1. втора халюцинация или 2. първи път 

Къди беше с розова униформа , различна от розовата в/у която сложи синята в началото на епизода.
Докторите които се върнаха в болницата бяха с такива. 
Тя като директор не би трябвало да се прибира докато не приключи операцията по спасяването.
Хаус толкова халюцинира ,че съзнанието даже си измисля и "проверки" - "How do I know I ain't hallucinating?"

Естествено спасяването може да е свършило ,а Къди да се е върнала , но...

Харесва ми идеята "Аз правя всичко правилно , но Вселената не ми се отблагодарява" , доста депресиращо е. Особенно за някой като него , който най-накрая иска да се промени в добра посока. Все едно всичко го мрази.
Рядко виждаме такава рязка промяна в настроението на Хаус. От нормалното към пълно отваряне към някой без личен интерес ("You don't want to become like me" речта) и след това изпадането към vicodin-a.

Доста интересно скришно място , а?

Мотора и бастуна останаха при развалините , сега някой манго ще му ги открадне.  

The entire episode, everything that happened, was a hallucination. Think about it.

The two victims House is focused on represent two parts of his own conscious.

First, the crane operator. He is House's conscious in the the true sense of the thing. Recall his behaviors: he was totally unconcerned with his own injuries. He said many times "shouldn't you be helping all the people I hurt?" This is House's immense guilt manifested, taking on the form of someone who caused untold amount of suffering.

Then, the woman. This is House's remorse. Look at her. She is a reflection of the exact situation House was in: your leg or your life. All her fear, all her selfishness, is a reiteration of House's same emotions while he vacillated over what to do. In the end, he chose to keep his leg--but forces beyond his control removed the dead muscle, causing him to limp and experience chronic pain. This pain has progressively made him more and more miserable. His remorse over not just cutting his leg off is let out when he convinces Hannah to amputate her own. Thus he is attempting to assuage his terrible regret over the old mistake of keeping his leg--he is revisiting that very same situation he was in, years ago.

    But then horrible reality is that she still dies--this bespeaks House's inescapable belief that there is no order in the universe, that one can do everything right, or everything wrong, and it won't make a difference. His utter exasperation and fury over this is released when he screams at Foreman, who is playing the part of House's reason. Foreman tries to convince him the clot was not his fault, and that it was beyond his control. This is exactly what House is furious about. Ultimately, as was seen, his reason is unable to help him, and he commands it to leave.

    13's mysterious actions are an objectification of unknowable yet unavoidable decline. Her apparently failing health is reflect of House's fears that he is gradually going insane.

The entire episode has the quality of being slightly off. The lines are delivered in a fashion which the keen can discern something manufactured. Cuddy's line: "I'm just getting married" stands out, along with Foreman's stiffly delivered reasoning.

When Cuddy flies into a rage and begins cutting House down, these lines have a very real effect, and this is because they are House's own thoughts, and therefore are very clear. He has thought these things for a long time. 

Finally with Cuddy, all the interactions between House and her take on the form of a limerent fantasy (http://en.wikipedia.org/wiki/Limerence), the very last scene being the ultimate expression of reciprocation.

Now it might be hypothezied that the entire episode was a limerent fantasy, or rather, the setup for one. Thus House goes through what he feels would be a realistic series of interactions between him and Cuddy, leading up to the final, surprise revealation. House has been and remains in limerence with Cuddy, and anyone familiar with the phenomenon will already have found countless examples of this in his past actions and interactions with her. In this episode, for reasons yet unknown, he goes into a full-on limerent fantasy. The final reversal of fortune is so palpably convoluted and artificial that one cannot seen it as anything but House's only way of saving the seemingly inextricable bad end his fantasy has degraded into. Thus the final scene appears ex nihilo, the product of House's exhausted, desperate imagination.

Seriously considered, this proves to be very much the only way of understanding this entire episode. The crane disaster is an fine example of a common limerent fantasy scenario, where the limerent object (person desired) is somehow obtained through highly extraordinary circumstances.