Forever Dreaming :: 07x21 - What's in the Ground Belongs to You

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07x21 - What's in the Ground Belongs to You https://foreverdreaming.org/viewtopic.php?f=121&t=8249	Page 1 of 1

Author:	bunniefuu [ 05/24/10 14:40 ]
Post subject:	07x21 - What's in the Ground Belongs to You
PREVIOUSLY ON ONE TREE HILL ALEX: You and me, we are officially together. JOSH: What are you talking about? ALEX: The sex tape. I don't look as bad as if I made it with my boyfriend. MIRANDA: I'm being deported. GRUBBS: Marrying me fixes everything. MIRANDA: I can't marry you. CLAY: Remember the tennis player that wouldn't take no for an answer? QUINN: That Katie girl? Why do you have a photo with her? CLAY: Because it's not her. It's Sara. KATIE: You'll never be Sara. QUINN: Neither will you. KATIE: We'll see about that. TANESHA: Her behavior gets a little unpredictable. CLAY: How unpredictable? TANESHA: Let's just say you should be careful. JAMIE: Oh, cool! HALEY: Jamie! JAMIE: I didn't mean to! HALEY: Look what you did! Go to your room! NATHAN: Even though she doesn't show it all the time, deep down inside, your mom is still very sad that your grandma died. JAMIE: Mom's gonna be okay, right? ONE TREE HILL NALEY’S HOUSE Haley is at the edge of the swimming pool. She thinks jumping inside. But Jamie comes to see her and removes her her thoughts. HALEY (voice-over): Someone once said that death is not the greatest loss in life. The greatest loss is what dies inside of us while we live. I could tell you who said it, but who the hell really cares? JAMIE: Mama? Mama? Mama? I made my own breakfast and cleaned everything up. HALEY: What do you want, a gold star? CLINN’S HOUSE Clay opens the refrigerator and finds a juice of grapes. DRILL Quinn digs a hole. CINEMA Julian shows in Brooke the first assembly of film. APARTMENT OF GRUBBS Grubbs is still laid down, Miranda prepares her business to leave. CINEMA The film is finished, Julian asks for the opinion of Brooke. JULIAN: I mean, obviously, the closing title song goes here, and the credits and it's all temp track sound, but...Is it okay? BROOKE: It's so good. I loved the scenes with them on the balcony and the way he looked at her when she slept and...It's really good! Alex and Josh actually have amazing chemistry. ON TV SET Alex and Josh are the guests of an emission. They must make believe that they are together but in slides the insults fuse. ALEX: Seriously, with the douchey puka shells and the sunglasses? JOSH: Seriously, with the annoying voice and the worse than annoying rest of you? PRESENTER: Well, our next guests are not only starring together in a new independent film, they're also starring together online as you may have heard... JOSH: I can't believe I have to pretend to be with you... you... you...You hear that? That's the echo coming from your crotch. ALEX: Oh, great. Add a nice batch of ass breath to the mix. PRESENTER: Please welcome actors and real-life lovebirds, Josh Avery and Alex Dupre. ALEX: Dick. JOSH: Whore. Just a little ass breath for my baby. NALEY’S HOUSE Haley is on the telephone with somebody. HALEY (at phone): It all just seems so fake...this idea that good things happen to good people and there's magic in the world and the meek and the righteous will inherit it. There's too many good people who suffer for something like that to be true. There are too many prayers that get unanswered. Every day we ignore how completely broken this world is, and we tell ourselves it's all gonna be okay. "You're gonna be okay." But it's not okay. And once you know that...there's no going back. There's no magic in the world. Least, not today there isn't. Nathan sees Haley sitting on grass in the garden. NATHAN: You've only been going two weeks, and you're already skipping sessions? I don't blame you. It's a nice day. Who'd want to waste an hour in a therapist's office? HALEY: It's 50 minutes, actually. Somehow their hour works out to 50 minutes. If I told you that a half-hour was 20 minutes, you'd call me crazy. NATHAN: We're all crazy, Hales. Some of us just hide it better than others. How'd you like to spend the day, just you and me? Quinn's watching Jamie. Let's go for a drive. HALEY: Whatever. NATHAN: You say the sweetest things to me, Haley James. Quinn has a little surprise for Jamie. QUINN: There's my man! JAMIE: Hi, Aunt Quinn. QUINN: Oh, come on, now. Don't make me find a cake and stuff your face in it again. JAMIE: I'm just worried about mom. HALEY: I know. But, hey, she's gonna be okay. I promise. JAMIE: I hope so. I miss her... the way she used to be. QUINN: Me too. JAMIE: What's that movie? QUINN: "The Goonies"! Ever seen it? JAMIE: No. QUINN: What?! This was like my favorite movie when I was your age. You, uh, you want to watch it with me? JAMIE: Sure. Can Chester watch, too? QUINN: Yeah! It's totally bunny approved. Come on. You ready? JAMIE: Yeah. BRULIAN’S HOUSE Julian awaits a telephone call impatiently festival. JULIAN: Maybe the movie sucks. BROOKE: Julian... JULIAN: No, I'm serious. Why did I ever get involved with film-making in the first place? BROOKE: Because you watched "The Thin Red Line" with your father when you were a boy, and it was the best day you ever had. JULIAN: You don't know me, Brooke Davis. BROOKE: Oh, I think I do, Julian Baker. And you know what else I know? You'll get in. JULIAN: It's a big deal. The Wasatch Valley Film Festival is a first look for... BROOKE: A first look for a ton of prestigious films. I know. Today is the deadline. You gave them your cell, my cell, and Paul's cell, and if you don't get in, you're taking me to Cabo. JULIAN: Wait, when did I say the Cabo part? BROOKE: You didn't, I just did. JULIAN: I had to send them a rough cut. Maybe they hated it. BROOKE: Maybe they loved it, and they'll tell you that when you get in. JULIAN: Maybe I love you, and I'll love you forever. What's your day like? BROOKE: Well, I have to go to the store and deal with my mother and Alexander and that madness. I have to fix the toe that you are massacring. And then I'm gonna go spend some time with Haley. JULIAN: Sorry. How's Haley doing? BROOKE: Not good. She's just sad and depressed and angry. JULIAN: Well, send her my best, okay? BROOKE: I will. And send Julian my best and tell him I love him, okay? JULIAN: I will. BROOKE: It's a great film. They'll call. You'll get in. PEYTON’S OFFICE Miranda talks with Grubbs. MIRANDA: My first week in Tree Hill, I told Haley I was gonna close this place. Couldn't wait to get out of here. And now I'm gonna miss it. GRUBBS: Why, after last night, you're still not ready to marry me? MIRANDA: Last night was amazing. Every night has been. But, no...I still can't marry you. I need you to promise me something. Promise me that when I'm gone, you'll still finish the record. GRUBBS: I will. For you. MIRANDA: No. For you. GRUBBS: For us. But we are not that far off. We might just finish this thing by the time you have to leave. MIRANDA: No. We won't. Because I leave tonight. GRUBBS: What? Why didn't you tell me? MIRANDA: Because last night was amazing. But now I have to go...tonight. CLUB TRIC Alex waits until Chase him serf something with drinking. He looks at a texto that Mia sent to him. CHASE: Relationships suck. ALEX: Okay, but I'm supposed to be the one with relationship problems, and you are supposed to be the "sweet but kind of rough around the edges" bartender who listens and offers sage advice. CHASE: You don't have relationship problems. ALEX: How would you know? (Chase shows the emission which passes on TV) ALEX: Right. Now I definitely need a drink. Shot of Tequila. But you have to drink it. CHASE: Perfect. CLINN’S HOUSE Clay returns at his home. He hears the song of Sara and sees Katie in the kitchen drinking grape juice. CLAY: Quinn? KATIE: In here, honey. CLAY: What are you doing here? KATIE: What do you mean, baby? CLAY: Don't call me that. All right, the song, the grape Kool-Aid...how do you know about that? How do you know? KATIE: What do you mean, how do I know? Clay, it's me, honey. It's Sara. CLAY: Don't say that. KATIE: Clay... CLAY: Sara's dead. KATIE: Don't you remember when we first heard this song? We flew to Austin for that weekend in October and stayed in that little house. CLAY: Stop it. KATIE: The day we first met. I said I'd rather streak on the quad, and you said you picked the wrong school. CLAY: I don't know how you know these things, but I do know that my wife is dead, and she's not coming back. And neither are you. All right? Do you understand me? Don't ever come back here. Out. KATIE: I'm here, Clay. It's me. We could be together again. CLAY: No. We can't be together. And we won't be together, ever. Now get out. Go. Out. NALEY’S HOUSE Quinn and Jamie speak about film while nibbling some candies. JAMIE: That movie...was so awesome. QUINN: I know. JAMIE: Wouldn't it be cool if there actually was a secret treasure somewhere? QUINN: Well, funny you should say that, because a long time ago I found this...But I've never been able to figure it out. Maybe you can help me. JAMIE: Let's see. "If the treasure you do seek, no one tell and no words speak. Commit no crime but go to court, not for law, instead for sport." What does it mean? QUINN: I don't know. I mean, what kind of court doesn't have lawyers? A courtyard? JAMIE: No. QUINN: Ooh, a tennis court... JAMIE: "Not for law, instead for sport." Court... for sport. The Rivercourt! QUINN: Yes! Ah, you are such a genius! Maybe the next clue is there. JAMIE: Yeah. Oh, man. I gotta get some stuff. Okay. A shovel... a flashlight...We're totally going on a treasure hunt! NATHAN’S CAR Nathan and Haley are wedged in the traffic. NATHAN: Well, this isn't exactly what I had in mind. You feel like talking? HALEY: Why, is that what the doctors told you? To try and get me to talk? NATHAN: I just thought you might want to talk to me. Tell me about something you still love...Or about something you hate... anything. HALEY: I hate traffic. (Haley leaves the car, Nathan joined her) NATHAN: You know what? You're right. It is a perfect day for a walk. CLOTHES OVER BROS Brooke comes in the store. BROOKE: Victoria? Alexander? Millicent? (They leave the hall to half undressed) BROOKE: Really! Please tell me Millicent is not in there, too. VICTORIA: Nope. She's in New York. And unfortunately, honey, I think I need to start thinking about going back, as well. BROOKE: Why? VICTORIA: Well, because the men's line is finished, and, uh, the offices to our multimillion-dollar company are in New York. BROOKE: Well, what about your cub? ALEXENDER: I want to run Clothes For Bros. I designed it, and...We designed it, and... and no one can sell it better than me. BROOKE: You want to run Clothes For Bros. ALEXENDER: That's right. And, um...I want to run it from New York.With Victoria. CLUB TRIC Alex tells his false history of love with Josh. ALEX: It's all a lie. Me and Josh, our relationship. See, he kind of made this sex tape of us, and I thought if we were together, maybe it wouldn't look so bad. CHASE: Yeah, I've seen it. You're prettier in person. ALEX: Well, I just... I want someone stable, you know? Someone who's normal and reliable and has, like, a regular job. CHASE: Like a bartender? ALEX: You're flirty like me. I like that. But you have a girlfriend. A famous, gorgeous, rock-star girlfriend. CHASE: Had...as in not anymore. Cheers. NALEY’S HOUSE Haley is on the telephone. HALEY(at phone): Oh, I was thinking about the finality of it all. How somebody can leave your world in the blink of an eye and be gone forever. It's...it's too enormous to think about. It's too hard. And then we're just supposed to go on, right? Like, just...Deal with it. I mean, really you're supposed to be sad for about as long as the flowers last, and then, oh, time to go back to telling jokes and reminiscing about the old days. I don't have any jokes to tell. As a matter of fact, I hope I never hear another joke as long as I live. And the old days are just... that. They're old days that are... gone. MARINA Nathan and Haley sat with the table where they made the first class of tutorial. NATHAN: Check it out. "You can just score your touchdowns, Mr. big shot, because math don't care and neither do I." HALEY: It's not gonna change anything, Nathan. Whatever prize you find in that box is not gonna fix me. NATHAN: Why not? It fixed me. NALEY’S HOUSE Nathan looks at a match of basketball while folding the linen. Brooke comes to take its news. BROOKE: Hey! NATHAN: Hey! BROOKE: What's going on? NATHAN: Just doing laundry. Car got towed. BROOKE: Car got towed? NATHAN: Yeah, it's a long story. I got it back. Check it out. These are my son's pants. The guy sees the world from down here. I haven't had the heart to tell him that the NBA's probably not in his future. BROOKE: Oh, I don't know, dude. Spud Webb, Muggsy Bogues. NATHAN: I love it when you talk diminutive NBA point guards. So has Julian heard about Wasatch yet? BROOKE: No. And how do you know about that? NATHAN: I ran into him yesterday. That's all he could talk about. BROOKE: Well, he hasn't heard, but I did see a rough cut of the movie and it's really good. NATHAN: Nice. BROOKE: How's Haley? NATHAN: Oh, she's pretty much the same as last week. The doctors say that depression is different for everybody, but... one day she might just... feel better. They just don't know when that day will be. BROOKE: Well, let's hope that day's today. NATHAN: Yeah. BROOKE: How are you and Jamie? NATHAN: I'm doing okay. I mean, I know she's not herself, but Jamie's struggling with it. He doesn't understand why his mom is not his mom anymore. His whole life, she's been nothing but consistent and sweet. And he can't be too thrilled about his dad turning all of his socks pink. BROOKE: You got to separate the colors from the whites, buddy. NATHAN: Yeah. BROOKE: Other than that, I'm proud of you. You're exactly what Haley needs right now. NATHAN: Well, she's always been everything to us. Now it's time for us to be her everything. In sickness and in health, right? For better or worse. CLINN’S HOUSE Clay looks at it video of his marriage with Sara. PRIEST: For better or for worse, to have and to hold, to love and to cherish, until death do you part? SARA: I do. RIVERCOURT Quinn and Jamie seek the next clue. JAMIE: Where do you think we should look? QUINN: I don't know. You check the bleachers, I'll look over here. JAMIE: Okay! You find anything yet? QUINN: Not yet! You? JAMIE: No...Wait! Over here! I found another one! "Another clue is waiting near. First you must get past the fear. Not on a hill or up a mountain, make a wish into the... " QUINN: The what? JAMIE: It doesn't say. "Not on a hill or up a mountain, make a wish into the... “Fountain! People make wishes in the fountain! QUINN: Yes! JAMIE: But which one? "First you must get past the fear... “Fear." QUINN: The River! It's the Cape Fear River! JAMIE: The fountain! Come on, Aunt Quinn! Hurry! CLUB TRIC Julian joins Alex and Chase with the bar. ALEX: Hey. Tell me you're here to celebrate. JULIAN: Nope. At this point, more people are gonna see your sex tape than this movie. ALEX: First of all, don't be mean. Second of all, shouldn't you be editing? JULIAN: I'm taking a break. ALEX: No, you're pouting, is what you're doing. Just like good old chase here. JULIAN: What are you pouting about? And I'll take a beer. I've heard about your mixed drinks. CHASE: First of all, don't be mean. Second, I'm pouting because of this. JULIAN: "I don't think it's fair to you that I'm on the road most of the year and that my schedule changes all the time. It's not fair to either of us. I wish things were different, but they aren't. I'm sorry." Mia broke up with you by text message? CHASE: Mia broke up with me over a series of text messages. JULIAN: Texting's evil, man. I got this theory that if the phone was invented after texting, we'd all be like, “this is amazing! You can actually hear their voice!" And nobody would text. CHASE: Yeah, it's not so much the texting part, but the break-up part that bothers me. JULIAN: I'm sorry. That's too bad. Mia's a rock star. Literally. ALEX: A really fine rock star. I'd totally sleep with her. CHASE: Can you guys just drink your drinks and go? ALEX: I'm sorry. It's hard to date someone in the entertainment industry. I mean, we're mostly gypsies, you know? We're never home. We're all needy as hell. JULIAN: Where is she right now, anyway? CHASE: I don't even know. Paris... Spain. ALEX: Tric. (Mia is of return downtown) MIA: Hi. FOUNTAIN Quinn and Jamie seek the third clue. JAMIE: Do you see it? QUINN: Not yet. JAMIE: Maybe this is the treasure. QUINN: That's other people's wishes! Put it back! JAMIE: Sorry. Look! There! QUINN: Ah, yes! JAMIE: Oh, man, we're gonna get soaked! QUINN: No, you're gonna get soaked. JAMIE: Maybe not. (Jamie takes an umbrella in a kiosk of with dimensions) QUINN: Nice. You are a genius. (Jamie and Quinn remove clothing to seek the index in the fountain) QUINN: You ready? JAMIE: Yeah. GUARD: Hey! Get out of that fountain! QUINN: Hurry! Come on! JAMIE: I got it! It's a clue! QUINN: Come on! NALEY’S HOUSE Haley is at phone. HALEY (at phone): I have to tell myself to just be happy, but... I don't feel happy. And when I try to change it, when I try to remember what being happy felt like, I... can't. I...Don't feel joy, I don't feel inspired. I feel numb. CLOTHES OVER BROS Brooke arrives at the store with Haley. Victoria is already here. BROOKE: Hi. VICTORIA: Hi, darling. Hello, Haley. HALEY: The last time I saw you, you were ruining my sister's exhibit. VICTORIA: Oh, look at you go. But you know you're talking to the queen of mean, sister. So you're gonna have to do better than that. BROOKE: Mom. HALEY: I'm gonna be outside. VICTORIA: Haley. Haley, listen to me. I know you're in a great deal of pain right now, but I also know that you're aware of the choices you're making. So I want you to listen to me, and then you can say something snarky or dismissive and be on your way. But, please, sit. Please. Come on. Please. (They sit down) VICTORIA: Your mother was proud of you. And it would break her heart to know that her beautiful, kind, inspiring daughter was suffering like this. I know that because I'm a mother. And so are you. Now, our lives are difficult, and our loss unbearable sometimes. So grieve...and struggle, and you find your way back on your own terms and in your own way. But remember this...your mother would want you to be vibrant and inspiring in the face of her losing her. She'd want you to fight your pain with all you've got. Because that's the daughter that she raised. That's the daughter that she loved. BOAT WITH THE ABANDONMENT Quinn and Jamie try to find clue. JAMIE: "Every castle has a moat, every pirate has a boat. Find the clue near tugboats red, in the ship that's sleeping dead.” "Sleeping dead." I'd say that boat is sleeping dead. QUINN: Oh, yeah. Be careful! Goof. CLUB TRIC Chase and Mia talk outside. CHASE: When'd you get back? MIA: About an hour ago. Miranda needs help running the label while Haley's not feeling well. And I wouldn't have a career if it weren't for Red Bedroom, so I told them I wanted to help out. CHASE: I'm sure they appreciate it. So, you'll be around here for a while. MIA: I think so. Yeah. CHASE: That's good. MIA: You got to delete those texts. CHASE: Yeah. I did. MIA: No, you didn't. CHASE: How do you know? MIA: Because I know you. You've been sitting around reading the same words over and over, and it's not good for you. CHASE: I don't know how it happened, so I keep reading what we said...well, what we wrote...Hoping that when I get to the end, maybe the ending will be different. But...It's always the same. MIA: Does it help if I say I care about you and I always will? CHASE: Nope. It just reminds me how beautiful you are. And that just kind of makes it worse. MIA: It'll be okay. By the way, who's running the bar right now? It’s Alex who is bartending. ALEX: I could totally get used to this bartending thing. Check it out. (She makes fall glass from beer) JULIAN: Nice. Nice. ALEX: So, what's the big deal about this film festival anyway? JULIAN: It'll help us sell the film. ALEX: Which you're gonna do because it's good, but let's play "worst case scenario." What happens if the film doesn't sell? Then what? JULIAN: I get some rope and a ladder. ALEX: Okay, normally not funny, but considering you're talking to a person who actually attempted suicide, really not funny. JULIAN: Right. Sorry. If the film doesn't sell, then all that work will amount to nothing. ALEX: Nothing. You mean like "working with your father, getting Brooke back, and saving my life" nothing? Whatever happens, this movie will always be the greatest thing that ever happened to me. It saved my life. You saved my life. And I got to watch a truly amazing director direct his first film. I'd say that amounts to a little bit more than nothing. JULIAN: Wow. You know what? You're absolutely right. Thank you, Alex. All right. I got to go work on our movie. BOAT WITH THE ABANDONMENT Jamie found the last clue in the boat. JAMIE: I found it! QUINN: What? JAMIE: It's in this bottle. QUINN: Nice work, buddy! Stand back while I break it. Watch your eyes. JAMIE: Okay. QUINN: Okay, let me get it. Here. JAMIE: "In your hands this final clue, if you know just what to do. Place it with the other three, and the treasure you will see." I don't get it. QUINN: Well, remember the design on the back? JAMIE: It's a map! QUINN: Mm-hmm. There's the Rivercourt, the fountain, and the sleeping boat. I know where the treasure is. Come on! CLINN’S HOUSE Clay looks in the businesses of Sara. He receives a call. CLAY: Hello? BRIDGE CLOSE TO THE BEACH Clay arrives and sees Katie, fixed on the bridge, lends to jump. He addresses himself to a police officer. POLICEMAN: Do you know this woman? CLAY: Yeah, she's my wife. RED BEDROOM RECORDS Grubbs enters with his bags to the hand. MIRANDA: What's this? GRUBBS: I'm going with you. MIRANDA: Michael... GRUBBS: I know it's only been a few weeks. I feel like you could love me, and I know that I could love you. MIRANDA: Michael, listen to me. You have a record to finish, and I have a life to live, and that's okay. I have to leave, and you have to stay. GRUBBS: You're wrong. You have to go. I don't have to stay. I want to go with you. MIRANDA: But you don't understand! I don't want you to come! I'm sorry, Grubbs. Goodbye. DRILL Jamie and Quinn seek the exact position of the treasure. JAMIE: It's got to be around here somewhere. QUINN: I don't know, Jame. Maybe we're in the wrong spot. JAMIE: Look! Treasure! QUINN: Yes! JAMIE: Come on. (Jamie starts to dig with his shovel) NALEY’S HOUSE Nathan looks at the invoices of telephone. He is astonished. BRIDGE CLOSE TO THE BEACH Clay tries to talk with Katie. KATIE: You told me to never come back. CLAY: I know I did. But I was wrong. I'm... I'm just gonna be here, okay? KATIE: I'll jump. I mean it. CLAY: No, you won't. You wouldn't have jumped off that bridge in college if I hadn't been there to hold your hand. KATIE: You said you didn't believe me. CLAY: I was just afraid of loving you again. The way that I used to and the way that I still do. KATIE: Tell me you love me, Clay. Tell me you love me and that you believe me. Please. Or I'll jump. CLAY: Don't. Okay? Sara, don't leave me again. I love you. Just take my hand...and we can be together. Please? On the count of two? One... two. It's okay. You're okay. See? I finally have you back. (The police officers can now encircle Katie) KATIE: No! Stop it! Clay! CLAY: It's okay, Katie. They're gonna help you. KATIE: Wait. You called me Katie. But I'm Sara! You said you loved me! CLAY: No, Katie. I love Quinn. Sara's gone. DRILL Jamie tries to leave the treasure. QUINN: Yes! JAMIE: Oh, yeah! We found it! QUINN: No, you found it. It's all yours. JAMIE: Really? QUINN: Open it up. JAMIE: Oh, I wish mom was here. QUINN: Me too. JAMIE: Oh. Treasure! Oh, it's so cool! Look at all those dimes. Oh, this is crazy! QUINN: Sweet! JAMIE: Cool. QUINN: Look at this one. Yeah! JAMIE: I don't think we should keep it. QUINN: Why not? JAMIE: Well. I was thinking...The Goonies wanted to save their homes. That's why they needed the treasure. So, maybe someone needs this more than I do. Having a home is important. QUINN: I think that's wonderful. But are you sure there's not anything you want to keep? JAMIE: Um... maybe just one thing. I just want mama to be okay. That's all I want. QUINN: Me too. Come on, let's get this buried again. CLOTHES OVER BROS Brooke talks with her mother. BROOKE: It's nice, isn't it? I remember when you found out I was opening this store. You were not very happy. And you like it here. VICTORIA: In Tree Hill? Please. I like being near my daughter. BROOKE: Yeah, if that's your story. So, be honest with me. Should I let Alexander run Clothes For Bros? VICTORIA: No, you should let Millicent run Clothes For Bros. Alexander's a designer. He should be designing. BROOKE: Have you told him that? VICTORIA: I thought I'd tell him in the next few days. Why spoil the next few nights? BROOKE: Maybe you're afraid of committing to him. Of having him in New York and in your world every day. Of falling in love. VICTORIA: He's a boy, Brooke. No one's falling in love. BROOKE: He is. I'm gonna miss this. The best part about this company has been building it with you. Spending time with you. I used to dream about it. Thank you, mom. VICTORIA: Thank you. My beautiful daughter. This mascara is defective! BROOKE: They're called tears, mother. You can feel them because the botox is wearing off. VICTORIA: You're such a little bitch! And I mean it in a good way. BROOKE: Alexander's a good guy...And he is a good designer, and the line wouldn't be the same without him, so I'm gonna give him the job. He'll report to you, of course, and Millicent will be the vice president. VICTORIA: You're the boss. So you really think he's... falling in love? BROOKE: I do. VICTORIA: That would be kind of nice. I'm a...I'm so proud of you. And I love you. BROOKE: And I love you, too. See you soon. VICTORIA: Okay. RED BEDROOM RECORDS Grubbs plays a piece. Miranda, other with dimensions of the part, intends him to play and leave without him to say goodbye. RIVERCOURT Quinn hung the chart of the treasure to balloons so that it flies away. Jamie will launch them. QUINN: There you go. JAMIE: Thank you, Aunt Quinn. QUINN: For what, handsome? JAMIE: For all of this. I know you did it all for me, and it was one of the best days I ever had. Thank you. I love you. QUINN: Mm, I love you, too. We all do. Okay, you ready? BRIDGE CLOSE TO THE BEACH Katie is arreted. Clay speaks with a police officer. CLAY: There's a journal that my wife used to keep. It pretty much documents our life together, and it's missing. I'd like to have it back. (Clay sees passing the balloons that Quinn and Jamie launched in the sky) RED BEDRROM RECORDS Mia comes to see Grubbs who plays piano. MIA: Hi. I'm Mia. I'm gonna be around for a while helping to run the label. GRUBBS: Miranda told me. MIA: Why don't we start by, um, listening to your record? GRUBBS: Sure. But I'm gonna need a second. I... just had my heart broken. MIA: Yeah, me too. CLUB TRIC Chase closes Tric and deletes the message that Mia sent to him about their rupture. NALEY’S HOUSE Quinn joins Nathan in the room. NATHAN: Hey! QUINN: Jamie's asleep, and I think Haley is, too. You okay? NATHAN: Your mom had a cell phone. Do you know where it is? QUINN: Yeah, it's in a box of stuff at the gallery. Why? BRULIAN’S HOUSE Julian returns to the house, Brooke is here. BROOKE: You were out late. JULIAN: I was watching the movie again. BROOKE: And? JULIAN: It's a good film. I like it. And the wardrobe is unbelievable. BROOKE: Really? (Julian receives a call) BROOKE: Imagine that. The Wasatch Valley Film Festival. JULIAN: Hello? QUINN’S GALERY Quinn and Nathan discover that Haley called on the phone of her mother. RESPONDER: You have 27 messages. First message. HALEY (at responder): Hi, mom. It's me. CLINN’S HOUSE Clay looks at the diary of his wife. HALEY (at responder): I know you're gone...and you're not coming back, but...I was just thinking, maybe...somehow I could see you again or be able to talk to you or hear your voice. NALEY’S HOUSE Jamie puts on the bed of his mother a pretty drawing with the star which he kept. HALEY (at responder): I snapped at Jamie today again. And he didn't deserve it, and I don't know why I did it. I just did. He deserves better than who I am right now. And so does Nathan. QUINN’S GALERY Nathan is astonished by the remarks that Haley in his messages holds. HALEY (at responder): Every day we ignore how truly broken this world is, and we tell ourselves it's all going to be okay. NALEY’S HOUSE Haley is at the edge of the swimming pool and this time, she is dropped really in the swimming pool. HALEY (at responder): But it's not gonna be okay. I know that now. And when you know that, it’s no going back. End of the episode.

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