And then we cut to a mysterious southern-gothic-looking home, where a single female leg is emerging from the backseat of a car. Before we can see whose leg it might be (Melfi? Svetlana?), we pan over to catch Joey Pants walking up to the house. There's noise from crickets and other animals overpowering the soundtrack, and after the brief glimpse of Joey, we see Tony striding up the same path. First he's in his normal clothing, but then suddenly he's dressed like it's the 1920s, complete with a tattered wife-beater and suspenders. As he heads towards the house, the camera adopts that Saving Private Ryan shaky-cam look, making the whole thing seem even more eerie than it already is (fun cinematographer's note: Before resorting to computers, Spielberg originally intended to achieve the shaky-cam look by duct-taping a power drill to the side of the camera.). Tony finally reaches the front door, and knocks a few times before peeking inside. The door, of course, makes the requisite creepy creak as it swings open. "Hello?" he calls, in an odd Italian accent. "I'm-a here for the-a masonry job." We see a woman, shrouded in shadows, coming down the inside steps, and Tony gazes up at her fearfully. Although (and perhaps because) we never actually see her face, I don't think there's any doubt this woman is supposed to be Livia. If you look closely, the hairstyle gives it away. "Me no speak-a de English," says Tony, as the mysterious figure continues to stand there silently. He slowly opens the door, and as the cameraman does yeomen's work with the diopter to keep Maybe-Livia just out of focus, we…
Cut to Tony, jerking awake in his hotel bed. He staggers to his feet and slowly makes his way into the bathroom, where he flicks on the heat lamp in the ceiling. Bathed in red light (the reasons for which will become apparent in a moment), he stares into the mirror and slowly catches his breath. Foreshadowing watchers should take note of the fact that he also clutches his chest a few times, which spelled doom for Joey earlier in the season. Finally he leaves the bathroom, and crosses to the balcony. He steps outside into the blinding sunlight, and gazes at the beautiful beach scene below. And as the Beach Boys slowly fade up on the soundtrack, we fade to black.
By the way, get what they did there? The red light of hell, and the beautiful beaches of heaven? Which is in store for Tony, you ask? Well, you've got two more episodes to find out!
Aaron: Oh, I get it. That was just a dream when you fired me, right?