Episode 621 - Goodbye, Yellow Brick Road

In this episode: Joey returns to Capeside to find Dawson's script on her doorstep and is overwhelmed that he has written a story about three friends, but Dawson's movie-making dreams are shattered when Pacey comes clean about losing Dawson's money. The ensuing fight opens old wounds and leaves the three friends believing their friendship will never be the same. Back in Boston, Jen has invited her mother from New York with the intent of telling her that she, Jack and Grams are moving to New York so Grams' can get the medical care she needs.

Original Airdate: April 30, 2003

[Scene: Outside Dawson's House. We pick up where the last episode left off. Pacey is outside the house, trying to figure out how to tell Dawson that he had lost all of Dawson's Money. Pacey is looking up at Dawson's window, when the back porch door opens and Dawson sticks his head out, startling Pacey.]

Dawson: Pacey? I thought that was you out here. Were you ever going to come in?

Pacey: I forgot you guys don't lock your doors.

Dawson: Yeah, well, actually we're going to have to start now that I got all this film equipment in here. Come on inside. There's something I want to show you. You ok?

Pacey: Yeah. Yeah. I--I went out after work with a couple of guys. We got a little caveman.

Dawson: Ah.

Pacey: But I'd love to see what you got going.

[Scene: Inside Dawson's Bedroom. We find out that the room he was painting last week was his own room, and now it is the original color it was in the pilot, and the entire room , it made up to look almost exactly like it did in the very first episode.]

Pacey: Wow.

Dawson: It's pretty crazy, huh? Took me forever. I want to make sure everything is perfect. What do you think? You're the first person who's seen it.

Pacey: Well, I would say that this officially makes you the king of procrastination.

Dawson: No, no, no. We're going to shoot in here. I know it's tight, but I figured out a way to make the camera fit. And by saving money on locations, we can afford to go all out on everything else.

Pacey: Really?

Dawson: Yeah. I got 3 credit cards in the mail last week, maxed them out in, like, a day. Got lights, cameras, this awesome sound equipment. I'm going completely overboard, but I don't care. I'm talking a mile a minute. I haven't even asked you what brought you to Capeside.

Pacey: [Pacey sighs] Man. Ha! Being in this room, it just takes me back to a whole other era. When the future was a clean slate for all of us, you know?

Dawson: Well, the room may have gone back in time, but I think you and I have moved ahead rather nicely. It's about all the obstacles we went through when we were kids. We both ended up doing exactly what we wanted to do.

Pacey: Well, there was that brief period of time I toyed with the idea of being a rodeo clown, but I guess this'll do. Heh heh.

Dawson: But you made something of yourself, pace, and now you're making something out of me.

Pacey: I--I don't know that you should go that far. I mean, you had done this by yourself. Right? Even if you had nothing, this would...

Dawson: I'm not...I'm say—you're not hearing me, man. I'M... I'm trying to thank you.

Pacey: Well, you're welcome, I guess, but, come on, Dawson, I mean, we all knew you'd do this. This was your dream. You just... needed to take a little trip down memory lane, right?

Dawson: Yeah, I needed that and a very financially savvy associate producer. I'm giving you credit on the film. So...

[Dawson grabs a script from his desk and hands it to Pacey.]

Dawson: You're part of this now. So, welcome to Hollywood, where people have meaningless titles for not even showing up on set. I'm sorry. What is it that you wanted to talk about?

Pacey: Uh, it was, uh... just, uh, as your associate producer, I do have some concerns about the casting. Particularly the role of Pacey, which I feel has some fairly large shoes to fill.

Dawson: You're going to let all this power go straight to your head, aren't you?

Pacey: Yeah, I got to enjoy it while I can, right?

Dawson: Let me show you these headshots. I gotta tell ya, I don't think these amateurs know what they're getting into.

Pacey: No. Somebody ought to warn 'em.

[Opening Credits]

[Scene: Outside Gram's House. A Cab pulls up and Jen's Mother (Now played by Mimi Rogers) gets out of the cab, and then walks over to the house.]

Helen: Thank you.

[Rings doorbell and Jen answers the door]

Helen: Did you get a haircut?

Jen: Uh...no. 5 inches of blond just fell off. It was really the damnedest thing.

Helen: It's--it's very French.

Jen: Um, come in. Uh, the cab's gone, so--so are your hopes of leaving.

Helen: Jenny, please.

[They hug, and Jen grabs her bags]

Helen: Thank you.

Jen: You look good, mom. Not as upper east sidey. I think that divorce must suit you.

Helen: Hmm. A lot better than marriage, that's for sure.

[Grams comes into the front room out of the kitchen]

Grams: Jennifer, did you get the door? Oh. Helen. Hello.

Jen: Good start.

Grams: Well, what--what are you doing here?

Helen: Jen asked me to come. I was so shocked, I could hardly say no.

Grams: I can imagine.

Helen: I'll just--can I take my bag upstairs?

Grams: Oh, of course. Uh, you go on up, and I'll--I'll come up in a minute and get you settled.

Helen: Fine.

[Helen goes upstairs with her bags]

Grams: Jennifer.

Jen: [Stammers] I know, I know, I know, I know. You're--you're worried that we're not going to have enough food for dinner tonight, but I've actually already taken care of that.

Grams: Jennifer, just don't pull your speed-talking technique on me. You had no right to invite that woman into my house.

Jen: That wo-- will you calm down and remember that we're all related?

Grams: No, I specifically told you I did not want Helen to know that I had cancer.

Jen: Cancer?

Grams: The point is, it is my business to dispense with in my own time, and you had some nerve to take it upon yourself to tell her.

Jen: I didn't tell her. You will. Oh. Look, I don't think that she's any friggin' Mary Poppins, myself, but I think that she deserves to be in the loop, and I can't do this alone. I love you.

[Scene: Joey's Dorm Room. Audrey is sitting on the end of her bed playing a guitar, as Jack Osborne is sitting on the end of Joey's Bed, going through her clothes that are with the rest of her stuff packed up and on her bed ready for her to go back to Capeside for the summer. Jack picks up a pair of Shorts and begins looking closely at them.]

Jack: Does she actually run in these?

Audrey: I don't know, I guess.

[She strums the guitar and Jack sniffs the shorts]

Audrey: Oh, ok, gross. No, gross. God, can't you just patronize internet porn like a normal person? Must you go rooting around in my roommate's sweats like the homeless man you pretend to be?

Jack: My mom was so right about you. This hoity-toity school has made you so uptight.

Audrey: Your mom thinks I'm uptight?

[Joey walks into the room and sees Jack with her shorts.]

I may have some in your size if you want me to look.

Jack: These'll do just fine.

Joey: I'm Joey.

Jack: Ah, the roommate. We finally meet.

Joey: Could you please step away from the clothes? Slowly. And keep your hands where I can see them.

Jack: All right. All right.

Audrey: Jack is here to meet with the dean to discuss if Worthington is right for him or some such hoo-ha.

Joey: Right for you? Do you know how many people would kill to come to this school? I mean, I spent my entire high-school career just trying to get an interview here. You just-- if it's right for you?

Audrey: You're turning a little red. Now I know that this is new to you, but behold the wrath of the Hollywood offspring. But jack's a smart guy, aren't you, Jack?

Jack: I'm smart enough to know if my integrity is being questioned by a couple of uptight wenches.

Audrey: Yeah, ok. You know what? You're gonna have to change the t-shirt. So why don't you be a good boy and go root around in your satchel, because Joey and I have to bond.

Jack: I'll watch from a safe distance.

[Jack goes into the bathroom and Audrey gets up and goes over to Joey and takes her hands in her own.]

Audrey: [Sighs] Joey.

Joey: Audrey.

Audrey: I feel a lifetime moment coming on.

Joey: It's not like we're never going to see each other again.

Audrey: I know, but... our time in this particular room is over. Anyway, the point is this-- I love you very much, Joey Potter.

Joey: I love you, too.

Audrey: So much so, in fact, that I could not leave you without a parting gift. You know, something for those lonely summer nights.

Joey: Uh, you shouldn't have, Audrey. I didn't...

[Audrey gets up and hands her ea bright pinks furry sitting pillow.]

Joey: You really shouldn't have. Audrey, I hate this hideous eyesore.

Audrey: I know! Which is why you must carry it with you on all of your travels, because, like me, it seems harsh and overwhelming at first, but once you give in to its delicious comfort, you will find that you cannot live without it.

Joey: You know what I've realized in our tenure together? That I've never really had a girlfriend, not a good one... and nobody like you.

Audrey: Oh, Joey.

[Scene: The Grocery store. Jen and Jack are walking trough the store getting a load of groceries and filling up the cart while talking.]

Jen: Uh, ok, Jack, what's next?

Jack: Uh, tomatoes. Since, um--since when do you know how to cook, anyway?

Jen: Oh, come on. How hard can it be? I can read, can't I?

Jack: I'm just sorry I won't be there to test your culinary skills.

Jen: You're coming. No. I'm not facing my mother without you.

Jack: Which is even more shocking than the whole cooking thing. W-why is she in town?

Jen: Because I called her, all right. It's--it's a long story. I'm sure it'll all unfold just beautifully this evening, which is why I need you there for moral support, ok?

Jack: Isn't CJ. Typically, you know, the moral part of the whole, you know...equation.

Jen: Look, I just need the whole gamut of boy power this evening, ok?

Jack: Which is why I don't want to be there for the whole, you know, meet the boyfriend thing.

Jen: It's really not, like, a whole meet the boyfriend thing. I mean, it--it is, but that's not its express purpose, ok?

Jack: Exactly. It's more like a, you know, "good-bye, C.J." Type of night, 'cause he's going to New York tomorrow, right, for the whole grad thing?

Jen: Yeah, yeah, yes, he is, but I'm sure that we'll have plenty of time to stare into each other's eyes and pontificate on what we mean to each other. I just need to take care of a couple of things first. String beans. I need string beans.

[Scene: The Potter B&B. Joey comes walking up to the front door of the B&B and stops to take a moment and look at the entire scenery, and admire and remember. She turns and walks to the porch and sees and envelope there, and opens it and pulls out a script labeled “The Untitled Dawson Leery Script.” She sits down and a small smile crosses her face.]

[Commercial Break]

[Scene: Outside Dawson's House. Joey comes walking up to the House and notices that the Ladder is up against the house leading up to Dawson's Window. She looks up it and you can see the memories flooding back in her eyes. Dawson comes walking up from behind her.]

Dawson: Go ahead.

[She turns to him and smiles and then she begins climbing the ladder and we cut to inside the bedroom, with Joey Climbing in the window and looking around there looking at it. Dawson comes in through the window a few seconds later.]

Joey: It's perfect. Your eye for detail is creepy. There's no way I'm going to get in that closet and play E.T., But aside from that... it's perfect.

Dawson: Now that you're here, it's just about right.

[Scene: Gram's Living room. Helen is sitting in a chair across from Grams and Jen and they are awkwardly trying to decide what to talk about.]

Grams: But you do seem to be quite well, Helen.

Helen: You, too, mother. Did you change your hair?

Grams: Maybe a little more gray. Jennifer's changed her hair. Did you notice?

Jen: Mm. We've actually already had a discussion about that. I have honey on my hands. Um, I'll tell you what. Why don't you two try to find a topic that is more probing than current hairstyles or--or weather patterns? And I'll go wash up, ok? [Whispering to Grams] That means you.

[Jen gets up and leaves them alone]

Helen: It shouldn't be this difficult, I suppose, making conversation with your own mother.

Grams: I think the problem is the very notion of having to make conversation.

Helen: Everything seems to be happening a little too late, doesn't it? I mean, why did Jen call me out here now? Why have we waited so long?

Grams: One thing I've learned is to regret the past is useless. You can't change it. Might as well live the rest of your life as pleasantly as possible.

Helen: Mom, you've gone soft.

Grams: Never.

Helen: No, it's nice. I think Jen's made you happy. She seems younger now than she did when she was in New York, running around like a grownup-- a toxic one, but a grownup, nonetheless. If she had stayed there, going the way she was going... she would have run right over me, mom.

Grams: Oh, Helen. It wasn't a magical transformation. She just needed a little patience and, um, no access to public transportation.

Helen: Hmm. Mm, it's funny. Now that she doesn't need me, kinda think that I need her. Not as much as I needed you, though. I could--I could never repay you.

Grams: Acts of love do not require repayment. I mean, what if I needed to call upon you and--and I needed your help, your support? You'd be there for me, wouldn't you?

Helen: How could you even ask that? You're my mother. Of course.

Grams: I guess you get to my age, you don't want to take these things for granted.

Helen: Mom, is everything ok? Is something wrong with Jennifer?

Grams: Jennifer? Oh, no. No, no, Helen, no, everything's fine. I'm just a little overwhelmed, I guess. Oh, uh, we need some more water. I'll just freshen up the pot.

[Grams goes into the kitchen where Jen is sitting and you can see the disappointment in their eyes]

[Commercial Break]

[Scene: Hell's Kitchen. It is the middle of the day, and Pacey is sitting at the bar with a drink in hand and filling out an application, when Audrey and Jack come walking in. Audrey sees Pacey and decides to make their way over to join him.]

Audrey: [Gasps] Oh, my god. My ex-boyfriend is a day drinker. Life is clearly bleak without me.

Jack: I thought you said he worked for the man.

Audrey: Hmm. Lets go investigate, shall we?

Pacey: Hi.

Audrey: Hi.

Pacey: Hi. Ahh. So of all the bars in all the world you decide to stumble in here.

Audrey: Well, I am stalking you.

Pacey: Hey, Jack. How you doing?

Jack: Ah, you know, if this is the scene, not so good. I got to take a piss.

[Jack leaves them alone]

Pacey: So they told me you went away for a while.

Audrey: Let's not be awkward exes, Pacey. I was drying out in Malibu.

Pacey: Ok. Well, you look great, anyhow.

Audrey: Clean living, my friend. So, what happened to your job? I know you're not just taking a long lunch break. You're a little too hard-core for that.

Pacey: Well, I've been reassessing how I allocate my time.

Audrey: So you're drinking?

Pacey: I'm thinking about it.

Audrey: You're thinking about taking a tasty downward spiral? Oh, you'd better quit while you're ahead. You're not cut out for this.

Pacey: What are you talking about? I could spiral with the best of them. Speaking of... shouldn't you really avoid places like this?

Audrey: I, um, can't hide from my problems forever. It's kind of how I ended up in rehab in the first place, right?

Pacey: Well, that's brave of you. But you were always good like that.

Audrey: Yeah, well, I'll be your personal superhero, ok?

Pacey: Ok.

Audrey: Unless of course you want to spend the rest of your days hiding out in dives like this. What are you hiding from, Pacey?

Pacey: I'm hiding from the suit, because it's evil. Bad things happen when it's on. I allowed people to believe in me for a second, which was foolish, and now it's really coming back to bite them in the ass.

Audrey: You know what? This isn't you talking. This is your former self rearing its ugly head. Come on, Pacey. I know moments like these. One path is the harsh reality, and one path is the comfortably numb. But guess what? In the morning, when you're all sobered up, the problem's still gonna be there. Only, now it'll be like a big festering wound, and you'll just be the jerk who sat back and let it get worse.

Pacey: Well, thanks for not walking on eggshells around me.

[Scene: Dawson's bedroom. Joey is sitting awkwardly on the end of Dawson's bed, and Dawson is standing by the window.]

Dawson: It's weird, huh? This room used to be the official meeting place where we'd discuss what happened that day. And now it's just a film set, and I don't even know what happened this year.

Joey: Yeah. I was kind of hoping I could just climb up the ladder and... magically fill in all the lost time.

Dawson: How's that working for you?

Joey: Not so easy.

Dawson: Yeah.

Joey: Maybe I was gone for too long.

Dawson: Well, we'll piece it together between the two of us then, right? The lost year of Dawson and Joey.

Joey: It wasn't easy.

Dawson: What wasn't?

Joey: Not talking to you. Maybe it seemed like it was. And I guess it just... became routine, just another thing that I didn't do. Well, like shooting heroin or driving drunk.

Dawson: Wow, I'm up there with the dangerous activities.

Joey: Or casual sex. Dawson, for so long, you were the only person in the whole world I wanted to be with. Then somehow you became my only one-night stand.

Dawson: I never meant for it to be like that.

Joey: I know. I know. Maybe being in this room makes it easier. Having it set up this way, you know, I'm so familiar, and... seems insane not to talk. And sometimes the hardest things to say are the things that... really matter.

Dawson: Hmm. Why do you think I've spent years trying to write an entire screenplay about you?

Joey: I read it in one sitting.

Dawson: Ok. I hope you don't think that I gave it to you so that you could just say all the obligatory nice things.

Joey: And why would I feel obligated?

Dawson: Exactly, because if I can't get an honest opinion from the girl who loathes me more than anyone else in the world, who can I trust, right?

Joey: You've always been this devilishly clever.

Dawson: Well... yeah. But... uh, I got--I got-- I wanted you to read it because... well, you're really the only person in the world who can tell me if I got it right this time.

Joey: You grew up, Dawson. You grew up. I always wanted to think that you were this hopeless dreamer and I was the adult that escaped. But I didn't escape anything, not really.

Dawson: Sure you did. You got out of Capeside. Wasn't that the original plan?

Joey: Couldn't escape myself, could I? You were right. So much of what I was fighting was growing up. And I figured out this past year that it's hard for me... to talk about sex, to talk about... getting close with someone. And maybe... I'm not supposed to lose myself. Now it's not part of the plan. But then again, I never thought that losing you was part of the plan, either.

Dawson: I think sometimes... you have to lose somebody completely before you can figure out what they really mean to you. I missed you, Jo.

Joey: You got it right this time, Dawson. I missed us.

[They hold each other's hands and smile]

[Scene: Gram's Living room. Helen is sitting in the chair again across from Jack and CJ who are sitting in the couch, rather uncomfortably.]

Helen: So how did you and Jennifer meet?

Jack: Oh, no, I'm--I'm Jack, Mrs. Lindley.

Helen: Well, yes, I know that.

Jack: Yeah, well, t-this is, um, this is Jen's boyfriend here.

Helen: Oh, I'm sorry. You're not...

Jack: No no. I'm--I'm the gay one. Actually we, um-- we met a few years back. I guess you don't remember me.

Helen: Oh, right. That wasn't the best thanksgiving. Um, I was probably drunk.

Jack: Yeah. I know I was. That was a joke. I was just kidding.

Helen: Jen speaks very highly of you.

CJ: Well, apparently not very descriptive.

Helen: Well, you and jack are both so attractive, and I don't know what the gays look like these days.

CJ: Thank you?

Helen: Are you going to school in New York?

CJ: Yes, uh, leaving tomorrow actually.

Helen: Well, you'll have to call me. I know lots of young people who could take you out on the town. The parkers, who live downstairs from me, have 2 lovely daughters...

[Jen comes in carrying a tray of drinks]

Jen: Ok, mom, that's enough. My boyfriend doesn't need to be meeting anyone lovely. It not like we're breaking up or anything

CJ: Oh, good to know.

Helen: Well, I've only just figured out now which one is your boyfriend.

CJ: Well, that's because jack acts like a boyfriend.

Jack: Well, technically, technically, I am her boyfriend.

Jen: Technically, you're not my boyfriend. You don't sleep with me.

CJ: Is that the only difference between us?

Jen: Look, who's leaving me for higher learning tomorrow?

CJ: Hey, come on. You said you were happy for me.

Jen: I am, but don't begrudge me the only friend that I have left in your absence.

Helen: Jen, you were always so popular.

Jen: I know. That was called putting out, mom.

[Jack and CJ giggle. When the front door flies open and Uncle Bill comes walking in yelling for Grams. ]

Bill: Evie, you get your butt out here.

CJ: Uncle bill, what are you-- what are you—

Bill: Hey, hey, cool it. I got some business with this skirt, and I'm not leaving till it's finished. Evie!

Helen: Do you know this man?

Jen: Yeah, he's C.J.'S uncle Bill. He--he and Grams had a thing.

Bill: A thing?

[Grams comes out of the kitchen.]

Grams: William, what are you doing here?

Bill: Now look, you just don't walk away from Bill Braxton and expect him to roll over like a dead dog. I've been doing some P.I. Work on you, and you know what I found out? You are full of malarkey.

Grams: Bill, this is neither the time or the place for this conversation.

Bill: That's half your problem right there. You keep wanting to compartmentalize everything in time and space, and you're making yourself sick, and that's why you have cancer, and you're eating yourself up.

[A shocked look crosses Helen and Jack's face.]

Helen: Mom... is this true?

Grams: Yes. Yes, Helen, it's-- it's true. Um... I--I certainly never intended for you to find it out this way.

Bill: Look, I don't wanna watch another woman... who I love, give up. Were you sent here on this earth to die alone with your knitting needles, or were you sent here to live a little?

Grams: You must have failed to notice that I am not alone.

Bill: Yes, I can see there are a bunch of people here who give a damn, and even though you spurned my advances, I give a damn, too.

Jen: Grams... aren't you gonna thank bill for doing your dirty work for ya?

Grams: [Scoffs] Thank you, Jennifer. I was just... about to do that.

Bill: You mean, nobody else knew?

Grams: No, bill, nobody else knew, which accounts for the shock on my daughter's face.

Jack: I--I--I gotta say, grams, I'm pretty shocked, too. Jen, what's up? You wanna tell me?

Grams: Jack, it was not Jennifer's responsibility to tell you. It was mine.

Jen: I'm sorry.

Helen: This is why you called me?

Jen: Yep. I--I don't know. Grams told me that she had breast cancer, and it--and it was just like the whole world melted away, but I had a thousand questions in my head of how am I going to take care of her and how much time do we have, and, bill, I think you're right. I mean, grams, you can't try and be a rock here, because it's--it's not making you any happier or any better, and it's not making your life any easier, so I--I just feel like the best thing for you to do right now is just to be around your family.

Helen: I'm so sorry. What can I do?

Jen: Well... actually, it's funny you should ask because I think that we have kind of an interesting opportunity here.

Grams: Opportunity for what?

Jen: To move to New York to live with mom. I don't even really wanna fight about it or discuss it. I just want it to be ok.

Grams: Oh, Helen, I--I-- I couldn't dream of... imposing—

Jen: No, it's not. She lives 5 minutes away from the best hospital in the country. I don't see that there's any imposition in that.

Grams: But I--I--I—

Helen: No. Mom, it's ok. She's right.

[Scene: Dawson's House. Dawson and Joey come walking down the stairs from Dawson's Bedroom, and are heading towards the front door.]

Joey: I didn't realize how late it had gotten.

Dawson: Yeah, when you came over here, you probably didn't expect to spend the whole afternoon talkin', huh?

Joey: Call it a nice surprise.

Dawson: Well, I've still got one big problem, though.

Joey: What's that?

Dawson: Same one I've always had, finding somebody to play you.

[They walk outside, and find Pacey standing outside, quietly waiting.]

Dawson: Pacey.

Joey: I didn't know you were home.

Pacey: Well, I wasn't really planning on making a trip, but I needed to talk to you for a second. Is that ok, Dawson?

Dawson: Yeah, of course. I, uh--I guess I'll see you tomorrow maybe?

Joey: Deal. All right.

Pacey: Actually, Jo, um... why don't you hang out for a second, 'cause you're gonna have to hear this sooner or later anyway.

Dawson: What's goin' on? Are you ok?

Pacey: Man, and we were just gettin' back to be friends, too. It's such a shame to ruin that.

Dawson: What are you talking about? What would ruin it?

Pacey: Money. Money would ruin it.

Dawson: W-what happened?

Pacey: It's gone. Your money's gone, my money's gone, some guy on long island's money is gone—

Dawson: What--what do you mean gone? That was all the money that I had.

Pacey: I know it was, Dawson, and I honestly thought Stepatech was gonna take off, I swear to you.

Dawson: Right. Yeah, o-of course. Otherwise why would you blatantly ignore my request to sell the stock?

Pacey: Man, I was just tryin' to do the right thing.

Dawson: Ah, damn it, Pacey, this—

[Joey is standing awkwardly in the middle of this looking back from one to the other with tears beginning to well up in her eyes]

Dawson: [Dawson sighs] You're always tryin' to do the right thing. You're always so eager to be the hero, you never quite see all the pieces of the puzzle.

Pacey: Dawson... you came to me with your dream because you thought I could help make something of it, and somehow this comes back yet again to the fact that I screwed you over?

Joey: Ok, you know what, you two? Let's just stick to the topic at hand. Ok, so we can just solve this problem by going inside and trying to get calm... and we'll talk about it.

Dawson: Joey, talking about this is not gonna solve anything.

Joey: What are you talking about?

Pacey: He means it's not about money. So fine then, let's just talk about what's really goin' on here.

Joey: You know what? I see no reason to drudge up baggage from the past just to fill in the moment, Pacey. I mean, let's remember something. This exchange between you and Dawson is purely a business exchange, and I think we need to remember to keep it at that.

Dawson: She's right. It is business between us, 'cause god knows we haven't been best friends in a long time, have we?

Pacey: No, we certainly have not.

Dawson: You wanna know why we're not friends, pace? It's not because of what happened with Joey, even though that turned my world upside down. It's because from that day forward, I realized that you hadn't been my friend for... maybe quite some time, 'cause the second you made us competitors—

Pacey: That I made us competitors? No. No. Now--now you're rewriting history, Dawson.

Dawson: I remember when my best friend had a choice and chose to turn his back on me. If you'd ever stopped settin' us up against each other, you woulda realized that you and I are not that far apart.

Pacey: Ah, spare me the speech. You are not gonna convince me that our world's... are anything alike. You're just upset because I broke outta mine.

Dawson: Broke out of yours? How? By putting on a suit and slavin' away at something that doesn't even interest you? You made money. Congratulations. You impressed us all.

Pacey: How dare you. You know nothing about me, man. I was good at my job.

Dawson: Then why am I broke?

Pacey: Because that's life! I didn't make that choice! I have lost, literally, everything! What do you want from me, man? Does this make you happy, that you're back on top now? I mean, you always liked it better when you were in charge, so is this what you wanted? Does this make it all right?

Dawson: You don't wanna know me, pace. You wrote me off a long time ago.

Pacey: Really? Really? Back when we were the best of friends? When we were brothers? Was I just outta the house every time you tried to call me over the last 3 years?

Joey: Ok, can you guys just stop it? I can't stand here and listen to you guys do this anymore.

Pacey: I didn't mean to lose your money. I didn't know that that would happen. I'm sorry.

Dawson: Yeah, so am I. This-- this was just a big mistake from the beginning, I guess.

Pacey: Heh. Ok.

[Pacey walks away, and Dawson turns and goes back inside. Joeys just stands there and looks up into the sky and shakes her head]

[Commercial Break]

[Scene: Dawson's Pier. Pacey is sitting on the end of it staring into the water, when Joey comes walking up to him and sits down next to it.]

Joey: You ok, Pace?

Pacey: You don't have to do this.

Joey: Do what?

Pacey: Sit out here with me. I know you'd rather be in the house with Dawson, so why do you just go and help him lick his wounds?

Joey: Things never change here, do they?

Pacey: No... because these are the roles we were destined to play.

Joey: No, Pace, these are the roles we chose to play. I mean, look at us, sitting out here on this dock in front of the same house we've been haunting for years. We're practically ghosts of our former selves, and honestly, I don't think anyone really remembers what they're mad about anymore.

Pacey: Mm, I wouldn't be so sure about that.

Joey: Pacey, if I wanted to go back into that house, I would've gone a long time ago. Don't you know me at all by now?

Pacey: Well, I don't want you sitting here feeling sorry for me.

Joey: I don't feel sorry for you. I feel for you, Pacey.

Pacey: [Sighs]

Joey: God, can't you ever tell the difference?

Pacey: I don't know. [Sighs] I don't know, because you and I have had a very confusing run of things. Especially lately.

Joey: [Scoffs] Ok. You know, and no matter how much I love you or how long I stay with you, you're only gonna remember the moments when I leave.

Pacey: Well, you gotta give me that much, because those are pretty much the most painful moments in my life.

Joey: That's because you ask for them, Pacey. I'm sorry. You do. Your whole life, you spend so much time expecting the worst that you don't even notice the moments when people are loving you, and, Pacey, people spend a lot of time loving you.

Pacey: Well... with all due respect, Jo, my best friend just walked away from me, but that's not even the worst of it. The worst thing is he hasn't even really known me for the last 3 years, so please, clarify that for me. How does that qualify me as a man with a support network?

Joey: Well, you have a person sitting right here, don't you? But of course, that's not enough. Not until you let it.

Pacey: In what world do I have you?

Joey: Look, just because I don't fit into that... place you want me to doesn't mean there's not a place for me, Pacey.

Pacey: [Sighs]

Joey: Does it?

Pacey: Joey, this isn't your fight, anyway.

Joey: You're right. You're right. It's not my fight because it's been over for a really long time, Pacey, [Sighs] And it is up to you to make it right.

Pacey: I don't know how to make it right.

Joey: Well, you're gonna have to figure it out. You know, that's the thing about ghosts. They say that... they don't leave until they're at peace with what they left undone.

[Scene: Grams living room. Jack is sitting alone on the couch, when Jen comes walking in to join him ]

Jen: Hey.

Jack: So... I guess any petty bickering about when you were gonna tell me is pretty much outta the question at this point?

Jen: Oh, please. You know I love bemoaning after the fact.

Jack: Jen, you just-- you gotta realize that, you know, you and Grams are pretty much all the family that I've got.

Jen: I know. Do you remember that time that I went over to your house after grams kicked me out?

Jack: Yeah, how could I forget? That's the day you became my hag.

Jen: No. No, we're family. It doesn't change.

[Grams comes walking in to join them on the couch.]

Grams: I will never forgive you two if you make me cry tonight.

Jack: Grams... I'm so sorry.

Grams: Jack... don't feel sorry for me. Just... believe in me, hmm? That's what I need.

Jack: Well, I promise that I will come and see the two of you every chance that I get.

Grams: Oh, that won't be necessary.

Jack: Ok.

Grams: Well, I mean, you don't honestly believe Jennifer and I are gonna leave you to your own questionable devices, do you?

Jack: What are you talking about?

Jen: What?

Grams: Well, my daughter simply rattling around that big house she got through the divorce, and I think we need a man around the house. I mean, you'll have to share a room with Jennifer—

Jack: Ok, grams, come on. I mean, I--I--I just can't, you know, pick up and-- and leave this place. Come on, guys, I have stuff... going on, you know? And I mean, besides, what am I gonna do, mooch off the two of you for the rest of our lives?

Grams: Certainly not. You'll be earning your keep.

Jen: I mean, what's really keeping you here, jack?

Grams: Yes, what's really keeping you here, jack? Last I heard, bean town had no great hold on you.

Jen: You can be an apathetic student anywhere, and Boston Bay sucks.

Jack: Yeah, Boston Bay does suck. That's-- that's I way I said, you know, we shoulda-- we shoulda gone to new--New York.

Jen: There you go. You've been saying it all along.

Grams: Well?

Jen: Yeah, come on. This--this place doesn't appreciate your absolutely fabulous gayness.

Grams: What do you say?

Jack: What do I say? What--what do I say? Well, what do you say? You say, um... well, you say how I can I turn down living with 3 generations of crazies on the upper west side? That's what I say.

[Scene: Hell's Kitchen. Audrey and Jack Osborne are sitting at a table in front of the stage talking.]

[Laughing]

Jack: Ya ready for this?

Audrey: Yes. Ok, just don't mention anything weird about my childhood or anything, ok?

Jack: Come on, if I'm gonna sell you, I've gotta exploit you somehow.

Audrey: Just get up there.

Jack: Ok.

[Jack goes up to the stage and grabs the microphone]

Jack: So, next up... we have a girl who's near and dear to my heart or at least across from my bedroom window. If I had to be a woman, I'd be Audrey Liddell. She's the toughest blonde I know. Put your hands together.

Audrey: Oh, thank you.

[Audrey begins singing, and her singing becomes the voice over for the collage of scenes.]

[Collage of Scenes: Scene 1 – Grams, Jen, Jack and Helen in the kitchen baking cookies. Scene 2 – The end of Dawson's Pier. Pacey is there at the end staring off into the creek as the moonlight glitters off the surface, and he is deep in thought. He eventually gives up and turns and walks back to his car, and the camera pans up to Dawson's window and we can see the silhouette of Dawson standing near the window. Scene 3- Inside Dawson's Room. Dawson is standing there deep in though and mixture of hurt and anger crosses his face over and over. Scene 4 – Outside the Potter B&B. WE see Dawson's script on the arm of a chair flipping through the pages in the wind. The camera pans over to Joey who is sitting in the chair and has obviously been going though it again, and has tears in her eyes as she looks out into the creek and into the night sky and to the script and back and forth. Fade to black.]