With the intervention exposition successfully out of the way, Tony decides to head out for a night on the town with Valentina. She's putting on make-up in his car as they drive, and she's babbling about how handsome Joey's kid was. You know, before the brain damage and all. Tony tries to have a sympathetic discussion on the subject, but Valentina is too shallow to care.
Which is probably fortunate, because Tony's apparently too busy to care much himself. He pulls the car over into a little turn-off at the base of the Brooklyn Bridge, and there's Johnny Sack waiting for him. Nothing like bringing your mistress to work, I always say. Speaking of which, does anyone want to go to my office Christmas party with me? I promise that the people-watching will be excellent. Anyway, Tony hops out to chat with Johnny, who's all upset about the whole HUD deal that Tony neglected to cut him in on. They argue a bit, and the upshot is that Tony refuses to pay anything to New York. He hops back in his car and drives off, leaving Johnny to stand there alone with the Manhattan skyline behind him. Notice, by the way, how this shot cleverly makes literal New York's creeping encroachment into Tony's territory. It's pretty AND symbolic!
Having decided that he probably doesn't want Tony watching his every move around the house, Paulie has brought the painting to some store to have Tony painted over. He wants "something classy" like "those paintings you see in the courthouse." He also suggests turning Tony into a Revolutionary War general, like Napoleon. Heh. "He's rather portly to be Napoleon," replies the proprietor. Double heh again. They finally settle on something "like Napoleon," and Paulie appears all excited to be such an art connoisseur.
Bada Bing. Tony has called a meeting of all the capos, from which Ray Curto is curiously absent. And hey! It looks like Wide Guy got promoted! Go you, Wide Guy! Get down with your wide self! "I think I know what happened to [Joey]," says Tony, "and if I'm right, he's not coming back." I think it's safe to say you are right about that one, Tony. Although I do note that Mr. Pantoliano's name is still in the opening credits. Hmm. Tony goes on to explain that New York could be behind Joey's disappearance, because of both the "ninety-five-pound mole" joke, and also the HUD deal. He orders everyone to launch a full investigation, which might not be the smartest thing, given that any successes in said investigation would point right back to him. "Nobody makes a move until we find out what happened," he admonishes them, "or until the season finale, whichever comes sooner."