Back at Melfi's house, she's now moved to the bedroom. Richard comes in, and she apologizes. Richard claims to be just frustrated, because he wants to kill the guy with his bare hands, but he can't. There's a number of close-ups of his hands as he bemoans the state of the justice system. He sighs, and we cut straight from another shot of his fists lying impotently in his lap to a low-angle view of Tony, towering above us and smashing wood with a sledgehammer. And an anvil. Gee, who's the powerful one out of those two? Christopher comes up, complaining about having been blown off at Vesuvio. Tony reminds him that he's not the most reliable guy himself, and they head inside. There's a shot of the air conditioner (they've got four?) starting up, and the FBI guys get excited in their van. The boys enter the basement, and we see the bugged lamp in the foreground. Christopher apologizes for involving Jackie Jr., but does concede that "he was an asset. Pissed all over the car seats, but he handled himself good." Tony explains his promise to Jackie Sr., and Chris takes major offense. "Oh, the life is good enough for me, but not for Little Lord Fuckpants?" Bwah! Tony explains that kids today aren't like he and Chris. They're "bored and spoiled." How is that not like Tony and Christopher? Chris is slightly mollified, and when Tony gives him a hug and professes his love in a not at all unmanly fashion, Christopher actually smiles. Almost. Outside, the Feds are befuddled. "Little Lord Fuckpants? Whose moniker is that?" I don't know from monikers, but if that's the guy I've got to talk to in order to get some pants on Tony, I'm prepared to make him an offer he can't refuse.

We're back in the stairwell again. Melfi enters and heads up to her office, pausing for just a moment to wince at the spot where it happened. Don't you think she might have found someplace else to park? Or at least an elevator, what with the cane and all? Cut to Tony in the waiting room. She comes out to get him, and he's stunned by the scope of her injuries. Inside the office, she creeps slowly over to her desk, and hands him some papers. As she slowly sits and composes herself, I'm struck by her resemblance to Livia. They've got her hair straight for the first time in the episode, and it frames her face exactly the way Nancy Marchand's used to. Tony reads off the title from one of the pamphlets she gave him: "Feel the fear and do it anyway." Melfi agrees that the title leaves something to be desired, and then her cane falls and makes a loud noise. She jumps about two feet straight up, and Tony wonders if maybe she came back to work too soon. She reassures him that she's okay, but then there's a long awkward silence. "See, that's what's wrong with the world right there," says Tony, "An innocent person is driving along, minding their own business, and bam, some fucking asshole smashes into them." Melfi reminds him that he can't control everything. "No, but you can get pissed off," he answers. That's exactly what causes his panic attacks, she explains, and tries again to pawn him off on a behaviorist, who can teach him how to control those emotions. "Then how do you get people to do what you want?" he wonders. Even in the quiet scenes, Bracco and Gandolfini are superb.