But don't take my word for it -- Sam has a few things he'd like to say about that red dress: "I remember that red dress. I was asleep when she came home one night," he's telling Annie back at the 125. "She woke me up to say good night, and she hugged me for a long time. I think she had been crying." Attentive viewers may remember this as the scene that opened this episode. Annie, however, isn't buying any of this -- Sam feels the way he does because he's trying to play Sir Lancelot and Rose opens up a lot of unresolved feelings he has about his own mother. "She is my own mother," Sam insists. Whatever, dude -- all Annie knows is that the Freudians have a name for this and it's called an Oedipal complex. The red dress symbolizes desire -- namely Sam's desire to get it on with mom. "Ewww," says Sam. On that, we can agree.
But enough probing of the Greco-Roman wrestling match going on between Sam's inner demons. Annie's free tonight because Assistant District Attorney Lee Crocker is flaking out on a date to go see that new Woody Allen flick Sleeper. "It's a classic," Sam agrees. But it just opened, Annie points out. Because what's old to him is new to you, you see. Anyhow, Sam agrees to see the motion picture -- and he won't even spoil the ending this time around. Hey, Sam just had a thought -- maybe he's been sent back in time to fix this business with his mother and the loan shark. Well, if that's the case -- and Annie severely doubts that it is -- he's doing a crappy job of it. "If you want to get Casso and Profaci," Annie says, "you go after the open homicides." Getting loan sharks on a murder rap -- it's like the Reverse Al Capone strategy.