews her food very carefully.
WILL
Thank you for coming out tonight.
Emma swallows.
EMMA
I want to give you your chance to
explain.
Will puts down his fork.
WILL
I love you, Emma - I really do-She finally smiles at him.
WILL (CONT'D)
--but I swear - I just kept putting
off unpacking those boxes, and
never really thought about it.
Thats it.
Emma puts down her fork.
EMMA
Will, those boxes represent your
Broadway dream. I think your
subconscious is trying to tell you
something.
(she looks down)
And its something I need to
acknowledge, too.
Will takes her hand.
WILL
No! I swear to you - I will unpack
those boxes! They mean nothing.
Just please come home.
Emma searches his face, then finally sighs.
EMMA
I dont think I can. Not yet. I
know you dont think this means
anything, but I need to know for
sure. Im 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 around
the shoulders of Jacob Ben Israel and AZIMIO ADAMS.
SUE
--and thats the way Sue sees it.
(beat)
Cut!
Sue turns to Azimio.
SUE (CONT'D)
Look, Hulk, I need you to hunch
down a bit so you dont look so
much like youre going to
strangulate and regurgitate the
populaces small children.
Azimio bends down, sort of awkwardly.
Like this?
AZIMIO
SUE
Yes! Good! Now people will think
youve got scoliosis or something.
She turns to her camera crew.
SUE (CONT'D)
Roll cameras!
Just as the cameras start rolling again, though:
Excuse me!
EMMA (O.C.)
Sue makes the sign to cut, and turns to look at Emma.

SUE
And what have you got to
contribute, pygmy marmoset?
EMMA
Sue, what you are doing here is
beyond repulsive.
SUE
How so, pray tell?
Emma motions at Jacob and Azimio.
EMMA
You are exploiting our minority
students for your own benefit.
Jacob steps forward.
JACOB
Actually, Miss Pillsbury, Im also
benefitting. My polls show that my
appearance on any state-wide ad
will increase my popularity with
the ladies.
SUE
You hear that, my little Ewok
friend? There is no exploitation
going on here.
AZIMIO
Oh - Im being exploited.
Sue shoves him into a classroom and slams the door shut
behind him.
EMMA
This is ridiculous! Youre trying
to play on the emotions of voters!
Im actually surprised you dont
have Becky making an appearance in
your ad.
SUE
(deathly)
Whoah - watch it, Gizmo. Youre
overstepping.
By this point, their voices have become really loud.
Will rushes down the hall to try to break it up.
WILL
Whats going on here, ladies?
SUE
Your little Cabbage Patch friend
here objects to my campaign ad.
EMMA
Cabbage Patch? Really?
Sue shrugs.
Will pulls Emma aside.
WILL
Whats really going on?
Emma pulls free from his grasp.
EMMA
What do you mean?
WILL
Does this have something to do with
us?
Emma shakes her head with disbelief.
EMMA
Thats a little narcissistic. Not
everythings about you, Will.
SUE
Whoa-ho-ho! Theres 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 weve got every student in
school staring at us right now.
Emma freezes, then slowly looks around. Hes right - every
student has frozen in his or her tracks at the sight of three
teachers shouting at the tops of their lungs.
And at the end of the hallway, Principal Figgins stands, his
arms crossed, not pleased with any of them. He slowly
scratches an itch while he glares at them.
The bell rings.
INT. CLASSROOM -- DAY
Class has ended, and students are leaving. Santana and
Brittany are the last ones to leave.
Santana goes to the door and closes it, so she and Brittany
can have some privacy.
SANTANA
Look, Ive been trying to find a
way to tell you how I really feel,
but I cant figure it out other
than to sing it to you.
She smiles a small, hopeful smile at Brittany, who looks
away.
Santana starts to sing Peter, Paul, and Marys Mary Beth,
substituting Brittanys name in for Mary Beth.
SANTANA (CONT'D)
Oh, Brittany, I love you and the
city is so empty./ I cannot find my
comfort in the beauty of the morn./
Below the weary streets are
breathing,/ Softly they are
watching./ They are not quite ready
for the dawn...
Santana catches Brittanys eye, but she quickly looks away
again.
SANTANA (CONT'D)
One by one the street lights close
their eyes to greet the sun/ They
greet the sun./ I hear my footsteps
falling on the pavement/ You are
not beside me./ What a hollow sound
I make alone...
Brittany wipes away a tear, but refuses to look at her.
SANTANA (CONT'D)
Why, with all this beauty, can I
not enjoy myself alone?/ Is there a
piece of me a-waiting?/ Am I
incomplete and hating/ All the
times Ive never been with you
before?/Brittany, I love you/
Brittany, I love you.
Santana stops and becomes quiet, waiting for Brittany to
speak.
BRITTANY
Dont think that just because
youre singing a song by my
grandparents close personal
friends that everythings just
okay.
Santana raises an eyebrow.
SANTANA
You knew Peter, Paul, and Mary?
BRITTANY
Marys the one who taught me how to
dance.
Santana just shakes her head with wonder; this is too much
for her to unpack.
Brittany looks at her.
BRITTANY (CONT'D)
Im tired of being with people who
are ashamed of being with me.
SANTANA
But Im not ashamed of you!
BRITTANY
Then why does our being together
have to be a secret?
SANTANA
But Im trying! Its just - I cant
- I dont -Brittany stands to go.
BRITTANY
I need to be with someone who
thinks Im so amazing that theyre
proud 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 Brittanys hand, letting her leave.
Then she hauls off and punches the student before stalking
off in the other direction.
Will comes home to an empty apartment.
Taking off his jacket, he looks over at the closed door
behind which all his boxes are stored.
He sighs.
Will turns on the light and comes inside, rolling up his
sleeves.
Grabbing some scissors, he opens a box on top of the pile.
He holds up whats inside - a sweater vest - but just cant
bring himself to take it out of the box.
After a moment, he puts it back, folds the box closed, and
leaves, 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 utterly
important for you to support me in
my campaign. Especially if you ever
want to see your precious rabbit
alive 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?
BECKY
Yes, I did, Coach. But what about
the Senators rabbit?
SUE
Oh - dont worry about her. Shes
already happily installed in a
petting zoo in Oklahoma.
Theres a knock at the door, and Sue looks up. Its Emma.
EMMA
Can I have a minute?
Sue turns to Becky.
SUE
I need that letter typed, pronto.
Becky stands and salutes her.
BECKY
Yes, sir, Coach!
She leaves.
SUE
Have you come to yell at me some
more?
EMMA
Actually, no, Ive come to
apologize. I may not agree with
your politics, Sue, but shouting
about them in the middle of the
high school wasnt the right way to
express that, and Im sorry.
Okay then.
SUE
Emma turns to leave.

SUE (CONT'D)
Im actually surprised youre not
more supportive of my campaign.
Emma turns back.
EMMA
Youre surprised?!
SUE
Your job, by its very definition,
is to help children with special
needs - whether its physical,
mental, or emotional.
(beat)
My goal is to increase funding for
the type of work that you do.
EMMA
I appreciate that have to come at the
arts? Why cant the
get a bit of a trim
but why does it

expense of the
athletic budget
instead?
Sue snorts.
SUE
Have you SEEN the obesity rate in
America these days? Do you really
think we should be cutting gym
class funding right now?
EMMA
I was talking about big school
athletic program expenses, and you
know it.
SUE
(dead serious)
But we both know thats not what
would get cut; it would be the gym
classes for the underprivileged
that would disappear instead.
Emma nods - Sue has a point.
SUE (CONT'D)
Im not asking you to vote for me although that would be fabulous,
come election day. Im just asking
you to consider that I have
actually thought through my
platform.
Emma takes a deep breath and nods again.
SUE (CONT'D)
Good - now get out of here. Your
abnormally large eyes catch the
light in here in a way that really
creeps me out.
Emma scowls and leaves.
INT. HALLWAY -- DAY
Upon exiting Sues office, Emma bumps into Will.
Hey!
Hi.
WILL
EMMA
WILL
Look, Im sorry about everything. I
miss you.
Emma tilts her head.
EMMA
What exactly are you sorry about?
Wills eyes widen, and, flustered, he lets out a rush of
breath. Finally, he just gives up.
WILL
Please level with me - why are you
so upset about those dumb boxes?
After all, you helped me pack them!
Emma looks away.
EMMA
Yes, I helped you pack them. My
heart was breaking, but I helped
you pack them. I wanted you to be
happy and to pursue your dream, so
I helped you get ready to leave for
Broadway.
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 havent really
let go of that dream. You still
want to go, but you feel like you
missed your chance.
She swallows, hard.
EMMA (CONT'D)
So youre settling for this, for
me. But Im not a consolation
prize, Will. Im worth so much more
than that.
Will doesnt know what to say.
Emma smiles a sad smile and walks away.
INT. AUDITORIUM -- DAY
The Troubletones are in the midst of recording their music
video, complete with costume and makeup. Theyre trying a
dance number that appears to be really complicated, with
intricate footwork.
Suddenly, Sugar bumps into Mercedes.
Cut!
SHELBY
Shelby claps her hands to get the accompanists to stop

playing, and everyone freezes, looking at her.
SHELBY (CONT'D)
No, Sugar, I need you to mirror
what Brittanys doing, otherwise
you 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 to
start 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, its lovely --- until one point, when Brittany and Santana are face to
face 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!
Cut!
SHELBY (O.S.) (CONT'D)
The music stops, and Santana furtively looks at Brittany to

see her reaction --- but Brittanys 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 theyre ready to at
least sparkle.
Mercedes stalks off-stage, with her friends just watching her
leave.
Theres a long, awkward moment of silence, then:
SUGAR
Can I have her solo then?
INT. STAGE WINGS -- DAY
Mercedes gathers her backpack and things to leave. She starts
to sing Joan Baezs Babe, Im Gonna Leave You.
MERCEDES
Babe, Im gonna leave you/ Tell
you when Im gonna leave you/ Leave
you when ol summer time,/ Summer
comes 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 doesnt stop.
MERCEDES
Babe, that highways a-callin/
That old highways a-callin/
Callin me to travel on/
Travel on out the Westward/ Calling
me 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 I
got to ramble/ My feet start goin
down/ And I got to follow/ They
just start goin down, goin down,
and I got to go.
Shane leaves Coach Bieste to join Mercedes. He puts his arm
around her shoulders and gives her a hug. She smiles up at
him and gives him a kiss.
But then, after he looks away, she sighs.
INT. AUDITORIUM -- DAY
Shooting has wrapped. Santana sees Brittany packing up her
things to go, and walks over to her.
She takes a deep breath.
SANTANA
You like boys.
What?
BRITTANY
SANTANA
I mean, I ONLY like you. Literally.
Youre the only person in this
whole world that I like.
BRITTANY
But what does that have to do with
me and boys?
SANTANA
Youre so beautiful and happy and
popular - everybody likes you. I
dont know why you like ME - and
Im scared one day you wont know
either and youll pick one of the
hundreds of boys that likes you and
go off with him instead.
Brittany shakes her head.
BRITTANY
Then why do you do everything you
can to make me feel like you dont
want anyone to know about us?
Santana doesnt know how to answer.
BRITTANY (CONT'D)
(sighs)
I was proud to be with you, until I
realized you didnt 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.
KURT
Whats this, an intervention?
Burt steps forward.
BURT
No - its a family celebration.
Of what?
KURT
Burt puts his arm around Kurts shoulder.

BURT
Of your mothers life. I still
remember 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 his
tears.
KURT
You all knew how I was feeling?
FINN
(nods)
This was Blaines idea.
Kurt smiles at Blaine.
BLAINE
Carole, Rachel, and I even prepared
your moms favorite meal.
Kurt hugs him.
KURT
You guys made tourtiere?
RACHEL
(nods)
From scratch!
KURT
Youre really all too good to me.
FINN
Yeah, well, your mom mustve rocked
because it turns out her favorite
meal was a meat pie! And it smells
really good and Im hungry - so can
we please sit down and eat it
already?
Everyone laughs, but also complies.
INT. HUDSON/HUMMEL DINING ROOM - DUSK
Its near the end of the meal, and everyones basically just
lounging over their desserts, a little quiet and nostalgic.
Kurt takes a deep breath and stands.
KURT
I just wanted to say thank you to
you all for this lovely dinner. I
think my mom would have appreciated
it.
Burt pats Kurt on the back, while Blaine takes his hand in
support.
KURT (CONT'D)
But I think Id like to go pay her
a visit now, if you dont mind.
Blaine looks up at him.
BLAINE
Do you want me to come?
KURT
(shakes his head, no)
Thank you.
Burt stands.
BURT
Actually, Ill come with you, if
thats okay.
Off of Kurts slight smile:
EXT. KURTS MOMS GRAVE -- NIGHT
Kurt and Burt stand at the foot of Kurts moms grave. Kurt
crouches and lays a flower near her headstone.
Then he begins to sing Simon and Garfunkels For Emily,
Wherever I May Find Her.
KURT
What a dream I had/ Pressed in
organdy/ Clothed in crinoline/ Of
smoky burgundy/ Softer than the
rain...
He reaches out and traces the words on her headstone.
INT. SANTANAS BEDROOM -- NIGHT
Santana sits on her bed, in her pajamas, with her laptop open
in front of her.
On the screen, Brittanys Fondue for Two is already in full
swing, 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 heard
cathedral bells/ Dripping down the
alleyways/ As I walked on...
Santana laughs at Rorys sick-looking face, but then starts
to cry, softly, her heart slowly breaking.
INT. QUINNS BEDROOM -- NIGHT
Quinn sits at her mirror, frowning at her own reflection.
Then, slowly, she reaches for a picture stuck to the frame --- its of Beth.
KURT (V.O.)
And when you ran to me, your/
Cheeks flushed with the night/ We
walked on frosted fields/ Of
juniper and lamplight/ I held your
hand...
Finally, she lets her tears fall.
EXT. KURTS MOMS GRAVE -- NIGHT
Closing his eyes, Kurt doesnt see how moved his father is by
what hes singing.
KURT
And when I awoke/ And felt you
warm and near/ I kissed your honey
hair/ With my grateful tears/ Oh, I
love you girl/ Oh, I love you.
After a moment of pregnant silence, Burt puts his hand on
Kurts shoulder, and Kurt stands, letting his father pull him
into his arms.
The two of them stand quietly in the moonlight, missing
Kurts mom together.
INT. BLAINES BEDROOM -- NIGHT
Surprisingly messy, considering how conscientious Blaine is
about his appearance.
Climbing into bed, Blaine turns out the light.
Just then, theres a tapping at his window.
The light switches back on, and he climbs out of bed to see
who it is.
Its Kurt, waving for him to open the window.
As soon as he does, Kurt starts climbing inside.
KURT
Woo! Its getting cold out!
BLAINE
What are you doing here?
Kurt shuts the window and takes off his coat.
KURT
I miss my mom. I really do.
BLAINE
Okay, but-KURT
--Shht! Let me tell you what I came
here 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 pretty
amazing. And she wouldve liked
you, because youre pretty amazing.
(beat)
Thank you. Tonight was really
special.
He kisses Blaine. Its long and sensual. Blaine finally pulls
away.
BLAINE
Are you sure?
Kurt nods.
Blaine smiles and kisses him again. Then he turns out the
light.
Will comes home holding a box of pizza. Kicking off his
shoes, he plops down on the sofa, grabs a slice, and opens a
can of beer before turning on the T.V.
The strains of Arties rendition of The Times They Are
AChangin start to play - its Sues campaign ad.
On the screen, Mercedes sits, looking sad, on a bleacher, The
Troubletones dancing in the far background. Sue approaches
her and puts her arm around her shoulder. Mercedes raises an
eyebrow in surprise.
VOICEOVER
In these troubled times, we all
need 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 and
Azimio. Azimio has a hard time walking hunched over, and
does, indeed, look like he has scoliosis or something.
VOICEOVER (CONT'D)
We need someone who will make sure
that your priorities are her
priorities.
A montage of moments from Sues broadcasts on the local news.
VOICEOVER (CONT'D)
We need Sue Sylvester.
Wills not in the living room anymore.
Will turns on the light and moves to the box of sweater
vests, opening it back up.
With a look of determination, he picks it up and carries it
out of the room to put its contents away.
On the T.V., Sues ad is finally winding up.
The camera shows the McKinley High football field; Sue jogs
up to the camera.
She holds her hand up in her trademark C
SUE
And THATS how Sue sees it. Im Sue
Sylvester, and I approve this
message.
VOICEOVER
This ad was paid for by Americans
for Rabbit Liberty.
END EPISODE

The Times They Are A-Changin' (Spec Script - Glee)

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"The Times They Are AChangin'"

Liliath & Penumbra

INT. PRACTICE ROOM -- DAY

She bites her lip.

Tears begin to slide down Kurts cheeks. Blaine starts to

Will shifts uncomfortably.

Quinn raises an eyebrow.

Will steps inside the room, and Emma looks away.

Burt stands up.

She looks at Brittany, whos waiting for her to finish.

Brittany shakes her head and walks away.

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

Emma turns to leave.

but why does it

Shelby claps her hands to get the accompanists to stop

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

The music stops, and Santana furtively looks at Brittany to

Burt puts his arm around Kurts shoulder.

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