Shot of the Manhattan skyline. The plinking of a mandolin. In a bar, a guy in a tan blazer asks Tony, "So what do you want New York to do?" Tony fiddles with his signet ring and tells Tan Blazer that, first of all, "Junior can't know that we talked, he's gotta think that Hesh came to you on his own, by himself." Tan Blazer puts his drink down and eyes Tony: "So you are still running things." Tony doesn't answer, just adds that "the arrangement, whatever it is, can't be insulting to my uncle -- Hesh has gotta pay something." Tan Blazer looks down at the bar as Tony says that he hasn't figured out what Hesh will have to pay yet. Tony looks behind him at Carmela sitting restively at a table for two, then tells TB that he's "gotta get back -- we'll talk later." Tan Blazer watches him go.
Tony comes back to the table and asks, "How's the veal?" "It's like rubber," Carmela sighs. Carmela has her hair up in a big complicated bouffant, and she's wearing a silvery dress and her customary no-nothing's-wrong-it's-fine-I-hate-you-please-pay-attention-to-me deep-freeze expression. Tony tries a bite of the veal and says it tastes all right to him, but asks, "You want something else?" Carmela shakes her head coldly. The waiters come over and sing "Happy Anniversary" to them in Italian and serve them tiramisu with candles stuck into it; Tony and Carmela both look profoundly uncomfortable, and Carmela gives Tony a wounded glare. Tony tips the singer and grunts, "Don't look at me." "Compliments of Johnny Sack," the singer tells Tony, and Tony waves at Tan Blazer, who raises his glass from the bar. Carmela suggests that maybe Tony would like to spend the rest of their anniversary with Johnny Sack. Tony allows that yes, he would, and gets up from the table. Okay, he doesn't do that, but I think he should have. Yes, I know he's a cheating, lying, stealing murderer. Yes, I know she can't just pack a bag. But if she didn't know what she'd gotten herself into, she should have, and either way, she herself admitted in the last episode that she tolerates his bullshit because she wants the luxuries he can provide -- maybe I should, but I don't feel sorry for her. Suck it up, Carmela -- and one more thing. The moany, weepy, icy poor-me routine won't get you what you want. Trust me, I've tried it. ["You know who else has? Livia. And look where it got her." -- Wing Chun]
Anyway, Tony settles for muttering, "I was over there for ten friggin' minutes, Carmela. Don't do this." "All right, Tony. At least I know where I stand," and she tries not to start crying but fails. "Why you always gotta be so dramatic, huh?" Tony asks, adding, "Oh, here we go -- all right, I'm sorry, okay? I'm sorry." Carmela regains her composure and hisses that he doesn't even know what he's apologizing for: "It's our anniversary, Tony -- ours, not yours, mine, and Johnny fuckin' Sack's. Ours!" She thought maybe they could get a room at the Plaza "like last year, or, I don't know," and she retreats into fiddling with her bangs. Tony hesitates for a moment, then reaches forward to rub her arm and tell her, more sincerely this time, "I'm sorry, Carmela -- huh? I've just got a lot on my mind, and I'm not thinkin' straight." Carmela, now fiddling with her lip, doesn't look at him. "Hey. I'm sorry," he says again. Finally, she looks up. "Should I call the Plaza?" he offers. "C'mon." But she won't bite: "Nah, let's go home."