PREVIOUSLY ON “ONE TREE HILL”

DAN: I had a fire at the diner. I lost everything. Please, Haley. I just need a little help.

HALEY: It's just for a night or two. You're gonna have to make other arrangements.

DAN: Of course.

QUINN: Clay, I'm worried.

CLAY: A lot of people sleepwalk.

QUINN: They don't get dressed, grab their phone, and go sleep in a park.

HALEY: I'm gonna go meet the guy that's gonna run red bedroom.

CHRIS: Well, well.

VICTORIA: Well, I've called the golf courses, the bars, and the strip clubs. I don't think your father's in town.

BROOKE: Daddy!

BROOKE: You're worried about the sound stage.

JULIAN: The movie that was going to rent our stage fell through. It's gonna work out, right?

BROOKE: It's gonna work out.

DAN: Hello, son.

ONE TREE HILL

BRULIAN'S HOUSE

Brooke and Julian are in the bed. They slept.

BROOKE: Julian... Julian, wake up.

JULIAN: What's wrong, baby?

BROOKE: Nothing.

JULIAN: That's good.

BROOKE: Not good. The babies.

JULIAN: What about them?

BROOKE: They're not crying, and we're sleeping.

They get up. Julian looks at the room.

JULIAN: They're gone... someone stole them!

BROOKE: Aah! Ooh!

Victoria is with babies in the kitchen.

VICTORIA: Good morning!

BROOKE: Mom?

JULIAN: I must be dreaming. Quick, slap me.

(She slaps him)

JULIAN: Thank you. She's still here.

BROOKE: When did you get in? How did you get in?

VICTORIA: The key under the lawn gnome.

BROOKE: Does everybody know about the key under the lawn gnome?

JULIAN: Apparently, yes. Are the boys okay?

VICTORIA: Of course they're okay. I've done this before, you know.

BROOKE: Barely.

VICTORIA: There's coffee and pastries, and you don't see your father doing things like this.

BROOKE: Dad. I told him I'd meet him for breakfast.

VICTORIA: But we have breakfast here.

BROOKE: But we have business to discuss.

VICTORIA: What business?

JULIAN: Oh, my God. I love coffee cake.

BROOKE: He's gonna help me with Baker man.

JULIAN: Quiet babies, coffee cake... amazing!

VICTORIA: But we were gonna do the clothing line together.

BROOKE: Yes, mother. We were until you said no. Daddy said yes.

JULIAN: This is so good, Victoria.

NALEY'S HOUSE

Nathan is upset Dan is in his house. He wants Haley's explications.

NATHAN: This is not good, Hales. I come home to find my father holding Lydia.

HALEY: I know. But he said his diner burned down, and we were standing in a church. What was I supposed to do?

NATHAN: Give him money.

HALEY: I offered him money. He said he didn't want our money. He needed a place to stay for a little while. Honey, I would love to have talked to you before I made this decision. But I couldn't. What do you want me to say? I'm... I'm sorry. I'm really sorry.

NATHAN: Don't... don't be sorry. One of the things I love about you is how caring you are. It just... just caught me by surprise. I suppose Jamie's thrilled.

HALEY: Yeah, he is. You know, I did tell Dan that if you said he has to go, he has to go. So...What do you think?

He goes to Dan's room.

NATHAN: You have to go. Get dressed.

CHASE'S LOFT

The alarm ring off.

CHASE: Sorry, sweetness.

(Alex is not here)

RED BEDROOM RECORDS

Alex plays guitar. Chris comes in.

CHRIS: You sure you want to re-record these guitar parts? Because once people find out Chris Keller played on your track... I'm just saying.

ALEX: What happened to you, anyway?

CHRIS: My therapist said I wasn't held enough as a child.

ALEX: Clearly, but that's not what I'm talking about. What happened to you as an artist?

CHRIS: What are you talking about? I had a song all over TV last year.

ALEX: What song?

CHRIS: “Toaster pastry, you look so good and yummy toaster pastry, get into my tummy “

ALEX: The toaster pastry song? That was you? I thought Quinn made that up.

CHRIS: That song pays my rent.

ALEX: But you were kind of a big deal.

CHRIS: Whoa. Chris Keller's still a big deal. I just...I just missed some opportunities back then. Took some things for granted. Sometimes I wish somebody would have talked to me.

TV SET

Millicent tells Jerry not to can talk to Mouth.

MILLICENT: Somebody's got to talk to him.

JERRY: The ratings are better than ever. They love the cooking segments, his restaurant reviews.

MILLICENT: Jerry, come on. You cannot make this about the show. We're talking about his health. I've tried discussing it with him, but I always chicken out. And he's getting worse.

JERRY: Okay. I'll do it.

MILLICENT: No, I'll do it. But if it goes poorly, I need you to back me up.

JERRY: Of course. Besides, we've both been there.

MILLICENT: Yeah.

MOUTH'S APARTMENT

Millie goes home. Mouth is here.

MILLICENT: Marvin? Honey?

MARVIN: I'm in here.

MILLICENT: Can I talk to you for a second?

(Marvin comes in and he is overweight)

MARVIN: Hi, baby.

MILLICENT: Hi.

MARVIN: Mwah. Whoop. Got a little Mayo on you there. So, what's up?

MILLICENT: Nothing.

POLICE POSTE

Quinn comes to pick up Clay.

QUINN: Clay.

CLAY: I'm okay.

QUINN: I was so worried.

CLAY: It's okay. I'm okay. I don't know what's happening to me.

NALEY'S HOUSE

Jamie help Haley to make the table. Nathan wants to make a surprise.

HALEY: Hey, Jamie. Uh, go get me the magazine in the living room.

JAMIE: Which one?

HALEY: Just the magazine off the coffee table.

JAMIE: Why?

HALEY: What?

JAMIE: Why do you need it?

HALEY: Dude, just get me the magazine.

JAMIE: Okay. Fine.

(Nathan catches up)

NATHAN: Don't talk to strangers. Oh! Got you, didn't I?

JAMIE: Yeah.

NATHAN: I missed you, boy.

JAMIE: I missed you, too.

NATHAN: Whoa. Where you going?

JAMIE: I have to get this to mom. She has to have it for some reason.

NATHAN: Okay, Jamie. I was thinking you might want to hang out with me today. Maybe we can go shoot some hoops, go out to see Clay or something.

JAMIE: Okay. And, by the way, thanks for letting grandpa Dan stay. It's pretty awesome. Mom, you didn't set a place for grandpa. mmm.

Dan breakfasts with the rest of the family.

DAN: Amazing breakfast, Haley.

JAMIE: Better than at your diner?

DAN: Well, I don't know about that.

JAMIE: So, grandpa, I thought maybe one of these nights we could go camp out in the backyard. I could set up my tent and everything.

DAN: Actually, Jamie, I may be leaving tonight.

JAMIE: Why?

DAN: Well, the insurance people have arranged a place for me to stay in town.

JAMIE: But you have a place to stay right here. They can't make you leave, can they?

DAN: I'm afraid they can.

BRULIAN'S HOUSE

Julian eat all Victoria's cake. Victoria is upset.

JULIAN: Mmm. This coffee cake was really good.

VICTORIA: A fashion line with her father.

JULIAN: I'm sure she would love to have you involved.

VICTORIA: I know he's doing this on purpose. I can just see that stupid, smug face of his smoking one of those disgusting cigars and laughing that despicable laugh.

JULIAN: You guys really loved each other.

VICTORIA: You watch it. How come when you thought I was a threat to Brooke's happiness, you gave me this big talk about being good to her and when Ted's in the picture, you just sit there with that ridiculous haircut, eating bacon and cracking wise?

JULIAN: What's wrong with my haircut?

VICTORIA: How come he gets a free pass?

JULIAN: He doesn't get a free pass. I just want Brooke to be happy. And right now she's happy because her father's back in her life.

VICTORIA: He's up to something. You'll see.

JULIAN: Maybe he's not. Maybe it's all in your head.

HOSPITAL

Clay sees a doctor.

CLAY: You're saying it's all in my head?

D.HUDSON: Not definitively. But all your tests look fine. Have you ever seen a psychiatrist?

CLAY: So, you don't think there's anything actually wrong with me?

QUINN: Clay, she's just trying to help.

CLAY: A long time ago, I saw a psychiatrist.

D.HUDSON: Can I ask why?

CLAY: My wife passed away, and my doctor thought it would help to talk to someone.

D.HUDSON: And did it?

CLAY: No. Not really. You know, that was a long time ago. I don't think that's what's affecting me. I just need to sleep better. So isn't there some kind of treatment or prescription you can recommend?

QUINN: Why did you suggest a psychiatrist, Dr. Hudson?

D.HUDSON: Well, historically, many sleep disorders are triggered by something psychological.

CLINN'S HOUSE

Clay doesn't want to see a psychiatrist.

QUINN: Why wouldn't you?

CLAY: Cause it's weird.

QUINN: It's not weird. It might help.

CLAY: And it might not.

QUINN: Clay, if seeing a psychiatrist is going to help you, then go see a psychiatrist. Why are you being so stubborn?

CLAY: How am I being stubborn?

QUINN: You didn't even want to go to the doctor. You said you were fine. Then I wake up, and you're nowhere to be found. And this isn't getting better. Do you understand what this feels like?

CLAY: How would you like to be the one wandering around the countryside?

QUINN: I wouldn't want to be. But if I was and seeing a psychiatrist could stop it, then I would go in a second. I think it's terrible what's happening to you. But this is happening to me, too. I feel so panicked because you're out there and you're not yourself. And I'm worried that someone is going to hurt you or something bad is going to happen to you.

CLAY: I know. But just let me try this new medication, and let's see what happens. I have an agency to run. I have to go to Europe now that Nate's back. I know that this is our problem. It's not just mine. But I have a life to live.

QUINN: And what about tonight? What if it happens again?

CLAY: I don't know. We'll handcuff me to the bed.

QUINN: Clay...

CLAY: I'm serious. You know, why not? It might be fun.

TV SET

The show is going to start. Millicent couldn't talks with Mouth about weight issues.

MILLICENT: I couldn't do it.

JERRY: You didn't talk to him?

MILLICENT: I didn't know how. It's not an easy subject to just bring up.

JERRY: What's the problem? You just say, "I think you're really plumping up there, jumbo."

MILLICENT: You better not say it like that.

JERRY: Me?

MILLICENT: Yes. You.

JERRY: Fine. I will talk to him.

MILLICENT: Good. Here he comes.

MARVIN: Hey.

MILLICENT: Hey, honey.

MARVIN: What's up, Jerry?

JERRY: Have a good show.

MARVIN: Thanks.

CHASE'S LOFT

Chuck is with Chase in his loft. They talks about Chris.

CHUCK: So, who's that guy who told Alex her song's no good?

CHASE: Crappy. He said it was crappy. His name's Chris Keller.

CHUCK: Oh. I read about that guy. He dates a lot of girls. You should probably be worried.

CHASE: Dude, shut up. Besides, things are great with me and Alex.

CHUCK: Too bad she doesn't have a little sister so we could double date. How old is her mom, do you think?

CHASE: How would you like to go on a little covert mission with me today?

CHUCK: Cool. Like what?

CHASE: Like steal Alex's room key from her purse at red bedroom records and then move all her stuff over here.

CHUCK: Why?

CHASE: So she could move in.

CHUCK: You're asking Alex to move in? What about me?

CHASE: You have a house, Chuck.

CHUCK: But still, let me move in.

CHASE: Chuck, I'm asking Alex to move in with me because she's my girlfriend and because I love her.

CHUCK: You do?

CHASE: Yeah. I do.

CHUCK: Gross. Or cool. I don't know.

CHASE: So, what do you think? You want to help me?

CHUCK: And mess with that creep Chris Keller? Definitely.

CHASE: Attaboy. Let's go.

RESTAURANT

Brooke waits her dad. He is late. She calls her.

BROOKE(at phone): Hi, daddy. It's me again. I'm just wondering where you are. Call me.

RED BEDROOM RECORDS

Alex works with Chris.

CHRIS: Are you ready to do background vocals?

ALEX: Yes.

CHRIS: Cool.

Chuck and Chase arrive.

CHUCK: Is that Chris Keller?

CHASE: That's him.

CHUCK: What a tool. I'm gonna Chuck that guy right in the goods.

(Alex sees them)

ALEX: Hey.

CHASE: Okay, here we go. You distract them, and I'll get her key. And be cool. Hey! Chuck wanted to see the studio again. You mind?

ALEX: Um, we're kind of busy right now.

CHASE: Great. He's coming in.

CHUCK: Watch me give this guy the business. Cool!

Chase looks at Alex's keys in her purse. Alex surprises him.

CHASE: All right. Come on, come on, come on. Yes.

ALEX: Hey.

CHASE: Hey. Hey.

ALEX: What you doing with my purse?

CHASE: Uh, oh. I...Needed some money. You know, so I could buy you...A...Present.

ALEX: With my own money?

CHASE: Yeah. Sorry.

ALEX: Okay. Uh, that's fine. I guess I will see you and the present that I'm buying myself later?

CHASE: Definitely. Mm-hmm. Just, uh, come over when you're done.

ALEX: Okay. Okay.

CHASE: Thanks for the money... Honey. Uh-huh.

Chase picks up Chuck. He sings with Chris.

CHUCK: Awesome, Chris Keller.

CHASE: Chuck... Let's go.

CHUCK: No, thanks. Chris said I could stay.

CHASE: Chuck. T...

CHUCK: all right. Fine. See you later, Chris Keller.

CHRIS: See ya, buddy.

CHASE: You really gave him the business.

CHUCK: Chris Keller called me "buddy"!

RESTAURANT

Ted comes in finally.

TED: There's my cookie.

BROOKE: Daddy, your cookie's overbaked. I've been waiting forever.

TED: Sorry, angel. I found my way to our old country club, and I couldn't resist.

BROOKE: Golfing or drinking?

TED: A little bit of both. But here's the good news. While you were sitting here sunning yourself, your old man was schmoozing an old friend who wants to invest in Brooke Davis.

BROOKE: What old friend?

TED: Just some guy I know. He said he read somewhere that high-end baby clothes are gonna be the next big thing, and I told him they will be if my talented daughter's designing them. Bet your mother's hooves never moved that fast.

BROOKE: Dad, how would you feel if we included mom?

TED: You know, I think your mother had her chance... And she betrayed your trust. This is our turn. But, honey, we're gonna do it right.

CLINN'S HOUSE

Nathan finds Clay has problem's health.

NATHAN: You woke up in the park?

JAMIE: Cool!

CLAY: Thanks a lot.

QUINN: He needed to know.

NATHAN: Dude, you need to see a doctor.

CLAY: I saw a doctor. Everything's gonna be fine.

NATHAN: Well, until it is, you can't go to Europe.

QUINN: That's what I said.

CLAY: It's only happened a couple of times.

QUINN: Four.

CLAY: And it only happens at night.

JAMIE: It's like you're a werewolf.

CLAY: I have a plan. All right? Until the medication fixes it, I go to Europe. During the day, I scout, and at night, I'll handcuff myself to the bed.

JAMIE: It's totally like you're a werewolf.

NATHAN: Your plan sucks, wolfy.

QUINN: That's what I said.

CLAY: Nate, you've been traveling a lot. You have a family. You also have a partner in this company that needs to pull his own weight.

NATHAN: And you have a partner in this company who can help you when you're not at your best, which clearly you're not.

QUINN: That's what I... I said that, too.

NATHAN: You need to get well, Clay. That's it.

CLAY: So, what, you're gonna go to Europe? Try selling that to Haley.

NALEY'S HOUSE

Nathan announces Haley to he has to go in Europe.

NATHAN: I got to go to Europe.

HALEY: I thought Clay was going.

NATHAN: I know, but apparently Clay...

JAMIE: Clay's a werewolf.

NATHAN: Clay's a werewolf.

HALEY: What? Nathan, you just got home.

NATHAN: I know. And you have every right to say that. But...It turns out Clay has some kind of sleeping disorder. And he's been waking up all over town. Quinn found him in a park the other day, and the police picked him up last night.

HALEY: Oh. That's bad.

NATHAN: Yeah, his plan was to go to Europe and handcuff himself to the bed at night.

HALEY: That was his plan?

NATHAN: Exactly. I know I've been gone way too much, but I am his business partner, Haley, and the company is called fortitude.

HALEY: Stupid name.

NATHAN: Look... There's a showcase for international talent. All the best players are gonna be there, and one of us has to go. I go for a week or so. Clay gets better. And then I get to be home for the rest of the year, no matter what.

HALEY: Rrrr! All right. You can go to Europe on one condition... take me with you and handcuff me to the bed.

NATHAN: I wish.

HALEY: You do wish. I wish, too.

NATHAN: I'm sorry. I love you, and I'm not gonna be gone forever.

HALEY: What do you want to do about Dan?

NATHAN: Dan has to go.

(Dan hears that)

ALEX'S HOTELROOM

Chase takes Alex's clothes.

CHASE: John, are you gonna help me or what?

CHUCK: Think this looks like Chris Keller's hair?

CHASE: Aw, come on. You realize he's in the studio with my girlfriend right now.

CHUCK: Yeah. I know. Sucks for you. That guy's so cool, any girl would fall for him.

CHASE: Just help me carry this stuff to the car, bonehead.

NALEY'S HOUSE

Nathan and Jamie plays basketball in the ground.

NATHAN: Good shot.

JAMIE: I think it's good what you're doing for Clay, dad.

NATHAN: Thanks, buddy. Clay just needs to get better.

JAMIE: Yeah. I just wish you didn't have to leave so soon, though.

NATHAN: Yeah. Me too. Nice shot.

JAMIE: Good thing grandpa Dan's here to help us out.

NATHAN: I know you like having grandpa Dan around, Jamie, but he's probably gonna have to leave, too.

JAMIE: Because you won't let him stay, huh? I know he said that stuff about insurance, but I just figured you wouldn't let him stay. And I wish you would.

Haley is near the swimming pool. Dan joins her.

DAN: Haley, I just wanted to say thanks again for taking me in.

HALEY: Thank you.

DAN: I assume that it caused some conflict between you and Nathan. I know you're smart enough to know that it was going to in advance... So thank you.

HALEY: Dan, not a day goes by that I don't miss Keith or hate you for what you did to him... And to Nathan and to our entire family. I have no sympathy for you. But if there is such a thing as rehabilitation or forgiveness, then I believe a person should have the opportunity to prove that they've changed. That's why you're here.

TV SET

Millicent and Mouth makes their show.

MILLICENT: So, once your rum ignites, you wait for the flames to subside. Then you scoop your ice cream into a bowl. And then you top it with your sauce.

MOUTH: And then you eat it, the whole thing, and you definitely don't share.

(He eats)

SOUND STAGE

Brooke comes to see Julian. He paints.

JULIAN: hey, baby. How was your meeting?

BROOKE: Awesome. My dad thinks he might have an investor for the company.

JULIAN: Wow. That was fast. How would he like to invest in a failing sound stage, too?

BROOKE: It isn't failing. It's just starting out.

JULIAN: Well, I'm happy for you. And it's gonna make your mom insane.

BROOKE: Yeah. Probably so.

JULIAN: No, not probably. Definitely. She spent the entire morning raking your dad over the coals and trying to recruit me.

BROOKE: Like, what did she say?

JULIAN: She said it was irresponsible of me to trust him with you and that I should be trying to break you two up.

BROOKE: Is that right?

BRULIAN'S HOUSE

Brooke comes home angering with Victoria.

BROOKE: Are you really so threatened that my well-being means nothing to you?

VICTORIA: You sound upset.

BROOKE: I am upset.

VICTORIA: Well, good. That makes two of us.

BROOKE: What do you have to be upset about?

VICTORIA: Well, I'm not getting any younger. I'm not having any sex. And my conniving ex-husband comes into town to steal my daughter and my daughter's fashion line from me.

BROOKE: First of all, ew. Second of all, daddy didn't steal anything. You said no, mom.

VICTORIA: I said, "not yet." And really? Daddy? When has he ever been a father to you?

BROOKE: People change, mother.

VICTORIA: Not him. And why do you need his approval or his affection anyway?

BROOKE: Because he's my father.

VICTORIA: And a poor excuse for one at that. And yet you completely disregard my feelings in some desperate attempt to get him to love you... More. Get him to love you more.

BROOKE: Okay. Do you understand how ridiculous it is that I have to make clothes to get my parents' attention?

VICTORIA: Brooke...

BROOKE: That unless I spin the straw into gold or attract investors, you two chime in on holidays at best? Yet I still do it. Why? Because I have some insane notion that someday the clothes are gonna bring us closer and that maybe, just maybe, my parents will actually want to spend time with me.

VICTORIA: You're right. You're right. You should be able to do whatever you like with your father. And I should be able to wish you the best and hope that it brings every great happiness. But I can't.

VICTORIA: Mom... Mom!

RED BEDROOM RECORDS

Alex's song is over.

ALEX: Okay, as much as I hate to say it...and, trust me, I really hate to say it... you were right.

CHRIS: Of course I was right. And that song's a hit with a little bit of radio, some luck, and a lot of touring.

ALEX: I'm gonna take the luck and the radio.

CHRIS: It's not enough. You got to tour. You got to go from east coast to west coast. You play every night, and, girl, you turn around and do it again. But here's the good news. There's an opening slot on a great tour, and I can get it for you.

ALEX: Um, hello? I have a boyfriend here, and I'm mixing my album.

CHRIS: I can mix the record. And this tour is more important than your boyfriend.

ALEX: Don't say that. And, besides, if it's so great, then why don't you take the tour?

CHRIS: Pbht! Chris Keller doesn't open. Chris Keller headlines.

ALEX: Yeah. The toaster pastry tour. Sorry.

CHRIS: No. That's fair. Look, you asked me what happened to my career, and I told you I made some mistakes. Most of them had to do with not realizing the opportunities I had... Not being smart enough to understand how fragile they were. This tour is one of those opportunities for you. The younger version of me might have passed. This version wouldn't.

SOUND STAGE

Alex visits Julian. She needs to advices.

ALEX: Don't you need some actors or maybe a writer?

JULIAN: I had both of those things, and she wanted to be a musician... And a good one. Hi.

ALEX: Hi.

JULIAN: So, tell me you came to rent out my sound stage.

ALEX: Oh. I wish. I just need some advice.

JULIAN: Great. It's free when you rent out my sound stage. All right. What's up?

ALEX: I have the chance to go on a tour, but the last time I left town, I almost lost chase.

JULIAN: But you guys are in better place now.

ALEX: We are, but... Don't you miss it? Being in a new city and telling stories and playing dress-up and just being a part of it all?

JULIAN: Yeah, I do. But I have a family now, Alex. And I want to be around to watch them grow. But I get it. You know, what we do is like running away and joining the circus, and for a lot of us, it's hard to give that up.

ALEX: I'm such a gypsy. I love roaming about and living out of a suitcase.

JULIAN: So, maybe chase will understand that. If not, one of you is gonna have to change.

MOUTH'S APARTMENT

Millicent is ready to run. She asks Mouth to join her.

MILLICENT: Hey, I'm going for a run. Do you want to go?

MOUTH: Oh, no, thanks. I think I'm just gonna watch the game.

MILLICENT: How about you record it and spend some time with me?

MOUTH: Yeah, I'm just kind of tired. But I got a spot right here on the couch for you when you're done.

MILLICENT: Okay, well, don't give that spot away. I'll be back in a bit.

MOUTH: I'll be here.

CHASE'S LOFT

Chase puts Alex's clothes in his closet.

CHUCK: You know, if Alex were a guy, we would have been done hours ago.

CHASE: If Alex was a guy, she would not be moving in with me.

CHUCK: I'm just saying. What is all this stuff?

CHASE: It's girl stuff, Chuck.

CHUCK: I know. But why? I mean, my mom has all this crap, too. But what do guys have? Clothes and soap. Geez.

CHASE: One of these days you'll appreciate the effort girls make.

CHUCK: Whatever. I don't know if girls like me that much. I mean, I try to be nice to them. But they always make me seem like a dork.

CHASE: Well, that part never changes. But don't worry about it. Just be yourself and be nice, and at some point, hmm, probably right after a terrible breakup when you're absolutely not looking for a girlfriend, you'll meet the right girl.

CHUCK: Wonder if Chris Keller has a girlfriend.

CHASE: Mm, I'm not sure Chris Keller is the girlfriend type.

CHUCK: What's that supposed to mean?

CHASE: It means, have you seen his hair?

CHUCK: My mom's magazines say that Chris Keller can have any girl he wants. But he probably just rolls solo like me.

CHASE: You know, you were supposed to put him in his place.

CHUCK: Well, yeah. That was before Chuck Skolnick knew how cool Chris Keller really was.

CHASE: Really? Third person?

CHUCK: I'm just trying it out.

CHASE: Well, don't. Your new pal Chris called my girlfriend's song "crappy."

CHUCK: He liked my song. Maybe her song is crappy.

CHASE: Dude, I'm about to banish you.

CHUCK: What? Chuck Skolnick tells it like it is.

CHASE: Hey, stop it with the third person!

NALEY'S HOUSE

Nathan is ready to go in Europe.

NATHAN: Should be a week or so. Got a couple meetings and that showcase in Belgrade, and then I'll be back.

HALEY: And are you gonna talk to Dan?

NATHAN: I'm about to. That should be fun.

HALEY: I should have talked to you.

NATHAN: That's fine. It's just Dan Scott sleeping in my guest room. How much worse can it get?

(Someone pushes on ring-bell)

NATHAN: Why do I say these things?

CHRIS: Well, well... Nathan Scott.

NATHAN: Chris Keller. What are you doing here?

CHRIS: I run red bedroom records. Didn't Haley tell you?

NATHAN: Apparently my wife no longer tells me things.

HALEY: It was...

CHRIS: Quiet. Discreet. I like it.

HALEY: Don't come in. What do you want?

CHRIS: Um, I heard Nathan was leaving.

HALEY: How did you hear Nathan was leaving?

CHRIS: Your sister told Alex, who told me. Anyway, I just came by to say if you need anything while Nathan's gone... and I mean anything... you just let old Chris Keller know. H-Haley, I really have changed.

CLINN'S HOUSE

Clay is near the swimming pool, Quinn joins him.

QUINN: Hi, handsome.

CLAY: Hey.

QUINN: What you thinking?

CLAY: Just feeling sorry for myself. I was in such a dark place after Sara died. And then we're in the hospital and rehab. I just want things to be normal. I want to close my eyes to you, wake up to you, and live our lives together.

QUINN: There's nothing I want more than that. And maybe a psychiatrist can get us there.

CLAY: Yeah. But I'm hoping this new medication does the trick, because if it's physical, I'm sick. But if it's in my head, I'm just crazy.

QUINN: You're not crazy.

CLAY: Well...

QUINN: Maybe you're a little crazy, but I still love you. And I always will.

CHASE'S LOFT

Alex comes in.

CHASE: Hi.

ALEX: What's my surprise?

CHASE: What, no "hello" first?

ALEX: Hi. What's my surprise?

CHASE: Okay. Come with me.

(He shows his closet with Alex's clothes)

CHASE: Ta-da!

ALEX: You used my money to buy my own clothes?

CHASE: I wasn't taking your money. I was taking your room key.

ALEX: Why?

CHASE: I want you to live here... With me.

ALEX: What?

CHASE: Chuck helped me move all your stuff in today. Check it out. Glasses are on the end table. Your blue sky picture's here. And all the stuff you don't need to look beautiful is here, too. Now, I know it seems like a big step, but I think it's the right step because I love you... Alice whitehead.

Alex and chase had sex. They talk now.

ALEX: When you think about your life, like, the life you want to have someday, what do you see?

CHASE: This.

ALEX: And this makes you happy?

CHASE: Yeah.

ALEX: Mm.

CHASE: You?

ALEX: Yeah.

CHASE: It's okay.

ALEX: What?

CHASE: That you didn't say "I love you" back. I gave you the key, showed you all your stuff, and said, "I love you." And you didn't say it back. And that's okay.

ALEX: You caught me off guard.

CHASE: I know.

ALEX: It was a lot to process.

CHASE: I know. That's why I said it's okay.

ALEX: You love me.

CHASE: Mm, who says?

ALEX: You said it. You said, "I love you, Alice whitehead."

CHASE: If you keep teasing me, I'm taking it back.

ALEX: Hey. First of all, mean. Second of all, you can't take it back. No takey backsies.

CHASE: "No takey backsies"?

ALEX: Yes. I don't know much, Chase Adams, but I do know that once those words are said, you can't take them back.

CHASE: That's fine. I meant what I said, anyway.

ALEX: Do you really think I don't love you?

CHASE: Uh, I think that we haven't been together that long. And I think...

ALEX: Because I do. I love you, chase Adams.

CHASE: Good. No takey backsies. Say it again.

ALEX: I love you. You know that?

BRULIAN'S HOUSE

Julian plays with twins in their room. Brooke sees them.

BROOKE: I love you. You know that?

JULIAN: I'll take it, but why am I getting it?

BROOKE: 'Cause you deal with the madness of your family and the madness of my family and me, and you just roll with it. And because you won't make our kids start a fashion line just to spend time with you.

JULIAN: Fashion line? No way. Both these guys are gonna play for the Dodgers, and then maybe my dad will finally love me. Right?

BROOKE: Can you say "baseball"?

RESTAURANT

Ted lunches, Victoria joins him.

TED: I think I'll have the fish. On second thought, I just lost my appetite. Bring me a double Martini and shot of Botox for my guest.

VICTORIA: And whatever you have for erectile dysfunction. He needs that, too.

TED: Speaking of erectile dysfunction, hi, Vicky.

VICTORIA: I'm gonna tell you something, and for the first time in your life, I want you to listen to it and agree to it.

TED: Yeah, fine. I'll rock your world one more time.

VICTORIA: Whatever you're doing with this company and for whatever reasons, I want you to remember that your daughter loves you desperately and desperately needs you to love her back.

TED: She told me she came to you first. We might be able to cut you in. I was thinking I might need an assistant.

VICTORIA: Make your jokes, Ted. Wallow in the fact that you think you've taken something from me. But do not... do not... break your daughter's heart, or so help me God, you won't be rocking anyone's world. You'll have nothing left to rock it with.

TED: My God, you're sexy when you're all fired up.

VICTORIA: My God, I was an idiot when I married you.

CHASE'S LOFT

Alex looks at her stuff in the loft.

RED BEDROOM RECORDS

Chris is singing. Alex comes in.

CHRIS: Hey. I thought you left.

ALEX: I want to take that tour.

PHARMACY

Clay waits his prescription but he finally goes away.

DOCTOR: Clay Evans? Mr. Evans, your prescription's ready. Mr. Evans?

RED BEDROOM RECORDS

Chris is singing.

NALEY'S HOUSE

Nathan says goodbye to Lydia before he leaves.

NATHAN: Hey, you got to stop getting so big until I get back, okay? And absolutely no walking yet. All right.

HALEY: Jamie's downstairs with Dan.

NATHAN: Everything okay?

HALEY: I don't know what to do. I used to see Keith every day. And I loved him. But Dan saved our son's life, and he protected you from Renee. And he's your father.

NATHAN: You saw Keith every day. I lived with Dan every day. I'll see you soon.

HALEY: Okay. Be safe.

RED BEDROOM RECORDS

Chris is singing.

NALEY'S HOUSE

Dan plays carts with Jamie. Nathan wants to say goodbye to Jamie.

DAN: I got a pair of 5s, ace kicker.

JAMIE: Full house.

DAN: Ugh!

NATHAN: Jamie, I got to go.

JAMIE: Okay.

NATHAN: Be good while I'm gone, all right?

JAMIE: I will. I love you, dad.

NATHAN: I love you, too, son. (to Dan) Can I speak with you outside for a second?

Nathan is ready to go. He talks with Dan before.

NATHAN: I'm sorry for what happened to your diner. All right, and I appreciate the way you've been with my wife and my family, but when I come back, you need to be gone. So figure it out. Make your plans and go. You understand?

DAN: I understand.

NATHAN: All right.

(Nathan gets in the car. Jamie goes out)

JAMIE: Grandpa Dan. I was worried. I thought maybe you were leaving, too.

DAN: Don't worry, Jamie. I'm not going anywhere.

(The car goes away)

End of the episode.