After the break, Mike sits at a diner and reads his paper when the disapproving woman from the Madrigal board enters and grabs the booth behind him, sitting so her back is to his. Of course, when she goes full Sally Albright while ordering her tea (this place serves Lipton and ... Lipton), Mike knows exactly who it is.

When the waitress leaves, Mike's all "You coming to me, or am I coming to you?" but the woman wants them both facing forward and not looking at one another. Mike: "...I guess I'm coming to you." Mike! We love Mike. The woman is just hilariously wound up, though; when the waitress returns, she makes a big point of calling Mike "Dwayne" and saying she can't believe they just ran into each other. Fran the Waitress: "...You need anything else, Mike?" We're all having a bit of fun with this chick, whose name is Lydia, by the way. Mike begs her to calm down and take off her Jackie O sunglasses. She first wants to know who killed Gus, but Mike tells her --- as he apparently has before -- not to worry about it. So instead she hands him a list of eleven names and embarks upon a stammering monologue about how those eleven men were all on Gus's payroll, publicly, and they all have ties that lead to Pollos, to the laundry, and all the way up the chain to Madrigal; they're all going to get picked up by the Feds, and if just one of them talks -- and there's always one -- they're both, Lydia and Mike, sunk. Mike correctly infers from this that Lydia is requesting that he take these eleven men out, murder them to tie up loose ends. She gets hella cagey, all "I didn't say that, but if you think that'd be wise." Mike, in fact, doesn't think it would be wise. He explains to her that these eleven guys are his guys, and they don't talk. They were picked to be his guys because they won't talk. They are extravagantly compensated to ensure that they won't talk. And while he appreciates that Lydia is scared, and he's not sure what kind of movies she's been watching (I dunno -- movies where master criminals use giant magnets to achieve their evil ends?), but "here in the real world, we don't kill eleven people as some kind of prophylactic measure." He makes sure she understands, drops a bill on the table to cover their bill, and walks out. Strangely, Lydia does not seem any less petrified.

At home with the Whites, Walt enjoys an idyllic breakfast with Junior and baby Holly before Junior has to run off to school. All that's missing is Skyler, whose cereal bowl sits conspicuously uneaten (just past that shaker of salt Walt used to perpetrate a vile lie a bit earlier). Also, of note: the White house is a Raisin Bran Crunch house. Either Skyler does the food shopping or there's a part of Walt that's not entirely irredeemable. He goes to the bedroom to rouse his wife for work, but she is not interested in joining the world today. He prods at her to get up and take a shower -- all the while, I should note, the scene is being filmed from behind her back and low, so we can only see half of Walt's head -- and she's either too depressed or too cowed to argue. Skyler's bummin', y'all.