Directed by: Michael Cuesta
Written by: Scott Buck
When Daniel Showalter, a disgruntled former telemarketer, returns to his old workplace with a shotgun, Fisher & Diaz gets two funerals - for one of Showalter's victims as well as Showalter's himself, who committed suicide at the scene. This results in some issues between David and Federico at the funeral home, when Federico wants to turn away the killer's family. He feels that Showalter's parents are as guilty as their son; they should have known he was capable of murder and done something to stop him. But Federico is overruled and when the day of Showalter's funeral arrives, an exasperated David has had enough of Federico's moral superiority. "You can't ever really know a person," he tells Federico, "and if you think you can, you're living in a dream world."
David's not referring just to the Showalters; lately he's discovering he doesn't know as much about Keith - and his relationship with him - as he thought. Whereas David has been confident about their future together, he is stung to find out that Keith is not so optimistic. "Get real," Keith snaps, "You and I are living day to day and you know it."
Claire is in a similar situation. She's falling hard for Phil, describing him to Russell - her fellow student and new friend - as "the first guy who ever understood me." But later she's surprised and hurt when Phil informs her that he's seeing other women. As he explains it, "Until you really get to know someone, it just seems the way to go."
In contrast, Nate and Lisa appear to be in sync. At a barbecue they tell David and Keith that they never fight. "We've known each other for so long," Lisa says, "I guess we just understand each other." She doesn't however, let them know about their squabbles over shopping, laundry detergent and the safest way to clean Maya's ears.
Temporarily removed from all this is Ruth, who's been helping her sister. Sarah phoned her, claiming she'd hurt her back and needed Ruth to pick up a Vicodin prescription for her. But when Ruth arrives in Topanga, she learns the truth - Sarah is in the throes of withdrawal. She's being tended by Bettina, a strong, straight-talking woman who grabs the Vicodin before Sarah can get her sweaty hands on it. Ever the caretaker, Ruth pitches in making egg salad and at one point helping tie Sarah to her bed. When Sarah struggles, Ruth threatens to break her arm. And she means it. A suddenly compliant Sarah looks at Ruth in shock - she didn't know she had it in her.
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