Oh, look! It's a Niners bar. And evidently if you want to tend bar there, your bust measurement must end in nine, such as the young woman with what looks like a 49-inch rack. She's bending over the bar to wipe it. Well, no wonder. She looks like she needs help to stand up straight. So SAMCRO walks in and it's no big deal, but the minute Alvarez and his crew walk in, someone pops out from a back room and begins firing, and it's time for this episode's edition of "Why the hell are we all shooting at everything again?" A Mayan goes down on account of having his brains decorate one wall of the bar. Anyway, the shooting eventually ends thanks to Jax screaming that everyone should stop, and then Jax screams the question on everyone's mind: "What the hell, Laroy?" Laroy is all, look, we're all skittish on account of the Lobo Sonora killing three of our guys this morning. Alvarez is all, son, your nerves aren't my problem -- my problem is that you killed one of my best soldiers, and then, BLAM! He drops a guy. Alvarez is like the Getting Things Done life-hacker of gang leaders; he sticks stuff on his to-do list and turns it around in mere seconds. Anyway, Jax is not successful in getting any contact information for the Lobo. So! That Mayan died for nothing.

Anyway, the next scene has Clay conspiring to get Jax nowhere near Romeo, but since Jax is really half-crazed with fear, worry and fury, it's no work at all to get Opie and Chibs on the "Really, it's for your own good" wagon. Since those two tend to be slightly saner than the other club members, Jax concedes. Clay then feeds him lines about finding out who could have done such a dark deed and hurting them, and unless this season ends with Jax holding Clay's hand and thwacking him with it in the face all, "Why are you punching yourself? Why are you punching yourself?" we know that's a load of hoodoo.

Gemma's hanging out in the chapel, and Margaret tries to open the door angrily, but she's thwarted by the very nature of the swinging door, so she's left to bat at the door and glare. It is very funny in a "Oh, I shouldn't laugh at this" sort of way. Then Margaret sits down behind Gemma. She starts: "It's awful -- this attack on Tara." Gemma, who is busy chewing over the reality that, 1) her husband's the one who put out the hit and 2) her son is likely to kill him if he finds out, can only say, "Yeah. I know." Margaret continues, "You have no remorse about what happened." Gemma looks back at Margaret, then turns before trying to discomfit the other woman: "Sounds like you do." Margaret says she does. She continues, "I've been trying to get her to leave for over a year." Gemma rebuts that Tara belongs in Charming, and honestly, that sentiment is the kind of thing that leads one to wild, Stephen King-ian flights of dark imaginings, like Gemma being the living avatar of an unmapped town which refuses to let people leave. Margaret says bitterly, "You see what [belonging here] got her." Gemma protests, "It got her a beautiful son." Margaret leans in and hisses, "She's blinded by an adolescent bond. You know she doesn't belong with your son." That has to sting, because it's pretty much what Gemma was saying all through Season One. But Gemma staunchly defends her position: "What Jax and Tara do is their business." Margaret calls BS: "The way you bully and manipulate her, use those babies' strings? --" "You better watch what you say next," Gemma threatens. But Margaret's not too afraid of getting slugged, nor is she afraid of Gemma. She continues: "You're an awful woman, and all this suffering landing on Tara -- it's because of you." Margaret can't see Gemma's face, but it looks like Gemma agrees with her. (That scene's going in her Emmy reel.)