Over at the waterfront, a dejected and black-eyed Pacey scuffs along, hands in pockets. He comes upon TaMAHra staring out at the marina and mutters to himself, "What are the chances?" When she sees him, TaMAHra gasps, "Pacey! Are you okay?" Pacey tersely says he’ll live, and TaMAHra says, "Wait, talk to me a second." Pacey snaps, "About what, The Graduate or The Summer Of ’42, which would you rather discuss?" TaMAHra wants to "clear up this misunderstanding," and Pacey bitterly comments that he understands "perfectly well, ‘Miss Jacobs,’" and she tries to apologize but Pacey accuses her of lying and wants to know how she can say she was "just renting a movie," and she says, "Because it’s the truth." Pacey doesn’t buy it: "The truth is you’re a well-put-together knockout of a woman who’s feeling a little insecure about hitting forty." TaMAHra doesn’t like the sound of that, but Pacey is on a roll, continuing, "So when a young virile boy such as myself flirts with you, you enjoy it. You entice it [sic]. You fantasize about what it would be like to be with that young boy on the verge of manhood, because it helps you stay feeling attractive, makes the aging process a little more bearable," and if Pacey uses that phrase one more time, I don’t know what. TaMAHra looks beaten down by the force of Pacey’s contempt, but he hasn’t finished with her yet: "Well, let me tell you something, you blew it, lady, ‘cause I’m the best sex you’ll never have." She looks at him as he fumes and says, "You’re wrong about one thing, Pacey. You’re not a boy," and she kisses him, and he kisses her back, and she pulls away and says, "Oh god, I’m sorry, oh god," and runs away down the dock, and Pacey chuckles almost drunkenly, "I’ll see you in school, Miss Jacobs." As if he’d act so nonchalant.
Dawson and his XXXL outfit come into his room and turn on the TV and putter around. He opens the closet to put some things away and finds Joey inside. "What are you doing in there?" he asks gently. "Hanging with the flops," she mumbles with an arm-wave at the posters, and slumps onto his bed without looking at him as he asks, "What happened tonight, Joey?" "I wigged out," she answers, shrugging, and when he asks what’s going on between them she says, "I’ve no idea." Dawson apologizes for not adequately appreciating his perfect life and for acting like an "insensitive male," adding that he doesn’t want to lose her: "What we have is the only thing that makes sense to me." Then he says he thought she looked pretty with lipstick on; this pleases her, but he goes on to say that he ignored that thought and "it didn’t go any further than that," which he thinks she wants to hear, but which actually disappoints her. Joey sits up and says, "When I saw you going for Jen’s hand -- I mean, it’s, it’s not like I wanted to be the one holding your hand. I just didn’t want her holding it." Dawson: "So where does that leave us?" Joey shakes her head. Dawson flops back in his chair and grouses, "It’s all so complicated," and Joey comments philosophically, "You’re growing up, Dawson, that’s all. I mean, even Spielberg outgrew his Peter Pan syndrome." She gets up to leave. Dawson wants to know where she’s going. Joey says she can’t sleep over anymore, and they can’t talk to each other the way they used to do: "There are some things we just -- can’t say." Dawson disagrees and says he can tell Joey anything. She doesn’t believe him: "Yeah? How often do you walk your dog, huh?" Dawson, stalling for time: "What?" Joey: "You know what I mean -- what time of day? How many times a week?" Dawson looks at her, then away, then to the other side of the room, and doesn’t answer. Joey drops her gaze, and in that split second her whole face sort of gives way and she nearly bursts into tears (excellent acting by Katie Holmes right there), and Dawson says, "Good night." Joey climbs out the window and says, "See ya, Dawson," without looking at him, and he says "see ya" back. Down the ladder Joey goes as Dawson runs his hands through his hair in confusion and Chrissy Hynde wails in the background, and Joey stalks across the lawn of the Nookie Hacienda with her arms folded over her chest, beginning to cry, and Dawson bangs his head against his closet door. Joey runs down to her boat. Dawson slumps into his desk chair. As Joey unties the boat and snuffles, Dawson leans out the window and yells, "Joey!" She looks up as he confesses in full voice, "Usually in the morning, with Katie Couric!" If ever you needed the textbook definition of Too Much Information, look no farther than that snippet of dialogue. Joey squints at him and then starts giggling in spite of herself and pushes off the dock, and Dawson laughs also. But as Joey starts rowing away, she hears a car door slam, and when she looks towards the sound, what to her wondering eyes should appear but Gail, leaning into the window of an SUV and smooching with Bob, her co-anchor, and when Joey glances back at Dawson’s window he has already ducked back inside, and Joey looks worried as she drifts along on the creek. Thus beginneth the saga of the Faithless Hussy.