Episode 611 - Day Out of Days

In this episode: Back in Los Angeles, Dawson is asked by the studio to direct re-shoots of "Wicked Dead" after Todd refuses, but is conflicted about advancing his career by being disloyal to his mentor. Meanwhile, Joey hasn't heard from Eddie since Christmas, so she pays a visit to his apartment only to find it empty; Pacey has second thoughts about his new life and starts skipping work to spend time with Emma; Jen's insecurities as a peer counselor are compounded when C.J. is assigned to train her; and Audrey, still on a destructive path, returns to Los Angeles to party with old friends including, Jack Osbourne.

Original Airdate: January 15, 2003

[Scene: The Film Set. It is the final day of filming, and everyone has gathered together for their final meeting together. Todd stands up and begins to make a speech to all of the crew of the movie.]

Todd: Time of wrap, please, Dawson?

Dawson: 12:07 A.M.

Todd: So that's what, Monday? 12:07 A.M. Sometime in January, and we have done it, people. We have finished principal photography.

[All cheering]

Todd: So, although it's rather out of character for me, I'd like to take this opportunity to thank all of you for all your hard work and to propose a toast. To us, and our movie. Cheers.

[All cheer and raise their glasses of champagne]

[Todd walks away from Dawson and Natasha comes walking up to Dawson from behind him.]

Natasha: It's strange, isn't it, that all this will just be gone tomorrow, like it never even existed?

Dawson: Hey.

Natasha: Nice speech, by the way. And don't even bother trying to pretend that it was Todd's idea, because that puppy had you written all over it. Sincerity, warmth, and a hint of something, I don't know. Bittersweet? Or was it just bitter?

Dawson: Well, that's what wrap parties are all about, aren't they? I know you're more experienced at them than I am.

Natasha: So, are you going back to L.A. Tomorrow, or what.

Dawson: Yeah, with Todd. You?

Natasha: Afternoon flight. Max got me a small part in that Spielberg film he's doing. You know, it's, like, 2 days work whatever, but who knows? Maybe it'll lead to bigger things.

Dawson: Knowing you, Natasha, I'm certain it will.

Natasha: Is that a little attitude? A break in the oh, so professional on-set demeanor you've been cultivating since the New Year?

Dawson: Not everyone on the planet is acting every second of their lives, you know.

Natasha: No, maybe not, but in Hollywood, they are. So, good-bye, Dawson. Good luck out there. I have a funny feeling about you.

Dawson: What's that?

Natasha: That you're gonna need it.

Dawson: Right.

[Opening Credits]

[Commercial Break]

[Scene: Hell's Kitchen. Joey in the backroom, talking on her cell phone.]

Joey: [Monday] Hi. It's me. Um, I'm back at school. I mean, I've been back. [Flash to Tuesday in the bar] I wasn't going to call you, because, you know, you haven't called me, and I do have something called pride, though apparently not enough, because, you win, ok? I'm being the typical girl and calling you. And in retrospect, you know, I really don't think Christmas went that badly, if you grade it on one of those who's afraid of Virginia Woolf type scales. But, um, anyway, you're probably out pounding the pavements and stuff, so just give me a call when you get a chance or whenever. Ok. Bye.

[She hangs up the phone and walks out and past the pool table]

Man: Hey , how did you get in here, you don't look a day over 16.

Harley: People always think I'm 16, but, duh, I am totally 18.

[She stops recognizing the voice of the girl talking when she walks by the pool table]

Joey: Don't you mean 15? Nice talking to you guys.

[She pulls Harley away by the arm]

Harley: Ow! Maniac.

Joey: Harley, what are you doing here? I thought Christmas vacation was long over for the Britney and Christina set.

Harley: I'm not on vacation. Unfortunately, I live here now. So, where's Eddie? He's the only nice person I know in Boston, and he still owes me a root-beer float.

Joey: Wait a second. You live here full-time now? As in full-time with your father?

Harley: Yes. Why are you smiling?

Joey: Sorry. It's just your father's such a great guy, he deserves to have such a well-behaved, good-natured, teenage girl living with him full-time. Speaking of which, why aren't you in school right now?

Harley: If I tell you, will you tell me where Eddie is?

Joey: Out with it.

Harley: Ok, fine. I was on a field trip, and I ditched. You would, too, if your entire life was ruined by your mother's sudden need to do research in Bangladesh.

Joey: Harley, your life isn't ruined. You're just being melodramatic.

Harley: Right. Like you would know what it's like to have your life ruined?

Joey: Look, he's not here, ok? Eddie. And to be honest, I don't exactly know where he is.

Harley: Man, I can't believe you messed it up with him. He was amazing. He was beyond amazing.

Joey: Look, I'll go get you a root-beer float, and then you have to go back to school. I don't care how miserable it is. It's just life. Life is miserable.

[Scene: Boston Aquarium. Pacey enters the Aquarium, and begins walking around looking from one fish tank disply to the next.]

Woman: Hey, guys. Hey, stay with your partners, guys. Stay with your partners. Let's go.

[As he walks down one of the walk ways he sees Emma sitting on a bench by a large tanks drawing on a pad, and listening to headphones and walks over to her]

Pacey: Ok. Shouldn't you be doing that in a museum?

Emma: Oh, bloody hell.

Pacey: Sorry. I didn't mean to scare you.

Emma: Well, you did. It's not the sort of place you expect to find stockbrokers.

Pacey: Give me a break, would you? I'm on my lunch hour. Mind if I sit?

[He goes to sit next to her, and she shoos him over to the bench across from her.]

Emma: No, go ahead, but don't sit too close.

Pacey: I know, that overwhelming physical attraction's getting to ya, huh?

Emma: No, that's not it, exactly.

Pacey: Really?

Emma: No. I just don't want anyone to know that, uh, you're with me.

Pacey: Thanks.

Emma: [Laughs] What are you doing here, anyway?

Pacey: I work near here. I come here all the time. The better question is what are you doing here?

Emma: I'm just killing time till 1:00.

Pacey: What happens at 1:00?

Emma: Well, you should know this, since you come here all the time.

Pacey: On my lunch hour, which happens at noon. So I come here, I walk around, have a slice of pizza, and I'm out the door by 12:45.

Emma: Ah, back to work.

Pacey: Yeah, that's why they call it the lunch hour. 'Cause, you see, if was to stay till after 1:00, by the time I got back to work, it'd be the lunch hour and a half, and we just can't have that, now, can we?

Emma: Then I don't want to keep you.

Pacey: Excuse me?

Emma: It's 12:46.

[He looks up at the clock on the wall, and sees that it is 12:46]

Pacey: Oh. Right. Right. Then I'll... I'll just see you back home.

[Scene: The Help Line. Jen is talking on the phone, while CJ is sitting across from her with a clip board in his hand.]

Jen: Well, of course it sucks. That's why they call it life. And what is it really, other than an endless series of mind-numbing days, one on top of another. Alienation, despair-- these are the natural by-products of living in a mechanized society—

CJ: Ok, stop.

Jen: Stop?

CJ: Yeah. Um... a lot of people get depressed this time of year. I don't think they're calling in hoping to talk to Kierkegaard.

Jen: But you said he was a philosophy major.

CJ: Whatever. Look, I just, I don't wanna fight, ok? I get annoyed, and you get defensive. Let's just move on to the next one.

Jen: No. Let's not. I quit.

CJ: You can't quit. You haven't even started yet. It's your first day of training. It's your first hour.

Jen: Yeah, well, if the training consists of sitting here for a week and listening to you act superior to me—

CJ: I've been doing this for 2 years.

Jen: Great. Well, maybe your expertise will come in handy when we get to a hypothetical situation involving casual sex and a couple of blond girls.

CJ: Maybe you're right about one thing. Let's call it a day. So, come back tomorrow or don't come back, but whatever you decide, you should make it about you, not me.

[Scene: The Health Clinic. David is talking to a nurse, while Jack is sitting on a bench waiting impatiently.]

David: Ok. This'll do nice. Thanks.

[David goes back and joins Jack.]

David: Damn.

Jack: What?

David: Oh, there's no good magazines to read.

Jack: That's it? I mean, you're not at all nervous about this

David: Oh, it's a piece of cake. I've done it, like, a million times.

Jack: A million?

David: Give or take. I'd be a pretty hypocritical peer counselor if I didn't practice what I preached.

Jack: Right.

David: Seriously, it's no big deal. And the most embarrassing part is when they ask what kind of high-risk behavior you've engaged in the past 3 to 6 months. The only thing I can come up with is eating carbs after 9 P.M. and jaywalking.

[The Nurse comes over to their area.]

Nurse: Jack McPhee?

David: It's fine.

[Scene: The Hollywood Studio Office. An Executive is reading from cards in his hand as he walks around the table, behind Dawson and Todd while they sit there listening to him go on about their film. Sever other executives are there as well.]

Executive: Blindingly dull. Achingly dull. Mind-numbingly dull.

Todd: I see, and what do these little cards prove exactly? Other than the fact you've been previewing the bloody thing all along?

Executive: They prove that we're not through shooting. That's what they prove.

Todd: Reshoots?

Executive: Absolutely. More sex. More violence. Maybe a little twist in the plot that's not predictable from the very first frame. I mean, obviously, the goal here is to try to make this damn thing watchable.

Todd: I see. So, you're calling my movie unwatchable?

Executive: I don't have to. They did. You want me to read some more?

Todd: No, that won't be necessary, thank you. [Grabs a pack of cigarettes out of his coat] Anyone got a light? If I'm gonna sit here and take artistic advice from every tom, dick, and Harry in Tarzana that didn't have anything better to do last Wednesday night, then I'm gonna bloody well need some nicotine, all right? Light, please, Dawson.

[He reaches into his pocket and grabs something and puts it into Todd's jacket pocket before getting up]

Dawson: Um, you know what? I'm gonna go get one.

[He goes out into the foyer, and grabs a phone and makes a call]

Dawson: Come on. Pick up the phone.

[Cell phone rings and Todd begins to look around to see where the sound is coming from.]

Dawson: Reach into the pocket and pick up the phone.

[He reaches into his pocket and pulls out a cell phone and looks at it like where did this come from]

Todd: Hello?

Dawson: Shut up before you make this any worse and get out here.

[Dawson hangs up, and Todd looks at the phone .]

Todd: Hello? Hello?

[Todd hangs up the phone and stands up]

Todd: Excuse me.

Executive: Whoa! Whoa! Whoa! Where do you think you're going?

Todd: Oh, I'm sorry. Don't mean to be rude. There's another idiot out in the hall that requires my attention.

[Scene: Out in the Foyer. Dawson is standing there waiting when Todd comes storming over to join him.]

Todd: And just what in the bloody hell do you think you're doing?!

Dawson: What do I think-- what are you doing? You're digging yourself a hole in there bigger than the La Brea tar pits.

Todd: Did it ever occur to you that might be my intention?

Dawson: You never wanna work again?

Todd: We're in charge here. We make the decisions.

Dawson: Which is all well and good except for one thing.

Todd: What?

Dawson: It's their money. Look, you brought me here for my ability to stay calm in a crisis, right? Well, this is it. This is a crisis 'cause if you don't go back in there and act happy about these reshoots, they're gonna get somebody else to do it, somebody who can ruin this movie.

Todd: And would that be such a tragedy?

Dawson: Yes. Look, maybe I'm naive thinking that this whole system, this whole process, can only produce something that's a notch above mediocre, but I want this thing to be good. I want it to be as good as it possibly can be, and I don't think I would've stuck it out working for you this whole time if you didn't want the same thing.

[Scene: Back in the conference room. Dawson and Todd have returned and are peacefully sitting down listening to the Executive speak.]

Executive: So, we figure 3 days of reshoots on a soundstage here in L.A., Very minimal budget. The whole idea here is to, uh, come up with a new ending. Something that's watchable. Or at the very least, something that makes sense. Now, I have no idea what that's going to be, but Heather here seems fairly confident that given enough nicotine, alcohol, caffeine, you might be able to pull something off.

Todd: Well, that's, uh, very charitable of her. Thank you, sweetheart.

Executive: Mm-hmm. All right, Todd, what's it gonna be?

Todd: Well, I can see where you're coming from. I can. I can see where you're coming from. I can see how you and other people like yourself, people of lesser intelligence, might be a bit confused by my movie. And I can see how you actually don't have any new ideas of your own on how to improve it, because, after all, you're not really in the business of having ideas, are you? Oh, that's right. You think you are. Well, you're not. You're in the business of criticizing other people's ideas. Which is why, after much careful consideration, I'll be throwing your most generous offer back in your face and leaving. Good-bye, and good luck with all your future endeavors.

[Commercial Break]

[Scene: Professor Hetson's Class. It is now Wednesday. Professor Hetson is lecturing the class, and is finishing up for the day, and Joey is just trying to pay attention, but has other things on her mind.]

Hetson: Well, then, since nobody seems up to the rhetorical challenge of convincing me that Norman Mailer was wrong when he dismissed all female writers as unreadable, that's it for Wednesday.

[Everyone begins to leave, and Hetson begins to pack up his bag, when Joey walks timidly up to him.]

Hetson: Oh. That can't be Joey Potter. Guess one D" isn't enough to get anyone thrown out of Worthington anymore.

Joey: Sweet, really, your overwhelming concern for my future, but that's actually not why I'm subjecting myself to your toxic personality.

Hetson: Great. And I'll skip ahead to the part where I inform you that no, no matter how many times you ask, it will never be possible for you to drop this course without forfeiting your credits from the first semester.

Joey: Look, I don't want to be standing here talking to you any more than you want to be listening to me. I just need to tell you that your daughter... well, she may not be as safely ensconced in Milton academy as you currently think she is.

Hetson: What does that mean?

Joey: She's cutting class, ok?

Hetson: I'm a little confused as to why you're telling me.

Joey: She came into the bar yesterday, on the lam from some field trip, and... god knows where she went when she left. I just... but call me crazy, I just figure these are the things the father of a 15-year-old girl wandering the streets of Boston should know.

Hetson: The subtext here being that these are the things that a father would know if he were paying attention.

Joey: I didn't say that.

Hetson: You didn't have to. Look... I'll tell you what. [Sighs] Let's make another one of our famous deals. You stay out of my life, and I'll do my very best to stay out of yours.

Joey: Gladly. You know, I'm sorry for the intrusion. I guess I was naive enough to think that this might actually be about something other than your gigantic male ego.

[Scene: The Boston Aquarium. Pacey and Emma are walking the next day along one of the walkways talking to one another.]

Pacey: So you're saying that that doesn't bother you, the whole life-as-repetitive- stress-injury thing?

Emma: No, it does, but nothing prepares you for a life of mind-numbing boredom and repetition so much as studying music as a child.

Pacey: Piano lessons?

Emma: Violin.

Pacey: Yeesh.

Emma: Yeah. My mum taught piano, though, to a series of ever-changing twits who all had one thing in common: They were allergic to dogs.

Pacey: So you had fish.

Emma: Tanks full. So, what's yours, then?

Pacey: My what?

Emma: You excuse for coming here every day. It can't simply be a matter of geographic proximity.

Pacey: No, it's not. It's, uh... it's much like yours, really. It's sort of a window into the person that I used to be.

Emma: You used to be another person?

Pacey: Much as I'm sure you weren't born with pink hair, I am not the conservative person you think that I am.

Emma: You're not?

Pacey: No, I'm not.

Emma: Prove it. Stay.

Pacey: Stay here?

Emma: Come on, I don't think you taking one afternoon off is going to send capitalism screeching to its knees.

Pacey: No, it probably won't, but it will catapult me to the top of the Rich Rinaldi firing list.

Emma: Yeah, that's such a bloody tragedy.

[She reaches into her pocket and grabs her cell phone and hands it to him]

Emma: Here. Call them. Tell them, I don't know, that you're sick or something.

Pacey: You're serious about this?

Emma: Yeah. Question is: Are you?

Pacey: [Laughs]

[He dials the phone]

Pacey: Hi. Can I speak to Rich Rinaldi, please? [Coughs] [Coughs]

[Scene: The Help Line. Jen is talking on the phone again, while CJ is sitting by her with his clip board.]

Jen: Ok, well, if what you're telling me is true, is that you've-- you've had unprotected sex with 17 women in the last 3 months, then I definitely think it's a good idea for you to get tested. For you and for all of those hot women you've been sleeping with.

[The camera pans past CJ and we see that David is on a phone on s desk a little ways away from him and he is actually talking to Jen.]

David: What? What? I have nailed many a hot girl in my day.

CJ: Hey, I believe you.

David: Thank you. I can't believe I volunteer to help you guys and get criticized for my acting abilities.

Jen: Oh, please, like you could ever be straight. Your heart is too big, and so is your brain.

David: [Laughs] She's hostile.

CJ: Told you.

Jen: Could you please not talk about me like I'm not in the room. So I have some anger. Can you tell me that there's something wrong with expressing your emotions?

[Jack comes into the Help line and goes over to David]

Jack: Hi.

David: Hey!

Jack: Sorry. Am I, uh, interrupting—

David: No, no, it's cool. We're--we're done here, I think.

CJ: Yeah, it's 4:00. We're done.

David: So... you guys think you can get along without me tomorrow, or what?

Jack: Whoa, whoa, whoa. Wait a second. You mean the only reason you're hanging around here all afternoon instead of wasting time with me is because she can't manage to get along with him? Jen?

Jen: Are you mad at me, too? You can't loan me your boyfriend for one measly hour? Is he your boyfriend? Have you guys kissed yet? Did I miss all of this over Christmas vacation?

Jack: Charming. Let's go.

[Jack and David leave, and CJ is just looking at Jen.]

Jen: Why are you looking at me?

CJ: Hostile.

[Scene: The Hollywood Office Conference room. Dawson looks back at the clock then sighs as he looks down at the papers in front of him. The executives are there too and getting impatient. You can tell that they are waiting for Todd who is nowhere in sight.]

Dawson: [Sighs]

Executive: Aha. So he's changed his mind, has he? Come to his senses? Not that his apology's going to be accepted, mind you.

Heather: So where is he? Caught in traffic? Smoking?

Dawson: Not exactly.

Heather: Dawson?

Dawson: Yeah. You know, technically, actually, he's not gonna be here today, uh, because technically, he... doesn't know that this meeting is taking place.

Heather: You set this up?

Dawson: Um-- yeah. Uh, technically.

Heather: [Chuckles] You set this up to apologize for him, to smooth things over, to clean up after his mess... like you've been doing all along?

Dawson: Yeah, kind of. Look, nobody sets out to make a bad film. Todd wants it to be better. I know that he does. And he might be too proud to admit it, but he's got, like, 5 alternate endings in his head. This is stuff we've been talking about all along, stuff that can easily be done on a soundstage in 3 days for no money.

Executive: Well, that's all very sweet and moving, but since I don't see him here on his knee begging for forgiveness, you're wasting my time, my friend.

Heather: Unless—

Executive: unless what?

Heather: Unless the answer to our problems is sitting right in front of us.

Executive: Excuse me?

Dawson: Excuse me?

Heather: I know this is gonna sound crazy, but just stay with me for a second. He knows the footage we've already shot. He knows the script, the actors, the crew. Personally, from what I've seen, I think he could do it.

Dawson: Wait a minute. Hold on a second.

Executive: What? You're saying you can't do this?

Dawson: No. I'm saying this is insane.

Executive: All right, let me ask you this. Hypothetically, if you had to, could you direct the reshoots of this movie?

Dawson: Well, yes, but that's not—

Executive: all right. Call his agent.

Heather: I don't think he has one.

Executive: Well, then don't call his agent. Call his mother and make her sign a permission slip.

Dawson: Wait a minute. Wait-- hold on a second. This is insane. This is--this is not why I came here today. This is not what I wanted to have happen.

Heather: Well, guess what? It did. And since opportunities like this don't come along every day, I'd hop on the happy train. Or, I'm sorry, is being a director not the fulfillment of a dream you've been waiting your entire life for?

Dawson: No, it is. It definitely is, but—

Heather: We'll be in touch.

[Door closes]

Dawson: Oh, boy.

[Scene: A Beach in LA. Jack Osborne and Audrey are walking along the beach, which has obviously had a party the night before.]

Audrey: So did we ever figure out whose party this was?

Jack: No. Some dude's,

Audrey: then I don't suppose we ever figured out what day it is. Come on! Give me a break!

Jack: So's your friend coming to pick us up or what? I really vote we take a cab.

Audrey: Yeah, and pay the guy with what? You know, you being famous doesn't make me any less broke

Jack: what? You're broke?

Audrey: Yes, jack, Audrey Liddell is broke. Is that so impossible to believe?

Jack: Wow. Someone must be paying too much for their drugs.

Audrey: You know, contrary to popular opinion, I'm not on drugs.

Jack: Yeah, right. You know, I hate to be judgmental like your weird college friends, but please don't rip my lungs out of my chest when you have some bad PCP.

Audrey: Shut up, will you? He's coming.

Jack: Who? Your friend?

Audrey: Dawson. Dawson leery. I'm sort of on thin ice with him at the moment, so if you can find it within yourself to shut up about drugs for, I don't know, say, the next half an hour—

Jack: What? You'll make it worth my while?

Audrey: Don't I always?

Jack: So you're saying I can go through your underwear drawer unsupervised?

Audrey: No! That's gross! I'll sit on your lap the whole way home, ok?

Jack: All right. Cool.

Audrey: But one word about any sort of illegal substance, and you have blown it.

Jack: Hey, I have self-control.

Audrey: I'll believe that when I see it.

[Dawson comes waling over to them.]

Jack: I'm going to go wait in the car.

Dawson: Hey, Jack.

Jack: Hey.

Dawson: Hey.

Audrey: You came.

Dawson: Yeah. You called, right?

Audrey: The fact that I recently destroyed your house with an automobile must have, uh, slipped my mind when I was dialing. I freaked out, ok?

Dawson: What, then or right now?

Audrey: Both, I guess.

Dawson: What are you even doing here, Audrey?

Audrey: Here in L.A. Or here at this weird party?

Dawson: Either one.

Audrey: I don't know. One minute, jack and I are, like, in a parking lot off sunset talking to these guys in a limo, and the next minute, we're here, and it's morning, and... [Sighs] Like I said, I just freaked, and... you were the only person that I knew would be in this area code and would definitely be awake at this hour.

Dawson: What about your parents.

Audrey: Please.

Dawson: Do they even know that school started back already?

Audrey: No. I wasn't ready to go back last week, so I lied a little bit. I didn't want to face the grand tribunal of judgment. I'm ready now, though. And I'm going to be good from now on, Dawson, I swear. Just... don't be mad. I mean, don't be any more mad than you already are.

Dawson: [Sighs] All right. Just... tell me you realize how stupid it is to get in a car full of strangers that you meet in a parking lot.

[Scene: Hell's Kitchen. IT is the next Day and Joey is back in the kitchen again calling Eddie and leaving a message on his phone for him]

Joey: Hey, it's me again. Um, look, I get that you're avoiding me. I do. Many days, no phone calls. What could be clearer? But, um... I'm scared now, because I don't understand why you wouldn't call me back. It's not like you, ok? And I guess I'm just scared that something may have happened to you, because--and even if something did happen to you, I wouldn't know about it, because, obviously, I'm not a very important person in your life. So... could you just... call me back? Uh... call me back as soon as possible. Bye.

[She hands up the phone and goes back into the bar and goes over to a booth where Jack and David are sitting and joins them.]

Jack: Mmm... any luck this time?

Joey: When have I ever been lucky with men?

David: He'll call you back, Joey. I know he will.

Joey: Uh, yeah, yeah.

David: There's usually a very logical explanation for this kind of thing.

Joey: Yeah, I guess. Hey, can you guys, um—

Jack: Pay the bill that's been sitting here for, like, a century? Yeah.

Joey: You guys are welcome to stay as long as you want. It's just... I don't feel that great. I want to get home early.

Jack: Yeah, it's no problem. Here. Ahem. Keep the change.

Joey: Thanks. Thanks a lot.

Jack: Bye.

[Joey leaves them alone.]

David: Well, that was depressing. There's nothing sadder in the universe than watching somebody wait for a phone call that's obviously never going to come.

Jack: Oh, sure there is. There's orphans, sick orphans. Plus, we don't know if this guy's not gonna call.

David: Oh, please. We're guys, aren't we? How many people have you ruthlessly hooked up with and never called?

Jack: A few. Look, I went out a lot this summer, all right?

David: And?

Jack: And I didn't call a few of the guys back. Look, if a straight guy did it, it would be rakishly charming, you know? You meet someone, ok? You think you're going to like them—

David: And then after closer examination, you don't.

Jack: Yeah.

David: But only after the closer examination part.

Jack: Basically. Are you going to give me some kind of lecture here, or what?

David: Do you want one?

Jack: Not particularly.

David: Fine.

Jack: Fine.

[Scene: Hell's Kitchen. Joey is coming out of the back room with her coat on and is putting on her gloves, when she notices Harley by the pool table talking to some older guys again.]

Joey: Ok. Let's go, Harley. You're outta here. Get your coat.

Harley: Excuse me?

Joey: Look, I really don't have the energy to go through all of this again today. In case you've forgotten, we've already played this scene 2 days ago.

Harley: Yeah, and then you ratted me out to my father, who grounded me for a month. So I figured the only way I could repay you would be to cut class again.

Joey: Right. You really think I'm going to leave you here with a possible date-rapist who thinks you're 18? I don't think so. I'm leaving. You're leaving. Let's go now.

[Scene: The Boston Aquarium. It is the next day, and Pacey and Emma have met again during lunch time.]

Pacey: I can't believe you talked me into staying for this yesterday. I mean, big fish eating little fish. What's the big deal? This is what you drag your butt down here for every day?

Emma: Well, if it was a big company eating a little company, you'd love it. And for the record, I don't come here every day.

Pacey: You don't?

Emma: Not normally, no. Usually just when I have a hangover.

Pacey: So, then what was this week? Some sort of special occasion?

Emma: Look. I've just been wondering what's it all for. I mean, if what you've told me over the last couple of days is true, then you've pretty much changed your entire life, and I'm not entirely sure why.

Pacey: How the hell should I know? Why does anybody change their life? Why do people dye their hair, for that matter?

Emma: To piss off my mum. Or to try to be somebody else?

Pacey: For me, it would be the latter.

Emma: And why do you want to be somebody else?

Pacey: Because that's a part of growing up. Let me tell you, Pacey at 15 was a bit of a schmuck-- bad haircut, bad Hawaiian shirts, broke all the time. Dumb enough to be chasing after things he knew he was never going to get, anyway.

Emma: Mostly women, I suppose.

Pacey: Mostly... though there were a few girls. And you are allowed to call them girls when they're 16.

Emma: Hmm. Not that you care what I think, but... I don't think he sounds that bad, this person you used to be. He actually sounds kind of nice.

Pacey: Yeah, well, maybe he was... occasionally.

Emma: Hmm, still could be. Quit the job. Get rid of that goatee. Grow back the terrible haircut.

Pacey: What if I told you I'd actually been thinking about that lately?

Emma: I'm not sure I'd believe you. Unless...

Pacey: Unless what?

Emma: Unless you showed up here again tomorrow, promptly, at 1:00, wearing some wretched Hawaiian t-shirt.

[Scene: The Help Line. Jen is talking on the phone while CJ is across the desk reading from a book.]

Jen: Look, you know that that's not true, right? I mean, just because a girl has a less than perfect relationship with her father, it doesn't mean that she won't be able to sustain a more meaningful relationship in-- hel--hello? Hello? She hung up on me. My first real non-hypothetical caller, and she hung up on me.

CJ: Somebody probably walked in the room. You know, a roommate or something. She got embarrassed and hung up.

Jen: No, you're just trying to make me feel better.

CJ: No, you were doing fine.

Jen: Why did this have to be boy trouble? Why couldn't it have been a nice eating disorder or a homesick freshman in need of a good old ego boost?

[Telephone rings]

CJ: You gonna answer that?

Jen: No.

CJ: She was talking to you. She's probably gonna wanna be talking to you again.

Jen: No, I--I don't wanna answer it. I'm just gonna mess it up again. Y-y-you do it.

CJ: Are you sure?

Jen: Yes. Just answer it.

[Jen just looks at it, and CJ finally answers the phone]

CJ: Help line. This is C.J. No, she had to step away for a second. Yeah, she's, uh-- she's a little high-strung. Oh, let's give her a break, though. It's her first day. Yeah, yeah. It is hard to talk when other people are in the room. All right, why don't you call me back in 10 minutes when they're gone? Yeah, I'll be here. All right. Promise me you'll call me back. Ok. Bye.

[He hangs up the phone and Jen is just staring at him.]

CJ: What?

Jen: Nothing.

[Scene: The Sidewalk outside Eddie's Apartment. Joey and Harley come walking up to the apartment complex door.]

Harley: Hello? Every third store we're passing sells liquor. Shouldn't this indicate to you that we're not in such a great part of town?

Joey: Yeah, well, you wanted to walk on the wild side, so since your dad is in class until 6:00... we're here.

Harley: Where are we, anyway?

Joey: Nowhere, ok? I just have to do something.

[The stop and the front door, and Joey presses the buzzer button. Harley looks at the buzzer and realizes where they are]

Harley: "Eddie doling, 3-a"? I thought you said you didn't know where he was.

Joey: I don't. I know where he lives. I just don't know where he is.

Harley: Well, perhaps you've heard of this invention: The telephone? It's a helpful stalking tool.

Joey: Yeah, I tried that already, Harley, thank you, but when a girl leaves a whole slew of unreturned voice mail messages for someone she thought was her boyfriend, and then—

Harley: Boyfriend? Uh-oh. That means one thing. You slept with him, didn't you?

Joey: What did you just say?

Harley: I asked if you slept with the boy. You know, had sex? Gone all the way?

Joey: I thought that's what you said.

Harley: Yeah, so, what's the problem?

Joey: Nothing. I guess I... I had forgotten what a sophisticated woman of the world you are. Harley, you're probably not even a virgin, probably lost it years ago to a trucker named bubba, right?

Harley: I don't get it.

Joey: You're not supposed to.

[Someone leaves, and Joey catches the door before is closes, and they enter the apartment building]

Joey: Look, go. I'm not in the mood for this.

Harley: So what? Just because I'm 15, I'm not even allowed to talk about sex?

[Joey knocks on the door, and it slowly opens as if it wasn;t closed all the way]

Joey: No, you can talk about it, and then when you're 19, you can have the unadulterated joy of looking back and realizing what an idiot you sounded like.

Harley: Oh, right, because you're so smart now. You must know exactly what you're doing. That's why you came all this way to stalk someone who hasn't called you back since you decided to sleep with him.

[The go inside and the apartment is entirely empty, and joy just looks around at the empty apartment, shocked.]

Harley: What? What's the big deal? We're in the wrong apartment, right? Joey? I mean, this obviously isn't it, right? You got the numbers switched or something. Joey? What are you doing?

[Harley realizes that they are in the right apartment, and can see the tears beginning to well up in Joey's eyes.]

[Commercial Break]

[Scene: The Stock Brokerage. Pacey is working and talking on the phone, but he is not dressed up in his normal suit, but rather he is dressed up in a t-shirt and a horrible Hawaiian T-Shirt. Rich comes walking over to him carrying a large pile of papers. It is now Friday]

Rich: I must say, your idea of casual Friday leaves a little to be desired, Witter.

Pacey: Do you think we could discuss your fashion dos and don'ts some other time? Like, say, after lunch?

Rich: Lunch. Think again, my friend.

[Rich drops a large pile of paperwork on his desk.]

Pacey: What's all that?

Rich: Extra work... or, I'm sorry, did you think your little mini-vacation would have no consequences?

Pacey: I told you I was sick.

Rich: Yeah, well, I don't get sick myself, and you know what kills me about people who do?

Pacey: What's what?

Rich: How they never seem to realize that them being sick doesn't decrease the quantity of work around here. It just means someone else has to do it. Doesn't seem very fair to your colleagues, does it, now?

Pacey: I can tell you're all broken up about that, rich, but perhaps what you're really upset about is that they just don't open up as many new accounts as I do.

Rich: Getting a little unnecessarily cocky here, aren't we?

Pacey: Cocky, yes, unnecessary, no, because all of us here know that the amount of money you make is directly proportional to the amount of money we make.

Rich: Yeah, well, that may be true, but my attitude isn't the problem. Yours is, and I expect to see a change in it soon, very soon. Remember, maybe this will help.

[Rich stops a woman walking by, and grabs some envelopes from her and pulls one put and hands the rest back to her.]

Rich: Thanks. I love January, 'cause that's when this comes.

[He throws the envelope down on the desk in front of Pacey.]

Pacey: What, my paycheck? Thanks.

Rich: Not your paycheck, Witter, your w-2. I'm not exactly sure what's in there, but I'm guessing it's more than they pay fry cooks.

Pacey: Like you would have any idea.

Rich: Hey, anytime you want to quit and go back to the easy life, be my guest, but as long as you work here, the only lunches you're going to be going to are the ones you cater... in your mind. [Chuckles]

[He looks at the pile of paperwork and then to the clock and sighs. The scene cuts to the Aquarium and Emma is sitting there waiting for Pacey. She looks up at the crowd trying to keep an eye out for him. He eyes perk up when she sees a Hawaiian shirt in the crowd, but gets disappointed when she sees it is not Pacey. We cut to a little later and it is now 1:30 and Pacey hasn't shown up let. Emma is still looking all around for him, and finally gives up after a little longer, and leaves.]

[Scene: The Help Line. Jen and CJ and several others are sitting around doing absolutely nothing. There are no phone calls coming in, and you can see that Jen is confused by the lack of activity. Jen looks over at CJ who is reading a book.]

Jen: So this is what it's like when you're actually working, huh?

CJ: This is it.

Jen: I thought the phones would ring a little more.

CJ: Well, it doesn't really work like that. I mean, think about it. Think about how stubborn people are, how hard it is for them to ask for help or actually admit they're wrong about something.

Jen: Yeah, you're probably right. Listen, C.J.—

CJ: It's almost 4:00. Caffeine fix?

Jen: You're asking me if I want coffee?

CJ: Yeah. I'm just gonna go out to the cart.

Jen: Oh, no, no. No, you're not leaving me here alone.

CJ: Yeah, I am.

Jen: No, you're not, because if you leave, then the phone'll most certainly ring, and it'll be someone on the other end who wants to talk to somebody and—

CJ: Yeah. That's what you're here for.

Jen: Yeah, except you know what you're doing, and I don't, which is why you shouldn't go.

CJ: You know, a few days ago, you couldn't stand being in the same room with me, and now you don't want me to leave.

Jen: That was a week ago. Can't a person change in a week?

CJ: I don't know. Can she? Sure you don't want anything? No? Ok, I'll be right back.

[CJ leaves and Jen watches him go out to the coffee cart, and looks down at the book he was reading]

Jen: Kierkegaard.

[Telephone rings]

[Ring]

Jen: [Sighs]

[Ring]

Jen: Hello, help line. Well, um, if we' being completely honest, which I hope we are, I-I-I'm not entirely sure if I can help you, but, h-- but I-I'd like to try, so...

[Scene: The Health Clinic. David is waiting for Jack to come back from the nurse. He comes out, and is visibly happier.]

David: So, you gonna tell me, or what?

Jack: Nothing to tell.

David: Ha ha ha! Cool!

Jack: Let me, uh-- let me ask you something.

David: Yeah?

Jack: You know all that stuff that we talked about yesterday, did that fundamentally alter your opinion of me in any way?

David: Yeah, right. Like I couldn't tell from a mile away that you were gonna end up being way sluttier than me. What come on, jack. Give me a little credit. I mean, look at you. You're ridiculously good-looking. I mean, you're no viggo—

Jack: Yeah, ok, that--that-- that's great. Let's go.

David: What, we're leaving?

Jack: Well, yeah. You don't honestly think I'm gonna stand here and have this conversation with you?

David: I'm sorry, but I sorta think—

Jack: Hey, hey, hey, David...

David: yeah?

[Jack kisses him]

Jack: Shut up.

David: Yeah, I think I could do that.

[Scene: Professor Hetson's Class. Professor Hetson is lecturing again, but you can tell that Joey is not listing very intently to his lecture. Hetson goes over and sits on the table in front of Joey and continues to lecture.]

Hetson: One of Bartholomew's central tenets, of course, was his belief that only by jtaposing disjointed, quite often at times, absurd fragments of time could one truly replicate the emotional tenor of real life. Can someone give me an example?

[He looks down at Joey.]

Hetson: Joey? Ok, pick a story, any story. Wait, I'll pick one for you. Uh, the school. How about that? Ring any bells?

Joey: Uh, yes.

Hetson: What's it about?

Joey: It's about a teacher who's trying to explain something to his students.

Hetson: What's he trying to explain?

Joey: Death and loss.

Hetson: Why is he trying to explain it?

Joey: Because it keeps happening to them over and over again, like this endless cycle. First, the orange trees, then the herb garden, then the tropical fish. You know, it's absurd, really, because... one minute, they're there. The next minute... they're gone, and the thing that's true, the part of it that's true, the part of it that's real, is that no one ever does explain it to him because... no one can.

Hetson: That's great, Joey. Of course, you forgot all about the snakes and the puppies, but, oh, look, we're out of time for today. Monday, everyone, Saul bellow.

[The Class leaves and as Joey is about to finish packing her bag and leave, Hetson walks over to talk to her.]

Hetson: Got a second, Potter?

[He goes to hand her some money.]

Joey: What's this?

Hetson: This is 50 bucks. Ok, look, I know you're poor, but don't tell me you're so poor you've never seen 50 bucks before.

Joey: I don't get it.

Hetson: For taking care of Harley while I was teaching yesterday. She said that you helped her out with something, said she was having some kind of a crisis.

Joey: She was having a crisis?

Hetson: Yes, look, just take the money, will you? It'd be a whole lot easier for me than trying to be nice to you for the rest of the frickin' semester.

Joey: Wait a second. Why would you be nice to me? Why?

Hetson: Because as you pointed out the other day, this really isn't about me. Her mother's gone, and her father...

Joey: Is a gigantic scuzzbucket?

Hetson: Yes, he is, actually... most days, anyway, according to her. You, on the other hand, she seems to like.

Joey: Yeah, well, I'm very likable, but likable and poor.

Hetson: $50, 3 times a week.

Joey: 65, and I'll help the little angel with her homework, not that she'd want help from a "D" student.

Hetson: Deal.

Joey: Here.

Hetson: What's that?

Joey: 50 bucks. No charge for yesterday.

Hetson: Uh, look, don't do me any favors, Potter.

Joey: I'm not. You wouldn't understand, ok?

Hetson: Was it a girl thing or something?

Joey: No, it's a human-being thing.

[Scene: An LA Beach. Dawson comes walking down the beach and finds Todd standing there with a surf board and Todd is not surprised to see him.]

Todd: So you found me then, did ya?

Dawson: Called the surf report. There were only so many beaches you could possibly be at.

Todd: I can see I'm gonna have to get one of those little men in black dealies, deprogram you now that our long association is over. It's too dangerous, isn't it? Having that much information floatin' around out there, everybody just waiting to be used against ya?

Dawson: I came by to apologize.

Todd: For what? For stealin' me job? Look, after you told 'em no yesterday, like the bloody idiot that you are, they called me. They even apologized, as much as they're capable of.

Dawson: So what's next? We do reshoots here? We go back to Boston? What?

Todd: I'm sorry, mate. You misunderstood me. We're not doing anything. You are.

Dawson: Wait a minute. I've been through this before. I'm not gonna—

Todd: Not gonna what? Not gonna benefit from being at the right place at the right time? That's all it is, you know. Doesn't mean you're actually going places or that you're more talented than I am, you know. I mean—

Dawson: God, no. You're like... Barely functional, but you're... like my mentor.

Todd: What, not Steven bloody Spielberg?

Dawson: Well, he... hasn't been returning my phone calls.

Todd: Just don't make it any worse, ok? And listen, the absolute first thing you have to remember to do when you're on set is take a picture of Natasha's face at the exact moment that she's introduced to her new director... 'cause that's something I bloody well have to see. Come in.

[They walk along the beach together and camera fades to black]