By Kim
Tony is still dealing (or not dealing) with the asbestos dumping. He gets a visit from Agent Harris and identifies photos of his Arabic friends, but the Feds won't tell him why they wanted to know. Tony and Phil have a sit-down, but Phil won't budge. Things escalate when some of Phil's guys beat up some of Tony's guys. One of Phil's guys, Coco, insults Meadow while she's on a date. Meadow reluctantly tells Tony about it, and also confesses that she's dating Patrick Parisi, Patsy's son. Meadow adds that she's decided to ditch medical school in favor of law school. Tony gives Coco a curb job (on the edge of the bar, but still) right in front of Butchie. Somehow, Coco lives. Little Carmine visits Tony to try to convince Tony to beg Phil to patch things up. Tony and Little Carmine go to broker peace with Phil, who refuses to see them and even insults them from his bedroom window.
AJ is still depressed, and he's turning into a typical college student who thinks he knows everything. Meadow tries to urge AJ to take some positive steps. AJ reacts to this by attempting suicide by drowning himself in the backyard pool after tying a cement block to his leg and putting a plastic bag over his head. Then he has second thoughts and has to tread water until Tony comes home and rescues him, after which Tony and Carmela have AJ committed. Carmela blames the Soprano family curse of depression for AJ's problems. Tony and Carmela go to therapy with AJ, where he blames them for all of his problems.
Okay, so you may have forgotten the asbestos-dumping subplot from last week, given the far more interesting "Tony murdering Christopher" plot and the "Tony taking peyote" plot. But the asbestos-filled construction debris is still being dumped in the wetlands of Jersey. Meanwhile, Tony is slumbering in his bed. AJ is trying to sleep, like his father, but keeps tossing and turning. The writers have definitely been establishing a parallel between Tony and AJ, and I think the opening scene here underscores that once again. Both are sleeping, Tony peacefully, and AJ not so much. AJ wakes up and turns on his clock radio to listen to "Ridin' Dirty," which ends up waking Tony up.
Tony heads downstairs in his robe. Carmela opens a "mysterious package" that is "postmarked Las Vegas" in the kitchen. Tony smirks to himself as Carmela opens the package to find a Baume and Mercier watch, and I looked it up online out of curiosity to find it retails for thousands of dollars. I'm sure Tony didn't pay retail, but still. Carmela is touched that Tony bought it for her and also had it engraved: "You are my life. Love, T." Carmela slips it on and hugs her husband, who apologizes again for having to go out to Vegas when he did. Carmela rationalizes that Tony had to take care of "Christopher's business interests," and it meant more money for Kelli and the baby. Yeah, if by "Christopher's business interests," you mean Tony's own sexual needs.
At an abandoned hospital, a group of guys are tossing debris into trucks. Bobby Bacala pulls up and greets John Stefano, the construction guy Tony talked to on the phone last week. Bobby refuses to shake the guy's hand at first, afraid of asbestos contamination. Bobby wonders why the workers aren't wearing "spacesuits" and Stefano (which makes me think of Days of Our Lives) says that the safety clothes are a union rule, and these guys aren't union. He adds that if they were, the job wouldn't make any money. He hands over a wad of cash, and Bobby insists that he put it in an envelope. Bobby's going to have to open the envelope eventually anyway, right? I don't see these guys heading down to the local credit union to make a deposit with this money.
AJ has finally told his shrink about the beating he witnessed and how it sent him spiraling back down into depression. After saying there's nothing he could have done to stop the beating, AJ wonders why the Lexapro isn't working for him, adding, "Why can't I catch a fucking break?" Look, I know depression is a chemical imbalance and all, but AJ has caught plenty of breaks in his life, starting with being born to rich parents who give him pretty much anything he wants. AJ finds his classes boring and depressing, especially since the conflict in the Middle East will never be resolved. The shrink suggests that AJ write about his feelings, but AJ doesn't seem interested. Instead, he talks about the contrast between the poverty in some countries and the affluence in ours. He says this while wearing expensive clothes and living off his parents' money -- I don't know how the shrink avoids pointing out his hypocrisy. The best way to appreciate your parents' sacrifices is to move out on your own and realize how much it costs to pay the bills. I'm not saying Tony and Carmela are model parents or even model citizens, but come on. The shrink tries to draw a parallel between AJ's feelings about Blanca and the kid that was beaten by his friends, and AJ protests, "She's not black. [pause] She's pretty tan." Ha!
Silvio reads How to Clean Practically Anything . What did Tony break now? Tony walks in, and Sil, Paulie, Carlo, and Walden greet him happily, since they haven't seen him since he got back from Vegas. Tony says it was a great trip, but then remembers he's supposed to be sad because of Christopher, so he quickly changes his demeanor. He notices a new picture hanging on the wall that features Christopher sitting in a director's chair. Tony brags about the girl he met and that they did peyote. Carlo jokes that Bobby did mushrooms once -- he ate a whole platter of stuffed mushrooms. The guys sit around the table and discuss their drug experiences. Tony can't find the words to describe how incredible his was. Bobby hands the cash from Stefano over to Tony, who asks if there's been any "movement" on that front. Sil says quietly that they should probably go see Phil. Paulie starts babbling about how he was dosed with acid once by a waitress, and he saw laser beams shooting out of Uncle Junior's eyes. HA! That's hilarious.
Kelli has dinner at the Sopranos' home. She talks about how lonely things are in her house, and Tony urges her to call him any time, day or night. Hmm. Night? Carmela changes the subject and says that Meadow had another mystery date. Who's she dating? Paulie? A woman? Why the mystery? AJ comes downstairs and refuses Carmela's offer of dinner by complaining that they spray beef with a virus. Whatever, Rachel Carson. Then don't eat beef, but why begrudge others their pleasure? Tony says he's never heard that, and AJ snarks that Tony wouldn't find it in the sports section. AJ goes on to rail against the meatpacking industry and capitalism in general. God, if I ever had a kid, I don't know what I would do when they reached the pinko commie stage of life. I find that more insufferable than a colicky baby. I think it lasts longer, too. Anyway, Tony points out that Kelli has been through a real tragedy, and AJ accuses them of burying their heads in the sand. Tony can't believe that AJ wouldn't crack a book for twenty years, and suddenly he's "the world's foremost authority." Why am I agreeing with Tony, the adulterous murderer? That steak pizzaiola Carmela made looks really good, beef virus spray or not. Carmela thinks it's good that AJ is reading and getting an education.
AJ is learning about Yeats's "The Second Coming" in his English class. In my own pinko commie stage, I remember being very drawn to this poem, not to mention to Yeats in general. I read Joan Didion's Slouching Towards Bethlehem just because the title was an allusion to this poem. I had "He wishes for the cloths of heaven" read at my wedding. All I'm saying is that I can relate to a Yeats fascination. AJ actually reads the poem to himself in his bed at home. At first, I thought he was reading it out loud, but it turns out it's a voiceover. Nothing good comes from a love of poetry.
Agents Harris and Goddard visit Tony at Satriale's. Tony offers them some food, but Agent Harris says he's still battling that microbe he got in Pakistan. I can't figure out what the point of continuing that storyline is, unless Tony's going to get into trouble and count on Harris to bail him out, but Harris will be sick or dead from this thing and didn't leave any paperwork on their deal? Anyway, Harris shows Tony some photos of two men wearing traditional Arabic garb, and Tony IDs them as his buddies from the Bing. Tony wants to know why they are asking, but the agents won't give out any information, really.
Tony and Phil finally have a sit-down. Tony pretends that the visit is about a new construction project, and then tries to slide into talking about the asbestos thing. He offers fifteen percent, and he'll forgive the balance of what Phil owes him for the vitamin truck. Phil says, "First off, it wasn't an offer. It's my position. Twenty-five percent." God, I love Phil. I mean, I hate him, but I love the character for how bad-ass he is. Tony says he came in good faith and made a reasonable counteroffer, and he wonders if they need to talk privately. Phil refuses. Tony reminds Phil that when Phil was hospitalized after his heart attack, they shared "an understanding about life." Phil spits that this is business, and Tony says he's trying to talk to Phil "on a human level." Phil cracks a joke, and his guys all laugh at Tony, who gets angry that Phil refuses to compromise. Phil says that he knows from compromise: "Twenty years in the can. I wanted manicotti. I ate grilled cheese off the radiator instead. I wanted to fuck a woman. But I compromised. I jacked off in a tissue. You see where I'm going?" Tony smiles sadly and walks out.
Butch and Coco walk up to Edgar Ramirez, their no-show cash connection. Edgar tells them there won't be any checks this week, because Silvio called this morning and told him to pull any jobs belonging to New York guys. So of course, Butch and Coco beat the crap out of Edgar. One fellow worker tries to stop them, but Butch and Coco's threats make him run away. Coco opens Edgar's wallet and steals his cash. This is not looking good for New Jersey, for New York, or for Edgar.
Meadow knocks and enters AJ's room, where AJ quickly closes his laptop to hide it from his sister's eyes. She talks cheerily about how hilarious Borat is. AJ pouts that the movie "wasn't fair to the people involved," and then he yells at Meadow to leave the blinds closed before admitting that he dropped out of school. Meadow urges him to talk to her, because she's his sister. She says she cried every day for a month when she broke up with Finn. AJ talks about how we're going to bomb Iran, and Meadow counsels him to "shut stuff out" and asks why he's surfing the web for porn. AJ opens his laptop to show that he's actually looking at the Al Jazeera website. Meadow thinks he should try to move out of their parents' house, and AJ self-pities, "Oh, right. In my condition? I can't hold a job. I'm ill, Meadow. I'm on medication. I need Mom's cooking. It could mess with my blood chemistry." Yikes. AJ makes it hard to have empathy for him. Meadow thinks he should tell their parents that he dropped out, and reminds him that she took some time off, too. AJ thinks they like Meadow better, but Meadow points out (without much bitterness) that they're Italian and AJ is their son, so he'll always be more important.
AJ meanders downstairs, where Carmela is busy making something I was better off not knowing existed: "Lincoln Logs." They appear to be cold hot dogs, split down the middle and smeared with cream cheese. I haven't felt this vaguely ill since my husband told me about fried bologna sandwiches. And that's not a euphemism. AJ isn't interested in the food, and Carmela says that she's meeting Gab for lunch and will be home later. She kisses a despondent AJ on the cheek and leaves. AJ stares out at the pool.
Some time later, AJ sits on the diving board of the pool with a cinder block tied to his leg with a rope and a plastic bag in his hand. He shivers (it's cold out) and cries, and then he puts the plastic bag over his head and secures it with a rubber band around his neck. I'm claustrophobic, and just watching this is freaking me out. AJ gathers his courage, tosses the cinder block into the pool, and jumps in after it. Almost as soon as he sinks, he either panics or changes his mind, or maybe some primal survival instinct kicks in, and he starts trying to kick for the surface. Luckily, the rope is long enough that he's able to make it to the surface (a huge design flaw) and he peels the bag from his head. Unfortunately, the rope isn't long enough that he can get out of the pool very easily. He flounders around, trying to grab the diving board without much success.
Tony pulls into the driveway and walks into the house, where he starts chowing down on some Lincoln Logs. He hears AJ yelling outside, so he looks out the window and sees AJ clinging to the diving board with a plastic bag on top of his head, treading water. If you had asked Tony the top ten things he never expected to see in the pool, I bet this wouldn't even have made the list, because it's so far out of his realm of possibility. As such, Tony isn't in much of a hurry to investigate. He walks outside, and AJ sobs that his arms are frozen, so he lets go of the diving board and sinks. Tony takes a running jump into the pool and hauls AJ up, as AJ explains that his leg is stuck. Tony manages to get AJ over to the side of the pool by dragging the cinder block along the bottom, and then Tony swims down and pulls up the cinder block, plopping it out of the water. Tony is strong like bull! AJ sobs the entire time. Finally, Tony hauls AJ out of the pool and hauls himself out as well. As AJ's sobs move into overdrive, Tony's first reaction is anger. He shakes AJ and yells, "What's wrong with you?" He pulls the plastic bag from AJ's head and seems to put the pieces of the puzzle together. Tony sits up so that he can cradle his son on his lap and croon, "You're all right, baby. You're all right."
Tony, Carm, Meadow, and AJ's shrink accompany an orderly as he pushes AJ down the hall of a hospital or mental facility in a wheelchair. They arrive at AJ's room, and the shrink tells the family they can visit AJ tomorrow. Carmela and Meadow, both crying, kiss AJ, who manages to tell them he loves them despite (as the shrink informs them) having had a lot of Valium. Tony rubs the top of his son's head and then kisses it. They have reached a set of double doors, and AJ, the orderly, and the shrink continue through them. As soon as AJ is out of earshot, Carmela starts sobbing. Tony says that AJ was better for a while. Meadow assures her parents that it's not their fault, but Carmela points out that Meadow warned them about something like this. Tony hugs Carmela and promises it'll be okay. Carmela cries out, "But he was always so happy! He was our happy little boy." James Gandolfini looks like he's about to start cracking up. Because when was AJ happy? As a newborn, maybe? Tony hugs his wife and daughter, who are both sobbing.
Tony walks into his office, bleary-eyed. All conversation stops as the guys turn to look at him. They're unsure of what to say, but they've clearly heard the news about AJ. Paulie offers to get Tony some food from Baja Fresh, but he pronounces it with a hard J, which cracks me up. Tony asks if they've heard from Phil, which they haven't. After another pregnant pause, Tony turns and says, "Let's dispense with the five-hundred-pound elephant in the room. My kid tried to off himself." That's not a very big elephant. Must be one of those midget varieties. The guys look everywhere but at Tony. He wonders if anyone has anything to say. Bobby Bacala, bless his heart, asks how AJ is doing, and Tony says he's under observation. He wonders, "Where did I lose this kid? What did I do wrong?" Sil thinks Tony shouldn't blame himself, and Bobby agrees. Tony wonders why it hasn't happened to anyone else's kid. Patsy says his son Patrick can be "a moody prick sometimes." Silvio confesses that his daughter Heather went through a rough patch, and Patsy says that his son Jason did too. Carlo says that his son has had trouble as well. None of them tried to kill themselves, though. Silvio thinks it's good that AJ's getting help. Paulie, having no kids, offers up the theory that it's due to the toxins the kids are exposed to. Like asbestos that's been dumped in the wetlands? Just saying.
The morning, Tony comes downstairs in his bathrobe and Carm pours him some coffee. He pushes it aside and says that he's depressed. Carmela warns him, "Don't you start now. I've got enough on my plate. I don't need you adding to it with your bullshit." Tony says it's a hereditary disease, and Carmela snaps that she's "intimately acquainted with the Soprano curse" and all of Tony's family members who have suffered, including his great-grandfather who drove the cart off the path in Avellino. Seems Carmela has channeled her emotions from grief into rage. Tony wants her to come right out and say what she's hinting at, and Carmela pauses, considers, and then says, "He didn't get it from my family. That's all I'm going to say." Look at the big balls on Carmela. Tony complains that Carmela's father is all bottled up, because her family doesn't talk, while Tony's father was upfront. Carmela yells, "Yeah, with a bullet right through your mother's beehive hairdo." Tony knew that was going to come back to haunt him. Carmela complains that Tony used to be happy-go-lucky in high school, but it was bullshit. Tony retorts, "Oh, poor you. Got married under false pretenses." Interesting how Tony falls back on Livia's favorite retort when he's cornered. Carmela thinks Tony has "played the depression card until it is worn to shreds," and now AJ is doing the same. I have to say, I've been rewatching older episodes, and Edie Falco has never looked more beautiful than she does this season. But that's beside the point. Tony is furious that Carmela thinks AJ's problems are all his fault. Carmela says it wears you down, and wonders if he knows "what it's like to spend day after day with somebody who's constantly complaining." Like his mother? Tony says, fairly quietly, "Fuck you." Carmela turns, angry, and struggles to remove the watch, which she throws in Tony's face, literally. She stalks off, cool as a cucumber in her all-black outfit, and Tony picks up the watch and throws it after her retreating figure.
Tony talks to Melfi about AJ. She suggests that the suicide attempt was a cry for help. Tony misunderstands and says that AJ did cry for help. Melfi clarifies her point: that AJ might have subconsciously sabotaged himself. Tony responds, "Or it could be that he's a fucking idiot. Historically, that's been the case." HA! Instead of worrying about his son, who almost died, Tony starts talking about how this has hurt his relationship with Carmela, which was going well. Except for the parts where Tony was fucking other chicks again. Melfi tries to get Tony off the track of blaming everything on his genetic pool, and asks if there could have been other reasons why AJ was unhappy. I really think, given the setup in the opening shots of Tony and AJ mirroring one another, this whole scene is really about Tony. For example, Tony says that AJ has had every advantage, but "he hits one little pothole, he goes into hysterics." Sound like anyone you know? Tony seems to relaize it, because he angrily says he won't take the rap, because Carmela coddled AJ. Like she does Tony? She cleans up his messes? Tony admits that he's ashamed of his son for taking "the coward's way out." Melfi doesn't think that's accurate, and adds that Tony should understand depression better, given his history.
Carmela visits AJ in the hospital, which looks like a better-lit version of Uncle Junior's home. AJ asks if Tony is still mad, and Carmela says he never was, and he loves his son. Carmela tells AJ his shrink thinks he needs to take some time out. Carmela looks over at a girl who is busy pulling out her own hair, then rubs her son's face affectionately. She asks if he ate today and promises to bring him some chicken parm. AJ doesn't think she can, because of all the bulimic girls.
Meadow and a date sit in a restaurant in Little Italy. Coco, one of Phil's guys, walks up and asks if she's Tony's daughter. He leans down menacingly and tells her she has some cream on her mouth (which she doesn't, so he's making a blowjob remark), and then wipes her lips. Meadow recoils as Coco says he'd be happy to add to it. Her date finally speaks up, and Coco comments that Tony is lucky, because it must be fun tucking Meadow in at night. Her date stands up, although he's fairly slight to the gargantuan Coco, and asks if there's a problem. Albie shows up and tells Coco to take off. He leaves with a cackle, and Meadow looks horrified. Her date asks what that was all about.
The day, Meadow has clearly just told Carmela what happened, and Carmela tells her, "That is not for you to decide." Tony walks in and jokes that they're talking about him. Meadow and Carm exchange significant looks. Meadow doesn't want to say anything at first, but finally asks if he knows a guy named Coco. Carm pipes up and says that Coco "pulled some crap" while Meadow was out on a date. Tony sits down and asks for details. Meadow tries to downplay it, only allowing that Coco said he'd like to tuck her in at night. Which isn't what he said, but what he actually said was worse. She says with disgust that she could smell the sambuca on his breath. Tony wants to know exactly what he said. Meadow relates the tale fairly accurately and looks upset. Tony assures her that it's not a big deal, because Coco is an idiot, and he'll take care of it. Carmela takes the opportunity to ask whom Meadow's dating, and she admits that it's Patrick Parisi, Patsy's older son. Carmela is stunned. Tony gets up to leave, clearly still stewing about the Coco thing. I do wonder if it made a difference that Coco said what he said to Meadow and Patrick, another child of a made man.
After Tony leaves, Carmela asks for more details about Meadow's relationship. She explains that they started talking at the Cleaver premiere, and she knew her parents didn't like him, so she kept it a secret. Carmela says it's not that they don't like him but doesn't explain further. Now that she's coming clean, Meadow declares that she's decided not to go to medical school, because it's too hard. Carmela is angry. Meadow says she's decided on law, mostly because it's inspired her to hear Patrick talk about it. So it was medical school when she was dating a dental student, and now it's law school while she's dating a law student. Nice independence there, Meadow.
Melfi goes to see her shrink, Dr. Bogdanovich. She wants to talk about the daughter of the guy she's dating. Melfi makes a reference to Tony, and Dr. Bogdanovich points out that Tony hasn't been in the papers much lately as he pulls out a giant water bottle and takes a pull. Nice character detail. He talks about a colleague who has done a lot of studies about sociopaths and psychotherapy, and has found that "talk therapy, while not only being useless to sociopaths, actually serves to validate them." He continues, "They sharpen their skills as con men on their therapists. Crocodile tears, what have you." He concludes that the sociopaths in therapy had a higher recidivism rate than those who never received therapy at all. Melfi just takes this all in, but she may be considering her interactions with Tony over the years in a new light. I know I am.
Speaking of sociopaths, Tony is headed into the restaurant in Little Italy, carrying a gun. He sneaks up behind Coco and pistol whips him a couple of times. Butchie, who's sitting nearby eating, protests, and Tony points the gun at him and tells him to stand back. Tony sticks the gun in Coco's mouth and says, "My fucking daughter?" Butchie again tries to get Tony to stop, but Tony puts Coco's upper jaw on the bar and then stomps on his back, knocking out most of his teeth. I actually couldn't watch that scene on first viewing, but at least they didn't really show what happened. My imagination might be worse, though. Tony points the gun at Butchie again, who cowers, and then walks out. One of the Spanish busboys just comments, "Get a mop." They don't look shocked at all. The things they must have seen.
Tony heads right from there to a therapy session with AJ, Carmela, and AJ's shrink. Tony's first words in the scene? "Oh, poor you." He really is turning into Livia. I thought Janice was more like her mother, but maybe it's Tony. Tony accuses AJ of being a mama's boy. AJ brings up how Carmela called him an animal when she caught him smoking pot at his confirmation. Oh, come on. He deserved that. AJ snots, "Did it ever occur to you that I might be self-medicating?" then he reaches way back and says that Carmela made him wear a dorky raincoat in second grade, and he got beat up. Why isn't the shrink pointing out how stupid AJ is being? He didn't try to kill himself because his mother yelled at him once or because of his elementary school sartorial choices. Tony gets distracted when he notices something caught in the cuff of his pants; it's one of Coco's teeth. Nice symbol of his two lives intersecting. The shrink suggests that AJ tell them what Livia said to him. He reveals how Livia told him that life is all a big nothing: "In the end, your friends and family let you down and that you die in your own arms." Tony says that sounds like her. AJ tries to impress upon them how much it affected him, and also manages to get in a dig at Carmela for making him visit her, when actually it was Big Pussy who suggested the visit.
Patsy grins at Tony and suggests that they're not too young to be grandfathers. Tony doesn't look quite as pleased. Carlo announces that Little Carmine is there, so Patsy takes off, but not before suggesting that the families get together for dinner, and Carlo says he heard wedding bells are in the air. Geez. No wonder Meadow kept it a secret. Anyway, Carmine comes in and offers to help out with AJ if he can, because his own daughter had a bout with anorexia. Tony tries in vain to get Carmine to admit his daughter had serious problems. Carmine gets down to business and brings up the Coco beatdown. He tells Tony, "You're at the precipice of an enormous crossroad." I don't know that such a thing is geographically possible. Carmine says Phil is going to stop the Hackensack Mall project with a plumbing strike. Tony grits his teeth and says it was about his daughter, and he should have killed Coco, because he would have had total support. Tony relaxes and admits that he lost it, and his timing couldn't have been worse. Carmine suggests that they go to Phil together with hats in hand, on bended knee. Tony swats a drink off the table with the back of his hand, because he knows he has to do it.
Back in Melfi's office, Tony claims that he's basically a good guy. Does he really believe that? Even Melfi raises her eyebrows. She looks somewhat impatient with his bullshit now that she suspects it's all nothing. Tony says you'd think he learned something when he got shot. He admits that he took peyote in Vegas, and he saw some things, but he can't describe them. Melfi says she's never taken hallucinogens. Tony says, "I saw, for pretty certain, that this [gestures around], everything we see, experience, is not all there is. But that's as far as I'm going to go with it. I don't fucking know." Melfi urges him to say more. Tony admits it sounds stupid, but he lays out what he saw: "Our mothers are bus drivers. They are the bus. They're the vehicle that gets us here. They drop us off and go on their way. They continue on their journey. And the problem is that we keep trying to get back on the bus instead of letting it go." Melfi thinks that's very insightful, which it actually is. Tony sighs with frustration that he can't quite get his arms around the big picture here.
Tony and Carmine go to visit Phil at his home. Butch answers the door and says that Phil isn't accepting visitors right now. Butch is all snotty about it, like a mean girl or something. Carmine says that he brokered this deal, and Tony is going to make a peace offering of a truckload of drills. Butch snots, "We don't want your fucking drills." Tony's heard enough and walks away. Damn, Phil's house is awesome. It's all stone and curved rooflines. As they walk off, Phil yells from the upstairs window and tells Tony to go back to Jersey, taunting him. Carmine begs Phil to talk to them, but Phil ain't having it. I heard an interview with Frank Vincent (who plays Phil), and he said he had to be there for this scene, even though you only hear his voice. I figured he did it in ADR. Anyway, Phil says there's nothing to discuss. Tony nods, like he knows what needs to happen now. Whatever it is, it won't be good.
AJ sits in the rec room at the mental ward and watches one of those Abe Lincoln commercials for sleeping pills. Tony arrives at the hospital carrying a pizza, but the nurse won't let him bring it into the unit, so he leaves it with her. Can't AJ come out of the unit to eat it? Or is it a locked ward? Was he committed against his will? The nurse lets Tony into the ward, where AJ walks out in the hall and sees him. They speak, and Tony puts his arm around his son.