Episode Report Card Aaron: B+ | Grade It Now! YOU GRADE IT It's a Dead Man's Party, Leave Your Body at the Door
By Aaron | Season 3 | Episode 13 | Aired on 05.31.2003
Church. David waits nervously in the lobby, and I don't think anyone was surprised to see that it was Keith he invited to join him. After all, the LWSD II's idea of a relaxing Sunday morning is a mimosa and a gay-themed parlor game.
We then cut to later, with David and Keith sitting in the now empty lobby. "I remember the first time I saw you," reminisces David. "Out there in the parking lot. Getting out of your car, all studly. You looked so intense, the way you pointed your little alarm thingy at the car. Like, 'Fuck you, car. Now you're locked!'" Hee! I've totally been saying that to all the inanimate objects in my apartment this week. "Fuck you, computer. Now you're off." "Fuck you, dishes. Now you're washed." "Fuck you, girlfriend. Now you're inflated." You know, that sort of thing. David also admits that he was stalking Keith a little in the beginning, by timing his arrival so they could pull into church next to each other. When he found out that Keith was a cop, it even made him feel safe. Or maybe he just liked "knowing that [Keith] was strapped to a gun all day." See? Keith'll never be able to escape the Big Black Sex Cop label. It's who he is, people. Keith takes his turn at the nostalgia game, admitting that the first time he saw David he wondered, "Who is that beautiful new white boy?" Aww. David protests (a bit too much, if you ask me), and Keith seems almost surprised when he asks, "Don't you know I think you're beautiful?" "No," whispers David, as a bit of a tremor creeps into his voice. "And kind, and smart, and loving," continues Keith. "You didn't know that?" They both take a moment to ponder the vast communication breakdown in their relationship, and I'm left to wonder what it means that they've made this breakthrough in a church lobby rather than in therapy. Fk = 35.
Cut to Claire, lying awake in bed. Suddenly she jumps up, and the next shot is of her in the Lean Green Corpse Machine, pulling into a cemetery. The jaunty Organ of Personal Introspection plays a cheerful tune as she wanders amongst the graves, searching for The Late Nate's. For those of you wondering when the dream sequence portion of this whole scene actually began, I'm thinking the headstones she encounters labeled simply "Mother" and "Father" might be a bit of a clue. The little girl with the red balloon that goes running past is probably a hint, as well. "You looking for me?" asks The Late Nate, attired -- as he always is with Claire -- in a Hawaiian shirt and shorts. "Yeah," Claire answers. "Where the fuck is your grave?" He laughingly tells her that she's not even close, and then offers to walk her there. "How's life?" he asks. "Eh," she says. "How's death?" Heh. "It's good," he replies. "I've made some new friends, joined the chess team..." That's probably a Bergman shout-out, but I still thought they only played Chinese Checkers in the afterlife. Then again, this whole little sequence totally destroys all of the established rules we've seen on this show about communicating with the dead, so who know what's going on, right? Anyway, The Late Nate leads Claire over to a giant street festival (complete with balloons, cotton candy, and hundreds of people) that's appeared in the middle of the cemetery. If you listen closely, you can even hear an elephant in the background on the soundtrack. I mean, why settle for a pony when you can ride the actual elephants Hannibal used to cross the Alps? "Is this some kind of special occasion?" Claire asks. "Nope," answers The Late Nate. "It's like this every day." Fk = 36.
Previous 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20Next