FADE IN:
EXT. DECK OUTSIDE OF DAWSON’S HOUSE - DAY

PACEY and DAWSON are in the Leery’s yard. Dawson has a paintbrush in his hand and is staining the deck in front of his house.

DAWSON: Gale fornicated with Bob the Anchorman and now I’m getting screwed. That’s pretty ironic, don’t you think?

PACEY: Look on the bright side – maybe you and your dad can go pick up women together. It can be a real father-and-son experience…

DAWSON: That only years of therapy could repair. Everything used to be great – with Joey, with my parents. Now all the sudden I’m without Joey and now that Mitch is gone, I’ve turned into Gale’s personal handyman.

PACEY: This was bound to happen, Dawson. Perfect lives only exist in the movies - and bad ones at that. You know why? Perfection is boring. Life can only be a “Leave it to Beaver” retrospective for so long.

DAWSON: Yeah, but now my life is more like a Twilight Zone episode. I keep waiting for Rod Sterling to jump out from behind a bush and tell us what we’ve learned from all this.

Dawson dips his paintbrush in the can of stain and continues staining his deck.

DAWSON: So how are things going with Andie?

PACEY: For a relationship built on spite, it’s going surprisingly well. You know, I think she might be the only person in Capeside with a stranger family life than mine. And speaking of families, we’re going out tonight to escape ours for a little while. You can tag along if you’re interested. I know it’s not your idea of a perfect evening, but it is a chance to flee your newfound servitude for a few hours.

DAWSON: Thanks for the invitation, but I think I’ll just stay here and wallow in self-pity for a while.

PACEY: Suit yourself, bro, but take it from someone whose life is more dysfunctional than yours - things really aren’t that bad.

GALE opens the screen door and calls over to Dawson.

GALE: Dawson, can you come take the garbage out?

Dawson turns and stares at Pacey, who smiles sheepishly.

PACEY: Well, on second thought…

FADE OUT TO CREDITS
INT. ICE HOUSE - DAY

The restaurant is mostly empty. JOEY is sitting behind the counter when JACK walks in.

JACK: I thought you had the day off?

JOEY: Yeah, well I did, but Bessie had to go to Providence and my day off went with her.

Joey tosses Jack an apron from behind the counter. Jack puts it on.

JACK: You know, I heard on the radio today that there’s a Monet exhibit at the Museum of Fine Arts in Boston. I was thinking about hopping on a bus this weekend and checking it out. You interested in maybe going up there with me?

JOEY: Well, Bessie does owe me a day off…

She pauses for a couple of seconds.

JOEY: Let me think about it, okay?

JACK: Sure.

He smiles. Joey smiles back and then her face fades into a look of dread as she looks over his shoulder.

JOEY: Oh no…

JACK: What?

Jack turns around to see a coach bus pull up with “Eastern Tours” painted on the side. Senior citizens start piling out of the bus and walking toward the restaurant. Jack and Joey look at each other.

CUT TO:

A packed restaurant full of senior citizens. Joey is running between tables trying to take care of everyone. Jack is in the kitchen fumbling around and doing his best to fill the orders.

Pacey walks into the restaurant and heads over to Joey.

JOEY: (to a man sitting at a table) Yes, sir, I’ll bring your drinks right away.

She turns around and literally runs into Pacey.

JOEY: Excuse me – Pacey! Oh, thank God!

PACEY: My father gave me a message -- said you wanted to talk to me?

JOEY: Frankly, I don’t have the time right now to do much talking.

She walks back behind the counter and starts filling glasses full of soda.

PACEY: So what happened here? Did the Rialto just finish a marathon showing of ‘Cocoon’ or something?

JOEY: Listen, Jack’s in the kitchen cooking and I’m out here up to my neck in customers. If you have so much as an ounce of kindness in you, you’ll walk behind this counter, grab an apron, and help me.

PACEY: An apron? Do I really look like an apron kind of guy?

JOEY: Pacey, I’ve seen you in a beauty pageant wearing a kilt and reciting lines from Braveheart. Surely an apron won’t tarnish your image any more than that did.

PACEY: Good point. Behind the counter you say?

Joey gets a look of relief on her face.

JOEY: Thank you!

CUT TO:

A few minutes later…

Joey sees Pacey sitting down at a table chatting with some of the customers.

PACEY: Ma’am, we have some of the best swordfish on this side of the Atlantic. As a matter of fact, Jacques, our sous chef, will prepare it any way you like it. It’s one of his specialties.

Joey walks up, smiles at the group, and pulls Pacey away.

JOEY: Pacey, what are you doing? I need you to take orders, not socialize.

PACEY: You know, I really hope we serve swordfish because I think I just sold several orders of it to those nice folks from Vermont.

He pokes his head past Joey and waves at the people sitting at the table he just left.

JOEY: Pacey!

She backhands him lightly in the chest. A loud sound of pots crashing to the floor erupts from the back. Pacey points toward the kitchen.

PACEY: Maybe I’d better go help Jack.

Joey rolls her eyes and exhales loudly, as she walks over to another table to help one of the customers. Pacey walks to the back of the restaurant and into the kitchen.

CUT TO:
INT. ICE HOUSE KITCHEN - DAY

Jack is scrambling to get things under control. Several pots are strewn across the floor. Smoke is pouring up from a grease fire on the skillet. Jack begins beating the fire with a spatula trying to put it out. The timer on the microwave reaches zero and begins beeping. Jack reaches for a glass of water to pour on the fire.

PACEY: Wait! You don’t pour water on a grease fire. Didn’t you ever watch those fire safety videos in the fifth grade?

Jack steps back as Pacey grabs the lid from a pot, places it over the fire and stifles the flames.

PACEY: Okay, we need a system…

He looks around at the mess in the kitchen.

PACEY: …and quickly. You grab the orders from Joey, I’ll cook the food, you prepare the plates and get them to the customers.

Pacey finds a chef’s hat lying on the counter and puts it on.

PACEY: Chef Witter is in the house.

Jack grins. Pacey picks up an order form that Joey had dropped off earlier and turns his attention back to the grill.

INT. MITCH LEERY’S APARTMENT - DAY

Dawson is sitting on a couch in the living room. His feet are propped up on the coffee table and he’s drinking a Coke. His father, MITCH, is sitting on milk crate that has been flipped over and is currently serving as an additional piece of furniture.

DAWSON: The script is coming along, but I’m running into some major logistical problems. For one thing, now that Joey has abandoned all connection with my film, I have no star. And as for Jen…Let’s put it this way – if the script doesn’t involve beer kegs and a menage-a-trois, I don’t think she’d be interested. I mean, it’s a love story – How am I supposed to film it without a lead actress?

MITCH: Well, the film society gave you a budget for your next film. Why don’t you think about hiring an actress?

Dawson starts laughing.

DAWSON: Me? Hire an actress? Yeah, right…

MITCH: Why not? Dawson, you’ve got funding, you’ve got a script, and you’ve been recognized as a talented filmmaker.

DAWSON: Even if I wanted to perform a search, how am I going to find someone here in Capeside? It’s not exactly known as a mecca for acting talent.

MITCH: True, but it is known as a mecca for directors? Dawson, what if there’s a great actress out there who is wondering where she’s going to find a good director here in Capeside? You won’t know until you begin looking.

DAWSON: Is that what you’d call another fatherly pearl of wisdom?

MITCH: Call it what you want. Just think about it.

Dawson gets up and starts walking toward the door.

DAWSON: Okay. I make no promises, but I will give it some thought.

INT. ICE HOUSE – DAY

The restaurant is devoid of customers. Joey and Jack are slouched on stools in front of the counter. Pacey is lying face-up on the counter.

PACEY: Remind me to always call ahead before dropping by.

He looks over at Joey.

PACEY: You said you wanted to talk to me?

She briefly glances over in Jack’s direction.

JOEY: Uh – now’s really not the best time. Can we do it later?

Pacey nods and Joey looks around the restaurant.

JOEY: Look at this place – it’s in shambles.

She gets up and starts walking toward one of the tables.

JOEY: We’d better get this place cleaned up before Bessie sees it.

Pacey gets up off the counter and hops to his feet.

PACEY: We? No, no – I don’t think so. I was supposed to meet Andie two hours ago, before this festive AARP convention began.

He starts walking toward the exit and turns to Jack.

PACEY: You will put in a good word with your sister for me, right?

JACK: You got it, Chef.

JOEY: Thanks, Pace. I owe you one.

Pacey leaves.

JACK: Some day, huh?

Joey begins clearing dishes off one of the tables.

JOEY: Yeah. Uh - Jack, I’ve been doing some thinking… and I’m not going to be able to go to Boston with you for that exhibit.

JACK: You’re saying no to the world’s best impressionist painter? C’mon, Joey, you don’t know what you’re missing.

JOEY: I know I…I just don’t think it would be a good idea to go.

Jack, obviously disappointed, just nods.

CUT TO:
EXT. POTTER’S HOUSE - DAY

Joey walks up the dirt driveway, opens the door and enters.

INT. POTTER’S HOUSE - DAY

BESSIE and BODIE are in the living room sitting on the couch. Bessie is cradling the baby in her arms.

JOEY: Hey, Guys.

She continues walking past them and down the hall.

BESSIE (O.S.): Joey, could you come in here for a second?

Joey stops and walks back into the living room.

JOEY: Look, Bessie, I cleaned everything up and locked the doors before I left. It’s all taken care of, so don’t worry about it.

BESSIE: This isn’t about the Ice House.

Bessie looks at Bodie and then stares at the baby in her arms. Joey walks closer and leans against the arm of a chair.

BESSIE: There’s no good way to say this. I thought about it all afternoon and I couldn’t figure out how to tell you.

JOEY: Tell me what?

Bessie is quiet for a few moments. When she does speak, she does it without looking up.

BESSIE: Doctor Morgan found a lump in my breast. I have to go in for a biopsy on Tuesday.

Joey stares at Bessie with a look of shock on her face as the news sinks in. After several moments of silence, Joey bolts out of the room and runs out the front door.

BESSIE: Joey, come back!

The screen door slams shut and Joey is gone.

CUT TO:
INT. DAWSON’S BEDROOM - DAY

Dawson is sitting at the top of his bed leaning against the wall with the remote control in his hand. Jeopardy is on TV and Dawson is half-sulking, half-watching the program.

DAWSON: Alex, I’ll take ‘hopelessly romantic losers’ for 500.

He pauses.

DAWSON: “Who is Dawson Leery?”

TV VOICE (O.S.): Correct. Pick again.

Joey climbs in the window. Dawson glances at her and then looks back at the TV.

JOEY: I need to talk to you.

DAWSON: (Sarcastically) Are you sure you wouldn’t rather talk to Jack?

JOEY: Never mind, Dawson. Forget I asked.

Joey starts walking back toward the window. Dawson presses the OFF button on the remote control and turns toward her.

DAWSON: Joey, wait! You came to me asking for my help and I selfishly threw sarcastic remarks at you. I’m sorry. It’s just a little difficult for me to handle things right now.

She stops walking toward the window and looks toward the ground for a few seconds. She turns around and looks at Dawson.

JOEY: I know Dawson and Joey “the couple” have had our troubles lately and we’re in our perpetual state of confusion, but right now I could really use Dawson Leery, the friend. So what do you say? Can we put our troubled past aside for a minute and talk?

Dawson notices she’s been crying. He nods with a concerned look on his face.

JOEY: (Exasperated) It’s not fair, Dawson. It’s just not fair.

DAWSON: What’s wrong, Jo? Talk to me.

JOEY: Isn’t there some kind of limit as to what one person can be put through? Doesn’t nature or God or whatever look at a person and say, “she’s been put through enough.” Or is it just a game? Let’s see how much we can throw at her before she folds. Everyone place your bets.

DAWSON: Hang on - you’re losing me. What are you talking about?

JOEY: The doctor found a lump in Bessie’s breast.

Silence.

JOEY: Yeah. She went for a physical today and the doctor found a lump in her breast. He doesn’t know if it’s… benign or not. They have to run some tests.

DAWSON: Joey, Oh, God. I’m - I’m sure she’ll be okay…

Joey picks up the stuffed Jaws shark off of Dawson’s bed and stares at it.

JOEY: She couldn’t even look me in the eyes when she told me. I’ve never seen Bessie so scared before. You know, I’m not sure what scared her more – the lump itself or having to tell me about it. When she told me, I ran. I – I didn’t say anything. I just ran away. I had to get out of there. I was SO scared, Dawson.

Joey sits down on the bed, somewhat in a daze, exhausted by the day’s events. Dawson remains quiet. Joey gets a far off, pained look on her face.

JOEY: It was awful. I still remember staring at my mom – desperately wanting to help, but there was nothing I could do. Through the chemo, the pain. I’d never felt more helpless in my life. And when she died… It was incredibly hard on all of us and I just don’t think I could handle that again.

Dawson walks over and sits next to her on the bed.

DAWSON: You’ve got more guts than anybody I know. I’ve seen you fight and persevere through SO much. You can handle this, Joey – I know you can.

JOEY: I’m just so tired of fighting these battles…

DAWSON: I’m here for you, Jo.

Joey shakes her head.

JOEY: You’re not here for me, Dawson. Things are different now – we’ve changed. We’ve barely talked to each other in days, and when we have, it’s been all awkward pauses and forced conversation.

Dawson moves closer to her and puts his hands on her shoulders.

DAWSON: You’re wrong, Joey. I’ve always been here for you.

Dawson looks at his hands and realizes that he’s touching Joey. Not knowing if that’s allowed, he lets go and stands up. Deep breath.

DAWSON: Look, God knows things haven’t been very smooth between us lately and I may not be very happy with you all of the time, but that doesn’t change how I feel about you. My window is always open.

She flashes a brief smile at that.

DAWSON: Talk to Bessie. She’s scared, too, and she needs you.

Joey nods, but she doesn’t want to leave.

JOEY: How are things with your folks?

DAWSON: I wish I knew. Ever since Mitch moved out, things have been really weird around here. I mean, all of the sudden Gale has begun confusing me with Bob Vila. And Mitch, he’s been doling out more advice than Dear Abby. I miss the way things were.

JOEY: We’re not just talking about your parents here, are we?

DAWSON: No, I guess not.

JOEY: Dawson, you know how I feel about you. I just can’t…

She pauses, searching for the words to explain herself.

DAWSON: Joey, I’ve got to be honest with you. I don’t understand why you pushed me away and what it is that you perceived to have changed between us that mandates we can’t be more than friends right now. But I do know this: I want you in my life and I will fight like hell to keep you there. But, Jo, I’m getting SO tired of playing the Ross to your Rachel while you’re off searching for your raison d’etre.

He stops talking and falls back on his bed with his head in his hands.

DAWSON: I’m sorry - I’m just venting. I know that this is about the last thing you need right now.

They’re both quiet for a few seconds.

JOEY: (Calmly): No matter what you think, Dawson, I’m not trying to intentionally decimate your life or our relationship. I know this is beginning to sound trite, but just give me a little more time, okay?

He nods.

JOEY: I gotta go find Bessie.

Joey walks toward the window. As she begins climbing out, she turns her head back and looks at him for a few seconds.

JOEY: And Dawson…I will be back.

And with that, she climbs out the window and disappears.

CUT TO:
INT. JEN’S BEDROOM - DAY

A suitcase is on the bed and JEN is packing her clothes. She pauses and walks over to the window, looking out toward Dawson’s house. GRAMS walks in behind her.

GRAMS: This house will be empty without you around, Jennifer.

Jen turns around to look at her grandmother.

GRAMS: I wish you’d reconsider.

JEN: I can’t stay, Grams.

Grams smiles sadly.

GRAMS: I know, child.

JEN: Thanks for taking in this basket case when it seemed like no one else wanted her around. It means a lot to me, even though I don’t always have the best way of showing gratitude. It was nice to know that somebody cared.

GRAMS: Jennifer, you’re family and you’re always welcome here. Remember that.

Jen closes her suitcase.

JEN: I called a taxi. It should be here in a few minutes.

She glances out the window again toward Dawson’s house.

JEN: I need to go say one last goodbye.

CUT TO:
INT. LEERY HOUSE - DAY

There’s a knock at the door, which Dawson answers. It’s Jen.

DAWSON: Hi, Jen.

JEN: Can we take a walk, Dawson?

He gets a puzzled look on his face.

DAWSON: Sure.

Dawson leaves his house and…

EXT. LEERY HOUSE - DAY

…They both walk toward the creek.

JEN: I’m going back to New York tonight.

Dawson looks at her strangely.

DAWSON: To visit?

JEN: No, I’m not just going back there for the weekend. I’m going to try to fix things – fix everything that I’ve screwed up in my life. I was exiled to Capeside, but that wasn’t the answer. Nothing has changed but Geography. You know how they say alcoholics need to hit rock bottom before they can help themselves? Well, I feel like I’ve hit rock bottom. Now it’s time to pick up the pieces and try to reassemble my life.

DAWSON: Are you coming back to Capeside?

JEN: I don’t know. I need some space and some time to straighten my life out.

DAWSON: That sounds familiar. Tell me, is there something in the water in the girl’s locker room at school or something?

She smiles.

JEN: Nah, I think it’s a battle raging between hormones and intellect, and intellect is finally starting to win out.

Jen turns and stares out across the creek.

JEN: I also need to apologize – I’ve done some things over the last few months that I’m not very proud of – to you, to Joey, to myself.

DAWSON: No apology is necessary. I’m just glad to see that the real Jen Lindley is back.

A taxicab pulls up to Grams’ house in the background and honks it horn. Jen looks at the cab and then turns back to Dawson.

JEN: I gotta go.

She hugs Dawson and kisses him lightly on the lips.

JEN: ‘Bye, Dawson.

She walks away from the creek and toward the taxi, her back to Dawson. He stands on the dock and watches as she climbs into the taxi. The driver takes the suitcase from the porch, puts it into the trunk, gets in the car, and slowly drives away. Grams, who is standing on the porch of her house, looks at Dawson for several seconds and then walks back inside.

CUT TO:
EXT. POTTER HOUSE - DUSK

Bessie is sitting alone on the porch, holding a coffee cup with both hands. Joey walks up the steps and sits down quietly next to her sister.

BESSIE: You okay?

Joey nods.

BESSIE: I didn’t want to tell you, Joey. I didn’t want you to have to worry about me.

JOEY: I’m glad you told me. Your problems are my problems, too, remember?

Bessie nods.

JOEY: Bessie, I’m sorry that I ran away but it was just – just all too sudden for me.

BESSIE: It’s all right, Joey. I’d have run too if I could have. Where did you go?

JOEY: Dawson’s.

Bessie smiles, knowingly.

BESSIE: He helped you out a lot when mom was sick.

JOEY: Yeah. He did.

They’re quiet for a few seconds.

BESSIE: Joey, I know that I’ve asked for a lot from you – more than I deserved, even. You’ve helped with the baby, the house, the restaurant. And I promised myself that I wouldn’t bother you for anything else and that I’d let you live the life of a normal teenager. But I have to ask you for one more thing and I realize that it’s totally unfair to ask you this but I have no choice.

She pauses.

BESSIE: It’s Alexander. If something should happen to me…If I should… I need to know that he’ll be okay.

Joey nods her head.

JOEY: I promise.

Bessie leans back and sighs in relief.

JOEY: But Bessie, you don’t have to worry – it won’t get that far. If it is cancer, you’ll fight and you’ll win. We’ll win.

Bessie leans over and hugs Joey.

BESSIE: Yeah, we will.

CUT TO:
EXT. ROOF OUTSIDE OF DAWSON’S WINDOW - NIGHT

Dawson is sitting on the roof with his back against the house, staring out into the darkness. REM’s Everybody Hurts begins playing in the background.

CUT TO:
EXT. CAPESIDE BUS STATION - NIGHT

Jen is sitting inside the bus looking out, her head leaning against the window as the bus slowly pulls away.

CUT TO:
EXT. POTTER HOUSE - NIGHT

Joey is sitting on the front steps of her house. She’s looking at a family photo album with pictures of her and her mother. She flips through the pages of the photo album. Tears are in her eyes. Joey sees a picture of her, Bessie, and her mother that makes her smile. She takes the picture out of the photo album to look at it more closely. As she thinks back to the time the picture was taken, she begins to laugh softly. Camera slowly pans out.

When the day is long and the night, the night is yours alone.
When you’re sure you’ve had enough of this life, well hang on.
Don’t let yourself go, ‘cause everybody cries
And Everybody Hurts; Sometimes.

FADE OUT

INT. VIDEO STORE - DAY

DAWSON is putting away movies in the back while PACEY is sitting on a chair with his feet kicked up on the counter reading the classifieds.

DAWSON: Any luck?

Pacey puts down the newspaper.

PACEY: One thousand, six hundred, forty-four dollars and ninety-two cents. That’s how much I’ve saved while working in this veritable rat-hole – and can I find a decent car? No. I’m stuck choosing between a ‘78 Nova and a moped.

DAWSON: (laughing) That moped would be choice.

PACEY: It’s hard to look cool when you need to pedal to start your engine. And Dawson, I don’t know if you’ve noticed or not, but I don’t need anything else going against me in the coolness department.

DAWSON: Well, I personally think that you should go for something sensible.

Dawson walks over, looks at the classified ads in the newspaper and points at an ad.

DAWSON: Here. How about this one? I can totally see you driving around in a Yugo.

PACEY: A Yugo? Please! I’m 16 and I just got my license. Now, granted, I can’t get a Viper given my current state of employment, but I can do better than a Yugo. I need something that will stand out – make a statement. Pacey begins scanning the classified ads again.

DAWSON: Well, can’t you talk your dad into lending you some money? I’m sure he’d be ecstatic for you to get your own car and stop borrowing squad cars from Capeside’s finest.

PACEY: You’re joking, right? My father would never lend me the money. He might have to take time out of his drinking binges to write a check, and we can’t have THAT, can we? Hey - What about this one? "1968 Ford Mustang. Convertible. Needs work. Great project car. $1500."

Dawson looks at the ad Pacey is pointing to.

DAWSON: Pacey, it says, "Will tow to purchaser’s residence." Forgive me for interjecting the voice of reason into your delusion, but we don’t know a thing about fixing cars.

PACEY: Okay, okay. But I’ve got to find a set of wheels soon - I’m getting desperate. I need the liberty that an automobile would bring to my life. You’d benefit too, you know.

DAWSON: Great. I’d be the first teenager in Capeside with his own personal chauffeur.

PACEY: (with a British accent) Where to today, sir?

Dawson tosses Pacey a videotape.

DAWSON:How about to the back of the store to help me finish putting away these movies?

Pacey gets up and heads to the back.

PACEY: Ah, very good, sir.

FADE TO CREDITS
SIDEWALK IN DOWNTOWN CAPESIDE – DAY

Dawson is walking down the street with a bag in one hand and a piece of paper in the other. He hears a girl call him from behind.

GIRL: Dawson!!

Dawson turns around to see an attractive girl of his age running towards him. She looks familiar but he can’t quite place the face…

DAWSON: Hi.

GIRL: You don’t remember me.

DAWSON: Uh…

GIRL: Alice – Alice Grady. We were in film class together last semester…

It clicks.

DAWSON: Alice! Right – you sat…in the back corner near the door.

She nods.

ALICE: Now he remembers.

DAWSON: So, how have you been?

ALICE: Well, I heard you’re making a new movie.

He lifts up his bag.

DAWSON: Yeah, I’ve been shopping for props all morning.

JOEY walks around the corner behind Dawson and stops when she sees them. Dawson can’t see her from where he’s standing.

ALICE: I also heard you were casting for the female lead. I was just wondering if maybe you’d consider me.

Dawson looks pleasantly surprised.

DAWSON: Sure! As a matter of fact, we’re having auditions today at the school.

He reaches into his bag and pulls out a flyer.

DAWSON: Here’s all the information you need. We’ll be there at 4:00.

She gets a big smile on her face and shrieks. She leans forward and gives Dawson a hug.

ALICE: Thank you SO much! I’ll see you then.

Alice continues walking down the street with the flyer in her hand. Dawson watches her for a moment and then turns to keep walking. He sees Joey.

DAWSON: Hey, Jo.

JOEY: Who’s the blonde floozy?

DAWSON: Floozy? You’re in rare form this morning. She’s an aspiring actress who’s interested in starring in my new film.

JOEY: Oh, yeah? So has she got the part?

DAWSON: Not yet. She has to go through the audition this afternoon. She’s got a good chance, though. She acted in Helmets of Glory, and despite a script that was severely lacking, she was really pretty good.

Joey scowls.

JOEY: Well, with a resume like that, how could she miss?

DAWSON: So…where’s Bessie?

JOEY: She’s at the Ice House. She insisted on being there for the breakfast crowd.

She looks up at a clock hanging in front of the bank.

JOEY: And we’re kinda late. We better hurry.

ANOTHER SIDEWALK IN DOWNTOWN CAPESIDE – DAY

Pacey and Andie are walking together down the sidewalk. Andie is carrying several bags in one hand.

PACEY: Tell me again why I agreed to meet you for this? I hate shopping.

ANDIE: Because it’s my cousin’s wedding and you’re not wearing that Saturday Night Fever wannabe suit you wore to the dance. No offense, Pacey, but it was pretty tacky. John Travolta you are not.

PACEY: But retro’s in!

She raises her eyebrows and shakes her head.

ANDIE: It’s not THAT in. Trust me, Pacey, these clothes will look much better.

Andie looks into the window of the drug store they are passing. Something catches her eye and she stops in her tracks.

ANDIE: A photo booth!

PACEY: A what?

ANDIE: A photo booth. Look in the drug store - in the corner there. Do you see it?

PACEY: Yeah. So?

ANDIE: I love those machines. We just HAVE to go in there and get our pictures taken, Pacey.

Andie walks into the store, dragging Pacey behind her.

INT. DRUG STORE – DAY

Andie and Pacey walk up to the booth and Andie digs coins out of her pocket. As she feeds money into the machine, Pacey checks his hair in the mirror.

PACEY: How’s the coif?

Andie just shakes her head.

ANDIE: The coif’s fine, Pacey. C’mon – Hurry.

The both get into the booth and the camera flashes four times. After several minutes, a strip of pictures slides out of the machine. Andie looks at the pictures and then slowly tears the strip in half.

ANDIE: Here – you take two and I’ll take two.

She hands one half to Pacey and then examines the pictures a little more cloesly.

ANDIE: On second thought, let’s switch. I like these pictures better.

Pacey grins at her and just shakes his head. He takes the two pictures from Andie and puts them in his pocket.

CUT TO:
EXT. DRUG STORE – DAY

Andie hands the bags in her hand to Pacey.

ANDIE: Here, you take these. I’ve got to go run some errands. Are you coming by tonight?

PACEY: Yeah. 6:00 sound good?

ANDIE: Okay, see you then.

Andie watches as Pacey walks down the sidewalk and around the corner. Once he’s out of sight, she goes back into the drug store and heads toward the back.

INT. HOSPITAL HALLWAY - DAY

Joey and Dawson are sitting in chairs against the wall of the hallway.

JOEY: What if that’s me in there some day? First my mom, then my sister. Maybe it’s just a matter of time…

Dawson cuts her off.

DAWSON: Joey, don’t talk like that.

JOEY: It was really strange. When Bessie told me the news, my first impulse was to find you. I needed to talk things out with one of the only people who would really understand me. But I screwed up, Dawson, and I almost lost the chance to be with someone who means so much.

DAWSON: But I thought the whole purpose behind you breaking up with me was to declare your independence.

JOEY: I figured something out while we were on sabbatical. I realized that relying on someone is not a bad thing. Being with someone who you can depend on is one of the most amazing parts about being in any type of relationship.

She looks down at the ground and smiles.

JOEY: And besides, I kind of missed you.

DAWSON: Sabbatical? That implies a temporary break – one that will end.

Joey takes a deep breath and lets it out slowly.

JOEY: Dawson, I am very sorry about what happened with Jack. It was never my intent to kiss him that night. But once I did, I realized that I needed some time to think things through. So much was changing around me – us, my interests, my ambitions. I - I needed that break. I had to experience things outside of the world of Dawson Leery.

Dawson looks down for a moment and then looks back up at Joey.

DAWSON: Yeah, well, while we’re pouring out our souls, I might was well take a turn. I was talking to Mitch earlier this week about his tumultuous relationship with Gale. I kept telling him to forgive her, that she made a mistake. If her really cared about her as deeply and as fully as he says, he would forgive her for what she did.

It was at that moment that I had an epiphany. I realized Mitch wasn’t the only one who was being self-centered and unforgiving. Granted, the details are different, but the results are very much the same. He ends up pushing away the person he cares most about.

Dawson and Joey stare at each other for a few seconds.

DAWSON: So where do we go from here?

Joey begins to speak but the door opens up and Bessie walks out. Joey jumps up out of her seat and runs up to Bessie.

JOEY: How are you? What did she say?

BESSIE: Honestly, I’m a little sore right now. The doctor looked at the tumor under a microscope but she said the results were ‘inconclusive.’ They’re sending it to a lab today.

JOEY: Well, when will you find out?

BESSIE: Not until Thursday. She said it’d take a couple of days to run the tests. She’s going to call me - God, I can’t believe they’re making me wait that long!

Bessie starts walking towards the exit.

BESSIE: C’mon, let’s get going. We need to drop Dawson off and then…

She trails off and pauses for a moment.

BESSIE: If we hurry, I can make it back to the Ice House by lunch. I don’t even want to think about having Jack handle that alone.

JOEY: Wait! Slow down. The Ice House can wait. I’ll take care of it.

BESSIE: And what would I do? Sit at home and worry for the next 48 hours while you and Jack run the restaurant? No way. At this point, I can use all of the distractions I can get.

Bessie walks out the door. Dawson and Joey look at each other. Dawson shrugs and they begin running to catch up with her.

INT. BESSIE’S PICKUP TRUCK - DAY

The pickup truck slows to a stop as Bessie turns to Joey.

BESSIE: You ready?

Joey straightens out her shirt and brushes her hair back behind her ear.

JOEY: Yeah, I think so.

Bessie and Joey step out of the truck. Joey grabs the flowers lying on the seat.

CUT TO:
EXT. GRAVEYARD – DAY

Bessie and Joey walk through the graveyard and stop in front of a tombstone. Bessie kneels down and pulls away the weeds that have grown up around the grave.

BESSIE: Hi, Mom.

Bessie finishes pulling up the weeds and stands.

JOEY: It’s hard to believe it’s been five years already. I still miss her, y' know?

Joey lays the flowers gently on top of the grave.

BESSIE: She’d be proud of you, Joey.

JOEY: You think?

BESSIE: Yeah, I do.

Joey looks down at the grave and smiles. They’re quiet for a few moments. Bessie looks over at an empty plot next to her mother.

BESSIE: Lately I’ve been wondering if that will be me over there.

JOEY: (harshly) Bessie!

BESSIE: I can’t help it. I’m scared, Joey. Really scared.

Joey slowly nods.

JOEY: So am I.

Bessie rubs her fingers over her mother’s name on the tombstone.

BESSIE: You know how people say life is short? Well, for the first time, I really understand what that means.

Bessie takes a deep breath.

BESSIE: I just wish I could take back all of the worthless arguments, all of the wasted time in my life. Don’t ever take things for granted, Joey, ‘cause you never know how much time you’ve got left. You always think you’re invincible until one day…

And then it’s too late.

Bessie continues talking, but Joey doesn’t hear her. She gets a far off look on her face and becomes lost in thoughts of her own.

INT. CAPESIDE COFFEE SHOP – DAY

JOEY is sitting at a small table in the corner drinking from a cup when Pacey walks in. He spots her, walks over to the table, and slides into the seat across from her.

PACEY: So are you progressing into the coffee connoisseur phase of your life? I didn’t think that was supposed to happen until you go off to college and start debating Nietzsche over cappuccinos.

JOEY: Hardly. This is hot chocolate and I needed a change of scenery. Besides, the coffee scene is WAY overrated, anyway...I mean, first Seinfeld had a coffee shop, then Friends got one. I don’t think I could handle another TV show that pays homage to colored water.

PACEY: (Shouting towards the counter) Can I get a coffee over here?

He turns back to Joey.

PACEY: So…did you ask me to meet you here for a discourse on hot beverages or is there something else on your mind?

JOEY: As interesting as that theme is bound to be, I must admit that I have ulterior motives.

She pauses.

JOEY:It’s Dawson.

PACEY: Ah, the epic drama between the profoundly clueless knight and his feisty maiden.

JOEY: Before you proceed with your allegorical diatribe, how about I just cut to the chase? I’m beginning to think that maybe I – um - screwed up.

PACEY: And you want him back?

JOEY: Yeah.

Pacey smiles.

PACEY: Okay, so the big question is, do you want to go back to "Dawson, the childhood friend" or "Dawson, the virile stud muffin?" Are we talking platonic or erotic here?

JOEY: I’ll take what’s behind curtain number two.

They’re quiet for a few moments.

PACEY: You know, I never did really find out what happened between you guys.

JOEY: It’s kind of hard to explain.

She stares down at her drink.

JOEY: Let me put it this way - have you ever focused on something or someone so much that you forget everything else around you?

Pacey shakes his head.

JOEY: Well, that’s what was happening to me. One day, I woke up and realized that I was living Dawson’s life instead of my own. That really scared me. So I decided that I needed to take control of my life – figure out where I wanted to go, what I wanted to do. I mean, if I ever lost Dawson, I’d have…nothing.

PACEY: And you had to do all this without him?

She nods.

JOEY: Yeah. It’s as though as long as he was in the picture, I’d still be living his life. Following his dreams.

PACEY: So what’s changed?

JOEY: Bessie.

Pacey gives her a puzzled looked.

JOEY: She may have breast cancer.

He closes his eyes and rubs his temples with his fingers. He opens his eyes and looks back at her with concern.

PACEY: I’m sorry, Joey. I didn’t know.

Joey shrugs.

JOEY: Well, we don’t know for sure. We’re waiting for the tests to come back.

PACEY: So what’s this got to do with you and Dawson?

JOEY: Let’s just say that Bessie helped me to appreciate what I have a little more.

She glances down at her cup and then looks back up at Pacey.

JOEY: So, will you help me?

Pacey smiles.

PACEY: You know, Joey, this is getting to become habit…

INT. CLASSROOM AT SCHOOL – DAY

Dawson and Alice are rehearsing a scene from the scripts in their hands. Pacey is sitting on top of a table in the corner.

ALICE: (Reading from script) Because you're taking the angst-ridden artist approach. You think all this melancholy will somehow channel itself into creative genius. But I'll tell you, Wade, if you're gonna go that route you could at least take a slightly less cliched approach.

She mispronounced "cliched." Dawson and Pacey exchange a glance. Dawson looks back at Alice.

DAWSON: Okay…well…we’ll – uh - let you know.

She smiles and leaves the room. Dawson throws his script on the desk in frustration.

DAWSON: I’m beginning to think that this is all one big waste of our time. We’ve talked to half a dozen girls, and none of them have fit the part. What is "cliched" anyway? [Mimicking the girl]

Pacey shrugs.

PACEY: Maybe you’re setting your standards too high. I mean, if you’re waiting for Sandra Bullock to walk through that door, you’re going to be vastly disappointed.

DAWSON: I’m to the point where literacy and a pulse are my only two requirements. Who’s next? Pacey looks at the clipboard lying on the table.

PACEY: Okay, one last candidate to go and you’d better like this one, Dawson, ‘cause you’re out of choices.

Pacey sticks his head out the door and speaks to the next girl in line.

PACEY: Miss, it’s your turn.

In walks the girl. It’s Joey. Dawson looks very surprised. He smiles.

PACEY: (to Dawson) I – uh – better go find Andie. (to Joey) Make sure you don’t mispronounce ‘cliched.’ He’s a real stickler for that one.

Pacey leaves.

DAWSON: So…why has Ms. Potter decided to grace me with her presence?

JOEY: Well, when I heard that an extremely talented, award-winning director was in town looking for an actress for his next feature film, naturally, I rushed right over.

DAWSON: What makes you think you have what it takes to get the part?

JOEY: Let’s just say that I bring a unique insight into the complex character interactions.

She grabs a script off of the table and flips through the pages.

JOEY: (Reading from the script) Y’know, for the longest time I thought that was what I wanted -- for the boy across the creek, my best friend, to see me as beautiful. It’s practcially been the purpose of my life. Now it’s finally happened and you know what -- it feels wrong. The truth is, I want you to see me like you always have, realizing that what we share transcends mere physical longings…

Joey trails off and pauses, looking at Dawson. Then she flips to the back of the script.

JOEY: I see you’ve finally finished it. What happens at the end?

DAWSON: It’s your classic tragedy. I decided to go with the despondent ending because it tends to mirror the real world better.

Joey looks down for a moment and then looks back up at Dawson.

JOEY: Well, if you ask me, the tragic drama genre is way overrated.

DAWSON: Maybe my outlook on life has evolved. Maybe recent circumstances have left me with a more jaded approach toward writing.

JOEY: You’re too young to hit that point in your Hollywood career, Dawson. A few jilted romances, some bouts in rehab, then you’ll be ready for some real cynicism. Besides, if anyone should feel jaded about life, it’s me. But I’m… optimistic.

Dawson is surprised.

DAWSON: Are you suggesting a rewrite?

Joey shrugs and they move a little closer together.

JOEY: Maybe not an entire rewrite. I mean - the premise is good, it’s just the conclusion that could use a bit of work.

DAWSON: What would you suggest?

JOEY: Something a little less William Shakespeare and a little more Dawson Leery.

DAWSON: I might be able to rework the ending without compromising my artistic integrity. Care to assist with the final scene?

She tosses the script on the desk and looks around, avoiding looking directly at Dawson.

JOEY: Oh, I don’t know. Guy gets girl, guy loses girl…

She looks up at him.

JOEY: Guy gets girl back.

DAWSON: Seems a bit trite. Do you think the audience would buy it?

JOEY: Buy it? I think they’d demand it.

They look at each other for a few moments. Confusion. Apprehension. Will it work this time? Joey makes her decision. She slowly moves in and kisses Dawson. He keeps his arms around her as she leans back slightly to look at him. He smiles and Joey raises her eyebrows quizzically.

JOEY: So?

He gets a confused look on his face.

DAWSON: What?

JOEY: The part - does this mean I get a callback?

Dawson starts laughing.

DAWSON: Things are definitely looking good.

INT. ANDIE’S BEDROOM - NIGHT

Pacey is sitting on Andie’s bed. Andie is pacing back and forth, obviously agitated about something.

PACEY: What’s wrong, Andie? I want to help.

ANDIE: You can’t help me.

PACEY: Yes, I can.

ANDIE: (Yelling) NO, YOU CAN’T! I don’t WANT your help, Pacey. You’ve done enough already.

Pacey is really confused.

PACEY: What’s going on? Why are you doing this?

ANDIE: Just get out.

PACEY: But Andie…

ANDIE: I said GET OUT!

She picks up a book off of her desk and throws it. Pacey narrowly avoids getting hit. He looks at her in shock for a few moments, starts to say something, then stops. He slowly shakes his head, turns around, and walks out. A few seconds later, she hears the front door close.

CUT TO:
INT. ANDIE’S BATHROOM – NIGHT

Andie walks into the bathroom and reaches into the medicine cabinet with her hand shaking slightly. The remains of a home pregnancy kit are lying on the counter. Andie grabs a prescription bottle from the shelf and fills a glass with water. She closes the mirrored door of the cabinet and looks at her reflection for a few moments. Not liking what she sees, she turns off the light and walks away

CUT TO:
EXT. ANDIE’S HOUSE – NIGHT

Music begins playing in the background. Counting Crows – Have you seen me lately? (Acoustic version) Pacey begins walking away from the house. It’s cold, so he puts his hands in his pockets to keep warm. He notices something in his left pocket. He pulls out the strip of pictures he and Andie took earlier in the day. He looks at it for a few seconds, crumples it up, and tosses it on the ground. He glances back at the house and then continues down the driveway.

[Music]

Get away from me
I said get away from me,
this isn't gonna be easy
But I don't need you, believe me
Yeah, you got a piece of me
But it's just a little piece of me
I don't need anyone
And these days, I feel like I'm fading away…

FADE OUT