Inside, Tara and Bobby are continuing to strategize over the old photos, with Tara saying, "I just want to have something when I see him, some kind of, you know, peace offering." I believe Otto was quite clear on what kind of peace offering he would accept, so unless those photos come with matching kneepads, there's not a damn thing in there that will help Tara. Bobby suggests that the way to Otto's heart is through Luann, and the way to Luann's memorabilia is through Gemma.
So Tara trots across the yard to talk to a bleary, unfocused Gemma about Luann, feeding Gemma a line about how Jax was putting together a care package for Otto and wouldn't it be nice to have some mementoes of the old lady whom the club failed to protect? Gemma's first contribution: "Well, he-he liked to watch her movies. [beat] But I'm guessing they're not going to let you bring a stack of old videotapes in there." "Probably not," Tara concurs wryly. Gemma takes a moment and her face softens as she thinks about Luann, and then Gemma shares a sweet and funny story about how Otto so loved one type of patchouli-based perfume, he wouldn't let Luann wear anything else. Anyway, Tara's now on a mission to track down the perfume that comes in a blue bottle.
Jax and his crew come back. After a filler conversation wherein we establish that yes, Jax and Tara are still going to the cabin this weekend, Jax heads in to talk to his mom. In his clumsy way, he attempts to reassure Gemma that she's not going to be locked out of his family life with Tara and the boys -- thus heeding Nero's words about Gemma's need to have a family life and subtly underscoring that Jax is a fan of father figures telling him how to make sense of the world. Then Jax bluntly asks, "What's going on with you, Mom?" Gemma doesn't really know, so she gropes back to where she thinks her problems began: "After my Thomas died, I did the worst thing a mother can do. I made you make up for the love that he couldn't give me anymore. I'm sorry, Jackson. I'm sorry that I've always been too much." So, really, this goes back to Gemma's childhood, when she had to live with the conspicuous loss of a sibling and learned to associate love with portioning. The point is, Gemma has needs and yet she's ashamed to articulate what they are. It's a tragedy.