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Bette's got all of the parts out of the box, and no clue what to do with them. Tina thinks it's cute too — and then some.

Tina: "Bette... I'm having a home birth."
Bette: "I think it's great that Dr. Wilson thinks it's safe. I mean, the baby's healthy, and you're in great shape..."
Tina: "What I meant is, I'm having a home birth. And I want to have it in my home."
Bette: "You mean you wanna give... birth in your apartment?"
Tina: "No."
Bette: [not listening] "Are you sure, because I've got everything so well-organized, and I just think that — "
Tina: "No. I want... [getting teary] to move back into our house. And I want to have our baby in our home. I want all of us to have a home together."

Bette does that look — that grateful amazed look like the one she had when she found out Tina was pregnant. She sits on the couch next to Tina. Bette smiles, Tina nods, and we all exhale for the first time all season.

Lunch — Helena arrives at the restaurant to find Peggy playing grandma. Helena's excited to see her kids, but not her ex. She turns around and tries to leave.

Peggy: "Helena. Stop. Come back. Sit down. Don't be a petulant child."

I think that for the first time in my life, I understand what the word "command" means.

Peggy explains that she wanted to see the kids and Winnie, because she's heard that things are getting ugly, and she won't have that. Helena tries to argue, but Winnie says Peggy is generous and that Helena should try to see her mother as the world does. Helena says Winnie should try to see Peggy as her children did — "or rather, never saw her." The waiter interrupts to see if Helena wants a drink.

Peggy: "Have a bellini, darling. We all are. And do please leave the 'poor damaged child' nonsense for your psychiatrist. Not the one who's suing you; the one who's still taking your phone calls."

I just clapped my hands so hard, I may never be able to type again. Winnie kind of snickers.

Peggy reveals that she's going to give Winnie the co-op on Gramercy Park. Wow, nice. It's almost enough to make me wish I were Peggy's grandkid too, but then I would feel weird about thinking she's so hot.

Home — Tina finds Bette in the bedroom. Bette is looking at photos of Melvin. Suddenly we get one of those "great moments of history" slideshows, with black-and-white pictures of Melvin in various poses and with his family. It's weird. The only good thing about it is that Tracy Chapman is singing Say Hallelujah in the background. Do you hear that, Betty? That's actual music. Take notes.

Remembering — Now we're suddenly at the memorial service, and there's a gospel choir, but they're not singing what Tracy Chapman is singing (and Tracy Chapman isn't actually there). And there's some weird montage-y sort of editing; it's like a memory of a scene instead of an actual scene. Hmm. Maybe that was intentional.

The whole gang is at the service; there are some funny expressions as the camera scans the room. Carmen looks like she's thinking "Why am I here? I don't even know these people!" and Jenny looks like she's wondering whether anyone there has seen her strip show, and also whether she remembered to turn off the coffee pot this morning. Alice looks like she's thinking "Look sad look sad look sad" and Dana seems to be reminiscing about how awesome Lucia Rijker's arms are. Shane looks like her usual expressionless self. Kit does look genuinely sad, and shares a moment with her son. Bette lets us know she's sad by pretending to wipe away a tear. Tina looks like she's thinking "He called me Tina. That's Miss Kennard to you." And to top it all off, there's Mark, videotaping the whole thing and wondering whether Jenny remembered to turn off the coffee pot.

Some other notable attendees: Franklin and Leo, from the C.A.C., and Gloria Steinem, from... um, the real world? I dunno.

Pam Grier is just about the only one who knew what to do with this weird scene.

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