Some time later, John walks through Central Park with his mother, visibly weakened but still lucid and spirited. They talk about the magazine George and the weight of the Kennedy name. Jackie insists he should not see his legacy as a burden, but as something that can also be a source of strength. The atmosphere between them is affectionate, calm, and almost rare.

Jackie’s apartment is filled with flowers and get-well cards from around the world — among them messages from Michael Jackson and Daryl Hannah.

Meanwhile, Carolyn celebrates a professional triumph: she has secured Michael Bergin as the lead model for a Calvin Klein campaign. During lunch with him, however, she unexpectedly runs into John. The chemistry between them is immediate and undeniable, so much so that Bergin notices and pushes her to admit that there is something there she cannot deny.

At home, Jackie begins burning get-well cards and old personal correspondence. John catches her in the act and questions what she is doing, but she changes the subject, asking about his love life. He says there is someone new and special, but nothing seems to work. Jackie recalls moments from her marriage to John F. Kennedy and, with devastating serenity, makes it clear that she knows she is nearing the end of her life.

Later, alone, she listens to Camelot — the musical that became a symbol of the Kennedy era’s mythology — and slowly dances around the room, leaning on furniture, visibly in pain, in front of a portrait of JFK. She cries. It is one of the most intimate and heartbreaking scenes of the episode.

In Tribeca, Carolyn and John meet again. He opens up once more, while she continues to avoid exposing too much of her own vulnerability. Carolyn defends Jackie from her son’s criticisms and says she believes his mother would adore her. They walk through the city like a couple not yet officially together. John says Daryl has returned to Los Angeles “for an indefinite time,” and Carolyn insists Bergin is only a friend.

Back at the apartment, Jackie is playing with her granddaughter when she suddenly collapses and is rushed to the hospital. The diagnosis is devastating: the cancer has spread to her brain. Upon returning home, she maintains her composure and announces she will not pursue treatment. Her children react with pain and disbelief but ultimately respect her decision. Jackie receives the last rites and calmly awaits the end.

John stays by her side until the very last moment, deeply emotional. Jackie apologizes to her son, saying it all began with an idea — a reference to the political project that shaped her life and, in many ways, his as well. She passed peacefully. Caroline and John embrace in silence.

The next day, John makes the official announcement to the press about his mother’s death. Daryl attends the funeral, seemingly unaware that their relationship has already ended. John tries to explain that they have not spoken for months, but she does not appear to understand or accept it.

In a scene with a strong melodramatic tone — and historically questionable — John appears on the balcony of the family residence and waves to the crowd like a prince in mourning. Daryl holds his hand, visibly against his will.

Carolyn watches television coverage of Jackie’s death. The series emphasizes the similarities between the two women: style, originality, and an almost mythic strength of personality. She becomes emotional watching the images.

Consumed by grief, John rides his bicycle alone through a rainy New York. On impulse, he tries to call Carolyn and ends up going to her apartment. She comforts him and tries to calm him down, but initially resists the idea of his staying the night. This time, however, her resistance does not last long.

They kiss.

Now, finally, they are a couple.