Old McFisher's "Bought The" Farm. Ruth is upstairs with her friend Amelia, tossing black suit after black suit onto the bed and wondering if Nathaniel Sr.'s clothes might be too dull for Goodwill. Amelia tries a little grief counseling, but I'm not sure I could possibly care any less about any plotline involving the mother, so I don't really pay all that much attention. Amelia comes across a list of things Ruth might want to do now that she has more time. The list includes visiting the pyramids (which was fun, but hot. And also smelly) and taking ballet lessons (which was not fun, because I pulled a groin going for second position. Stop looking at me like that). Ruth calls the whole thing stupid. "What am I, going to be in 'Swan Lake'?" When Amelia suggests that she might meet a man in one of these endeavors, Ruth does one of her patented flip-outs and starts obsessing over turning over her mattress. She throws the pile of clothes off the bed, and with Amelia's help they turn the mattress. "An uncovered mattress is so sad," mutters Amelia, and I was going to crack on the writers for unnecessary sap, but then I remembered thinking pretty much the same thing when I moved last month. They finally get the mattress back in place, and Ruth is forced to admit that it doesn't feel any different. Yawn. Wake me when Lauren Ambrose is back.
Cut to Nate, riding along in his dead-wagon. As he comes to a stop sign, the van is suddenly surrounded by protesters waving signs and chanting, "Save our park." In true Ally McThis-Episode-Is-So-Being-Ghostwritten-By-David-E.-Kelley fashion, it's suddenly all about Nate, as demonstrators walk by bearing signs that read, "Sellout," "Take the money and run," and "Go back to Seattle, Bag Boy." The coup de grace is an old guy with a poster reading, "You fucking moron." I'm now forced to admit that, even though as catchphrases go, "You fucking moron" is no "What are you gonna do?" it still cracks me up every time I hear it. The Late Nate appears in the passenger seat and gives The Live Nate some grief (get it?) about how he should keep the business and help people. When Nate Jr. can't answer, DeadDad tells him to go back to "peddling soy milk and nailing waitresses." Finally, the honking of a car horn jerks Nate back to reality, and us into the next scene.
At the McFisher Farm, Nate has decided that he doesn't want to sell after all. David likes the idea. "We'll keep the business for the rest of the day, and then sell it again tomorrow for a few hours," he says. "It's a good system. We'll sell it in the mornings, keep it in the afternoons, and then maybe sometimes we'll sell it again in the evenings when we really can't make a decision." Mom pipes up that David isn't being fair, and Dave points out (quite correctly) that she was all in favor of selling when Nate suggested it, but now that he's the one who wants to sell, she's not sure. "Okay, I'm a terrible mother who's responsible for all your problems. Happy?" she replies, and she'll get no argument from me on that one. David goes on to point out that Nate can't even stand to be in the same room as a dead body. "I know," answers Nate, "but there's a reason for that." I cringe in anticipation of a flashback that will show us precisely what that reason is, and then wince even harder when we don't get it and I realize that now I'll have the anticipation of said flashback hanging over my head for at least another week. "This is what I'm supposed to do," continues Nate, "that's why I've spent so much time running away from it." He wants to keep the business and run it together as "brothers, the way [they] used to be." More babbling about helping people, and I again nod off and fantasize that the show will eventually reveal that they're actually superheroes who disguise themselves as Clark Kent-ish funeral directors, and that all this "helping people" will involve flying, explosions, and cool CGI special effects. Then I wake up to another locked focus shot of Dave agreeing to keep the business, and Nate tearing up Gilardi's check. Oh well.