Van Alden arrives at his next sales destination, a tiny apartment building. I really like the effect of the impossibly crowded corridor in the apartment building as shorthand for how shabby the living conditions are. Before he knocks on his next door, he turns to the hallway mirror and addresses his own reflection: "Every day and every way I am getting better and better," he says, twice. And then he gets promptly shot down by the housewife in 1D. So he moves on to 1C.

Jazzy music greets Mr. and Mrs. Enoch Thompson as enter their own party. She's wearing a cool little Egyptian-style headpiece that really flatters her. They greet their guests with smiles and accept the compliments of their friends. Two guests compliment Margaret on the Egyptian décor. "Imagine," the man says, a worthless desert as far as the eye can see, but buried underneath, untold millions." Nucky: "I can imagine it, actually." Margaret winces almost imperceptibly at this, then they move on. They spot Teddy lingering on the staircase, clearly wanting to come down to the party. "Why not, just for a few moments?" says Nucky, and Margaret goes to indulge her firstborn.

Eddie Cantor arrives at the party with a pretty chorus girl on his arm. "You must be the boy king," she flirts to Nucky, who deflects the "boy" stuff to his young son. The woman introduces herself to Teddy as Lillian Kent, "but you can call me Billie." Margaret makes introductions, then leads Teddy back to bed. Eddie asks Billie if she's ready to sing for their supper; she downs a couple glasses of champagne (including Nucky's) and says she is. Eddie leads her off, tossing an eye-roll at Nucky that made me laugh.

Richard is showing Tommy some of his mother's paintings; his real mother. He even points out her signature on them, Angela Darmody. Tommy sounds the name out. He says he wants to make a picture, and Richard sits him down with a pencil and paper. It's very sweet. He's drawing a horse. Richard tells Tommy that his mother drew him once, a long time ago. At this, Gillian appears in the doorway, asking what was a long time ago. Richard answers, "The war." Gillian wonders if that's a suitable topic, in a very schoolmarmish way. She asks what they're doing, and when Tommy says he's making a picture like his mother, Gillian reminds him: "I'm your mother now" and leads him off to bed. She tosses Richard a look as she leaves. He stays behind and stares at Angela's painting.

Back in Chicago, Al Capone and a crony march into a tiny florist's shop, where Dean O'Banion barks "We're closed!" before he turns and realizes who it is. Then he starts panicking. No Torrio to save him this time. Capone does that clichéd thing where he knocks over a flower pot and is all "Oops!" O'Banion asks if he really wants to do this, and Capone delivers the correct comeback, saying, "I'm sorry, I couldn't hear you." It's about to go down when the bell over the door jingles, and who walks in but Van Alden, STILL making door-to-door calls. O'Banion, thinking remarkably quick on his feet, scolds this stranger, "Where the fuck have you been?" Van Alden, confused, starts to speak, but O'Banion shuts him down: "Shut your yap and look smart! We've got company!" Van Alden, in people-pleasing salesman mode, does as he's told and seems to catch on. Capone, seeing that the field has leveled, growls at O'Banion to watch his step, but O'Banion persists, telling Capone that he's on the North Side now, and unless he wants a taste of what's in Van Alden's briefcase (Van Alden raises his case and "threateningly" opens one latch -- he's being kind of hilarious this week), he'd better watch HIS step. Capone stares him down for a second before leaving.