As Fi and Michael leave the party, he tells her he'll be needing some cash. "Seymour's not the type of guy I want to owe money to long-term." "If you need cash, you can get a job like the rest of us," Fi smirks at him, like she's on her way to a shift at Waffle House or something. Alternately, Michael could try taking money for the jobs he does do. But he only whines that he can't fill out a W-2. "If the people who burned me find out I'm looking for a job, they'll wonder why I need money." Uh, for rent? Yogurt? Your growing tab at Radio Shack? Lots of us need money for completely legitimate purposes, Michael. Even I'm not doing these recaps for free. Fi tells him that she just passed on a boring job for an art dealer, and suggests Michael take the job under a cover ID. Sounds simple enough, right? That's how we know it won't be.
At Carlito's, Michael explains to a skeptical Sam why he's working with Seymour: "He's connected, and he doesn't mix well with government types." As far as we've seen, the only type he does mix well is the type that walks around in a bikini. Sam hands Michael a folder containing the resume for his new cover ID, Miles Parker, who has a background in corporate espionage. Michael answers his phone, and Sam hears Michael talk to Fi and just casually suggest dinner later. Not casually enough to avoid setting off Sam's radar, though. "Just to debrief," Michael assures Sam. Sam barely represses a "That's what she said."
As Michael buttons his suit jacket on the way into "MIAMI ART COLLECTIVE," he VOs about the advantages of taking a job under a cover ID. "You can tailor your resume to the position and it gives you a lot of flexibility." And you don't have to wear a tie to the interview, apparently. "You just have to get used to the idea of lying to everyone you meet." With that, Michael presents himself at the receptionist's desk and announces, "I'm Miles Parker." "Hi, Miles Parker!" she smiles up at him. She's a natural. She's also played by Marla Sokoloff, who is one of those people I've vaguely heard of but have never seen in anything. Until now, obviously. The gallery owner, Scott Chandler, comes out to meet Michael and lead him to the back office, which he accesses by punching a number code into a door keypad. Once inside, Chandler seems impressed with Miles Parker's resume. Michael's not really feeling an accent this week; so he's just using his normal voice except a bit more closed off, with body language to match. He asks about Chandler's problem. Chandler has begun to notice odd things like computer files being moved and systems being logged into at odd times. And then he found a listening device in his phone. Michael impresses Chandler further by describing the bug before he even sees it, and Chandler pushes the tiny chip across the desk to him, saying he wants to know who planted it. As of now, he has no idea. Really, it could be anyone. You know how art dealers rack up enemies.