At the restaurant, Mitchell is apparently telling a story about a guy -- maybe her dad? or her brother? It took place nineteen years ago -- who died in front of her. Oh my god, her hair looks so bad. Another patented Chu-HACK shot of them framed in the exact center of the shot, leaning toward each other over the table. Mitchell makes an embarrassed joke about getting them off on a depressing tangent, and reaches over to squeeze Weaver's hand. Dude, on Buffy, that's x-rated foreplay! Mitchell observes that it looks like they're going to close the restaurant down. Weaver withdraws her hand a tiny bit too quickly, just as the waiter appears with the bill. They fight over which of them may pay for the meal, and Mitchell wins. Mitchell comments, "You know, this is our second meal together. Some people might consider a second dinner a date." "A date?" chuckles Weaver, feebly. "You do know I'm gay, right?" says Mitchell, and before the line is completely out of her mouth, Weaver's stepping on it: "Of course I do, I mean, I don't have a problem with it. I have gay friends." Oh, dear. Not the "I have ______ friends" line. So hackneyed. Mitchell looks totally crestfallen, but she tries to hold it together and says, "Oh. Oh, I'm sorry, Kerry, I misread this." Weaver gently apologizes for having given the wrong impression. Mitchell exposits that Weaver's called her down for eight Psych consults in the past week. Yeah -- ouch, right there. Weaver, you are so busted on your crush. Drop the chalupa. But drop the chalupa she will not: "We work well together." Mitchell says that her instincts are usually a lot more reliable, and then it's time for Weaver to trip over her own feet with the disclaimers on how beautiful Mitchell is, and yet, how very straight Weaver is. Mitchell's like, "Okay." Weaver cannot stop herself talking and gets a little choked up but can't think why, and Mitchell's like, "It's really fine," and Weaver breathes, "I guess I never even really considered this." She gazes evenly into Mitchell's eyes. Another brilliant scene from Laura "Smooth Like Guinness" Innes.
Finch, Benton, and Reese take the El to her cousin's house. She remarks that Benton hasn't said a word since they left the hospital: "We can talk to each other. That's what people do in relationships." Benton reluctantly offers that he's "pissed" that Romano's docking his pay for punching Dr. Dave. This seems to satisfy Finch, who says that Benton should be furious, since Dr. Dave was way out of line, adding, "Not that I'm surprised." Benton asks her what that's supposed to mean, and she snorts, "You get docked because Malucci's a jackass. Your nephew gets crappy care because they assume he's a banger. And today our patient couldn't get her meds!" Benton wearily tells her that she needs "to stop trying to teach everybody how to be black!" Finch gives him a neck snap and scoffs that he needs to face reality: "Debbie Marlin couldn't get the pain medication she needed today because her pharmacy was in a black. Neighbourhood." Benton snaps, "You grew up in the suburbs. What the hell do you know about that woman's problems?" Finch demands, "What, and I can't relate because I wasn't poor?" Benton replies, "No, I mean, I'm just saying, you know what? I know who I am. I don't have anything to prove." Finch snips, "And I do because my mother's white?" Hee -- there's a cute shot of Reese, with only his eyes visible, watching Finch over the collar of his little parka. Benton tells Finch he didn't say that, but it's too late; she gets up and storms to the door. He tells her that this isn't their stop, but she barks, "It's mine. I don't want to see you tonight." They're on their way to her cousin's house. Save the hissyfit for after dinner, biznatch. I'm told that, at this point, Glark screamed, "She's HIGH-MAINTENANCE! Let her go!" And he was right.