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