Shot 88: Close up of Tony responding “I did ?” To try to remember the times that were good?” MOG is still seen in the background at the counter. Shot #87: Shot over Tony’s shoulder of AJ responding that “Isn’t that what you said one time. Shot # 86: Close up of Tony looking at AJ and responding “Don’t be sarcastic”. Shot #85: Cut to an over the shoulder shot of AJ saying Tony is right and that he should “focus on the good times.” As in shot#82, Chase uses dialogue to relay visual clues about what is important within the shot: MOG is still seen in the background at the counter and out of focus just as AJ ironically says “focus on the good times.” If Tony actually “focused” on what’s directly in his line of sight (MOG) instead of burying his head in his menu, then he may have seen MOG look twice in his direction. So buck up.” Tony then playfully throws some paper (probably straw wrapper) at AJ. Shot #84: Wide shot of the booth as a smiling Tony tells AJ that “It’s an entry level job. Shot # 83: Carm and AJ as Carmela reassures her son that he’s “making contacts.” As an additional Chase touch, MOG is seen drinking his coffee (and no longer looking over at Tony’s table so as not to tip Tony off to his intentions) at the exact moment AJ says he’s “getting coffee” at work. Shot #82: Shot over Tony’s shoulder of AJ explaining that all he’s doing at work is taking phone calls and “getting coffee.” MOG is again seen in the middle of the frame out of focus at the counter. Shot #81: Close up of Carm asking AJ how his new job is. There is also no dialogue stressing that the shot’s primary purpose is to visually relay to the audience that Tony is not aware that MOG is again looking in his direction. Chase also lingers on Tony looking down and smiling in this shot.
Chase brilliantly uses direction, editing and audio cues to establish how a normally wary Tony is able to get shot. Further, shot#78 and #79 suggest that if the young couple did not laugh, then Tony may have heard the bell, looked up, and seen MOG looking in his direction. This shot and shot #77 confirm Tony never sees MOG looking in his direction. We worked on that quite a bit so he wasn’t staring at him.” I didn’t want him to look particularly menacing. Tony would focus on his son, rather than the man who might be there to do him harm.” and the guy together was that both the audience and Tony would not focus on the guy so much, they would focus on A.J. “My thinking about wanting to introduce A.J. Further, MOG could not be staring at Tony for too long as that would tip off Tony of the danger (see also shot#82 further below showing MOG in the background drinking his coffee and no longer looking at Tony). As Chase told the DGA in 2015, MOG looks at Tony (Chase’s way of relaying to the audience that MOG may be a threat) but at the same time there was a conscious decision in his direction to not have Tony notice him (at least until shot#101 discussed further below). Chase has MOG now twice turn his head and look in Tony’s direction and Tony never notices him. Shot#80 further below establishes that Tony does not see MOG look over. This may confirm the bell did ring as discussed in shot#78. In the background, the door is closing as it appears a patron exited. Shot #79: MOG again looks over in Tony’s direction (see shot#63 for the first time MOG looks over in Tony’s direction). At the moment they laugh, a muffled sound of what may be the bell is heard.
Shot #78: Young couple in love laughing loudly.
Shot #77: All three in the booth grabbing their sodas. Shot #76: AJ and Carm at the booth while the waitress brings the drinks.
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