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Old 11-16-2010, 05:51 PM
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ride the lightning
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Joined: Sep 2007
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3.02, The Twins, The Trustee, and The Very Big Trip;

Dy: “Go on. Just, uh, don’t fall in love over there, okay?”
B: “That goes for you too.”

S: “I bet Jake’s glad you’re staying in town.”
K: “I don’t know. We might get together some time.”
Dy: “Aww, Kelly ...”
K: “Hey ... I might even get together with you.”
Dy: “Really? I might just hold you to that.”

3.03, Too Little, Too Late/Paris;

K: “Things with Jake and I didn’t go so well.”
Dy: (heavy sigh) “You know, and I told him not to mess with you.”
K: “You talked to him about me?”
Dy: “Yeah.”
K: “I really got sucked in. I ended up throwing myself at him.”
Dy: “Yeah, well some people have that kind of power.”

K: (to Dy) “Well, I guess I’m done with guys for a while. But ... thanks for trying to look out for me.”

Dy: “Uh, I’m going to jail. It’s for my father’s parole hearing.”
K: “Well, good luck.”
Dy: “Thanks.”

K: (to Dy) “Well, I guess we both know what it’s like to have fathers who only care about themeselves.”

K: “They’re off in Paris having the time of their lives, and we’re stuck here ... miserable.”
Dy: “To tell you the truth, I’m not that miserable.”
K: “To tell you the truth, neither am I.”

S: (to Dy and K) “Hey, come on, Lovebirds. Get off the rope!”

3.04, Sex, Lies And Volleyball/Photo Fini;

Dy: (to K) “Well, then as a friend, it is my duty to introduce you to one of the greatest films ever made.”

Dy: “Kel, I don’t know anything about babies.”
K: “Oh, relax. She won’t bite. She doesn’t have any teeth.”

Dy: (to baby Erin) “What a sweet girl. Shh, shh, shh ... It’s okay. It’s okay. (K overhears and smiles) Aw, yeah, you’re a sweet girl. You got a nice set up here, you know that? Can you tell? Yeah ... You got a mom and a dad. You got a brother, David, and sister, Kelly. You like that? Let me tell you something, though. You take it from me. Don’t let any of them get too close. You just get burned. Rule number one: the only person you can trust in this world is yourself.” (K looks pensive, a bit sad, and turns off intercom)

K: “I just wanted to tell you thanks for keeping me company last night.”
Dy: “... Anytime, schweetheart.”

K: “That’s a nice move. Can I use that?”
Dy: “You’re funny. You’re funny. You know that?”

K: “You are smooooth.”
Dy: “Oh, you. You’re good. You’re gifted. Tremendously.”

Dy: “You keep shoppin’. Alright? You’re good at it.”
K: “Shut up!”

K: (to Dy) “Louie, I think this is the beginning of a beautiful friendship.”

3.05, Shooting Star/American In Paris;

Dy: “How long’re you gonna plan on avoiding me?”
K: “I’m not avoiding you.”
Dy: “Yes, you are. You don’t return my phone calls. You haven’t been here in a week. (pulls her back by the arm) Kelly ... something happened between us.”
[...]
K: “We - we kissed, okay? No big deal. Let’s just forget about it.”
Dy: “No, it’s not it. I was there. It was more than that and you know it.”

K: “When I said that nothing happened between us, that it didn’t mean anything ... it’s just that I don’t want what we did to get in the way of real life.”
Dy: “Kelly, everything is real to me.”

K: “There is no ‘us’.”
Dy: “So why did you have to come here and tell me this in person?”
K: “... Because I wanted to see you.”

K: “I can’t just kiss a guy I’ve had a major crush on my whole life and pretend that it doesn’t mean anything. ... I just don’t know what.”
Dy: “How bout, that we like each other?”
K: “How bout, we were both feeling lonely and we went a little too far?”
Dy: “I don’t think you mean that.” (he kisses her)

K: (to Dy) “Aren’t you forgetting we’re gonna turn into a pumpkin in a couple of days?”

K: “So far, we kissed each other in your living room, in my cabana, and we got in the water today.”
Dy: “So, what? You’re makin’ a list? (kisses her) There’s another one.”
K: “You’re crazy.”
Dy: “Eh, I’ve been accused of worse.”

Dy: “Two sleeping bags. No fooling around, I promise.”
K: (joking) “Then why bother?”
Dy: (smiles) “I mean it. Have you ever camped under the stars?” [...] We can get away, we can talk ... Kel, we might be able to figure out what we’ve been doing the last couple of weeks.”

Dy: (to K) “In all the beaches in all the towns in all the world, she walks into mine.”

Dy: “You know what they say about shooting stars? You can’t share them with a friend.”
K: “Well, I guess they weren’t talking about us.”

3.06, Castles In The Sand;

K: “I’m glad we didn’t cross that line.”
Dy: “What’re you saying? Because we didn’t have sex, nothing happened? Who fell asleep in MY arms last night?”
K: “I admit it. We did connect.” [...]

Dy: “Okay, fine. But can you honestly look me in the eye and tell me that we have not become more than just ‘good friends’ this summer?”
K: “What do you want to do, Dylan? Do you want to make love so we can prove that I have become, once again, the class bimbo?”
Dy: “How can you use the words ‘make love’ and ‘bimbo’ in the same sentence?!”

K: “I have worked too hard to change my reputation to start sneaking around now.”
Dy: “What do you want me to do, Kelly? Huh? (with sincerity) Do you want me to tell Brenda about us?”
K: “There’s nothing to tell her, okay? We watched ‘Casablanca’. We saw some stars. That’s it.”
Dy: (angry) “... Whatever gets you through the night.”
K: “If things were different, Dylan, maybe we could’ve had something. [...]
[...]
Dy: “What are you telling me? ‘We’ll always have Paris?’”
K: (smiles) “Thanks for not doing a Bogart imitation.”

Dy: “... Goodnight, Kel.”

K: “Dylan, you don’t have to keep going out of your way to break the ice with me. I’m fine. In fact, this is exactly what I predicted would happen, now isn’t it?”
Dy: “No, you didn’t predict it. You made it happen.”

K: “Just leave it alone, okay?”
Dy: “But where does that leave you, Kel?”
K: “We can’t have it both ways.”
Dy: “So you’re tellng me just go back to Brenda and forget everything that happened?”
K: “We’ll always have Paris.”
Dy: “That is not funny anymore.”

3.07, A Song Of Myself;

Dy: “Kelly, I tried to call you last night.”
K: “I was home all night, Dylan.”
Dy: “I hung up when David answered.”
K: “Ohh, so that was you. (small laugh) Yeah, he said he got a heavy breather.”

K: “Every time I turn around, I see him hugging her or kissing her. I don’t know if I’m gonna make it through a whole year of this.”
Dd: “Kelly, can I ask you something? And I really don’t mean to be getting too personal.”
K: “What?”
Dd: “Are you in love with Dylan or something?”

Dy: “I didn’t see you in class yesterday. What happened? You skip?”
K: “No, actually I changed my schedule around. I wanted to take Art with Donna.
Dy: “No offense, Kel. I’ve known you since kindergarten. You couldn’t draw a straight line if you had a ruler.”
K: “Well maybe it’s time I learn.”

K: (to Dy) “You and Brenda have each other. And I don’t begrudge you that. But I don’t have to sit and watch it with a perpetual lump in my throat.”

3.09, Highwire;

Dy: “Kelly, I hear you’ve been giving David a pretty rough time.”
K: “Word gets around ...”
Dy: “Well, I mean, can you blame him the kid? God knows I’d be staring if I saw you there all ... wet and naked.”
K: “Dylan.”

B: “Kelly, I know you. You haven’t been yourself lately. Something’s wrong. Something more than David walking in on you in the shower.”
K: “What gave it away?”
B: “Kelly, I’m your best friend. I’ve never seen you so down for so long.”

B: (over phone) “And Dylan ... I love you.”
Dy: (turning receiver, looking to K) “ ... I love you.”

K: “The truth is, I miss our friendship. I mean, I keep avoiding you. But why should I? If I want to talk to you, why do I need an excuse like a set of wrenches?”

K: “It’s like you and I are the only two people in the whole school who haven’t gone completely manic about this whole college thing.”
Dy: “Well, I think that’s because you and I have a pretty good idea of what we don’t want, and in my book that’s just as important as knowing what you do want.”

K: (re: his motorcycle) “So ... am I ever gonna get to ride this thing?”
Dy: “I think so.”

3.10, Home and Away;

K: “Last time this happened, I called Cliff Berman and we got high in his parent’s poolhouse for 3 days. My mom didn’t even know I was gone, she was so coked up.”
Dy: “Well, I hear Cliff’s in town. We can call him right now if you want to.”
K: “What are you saying?”
Dy: “I’m sayng that that was then. And some people do change, Kelly.”

Dy: “You know, Steve was right.”
K: “Steve? What did Steve have to say about me?”
Dy: “He said that a dance without Kelly Taylor isn’t really a dance at all. It’s just a bunch of people, in a big room, kinda waving their limbs around to very loud music.”
K: (smiles) “Very loud David Silver music.”

K: “... Dylan? I don’t know whether to laugh or cry.”
Dy: “Nobody does.”

3.11, A Presumption Of Innocence;

Dy: “You worried about me, Kelly?”
K: “Hey, what are friends for?”

3.12, Destiny Rides Again;

Jackie: (to K) “Honey ... happy teenagers do not paint their rooms black.”

K: “Meeting someone isn’t my problem. I meet people everyday. I just fall in love with the wrong ones.”
Jackie: “Well, take it from someone who’s been married five times: You can’t always control who you fall in love with.”
K: “What do you do if it’s somebody you can’t have?”

B: (to Dy) “Do you realize that we both told each other that our little flings don’t mean anything? Well, they do mean something. And it’s about time we both faced up to that.”

K: “What are you doing here?”
Dy: “Helping you paint?”
K: (smiles) “Yeah, right. Try again.”

Dy: “Brenda thinks that we should start seeing other people.”
K: “So she says. What do you think?”
Dy: “I think it’s time I started seeing you.”

3.13, Rebel With A Cause;

Bn: “Are you telling me you and Brenda broke up over this S.A.T. business?”
(Dy spots K spotting Dy across campus)
Dy: “It’s a little more complicated than that.”

K: “I’m just feeling a little paranoid this morning.”
Dy: “Don’t be. Kel, we don’t have to hide anymore!”

K: “I just feel like I need her permission to go out with you.”
Dy: “The only person you need permission from is yourself.”

B: (to K) “You’ve known Dylan forever. You know what he’s like.”

K: “I cannot believe you remember that.”
Dy: “Oh, yeah. Are you kidding me? Kelly, I sat there watching him, seeing if he had the guts to make a move on you in front of the whole class.”
K: “No way. He was so shy.”
[...]
K: “I think the lecturer said the same exact thing the last time we were here.”
Dy: “You know what? I think you’re right. I think ... we’re in a time warp. We’re trapped in the seventh grade. ‘Scott, can you get me out of here? Well, no, no, captain. I’ve gotta get power to the –‘ “
K: “Shh! Mrs. Simpkus’ll hear. You’re gonna get us in trouble.”
Dy: “So what? If I can stand to get sent to the Principal’s Office, so can you.”
Announcer: “ ... Explorations are in place for new launches into unexplored territories up until now thought of as the outer limits ... ”
K: “Okay. ... Do you have guts enough to make a move in front of the whole class?”
Dy: “... I was just waiting for permission.”

K: “You screw up a few times, and everybody thinks that’s who you are. All you’ll ever be. Even when you try to do the right thing. It just makes you wonder if it’s worth it, you know?”
Dy: “It’s all worth it. If it wasn’t, we wouldn’t be here right now.”

Dy: “Well ... I’m thinking about how beautiful you are. And I’m thinking about how I wish all these people weren’t here.”
K: “Why? What would you do?”
Dy: “I’d do this.” (he kisses her) “And ... I’d do this.” (he kisses her again) “And maybe ... even this.” (another kiss, this one deeper) “Spend the night with me, Kelly.”
K: “Let’s get out of here.”

Dy: (to K) “I’m glad to be here with you.”

K: “I just feel like maybe I’m here because she’s not.”
Dy: “You know that’s not true.”
K: “No, I don’t. Maybe you’re with me on the rebound.”
Dy: “What about this summer, huh? What about up at Paradise Cove. The first time I ever kissed you. Was that on the rebound?!”

K: “... Somehow I end up being the bitch.”
Dd: “Well I don’t think that’s how Dylan feels about you at all.”

K’s voicemail message: “Dylan, it’s Kelly. Look, I don’t know what’s going on with you. ... I don’t even know what’s going on with me. But, let’s talk

about it, okay? Call me. Anytime. I’ll be there.”

3.14, Wild Horses;

K: “I know it’s probably not a good time, but have you heard from Dylan?”
Bn: “No, not since he split.”
K: “I’m worried about him.”

3.16, It’s A Totally Happening Life;

B: “I’m sure you’re wondering why we wanted to meet with you.”
Dy: “I thought you wanted to buy me some pie.”
K: “Yeah. Humble Pie.”
Dy: “My favorite kind.” ; )

B: (about her and K) “Dylan, we both love you.”

Dy: (about B and K) “I think I love you both.”

K: “Well, the language is so dated.”
Dy: “How can you say that? I mean, okay, let’s say, uh, you’re at your local mall, somebody’s hassling you. You say to them: ‘A pox on your throat, you bawling, blasphemous, incharitable dog’.” (she laughs)

K: “Does anyone else want a soda?”
Dy: “Yes, wench. Bring forth.”
K: “Coming right up, my lord.”

Dy: “I never believed in Santa Claus.”
K: “Well ... that explains everything.”

3.17, The Game Is Chicken;

Adam: “Oh, yeah. And Kelly - Kelly’s a goddess.”
Dy: “... Yep. I know what you mean.”

3.18, Midlife … now what?;

Dy: (to Nat) “I try to picture myself with Brenda, I see Kelly.”

3.19, Back In The Highlife Again;

Dy: “Hey, it’s not important. You’re here.”
K: “So, when are you gonna introduce me to your father?”
Dy: “Come on. He’s gonna love you.”

Dy: “You okay? You don’t sound so good.”
K: “Stuff’s going down at home. Looks like my mom’s gonna be single again.”
Dy: “You’re kidding me. I mean, I really thought those two would make it.”
K: “Unfortunately, so did my mother.”
Dy: “Are you okay?”
K: “I guess so. You’d think I’d be used to it by now. I’ve been through it enough. I just wish they’d stop fighting and get on with the divorce.” (Dy looks down, grabs her arms, and pulls her into him for a hug)

K: “It’s too cold.”
Dy: “Kelly, the pool is heated and I’ll keep you warm.”

K: “This was a good idea.”
Dy: “I’m full of good ideas.”
K: “Oh, I bet you are ...” (she splashes him)
Dy: “Don’t do it unless you mean it.”
K: “I mean it.”
Dy: “You’re in trouble, then.” (he pushes her underwater, they come up kissing)
K: “Don’t do that if you don’t mean it.”
Dy: “I mean it.”
K: “Well you’re in trouble now ...” (she kisses him again)
[...]
Dy: “Look, it was you two that gave me that dumb ultimatum. You said choose. I chose. I chose you. I want you. ... I’ve always wanted you.”

Dy: “I mean, you’re just beautiful all around, you know?”
K: “Would you stop? We’re at school.”

K: (to B) “Well, he wants to give his dad a chance. And I think that’s great.”

Dy: “My dad, he hears what he wants to hear. It’s all up to my mom.”
K: “You don’t sound very enthusiastic about the whole thing.”
Dy: “I just care more about my old man than I do the money. If this’ll bring us closer, I’ll go for the ride.”

K: “I had a very good time tonight.”
Dy: “I told you so. Although I would like to try it without my dad and Christine around some time. I’d kind of like to get you all alone to myself.”

Dy: (to K) “What do you want? I mean, you want to pretend that there’s nothing going on between us just so that Brenda will keep ‘talking’ to us?”

K: “I can’t believe Dylan and I are finally together.”
Jackie: “Well, at least one of us is lucky in love.”
K: “Yeah, I guess so.”

3.20, Parental Guidance Recommended;

Iris: “You seem happy, Dylan. Centered.”
Dy: “Well, a lot of things have fallen into place for me.”
Iris: “Kelly?”
Dy: “Yeah, she’s part of it.”

B: (to Iris, about Dy and K) "Great. And he thanks me by falling in love with my best friend."

3.21, Dead End;

Jack: “To the future greatness of the new and improved McKay clan. To Kelly.”
K: “What’d I do?”
Jack: “I don’t know, but whatever you’re doing, you keep right on doing it because I have never seen Dylan happier.”

K: “Okay, but I have to warn you. I don’t know my aft from my elbow.”
Dy: “Oh, it’s okay. Maybe we’ll get swept away on some deserted island ... and you can be my sex slave.”
K: (smiles) “In your dreams.”
Dy: “Every night.”

Dy: “Kelly, I hate to break it to you but, um, guys are gonna look at you. It’s the price you pay for being so beautiful.”

Dy: “... Stay here?”
K: “I don’t think my mom would appreciate that very much.”
Dy: “It’s okay. I’ll write you a note. I will. You know, ‘Mrs. Taylor, um, please excuse Kelly for not being at home tonight, as she needs a very serious dose of Dr. McKay’s bedside manner.”

Jack: “Where’s Kelly?”
Dy: “Oh, I took her home. We were both, uh, you know, (wink) ‘tired’.”

Dy: “I could have called her back.”
Jack: “Hey, take it from me: don’t ever keep a girl you care about waiting.”

Dy: “Hey, how’re you doing?”
K: “I just wanted to say good morning.”
Dy: “Good morning.”
K: “How’d you sleep?”
Dy: “Not as good as if you’d been here.”

3.22, The Child Is The Father To The Man;

K: “Dylan, are you okay?”

K: “Dylan, I just ... I wish there was something I could do to make you feel better.”
Dy: “So do I, Kel.”

K: “I just felt so useless. I mean, I kept trying to reassure Dylan that everything’s gonna be okay, but I just don’t think I was getting through to him.”
D: “He’s probably still in shock.”
K: “Or maybe he knows that I don’t know what the hell I’m talking about.”
D: “No. Kel, you’ve never been in a situation like this before. I mean, you can’t expect to know how to take care of him right now.”

K: (to D) “I just feel like being alone.”

K: (to D, about Dy) “I mean, it’s like I’m paralyzed. I don’t even know what to say to him.”

K: “It’s kind of weird being here, don’t you think?”
Dy: “I think it’s all relative. It was weird being in that limo with Jack. It was weird at the hotel. It was weird on that boat. ... My whole life’s been weird.”
K: “Well, I really – I really liked Jack even though I didn’t know him that well.”
Dy: “Kel, you knew him nearly as well as I did.”

Dy: “Did I wake you?”
K: “No, it’s okay. How are you?”
Dy: “Okay. How are you?”
K: “I’m better now.”
Dy: “Go back to sleep. I just wanted to hear your voice.”

3.23, Dukes Bad Boy;

Dy: “How can you ask me that? You know what’s the matter.”
K: “Then let me help you. Don’t keep pushing me away.”

A: “This isn’t a competition, you know. This is Dylan’s feelings you’re talking about.”
K: (glassy-eyed) “I know. Ever since the funeral, it’s like I can’t even talk to him. Nothing I say cheers him up.”

Dy: (to K) “Hey, it’s not personal, okay? It’s just, you know, I’m writing about my dad and feelings and stuff, and I just don’t want to share it until it’s done.”

Dy: “I’ll call you later.”
K: “You don’t have to.”
Dy: “I want to. Don’t be mad.”

3.24, Perfectly Perfect;

Dy: (to K) “I just don’t like to see you starving yourself.”

Dy: “Do you remember in the second grade Mrs. Doveetch made me ‘king for a day’ on my birthday?”
K: “Yeah, you looked very cute in your little crown.”
Dy: “Yeah, but it was also Kathy Collen’s birthday. So she got the wand, I got the crown, and we had to agree on what all of our royal commands were gonna to be. It was awful.”

Dy: (to K) “You want to dance?”

K: “Dylan?”
Dy: “Hmm?”
K: “Thanks for staying.”
Dy: “Where else would I want to be?”

3.25, Senior Poll;

Dy: “It’s just that, well, I’ve been grappling with some pretty heavy things, you know? I’ve been writing about my dad and ...”
K: “I know. How’s it going?”
Dy: “I don’t know. I mean, I’m too close to it. I just – I gotta make some last minute revisions.”
K: “So you’re almost done?”
Dy: “Almost.”
K: “When do I get to read it?”
Dy: “When it’s finished, just like everybody else.”
K: “I understand.”
Dy: (smirking) “I knew you would.”

Dy: “You always do that to me.”
K: “Oh, do I?”
Dy: “Mm-hm. Ever since kindergarten. Remember? You gave me half your cookie?”
K: “I cannot believe you remember that stuff.”
Dy: “Oh, yeah. I remember all kinds of things. I’ve been flashing back to my memories a lot lately. And you know? I did a pilgrimage down to the old playground. You should do it sometime. It gets you back to your roots in a hurry.”
K: “Oh, yeah. That’s just what I need.”
Dy: “The prettiest girl in Beverly Hills? That’s just what I need.”

K: “What are you trying to say?”
Dy: “That I think this Senior Poll thing is a big joke. That’s it. Over and out. It has nothing to do with you.”

Dy: (to K) “You should have won the Sexiest. Best Lover ...”

Dy: (to K) “You’re a goddess.”

D: “You’re being ridiculous.”
K: “Am I? I just said that nobody takes me seriously and you didn’t take me seriously, did you?”
A: “Well, from what Dylan has been writing, I would say he takes you very seriously.”

Dy: “Kel! Listen, I don’t know what’s going on with you, but I do value your opinion!”

Dd: “Look, man, I thought about going after her. But I thought that if I were that worked up, I’d just want to be left alone. My guess is she went down to the beach.”
Dy: “No ... I don’t think that’s where she went.”

Dy: “I knew you’d be here. I used to push you on this same swing.”
K: “So you could look up my dress ...”
Dy: “That wasn’t me.
.... Kel, I remember the time you jumped off this thing. Skinned your knee. But you didn’t want anyone to see you cry, so you just stood there, bleeding, and trying to smile.”
K: “... It’s not that easy anymore, Dylan. So why don't you just do me and everybody a big favor ... and go back to Brenda?"
Dy: (angrily) "Is that really what you want?"
K: "What's it matter what I really want? I am just a ... stupid blond bitch who's not really worth it."
Dy: "I disagree."
K: "Why don't you talk to my father? Never bothers to call me anymore. ... Or my mom, who probably hates me right now. Or all the guys I put out for in the 10th grade and never heard from again!"
Dy: (soft and hurt) "Kelly ... "
K: "Or why don't you talk to Brenda and find out how it really feels to have somebody you trust go behind your back and steal your boyfriend from you?"
Dy: "That's not how it happened! I mean, it's not even close, Kel. That - That's part of what I've been writing about."
K: "Yes ... Thank you ... for reminding me about that."
Dy: "Kelly, do you have any idea how difficult it is for me to share that with anybody? You're not the only one who wants to end up as more than just 'best looking' in a stupid poll!" (Kelly quickly turns)
K: "You are already so much more than that and you know it!"
Dy: "How do I know it? Who ever tells me that I'm smart? Or even worth knowing? (Kelly looks) We are ... two little kids who had to walk home from school by ourselves because our parents forgot to pick us up."
K: (sits back on swing) "I guess we're both basketcases, then.”
Dy: "No ... we're soulmates. If you hadn't called me that day at the marina, I would have fried in that car. ... And I miss Jack, I miss him - I miss him more than I can tell you, but I'm not ... I'm not unhappy to be alive! And most of my life, I couldn't say that. ... I care what you think. I don't care that you're in an eating disorder group. Kel, if you said that you never wanted to sleep with me again, I could live with that!"
K: (a surrendered look) "That morning when I called you on the boat ... all I really wanted to do was hear your voice."
Dy: (seeing his opening, he gets up) "Do you still want to?"
K: (tears down her face, she nods) "... Yes."

Dylan walks up to her, stops, and puts his head down. After a moment, she buries her face on his chest.
He cups her head in his hand, then leans down to kiss her on top.

Dy: “Your photographer awaits.”
K: “Let’s do it.”
Dy: “You sure? Cause we don’t have to. Zuckerman says we could eliminate the whole category and the world would be a better place for it.”
K: “No, I want to. No tuxedos, though. Just us.”

Dy: “Kelly, there’s something I want you to read.”
K: “You don’t have to.”
Dy: “I know. I want to, though.”

Dy VO: “Even before he noticed her, he noticed her boat. A sleek two-footer she had been given for her fifth birthday a few days before. She was sailing it, upside down in a large pool that had formed during a winter rain. The rain, again. In a marina this time. The boats, like the girl, had grown. Beautiful. Inspirational. After the explosion that killed his father, she was the only beauty, the only inspiration, left in his life.”

K: “Dylan, did you mean what you said yesterday?”
Dy: “We said a lot of things, Kel.”
K: “The part about how if we never slept together again, you could live with that?”
Dy: “Are you sure I said that? I mean, it just doesn’t sound like me.” (they both smile)

3.26, She Came In Through The Bathroom Window;

S: (to Dy, about him and K) “You’re like two peas in a pod.”

3.27, A Night To Remember;

Dy: (to K) “You know, I don’t know what tastes better, these strawberries or you?”

Photographer: (to Dy and K) “Do you two think you can unlock your lips long enough to get this picture taken?”

S: “Well, you and Dylan, are you happy?”
K: “Yeah, we are.”

3.28, Something In The Air;

K: “You really want to go to Berkeley, don’t you?”
Dy: “I don’t know. I mean, I like it there.”
K: “... I’d miss you.”
Dy: “Come on, Kel. There are planes leaving for the Bay area every half an hour. Besides, no one’s going anywhere yet. I’ve got to get in first.”

3.29, Commencement (1);

Dy: “Hey ...”
K: “Hi, Smush.” (kiss)
Dy: “Kel, if you tell anybody that I let you call me that ... I’ll kill ya.”
K: “Well, my lips are sealed.”

Iris: (to K, about Dy) “No, don’t apologize, dear. Just be careful. Money changes people.”

3.29, Commencement (2);

K: “Just think, if I hadn’t stayed here this summer to help you with the baby, then Dylan and I may have never gotten together.”
Jackie: “See, sometimes things do work out.”
K: “Yep. Although, that ‘living together’ idea, you don’t have to worry about it. It’s not in the cards.”
Jackie: “What did he say?”
K: “I didn’t even bring it up. I mean, I know he cares about me, but ... he really is a loner.”

[Flashback re-edit]
K: “’Your father’s very sorry, but he’ll make it up to you next time.”
Dy: “Kel, you gotta believe, there’ll be a next time.”

K: “Guess where I’m going.”
Dy: “Dinner with your mom.”
K: “And my dad.”
Dy: “Your dad? (looks over) So, that’s your dad.”
K: “Yep, that’s him. Now I know how I’m gonna remember this day. It’s the day I saw my mom and my dad together, in the same place.” (they look at each other for a long time, smile, and hug)

Dy: “I don’t know ... I figure I’ll start in Norway, work my way South. You know, maybe go to Paris, jump over to London, see some Shakespeare country ... and just keep going south until I find the nicest beach in Greece. ... You got a passport?”
K: “Why, do you want me to go?”
Dy: “No, I want to borrow it. Of course I want you to go.”
K: “Oh, I’d love to.” (they hug)




Because ...



01. Even just after a break-up, she refers to their relationship as a good one. But good relationships aren’t easy.
02. Donna can imagine him agreeing to live with Kelly.
03. He doesn’t let her shoulder the blame for why they’re on the outs, telling the guys that maybe it was his fault. She ultimately does the same.
04. She still wants and waits for him to call ... even if he doesn’t have her new number.
05. Until he found out he was rejected by UC Berkeley, they were having a great time in France.
06. Anecdotal flashbacks to the period when they split are partially played up for comedy.
07. They incite passionate reactions in the other and, quite frankly, he doesn’t mind a lover’s slap. There’s a battle between them. A glorious, fiery battle.
08. He’s turned on by both the surrender of her guard and the point at which it’s raised, always responding with tenderness for the former.
09. Within seconds of seeing one another they make up, make out, and admit they missed each other.
010. None of their friends are surprised they got back together before they even saw them apart.
011. He still wants her as his long-term traveling companion.
012. She cares that he doesn’t give up on college.
013. They’d rather apologize and move on than stay mad.
014. He wants to respect his desire not to participate in the freshmen party scene, but not at the cost of alienating her.
015. She’s the only “sorority-type” girl he can see himself with.
016. She defends his affection for her when it’s questioned by John.
017. His house represents “home” for her, and this makes them smile.
018. They share quiet moments of intimate reflection.
019. He knows she appreciates what sets him apart from most people and wouldn’t want him to be anyone but himself.
020. When he has news, he can’t wait to share it with her.
021. His position on how they should spend their time is both involving and non-possesive, him being of the mind that they can follow their own interests and
meet up afterwards.
022. He comes to the pool party as a show of good faith for the attention he pays to their needs as a couple.
023. She finds his mopeyness somewhat endearing, regardless of her request that he be more sociable.
024. They can temporarily release their anxiety about real issues through playful flirtation. [Or: If she’s gonna push him in the pool, he’s gonna take her down with him. : P]
025. He asks about her day.
026. When he needs to gain perspective on what his actions mean, he comes to her.
027. She’ll go on late-night drives with him to help clear his head.
028. He knows when she’s holding back on telling him something, and is pained by her sudden emotional distance.
029. We see how easily she can and does turn down sex with him. And it seems she did so out of the need to avoid feeling that close to him when her intention was to break up.
030. She couldn’t break things off without tearing up and kissing him ... and didn’t actually want their relationship to end.
031. Pursuing a relationship with John takes pause while she’s distracted by her concern for Dylan and the fight to remain a steady part of his life.
032. His reaction to losing her comes right at the time when being held at gunpoint is meant to further heighten his sense that events around him are unpredictable and there’s reason to feel unprotected. Therefore, when he vents to her that “none of this has been easy” on him, he’s talking about the carjacking as well as their
breakup, and his obsession with arming himself is twofold.
033. He can only last a few hours claiming he doesn’t want to hang out with her.
034. She’s willing to spend time at a gun range if it means she might be able to reach him in his dark state, worried that he could hurt himself or others while growing cold, wary, and emotionally hardened.
035. She’s the second person in line, after himself, that he’s seeking to protect. And if he can’t occupy that role as her boyfriend, he wants to empower her to do so herself.
036. She won’t let his friends dismiss his actions as benign or outside of their control, and recruits their help in looking out for him.
037. Against the suspicion of others, she was correct that he was in the market for a gun of his own.
038. His immediate guess that she voiced concern to their friends about him suggests that he anticipated as much all along and enjoys the fact that she’ll do so even when they aren’t together.
039. She doesn’t want him to see her with another man at something as substantial as the Walshes anniversary party.
040. They like running into each other and do so often.
041. Neither of them mind if people mistakenly think they’re together.
042. In front of him, she speculates about their future in light of Jim and Cindy making it through 20 years of marriage.
043. She thinks they have “all the sparks in the world”.
044. He believes their relationship was never “broken” to begin with and accepts no insults for it.
045. Without a specific motive or prompting, she’s still constantly around him.
046. As he tells Nat, he loves her and wishes she weren’t dating a “total dirtbag”.
047. She rejects John, citing his inability to develop sincere feelings for a person, and runs straight to Dylan – representative of the other end of the spectrum.
048. He was ready to punch out John for insulting her character and seeking to use her for sex.
049. She credits him for all the inner strength and self-respect she’s gained which allowed her to walk away from an unhealthy relationship.
050. He understood the deeper motivations for her being drawn to John Sears and the necessity of her coming to terms with them on her own.
051. He can’t concentrate on anything while he still wants her back, knows she wants him back, is afraid of taking her back, and fears she might take John back. (Lol)
052. He effectively relates the skittishness of the girl in Andrew Marvell’s poem, “To My Coy Mistress”, to Kelly (and himself, in the context of his relationship with
her), speaking of the vulnerability involved with opening your heart up to another, particularly since they might leave you.
053. Brenda has a favorable enough impression of their relationship to encourage him to fight for Kelly if that’s what he wants.
054. By listening to her speak at the rally on date rape, he gets to hear how far she’s come in accepting responsibility and forgiving herself, respectively, for her
past. And he thinks she did great.
055. The question of whether she’s worth the risk of him getting his heart broken again is resolved when he throws that pie in John’s face for her. She is! The kiss he steals qualifies this sentiment.
056. Donna thinks the only thing preventing a reunion is Kelly’s unfounded self-doubt.
057. Their Thanksgiving squabble presents a deft mix of comedy, drama, avoidance, and confrontation, but he uses it to forward a dialogue about the real issue between them: her fear of holding onto someone who really cares about her.
058. His statement about how much it hurt that she pursued John regardless of them not sleeping together is a testament to the fact that he cares where her heart goes over who she sleeps with. He knows her heart is more valuable.
059. Speaking of him under the assumption that things won’t work out, she looks down a lot and quickly changes the subject.
060. He finds her defense mechanisms adorable – especially when the truth requires nothing to be self-protective about. He wants her, he’s not upset ... and he knows she isn’t either, but he’ll play along until disarming her with a kiss.
061. She casts a shy glance when his romantic influence over women is acknowledged, no doubt recalling what it was like to be intimately affected by him.
062. Their friends look straight to Dylan when asking if Kelly will be needing a ride home. The gang already assumes they’re as good as back together again, or at least have unfinished business to address.
063. He jumps at the chance for some alone time with her following David and Donna’s anniversary celebration.
064. They’re mutually amused by their reputation for being volatile and possibly disruptive if left alone together.
065. He’s pleased by her ability to admit that she’s nervous to be around him again in a romantic context. ... And a little humored by the fact that she still preambled her statement with an excuse.
066. His statement about the Scirrocos winds serves as a metaphor for him to express that he has no intention of holding her dalliance with John Sears against her, and for her to liken the last few weeks to a lapse in perspective.
067. Making love to her brings out his urge for nose nuzzles, forehead kisses, and extended cuddling.
068. It’s no coincidence that he pictures them at Joshua Tree, an ecologically rich and complex desert park characterized by its harsh, unpredictable climatic extremes, innate fragility, and overall beauty and wonder. In other words, a place known for as much dualism and passionate sensibility as themselves.
069. He shows up at the car wash anyway, as a second show of good faith for the value he places on doing what she wants together, but this time Kelly’s secure enough to tell him it wasn’t necessary.
070. They read together and share their thoughts.
071. She bravely admits that she’s still working on trusting that a person’s love will still be there even if they’re not with her at every moment, a statement pointed at him.
072. She enjoys hearing about his day and striking a balance between time spent together and time spent alone.
073. Smiling, they both agree that there’s ample hope for them as a couple.
074. Their mid-season reunion lasted for over a month of airtime, giving us back-to-back episodic climaxes in which they affirm their feelings and are ultimately rebuilt as a stronger pairing.
075. Their relationship is so secure that he can playfully kiss Donna in front of her.
076. He bought a Christmas present for her little sister.
077. The renewal of Dylan and Kelly’s relationship is credited for his upbeat, celebratory spirit, and Donna’s never seen him so happy.
078. She had the intuition to know that he’d spend part of the holidays reflecting over his dad, and worried about a deeper sense of loneliness getting the best of him.
079. They call to check in on each other, ‘I love you’s and all.
080. She fit in just fine with his new family at first, engaging in sing-a-longs and comforting Erica about her mom’s new boyfriend.
081. We see them build a relationship with their respective little sisters at the same time and they’re equally loving and protective.
082. He was more than willing to let her stay with him when she moved out of the beach apartment.
083. He loves listening to her tell stories about the past, especially when she recounts a childlike sense of wishful thinking, such as the desire to make everyone’s problems vanish with the wiggle of her nose. It’s a good contrast to their shared cynicism.
084. The Peach Pit heard it first: their sex life is very satisfying.
085. When there’s tension in the room, he puts an arm of comfort around her.
086. They formed a united front of tough love and confrontation to get David off drugs.
087. The first thing he does upon waking up is reach out for her.
088. She knew he’d be interested in a film about the value of women across different cultures, and had been involving him in her pro-feminist coursework regardless.
089. Sometimes he’s so excited to see her that he springs from his seat, corners her at the door, and kisses her. No particular reason.
090. They tease each other mercilessly (in a good way) and she finds him funny.
091. He can imagine himself taken as the sexual partner of her youth, the father of her children, and the companion for when she grows old just the same.
092. He reminds Lucinda that Kelly is his girlfriend when she starts to hit on him, doesn’t kiss her back, and is offended by the whole scenario.
093. She resigns from being a future escort for Brandon, as their kiss can’t happen again while she’s still seeing Dylan.
094. After only one night of separation, they kiss like it’s a full-on reunion.
095. She can tell when there’s truth behind his joking and he’s actually hurt.
096. Although she fervently rejects his theory that Lucinda was trying to sleep with him (whether to finance her documentary or not), a part of Kelly trusted his word, thus the tense confrontation she stages with her professor during class.
097. She was visibly hurt when it became clear that Lucinda had, in fact, pursued Dylan. And her impression of him took priority over maintaining the illusion that her role model was qualified for such a title.
098. It took some major prompting for him to expose Lucinda’s actions, as she’s someone who means a lot to Kelly and he didn’t want to see her crushed.
099. When the Dylan/Kelly/Brandon/Lucinda quadrangle gets too complicated, it’s her relationship with Dylan that she seeks to save by coming clean about the retreat kiss.
100. He’s enraged at the (albeit, misguided) notion that Brandon would make a move on her and purposely send Lucinda his way, as if they could swap women for a time. He’s not remotely into it.
101. He uses humor to skirt the issue of her kiss with another, but she, with great physical and emotional tenderness, introduces a somewhat serious vibe, as she feels it’s necessary in order to resolidify them.
102. He can acknowledge when she says something out of line, but ultimately let it go.
103. At the root of her “Cuffs and Links” jealousy spat is her desire to be remembered as the great love of his life. And, better yet, be with him “forever”.
104. In the hippie version of the gang, Peter and Michelle bond over a commonly held spirit of revolution and advocacy of personal rights, similar to their 1990’s
alter-egos.
105. Peter and Michelle are the peace-loving flower children of the group, a casual nod to Dylan and Kelly’s sense of liberalism, innate sweetness, and specifically her sensitivity to conflict, as the Be-In freak-out illustrates. She can fall apart in front
of him, he understands, knows how to handle her, and she relies on his comfort.
106. Even the ‘live fast, die hard’ angle to Michelle and her turn to drug use for escapism touches off the recollection of how Dylan saw Kelly as a tragic figure/fallen character for the time before she got her life together.
107. Repeatedly, when she looks over to him, he senses it within seconds and looks back.
108. He agreed to pose for the calendar shoot to help her out against all prior wishes.
109. Him making a fun-loving mockery of himself during the calendar shoot sent her jumping up and down with laughter.
110. He thinks she can do anything she sets her mind to, and supports her decision to try out for the part of Mae in “Cat On A Hot Tin Roof”.
111. It’s important to him that she meet Kevin, the newest member of his family.
112. Privately, there have been times when his alcoholism came into focus enough in their relationship for a play involving this theme to touch off memories/emotions for her.
113. She wants him to be the one she describes her daily experiences to, and he’s all for listening as long as the subject isn’t a catfight.
114. Even if they were last argung, he’s always glad to see her.
115. He felt bad when he thought she quit the play over something he said.
116. He loves a person who stays true to what they want and don’t want in the face of opposing expectations. This was her when she decided not to pursue acting.
117. They can use flirtatious humor to dilute the potential for argument and resolve former disputes.
118. He apologizes for not listening earlier. He’s always willing to apologize in the end.
119. She’s none too thrilled that capitalistic pursuits may be changing him as a person.
120. At the peak of their discontent, they still make love and reference it that way.
121. Once their sexual connection overshadows their ability to communicate and function as a couple, she points this out as an oddity and a reason to break up if unfixable. This means that what held them together could never have been just physical attraction, and she cares about the strength of their relationship.
122. When faced with the possiblity of breaking up, they first opt to let their conflicts go and start over. They seal this resolution with a soft, passionate, rather lengthy kiss.
123. Their break-up was mutual, along with the momentary consideration that they just become non-exclusive.
124. To paraphrase Dylan, of course they’re still on speaking terms and will remain friends.


4.01, So Long, Farewell, Auf Wiedersehen, Goodbye;

K: (to D) “So we stumbled on this little town about 200 miles south of Paris and we stayed at this old castle. It had a great restaurant and a tavern where everyone in town was hanging out. And we tried to speak French. (laugh) We ate, and we danced. Dylan played a lot of chess.”

K: (to D) “Everything was actually tres jolie until Dylan found out he didn’t get into Berkeley.”

K: (to D, about her and Dy) “Anybody who says that being in a good relationship is easy has never been in a good relationship.”

4.02, The Girl From New York City;

K: (about Dy) “He didn’t even call.”
D: “Well, he doesn’t have our number. And to come to think of it, he doesn’t even know where we live!”

K: (to D) “Well, we were having a great time. France was beautiful. Just like the paintings. Everything was perfect. But then Dylan found out he didn’t get into Berkeley. [...]”

D: “Go ahead. Call him. You know you want to.”
K: “I do not.”
D: “Yes, you do.”

D: “You hit Dylan?”
K: “Yep.”
D: “And you slept with Gaston?”
K: “Of course not!”

K: “So, were you ever gonna call?”
Dy: “We’re you ever gonna give me your number?”
K: “Okay, we’re even.”
Dy: “On all counts.”

K: “I missed you so much.”
Dy: “I missed you, too.”

D: (to Dd) “Dylan and Kelly are all over each other!”

4.03, The Little Fish;

K: (about college) “Dylan, you’ve gotta give it a chance.”

K: “What are you planning on doing if you don’t go to school?”
Dy: “I don’t know. Maybe I’ll travel.”
K: “Alone?”
Dy: “You can go with me.”

D: “What’s wrong?”
K: “I just keep hoping Dylan woke up on the right side of the bed and decided not to drop out.”
D: “Well, he’s probably sleeping in, keeping that bed warm for you.”

B: (to Dy, about him and K) “Well, I loved Paris. And it must be incredible when you’re there with someone you love.”

Dy: “Having a bubble bath?”
K: (laughs) “I’m glad to see you.”
Dy: “You’re not too hard on the eyes either.”

Dy: “What do you call the dumbest fish in school?”
K: (tapping his nose) “You.” (they kiss)

4.04, Greek To Me;

Dy: “Do you hate me?”
K: (smiles) “Yes, I hate you. But I love you more.”
Dy: “Good.”

K: “Well, Dylan’s not that big on parties.”
John: “Maybe Dylan’s not that big on you.”
K: “He is. You don’t know anything about him.”

K: (sitting outside Dylan’s door) “Surprise, surprise.”
Dy: “Is something wrong?”
K: “The party was over and I didn’t have anybody to go home with.”
Dy: (sitting down next to her) “Well ... you’re home now.”
K: (smiles) “... I missed you.”
Dy: “I missed you, too.”
K: “Dylan, I was wondering something.”
Dy: “What?”
K: “Why can’t you be more like everybody else?”
Dy: (knowingly) “Is that really what you want?”
K: (smirks) “No. Not really.”
Dy: (smiles) “I didn’t think so.” (she kisses his cheek and falls onto him)

4.05, Radio Daze;

Dy: “The only reason I’m here is to be with you.”
K: “Well, I’m glad you’re here.”
Dy: “I’m glad too.”

K: “Admit it. You had a great time.”
Dy: (smiles) “Yeah, don’t ever make me do this again.” (he kisses her, pulls her under water)

4.06, Strangers In The Night;

Dy: “Do you think I’m showing off?”
K: “No, I love that car.”
Dy: “I do, too! It’s a great car. You know? I mean, it is my life. If I want to go out and buy a brand new car, what’s the big deal?”
K: “Where is all this coming from?”
Dy: (sigh) “Jim Walsh.”
K: “Would you please stop letting him bother you? It is your money.”
Dy: “That’s what I said.”
K: “Then what is the problem?”
Dy: “I don’t know ... I know it’s late, but do you want to take a drive with me?”

K: “So, you feel better now?”
Dy: “Yeah. Thanks.”
[...]
Dy: “Jim’s right. I don’t need this car. This car is for picking up girls and I already got a girl.”
K: “Yeah.”
Dy: “... Are you okay, Kel? You’ve been kind of quiet.”
[...]
Dy: “Well, you know the best place to get a good night’s sleep is my house.”
K: “I don’t think so.”
Dy: “Okay, maybe not so much for the sleep, but ... the night’ll be good.”

K: (to Dy) “I guess it seems like we both just want different things right now.”

K: “It’s not like I want to break up with you or anything. ... I’m sorry.”
Dy: “Yeah, I’m sorry too. I mean, this can be dangerous, this ‘seeing other people’. That’s how we started.”

4.07, Moving Targets;

[K watches an aimless Dy from afar.]
John: “I thought you broke up with McKay.”
K: “I did, but right now I need to talk to him.”

K: “ ... Don’t do this, Dylan. I still want to be part of your life.”
Dy: “Kel, what do you want to go and do something like that for? My life sucks and you know it.”
K: “Dylan ...”
Dy: “What do you want me to say? Huh? None of this has been easy on me, I’ll tell you that. But I’m not gonna get myself in another situation where some little punk with a big gun can do a number on me.”

K: “Dylan’s on his way over, too.”
Jackie: “You’re kidding. You guys are back on?”
K: “Well, I said to him, ‘I still want to be part of your life’. And today he called me up and he asked me to go out on a date. ... To the gun range.”
Jackie: “Oh. How romantic.”
K: “What was I suppose to say? According to chapter four of my psych book, he’s going through post traumatic stress syndrome.”

Dy: “You got about as much chance of taking a bullet as being in a car accident! Or am I not supposed to worry about that? Huh? It’s not ‘my problem’? I should let other people worry about you?”
K: “I’m worried about YOU!”

K: “I’m just scared.”
Dy: “I’m scared. That’s why I’m learning to protect myself.”

K: “Dylan. He’s acting very scary.”
Bn: “I’m sure he’s gonna be fine, Kel.”
K: “Not if he’s spending all his time at a target range shooting guns.”
[...]
K: “[...] It’s like ever since the car-jacking, he’s gone gun-crazy. I wouldn’t be surprised if he’s already gone out and bought one.”
[...]
K: “Brandon, you’ve seen him. He is not in a good way.”
Bn: “I’ll admit, he’s had some bad moments.”
K: “Bad moments?! I haven’t seen him this angry, including when his father died! I mean, I’m just afraid that he’s gonna hurt himself or somebody else.”
Bn: “Alright, assuming you’re right, what do want us to do about it?”
K: “Just go over there. Talk to him. See for yourself, because he sure will not listen to me.”

Dy: “Let me guess – Kelly asked you guys to come over here and talk to me, right?”
Bn: “She’s just concerned, that’s all.”

4.08, Twenty Years Ago Today;

K: “Oh, I’d love to go, but I have plans already.”
John: “Oh, let me guess. Dylan’s having another crisis.”

K: “I can’t take you to the Walsh’s party. [...] Dylan’s gonna be there.”
John: “So? I’m not planning to dance with Dylan.”
K: “You know what I’m saying.”

Dy: “Hey, Red.”
K: “Well, fancy meeting you here.”
Dy: “Mm-hm. Why do you always look so good?”
K: “To torture you.”
Dy: “Consider me tortured.”

K: (looking at a wedding pic of Jim and Cindy Walsh, to Dy) “I wonder where we’ll be in twenty years.”

4.09, Otherwise Engaged;

Dy: “Hey. Kel ...”
K: “Dylan, we should really stop meeting like this. How are you?”

K: (to Dy, pointedly) “You know, you can’t always choose who you fall in love wth, now can you? Adios ...”

4.10, And I Did It My Way;

John: “I guess you’re one of those guys that can’t handle change too well.”
Dy: “Or maybe I just don’t try to fix something that isn’t broken.”
John: “Or maybe you just can’t face what’s already breaking up.”
Dy: “Ooh, you’re so subtle, John.”
K: “You know, Kelly tells me she doesn’t want to see you anymore.”
Dy: “Mm.”
John: “But every time I turn around, she’s still with you.”
Dy: (smiles) “Yeah.”
John: “So I figure you must have some kind of hold on her.”
Dy: “Nah, Kelly can see whoever she wants. She knows that. But why she’d want to see you, that’s just beyond me.” (he glares at him)

Dy: (about B and K) “Let me ask you something, Nat. I’ve been with a lot of girls. Why is it the only two I ever loved are running around with total dirtbags?”

4.11, Take Back The Night;

K: “No, John. It’s not a conspiracy that I don’t want to sleep with you.”
John: “Well, something’s going on. I’m a Senior, I’m in KEG House, and you make me feel like I’ve got The Plague!”
K: “What do you want me to do? It just doesn’t feel right, okay?”
John: “Feel right?! Jesus, what’s with the Snow White act? Come on, I was there. I know what you’re really about. What, you think I’m hanging around you for your brilliant Freshman reparte?”
K: “You do not know the first thing about what it’s like to care for somebody. I can’t believe I was actually falling for you.”
John: “If this is how you fall for someone, you’ve got a lot to learn.”
K: “Why don’t you find someone else to teach it to?”
[...]
K: “Dylan, I did not tell you this so you would run over there and punch him out.”
Dy: “Oh, come on. Somebody’s got to.”
K: “But not by you, okay?”
Dy: “Whatever. As long as you’re okay. You are okay.”
K: “Yes, I’m okay. I’m better than okay. That’s what I came to tell you. You know, if this had happened 3 years ago, I probably would have stayed with him even after what he said.”
Dy: “Well, I’m glad it’s not 3 years ago. You’re getting it together.”
K: “I hope so. And if I am starting to get more inner strength or whatever, I think ... maybe it’s because you were the first guy who ever took me seriously.”
Dy: “Kel ...”
K: “No, you were. I just can’t believe I got so caught up with him. ... What happened to us, Dylan?”
Dy: “I don’t know. Must have gotten lost somewhere. ... You sure you don’t want me to whack him? Cause – I will.”
K: “No. I think that for Sears, having a girl tell him to get lost is cruel and unusual punishment enough. No macho guy stuff, okay?”
Dy: “Okay. No guy stuff. I will walk you to your car. (wink) That’s guy stuff.”

Dy: (to a girl John’s sweet-talking in French) “Has he gotten to the point where he’ll wait, uh, ‘fifty years’ yet? That’s the good stuff.”
John: “What’s your problem, McKay?”
Dy: “No problem. Just my way of saying enough’s enough.”
John: “Yeah, well maybe I haven’t decided when enough is enough. And Kelly can make her own decisions, don’t you think?”
Dy: “Yeah. She decided you make her sick.”
John: “Well, she’ll change her mind. They always do.”
Dy: “Not this time.”
John: “Well, then you don’t have anything to worry about, do you, partner?”
Dy: “Leave her alone. I mean it.”

[Re: “To His Coy Mistress”, By Andrew Marvell]
Dy: (K on his mind) “The girl in the poem, I mean, she obviously knows how difficult it is to open your heart to another human being. That’s why she’s skittish. How do you know that, one day, your girlfriend, she’s not gonna tell you that she looooves you and then you turn around the next day and she’s running around with some geek from the KEG House?”

Dy: “Well, I don’t know, Bren. Maybe it’s all a bad joke, you know? Like Kelly and John Sears - that’s a joke.”

B: “Well, I don’t believe that I’m about to encourage you to give Kelly a second chance but, if that’s what you want ... Dylan, don’t let stupid stuff get in the way.”

B: (after K’s public speech on date rape) “So, what do you think of Kelly now?”
Dy: “I think she was great.”

John: “I’m reaching out to you here, Kelly. Come on.”
(Dy throws a custard pie in his face)
Dy: “You want some?”
John: “You’re a dead man.” (they brawl, before others pull John off him)
Dy: “Yeah. Hey, you want some?!”
John: “I’m gonna hunt you down!”
Dy: “Right here!”
John: “Keep your back to the wall, McKay! You’re dead!”
K: (shocked and amused, she puts a hand on Dy’s face) You are crazy. ... But thank you.”
Dy: (kisses her hard) “My pleasure.”

4.12, Radar Love;

K: “Uh, no, I don’t think Dylan wants to spend that much time with me anymore.”
D: “Kel, he smashed a pie in John Sears’ face for you!”

Dy: (to K) “I cared about you. You said ... you said you wanted to see other people. Fine. I just want to have Thanksgiving dinner with my friends, and I like Cindy Walsh’s turkey better than I like Jackie’s.”

4.13, Emily;

[Kel approaches him on campus in a bathrobe, shower cap, and mud mask.]
Dy: “Lookin’ real good, Kel.”
K: “Look, I know that you are probably still mad at me, and I am definitely still mad at you. But I have to kiss you right now, in front of all of these people ...”
Dy: (half-audible, amused) “Ooooh ...”
K: “And I would really appreciate it if you would please just go along with it.”
Dy: “Did you say ‘please’?”
K: (begrudgingly) “Yes. I said - I said ‘please’.”
Dy: “Well, in that case, I, uh ... I never could resist a sorority girl in a shower cap.”
(he kisses her briefly, she thinks they’re done, then he kisses her again for a good long minute, grabbing her by her robe and pulling her towards him while students on campus cheer them on)
K: (finally released, she laughs a lttle) “W-what was that for?”
Dy: “Cold cream. It turns me on.”

He gently throws her back into the Hell Week march, her looking all giddy and him, transfixed and smiling playfully ... with cold cream all over his face.

4.14, Windstruck;

Dy: (reading his fortune) “You have the power to influence many people.”
Gang: “In bed.”
Bn: “Whoa, Dylwig!” (Dylan and Kelly glance at each other shyly)

B: “So, uh, Kel, are you gonna be needing a ride home?”
Dy: “No, I’ll take her. You guys go ahead.”
Bn: “You sure it’s okay to leave you two here alone together?”
Dy: (to K) “Think you can handle it?”
K: (smirks) “I’m fine.”
[...]
K: “I don’t know what it is about the Santa Anas, but I haven’t been myself all day. Maybe it’s not the Santa Anas. Maybe I’m just nervous about being with you.”
Dy: (small smirk) “You know, in the Middle East, they have winds, they’re called the sciroccos. They blow across the northern desert of Africa and while these winds are blowing, if you kill somebody, they don’t even try and punish you.”
K: “Sort of like a temporary insanity?”
Dy: “Kinda like the heat of passion. Sort of like a full moon. Our bodies are full of so much water that gravity starts pulling on us in ways we don’t even realize. It’s like a tide rising.” (they kiss)

Dy: (to K, washing a car) “When you’re done there, my back could use a good scrubbing.”

Dy: “I thought I’d come down and get the grime off the old speedster.”
K: “I’d love to.” (they make-out)

K: “Oh, it’s this article I’m reading. They did a study on children of divorce. In one group, the parents had shared custody. In the other group, only one parent had custody.”
Dy: “Kinda like Erin.”
K: “Yeah, Erin, and me, too. The thing is that the kids who went back and forth actually learned that their parents’ love would be there even when they weren’t.”
Dy: “Hm.”
K: “Guess I’m still working on that.”
Dy: “Yeah, aren’t we all?”
K: “You know, if you hadn’t come to the car wash, that would have been okay.”
Dy: “Well ...”
K: “You know, last night when we were together, I really liked hearing about the rest of your day, too. I guess what I’m getting at is .... we don’t have to spend every waking hour together to be a couple.”
Dy: “Eloquently put.”
K: “So, there is hope for us, huh?” (she smiles)
Dy: (smiles) “Yeah.”

4.15, Somewhere In The World It’s Christmas;

Dy: “Hey, Little Lady, don’t you worry about it. I got a sack full of gifts for you right here, and one for your little sister.”
K: “Oh, that’s so sweet. [...]”

Dy: “Well, ladies, I hate to do it, but I’m gonna have to be saying ‘adios’ for now, however ... I’m under the mistletoe again (smiles), so ... (K giggles, throws him a kiss, he catches it emphatically) Ooh. What a shot, Kel.”

D: “Wow. Since you two have gotten back together, he has been a completely different person. I mean, I’ve never seen him so upbeat and Christmasy.”
K: “Yeah, I don’t know. Professor Wagner says a lot of people use the holidays to hide how lonely they really are. God knows Dylan already has enough bad

memories of this time of year.”
D: “You know, Kel – and I don’t mean this as criticism – those psychology classes you’ve been taking? I think you’ve been ‘taking’ them a little too seriously.”
K: (sighs) “I hope you’re right.”

4.16, Crunch Time;

Dy: “Anyway, I just called to wish you luck.”
K: “Thanks. I love you.”
Dy: “Alright. You too.”

K: (phone) “Hello? Hi, Dylan. That’s very sweet.”

4.19, The Labours Of Love;

K: (phone) “Dylan, hi, it’s me. Uh, look, do me a favor and leave a key under the mat. I’m going to have to stay at your house tonight. For a while, actually. Hope that’s okay. Love you. Bye.”

K: (sitting down with him) “I’m sorry to dump all this on you.”
Dy: “It’s alright. You can stay as long as you like.”

K: “Reruns of ‘Bewitched’ were my favorite.”
Dy: “Yeah.”
K: “I’d pretend I was Samantha, and I would wiggle my nose and everybody’s problems would just disappear.”
Dy: “Wiggle your nose for me. (she wiggles, he smiles big) It’s a sweet nose. It’s a cute nose. I don’t think it has any magical powers, though. (she kisses him)

S: “Oh, right, and if Kelly’s craving a megaburger at 2:30 in the morning, you’re not gonna come down and cook it for her?”
Dy: “Well, Steve, this may come as a shock to you but when Kelly’s with me ... she doesn’t crave anything.”

4.20, Scared Very Straight;

S: (to K) “Come on, ya nasty little fun tart. Let’s dance.”
Dy: (joking) “That’s my fun tart. Alright?”

4.21, Addicted To Love;

Dy: “Hey! There’s my number one customer. Could I possibly interest you in the house special?” (kisses her by the PPit doors)
K: “I’ll take one to go.”

Dy: (to Bn and K) “Wow. My girlfriend, I think I’ll keep her.”

4.22, Change Partners;

Lucinda: “Instead, people tended towards the idea that Margaret Mead called ‘serial monogamy’. Which is what? Anyone?”
K: “It’s the idea that we take different partners for different phases of our lives. One for sex when we’re young, one to father our children, and one for companionship as we grow older.”
[...]
Dy: “So, which one of those partners am I?”

4.23, A Pig Is A Boy Is A Dog;

K: (to Bn, about Dy) “He saw the picture in The Condor and, even though he says he’s joking, obviously it’s bothering him.”

K: (to Bn) “If I’m going to have an honest relationship with Dylan, I’m gonna have to tell him what happened between you and me at the retreat.”

K: “I guess when it comes down to it, I’m just an old-fashioned girl.”
Dy: “Well, it’s a good thing, because I am certainly an old-fashioned guy. You know, posssessive, vindictive, yet tender.”
K: (small laugh, then she puts her hands on his lips) “Tender?” (they kiss)

4.27, Divas;

K: “Hey, guess what. I’m thinking of maybe trying out for the play too. There’s a small part and Brenda thinks maybe I should try for it.”
Dy: “What, you?”
K: “You don’t think I could do it?”
Dy: “Oh, quite the contrary. I think you can do anything you set your mind to.”

4.28, Acting Out;

Roy: “The scene isn’t just Maggie angry that Brick’s living at the bottom of a whiskey bottle. It’s not just ... ‘this’ (he pounds his fists together) On the contrary, she’s trying to hold things together. And what else can you do when you find yourself wading through the seamy underworld of an alcoholic. (Kel looks down) I take it you’re acquainted with the subject.”
K: “Yeah, both my boyfriend and my mom are recovering now. Thank god.”
Roy: “So, you tell us. What’s going through Maggie’s head?”
K: “If she could reach Brick for just one honest second, she could save them both. At least, that’s what she thinks.”

K: “... I hope you’re glad to see me.”
Dy: “Of course I’m glad to see you.” (kiss)

K: “I know it’s every little girl’s dream to grow up and become a star, but it’s not mine. I hate acting. And that is what I was trying to tell you yesterday.”
Dy: “Well, if I had known that that is what you were trying to tell me, I would’ve listened.”
K: “Unfortunately, the way that it works is that you have to listen first.”
Dy: “I know that. I will.”

4.30, Vital Signs;

K: (to Dy) “She [Erica] could have just as easily walked in while we were making love.”

K: “So this is it?”
Dy: “That’s what it looks like.”

4.31, Mr Walsh Goes To Washington (1);

[Post break-up]
K: “Does this mean we’re still talking?”
Dy: “Of course we’re still talking.”

4.31, Mr Walsh Goes To Washington (2);

Bn: “... And I found myself getting misty-eyed like in “Mr. Smith Goes to Washington”.”
K: “I love that movie.”
Bn: “You’ve seen it?”
K: “Yeah. Dylan used to make me watch a lot of old movies.”
Bn: “I knew that name would come up sooner or later.”




Because ...



01. Donna thought it was feasible that Kelly got back together with him over the summer.
02. She was worried how he’d react to the news of her and Brandon being together, concerned that he’d feel ganged up on.
03. As she tells Donna about David, he was her first real boyfriend. Of course she’s still going to have strong feelings for him.
04. She could literally ‘sense’ him staring out at her from a far off light tower.
05. He regrets the break-up.
06. They used to go camping every weekend.
07. He’s been missing her.
08. Nat implies that the only reason she’s not with him is cause he skipped town and didn’t keep in touch.
09. He refers to her as his “best girl”.
10. Despite verbal insult, she came over to talk things through and express concern over his drinking.
11. She thought there was reason for her to apologize for him seeing her with another guy.
12. After some provokation, she affirms that it’s over between them. Wasn’t it already supposed to be?
13. He gets teary-eyed hearing that she only stopped by because she cares about him.
14. He’s not above an apology.
15. Back when his father died, he opened up to her about his guilt.
16. They spot each other, everything stops, the music swells.
17. She inquires about his life, still throwing a snarky comment in there to wake him up.
18. She all but apologized for her skepticism regarding Kevin, Suzanne, and the bioremediation company.
19. She bought a present for his little sister.
20. She’s upset by Valerie’s suggestion that she doesn’t care enough to help him ... and by the fact that he made out with her.
21. Her comments at the intervention cut him deep and, finally, he was reached.
22. She’s angry at him for abusing/degrading himself like this.
23. Valerie thinks Kelly is still in love with him.
24. Cindy knows how tough it will be for Kelly to see him in the hospital on life support.
25. His coma dreams reveal his wish for her as his bride-to-be and the hurt/surprise he felt losing her to Brandon.
26. His flashback to them at the Bel Age pool in S3 was of her holding him in her arms, not anything lustful.
27. Still, in the fantasy of all the women he had slept with, she was named as his best lover.
28. All it took was a little sobriety for her to have daydreams about a make-out session where he disarms her and they reunite.
29. She visited him in rehab.
30. He reminds her that his love for her is unconditional. Always was, always will be.
31. She finds it funny that she ever doubted the sincerity of his love, even if due to her own issues.
32. He admits that it’s hard to see her with someone else, but he respects it.
33. He suggests that his life wouldn’t have unraveled so much if they were still together.
34. She gestures her support when he tells her that he’s terrified about the future.
35. She can always call him. No exceptions.
36. Only they can make suicide jokes and talk seriously at the same time.
37. She’s able to confide in her ex-boyfriend about trust issues with her current boyfriend on a genuinely constructive basis.
38. He’s the one person people turn to for advice on how to deal with her self-image problems.
39. Their longing stare at the Walsh house was intense enough to move plot points.
40. He’s even being teased by her nemesis about how hung up he is on her.
41. She’s sympathetic to his lack of direction and wants to help him.
42. He likens a break-up with her to something you don’t think you’re going to survive, but you do, meaning he had recovered some when asked to re-enter her life.
43. Brandon knows Dylan cares about her.
44. He was willing to humiliate himself in front of Donna and Clare in order to gain her trust.
45. He defended her quest for spiritual growth.
46. Her desire to work towards opening him up was not the result of any brainwashing, despite the context of the cult.
47. He thinks she has limitless possibilities and shouldn’t be afraid to shine.
48. She poured her heart out to him about her fears, and none of it was news to him.
49. She thinks he truly understands her and her life, based on that which he’s said and been genuine about.
50. It was easy for Brandon to imagine they slept together once Dylan told him they got “caught up in the moment” while talking.
51. She knows he loves her.
52. It was their lingering, mutual feelings for each other that served as the effective catalyst in the plan to break her free of Finley’s influence, and led Dylan to nearly fall for The New Evolution himself.
53. She was concerned about how he was feeling in light of being so close with her again and having to walk away to let her be with Brandon.
54. He did the honorable thing, loving her enough to let her go instead of capitalizing on the fact that she carries a torch for him too.
55. He came to her ‘Welcome Back’ gathering even though it hurt to even see her.
56. Now sober, he’s too downtrodden about losing her to have sex with Val.
57. His heartache almost drove him to light up a joint.
58. Charlie has been hearing of his Kelly-woes for nearly half a season.
59. In her own words, she’d still be ‘evolving’ with Finley if he hadn’t exposed him for the fraud that he is.
60. She thanks him for being such a great friend and makes him promise that they’ll always be in each other’s lives as such.
61. He’s into psychology now too.
62. Brandon thinks it’s possible that she still loves Dylan and, according to Clare’s dumper/dumpee theory, he still loves her.
63. He’s still thinking about the scent of her perfume.
64. His first vision under hypnosis, regarded merely as a message from his subconscious, like in dreams, involved a woman who could very possibly represent her.
65. He could get some work done on this screenplay if only he’d stop staring at her magazine photo.
66. Valerie’s reference to the film, “Jules and Jim”, about a woman who’s in love with two men equally but for different reasons, foreshadows the decision Kelly must make between Brandon and Dylan.
67. Charlie encourages him to go out and fight for his relationship with her.
68. His visions of her in a past life reveal his desire for her to save him from a wasted existence. Love, hope, faith, and stability are what she represents to him.
69. For whatever reason, New York City reminds her of him.
70. He believes that they are soulmates – literally. And, by extention, that she already had two sons with him.
71. All it takes is him showing up at her door and they’re kissing. Kissing like tomorrow might never come.
72. He wants her to leave L.A. and travel the world with him.
73. According to him, they argue because he makes her feel alive enough to do so.
74. He believes that they’re connected in a way that only they understand, and it’s more powerful than any common love.
75. She still has feelings for him.
76. He is the reason she had to think about Brandon’s proposal.
77. She knows that, in his own proposal, he’s talking about more than a fling.
78. She feels that he will always have a piece of her soul.
79. Even with her engagement ring on, she’s kissing him (for 1:40 min plus).
80. She loves him despite his bouts of selfishness, and speaks of the matter with endearment.
81. Although she rejects the prospect of a new relationship with him, she tells him that she’ll love him until the day she dies.


5.01, What I Did on My Summer Vacation and Other Stories;

K: “Every time Steve gets dumped, he gets sentimental about me. […] Well, I know how to handle Steve. It’s Dylan I’m worried about.”

D: “I had it together all summer long. I really did. I mean, I didn’t even shed one tear over David. I didn’t even think of him at all! And now I see him for 15 seconds and I totally go to pieces. How can he still do this to me?”
K: “Because he was your first real boyfriend, that’s why. I mean, of course you’re gonna have strong feelings for him. It’s totally natural.”
D: “Well … does he still have strong feelings for me?”
K: “Donna, I don’t know.” [...]

K gets up, then stops, feeling an intense breeze behind her. We cut to Dylan, from a boat, staring at the beach apartment intently from afar. He flashes back to their break-up scene in S4, clearly ruminating on the matter and not over his ex.

5.02, Under the Influence;

K: “I know what this is about. This is about David. She [Donna] wants to move out of L.A. so she doesn’t have to deal with seeing him.”
Bn: “Kel, don’t take this the wrong way but, ever since the Dylan sighting, you’ve been a little ... high-strung.”
K: “I know. I’m sorry. When are we going to tell him about us?”
Bn: “I don’t know. We’ll figure something out.”
K: “Looks like we’re back in the triangle all over again.”
Bn: “Except I’m not Brenda and we’re not in high school.”
K: “Yeah, but it – when it’s two against one, you’re always ganging up on someone.”
Bn: “Alright, then I’ll tell Dylan by myself if that’s what you want.”

Dy: “I’m fine. (sits down) … Although I have been missing Kelly a little bit lately.”

Dy: (to Bn) “Everybody does, man [feel like ‘so long ago’], it’s just … like, ‘people I knew in high school’. Except you. Kel … Know what I mean?”

Dy: “L – I’m – I’m having a rough spot right now.”
N: “Is it Kelly?”
Dy: “I don’t know, maybe.”

Dy spots Bn and K kissing at Felice’s fundraiser.
Dy: “Achem. (they see him) You two are like a bad movie. My best friend, my best girl” […]

V: “That’s Brenda’s Dylan?”
D: “Kelly’s Dylan.”

Dy: “Technically, I think they call it a relapse. But it’s expected, so I wouldn’t worry about it if I were you.”
K: “You know what that stuff does to you.”
Dy: “At the risk of sounding glib, Kel, that’s why I drink.”
K: “I hate to see you like this. Put some clothes on, and we’ll go get some coffee and talk.”

Bn: “Look, if you have a problem with me, that’s fine. But Kelly only came over here because she cares about you. You owe her an apology.”

Dylan looks a little glassy-eyed. Brandon leaves.

Dy: “I, uh … came to talk to Kel. Since she’s not here, I guess I’ll start with you.”
D: “Look, you don’t owe me any apologies. I know what it’s like to see someone you care about with someone else. Actually, I felt pretty bad for you.”
[...]
D: “Dylan, it’s so, so hard to see David. You know, I thought it would stop, but it hasn’t. And I just … I feel like I have no place else to go. (Dy looks sympathetic) I’m sorry …”
[...]
D: “Will you come to registration with me? (Dy looks pained) I mean, maybe if we face them together …”

5.04, Life After Death;

Bn: “It could’ve been me in that car.”
K: “But it wasn’t.”
Bn: “But it could’ve been.”
K: “You know, that’s the exact same thing that Dylan said when his father died.”


5.05, Rave On;

K: “Nice to see you back among the living.”
Dy: “If this is living, it’s way overrated.”


5.06, Homecoming;

V: “Got burned down on the real thing, huh?”
[...]
V: “I just want to know who you loved more. The blonde or the brunette?”
Dy: “Why, you’re thinking of dying your hair?”
V: “Maybe.”
Dy: “Look, don’t go falling in love here, okay?”


5.09, Intervention;

K: “Look, Dylan. I know we didn’t have the easiest time together, but at least when you were sober you had more dignity than the guy I found licking salt off the neck of a glorified hooker. What, did you do that to humiliate me? To pay me back for falling in love with someone else? Because, if you did, it worked. I was humiliated.”

Dylan, unable to look her in the eye, looks hurt. He asks to be excused. In the bathroom, he nearly does a line of cocaine before deciding against it and agreeing to enter rehab.


5.10, The Dreams of Dylan McKay;

A: “Dylan totaled his car. He’s in the hospital on life support.”
K: (low) “Oh my god.”

K: “As long as Dylan is in there fighting for his life, I don’t think we should be burying him just yet.”

K: “Wait just a second, Valerie. That Dylan is lying in there in a coma is nobody’s fault but his own. I mean, it’s like Brandon said on the way over here. We did everything we could to try and help him. We did the intervention. We found a great place for him to dry out. Then two minutes into his rehab, he’s back out on the street? Whose fault is that? I mean, it’s not like you knew he was out there on the street getting wasted and you didn’t do anything to try and stop him.”
V: “…Right.”
K: “So don’t let yourself feel guilty. Sad, yes. But not guilty.”

V: “Can I ask you a question?”
K: “Sure.”
V: “A personal question.”
K: “Okay …”
V: “… You still love him, don’t you?”

Cindy: “This has got to be VERY tough on her.”

K (holding his hand): “You bastard.”

Dealer: “She, uh ... must’ve been a good lover.”
[...]
Dy: (laughs giddily) “I’ve been with everyone in this room? (dealer laughs) Yeah ...”
K: “But I was your favorite, wasn’t I?”
Dy: “Well, I don’t know.” (they kiss)
K: “I was the best.” (more kissing)

5.11, Hate Is Just a Four-Letter Word;

D: “[...] And poor Dylan, he’s really out of it, so ...”
K: “Yeah, I tried to call him today. Iris says he’s still pretty low.”

5.13, Up in Flames;

Bn: “Did I wake you up?”
K: “No. … The Santa Anas get to me too.” [Cue romantic flashback to Dylan]

K: “Well, it sounds like you’re on the road back.”

Dy: “I was thinking of coming a long way from the girl who thought the only reason I fell in love with her was because she was voted … ‘Most Beautiful’.”
K: (smirks) “Yeah, I guess somehow I got past that.”
Dy: “… Most beautiful or not, I’d have fallen in love with you either way, Kel.”

Dy: “You seeing him?”
K: “Yeah …”
Dy: “Yeah, that’s real good. … I’m not gonna pretend it’s easy. It’s not. I’ve got a lot of time here to think about it. I realize a lot of my problems started right … when I lost you.”
K: “I’m sorry.”

K: “Are you miserable?”
Dy: “I was. Now I’m just terrified.”


5.14, Injustice for All;

Dy: “Alright, whoa, whoa, wait a minute. Now you know you can always call me.”
K: “I’m lucky you finally got phone priveliges. Otherwise, I might have jumped out a window by now.”
Dy: “Let’s see, second story, you’re on the sand … Yeah, it’d be alright.”
K: “That’s true. Guess I would’ve had to find a much taller building.”
Dy: “Nope, nope. Don’t want to do buildings. It’s way too messy.”
K: “Dylan, what am I gonna do?”
Dy: “Kel, you don’t gotta do anything. Just relax! Just let it happen. And it’ll change. Trust me, I know.”
[…]
Dy: “Speak of the devil, it’s your good friend Brandon.”
K: “Look, don’t tell him what we talked about, okay?”


Bn: “First of all, you know, she got caught in this fire.”
Dy: “Yeah, I talked to her a little while ago. Sounds like she’s having a rough time.”
Bn: “Yeah, she is. And I don’t quite know how to handle it. I mean, she’s having some kind of self-image problem and … I mean, her face isn’t that bad.”
Dy: “Her face? … How bad is it?”
Bn: “I don’t know. She won’t show me all the damage. It’s like she doesn’t trust me.”
Dy: “Maybe she doesn’t.”

5.18, Hazardous to Your Health;

Dy: "Look, man, the last person I wanna hear about is Lucinda Nicholson.”
Bn: "This is a funny story."
Dy: "It's not a funny story. Every time I hear her name, I get reminded how she tried to hussle me into financing that stupid documentary while you were off for the weekend hussling Kelly." (Dylan rips his napkin)

Dy: “You didn’t have to wait till I got in the shower to call her, you know.”
Bn: (sarcastic) “Oh, thanks for telling me that. I can call her back if you want to say goodnight too.”
Dy: “Hey, you got a problem?”
Bn: “No, I don’t have a problem. But any question I had about our friendship was answered by the way you looked after seeing Kelly at my house.”
Dy: “Look, don’t talk to me about Kelly, alright? I don’t want to hear about Kelly anymore. Let’s just […]”

5.20, You Gotta Have Heart;

V: “Oh, goodie. Kelly’s here.”
Dy: “What’s the shocker?”
V: “I thought she’d be too busy ‘evolving’.”
Dy: “You really got a thing for her, don’t ya?”
V: “No … but you do.”

K: “Poor Dylan. He still doesn’t know what to do with his life. The New Evolution could work wonders for him.”

Bn: (to Dy) “Look, I know you care about her. She needs your help.”


5.21, Stormy Weather;

Dy: “You know, I think she’s just trying to find a little meaning in her life. Maybe instead of giving her a problem, you guys ought to try to understand it a little bit.”
Cl: “What, have you joined The New Evolution too?”
Dy: “No, I’m just trying to keep an open mind, you know? I think it’s pretty obvious she’s dealing with some serious issues here. Human nature, personal growth. Something like that. Instead of giving her a tough time about it, you two ought to try and respect it.”
K: “Thank you.”

K: “His father is probably his Achille’s Heel. His father was Jack McKay.”
Finley: “The financier? Well, no wonder Dylan puts up so much armor. He has a lot to protect. [...] He’s going to be quite a challenge but I think that, working together, we can bring him out.”

K: (about Jackie) “She thinks I’m going through a phase. But it’s more than that. It really is.”
Dy: “Hey, you don’t gotta sell me. I’m on your side, remember?”
K: “I’m really glad to hear somebody understands.”

Finley: “Just as we must cast off those things that impede our growth, so must we also preserve those things that are at its foundation.” (K looks at Dy)

K: “I used to have so many fears inside, Dylan, I couldn’t possibly be happy.”
Dy: “What do you mean?”
K: “… You know how I was always afraid that people wouldn’t like me if I wasn’t pretty?”
Dy: “Yeah.”
K: “Well, I was also afraid that they wouldn’t like me because I was. That’s why I had so many mixed feelings about doing that Seventeen shoot. I’ve always been afraid to be too smart, or too funny, or to enjoy the things I have because people might think I already have too much. … I was lost. And Finley has given me direction. He’s taught me that it’s okay for me to shine. Because everyone has limitless possibilities.”
Dy: “Don’t you know that nothing could ever stop you from shining, Kel?”

Bn: “Is there something going on between the two of you that I don’t know about?”
Dy: “After the, uh, Meleding … we were outside, we were talking – she got to pouring her heart out to me – and we got a little caught up in the moment.”
Bn: “Did ya sleep with her?”
Dy: “I kissed her. I kissed her a couple of times.”
Bn: “You kissed her.”
Dy: “Just being honest.”
Bn: “Well, I appreciate your honesty.”
Dy: “Stop it, alright? Just stop it. Cause that’s not what it was like at all. Okay? If you want to save her from herself, Brandon, you better hurry up because she is not the same person anymore. Frankly, neither am I.”

Finley: “Well, obviously she’s extremely appealing. She’s the kind of woman a person could imagine spending his future with, but we haven’t become intimate yet. At least, not physically. (Dy looks him up and down in disdain, lol) What did you have in mind, Dylan?”
Dy: “About a year ago, Kelly and I, we uh … we had a thing going. And there’s nothing I wouldn’t do to get that back.”

Finley: “I sense a chemistry between the two of you that defies real time and space. And the truth is, I believe Dylan McKay is your soulmate.”
K: “Well, in lots of ways, he probably is.”
Finley: “He loves you, Kelly.”
K: “I know.”

Dy: “Well, I guess we’ve both come a long way.”
K: “The more things change, the more they stay the same.” (she grabs his face and kisses him) “Ever since that day you stood up for me at the Peach Pit, I’ve wanted to hold you, and love you, and let our paths evolve.”

Dy: “Eh, man, booze doesn’t tempt me anymore. Ideas do.”
Bn: “You and Kelly, both.”
[…]
Bn: “I just don’t understand how two intelligent people like you and Kelly would give up your identity to be in a cult.”
Dy: “I don’t know. People need assurances. They want to know that they’re part of something bigger than just themselves. … Tyeah. Alright, you can roll your eyes now. You wait till you have some kind of near-death experience. You’ll see.”

K: “You tried to get me to sleep with Dylan so you could get his money.”
F: “I tried to put you and McKay together because you belong together.”
K: “So you’re not denying it.”
F: “It wasn’t as though I had to twist your arm, Kelly.”

K: “When you told me that The New Evolution could help Dylan open up, I thought you were talking about his soul, not his checkbook!”

Dy: “You okay?”
K: “Better than okay.”
Bn: “Good. Let’s get outta here.”
Dy: “Hey, you two go on. I’m gonna walk.”
K: “Dylan …”
Dy: “I’m fine, Kel. I’m gonna walk.” (as he leaves, she motions for Bn to talk to him)
[…]
Dy: “What do you want to do – you want to cut her in half? You got any better ideas? Cause I don’t. I’m trying to do the honorable thing here, man. It ain’t my style, so just let me do it, alright?” (Dy and K look out across at one another. He’s letting her go. They part ways.)

5.22, Alone at the Top;

(Kel’s ‘Welcome Back’ moment on campus)
K: “Well, I’m glad you’re here.”
Dy: “Me too.”

V: “Come on, Dylan. Let’s smoke ourselves silly and make love all night.”
Dy: “You’re already silly. I’ll pass.”
V: “On me or the pot?”
Dy: “Both.”
V: “What’s gotten into you? … Oh, that’s right. You’re stuck on Kelly.”

Dy: “If it hadn’t been for a big wind today, I probably would’ve, uh, got one lit up, you know?”
Charlie: “Can’t fool Mother Nature, huh? So, what got to you?”
Dy: “Take a guess.”
Charlie: “Ahh ... a woman.”
Dy: “Yeah.”
Charlie: “Kelly? Valerie?”
Dy: “They ganged up on me. Val supplied the smoke, but Kelly, she supplied the motivation.”
Charlie: “Let her go, man. You got to let-her-go.”
Dy: “I’m trying, but ...”

K: “You know, I never got a chance to tell you how much it meant to me that you came to see me on campus the other day.”
Dy: “Eh, it’s no big deal.”
K: “Well, it was to me. You’re a good friend.” (she kisses him on cheek) “Brandon and I were just talking about it the other day. I’d probably still be evolving with Finley if you hadn’t exposed him for the fraud that he is.”
Dy: “What do you want me to say?”
K: “ … That you’ll always be my friend.” (they stare at each other longingly)
Dy: “… I’ll always be your friend.”

5.24, Unreal World;

Bn: “[...] Until that time, I didn’t know it was possible to love two people at the same time.”
Cl: “Sure. When you go from relationship to relationship, there’s overlap time.”
Bn: “Guess that means Kelly still loves Dylan, huh?”
Dd: “Well, according to Clare’s theory, he probably still loves her.”

5.26, A Song for My Mother;

Molly: “Dreams and imaginings and regressions – they’re all connected.”
Dy: “Yeah, that’s comforting.”
Molly: “But it is. Can I tell you a secret? I’m not absolutely sure that we have lived before. I mean, there’s the slight possibility that reincarnation’s just a crock.”
Dy: “Huh. Now you tell me.”
Molly: “But what I am absolutely sure of is that what we’re doing here – soul-searching, self-discovery – it is a powerful, powerful tool. And if you can regress, you can get that understanding. You can grow, you can learn, you can change.”

5.27, Squash It;

Dy: “It smells like Kelly’s perfume.”
Molly: “It’s Wisteria. It’s supposed to help open the door between the conscious and the subconscious.”

[After Dy’s early 1900’s vision of him and a girl on a train car. He won’t show her his writing. Later, she’s taken away from him by another man and raped. He can’t stop it.]

Molly: “Dylan, just because you saw it, it doesn’t mean that it happened. I mean, sometimes it can just be a message from the subconscious. You know, like a dream.”
Dy: “Yeah, like a nightmare.”
Molly: “Well, we look to our past to heal our future.”
[...]
Molly: “What you just experienced could be just one link in the chain. Maybe the answer lies further back.”
Dy: “You think I knew this girl in a different lifetime.”
Molly: “It’s possible that you were betrayed by another woman. That your heart shut down in order to survive. Anway, what you did isn’t as important as what you’re gonna do.”

5.28, Girls on the Side;

Charlie: (taking a magazine with K’s picture on it away from Dy) “Look, would you put this damn thing down? I thought we were gonna try and get some work done here today.”
Dy: “Yeah, I just can’t get over it – I mean, Kelly Taylor on a magazine cover.”

V: (to Dy/Charlie, about “Jules and Jim”, a French film they’re paying homage to in their screenplay) “And it’s not about a menage a trois. It’s about a woman who’s in love with two men equally – one spiritually and one physically.”

Charlie: “Hey, I see you mooning around after that Kelly. I know Valerie’s in second position.”
Dy: “So what?”
Charlie: “So if the bug that you’ve got for Kelly is so profound, why don’t you just go off somewhere and fight for it?!”
Dylan: (small laugh) “Why don’t you just go home?”

5.29, The Real McCoy;

V: “Well, don’t worry. I’ll take good care of your guy while you’re gone.”
K: “Is that your way of telling me you’re going to make a move on Brandon?”
V: “I’m talking about Dylan. He’s the one you dream about. Isn’t he?”

Billy McCoy: “You’ve got nothing to worry about, Sugar. I would never harm a hair on the head of anything as fetching and sweet-smelling as yourself.”

Dy: “There’s been enough killing.”
K: “A sentiment I hold dear, but wouldn’t have expected to hear from an outlaw.”
[…]
Dy: “You think a person can change?”
K: “With all my heart.”
Dy: “You think I can change?”
K: “I pray that you can. Otherwise, it would be a tragic waste of a life to spend your time on this earth in a haze of alcohol and gunpowder.”

Dy VO: “And as he looked in her soft, blue eyes, he knew right then and there that his days as an outlaw were over. And that the next phase of his life was about to begin. There were lots of lazy picnics by the pond that summer … where she would read to him, from the scriptures, and fill his heart with hope. And eventually, love.”

Dy: “Look, you want to know what happened?! You really want to know what happened?! I found out that I was going straight to hell until Kelly Taylor came into the picture, okay?”
Charlie: “So you and Kelly have, like, a seminal link?”
Dy: “Molly says it’s as strong as anything she’s ever channeled.”
Charlie: “Oh, far out!”
V: “What does this ‘seminal link’ mean?”
Charlie: “It means that Dylan and Kelly are soulmates. For life.”

Dy: “Hello, is this New York City?”
K: “Yes, it is. I knew I was gonna hear from you today.”
Dy: “What are you, psychic?”
K: “You’ve been on my mind all day.”
Dy: “Well that’s encouraging, since I haven’t been able to get you out of my thoughts either.”

Dy: “Look, I don’t care what time it is. When you get back in, you gotta call me, okay?”
K: “I will. I promise.”
Dy: “Kel – “

S: (to K, about Dy) “You have something going on with that guy again?”

Dy: “Molly, you gotta help me, here. I know you have a life. I know you have people and everything, but listen – I gotta get back to that moment, that exact moment when Kelly and I rode off into the sunset .” […] You told me the woman is my soulmate! That we have some kind of seminal link. And I gotta tell you, the final images I had of my life – it doesn’t jive with the way I feel about myself, or Kelly, or anything.”

K: “I don’t begrudge you for doing what you can to right a wrong. But these people from your past, they never met the man I love. They never seen you with your sons. (he takes off hat and buries his head in her chest) Promise me this isn’t the last time you’ll hold me.”
Dy: “It won’t be the last time. I promise.”
Dy VO: “And as he rode away that day, both of them were keenly aware that this could be the last time they would ever see each other.”

K: “Dylan! Hi.”
Dy: “Hello, Kel.”
K: “... Is everything okay?”
Dy: “Yeah, I’ve been thinking about you a lot, and …” (they kiss)

5.30, Hello Life, Goodbye Beverly Hills;

K: “Hey, how’m I doin’?”
Dy: “Poetry in motion.”
K: “I have a little control problem.” (crashes into him, they both fall)
Dy: “So do I ...” (kissing)
K: (jokingly) “I think I’ve been swept off my feet.”

Dy: (to K) “You get better looking every day.”

Dy: “Come on, Kel. When you’re with me, you fight with me because that’s when you’re alive.”

Dy: (to K) “We were together in another life. If we’re gonna be together in this one, the opportunity’s now. Right now.”

Dy: (to K) “I wouldn’t be here unless I was absolutely sure that where you belong is with me. Together, wherever it is.”

Dy: (to K) “And don’t break anything out here rollerblading. Because traveling on crutches? It’s a bitch.”

Dy: “I’m just doing what I gotta do.”
Bn: “Fine, then I’ll do what I gotta do.”
Dy: “I know you love her, Brandon. But me and Kelly, we’re connected in a way that you will never understand. ... Ever.”

Bn: (about Dy) “Are you in love with him?”
K: (in acknowledgement) “I still have feelings for him ... ”

D: “So, if you’re engaged, why are you keeping the ring in the box?”
K: “I haven’t said ‘yes’ yet.”
D: “Why not?”
K: “Cause someone else gave me something to think about. Dylan asked me to go around the world with him.”
[...]
K: “Dylan’s not talking about a fling.”
D: “Dylan didn’t give you a ring.”
K: “Don’t think I’m crazy, cause I know this sounds nuts. I love Brandon, with all my heart, but with Dylan ... I don’t know. It’s like he’ll always have a piece of my soul.”

Dy: (to K) “Wow, you look great.”

K: “Whatever happened to the cool, calm Dylan McKay?”
Dy: “Well, the cool, calm Dylan McKay just knows what he needs for the first time in his life. I need you.”

Dy: “What’s that thing on your finger?”
K: “ ... I forgot I had it on. Brandon gave it to me this afternoon.”
Dy: “You know what? I don’t even need to know about that. I just need to know whether or not you said ‘yes’.” (she shakes her head ‘no’, and kisses him)

V: (to Bn) “I hope that Kelly chooses Dylan ... because I think you deserve better.”

D: “Why does it always have to be so hard?”
K: “Because we don’t fall in love with fantasies. We fall in love with real people.”

D: “And Dylan?”
K: (laughs) Donna, Dylan is one of the most self-centered people on the planet earth. (smiles) And according to him, he’s been that way for several lifetimes.”
D: “But you love them anyway.”
K: “Yeah.”
[...]
K: “Well, if you love him, then I guess you should probably follow your heart.”
D: “Is that what you’re gonna do?”
K: “I’m gonna try.”

K: (to Bn and Dy) “You guys have made my life very difficult the past few days. Cause I love you both. You may not believe that, but it’s true.”

K: (to Bn and Dy) “I’ll love you both till the day I die.”

5.32, P.S. I Love You;

Bn: (to Dy about K) “How’d she manage to get us both so turned around?”



Because



01. He has a favorite picture of her (and wants a copy).
02. She helped him look through his father’s documents.
03. She fears for his safety and tried to put an end to his pursuit for revenge.
04. He’s still trying to kiss her.
05. He’ll always need her.
06. He doesn’t think Colin treats her right and he’s not afraid to say it.
07. She doesn’t know what she’d do without him.
08. She wore that red dress to catch his eye, and his kiss for Antonia caught hers.
09. Her most memorable kiss was with Dylan, on the beach 3 years ago.
10. It was hard for her to hear that he was engaged.
11. As he puts it, he asked her first.
12. His hands pressed up against the Peach Pit door after she leaves tell us that, despite his engagement, he still loves her.
13. His characteristic loneliness has always worried her.
14. She understands his need for privacy, both during the ceremony and afterwards.
15. She considers herself a permanent part of his surrogate family, and welcomes his fiance into the fold with open arms.
16. She stops by his house in his absence.
17. She got upset when her nostalgia for Dylan was overlooked. She misses him.
18. She’s his friend and she loves him, and that will never change.
19. Even by season’s end, Donna thought that the news of him reuniting with an ex would upset her ... and she was right.
20. He cares enough to inform her of his whereabouts.
21. Mention his name or recite a letter from him and watch her look down at her feet.
22. She still remembers his favorite authors.
23. He’s listed as one of the only two guys she’s ever loved. Short list.
24. She regrets her ‘I choose me’ decision. And, again, she misses him.
25. If she thinks he needs her to meet him, she’s there. No questions asked.
26. The notion that she could still be in love with Dylan was believable to Valerie and Brandon.
27. She still keeps his love letters.


6.01, Home Is Where The Tart Is;

Dy: “You were there. You knew him [Jack]. I can’t do it alone. I need a friend.”
K: “Friends. You sure that’s all you want?”

K: “You still miss him [Jack], don’t you?”
Dy: “Every day. … Whoever took him away from me’s gonna pay for it.”
K: “You’re serious?”
Dy: “I’m dead serious.”
K: (she takes his face in her hand) “Please be careful. No matter what is between us, I couldn’t bear if anything were to happen to you.”
[...]
K: (pulling away from a near-kiss) “Don’t. … I told you there’s someone else.”
Dy: “There’s always someone else.”
K: “Dylan … we’re over. You don’t need me anymore.”
Dy: “I’ll always need you.”

K: “I’m worried about you.”
Dy: “Don’t be.”

6.02, Buffalo Girls;

Dy: “Going to the party?” [K’s birthday celebration]
Bn: “Of course. I’m a glutton for punishment.”
Dy: “So am I …”

Dy: “So, it’s the woman of the hour …”
K: “Dylan, I’m so glad you came. It really means a lot to me.”
Dy: “I wouldn’t miss it.”

Bn: “So, where is the artist [Colin]?”
K: “He had something to finish up.”
Dy: What, the Sistine Chapel?”

Dy: (to Bn/S, about Colin/K) “So, what kind of schmoe stands up a girl on her birthday?”

6.06, Speechless;

K: (to D/Cl/V) “Oh, that [Paradise Cove] is the best beach. I had my best kiss there. […] It was Dylan.”

K: (to D/Cl/V) “Well, Brandon wins for consistency and Colin wins for intensity, but nothing will beat that night on the beach with Dylan.”

6.09, Earthquake Weather;

Colin: “So Dylan’s getting married.”
K: “Yeah …”
Colin: “That wasn’t easy for you, was it?”
K: “No.”

Dy: “Yeah, you sound thrilled, Kel.”
K: “Wha - how am I supposed to sound?!”
Dy: “I don’t know. But I asked you first. ... Remember? You said ‘no’. You said you had other plans. Let me see, you ... you chose ‘you’.”
K: “ … I want to hate her [Antonia] so bad, but I can’t. She seems really nice. I’m sorry. I hope you’ll both be very happy.”
Dy: “I hope so too. Maybe we each have more than one soulmate.”
K: “Yeah, maybe we do.”

6.10, One Wedding And A Funeral;

D: “This must be weird for you. I mean, watching Dylan go through this [marriage] with someone else.”
K: “Actually, it’s kind of a relief. Now I know he’s going to be okay. I don’t have to worry anymore, because he has somebody.”
D: “You think they’re gonna make it.”
K: “I hope so. For both of them. She seems as lonely as he is.”

Antonia: “I hope you guys don’t mind not coming to the wedding, but Dylan wanted it to be private.”
K: “That’s Dylan.”

Antonia: “I know that Dylan doesn’t have many connections in his life. Barely any family to speak of, which, unfortunately, is something that we have in common. I don’t have very much family either.”
K: “Well, you do now. We’re all Dylan’s family. Now we’re yours.”
[…]
K: “Can I give you some sisterly advice? Get as far away from here as you can. […] Everything will be okay. Just go … don’t look back.”

K: “How’s Dylan holding up?”
Bn: “He’s putting up a good front but I think he’s about to crack.”

Cl: “Well, one thing’s for sure. Life is fragile.”
K: “And bad things do happen to good people.”

6.11, Offensive Interference;

K: (about Dy) “Brandon, you’re not the only one who misses him.”
Bn: “Sorry. It’s just that I’ve been coming here all week, checking his messages and getting his mail … I don’t think he’s ever coming back. … So why do I bother?”
K: “Because you’re his friend and you love him. And that’s not ever going to change for you or for me.”

6.12, Breast Side Up;

Bn: (about Dy) “Maybe he’ll send us a postcard someday.”
K: “He will. When he’s ready.”

6.31, You Say It’s Your Birthday (1);

Dd: “Dylan being with Brenda’s gonna upset her?”
D: “Knowing Kel, yeah. Yeah, I think it would.”

6.32, You Say It’s Your Birthday (2);

K: (to Bn) “I got a letter from Dylan. Wanted me to know he was in London.”

7.07, Fearless;

K: “That’s amazing. I used to go out with a guy who loved Bukowski.”
Mark: “Brandon’s a Bukowski fan?”
K: “No. No, someone else.”

K: (to D/Cl) “I’ve only loved two guys in my life – Brandon and Dylan – and this guy seems to be a nice blend of both of them.”

7.20, With This Ring;

K: (VO) “What do they say? ‘Be careful what you wish for. It might come true. When Brandon proposed to me and Dylan wanted to take me around the world, I chose to be on my own. Well, that’s what I got. Dylan’s in London with Brenda, and Brandon … I know he cares for me, but Brandon’s in love with Tracy.”

7.26, The Long Goodbye;

Val: (re: the fake telegram) “It was the only way to make you see that Kelly’s not over Dylan!”
Bn: “Val, Kelly going to the airport to pick up an old friend doesn’t mean anything.”
V: “You know Dylan’s more than that.”

Bn: (to Nat) “You know, Dylan once told me that he and Kelly had a connection that I would never understand. Maybe he was right.”

V: “Well, at least now you know. Kelly still loves Dylan.”

K: “You think I’m still in love with Dylan?”
Bn: “Yeah. Yeah, I do.”

K: (to Bn, about Dy) “I went to meet him because he’s a friend and he asked me to.”

8.01, Aloha Beverly Hills;

D: “Okay, truthfully? You don’t have letters, pictures of old boyfriends?”
K: “I don’t know. Maybe. Somewhere … “
D: “Yeah, right, ‘somewhere’. Dylan?!”
K: “Now that is different. We were special.”


__________________
Well I'm sure the guy's out there somewhere.
___ Maybe. But I'm scared to open up my heart like that again.
ride the lightning is offline