In an abandoned garage that appears to be housing the Christopher Nolan Batmobile, Elizabeth has Patterson tied to a chair and blindfolded, which is too bad because it means he can't see her badass trench. She stubs out a cig and then embarks upon a Bond villain routine as she starts to talk him through his impending death. Once he realizes she's here to avenge Moscow, he asks if she wants information. No, not information. She wants him to know how it feels to be so close to his own death. She wants to know how it feels to order the deaths of innocent men. Patterson must vociferously object to this definition of "innocent" and says the generals knew the risks. "Like you," she says. Which: fair enough. Patterson then decides that verbal abuse is his path to salvation, so he starts berating Elizabeth, accusing her of being a soulless killer with no allegiances or love in her at all. You wouldn't think a ham-handed technique like this would work, but he gets Elizabeth so rattled that she fires her gun into the wall behind him. He's freaked, but she might be freaked out more.
Elizabeth flees to a back room, where she hyperventilates and paces and generally loses her shit. She just needs a hug, maybe? Philip comes in and asks what happened. When she's clearly too upset to talk, he takes her gun and says he'll do it himself. Because chivalry is not, in fact, dead. Elizabeth stops him, though. She says it's not about Patterson, or even Zhukov. She's freaking out because she was so out of control back there. So un-Elizabeth. Indeed, it was pretty freaky. Philip comforts her, but Elizabeth needs a walk.
After the break, we see Elizabeth has deposited the still-blindfolded Patterson on a city bench somewhere. He looks like an album cover. Cut to Patterson being questioned about his experience by Special Agent John-Boy and Miss Kendall from the CIA. He's pretty upfront about how he got into this mess because he was going to have sex with a woman in the bathroom of a bar. He's also quite observant when it comes to describing his surroundings. Agent John-Boy seems especially interested that there was a woman and a man together. "A couple," is how Patterson characterizes them. The real puzzlement is why they let him go, but that's another question for another day, I suppose.
Picture it: Rome, 1976. Elizabeth and Zhukov are taking in the sights and, per usual, talking about her marriage. Zhukov's words of wisdom this time appear to be telling her to learn from his mistakes. He says he lived for his work, for the party, and now he wishes he'd done things differently.