Susan sits down in Patrick's room and smiles affectionately at his bald noggin. "Hi," he says. "Check this out!" He moves the bed up and down. "Who knew it would be so much fun, huh?" he says, feigning delight, and still waiting for complicated adjustable sex. Susan just smiles. Patrick hands her a brown paper bag, but instructs her not to open it until later. Then he turns morose. "Sometimes, if I think about what comes next, it helps," he whispers. "Maybe afterwards, I'll know. I'll know what this is all about...That sucks." Susan nods regretfully. "Yeah, it does," she agrees. Patrick gulps and says, "I want you to know what you did for me, Susan." Choked, she reaches out and clasps his hand. "It's mutual," she says. "I want you to know..." he trails off. "I know," she murmurs emotionally. "I know." Really? Because I know I've watched this whole thing, but I sort of don't know what she did for him, other than convince him to go for another round of chemo and buy him a hot dog. Am I just obtuse, or are hot dogs just that good?
Chen stands outside, leaning against a wall and staring across the street at a darkened Doc Magoo's. Luka approaches. "It's so quiet now," she says softly. "I mean, you'd hardly know anything happened there." Luka ruins the moment by noting, "Yeah, except for the police tape." Brill. He then commends her on her composure, and on saving Trina. Then, he leaves. What? Okay. Bye. Sure. Pratt replaces Luka in the scene, which I consider an extremely cheap substitute indeed. "Since I was a kid, I always acted like it doesn't bother me," he begins. "Well, you know something? It bothers me." They stare at each other. "At least they caught the guys," Pratt says. He gazes at her. Get off the window ledges, people, because everything is magically okay for these two crazy kids. She falls against him and he embraces her. "Let's get out of here," Chen says. They run off to have grief sex.
Oppressively meaningful music plays as Susan strolls alone on a bridge. One of the lyrics actually assaults me with a box of tissues. Next, the director chooses a really unflattering camera angle-- Susan is shot from the ground, right up her nostrils, and it makes her look like the Michelin Man with a pointy witch's nose. She should sue -- Sue should sue. Hee. Opening the brown bag, Susan takes out one origami crane, smiles at it, and tosses it over the railing. Then she shakes out all of them as the testicle moans, "Our most precious dreams are always in the sky." We're supposed to be stricken by the lovely cranes of different colors flapping on the breeze, but all I can think is that she's bitchy for throwing away something that took Patrick a long time, and she's littering to boot. Where are those cops now, eh?