Cut to the great Breast vs. the Bottle Debate. Julia has trouble getting Conor to breastfeed, and Sean tells her how necessary it is -- how it will help the baby handle the stress of the hand operations to come. "What about my stress?" Julia exclaims. (Unspoken yet presumable answer: You're only the mother, Julia. No one really cares about you.) She says she fears she may have postpartum depression.

The perils of giving in to temptation pop up elsewhere too: Christian accompanies an uncharacteristically vulnerable Liz to a gay bar, promising to show her how to make it with the ladies -- which is pretty amusing, as he, unsurprisingly (to us, anyway), gets shot down. Liz, however, is picked up by a gorgeous woman, who she takes home. Unfortunately, the dream turns into a nightmare: Liz wakes up without one of her kidneys, which was ostensibly harvested by an organ-stealing ring. Think there's a lesson on one-night stands there?

Meanwhile, the mysterious woman who kissed Michelle in the parking lot arrives at McNamara/Troy and tries to use her (apparently significant) sway to get her pretty employee an appointment with the docs -- off the books, of course. Michelle tells her that the girl will be refused because of her beauty, so the woman whacks the girl with a paperweight. Problem solved.

On the pretense of not being able to breathe through her new and improved nose, Monica shows up at Sean's office, inviting him to her place that evening. On finding a bottle of antidepressants in Julia's purse, he decides to go. When he arrives, Monica offers him a hash brownie, highlighting their disparate ages. Sean grudgingly accepts, and the hallucinations begin. Escobar appears, not as the leader of the organ-stealing ring (at least not yet), but as Sean's id, urging him to give in to temptation and stick it to the girl. Then, ironically, Megan, with whom Sean cheated on Julia, and who died in season one, turns up as Sean's superego, imploring him to stay on the straight and narrow. Sean's ego ends up winning out: He realizes he loves Julia -- and he walks out on Monica.

Dovetailing nicely with that scene is one of Christian's, in which he appears at Michelle and Burt's house on the pretense of checking on Burt post-op. Having figured out something fishy's going on with Michelle, he confronts her, threatening to tell her husband about the off-the-books surgery. Michelle confesses that the mystery woman runs an escort service and that she's a former employee. "So," Christian says, "you have a fatal attraction for the good life." She agrees that she does, but notes that he does too. Seemingly to prove her point, he uses the incriminating information she revealed to get her to sleep with him, weaving himself into her tangled web -- and proving that some temptations are simply too delicious looking to resist.

Conor's new nanny -- who, as the new outsider of the bunch, takes Liz's place as the maker of deft observations -- is the only one who seems immune to temptation, and the only one who gets something worthwhile accomplished. He gets Julia to give voice to her darkest feelings about Conor -- that he was a mistake, that she and Sean have little hope of raising him well if Matt turned out so damaged -- and he helps her to breastfeed. But perhaps most importantly, he paints the mural revealed at the show's end. It portrays the Garden of Eden, or, as Sean describes it, "the perfect world before the fall." A portent of things to come? Undoubtedly.