And that's how I think of Tig and his grieving process: It's the regretful constancy of someone who is now terribly aware of all the ways he failed his daughter throughout her short life, and how he can never, ever make that whole.

We go to Clay, who is not thinking of Louisa May Alcott in the slightest. He is, instead, thinking of how very much he does not want to get killed by the collection of black men who await him on the other side of the prison door, and so he tells the guard to check his pocket for a card. Oh, this is going to be good, watching Clay play Toric.

Meanwhile, someone who is not Otis Redding is still singing about sitting on the dock of the bay.

We're getting the tour of Colette's place, which is what would have happened if Julia Morgan had decided to ditch architecture for prostitution. I think we're supposed to believe that Colette is classy because she can appreciate a nice board-and-batten finish, and that patina of taste is something that Jax is unconsciously drawn to. Colette adds that the goal was to make the cathouse seem homey for her predominately-military clientele. We see some of the girls walk by and they also seem to be dressing for that hooker-next-door aesthetic. Jax is digging it.

(I just deleted an entire essay on the socioeconomic signaling that goes on in your typical season of Sons of Anarchy. Suffice it to say that Kelli Jones, who's done series costume design, and set decorators Dena Allen, Christopher Marsteller, Lance Lombardo and Tim Colohan, are geniuses at establishing all the subtle indicators of someone's background and social class on this show. I realize fans of TV costuming all bow at the altar of Janie Bryant but seriously, Jones deserves our slavish worship too.)

Anyway, Colette and Jax talk numbers -- she was doing a baseline of about $4500 a day, she claims -- then Jax asks if Colette's up for mixing up her girls with Diosa's. I wonder if he's hoping to class up the Diosa joint through osmosis. Anyway, Colette purrs, "Variety is the key to stimulation," and Jax flirts back with, "I'll remember that." He gets up to go, but Colette asks him to stay and visit some of the girls. Jax says, "At Diosa, we've got a rule -- don't date your coworkers." Colette laughs, "That's a stupid rule." Then a girl in tasteful lingerie comes in with a laundry update and Colette stands up, sighing, "Mother's work is never done." Colette is like a hooker savant, because she has just figured out that Jax's relationship to his mother is only slightly less loaded than that of Sterling and Mallory and Archer, and Colette's going to work that angle.

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