Back at the docks, Jax and Chibs are soaking the pile of corpses in some green fluid (where they got it and how they know what it is will remain a mystery), and Jax unintentionally mirrors Pope's actions by lighting a cigarette and tossing it into the pit. He then walks over to Bobby Elvis and says they need to go, but Bobby murmurs for him to hold up; Tig needs time. We see Tig holding Dawn's body, rocking back and forth almost imperceptibly; it's the same parental sway anyone who's ever rocked the floor with a newborn can fall into on cue.
As Tig rocks his baby girl, we go into the credits.
Back at the Best Little Cathouse in Charming, Bobby Elvis and Jax have a hushed conversation establishing that A) the officers are freaked out over what happened to Dawn, and B) Bobby wants to bring in Romeo ASAP, because C) Jax things Romeo is the only thing standing between them and Damon Pope. (Although if Romeo has a relationship with Damon, and Damon is so all-powerful with the gang activities, why hasn't the CIA found a use for them?) Chibs comes over and establishes an excuse for getting still more members of SAMCRO to hang around the Best Little Cathouse in Charming, because that won't totally freak out the customers or anything, then heads off. Jax takes this opportunity to hand Nero a very fat wad of cash explaining, "It might be a very busy day for us. This is for your time and inconvenience. If you need more, you're going to have to wait." Chibs then grabs Jax and says they need to am-scary: "All of this activity makes me very nervous." He heads off and Jax looks at Bobby Elvis -- who is, let us remember, a man recently freed from the confines of an all-male penitentiary -- and says, "All this activity makes me think we're in the wrong business." Bobby nods all, You have a point, my friend.
Oh, good -- we get to see Pope receiving news of what transpired when he was off buying ice cream for everyone. He is, by the by, in a huge corner office that is tastefully decorated. There are framed magazine covers on the wall (he was the cover boy for DEVELOPERS, which I am guessing is about construction and not coding) and jazz is softly playing, and honestly, this reads like Stringer Bell's wet dreams. (Yes, I just made a reference to The Wire; by the code of my people, we who write about television, any writer/recapped/critic must seize any excuse to name-drop any of the following: Barksdale Crew, McNulty, "A man's got to have a code," Stringer Bell, Sheeeeeeeee-it, Snoop's hair, the po-po, "Omar's comin'!." It's all in the game, yo.)