We open on Lyla's face. She looks tired and under-made-up. The camera swings around and we see she is standing in front of her locker on which the words "Slut" and "Whore" are scrawled. She wipes the locker down with a wet paper towel and then runs out, dressed in workout clothes, onto the football field where the cheerleaders are working on some stunts. The coach counts out the beat for them while they throw a couple of basket tosses. I am a woman of many secrets, one of them being how very much I know about cheerleading. I'm the woman in black in the corner, smoking and looking continental except for my bouncy ponytail, held aloft by a primary-colored ribbon explosion. Beat that, Sidney Bristow. The coach is a tough blonde chick and she yells at Lyla for being late to practice. She exposits that "the Classic is five days away" and ignores the rather inaudible innuendos some bitchy girl named Britney is mumbling in Lyla's general direction. They return to practice, Lyla making a poor, ill-balanced showing on her liberty. Britney asides "Looks like Tim Riggins pounded the balance right outta her." Ouch. Lyla just keeps her head down and doesn't respond.
School hallway, Julie is also a rather aggressive blonde chick. Since the last episode, she seems to have woken up to all the possible drama, tears, and misery that could result from her dating her father's star quarterback, and she is going for it, folks. She complains to Matt that it seems her father doesn't want them seeing each other. She tells Matt that the only way to handle her father is to stand up to him. Matt, as you might expect, would much rather sit down and stutter than ever stand up. Julie presses on, though -- "otherwise he's just going to squash us, er, whatever it is this is" -- sticking her foot right in the mouth of the still undefined relationship. Matt takes this opportunity to do exactly the wrong thing and apologizes for kissing her after the game the other night, mumbling that he's not sure what she thought about it but he certainly didn't mean to do it. Julie, luckily enough, just leans in and shuts him up with a kiss. "That's what I think about it."
The Street family home. A hand-colored banner hangs across the front, welcoming Jason back. Jason's in the back of a new wheelchair-accessible van. He jokes with his father about not trusting the ramp his father constructed to meet up with the van's ramp, but he gets down and onto the front walk without incident. "Nice job on the ramp, Dad." We cut inside where the Streets have moved the office upstairs, and Street's mother has set up that old office as Jason's new bedroom. It's pretty depressing, due to the railed bed and Jason's obvious discomfort with being in this foreign space inside his own home, and also because I am so not used to seeing regular middle-class home interiors on television, and the jenky sliding closet doors and flimsy doors are making me cringe with their materiality. Jason assumes he'll use the guest bathroom and his mother quickly assures him that they are going to convert the utility closet as soon as they can afford it. Both his parents look really awkward and uncomfortable standing around in there, even more so when his dad suggests they leave him to get settled and then mentions the barbecue they'll eat in a bit. "Oh, yeah! I've got it in the fridge!" Mrs. Street says all too brightly. The fact that they have to let their own son "get settled" in this weird new room with this weird new life and these weird new legs all hits me and FINE ARE YOU HAPPY NOW? I am crying before the Uninspiring Credits even start. They leave, Jason sees a framed picture of him and Lyla on his dresser, which he claws into a dresser drawer.