Tony, having a think on his bed. The phone rings. It's Carmela, but she hangs up. Tony stares at the dead line and hangs the phone back up and stares at the ceiling some more. Carmela rubs her forehead some more. We see time, uh, lapsing as Carmela sits at the breakfast bar and lightning flashes outside. Looks like Father Phil curled up with Mr. Ty-D-Bowl for the night.
A grainy, jumpy video shot of Meadow emerging dazed from the motel room and shielding her eyes from the brightness. Tony strokes her hair, and she slaps him away. He hugs her and asks, "Wanna stop and get a beer?" Tee hee! That's something my own dad would say, God love him. Tony puts the bags into the trunk; Petrulio watches through binoculars. The Sopranos pull out, and Petrulio watches them go and rubs his eyes.
Tony pulls up to the admissions building at Colby and tells Meadow to knock 'em dead; he'll pick her up in a bit. "Aren't you coming in?" she whines. Tony lies that he left his watch at the motel. Meadow doesn't believe him, but she gets out without saying anything. He reminds her to get a copy of the student paper. As soon as she's out of the car, he guns it out of there. She stares after the car all "whatever" and goes inside.
Next morning. Carmela, in a shiny flowered silk robe, reads the paper at the breakfast bar, and she does a lot of throat-clearing and paper-rustling clearly intended to wake Father Phil up. It works; in the background, we see him sit up gingerly and roll his head from side to side. He hobbles towards the bathroom, then stops, gives Carmela a long look, and hobbles into the kitchen instead, hands in his pockets. She doesn't look up, saying impassively, "You should have some coffee." "Last night," he begins. "Yeah?" she says. He hopes they didn't do anything out of line. "There's nothing to apologize about," she says in the same flat tone, still not looking up. Holy awkwardness, Batman. "Right," he says, not convinced. "That's right," she repeats. He says he should get dressed and out of there, and she mentions in agreement that AJ will get home soon, and Father Phil worries that he left the car out in the driveway all night "in plain sight," and Carmela repeats with an edge in her voice that they didn't do anything wrong: "Is there a commandment against eating ziti?" She tells him to go ahead and shower and get dressed, and reminds him not to "forget your sacrament kit, whatever," all in the same affectless tone. AJ's voice sings out, "I'm home." Father Phil looks terrified. Carmela shifts her weight uncomfortably as they both listen to AJ run up the stairs. After a pause, Father Phil says huskily, "Carmela..." Finally, she turns to look at him. "I don't know where to begin." Carmela stares at him expectantly. "It's not that I don't...have desire for you in my heart." Carmela groans, "Madon', Father, please," but Father Phil continues, "Last night was one of the most difficult tests from God ever for me." "What're you talking about, we're friends," Carmela says, shrugging. Father Phil eyes her, unable to decide -- as am I -- whether she's in denial, or punishing him, or what she's playing at, and asks, "What's that look about?" Carmela, synthetically: "What, I look some way?" Then she relents and sort of laughs through her nose and says she "was just thinking about when we watched Casablanca last week," and Father Phil sees his opening and says all breathily, "That new print is great, huh?" and she nods and asks if he remembers the part where Bogey delivers the "of all the gin joints in the world, why'd you have to pick mine" line, and he nods, and she says, out of all the priests in the world, "why'd I have to get the one who's straight?" Ouch. "Carmela," a stung Father Phil says, but she says, tears choking her voice, "C'mon, it's a joke." She smiles bravely at him. He starts to make a "whatever" face but ends up smiling back, and he chucks her on the chin -- no, really -- and goes to get dressed. Carmela puts her chin in her hands and smiles ruefully.