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07 May 2011 @ 09:39 pm
Season 4 Reasons & Quotes (Dylan/Kelly)  


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 - 124 under the cut]


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.”

[more under the cut]


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-possessive, 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 Siroccos 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 re-solidify 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 cat-fight.
114. Even if they were last arguing, 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 possibility 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 with, 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 repartee?”
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 little) “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 Siroccos. 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, possessive, 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.”
Current Mood: annoyedannoyed
Current Music: "Let's Live for Today" - The Grass Roots