Haley Joel Osment: Are you the Blue Fairy?
Keith: Sorry, kid, but I'm the Big Black Sex Fairy. Maybe you should try the men's room.
Ruth is now cavorting through the woods, and the director has chosen to shoot the entire scene using a blue filter over the lens. I'm not sure whether this was motivated by artistic reasons, or if it's just a failed attempt at shooting day for night. Either way, it's very, very blue. Ruth wanders around, picks some berries, and literally hugs a tree. Heh. It's good to know that Ed Begley has a sense of humor about himself. Ruth is smiling and giggling and generally having a great time communing with nature, and then we cut back to David, who is having a lousy time communing with his Ho. HDH is macking with some random dude on a sofa in the back of the bar, and he waves David over to join them. How come my dates never do anything like that? Anyway, David turns to leave, but HDH tracks him down and explains that the guy is just a friend who wants to join them later. David realizes that this relationship just wasn't meant to be, and tries to apologize. "Go. Have fun. I'm just too…I'm sorry that I can't…I'm sorry." He turns and departs, leaving the HDH to think for a moment before shrugging his shoulders and heading back to the dance floor.
Argh! My eyes! You know, the Hot! Dancing! Gay! Boys! didn't bother me a bit, largely because they all had a serious appreciation for the finer points of various depilatories. Nate, on the other hand, is still sporting Brer Rabbit's briar patch around his nipples. He and Brenda are lying in bed, and she seems to be under the impression that he didn't approve of her cancer stunt because he's afraid of her dying. Apparently, she's psychotic and self-centered. It's a wonder she and I aren't married yet. "We all die, Nate," she says, stroking his sideburns. Alan Ball manages to restrain himself from giving her an instant, ironic death from asphyxiating on her boyfriend's facial hair, and while I express my dismay at this oversight, we cut to the next scene.
It's Ruth, and she's been joined in the woods by a guy in a giant bear suit. He's wearing a hat and carrying a big clock, and he motions for her to follow. She does, and suddenly comes across a hearse parked in a clearing. She approaches, and discovers The Late Nate working on it. They both look happy to see each other, and The Late Nate teases her that two guys must not be enough for a "slut" like her. It was funnier when he said it. They share a long, giggly conversation, and it’s easy to see that these two were very much in love at one time. Of course, all the dialogue is fraught with irony and double meanings, and I would have to transcribe the entire scene for you to get it all. The best part, though, is when Ruth tells The Late Nate that he would have liked Hiram, and Nate replies that his money is on the florist. Unfortunately, unless they're planning to recast a post-Summer School Mark Harmon or a pre-Boy Meets World William Daniels as Nikolai The Flower Guy, I don't think that's going to happen. Ruth remembers the time that the hearse stalled on the PCH, and they ended up making love in the back. Like mother, like daughter, I guess. "Nathaniel, what happened to us?" she asks. "We were so in love once." Nate sighs, and they both lament their lost childhood. Then he raises the hood and discovers that the hearse's engine has been grown over with vines. Ruth pulls them out, and finds a double tombstone underneath. His side is already filled in; hers remains blank. "I miss what we had," she says, and he replies, "Then find it again." They kiss one last time, and as the music swells and the blue filter gets even bluer, we fade to white and say goodbye to The Late Nate forever. Proshai, Richard Jenkins. You will be missed.