Selma and Giant Moe Howard drop Bill off back in town, but just barely. It's like, Bill, then railroad tracks, then one building, then mountains. The light has that end-of-late-afternoon quality, and Bill's got quite a walk ahead of him. As he hoofs it back to his car, he calls Don's voice mail on his cell phone: "Don, we've got a problem. I just had a talk with Hollis Green. I thought they were all crazies chased out and hiding in Mexico. We thought we were poaching Weber Gaming from Roman? Well, he was poaching it from the Greens. They wanted it. They still do." Here's where Don should pick up and say, "No, you have a problem, Honest Abe. I'm outie."

It's full dark when Bill finally makes it back to his Gigantomobile in the diner's parking lot, and now he's got a tire change ahead of him on top of everything else. But that gets back-burnered when he looks through the front window of the diner and sees Margene in there talking to Ana. He calls Margene's cell phone and asks, "Can you step outside for a minute?" Margene tells Ana she'll be right back, and heads outside.

Soon, Margene is sitting in the shotgun seat while Bill sits behind the wheel. She's crying, saying that she can't help loving Ana. "I can't marry her for you, Margene," Bill points out, like it's the most obvious thing in the world. Margene says she can teach Ana how to pray, but Bill still doesn't think that'll cut it in terms of it being a "celestial calling." Margene asks what it is, in that case. "Lust," Bill reluctantly admits. Margene says that's how Bill felt about her at first, but Bill says it was different: "I loved you so much, it could only have been celestial. I'm sure of that now." That's probably the only thing he could have said to make Margene feel better, and to a certain extent it does the trick. Her makeup will still need some fixing, though. Bill kisses her and says, "Let's go home." But…is Ana still waiting inside for Margene to come back? Or is the poor woman getting inexplicably dumped for the second time today? "I'm Not In Love" starts up on the soundtrack as Margene and Bill drive away. And I stand in awe of the plotting and events and characterization and everything that had to be in place, going back weeks, for this last, perfectly symbolic image of the episode: Bill in the driver's seat of Margene's car. Nice one.