After the usual "My name is Michael Westen. I used to be a spy" opening montage, we get a rare previouslies sequence that serves basically to reintroduce "Strickler -- Agent To The Spies" and "Diego [Garza] -- Michael's Agency Contact." And to remind us that Fi dumped Michael. I normally skip the previouslies, but I'm all for anything that lets us see Michael and Fi breaking up again.

Early in the morning, we drift in on Michael, sitting in the upper level of his loft looking at old (like, Ireland-era) photos of Fi and himself. What he's doing with them I have no idea, unless they were in his suit pockets when he first got burned and fled Nigeria. He VOs, "When you work as a covert operative, there's no line between who you are and what you do. You are who you need to be for the operation. It makes you effective, it keeps things simple. But when you spend so much time living as someone else, sometimes the people you care about most begin to wonder who you really are." What is this, True Lies? What Michael just described is the least of his problems. As for his biggest problem, she lets herself into the loft and calls for Michael. "I'm upstairs, Fi," he calls down quietly, not bothering to get up. He wonders what she's driving, since it didn't sound like her car rolling up. She informs him she sold the Saab. "Your car didn't exactly have a pink slip," Michael points out mildly. Fi says the buyer didn't mind, at the price she was selling it for. Or maybe the product-placement contract on it just expired. Speaking of which, don't be looking for blatant beer-label shots this week. Maybe someone figured out that if they were going to show Sam drinking low-cal beer all the time, he'd eventually have to drop some weight. Seems like a perfect opportunity for Bruce Campbell to have gotten the Miller Brewing Company to pay for his personal trainer, which would have made him my hero for yet another reason, but it looks like a missed opportunity all around. Sorry, was there a scene I was supposed to be talking about? Let's get back to that. Michael starts trying to talk Fi out of whatever point she's trying to make, but for once she means it. She says she's going back home to Ireland, and her mom is already expecting her. Michael protests that this is an overreaction to one fight, which is a pretty clueless comment to make. Fi correctly says, "If you didn't see this coming then you weren't paying attention. You're too worried about your own future for there to be one for us." Once again, Michael makes his old argument that the reason he's trying to get Back In is to help protect the people he cares about. What, do Fi and Madeline and Sam and Nate and Barry and the wait staff at Carlito's all get to move into NORAD when Michael gets his job back? Fi continues to not buy it, but reels herself back in when she starts getting angry about it. "It's just time I did what I need to do, too," she says. Then she asks Michael if he's seen one of her guns, which she needs so she can finish packing. She can't just pay her movers like everyone else? Placing his hand on that very weapon while it sits on his desk, high out of Fi's sight, Michael promises to find it and bring it to her. "You're not leaving today, are you?" he confirms. Fi says she isn't and heads out, leaving Michael holding one of her small arms.