At a payphone, Tony says into the receiver, "How's my sweetheart?" Oh goody -- looks like Muscovite mistress fun times ahead. On the other end of the line, Irina Bimbetova paces back and forth on the cordless, wearing a falling-off filmy shirt over a too-small black bra, and bitches that her cousin Svetlana (otherwise known, Tony inadvertently informs us, as "the amputee") only came to the States a couple of months ago and she's already getting married. Tony snarls, "Hey, you knew the deal -- I got two kids, high-school age," and they've already talked about this. "Yes, and a wife whenever you want. What do I have in my life?" Irina wails. "Boy, am I glad I called," Tony grumbles. "Fuck you, then. Hang up!" Tony changes the subject to the whirlpool jets he had installed in her bathroom, and she grumps, "Don't throw up in my face things you buy me, okay?" and tells some story about Svetlana's prosthetic leg falling off in a Gap store and her fiancé carrying her out "like knight in white satin armor." Tony makes a "whuh?" face and says, "I gotta go, my daughter's coming," and hangs up. Irina hurls the cordless down and pouts. "Jesus," Tony mutters, putting in another quarter and peering out of the phone booth at Meadow getting hit on by a guy in a blue button-down before saying into the phone, "Yeah, how you feeling?" Cut to a stuffy-headed Carmela in bed under an assortment of afghans: "Better actually, the fever just broke. I miss you two -- how's [sic] the interviews going?" "Good, real good," Tony says absently, staring now at a black SUV at the gas pump. Carmela asks if Meadow liked Bates, "'cause anything to get her off of this Berkeley kick." Tony doesn't answer, mumbling to himself, "What the fuck?" as the owner of the SUV gets out of the car. "Tony?" Carmela prompts, and Tony says he'll call her back from the motel and hangs up, and Carmela makes an "uch" noise and hangs up too.
Tony leaves the phone booth and heads towards his car, glancing at the SUV owner but trying not to get caught looking; the SUV owner looks over at Tony. In the next shot, we see the SUV peeling out in a big hurry. Tony yells to Meadow to get in the car, and he squeals out of his parking space and screeches up to where she's standing and opens the door for her: "C'mon, get in!" "Okay, okay, what's the rush?" she bitches, and Tony steps on the gas and peels out of the station in a cloud of dust. Next shot: the Town Car accelerating quickly down the road after the SUV. "What's going on?" Meadow whines. Tony lies that he thinks he saw an old friend, and Meadow asks if he knew the guy at the gas station, and Tony says maybe, uh, probably not, blah dee blah, and Meadow wails, "Then what?" Tony, stuck behind several other cars on the two-lane road, whips out into the other lane to pass; Meadow yells at him to slow down; Tony nearly gets into a head-on collision; oncoming cars honk and yell at him; Meadow yells, "What's with you?" and Tony blathers, "It's all right"; Meadow demands to know what's going on; Tony smiles that he's "just foolin' around," and they come to a traffic T. To follow the SUV, Tony has to turn right, but Meadow is screeching at him, "Colby, turn left! It's to the left, left!" so loudly that the little bone in my ear shatters into a million nanoscopic pieces. Tony turns right anyway. Meadow flops about in her seat, and Tony says jokingly that he messed up "because you're yelling at me so much." Meadow fumes until she sees a sign reading "Colby College 9," so turning right gets them to Colby anyway, which mollifies her somewhat. The SUV is in front of them now. Meadow points out the motel. Then she points it out again, louder this time; Tony purses his lips and pulls a hard right into the parking lot, letting the SUV go. "Did you know that guy?" she asks Tony quietly. "Nah, it wasn't him," Tony lies as they come to a stop.