But why dwell on the negative when it's so very good to see these four together in one scene: this show really does soar when all the Desperates converge in one spot, which sadly happens only rarely. With a voice strained with barely contained tears, Bree explains that Rex is stable, but that he needs a pacemaker and they're going to operate. Lynette looks at Bree with an expression that seems to convey real concern and asks her how she's doing. Bree: "We were having a fight when he had the heart attack, and I'm just feeling really guilty because I should have got here sooner." Huh. Something about the true innocence with which she says this makes me wonder if maybe the whole bedmaking thing wasn't a mini-breakdown after all, versus the malicious and deliberate delay of medical aid as I accused her of previously. Tomato, tomato. Gabby jumps in to say how great the medical care is at that hospital, which is a laugh considering the hospital's negligence payment was large enough to finance her new Spyder, and that's a whole lot of negligence. Lynette points out how young Rex is, and how sure she is that he's going to bounce back, and Susan says similarly soothing things. Bree tells them all how much she appreciates their being there, but she's trying to keep strong and if they keep comforting her..."You're going to lose it?" Gabby fills in the blank. Bree nods and they all scramble to change the topic. "Oh, I know!" says Susan, in her very cute vintage-looking brown-on-brown flower-trimmed cardigan. "I found Mrs. Huber's journal in some of Mike's stuff and I think she knew Mary Alice's secret and was blackmailing her." "Yup," Lynette nods, "that'll do it," speaking, I think, about Susan's success as a topic-changer, though perhaps she's referring to Mrs. Huber's abilities as a suicide-inducing busybody?
Zana and his bags are marching with great determination away from Felicia's house. Felicia follows him into the Young house, reminding him that his father instructed him to stay with her. Zana insists that he'll be fine on his own, and that he's not a child, and then he throws himself onto his big-boy bed, arms crossed defiantly. Felicia acknowledges that of course he's not a child, but that she still thinks they should discuss the matter. Zana insists that he's fine, but Felicia keeps pushing, saying it's really her pleasure, etc. She reaches over to smooth his hair, and abruptly he jumps up and pushes her away, yelling, "Stop! What kind of freak are you? Just leave me alone, all right, you are not my mother!" Felicia wishes it were that easy, but it's not; Zana's father isn't coming back: "I wanted to spare you this, but your father and I discussed it and he decided that he shouldn't come back. Now, get your bag, and let's go home. I'm going to make you some pudding!" And the way Felicia says "make you some pudding," with such a sickeningly sweet smile, she seems completely crazy. Oh, but not nearly as crazy as Zana! Just look at that loon go: Zana grabs a hockey stick and follows Felicia downstairs. "What did you do to my dad?" he yells, and then WHACK. We miss actually seeing the ugliness as the scene cuts to an exterior shot of the house, but we do hear the sounds of Felicia crying out, and Zana yelling "tell me!," along with some more whacking. And thus dies Zana's last shred of sympathetic likeability and the show loses another one of its potentially complex and interesting characters to the dark side. Bon voyage, Zana!