Party of Five (1994–2000): Season 5, Episode 24 - Haunted - full transcript

Charlie's romance and possible future with Kirsten is put in a dilemma when Daphne suddenly returns to town after the death of her mother and wants to see baby Diana. Meanwhile, Claudia adopts a new look to shed her good girl image to fit more in with Cody, much to Bailey's chagrin. Bailey is left by himself when Sarah goes away to write an introspective essay, but cannot get away from the stress and worry of her daily life. Julia, seeking to reevaluate her life, goes on a date with Josh, which gets disrupted when Julia lets a comment from Perry about her status quickly ending the evening. This leads Julia to learn from Perry about the pros and cons about being independent from others in one's life.

Perry: LEAVE A MESSAGE. I'LL CALL YOU BACK.

HI, PERRY, IT'S ME, JULIA. UH...

I--I JUST CALLED TO TALK, UH, OBVIOUSLY, HA,

BUT YOU'RE NOT THERE. OBVIOUSLY.

UH, SO...

BASICALLY, I JUST WANTED TO SAY I'M SORRY,

UH, ABOUT EVERYTHING.

ABOUT MAKING THINGS MORE DIFFICULT

THAN THEY NEEDED TO BE.

I JUST, UM...

I'D REALLY LIKE TO SEE YOU AND TALK.



THIS WHOLE WEEK'S BEEN...

I HAVEN'T EVEN BEEN ABLE TO WRITE.

I HAVE TO WRITE THIS STUPID "TELL US ABOUT

YOURSELF" ESSAY

FOR A SCHOLARSHIP APPLICATION.

I'M COMPLETELY BLOCKED AND--AND...

CAN YOU PICK UP IF YOU'RE THERE?

OK, WELL, UH, MAINLY I JUST WANT TO KNOW

THAT YOU'RE OK.

SO...CALL ME. BYE.

Bailey: GOOD JOB, BUDDY.

BUT YOU GOT SOME TEST PAPERS TO

FINISH UP, DON'T YOU?

FOR MS. LO?



NO...WELL, OK, I'LL DO IT.

UNH!

THESE 2 HERE?

ATTA BOY.

OH, UM, I HAVE SOME OF OWEN'S PAGES HERE.

THE--THE TESTING CENTER WAS SUPPOSED TO CALL

AND CONFIRM HIM FOR THIS WEEK. DID THEY?

NO, NOT WHILE I WAS HERE.

HMM.

YOU KNOW WHAT? I SHOULD TRADE PLACES

WITH OWEN.

I'LL TAKE HIS DYSLEXIA TEST

AND HE CAN FILL OUT MY SCHOLARSHIP APPLICATION.

WHAT IS THAT, THE MILLENNIUM THING?

YEAH. THEY PICK 5 AREA COLLEGE STUDENTS

AND PAY FOR ROOM, BOARD, TUITION FOR A YEAR.

WELL, "FILLING OUT" DOESN'T SOUND SO HARD.

IT'S AN ESSAY ON WHO YOU ARE,

AND YOUR PHILOSOPHY ON THE UNIVERSE.

BAILEY, IT TAKES MOST PEOPLE, LIKE, THEIR LIFE

TO FIGURE THAT STUFF OUT,

NOT 3 DAYS AND "POSTMARK BY MIDNIGHT."

YOU'RE ON THIS THING FOR 3 MORE DAYS?

SEE, I WAS HOPING MAYBE WE COULD...

GO TO THE MOVIES OR SOMETHING, YOU KNOW.

TAKE OWEN AND CLAUD ALONG WITH US.

NOT TILL I FIGURE OUT MY ENTIRE FUTURE.

ANYWAY, CLAUDIA'S SEEING, UH, CODY

EVERY NIGHT, SO--

SHE DIDN'T TELL ME THAT.

SHE HAVE TO?

I MEAN, SHE'S NOT GROUNDED ANYMORE,

IS SHE?

BAILEY, MAYBE YOU SHOULD GIVE HER

HER SPACE FOR A WHILE.

YEAH. DON'T WORRY.

CLAUDIA AND I ARE UNDER CONTROL.

WHAT DID YOU DO?!

HA. YOU LOOK INCREDIBLE!

REALLY?

WHAT DID YOU DO?!

WOW! RED!

IS THAT A RINSE?

RAPACIOUS RED. OH, IT WAS SO EASY.

CAN I HAVE RED HAIR?

NO! NO, YOU CAN'T HAVE RED HAIR! CLAUDIA!

Claudia: I GET I, BAY. YOU DON'T LIKE IT.

ACTUALLY, YOU LOOK...

WHAT? DID CODY TELL YOU TO DO THIS?

DID CODY TELL ME TO DO THIS?

BECAUSE I KNOW YOU'RE TOO SMART TO RUIN YOUR HAIR

FOR SOME IDIOT WHO'S TRYING TO TURN YOU INTO SOMETHING

THAT YOU'RE NOT.

BAILEY!

SHUT UP, BAILEY!

JUST SHUT UP.

♪ EVERYBODY WANTS TO LIVE ♪

♪ LIKE THEY WANNA LIVE ♪

♪ AND EVERYBODY WANTS TO LOVE ♪

♪ LIKE THEY WANNA LOVE ♪

♪ AND EVERYBODY WANTS TO BE ♪

♪ CLOSER TO FREE ♪

♪ CLOSER TO FREE ♪

(KIRSTEN LAUGHS) THAT'S IT, DIANA.

OH, I THINK SHE'S EXCEPTIONAL.

I THINK SHE'S BRILLIANT.

SHE WAS ACTUALLY TRYING TO SAY THE WORD "APPLE"

LAST NIGHT.

(IMITATES BABY-TALK) "HOPA"..."HOPA"...

AND THAT'S "APPLE" IN WHAT? URDU?

I'M NOT LISTENING TO YOU.

WE'RE NOT LISTENING TO HIM, ARE WE?

'CAUSE I THINK YOU'RE BRILLIANT.

IF THIS WERE A NATION OF ONE-YEAR-OLDS,

YOU WOULD BE A LEADER TO YOUR PEOPLE--

LIKE HILLARY CLINTON.

OR ELIZABETH DOLE.

CAN YOU TELL WHAT HER POLITICS ARE JUST BY

HOW SHE'S LYING THERE?

HEY, THIS IS YOUR CHILD I'M ADMIRING, MISTER.

KIND OF LIKE OURS, RIGHT NOW.

DUMB THING TO SAY. DUMB.

NO, I KNOW. I KNOW THAT YOU

MEANT SOMETHING NICE,

BUT THERE'S AN ACTUAL MOTHER OUT THERE

WHOSE BABY DIANA REALLY IS.

SO, YEAH...

DUMB THING TO SAY.

I'M SORRY. REALLY.

AS LONG AS YOU'RE MINE, ANYWAY.

AND SHE DOES LOVE YOU.

AND SHE FEELS YOU LOVING HER.

YOU KNOW THAT, RIGHT?

I WANT TO.

MAYBE A LITTLE.

LAA!

OHH.

HI. HI.

SORRY I'M LATE.

THANKS FOR CALLING ME BACK.

THIS ESSAY'S BEEN COMPLETELY--

JULIA...

I DIDN'T COME HERE TO TALK ABOUT YOUR ESSAY.

RIGHT.

LOOK, PERRY, I'M SORRY.

REALLY, I AM.

WHAT HAPPENED WITH US WAS--

A MISTAKE?

NO.

I DON'T KNOW.

COME ON, JULIA, YOU KISSED ME.

AND YOU AND I BOTH KNOW THAT YOU'RE

NOT GAY.

BEING GAY HAS NOTHING TO DO WITH IT.

LOOK, DON'T BE NAIVE ABOUT THIS--

I'M NOT. I JUST...

LOOK, I KNOW I'M NOT GAY, BUT I DON'T THINK THAT'S

WHAT THIS IS ABOUT.

THEN WHY'D YOU KISS ME?

I DON'T KNOW.

I JUST--I...

I LOVE THE WAY I FEEL WHEN I'M WITH YOU.

YOU KNOW? I LOVE...TALKING TO YOU

AND WRITING WITH YOU AND...

EVEN ARGUING WITH YOU HAS HAD ITS MOMENTS, SO...

I GUESS I GOT CONFUSED AND I KISSED YOU

AND I'M SORRY...

NOT THAT IT HAPPENED,

BUT THAT THINGS GOT SO WEIRD BETWEEN US AFTERWARDS,

'CAUSE IF IT WEREN'T FOR YOU, I WOULDN'T BE WRITING AGAIN.

JULIA--

I WOULDN'T BE MOVING ON WITH MY LIFE.

BUT I HAVEN'T DONE ANYTHING.

THAT'S ALL YOU.

YEAH.

WHEN I'M WITH YOU.

AND SO THAT'S WHAT I WANT NOW.

I WANT FOR US TO BE FRIENDS AGAIN.

I WANT FOR US TO DRINK TOO MUCH COFFEE

TOGETHER,

AND HAVE THESE IMPOSSIBLE CONVERSATIONS AND...

MAYBE EVEN FOR YOU TO HELP ME

WITH THIS STUPID SCHOLARSHIP ESSAY.

LET ME HAVE IT.

"CONVINCE THE STRANGER, IN THE COMING

MILLENNIUM,

"YOU WILL BRING INTO THE WORLD SOMETHING

THAT WOULD NOT HAVE BEEN THERE WITHOUT YOU."

THEY TAKE THEMSELVES VERY SERIOUSLY.

YES, I KNOW.

Claudia: I'M SERIOUS, CHARLIE.

YOU HAVE TO DO SOMETHING ABOUT BAILEY.

HE'S OUT OF CONTROL.

MR. CONTROL'S OUT OF CONTROL?

I MEAN, CORRECT ME IF I'M WRONG HERE, BUT YOU

ARE MY LEGAL GUARDIAN.

SO HE HAS NO RIGHT TO TELL ME WHAT TO DO,

OR HOW TO LIVE, OR WHAT TIME TO COME HOME.

THAT BAD, HUH?

CHARLIE, HE'S SO SET ON PROVING THAT HE CAN DO IT ALL--

YOU KNOW, DO US ALL-- HE'S NOT EVEN BAILEY ANYMORE.

WELL, HE'S UNDER A LOT OF PRESSURE, CLAUD.

YEAH, WELL, WE ALL ARE.

SO YOU CAN EITHER GET HIM OFF MY BACK OR...

GET YOUR COUCH MADE OUT FOR ME,

BECAUSE IF I HAVE TO SPEND ONE MORE SECOND UNDER

HIS FAT, LITTLE THUMB...

WELL, NUMBER ONE, YOU'RE WELCOME ANYTIME,

AND YOU KNOW THAT.

BUT NUMBER TWO: BE PATIENT WITH HIM, OK?

BECAUSE HE ACTUALLY NEEDS YOU RIGHT NOW.

AND SOMEBODY'S GOTTA KEEP AN EYE ON HIM

OR HE'S GONNA NEED A BYPASS BY THE TIME

HE'S 21.

OK?

WILL YOU DO THAT FOR ME?

AS A PERSONAL FAVOR?

YOU OWE ME.

BIG TIME.

YOU GOT IT.

AND, CLAUD...

YOU LOOK GREAT.

THANKS.

OK, PICTURE THIS:

MOUNTAINTOPS, SUNRISE, SONOMA HEIGHTS,

ME IN A PUP TENT,

AND MY LAPTOP PLUGGED INTO THE CAMPER'S FRIEND

POWER SOURCE AT THE SITE.

I'M PICTURING.

I'M CONFUSED, BUT I'M PICTURING.

BAILEY, I'VE GOT TO GET AWAY.

I MEAN, IF I'M GONNA HAVE TO DEAL WITH ALL THESE

DEEP "WHY ARE YOU HERE" TYPE QUESTIONS,

I CAN'T DO IT WHERE...

WHERE I SPEND PART OF EVERY DAY

LOOKING FOR OWEN'S LOST HOMEWORK.

OR ROLLING UP MY SOCKS

AND PUTTING THEM IN A DRAWER.

SONOMA WHAT?

HEIGHTS.

IT'S WHERE I WENT FOR THAT--THAT DIG

FOR GEOLOGY.

GOD, THAT SPOT IS SO BEAUTIFUL.

I JUST KEEP THINKING, YOU KNOW,

IF CAN GET BACK THERE FOR JUST ONE DAY,

ONE NIGHT,

I COULD BLAST OUT THIS ESSAY

AND FINALLY HEAR MY OWN VOICE,

YOU KNOW?

I'M STILL WAITING FOR THE DUMB PART.

EVERYTHING YOU'VE SAID SO FAR

IS REALLY SMART.

OH, THANK YOU.

(DOORBELL RINGS)

THERE'S ALWAYS SOMETHING.

I'LL RUN 'EM OFF THE PROPERTY,

WHOEVER IT IS.

HEY, BAILEY.

DAPHNE.

HOW YOU DOIN'? DOIN' GOOD?

IS--IS CHARLIE HOME?

UM...

(SIGHS HEAVILY)

WHY DON'T YOU COME IN AND GRAB A DRINK OR SOMETHING?

I'LL CALL AROUND AND SEE IF I CAN FIND CHARLIE.

NO. WHY DON'T YOU JUST TELL ME WHERE HE LIVES?

SARAH! HI!

DAPHNE.

HI.

UM, LOOK, DOES HE STILL TEACH AT SCHOOL?

YEAH, SURE.

OK, GOOD. THEN I'LL JUST, UM...

YEAH, I'LL JUST-- I'LL CATCH HIM THERE.

YOU KNOW WHAT, DAPHNE? WAIT.

IT'S REALLY NICE TO SEE YOU TWO.

BYE.

BYE.

YOU DIDN'T...

TELL HER THAT CHARLIE'S BACK TOGETHER

WITH KIRSTEN?

I WASN'T GONNA JUST DROP IT ON HER LIKE THAT.

THAT'S FOR CHARLIE TO DO.

HE'S GOTTA TELL HER THE WAY HE WANTS.

WHAT DID SHE SAY? DID SHE SAY WHY

SHE WAS HERE?

YES. CAN I PLEASE SPEAK WITH MR. SALINGER?

AND EVEN IF HE'S WITH HIS CLASS, COULD YOU PLEASE INTERRUPT HIM?

A FIELD TRIP?

SWELL.

HEY, JULE, WAIT UP. YOU OK?

NO. IT'S BAD ENOUGH O'NEIL WANTS ME TO REWRITE

THE STORY AGAIN,

BUT THE NOTES SHE GAVE ME ARE CRAZY,

LIKE SHE DIDN'T EVEN READ IT.

I DID. I THOUGHT IT WAS GREAT.

PLUS, I'VE GOT THIS MILLENNIUM

APPLICATION ESSAY TO WRITE.

WHEN AM I SUPPOSED TO SLEEP?

MAYBE I'LL JUST GIVE O'NEIL THE SAME VERSION,

LET HER FLUNK ME.

YEAH, RIGHT. FLUNK THE BEST WRITER

IN CLASS?

ASIDE FROM ME, OF COURSE.

WHOA. JOSH, YOU HAVE JUST SAID

10 SUPPORTIVE THINGS TO ME IN A ROW.

WHY ARE YOU STILL SO NICE TO ME?

YOU REALLY WANNA KNOW? UH-HUH.

IT'S RESEARCH FOR A STORY

I'M WRITING.

YEAH. IT'S ABOUT THIS GUY--

SORT OF UNPREPOSSESSING,

NEUROTIC, BUT IN A GOOD WAY,

GUY WHO'S GOT A PROBLEM.

OTHER THAN BEING NEUROTIC?

YEAH. SEE, THERE'S THIS WOMAN--

THIS MYSTERIOUS, HAUNTED, BEAUTIFUL--

OK.

AND HE JUST CAN'T STOP ASKING HER OUT,

NO MATTER HOW MANY TIMES SHE SAYS NO.

SO MY BEING NICE TO YOU IS PURE RESEARCH.

MAYBE IT'S NOT HIM WHO'S BEING NEUROTIC.

MAYBE IT'S HER.

YOU THINK?

WELL, IT SEEMS

SHE KEEPS GOING FOR THE WRONG PEOPLE.

I DON'T KNOW WHY.

MAYBE 'CAUSE SHE DOESN'T THINK SHE DESERVES

SOMEONE THAT NICE.

SO WHAT--WHAT HAPPENS IN THE END?

DOES HE ASK HER OUT AGAIN?

WELL, IT'S YOUR STORY,

BUT IF I WERE HIM, I'D PICK HER UP AT 7:00.

JUST STEPPED OFF A BUS MYSELF.

DAPHNE.

HEY, YOU.

HEY.

I KNOW, I LOOK AWFUL.

I'VE BEEN TRAVELING FOR, LIKE, DAYS,

AND I HAVEN'T GOTTEN ANY SLEEP.

YOU LOOK--YOU LOOK FINE.

WHAT--WHAT ARE YOU DOING HERE?

UH, WELL, I'VE BEEN TO THE HOUSE.

THE HOUSE?

Man: MR. SALINGER,

HALF OF THESE INMATES ARE YOURS.

OH, UM, CAN YOU TAKE THEM INSIDE WITH YOU,

JEFFREY,

JUST FOR 2 MINUTES, PLEASE?

OK. EVERYBODY, LET'S GO!

SO, UH,

BAILEY TOLD ME

THAT YOU'RE NOT LIVING AT THE HOUSE ANYMORE.

BUT HE WOULDN'T TELL ME ANYTHING ELSE.

UH, SOMETHING GOING ON?

WHERE'S DIANA? IS SHE--

DAPHNE, LOOK--

MY MOTHER DIED.

THAT'S WHY I WAS IN TEXAS.

GOD, I'M SORRY.

WELL, A LOT OF THINGS GOT CLEARER.

WHAT I REALLY WANT GOT CLEARER.

AND HOW DUMB I WAS FOR GIVING EVERYTHING UP.

THAT GOT A LOT CLEARER.

AND I KEPT THINKING ABOUT THE 3 OF US

AND HOW HAPPY WE REALLY WERE.

DAPH...

ACTUALLY, YOU WEREN'T THAT HAPPY.

Jeffrey: MR. SALINGER!

YOU KNOW WHAT?

I GOT A FREE PERIOD IN HALF AN HOUR,

LIKE, 25 MINUTES, ACTUALLY.

THEN I'LL COME OUT, AND WE'LL SIT DOWN--

SOMETHING WRONG WITH DIANA?

NO, NO, NO. NO, I SWEAR.

REALLY? YES, SHE'S FINE,

AND YOU'LL--YOU'LL SEE HER RIGHT AWAY.

(CLASS BELL RINGS) OK.

THAT'S THE SECOND BELL. I'M SORRY.

UM, HALF AN HOUR, OK?

ALL RIGHT.

I MISSED YOU...

BOTH.

(NOISY CHATTER) YOU LOOK INCREDIBLE.

WHAT?

I SAID, I'M GLAD WE'RE DOING THIS.

OH, ME, TOO.

PERRY.

HEY, GUYS.

HEY, WHAT ARE YOU DOING HERE?

OH, I'M JUST HERE WITH SOME FRIENDS.

WHAT ABOUT YOU?

WE'RE KINDA ON A DATE. JUST HAVING DINNER.

I'M GONNA GO GET US SOMETHING TO DRINK.

SO...

ARE YOU AND JOSH, YOU-AND-JOSH?

WHY?

NO REASON. I JUST, UH,

I THOUGHT YOU DIDN'T LIKE HIM.

I NEVER SAID I DIDN'T LIKE HIM.

NO, BUT I SEEM TO REMEMBER

A DEFINITE LACK OF INTEREST ON YOUR PART,

OF ANY INTEREST WHATSOEVER.

IN FACT, I THINK I REMEMBER YOU SAYING

SOMETHING LIKE--

WHAT'S YOUR POINT?

YOU DON'T LET ANY MOSS GROW, DO YOU?

PERRY, WHAT'S THAT SUPPOSED--

Josh: HERE YOU GO.

I SHOULD GET BACK TO MY FRIENDS,

AND, UH, YOU KIDS HAVE FUN.

Josh: WE WILL.

JULE,

YOU READY?

UH, YEAH, READY.

CANNED CORN.

CANNOT GO CAMPING WITHOUT CANNED CORN.

PARK RANGERS SPOT-CHECK YOU FOR IT WHEN YOU

ENTER THE GROUNDS. OK, I DON'T EVEN

HAVE ENOUGH ROOM FOR MY LAPTOP,

AND THAT'S KINDA THE WHOLE POINT.

AHEM. HEY,

MAYBE YOU'LL HAVE THIS LIGHTNING BOLT

OF INSPIRATION

AND JUST POLISH OFF THE WHOLE

APPLICATION,

BE HOME IN TIME TO WATCH

THE 10:00 NEWS

IN BED WITH ME.

HMM, MAYBE.

BUT YOU KNOW WHAT?

I--I DEFINITELY THINK THIS IS THE ANSWER,

DON'T YOU?

I MEAN, GOING AWAY, PEACE AND QUIET, YOU KNOW,

NO DISTRACTIONS.

JUST FOCUSING ON THE TASK AT--OH, BAILEY,

DON'T--DON'T FORGET OWEN'S APPOINTMENT

WITH THE PSYCHOLOGIST.

GOT IT COVERED. TOMORROW AT 4:15.

GOOD. GOOD.

I WAS SAYING SOMETHING. WHAT WAS I JUST SAYING?

YOU WERE SAYING HOW YOU WERE GONNA FOCUS ON

THE TASK AT HAND.

RIGHT. EXACTLY. I MEAN,

IT'S NOT LIKE I HAVEN'T WRITTEN A KILLER ESSAY

BEFORE.

NO KIDDING. YOU'VE WRITTEN A FEW FOR ME.

RIGHT. THE ONLY DIFFERENCE

IS THAT WHEN I WAS IN MY KILLER-ESSAY WRITING PRIME,

YOU KNOW, I COULD JUST SHUT THE WHOLE WORLD OUT,

EXCEPT FOR--IS THAT A MOUSE DROPPING?

WHAT?

THAT! THAT RAISIN-THINGY. IT IS!

DAMN IT! THE EXTERMINATOR GUY

WAS SUPPOSED TO STOP BY AND CHECK THE TRAPS,

YOU KNOW, TIM, TOM, TED.

OH, I'LL CALL HIM IN THE MORNING.

NO, I WILL CALL IN THE MORNING.

WILL YOU REMEMBER, BAILEY, OR SHOULD I WRITE IT DOWN?

SARAH, REALLY. TIM, TOM, TED,

I GOT IT COVERED, OK?

I'LL TAKE CARE OF IT.

OK, GOOD.

I FEEL LIKE I'M FORGETTING SOMETHING.

I'M TELLING YOU: CORN.

(TELEPHONE RINGS)

HELLO?

CHARLIE.

I TOLD YOU, THAT'S ALL I TOLD HER,

AND THEN SHE TOOK OFF.

WHY, DID SHE COME BY THE APARTMENT OR SOMETHING?

HERE? NO, I FIGURE SHE DOESN'T KNOW

WHERE HERE IS.

NO, I HAVEN'T TOLD HER YET,

BUT I'M GONNA TELL HER RIGHT NOW.

OK, WELL, LET ME KNOW IF SHE

GETS IN TOUCH.

RIGHT.

ISN'T SHE CUTE, ALL WET AND

SLIPPERY?

LET'S KEEP YOU ALL WET AND

SLIPPERY.

LET'S JUST, LIKE, KEEP A SPRAY CAN

OF WATER

AND SQUIRT HER JUST SO I CAN

TOWEL HER DOWN.

KIRSTEN, LISTEN, UH, I DON'T WANT TO MAKE

TOO BIG A DEAL OUT OF THIS,

BUT, UH...

WAIT, LET ME START OVER

BECAUSE I THINK THIS IS A GOOD THING.

OK, WHAT'S A GOOD THING?

DAPHNE SHOWED UP TODAY.

SHE'S IN SAN FRANCISCO,

AND SHE CAME TO THE SCHOOL LOOKING FOR ME.

WELL, WHAT DID SHE SAY? WHAT--WHAT IS SHE

DOING HERE?

I WAS GOING TO FIND OUT EVERYTHING.

I JUST HAD TO DROP OFF MY CLASS AND COME BACK,

BUT SHE--SHE TOOK OFF.

SHE DOES WANT TO SEE DIANA.

I--I GOT THAT MUCH.

WAIT, UM,

SEE HER OR...

DOES SHE WANT HER BACK?

BACK? NO.

DOES SHE WANT YOU BACK?

CHARLIE, I HAVE A MILLION QUESTIONS.

THIS IS OUR LIFE WE'RE TALKING ABOUT HERE.

KIRSTEN, SHE DOESN'T KNOW ABOUT YOU AND ME YET.

OK, THAT'S WHAT I WANTED TO HAVE THE TIME TO TELL HER.

WHAT DID YOU MEAN, THIS IS A GOOD THING?

WELL, JUST THAT I DID GO DOWN TO L.A.

TO GET HER BACK.

I MEAN, I ALWAYS WANTED DIANA TO HAVE HER MOTHER.

I MEAN--

YOU MEAN HER REAL MOTHER.

KIRSTEN, NO ONE CAN TAKE CARE OF HER--

I KNOW WHAT YOU MEAN BY THAT, CHARLIE.

YOU MEAN HER REAL MOTHER.

WHY ARE WE FIGHTING ABOUT THIS, OK?

WE DON'T EVEN KNOW WHAT DAPHNE WANTS YET,

OR EVEN IS SHE'S GONNA STICK AROUND

OR IF SHE'LL SHOW UP AGAIN.

NO, WE DON'T.

THAT DOORBELL COULD RING NOW

OR LATER ON TONIGHT OR A YEAR FROM NOW,

AND THAT'S NOT A GOOD FEELING, CHARLIE.

THE TATTOOS COME OFF IN, LIKE, A WEEK OR TWO,

IF YOU'RE HATING THEM.

YOU DIDN'T SAY ANYTHING ABOUT MY HAIR, EITHER.

IT'S RED.

I'M SORRY. YOU KNOW, IT'S DARK OUT,

I'M KINDA COLORBLIND.

YOU HATE IT, THE HAIR AND THE TATTOOS.

YOU'RE BEAUTIFUL.

CODY, YOU REALLY LIKE 'EM?

NOT THE HAIR OR THE TATTOOS. YOU.

YOU DON'T HAVE TO SAY THAT, CODY.

I CAN'T HELP IT.

AHEM.

CODY, YOU DIDN'T INTRODUCE ME TO YOUR LITTLE FRIEND.

OH, HI. HI, I'M CLAUDIA.

WOW, YOU'RE ALL HENNA-HANDED.

BIG FAN OF MADONNA'S, ARE YA?

OUR MIDNIGHT SET'S UP, CODY. YOU SHOULD COME WATCH.

PLEASE. OH, PLEASE TELL ME THE MIDNIGHT SET'S

STARTING EARLY.

RIGHT ON TIME.

OK, BAILEY'S GONNA ACTUALLY KILL ME THIS TIME.

MAYBE IF WE HURRY HOME, I WON'T BE THAT LATE.

OHH!

I'M...SORRY.

YOU OWE ME A BEER.

(KNOCK ON DOOR)

(KNOCK KNOCK)

I WANT TO KNOW WHAT YOU MEANT BY THAT STATEMENT.

OH, I'M SORRY--

"YOU DON'T LET ANY MOSS GROW, DO YOU?"

THAT'S WHAT YOU SAID.

WAIT A SECOND-- I WANT TO KNOW

WHAT YOU MEANT.

LOOK, I'M NOT GONNA HAVE THIS CONVERSATION

OUT IN THE HALLWAY, SO...

WHAT HAPPENED WITH YOU AND JOSH?

NOTHING HAPPENED. WE HAD A FINE TIME.

ONLY THE LAST HOUR AND A HALF OF THE DATE,

I WASN'T EVEN THERE.

I WAS TOTALLY IN MY HEAD WONDERING WHY YOU WOULD

WANT TO HURT ME.

YOU THINK THAT'S WHAT I WANTED TO DO?

WHAT WERE YOU THINKING?

POOR JULIA? POOR PATHETIC JULIA,

SHE'S SO DESPERATE AND NEEDY,

SHE'LL GO OUT WITH A GUY SHE DOESN'T LIKE

JUST SO SHE WON'T HAVE TO SPEND THE NIGHT ON HER OWN?

NO, THAT IS NOT WHAT I WAS THINKING.

WELL, THEN WHAT?

WHAT? THAT I WAS SO FREAKED OUT

THAT WE KISSED,

THAT I'D THROW MYSELF AT THE FIRST AVAILABLE GUY TO

PROVE THAT I'M STILL STRAIGHT?

NO! JULIA, LOOK, WHAT DO YOU WANT FROM ME?

OK, BECAUSE WHATEVER I DO, I JUST--

I JUST CAN'T SEEM TO GET IT RIGHT FOR YOU.

YOU WANT TO KNOW WHAT I WAS THINKING

WHEN I WAS LOOKING AT YOU AND JOSH?

I WAS THINKING, "ISN'T THAT NICE,"

YOU KNOW?

WOULDN'T IT BE AMAZING, IF AFTER ALL THIS TIME,

JOSH AND JULIA MIGHT ACTUALLY BE MEANT

FOR EACH OTHER?

I DON'T THINK WE ARE.

YEAH, I THOUGHT THAT, TOO.

AND I ALSO THOUGHT,

IF YOU MUST KNOW...

THAT JULIA'S IN A HURRY, THAT'S ALL.

IN A HURRY, YES, FOR SOMEONE.

LOOK, I'M NOT, UH,

I'M NOT GOOD AT THIS-- THIS PEOPLE STUFF.

I'M A WRITER, AND THAT'S WHAT I'M GOOD AT,

AND I'M GOOD AT SEEING THE WRITER IN YOU,

AND I DO SEE ONE.

WHAT DOES THIS HAVE TO DO--

HOWEVER CLUELESS THEY ARE ABOUT EVERYTHING ELSE,

WE KNOW WHAT'S INSIDE OF US.

AND WE KNOW WE CAN TURN INSIDE OF OURSELVES

TO GET WHAT WE NEED.

WE HAVE TO.

YOU HAVE TO.

NOT TO ME, NOT TO ANYONE ELSE,

BUT TO YOURSELF.

FOR A CHANGE, HUH?

LOOK...

IT'S NOT LIKE YOU DON'T NEED ANYBODY,

LIKE A FRIEND OR A LOVER,

WE ALL DO.

BUT JUST DON'T BE AFRAID OF BEING ALONE.

I'M NOT. I'M--

BECAUSE YOU WOULDN'T BE ALONE.

YOU'D BE WITH MY FRIEND JULIA.

YOU CAN TRUST HER.

SHE'S THE REAL THING.

WELL, GOOD NIGHT, I GUESS.

SORRY ABOUT ALL THIS.

HEY, I'M THE ONE WHO TOOK YOU OUT

FOR A DATE IN A PARKING LOT.

SO...

NO, IT WAS GREAT.

I MEAN, I GOT TO MEET YOUR FRIENDS

AND HANG OUT WITH YOU.

AND YOU GAVE ME THE MOST AMAZING PRESENT.

I DID?

WELL, YOU'RE ABOUT TO.

OH, NO!

DO YOU HAVE ANY IDEA WHAT TIME IT IS?

YOU HAVE ANY IDEA WHAT YOU SOUND LIKE WHEN YOU

SPEAK TO ME THAT WAY?

WHAT'S THE POINT OF EVEN GIVEN YOU A CURFEW IF YOU'RE

NOT GONNA RESPECT IT, HUH?

I COULDN'T HAVE SAID IT BETTER MYSELF.

ARE YOU DRUNK?

ARE YOU HIGH?

YOU ARE. I CAN SMELL IT.

DID YOU GET HER DRUNK, HUH?

HEY, MAN, LOOK--

AND YOU WERE DRIVING. HOW MANY DID YOU HAVE, HUH?

LEAVE HIM ALONE, BAILEY.

CLAUDIA, GO INSIDE.

GO INSIDE!

I DON'T DRINK, ALL RIGHT?

I CAN'T, SO JUST BACK OFF.

JUST GO HOME, CODY, PLEASE.

I'LL SEE YOU TOMORROW, OK?

YOU WILL NOT SEE HIM TOMORROW, CLAUDIA.

CLAUDIA, PLEASE LISTEN TO ME.

I JUST DON'T THINK YOU NEED TO BE MAKING

A HABIT OUT DRINKING, OK?

NO, IT'S NOT OK, BAILEY.

JUST BECAUSE YOU HAVE A PROBLEM WITH ALCOHOL

DOESN'T MEAN I DO.

YES, IT DOES, CLAUDIA.

IT RUNS IN OUR FAMILY.

CHARLIE'S NOT AN ALCOHOLIC, JULIA'S NOT AN ALCOHOLIC,

ONLY YOU.

WHAT IS HAPPENING TO YOU, CLAUDIA?

I DON'T EVEN RECOGNIZE YOU ANYMORE.

AND OUT OF ALL OF US,

YOU AND ME...

YOU USED TO TELL ME EVERYTHING.

I WAS A GOOD LITTLE GIRL, WASN'T I?

SO WHAT, SO YOU GET YOUR HAIR DYED

AND YOU GET TATTOOED

AND--AND ALL OF A SUDDEN YOU THINK THAT MAKES

YOU A GROWNUP?

BECAUSE I GOT TO TELL YOU, CLAUD,

IT'S JUST THE OPPOSITE.

YOU CAN TELL ME WHATEVER YOU WANT, BAILEY,

BUT IT'S MY LIFE.

EVEN AT 16, THERE'S NOTHING YOU CAN DO ABOUT IT.

NO, SEE, THAT'S WHERE YOU'RE WRONG.

DON'T THREATEN ME, BAILEY.

YOU'RE NOT MY DAD.

YOU'RE NOT EVEN CHARLIE, SO STOP TRYING TO BE.

I CAN TAKE CARE OF MYSELF.

I'VE BEEN DOING THAT FOR A WHILE NOW.

OH, EXCUSE ME. HI. CAN I GET A SODA, PLEASE?

SOMETHING VERY, VERY CAFFEINATED.

UH-OH! CURVY ROADS GOT YOU DOZING?

UH, I'M JUST A PASSENGER.

THEN I SAY KICK-BACK AND TAKE A SNOOZE.

YEAH, YOU WOULDN'T SAY THAT IF YOU HAD A

500-WORD ESSAY TO WRITE.

LOOK, THE BUS DRIVER SAID THAT I HAD TO

TRANSFER TO ANOTHER BUS

IN ORDER TO GET WITHIN WALKING DISTANCE OF

THE CAMPER'S STATION.

YEAH, THE GRAFTON BUS WILL GET YOU THERE.

IT'S GASSING UP IN THE ALLEY.

THAT'LL BE A DOLLAR EVEN.

OH, THERE YOU GO. DO I HAVE TIME FOR

A PHONE CALL?

MM-HMM.

THANKS.

WHEN DID HE SAY HE WANTED TO SEE OWEN AGAIN?

OK, WELL, WHY DON'T YOU WAIT TILL I GET HOME TO

MAKE THE APPOINTMENT?

NO, BAILEY, IT'S JUST THAT I KNOW EVERYBODY'S SCHEDULES

BETTER THAN YOU DO.

I AM, TOO, FOCUSED ON MY WORK.

IN FACT, I'M HALFWAY THROUGH MY ESSAY.

IN FACT, I AM MORE THAN HALFWAY THROUGH.

HEY, DID YOU CALL THE EXTERMINATOR?

BAILEY...

OH! YIKES, MY BUS IS LEAVING.

YES, ME, TOO. I LOVE YOU, TOO. BYE.

HEY.

OH, IT'S YOU.

HOLD ON. I MADE A NOTE TO MYSELF ABOUT YOU.

I JUST WANT TO MAKE SURE I GET THIS RIGHT.

UH, OK, HERE IT IS.

"NOTE TO SELF: UH, DON'T BE A JERK ABOUT LAST NIGHT.

"OK, MAYBE SHE CUT IT A LITTLE SHORT,

"BUT THE MAIN THING IS YOU HAD A GOOD TIME

AND, UH, SHE HAD A GOOD TIME?"

YES, SHE DID, VERY.

SO THE PLAN WAS, WHEN I SAW YOU AGAIN,

I WOULDN'T COMPLAIN ABOUT THE EARLY HOUR.

I'D JUST SAY THANKS, AND HOW ABOUT WE DO IT

AGAIN TONIGHT?

I'D LIKE TO, JOSH.

I'M SENSING A "BUT" IN THERE, A "BUT"

OR A "HOWEVER."

COULD WE JUST-- COULD WE KEEP IT VAGUE?

VAGUE, LIKE, UH, TOMORROW,

OR VAGUE LIKE THE NEXT DAY?

NO, VAGUE, MORE LIKE, UM...

SEPTEMBERISH?

UH-HUH, I GET IT.

NO, JOSH, YOU DON'T 'CAUSE YOU'RE ANGRY.

AND IF YOU UNDERSTOOD--

YOU DID THIS TO ME ONCE BEFORE, JULIA.

NO, IT'S DIFFERENT.

REALLY? IT SURE DOESN'T FEEL DIFFERENT.

OK, WELL, MAYBE THE END RESULT

IS THE SAME,

BUT THIS TIME, IT IS NOT ME

CHOOSING ANOTHER GUY,

IT'S ME CHOOSING ME.

WAIT, YOU'RE NOT GONNA, LIKE, BREAK INTO SONG

OR SOMETHING, ARE YOU?

YOU KNOW HOW THEY SAY YOU HAVE TO EMBRACE THE THINGS

THAT YOU FEAR MOST?

WHAT, LIKE SPIDERS?

WELL, FOR ME, IT'S BEING ALONE.

THAT'S WHAT I FEAR MOST.

I'VE NEVER REALLY COMPLETELY BEEN BY MYSELF.

MAYBE IT'S GOT SOMETHING TO DO WITH MY PARENTS DYING

AND FEELING SO ALONE

AND THE ONLY ANSWER WAS JUST TO NEVER BE ALONE.

MAKES SENSE, I GUESS.

YEAH. AND THAT PATTERN STARTED AND IT NEVER STOPPED.

LOOK, EACH GUY I'VE BEEN WITH

HAS SORTA BEEN THE ANSWER TO THE ONE WHO CAME BEFORE.

IT WASN'T ME CHOOSING SO MUCH AS RICOCHETING.

AND IT COULD GO ON AND ON LIKE THAT

IF I DON'T STOP AND SAY,

"HEY, WHERE AM I IN THIS?

"JULIE. ME. WHO-- WHO AM I WITHOUT ALL

THESE PEOPLE AROUND ME?

WHO AM I ON MY OWN?"

AND I'M SORRY, I REALLY AM 'CAUSE I LIKE YOU A LOT.

YEAH, WELL...

I WANT YOU TO KNOW I'M NOT GONNA...

I DON'T THINK I'LL BE ABLE TO,

LIKE, WAIT AROUND FOR YOU

TO FIGURE ALL THIS STUFF OUT.

NO, I KNOW.

I KNOW THAT'S A RISK.

AND WHAT IF I GIVE UP SOMEONE REALLY GREAT

AND LET THEM SLIP AWAY?

AND THE OLD ME WOULD AND THE NEW ME--

OR THE TRYING-TO-BE NEW ME KINDA THINKS

I HAVE TO.

OK.

I'LL SEE YA.

(KNOCK ON DOOR)

I'M COMING.

UH, CHARLIE LIVES HERE WITH YOU.

YEAH. UM...

DID HE, UH...

UM...

UH, COME IN.

UH, NO, ACTUALLY, I GOT THE, UH,

GOT THE NUMBER FROM THE SCHOOL.

AND I HAD TO MAKE UP A BUNCH OF STUFF

JUST TO GET IT FROM THEM.

IT'S KINDA SNEAKY, I KNOW, BUT

SOMETIMES, YOU KNOW,

YOU GOT TO IMPROVISE.

WELL, YOU LEFT YESTERDAY, AND CHARLIE WANTED TO

TELL YOU.

THAT HE'D GONE BACK TO YOU,

IS THAT WHAT HE WANTED TO SAY?

DAPHNE, HE DIDN'T THINK YOU WERE COMING BACK.

SHE'S SO BEAUTIFUL,

ISN'T SHE?

CHARLIE SAID, BUT I HAD NO IDEA.

I COULDN'T EVEN PICTURE.

UM, DO YOU WANT TO HOLD HER?

UM, YOU STILL MARRIED TO PAUL?

NO.

THAT HAPPENED FAST.

UM, CHARLIE TOLD ME ABOUT YOUR MOTHER,

AND, UM, I'M SORRY.

IS THAT ALL HE SAID?

JUST "DAPHNE SHOWED UP, HER MOTHER DIED.

WHAT DO YOU THINK ABOUT THAT?"

NO, HE THINKS IT'S REALLY GOOD THAT YOU'RE HERE

FOR DIANA,

HE DOES.

HE'S ALWAYS WANTED DIANA'S MOTHER TO BE AROUND.

4 PEOPLE.

THAT'S HOW MANY THERE WERE AT THE FUNERAL,

AND THAT'S INCLUDING ME AND HER IDIOT BOYFRIEND.

IMAGINE A LIFE THAT LONELY, KIRST.

I AM NOT, UM, ENTIRELY COMFORTABLE HERE, YOU KNOW.

I KNOW. AND YOU KNOW,

I--I THINK THAT THERE'S A LOT OF THINGS THAT

WE SHOULD TALK ABOUT.

THAT--THAT IS WHAT I REMEMBER ABOUT BEING AROUND YOU ALL.

EVERYBODY'S TALKING ALL THE TIME.

YOU KNOW, CHARLIE ACTUALLY HAD A PSYCHIATRIST FOR ME

TO TALK TO.

HE JUST WANTED TO HELP YOU.

YOU KNOW WHAT? TELL MR. HELPFUL...

(SIGHS)

AHEM.

TELL HIM THAT I WILL BE STAYING AT

MY FRIEND NICK AND TINA'S.

IT'S A COUPLE OF FRIENDS OF MINE THAT CHARLIE REALLY HATES.

I WANT TO CRY WHEN I LOOK AT HER.

HEY.

DAPHNE...

SHE'S YOURS.

AND I NEVER, FOR ONE SECOND,

PRETENDED THAT SHE WAS MINE.

WHO SAID ANYTHING ABOUT THAT?

HEY.

HERE.

THANKS.

(DOOR CLOSES)

I CAN'T BELIEVE HOW STUPID I AM.

OK, SO YOU LOST YOUR LAPTOP.

I DON'T WANNA SAY BIG DADDY BIGBUCKS

WILL BUY YOU A NEW ONE,

BUT ISN'T THAT THE TRUTH?

THAT IS SO NOT THE POINT, CLAUDIA.

I'D SPENT DAYS AND DAYS

TRYING TO FIGURE OUT WHAT I WAS GONNA

WRITE ABOUT MYSELF,

AND I MAKE A START-- NO, MORE THAN A START.

I PRACTICALLY FINISH THE WHOLE DAMN THING,

AND THEN I LOST IT.

SARAH, YOU'RE GONNA START OVER.

YOU'RE GONNA DO WHAT I DO WHEN MY COMPUTER CRASHES.

NO! IT IS TOO LATE, OK?

I SHOULD JUST TAKE IT AS A SIGN,

A SIGN THAT I AM NOT SUPPOSED TO APPLY FOR

THE STUPID SCHOLARSHIP.

Bailey: HEY, GUYS.

LOOK WHAT I GOT.

WHAT DID I TELL YOU? MR. MONEYBAGS TO THE RESCUE.

BAILEY, DID YOU BUY ME A NEW COMPUTER?

WELL, ACTUALLY--

I TOLD YOU NOT TO DO THAT.

I TOLD YOU IT WAS NOT GONNA HELP.

I LOST EVERYTHING.

I CAN'T JUST GO BACK AND REMEMBER IT

WHEN IT TOOK ME ALL THAT TIME TO FIGURE IT OUT

IN THE FIRST PLACE.

DID YOU NOT HEAR ANYTHING THAT I SAID?

Claudia: HIGHLY DOUBTFUL.

HEY, WILL YOU STAY OUT OF THIS,

PLEASE?

LIKE YOU STAY OUT OF STUFF THAT HAS NOTHING TO DO

WITH YOU?

I'LL SEE YOU LATER, SARAH.

THAT'S...

BAILEY, THAT'S MY OLD LAPTOP.

YUP. I MADE SOME PHONE CALLS,

AND THEY TRACKED IT DOWN AT THAT DINER

NEXT TO THE BUS STOP.

TA-DA!

YOU'RE WELCOME.

SARAH, LET ME LABEL THIS FOR YOU:

JOYOUS OCCASION.

WHAT WAS LOST HAS NOW BEEN FOUND.

YOU JUST HAVE TO HOOK THIS BABY UP

TO A PRINTER

AND SHAZZAM.

I CAN'T DO THAT.

YOU CAN'T? SURE, YOU CAN. WHERE'S THE PRINTER CABLE?

WAIT. BAILEY...

I DIDN'T WRITE IT.

I DIDN'T WRITE ANYTHING.

BUT YOU SAID--

I KNOW WHAT I SAID, OK? I LIED.

I WASN'T ALMOST THROUGH IT.

I DIDN'T WRITE A WORD.

I COULDN'T.

WELL, OK, BUT YOU DIDN'T EVEN HAVE A CHANCE.

BY THE TIME YOU'D ARRIVED, YOU LOST YOUR COMPUTER

SO YOU HAD TO TURN RIGHT AROUND.

BAILEY, LISTEN TO ME.

I CAN'T WRITE THIS THING.

I HAVE TO ANSWER ONE SIMPLE QUESTION,

RIGHT?

WHO AM I?

BUT IF I HAVE TO LEAVE TOWN AND YOU

AND MY LIFE

TO FIGURE THAT OUT, WHAT DOES THAT SAY?

THAT IT'S REALLY CRAZY HERE.

YOU NEEDED SOME SPACE.

YOU NEEDED SOME TIME TO YOURSELF.

DO I? I MEAN, IS THAT WHAT I WANT?

'CAUSE I DON'T KNOW ANYMORE.

I MEAN, I CANT GO 3 HOURS WITHOUT

CALLING TO CHECK IN

AND MAKE SURE THAT OWEN'S DOCTOR'S

APPOINTMENT WENT OK

OR THAT YOU REMEMBERED TO CALL

THE EXTERMINATOR.

THAT'S BECAUSE YOU LOVE HIM AND YOU LOVE ME

AND YOU TAKE CARE OF US.

SO IS THAT WHO I AM?

SORT OF A MOTHER, BUT NOT REALLY?

MAYBE A WIFE, BUT NOT QUITE?

I MEAN, IS THAT ME?

'CAUSE I DON'T KNOW.

YOU KNOW, MAYBE I'M RUNNING AWAY

FROM THAT.

MAYBE I'M AFRAID TO FEEL HAPPY

IN THAT ROLE

BECAUSE I'M 19,

AND I FEEL LIKE I SHOULD WANT MORE

FOR MYSELF.

BAILEY...

MAYBE I CAN'T WRITE THIS ESSAY

BECAUSE I KNOW EXACTLY WHO I AM,

AND I'M JUST AFRAID TO SAY IT OUT LOUD.

WHEN I WAS IN TEXAS, I HAD THIS PICTURE

IN MY HEAD

ABOUT WHAT WAS GOING ON BACK HERE.

YOU WEREN'T LIVING ALONE

AND, UH, STILL TEACHING,

AND, UH...

HAPPY ENOUGH, YOU KNOW?

AND I WAS THINKING, I WAS THINKING

I CAN GO BACK THERE

AND I CAN MAKE HIM EVEN HAPPIER

WHEN I'M STRONG ENOUGH AND WHEN I'M READY.

AND THAT'S WHY YOU CAME BACK.

I KNOW. WHAT WAS I THINKING, RIGHT?

HOW TOTALLY OFF-BASE OF ME THAT ME COMING

BACK HERE

WOULD ACTUALLY MAKE YOU HAPPY.

DAPH...

TIME PASSED AND, YOU KNOW, WHEN IT DOES,

STUFF CHANGES.

IT'S NOT THAT MUCH TIME, CHARLIE,

WHEN YOU REALLY THINK ABOUT IT.

OK, LISTEN, YOU...

YOU GOTTA HEAR THIS, OK?

'CAUSE, UH, KIRSTEN AND ME, WE'RE TOGETHER.

AND THAT'S CHANGED TOO MANY TIMES,

AND IT'S NOT CHANGING ANYMORE.

OK? THAT'S IT.

AND I'M NOT TELLING YOU THIS TO HURT YOU.

I JUST...

I JUST WANT YOU TO KNOW.

FINE.

WELL, LET'S TALK ABOUT DIANA.

GOOD, GOOD. I WANT TO BECAUSE SHE--

BECAUSE THAT IS THE ONE THING

THAT I CAN LOOK AT,

AND I CAN SAY, "I DID THAT."

AND I HAVEN'T LOST IT,

AND I HAVEN'T SCREWED IT UP,

EVEN THOUGH I ALMOST DID.

BUT, UM...

I'M BACK NOW AND, UH...

AND IF IT CAN'T BE FOR THE BOTH OF YOU,

THEN I AM BACK FOR HER.

AND I'M GLAD, DAPH,

BECAUSE I WANTED HER TO HAVE HER MOTHER THEN,

AND I WANT IT NOW.

SO HOWEVER MUCH YOU WANT TO BE AROUND HER,

JUST TELL US,

AND... US? MEANING

YOU AND KIRSTEN.

LISTEN, JUST START BY COMING BY AND SPENDING

SOME TIME WITH HER.

OK? MAYBE TONIGHT...

IF TONIGHT'S GOOD.

HEY.

BEING HELPFUL, HUH?

MIGHT AS WELL BE.

WRITING, HUH?

MMM. FAILING TO.

PRETENDING TO.

I JUST PUSHED THE HELP KEY TO HELP ME SOLVE

MY IDENTITY CRISIS.

SORRY.

CLAUD.

WHAT ARE YOU DOING HERE?

WELL, YOU SEE, MY BOYFRIEND,

HE'S THE BASS PLAYER IN THE DOOM PATROL,

AND I NEVER MISS A DOOM PATROL GIG.

YEAH, BUT WHAT ABOUT BAILEY?

I THOUGHT YOU WERE GROUNDED

UNTIL...

I DON'T WANT YOU TO WORRY ABOUT BAILEY, OK?

I'M NOT.

Julia: "YOU ASKED ME WHAT I WANTED FROM YOU,

"AND THE TRUTH IS, YOU WERE RIGHT.

"I WANTED TOO MUCH,

"MORE THAN I HAD ANY RIGHT TO ASK FOR.

"BUT SOMEHOW, YOU STILL MANAGED TO GIVE ME

WHAT I NEEDED.

"YOU BELIEVED IN ME, AND MORE IMPORTANTLY,

"YOU MADE ME WANT TO BELIEVE IN MYSELF.

"AND FOR THAT, I CAN'T THANK YOU ENOUGH.

YOUR FRIEND, JULIA."

(COOING)

Daphne: WHAT IS THAT? SHH...

(DIANA FIDGETS)

Daphne: IS--IS SHE HUNGRY?

WHAT TIME DID SHE EAT LAST?

I DON'T KNOW. KIRSTEN WILL KNOW.

KIRSTEN?

Charlie: WHEN DID YOU FEED HER LAST?

AFTER DINNER OR...

SAME AS ALWAYS.

BUT THAT NEW SQUASH COMPOTE,

I DON'T THINK IT FILLS HER UP.

SHE WOULDN'T TAKE VERY MUCH.

IF YOU WANT TO GIVE HER A BOTTLE...

YOU GOING OUT?

UH, TO A MOVIE, YEAH.

HAVE A GOOD TIME.

KIRSTEN, WAIT A MINUTE.

A MOVIE WOULD BE A REALLY GOOD THING

RIGHT NOW, CHARLIE.

WELL...

DON'T SEE ANYTHING WE WERE GONNA SEE

TOGETHER.

TOGETHER?

YES. TOGETHER.

I SEE WHAT I SEE, CHARLIE.

THAT'S A FAMILY UP THERE,

YOU AND DAPHNE AND YOUR BABY.

NO. LISTEN TO ME.

I KNOW WHAT YOU'RE FEELING,

AND I UNDERSTAND IT,

BUT DON'T DO IT, OK?

BECAUSE WE TALKED, AND DAPHNE,

DAPHNE GETS IT ABOUT US, ALL RIGHT? THIS IS...

THAT IS DEFINITELY NOT WHAT SHE'S HERE FOR.

SHE IS HERE FOR DIANA, AND THAT IS IT.

I KNOW YOU'VE TALKED.

THEN YOU KNOW THAT THERE'S NOTHING

TO WORRY ABOUT, RIGHT?

PLEASE. PLEASE SAY THAT YOU KNOW THAT.

I CAN'T SAY WHAT I DON'T FEEL, CHARLIE.

REALLY, I JUST... IT'S BEST IF I GO

FOR A WHILE, OK?

I'LL BE BACK IN A COUPLE HOURS.

OK.