Don's having a drink at a table in a Japanese restaurant when the Mohawk guy (Henry is his name) shows up. They've barely shaken hands before he tells Don that the restaurant reminds him of Pearl Harbor. "For many reasons." So much for a friendly drink before he breaks the news. Don gets right to it -- SC is terminating its relationship with Mohawk. Henry tells Don that when he first went to SC, he was told that the firm was Don Draper. "That's what you get." He goes on to recall that Don told him that SC didn't need a big airline -- they were going to make Mohawk a big airline. This is killing Don, of course, as he's the only one who wanted to keep Mohawk and he's getting blamed for dumping them. Add in the Betty stuff and he's having one bitch of an episode. Don takes it like a man, though, simply saying that he wishes things had worked out differently, and Henry the poker player lands the haymaker as he stands and puts his hand on Don's shoulder: "I'm almost embarrassed to say this. You fooled me." Appropriately enough given the setting, Don looks like he wants to commit hara-kiri.
Duck is meeting with the American guy, who's dancing to a rather noncommittal tune. That changes, however, when Pete unexpectedly shows up, much to Duck's pleasant surprise. Duck introduces Pete as "the best," and Pete proves that, saying SC's commitment to American is second to none, and there will be someone on his account who knows exactly what they're going through. He gives up the news about his father, and the American guy is both appropriately stunned and impressed as he says he'll pass that information on. Duck suggests they all head in to dinner as Pete's dad thinks, "It's bad enough I had to die, but my death is being used to further my idiot son's advertising career?" Hey, Irony doesn't ignore you just because you bought it.
Don's still sitting in the restaurant, dealing with the unclean feelings washing over him, when a pretty waitress comes up to him and makes her meaning plain with a few well-chosen words. Don smiles, but turns her down, and heads home to be with his family.
We're now in church, and a slow pan across reveals Anita, who's holding Peggy's son, Peggy's mom, and then...Peggy. Peggy declines to take Communion, so Anita leaves the boy with her as she goes up to receive the Sacrament. Her son cries loudly as she watches uncomfortably, and we go to closing credits.