Cut to the hero, standing in Livia's nearly empty house and looking around. He walks over to the mantle and looks at a picture of a younger Livia, smiling and smoking a cigarette, and puts it in the cardboard box he has under his arm. Next, a picture of him and his mother taken in his boyhood; that goes in the box too. He smiles a little, sniffling back tears, and takes down a third picture, this one of his parents and himself as an infant (or one of his sisters, but I think we're meant to know it's Tony), and places that in the box with the others. Suddenly, he starts blinking rapidly and steps back from the mantle and puts a hand to his chest, and he reels over to the living room table and plops down on it abruptly, gasping for breath.
In Melfi's office, she asks if he lost consciousness this time. He says he didn't, he just had shortness of breath and spots in his field of vision. Melfi calls this "improvement," and he snaps, "'Cause I'm sad to put my mother away?" "Sad is good; unconscious isn't," Melfi tells him, and goes on to reassure him that he's done the best thing for Livia. "She won't speak to me," Tony tells her, and Melfi agrees that "that is sad," but points out, "But whose choice is that?" That doesn't make Tony feel any better. Melfi asks if Tony can admit to himself that he feels sad, but also "angry and full of rage." "I'm sad," Tony says curtly, wanting to put an end to this line of questioning, but Melfi won't let him, remarking that it's hard for him to admit that he feels hatred towards Livia; Tony tells Melfi she's "out of [her] tree." Melfi, frustrated, tells him to listen to her carefully: "Of course you love her. But what I'm trying to say is, own the anger, instead of displacing it -- otherwise, it defines your life." Tony makes a big show of checking his watch and starts to get up as she goes on, "It needs to be acknowledged," and he snarls that it's "a good thing time is up -- I don't want to talk to you anymore." A short pause before he snorts, "'Hate your mother'..." and trails off without finishing the thought, then huffs out of the office.
At Bada Bing, Tony nurses a Scotch. In the background, a version of the song that played during the scene in which Paul Sobriki stabbed Lucy and Carter on ER is playing. Georgie continues to try in vain to figure out the phone system, saying at one point, "Is that an operator or an answering machine?" Yeah, we get it. Tony curls his lip in annoyance. After Georgie says "hello?" into the receiver about twenty-three times, Tony stalks over to him, snatches the receiver out of his hand, and beats him over the head with it until Georgie slumps to the floor. Tony walks to the back and pauses, his face half in light, and then goes into the back office; when he clears the frame, we see the dancers all clustered around one pole, watching him with concern. After a moment, they fan out and begin dancing again as the song thumps, "Yes, we aim to please." Fade out.