”All Good Things…”

This scene takes place right after the Pacey/Maddy scene in act one, where they’re making out in his office…

INT. PUBLISHING OFFICES – DAY
Joey trots through a bullpen of cubicles, struggling with a heap of manuscripts. She’s talking to her BOS - - and probable mentor.
BOSS: Did you read the Phillips manuscript?
JOEY: Raw with potential. I left my notes on your desk.
BOSS: I want you to shepherd it. On your own this time.
JOEY: (surprised, pleased) Really? Me? By myself? All alone?
BOSS: I think you’re ready. Or at least we’ll find out. Right?
Her boss takes off as Joey plops down at her cubicle. She sifts through her messages. A fellow co-worker, MELANIE sits at an adjoining cubicle.
MELANIE: I heard that. You bitch. How did you snag your own project?
Joey smiles as she eyes one message in particular. She picks up the phone and starts dialing.
JOEY: (she gets a machine) Hi, it’s Joey. Sorry, to miss you. I’m glad you liked the curtains. I didn’t know what to get and I’m so sorry I won’t be there for the big day. I’m sick about it, actually. I wish you love and happiness and all that stuff and I’ll see you in October. I miss you. I miss Capeside. I miss everything. Bye…
Joey hangs up. Saddened by the message. Melanie takes note.
MELANIE: So you’re canceling. I thought you were going away for the weekend.
JOEY: I am. With Christopher. There was also a wedding this weekend I wanted to make but it’s my one year anniversary.
MELANIE: That’s right. Where’s the brooding beau taking you?
JOEY: He’s got this whole weekend of passion planned. There’s a cabin by a lake upstate where he writes. He promises a weekend to remember. Anyway, I’m missing my friend’s wedding. It sucks.
MELANIE: Your friend will understand. Besides, how do you ever expect to have one of your own if you don’t take the necessary step?
Joey grins, looking back at the phone. Still disturbed by it all.

This directly follows the previous scene…
CUTE GUY: So are you in Boston on some big art business?
JEN: No. I’m going to Capeside? An old friend’s getting married…
CUTE GUY: Capeside. Nice…Well, maybe when you get back to New York I could stop by the gallery…Or I could be really forward and ask you for your phone number right now…
Jen smiles, charmed, but before she can answer, GRAMS appears, holding an ADORABLE BABY.
GRAMS: Sorry to interrupt, but Amy needs her Mommy…
Grams hands little Amy to Jen. Cute Guy, now freaked out.
CUTE GUY: Um -- oh look! There’s my bag! So -- okay. Nice meeting you!
He makes a bee-line for the other end of baggage claim. Jen turns to Grams. Shakes her head.
JEN: Thanks a lot.
GRAMS: What?
JEN: God. They always run.
GRAMS: Not the good ones, dear.
JEN: No. The good ones just…don’t exist in the first place.
Jen looks at Amy, baby-talks
JEN: That’s why you’re gonna be a lesbian, aren’t you Amy? Say it with me -- les-bi-an!
GRAMS: Jennifer…
Grams shakes her head. Jen turns to her.
JEN: What?

Once again, this directly follows the previous scene…
INT. JOEY’S APARTMENT - NIGHT
Joey is pulling a suitcase down from a top shelf of the closet. It hit’s her on the head and she goes sprawling to the floor. Christopher, in only a towel, is there to help her.
CHRISTOPHHER: You okay?
JOEY: Yeah. Thanks.
He helps her up. Starts for the shower.
CHRISTOPHHER: I’m gonna take a quick shower.
JOEY: Hey, how cold is it going to be in this cabin ON WALDEN POND?
CHRISTOPHHER: Don’t worry. I’ll be your fire.
He moves into an adjoining bathroom. The SHOWER is heard. Joey begins packing for the weekend. She opens and closes drawers, placing items in the suitcase.
JOEY: (calling to the bathroom) Are there going to be bugs? If so --are they big bugs and how many?
He can’t hear her. Joey opens a bottom drawer. She pulls out some clothing when she spots something. She reaches into the drawer and withdraws a brand new ring box. She eyes it.
Then, she eyes the bathroom door. The shower is still running. She looks back to the ring box. Contemplates. Quickly, she opens it to find…
A sparkling diamond engagement ring. She nearly GASPS. Surprised. Shocked. She quickly closes it. It takes her breath way. She doesn’t know how to feel about it. She puts it back in the drawer and closes it. And, that’s when she realizes her hands are shaking… uncontrollably.

Once again this directly follows the previous scene and in the scipt it was the beginning of the second act.
INT. ICE HOUSE - MORNING
The BREAKFAST CROWD is winding down. The WAIT STAFF prepares for the lunch rush. At a table sits Doug, in uniform, eating breakfast. Pacey approaches with coffee pot.
PACEY: When exactly do I get to start charging you?
DOUG: With the capital I invested and the thirty year loan which I co-signed? I wouldn’t worry about it in this lifetime.
PACEY: More coffee?
Pacey heats up Doug’s cup, taking a seat across from him.
PACEY: How’s Jack?
DOUG: (a button, pushed) Look, just because I’m not ready to don a feather boa --
Pacey shakes his head. There’s a bond between these two men now. A close friendship has developed. A far cry from years past.
PACEY: He’s not asking you to. He understands, he’s been through it. He just wants to help you get more comfortable being yourself.
DOUG: (very mixed) Why is it either-or with him? I’m either gay or straight. Why can’t I be Doug and gay?
PACEY: That is completely nonsensical.
DOUG: What’s nonsensical is a woman named Maddy Allen.
PACEY: Okay, glad you could stop by.
DOUG: No, really Pacey -- you took her sailing on Sunday. You think that goes unnoticed? I heard about it at the station. You have a death wish. Her husband saws wood for a living.
PACEY: We’re just friends. Kinda, sorta.
DOUG: I don’t get it. You completely turn yourself around. You got the respect thing going, a business owner at twenty-five, it’s unheard of -- you’re doing good, brother. Why do you have to hang on to that last ounce of reckless bad boy?
PACEY: Why do I have to be either good or bad? Why can’t I be good and bad?
DOUG: And just like that -- you’re fifteen again.
Pacey stands. His face strained
PACEY: I’m not certain of too many things, brother, but the one thing I’m absolute about -- I am no longer fifteen.
Pacey drifts away. Sullen. Doug watches him. Full of genuine brotherly concern.

The very next scene would be Jack teaching at Capeside High.

This scene takes place after the Jen/Jack scene at Capeside High.
EXT. GAS STATION - AFTERNOON
Dawson exits the gas station mini-mart, pocketing his wallet. His cell phone is attached to his ear.
DAWSON: (into cell) I’ll have to deal with the end-of-season cliffhanger from here. There’s no time, I’ll write it myself.
Dawson, in a cell phone flurry, heads for the white rental car parked at the pump. He fails to notice a matching white rental directly opposite it.
Still on the phone, he sticks his key in the door’s lock. It won’t open.
DAWSON: (into cell) Why does he want to talk to me? What issue? That’s why I’m the writer and he’s the actor. Dammit, my car won’t open.
FEMALE VOICE: (O.C.) That’s because it’s my car.
Dawson hears this most familiar voice and his whole world stops. He looks up to find Joey pumping gas into the car. His face freezes. His entire body goes numb.
Joey replaces the gas nozzle. Moves to him. She points to the adjoining white rental.
JOEY: I think that one’s yours.
DAWSON: (complete surprise) Joey? What are you doing here?
There’s the FAINT VOICE of his assistant still on the cell phone. “You there?” “Hello?” “Dawson?”
JOEY: It’s good to see you.
DAWSON: When I talked to Mom, she said you couldn’t make it.
JOEY: Things changed. Can we hug or something? This is weird.
Dawson and Joey hug. Awkwardly at first, but then it turns into a real hug. Deep and full. So rich in the unsaid, it starts to get awkward again. They break.
JOEY: I’ve missed you, Dawson.
DAWSON: You have no idea how much I’ve missed you.
JOEY: Do you even get my emails?
DAWSON: Yeah. But, I’m so bad with responding, then I forget, then I remember and feel stupid for forgetting and… I’m sorry…
JOEY: You’re a busy guy.
DAWSON: No excuse.
From the cell phone -- “DAWSON! WHERE THE HELL ARE YOU?” He puts the phone back to his ear.
DAWSON: (into cell) I’m here. He’s on the line now? Can, I call back? Okay, put him though…(to Joey) I’ll just be a second.
Just then, a horn HONKS behind Joey. A car’s waiting to use the pump.
MAN: (from car) Anytime lady!
DAWSON: (into cell) Hello, John? Hi, yeah, I’m home. No, Capeside home. Yeah, I’m at the real creek…
Joey eyes the man raging in the car. Looks back to Dawson. Debates. Then, quickly…
JOEY: We’ll catch up later.
DAWSON: Joey… wait…
Joey quickly moves to her car before Dawson can stop her. She hops in and starts it up. She pulls out of the station. Dawson can’t stop staring at her car as it disappears down the road. His mind and heart racing a mile a minute.

Some bad news with this next scene. I just realized I’m missing like a page in the middle of it.! I’ll note where I’m missing dialogue. But I think you can get the jest of it.
The scene is the scene after the gas station scene and right before Dawson makes it to his Mom’s house.
INT. POTTER B&B - DAY
Joey, Jen, BESSIE, and Grams sit in the living room, in mid-conversation. Jen lying down as if exhausted and ready for a nap. Amy sleeps in a bassinet. Joey upset, a little freaked.
JOEY: …And then, I found the ring, and I just -- I couldn’t deal. So I left.
BESSIE: How big of a ring? JEN: So what did you tell him?
JOEY: (to Bessie) Why does that matter? (Bessie shrugs; to Jen) I told him I … had to go to this wedding. I realized it was important to me to see my family and friends and I just… needed to do it alone… Do you think that’s bad?
BESSIE: Well… it might not be good.
JOEY: I just -- got so confused…
GRAMS: I have to say, dear -- if the idea of marrying him makes you want o run screaming in the other direction -- that’s probably a good indication that he’s not the one for you…
JEN: I agree with Grams!
JOEY: But -- you don’t understand. He’s perfect. If he’s not the one for me -- then who is?
Here’s where the missing dialogue comes in. If I remember correctly, everyone kinda of gets real quite because they’re all thinking either Dawson or Pacey is the ‘one’ but they don’t actually say it. Then Jen gets tired and wants to take a nap. Joey and Jen start talking.
Now here is the rest of the scene..
JOEY: I know… And it’s strange, isn’t it? How we both live in New York, but we have to come to Capeside to see each other?
JEN: Yeah, It’s my fault. I’m sorry. I’m just -- so busy, with Amy, and Grams, and…
She trails off, there’s something she’s not saying.
JOEY: And what?
Jen sighs.
JEN: Nothing. You know me -- I always show up here with baggage of some kind.
JOEY: Anything you wanna talk about?
JEN: I wouldn’t even know where to start…
JOEY: The beginning works.
JEN: Joey, there’s just so much, and… I dunno… I thought you said I could nap.
Clearly, there’s a ‘story’ here. And, Jen doesn’t want to talk about it. Joey lets it go.
JOEY: Alright. But -- you know I’m here, right?
Jen smiles.
JEN: Thanks Joey.
JOEY: (smiles at her friend) No problem.

OK, a quick note on the order of scenes. They were altered a little in the final product. After the scene you just read , there is the scene where Dawson makes it to his house. Then in the script there is the Jack/Doug scene on the beach where they are talking about going away for the weekend. That scene happened later in the episode. In the script the scene where Joey arrives at the Ice House followed by everyone else happens just after the Jack/Doug scene.

I’m going to type up the whole Ice House scene since the dialogue was a little chopped up. Here it is…
INT. ICE HOUSE - EVENING
A busy DINNER CROWD. Pacey is racing around, looking tired and haggard, over-seeing his staff. He looks up when he sees Joey enter the restaurant. She doesn’t see him.
ON JOEY as she stops a SERVER.
JOEY: I’m looking for Pacey Witter?
Suddenly, Joey is swept off her feet and goes spinning as Pacey has her in his arms.
PACEY: Joey Potter! I don’t believe it. God almighty, you’re heavy.
JOEY: Watch it. Witter.
They hug and kiss. Both excited and happy.
PACEY: You made it. I heard you weren’t coming. Somebody lied.
Everybody in the restaurant has turned to watch this robust reunion. Pacey realizes it’s a bit much. He goes with it.
PACEY: (to entire restaurant) Everyone, this is Joey Potter, official town alumni, quality Capeside stock. Please, give her a hearty welcome home.
The crowd mumbles “Hello’s” “Welcome Home!” Etc. Joey looks around as Pacey leads her to the bar area.
JOEY: This is all yours?
PACEY: Mine, the bank’s, and several family members. Hungry?
JOEY: Starving.
Joey’s eyes drift to the wall behind the bar where a poster of “The Creek” hangs. She smiles.
PACEY: Our boy did good. Can you believe that little independent movie he made -- got turned into the hit teen soap of the WB?
JOEY: You’ve done good too, Pacey.
PACEY: And you.
A moment between them. It’s quiet and nice. Finally…
JOEY: How does it feel to see your life portrayed on television week after week?
PACEY: Dawson’s been kind. He could have really stuck it to me. But, that Sam girl. A mixed up wreck that one.
JOEY: Thanks.
PACEY: I’m sorry, I just have to hug you again. God, it’s good to see you.
Pacey unexpectedly gives her another hug. Joey hugs back. The moment full of emotional history.
That ‘thing’ between them, that ‘it’, that ‘spark’. It still exists. And, it’s potent.
Just then, Joey looks over Pacey’s shoulder to find Dawson standing at the end of the bar… watching. She breaks away as Pacey turns and sees him too. Silence.

END OF ACT TWO

ACT THREE

(This is according to the script, in the episode it’s only the end of act one/start of act two. As you can see they have cut quite a bit from the first episode.)
INT. ICE HOUSE - NIGHT
Dawson, Joey, and Pacey right where we left them.
Jen and Jack come barreling in behind Dawson.
JACK: Hey, hey, hey…
JEN: We’ve arrived.
It’s a reunion as everyone runs to each other, hugging and kissing. Dawson approaches Joey.
DAWSON: Hi again.
She smiles as Pacey comes up from behind and spins Dawson around.
PACEY: Show some love.
DAWSON: Hey, Pacey.
PACEY: It’s great to see you.
DAWSON: You too.
And they hug. The way friends do. Joey watches them. There’s something about it that’s bittersweet. Pacey pulls away.
PACEY: (to everyone) In honor of this momentous occasion -- OPEN BAR!

TIME CUT TO:

INT. ICE HOUSE - LATER
Dawson, Joey, Pacey, Jen, and Jack sit, drink beers, reminiscing, laughing, old “Dawson’s Creek” music on the jukebox.
JEN: Remember -- remember that guy I dated back in high school -- Henry? Sorta looked like Leo DiCaprio but not really?
JOEY: He was weird.
JEN: Alright, fine -- what about you and… and…?
JOEY: Who?
JEN: Okay… Jack! You dated Jack!
JOEY: This is true. (to Jack) Remember, that time I painted you in the nude?
JEN: (to Jack) And you got excited and sprouted a big --
JACK: (to Joey) -- You told her about that?!
JOEY: No!
JEN: (to Jack) You did, idiot.
JACK: Oh, right… Anyway -- it was not to be, which is good -- because I think Dawson would’ve killed me eventually for stealing away his one and only soulmate.
A beat, an awkward beat. Dawson, Pacey, and Joey all look anywhere but at each other. Jen jumps in.
JEN: Hey -- remember when Pacey was doing the teacher and still couldn’t get A’s.
Everyone laughs
PACEY: Miss Jacobs was a very educational experience. (laughter continues; to Dawson) Alright, Mr. Big TV-man -- you closet’s not exactly skeleton-free. Remember Eve?
DAWSON: (lying) No.
PACEY: Yes you do! The femme fatale wannabe who walked right off of “Melrose Place” and into Capeside? Totally out of context.
DAWSON: That’s one character that will never show up on my show.
JEN: (laughing) Hey -- hey -- remember -- remember Abby Morgan?!
Everyone, silent. A beat.
JEN: I guess that’s not funny, huh?
JACK: What about Audrey, whatever happened to Audrey?
JOEY: Singing back-up for John Mayer. Touring Europe. And she has a boyfriend she calls “the anti-Pacey.” Totally boring, but sweet as can be.
PACEY: As opposed to the non-sweet actual Pacey? That’s cute. My former girlfriend ladies and gentlemen. I sure can pick ‘em.
JOEY: Hey -- watch it -- you picked me once too, remember?
PACEY: Did we go out? I don’t recall…
Joey punches him.
JOEY: Shut up!
Dawson takes note.
JACK: Hey, and you know -- you also picked another girl named Andie. And she was pretty damn cool if I do say so myself.
PACEY: That’s true. You’re right. I take it back. I have excellent taste in women.
Pacey throws eyes at Joey. She looks away
DAWSON: How is Andie?
JACK: Busy. Finishing up her residency at Mass General.
DAWSON: Wow.
JACK: I know. She wanted to come but -- she’s working double shifts in the ER…
PACEY: Wow.
JOEY: I ‘m so glad you re-opened this place. I didn’t know how much I missed it.
PACEY: (with a wink) Well, maybe if your dad hadn’t burned it down.
DAWSON: I couldn’t write this stuff if I tried.
Jen kicks Dawson
JEN: (drunk) Remember when I de-virginized you?
JACK: Okay -- on that note -- I think it’s officially time for Jen to go home!
As Jack picks Jen up to sling over his shoulder
JEN: Hey guys -- remember the time my boyfriend knocked me up and then left me to raise a child all alone?
They all look at her. She’s truly drunk. She doesn’t find it sad at all. Jack starts to walk out, Jen slung over his shoulder.
JACK: See ya at the wedding!
JEN: See ya!... Wait. Wait. Can I just say one more thing?
Jack stops, Dawson, Joey, and Pacey turn, expectant.
JEN: You guys -- are the best friends I’ve ever had. And I love you. (beat)That is all. Good night.
Touched, Pacey, Joey, and Dawson all ad-lib good-nights, Jen waves enthusiastically as she and Jack leave.

These next few scenes are in act four of the script. They take place right after Jen gives Pacey some pain pills.
INT. LEERY HOUSE - KITCHEN - SAME
Dawson sits in the kitchen, typing on his laptop. Gale enters.
GALE: There you are! What are you doing?!
DAWSON: I’m working!
GALE: No, Dawson Leery -- you’re hiding. I think you’d rather sit in here with the imaginary versions of your friends than go out there and talk to the real one…
DAWSON: Actually -- I have a deadline…
GALE: Right. And this has nothing to do with a certain Joey Potter who climbed out your window this morning --
DAWSON: -- Mom!
GALE: I don’t wanna know anything about it. But if you’re afraid to go out there and talk to her --
DAWSON: -- I’m not afraid. I’m just… confused and insecure.
Gale softens, sits down beside Dawson.
GALE: Why?
DAWSON: I don’t know. Falling back completely into the past. I mean -- basically right now, my whole life -- is about the past. I spend every day re-living my past, watching other people act it out… The past has become my future.
Gale smiles at her son. Shaking her head.
GALE: It’s become your present. Your future is in the future. And that’s the good news, honey. You’re the writer. You get to tell the story any way you want. And if you’re not happy with the script -- I say get out there, join the party, and start rewriting.
Dawson SIGHS. Eyes his mother.
DAWSON: Not bad. Your dialogue was a little clunky but you made your point.
Gale pulls Dawson out of his chair, pushing him to the door.

EXT. LEERY HOUSE - WEDDING RECEPTION -CONTINUOUS
Dawson looks around. Spots Joey. Sitting alone. He starts to walk toward her.
Trouble is, Pacey’s doing the same thing, from the other direction, oblivious to Dawson.
And Pacey gets there first. Dawson stops in his tracks, watching from afar.
Joey looks up at Pacey, smiles.
JOEY: Hey there…
PACEY: So. I saw you sitting over here, and I remembered something.
JOEY: What’s that?
PACEY: Dancing lessons. You and I took dancing lessons.
JOEY: That’s true, we did. I have the permanently bruised toes to prove it.
PACEY: Well that’s only because you have freakishly long toes that are more like fingers…
JOEY: Hey!
PACEY: So whattaya say we drag those finger-toes onto the dance floor and see what happens?
Dawson continues to watch from afar as off they go, to the dance floor. Dawson turns and walks away.

CUT TO:
EXT. LEERY HOUSE - UNDER THE WEDDING TENT - DAY
Doug finishes off some Surf and Turf. Jack spots him alone and lonely at the table. As the less than impressive WEDDING BAND croons “Beauty and the Beast”, Jack makes his approach.
JACK: They’re playing our song.
DOUG: Funny.
JACK: Don’t worry. I’ll stay within compliance of the five-foot-straight-buddy rule.
DOUG: Not funny.
JACK: (as he sits) I wanted to apologize for walking out on you the other night. That’s not gonna help us figure any of this out.
DOUG: No, it isn’t
JACK: But neither is standing in place, Doug. Relationships need progress, they need to change and deepen or they --
DOUG: -- Quit doing that. Just because you’re been out longer doesn’t make you an expert on relationships. If you were, you’d be in one that was working.
Jack considers this…
JACK: Good point.
DOUG: Maybe I’m a selfish idiot, but I’m happy with what we have. I like that it’s just the two of us. And I don’t care that the rest of the world isn’t involved. From what I’ve seen with Pacey and your friends the rest of the world is exactly what messes good relationships up.
JACK: We can’t exist in a bubble forever. Nothing can.
DOUG: Fine. But I can’t be on your schedule.
JACK: And I can’t be on yours.
DOUG: I told you from the beginning --
JACK: -- Well I wasn’t listening. I was too busy being crazy about you to heed any of the warnings.
DOUG: Whose fault is that?
JACK: Mine.
DOUG: So why do we keep having the same fight again and again? It makes me feel like… like I’m not enough for you or something. But you’re enough for me, Jack. Just like you are. I haven’t asked you to change.
JACK: Yes you have. You want me to be where you are and I want you to be where I am. And I can’t go backwards any more than you can go forwards. And it all points to an impossible situation.
DOUG: Impossible
JACK: I think so… and if there’s anything I’m familiar with, it’s impossible situations. (an awkward beat, then) There’s a last lesson here somewhere and I wanna make sure I don’t miss it.
DOUG: What are you saying?
JACK: Let’s end the aggravation. We’re not good for each other. Not the way we are. Let’s call it a day.
DOUG: But…
JACK: No butts. See ya around, Sheriff.
Jack quickly walks away.

And finally, the requested stage direction from Pacey and Joey’s kiss on the dance floor.
Pacey looks at Maddy, to make sure she’s watching, and then he KISSES JOEY ON THE LIPS. A beat.
They pull apart, stunned -- definitely feeling something. They breathe hard.
Pacey notices over Joey’s shoulder, Maddy walks away shaking her head. Pacey turns back to Joey.
PACEY: Thanks.
JOEY: (stunned) Uh-huh…
Joey has to force herself to recover. She felt every bit of that kiss…
Then, suddenly DAWSON’S VOICE is heard from across the floor. Panicked.

The Jen collapsing scene was the end of 623, “All Good Things…”

”…Must Come To An End”

624 was not edited as bad as 623 but there are still some missing scenes & dialogue. The first two scenes I’m posting would have happened directly after the car scene with Dawson, Joey, & Pacey.
INT. HOSPITAL - WAITING ROOM - NIGHT
Jack holds Amy, sits with Grams, they wait.
GRAMS: It’s called peri-partum dilated cardiomyopathy. Basically, she has an enlarged heart. We think it may have been there for a while -- and the pregnancy just exacerbated it. We started to notice right before Amy was born -- Jen was tired all the time, she had trouble breathing, an irregular heartbeat… After she was diagnosed, they said we’d know in six months, whether it would get better or get worse…
JACK: So then -- it’s getting worse.
GRAMS: I didn’t say that. Jen went to the doctor recently and said all the tests were good and…
JACK: But then -- what about today --
GRAMS: -- She takes medication. Beta-blockers. They help, but then sometimes her blood pressure gets so low she just -- faints. They just have to keep her a day or two for observation. It’s routine --
JACK: -- Maybe. But back there, you acted like this was all no big deal. It its tough, isn’t it? It’s a very big deal…
Grams doesn’t answer. Just looks at him. He knows the answer. Jack sighs, upset. Then -- a NURSE appears.
NURSE: Mrs. Ryan? She’s awake. The doctor’s with her. She’s asking for you. And her child.
Grams looks to the nurse. Then to Jack.

I’ve heard this next scene was never actually filmed. I don’t know for sure but it’s still a great scene…

INT. PACEY’S CAR – NIGHT
Pacey is alone in the car with Joey. She still rides in back.
PACEY: What are you doing back there?
JOEY: What do you mean?
PACEY: I’m not your chauffer, princess. Get your ass up here.
JOEY: The car is in motion!
PACEY: So? What happened to that carefree crazy fearless girl I used to know? Oh yeah, she never existed.
JOEY: Oh, that is it.
She climbs over the seat awkwardly, with much ruckus and commotion.
JOEY: Happy?
PACEY: Yes. Now put on your seat belt.
JOEY: Yes sir.
She puts on her seat belt. Pacey drives.
PACEY: So…
JOEY: So…
PACEY: I see the tension is still intact. Between the three of us. Did you see Dawson’s face when I dropped him off first?
JOEY: It’s just residue.
PACEY: I guess there’ll always be some of that no matter how much time passes.
JOEY: It’s called baggage and we have more of it than a carousel at JFK.
Joey turns to him.
PACEY: This day could really end now.
JOEY: Everything seems so incidental all of a sudden.
PACEY: As in?
JOEY: Like that kiss earlier. Pretty silly now, huh?
PACEY: Among other things.
Joey ignores the last part of his comment.
JOEY: I think your girlfriend got the message, though.
PACEY: She’s not my girlfriend, and… we can only hope.
JOEY: Yeah.
Silence. Pacey pulls the car to a stop outside the Potter B&B.
PACEY: (little nervous) Can I ask you something? Do you ever think about… what it would’ve been like -- if you and me had, heaven forbid, ended up together?
JOEY: (admitting) Once or twice…
PACEY: And?
JOEY: I don’t know, Pacey. When it was good it was good, but when it was bad…
PACEY: That’s the thing. I don’t remember it being bad, Jo. Even when it was bad…
A moment.
JOEY: So what would have happened? If we had wound up together? Where would we be? What would it be like?
She just looks at him…
He takes a deep breath, and then, he KISSES HER. A beat. When he pulls back --
PACEY: Something like that. Every day.
They look at each other for an intense beat. And then Pacey turns back to the wheel.
PACEY: Good-night Joey.
JOEY: (stunned) Night…
And she gets out of the car. Pacey drives away -- a small smile creeping across a very nervous face.

Here is some missing stage direction. It’s from the montage of Jack telling everybody Jen was going to die. This piece would have come after Dawson hangs up the phone at his house.

INT. ICE HOUSE - BAR - LATER
Pacey sitting alone at the bar, staring at the poster of “The Creek.” The CAMERA SCANS the show’s tag line: “It’s the end of everything simple and the beginning of everything else.” Pacey, overcome with emotion, stares at these words. Grasping, trying to understand.

This Jack/Doug scene at the hospital was slightly altered.

ACROSS THE ROOM
Jack see DOUG approaching, flower in hand.
DOUG Hey.
Jack nods. Silent.
DOUG I brought these for Jen.
He separates the flowers. There’s two arrangements.
DOUG And these are for you. Please tell her I came by…
JACK: I will.
DOUG I know now’s not the time…
JACK:Look, Doug, our problems have been trumped.
DOUG I just want you to know that I’m here for you.
Jack nods, takes the flowers and quietly walks away. Doug watches, hating to see him so upset.

This next scene would have taken place right after the Bessie/Joey scene when she finally calls Christopher.

INT. LEERY HOUSE - LIVING ROOM - DAY
Dawson and Lily watch the end of a sad movie.
Dawson, turns to Lily, who has tears streaming down her face. He smiles
DAWSON: So what did you think? “Harold and Maude.” One of my favorites.
LILY: I hated it!
DAWSON: What? Why?!
LILY: Maude dies! You didn’t tell me Maude dies!
DAWSON: Yeah but -- she was really old…
LILY: I don’t care. Harold loved her. And she died -- and he was happy --
DAWSON: -- He wasn’t happy because she died, Lily, he was happy because he got to know her. And he realized he wasn’t alone in the universe. He had a soulmate.
LILY: (confused) What’s a soulmate?
DAWSON: It’s like a… well. It’s like a best friend. But more. It’s the one person in this world who understands you better than anyone else. The person who comes along to make you a better person. Although, they can’t really make you a better person -- you do it yourself, because they inspire you. And like for Harold, with Maude, once they’ve touched your life -- they’re always there. Even when they’re far away. Even when they’re gone -- a soul mate is someone you carry with you forever. The person who knew you and accepted you and believed in you before anyone else did, or when no one else would…
Dawson trails off, clearly thinking about Joey.
DAWSON: And you’ll always love them, no matter what happens. Nothing can ever take that way.
A beat. Then --
DAWSON: Does that make sense?
But Lily’s lost interest -- she’s sifting through a pile of DVDs.
LILY: Can I have your old room? Mom said I had to ask you.
Dawson smiles
DAWSON: That could probably be arranged.
He looks at his little sister. A little sad.

Now the missing Andie scene(s). She had three scenes but only one with dialogue. The first was her entrance (no dialogue), then her dialogue scene with Pacey, and finally a scene showing her comforting Jack as he waits by Jen’s beside (no dialogue).

I’ll start with her entrance since there is some missing dialogue between Jen and Pacey. The scene starts at the end of Pacey telling Jen he will not live Amy alone.
JEN: And I don’t want you to be alone either, Pacey.
PACEY: That I can’t promise.
JEN: You’re one of the good ones. Don’t worry, Pace, you’re gonna get your girl.
PACEY: Yeah? What’s her name? Gotta number? Where is she?
Just then, there’s a KNOCK on the door. Jack pokes his head in. Smiling.
JACK: Hey swan song, got a surprise for you.
And in this moment, in through the door walks…
ANDIE MCPHEE
Looking stunning. Beautiful. Sexy. All grown up. Pacey’s eyes flutter. Jen lights up. Her mood changing instantly.
JEN: Oh my God…
PACEY: Andie?
Andie rushes to Jen. All hugs and kisses. Pacey can barely move.

Now we come to the dialogue scene. This takes place after the Joey/Dawson talk after he has made Jen’s video.
INT. HOSPITAL - WAITING ROOM - NIGHT
Andie and Pacey sit at a table drinking coffee.
PACEY: She’s been growing weaker. I’ll be talking to her and she’ll just drift away sometimes. For a few minutes, Sometimes hours.
ANDIE: The arrhythmia is causing an insufficient blood flow. Her system is shutting down.
PACEY: So, it’s just a waiting game now.
ANDIE: I spoke to her doctor. She hasn’t been responding to any of the beta-blocking agents or ACE inhibitors.
PACEY: I don’t understand any of that but it doesn’t sound good.
ANDIE: It’s not. I’ve seen this before.
PACEY: Sounds like this world has another brilliant doctor on their hands. How’s it going for you?
ANDIE: The resident life. Long hours. I never sleep. I’m a constant hamster in a wheel.
PACEY: You look good.
Andie smiles.
ANDIE: Because I love it. Every bit of it. And you look good, too.
PACEY: Comparatively, I’m doing great.
ANDIE: I’m glad to hear that. I always think about you, Pacey Witter, wondering what you’re up to and if you’re happy.
PACEY: You could call and find out.
ANDIE: I do. Jack. He gives me the play by play.
PACEY: You’re in Boston now. That’s too close not to call. We go way back. You were always the first, Andie.
ANDIE: Funny, that’s not how I remember it.
He smiles.
PACEY: You were the first, McPhee. The one who put me to the test, always challenging me. Even now. I’m feeling a little I ain’t quite got it right.
ANDIE: (laughs) It’s never been about getting it right, Pacey. It’s about knowing when it’s wrong and doing something about it.
PACEY: See, There you go. How do you do that? Exactly what I need to hear. (looks at her, serious) And I mean exactly what I need to hear. You always have. I don’t know if I’ve ever really thanked you for that. So, thank you.
Andie smiles.
ANDIE: It always worked both ways, Pacey. But, you’re welcome.
A shared moment.
PACEY: How long are you staying?
ANDIE: As long as I need to.
A moment. One of history. Very comfortable. There’s nothing awkward about it.

Now the stage direction from Andie comforting Jack. It’s short but I thought all the big Andie fans would enjoy it.
-- Andie comforting Jack. (Note: This one is important since it’s the only time we’ll see brother and sister together and we want to suggest that Andie sticks around awhile.

Next up, the Joey/Pacey scene in the kitchen. There was some dialogue cut, so here is the uncut version.

INT. ICE HOUSE – KITCHEN – DAY
Joey is filling a tray with food when Pacey enters. They’re alone. She sees him.
JOEY: Hey. I’m looking for the serving spoons.
PACEY: Behind you, second to the end.
She finds them. Then, notices how quiet and reserved Pacey is. She senses something brewing in him.
JOEY: Are you okay?
A small smile.
PACEY: Yeah, I am… I really think I am.
JOEY: (confused) What’s going on in that head of yours?
PACEY: You’re off the hook.
JOEY: What?
PACEY: I’ve never been one for the whole, “If you love someone set them free” crap, as evidenced by anything I’ve ever done before this moment. But I’m determined to be happy in this life, Joey. And I love you. I always have. But the timing has never been right for us. And the way I see it, time is nobody’s friend, so I have to get right with that. And be happy. Because this is it. If we’ve learned anything about losing Jen, we’ve learned that.
JOEY: Pacey, I…
PACEY: Let me finish me before I lose my last ounce of articulation.
JOEY: Okay.
PACEY: I want you to be happy, too. That’s important to me. I want you to be with someone, whether it’s Dawson or New York guy or somebody you haven’t even met yet, who can be part of the life you want. Most of all, I want you to be with somebody who can make you feel the way I feel when I’m with you. So, the point to this really long run-on sentence, better known as the last ten years of our lives, is to say that the simple act of being in love with you has been enough for me. -- You’re off the hook.
Joey is momentarily stunned. She studies him a moment. Touched by his words. But, also fueled.
JOEY: For the record, I don’t want to be let off the hook. Because everything I’ve done in my life has led me here, right now. And the last thing I want, need, or deserve is to be let off somebody’s hook.
PACEY: Please don’t miss my point.
JOEY: Don’t miss mine. I love you Pacey, you know that. And I love Dawson. I always have. He’s my soulmate -- he’s tied to my childhood. It’s a love that is pure and eternally innocent. My love for you isn’t tied to anything. It never has been. It’s been about a woman in love with a man. And it’s very real. So real that it’s kept me moving, mostly running from it, never ready for it. So I can’t be let off the hook, because I just might get the notion that it’s okay to keep running.
Pacey stares at her. Charged with what she might be saying. Her words are so emotional, he’s not sure what she means. He eyes her hopeful.
PACEY: What are you saying here, exactly?
Joey smiles. Starts to speak when…
GALE: (O.C.) Pacey, there you are. We need plates.
The moment breaks. Pacey looks to see Gale approaching. She grabs plates off the counter. Starts out. But, then gives Pacey a hug.
GALE: You are so sweet to open your place up like this. I love you both.
Could her timing be worse? Gale gives Joey a kiss and takes off.
Pacey instantly turns back to Joey. His heart starting to beat, a mounting drum roll pounding inside of him.
PACEY: You were about to say something?
JOEY: I think it’s time…
BESSIE: (O.C.) Joey, can you give me a hand?
Bessie is suddenly there. Destroying the moment entirely. Others crowd the kitchen -- there’s no way this moment will finish now.
BESSIE: And bring those trays. How ya doing, Pacey?
He smiles. Joey looks to Pacey. Shakes her head. Not now. Later. She leaves Pacey wondering moving back into…

And finally, just because it’s one of my favorites, here is the stage direction to the phone call from Pacey & Joey to Dawson at the end of the episode.

Dawson LAUGHS at their kudos. Beyond pleased to hear from his two best friends in the world.

That's all. I'm not positive everyone one these scenes were filmed. Maybe one day we will see an uncut version of the finale!