Quinn and Batista interview EJO's old teaching assistant, who opines that while EJO liked to stir up trouble and make people think, and they had an affair, he's no killer. However, that night, despite Batista's investigation-protocol-related objections, Quinn makes it his mission to bone her, which gives us the opportunity to see what looked to me in an admittedly quick shot like a tattoo of a seven-headed snake. Also, when Batista comes to pick Quinn up the morning, he takes a look at some of EJO's stuff he apparently left with the woman and discovers a playbook of some awfully familiar disturbing imagery, so it looks like the woman's going to be a key figure in the investigation, and almost surely that Quinn's little dalliance with her will come back to bite him. You know, if anyone actually cares.
Miami Metro discovers that the dead girl from last week worked at the café in the Miami Cultural Center, and based on the number 1244 so thoughtfully lodged in the dead girl's esophagus, and the new male who's replaced the Horrific Nightmare of an Intern's research uncovering the mention of 1260 as a recurring number in Revelations, the team figures they only have fifteen clear days to work with before something truly terrible happens. On examination of the angel costume on the poor dead girl, Dexter finds a special type of glue used in ancient manuscript restoration; he follows this lead and discovers that Colin Hanks works at the Cultural Center and is a restoration expert. Dexter discovers where he lives and breaks into his place after Colin Hanks leaves to go to work and discovers that Colin Hanks got his Masters at the University of Tallahassee, where, as you'll remember from last week, EJO used to teach. He also finds Colin Hanks' Bible, which just so happens to have some passages and numbers in Revelations marked, and cuts out a page to take with him; soon, he's confirmed that Colin Hanks' Bible is the source of the numbers they've been finding on the Doomsday victims.
For his part, EJO informs Colin Hanks that they need to find the Whore of Babylon, but whether he's in Colin Hanks' head or not, once they see that the police have advertised EJO as the Doomsday Killer, they decide it's not safe for him to be, um, seen in public. However, Colin Hanks fails in his first attempt to grab a girl without EJO, but the night he hits a girl with his car and abducts her. Unfortunately for him, when he gets into his car after work the day, Dexter is waiting for him, and he forces Colin Hanks to tell him what's up, so Colin Hanks tells him EJO is the prophet he follows, and EJO is the one who's actually been doing the killing. Dexter tells Colin Hanks that EJO is pure darkness, and he needs to find someone else to follow. When Dexter then allows him to go free, he calls EJO with a lame excuse for not showing up, prompting EJO to inform him sternly that if he thinks he can run from his God-given mission, he'd better think again. Probably not great news for the girl, wherever she may be at the moment.
Dexter runs into Mos Def at the station, as Mos Def's garage got shot at or something? This leads to Dexter inviting Mos Def over to his place, and soon Dexter is confessing to Mos Def how he saw his mother die, and although he doesn't say the words "Dark Passenger" he does imply that he didn't grow up quite right. Mos Def, however, tries to convince Dexter that his mother left some light in him, and that and the love he has for Harrison is enough to keep any darkness at bay. Dexter definitely wants to believe that, although it's pretty clear he's not quite there yet. He'll probably be less inclined to be so when he learns that Mos Def takes three bullets at the end of the episode and is at death's door. That's the kind of thing that will extinguish your inner light in a hurry, you know?
As Dexter examines the poor dead girl's angel costume, DVO gives us a history of people's beliefs about angels, to which I'm going to pay absolutely no attention given that he'd never even heard of the FOUR HORSEMEN OF THE APOCALYPSE. Well, okay, I have to pay it a bit of mind given that it sets up the episode theme, but in a shout-out to MCH's Six Feet Under, I'll just tell you that we're going to be focused on Dexter Light And Dark today. Anyway, other than blood, Dexter discovers some glue on the wings he's hopeful will lead somewhere...
...While in that church in which EJO apparently resides, or doesn't, he and Colin Hanks kneel and pray, or rather, he kneels and prays while Colin Hanks kneels and observes blood running down the side of EJO's sweaty face, so I guess he's praying so devoutly that his own blood is flowing down to wash away his sins? Forgive me, haven't been to church in a while. Without opening his eyes, EJO admonishes Colin Hanks to keep his eyes on God, and when Colin Hanks looks at him again the blood is gone. EJO then has Colin Hanks help him to his feet, and eagerly rubs his hands together and tells Colin Hanks it's time to do some hunting, and when Colin Hanks pipes up that he thought they had some time, EJO, apparently just having gotten these orders, notes that Colin Hanks still doesn't hear God. Colin Hanks says he's been fasting and praying for days, and if he's not hallucinating even a little bit after that even I would have to opine that he's doing it wrong. EJO doesn't bother pointing this out; he merely notes that it's a good thing he's around, especially since they have to find the Whore of Babylon. Road trip to Long Island, then?
Dexter gets a report back on the glue and backing and learns that it's a combination used in the restoration of ancient manuscripts. Masuka then raps on his glass and tells Dexter that Deb's called a meeting, but Dexter has to put him off so DVO can intone, "This is no amateur." No amateur...manuscript restorer? I don't even know what he's talking about, seriously.
When Dexter turns up, Deb, apparently sensing that he's late because of pointless VOs, thanks him for joining them before announcing to the crowded room that the dead girl worked at the café at the Miami Cultural Center, which DVO feels the need to inform us is full of ancient artifacts in need of repair. Well, sure, the ancient artifacts in mint condition get to go straight to New York and Paris. Deb tells the group she wants EJO's picture plastered all over the area, and Anderson volunteers to head up that effort. He also informs the group that the pageantry of the last killing suggests references to Revelations 8 through 10, and when Deb asks why he changed up his M.O., i.e., why he left them to trigger her death rather than killing her himself, like, NICE TO MENTION HOW YOUR POLICE WORK KILLED THE POOR GIRL, and Anderson theorizes that, consistent with another Revelations passage, the killer is more concerned with getting his message out that with any thrill an individual kill might give him. Batista pipes up that they found evidence that the victim had sex with someone using a spermicidal condom, and DVO wonders if it was Colin Hanks. Batista also says he's been trying to contact EJO's last-known TA, "Carissa Porter," but so far the university has been rather unhelpful in making that connection happen, so Deb suggests they pay a visit to the university in an effort to, say, foster the spirit of cooperation. Masuka then pipes up that the locusts and fish turned up nothing of interest, but they did find another number lodged in Erin's esophagus. Er, given that she was alive when they found her, how exactly did that work? Did Colin Hanks have it stuck to the end of his dick? Anyway, the new number, written on the same type of paper and ink as the others, is 1244. Some new guy then pipes up that he did a check into the usage of numbers in the Book of Revelations, and instead of Deb being all snooty about "Who are you, now?" I'd wonder why she's not asking why NO ONE ELSE CHECKED INTO THE USE OF NUMBERS IN REVELATIONS UP TO THIS POINT. I am, however, very happy to report that the new guy, Lewis Green, is Masuka's replacement for the Horrific Nightmare of an Intern, and after Masuka has told everyone this, Green goes on that while there's plentiful numerology in the Book of Revelations, the only number close to the ones they've gotten from the killer that appears in a noteworthy manner is 1260. This being the day after 1244, Anderson notes that they only have fifteen days until the countdown ends and they reach, according to Deb, "more apocalyptic bullshit." She asks Dexter to please tell her he's got something else for her, but, with an apology from DVO, Dexter lies and says that he does not -- there was nothing of interest on the wings. Deb calls an end to the meeting, and after everyone disbands, Masuka leans in and asks Green if he's as much of a computer whiz as he seems. Green, who I must say is pretty nerd-cute, kind of aw-shuckses that yeah, he knows his way around a hard drive, so Masuka pulls up the Ice Truck Auction and asks Green if he do something to help get rid of his potential trouble/embarrassment. Green, apparently liking the challenge, says he'll look into it, and man, it's nice to have an intern on the show who doesn't make me want to kill him/myself/everyone who's ever existed.
Quinn comes in to see Deb and haltingly ask her if she still has the engagement ring, as he's running out of time to return it. To his credit, he's conciliatory about it, and to hers, she apologizes for forgetting to get it back to him sooner. He understands that she's had a lot on her mind, and, with the conversation probably going about as well as it could have, he makes another good decision to get out of there on a high note. Don't worry, it's the last bit of good judgment we'll see from him this episode. When he's gone, Deb calls Jamie and tells her how she brought the ring home a couple weeks ago and left it on Harrison's side of the apartment. Jamie seems amused that she might have lost it, a reaction to which Deb is certainly most unamused, so Deb orders her to look for it and hangs up without waiting for a response. I'm guessing these two haven't been staying up late together to gossip about boys.
At Miami Metro, Dexter runs into Mos Def, and Dexter's car is breathing a sigh of relief that it didn't have to get smashed up to put these two together this week. Mos Def asks how Harrison's doing, and Dexter, as always happens, brightens at the mention of his son and says he's doing great, and that Mos Def should come by and see him. Michael C. Hall then does a hilarious piece of subtle business as he gets a "The hell did I just say?" look on his face, but Mos Def takes him at his word, saying that he'd love to -- how's tonight at eight? Dexter, probably not opposed to the idea anyway if he's being honest, accedes to the suggestion, but goes on that surely Mos Def didn't come to the station just to see him. Mos Def says no -- some of Nick's old crew (that's the dude who Mos Def baptized last episode) shot up the shop after it was closed, and he called the cops but no one showed up, so he needed to come by to get a report for his insurance company. Dexter, not without seriousness, asks if Mos Def ever thought of moving, but Mos Def, as is his wont, invokes God, and that's Dexter's cue to get the he... eck out of there, saying he'll see him that night.
At the Cultural Center, Dexter approaches a middle-aged woman and asks if she works there, and she replies, "Read my tag! I'm a docent!" I hate her already. Dexter feeds her a cock-and-bull story about having damaged a painting and wonders if there's someone he could talk to, so she leads him to a back room...in which a film about restoration is playing. Heh. He tries to back out, but she insists it's informative ("That's why we made it!"), so he takes a seat in resignation. However, turns out the docent did him an inadvertent favor, as soon, the film is showing their restorer hard at work -- that restorer being, as you might have guessed, Colin Hanks. Which makes something clear to me -- he's the meticulous hand behind the designs that Dexter was admiring last week. Despite what he says later to Dexter, it certainly also seems like he hack-and-slashed that first victim, so there's another nod to the EJO doesn't exist, or at least doesn't exist the way Colin Hanks is seeing him, theory. Dexter's phone then rings, and it's Anderson, who's at a beachfront apartment telling him he needs a blood guy there on the double. Dexter gives that his ten-four, and on his way out, tries to ask the woman if she knows Colin Hanks's name, but she shushes him, prompting DVO to intone, "Worst. Docent. Ever." Thanks for the quick ride back to the nineties, DVO.
Dexter bustles into the crime scene, in which a husband and wife are lying dead of gunshot wounds. Dexter, in quick succession, finds all the clues he needs and pronounces it a murder-suicide fueled by the wife discovering the husband was cheating, and Anderson, impressed, asks how a pro like Dexter can stand to work with the "Miami Homicide chuckleheads." Dexter says they're actually pretty good, which is pretty damn charitable if you ask me, but he's only really thinking of Deb, whom he tells Anderson is his sister. I mean, someone of Anderson's competence not noticing that Dexter and Deb share a surname is about as believable as Dexter not being familiar with THE FOUR HORSEMEN OF THE APOCALYPSE, but from the chastened look on Anderson's face I guess this is meant to be a Big Revelation. Some annoying old white dude then comes in, saying he's the owner and wondering who's going to clean up the mess, and the response he gets from Anderson is slightly more polite than "You are, idiot," but not by much.
In some bar that apparently is running a Whore of Babylon special, EJO, who by the way is drinking something this week, notes that it's hard to resist looking. "God gave Man the desire to look at women. It's the devil that made them dress like that." If only dialogue like this didn't actually exist in real life. Colin Hanks, however, says he wasn't rendered speechless by all the boobies -- he just thinks it's sad that all these people are doomed and they don't even know it. EJO agrees, and offers that Colin Hanks is sensitive, which is why he was chosen. Colin Hanks, however, doesn't get to bask in EJO's approval for long, as he notices a paper in a machine on the sidewalk, the front page of which prominently displays EJO's picture. Colin Hanks rushes out and buys a copy, and then EJO joins him as Colin Hanks tells him they're calling him the Doomsday Killer. EJO doesn't seem overly fazed, but does opine that it might be prudent for him to stay out of sight. "You may have to find our Whore without me. But don't pay too much for a half-and-half." Some of that may have been in my head.
Dexter's on his computer trolling the Cultural Center's website, and soon he's identified Colin Hanks as "Travis Marshall." He then runs his name through police records, but he comes up totally clean -- not even a parking ticket. And if there's any stronger evidence that he's made a deal with the devil, I don't know what it could be. Dexter does get his address right before Mos Def knocks on the door with a six-pack, and his stock just keeps rising in my house. Dexter notes that Harrison is falling asleep, but Mos Def says his timing is great, then, as he pulls out a stuffed animal from inside his jacket and says it's the toy's bedtime too. (It's a lamb, by the way -- not very subtle, but at least consistent.) Dexter thanks him and goes to put Harrison down for the night...
...And then Dexter and Mos Def are hanging out on the terrace. Mos Def supposes it must be tough for Dexter to leave Harrison and go work Homicide every day, and wonders how he got into it. Dexter replies that his dad did it, so he kind of fell into it, but Mos Def astutely points out that that's not really a track you just fall into. Dexter, only slightly warily, admits that he was drawn to the blood work, and when Mos Def asks why, Dexter takes a moment to consider, and then tells Mos Def how he watched his mother get killed in front of him when he was three. He doesn't go on about the part where he sat in blood for days afterward, but it's still clearly a big step for him, and he goes on that in his case, the darkness got in deep -- it never left him, and it never will. Mos Def asks if he can remember anything from before his mother died, and Dexter, perhaps to his own surprise, does recall that she used to wrap him in a quilt and sing songs to him, and that she'd trace her finger along his ear, which made him feel good. Mos Def thinks this is an example of the light Dexter carries within him, and when Dexter demurs, Mos Def tells him that the Bible teaches that there's no darkness the light can't overcome, and even a tiny bit of light is enough to keep it at bay. "Believe me, I know." Mos Def brings up Harrison, and Dexter breaks into a proud, beautiful smile just at the mention of him, which Mos Def says proves his point. "You're sharing that light with him, every day, all the time." Dexter looks, probably for the first time, not just that he wants to believe it but that he's, just a little bit, starting to think it might be true, and Mos Def says it's in him -- he just has to let it out. This conversation hitting him harder than he was prepared for, Dexter leans back and closes his eyes for a moment, and Mos Def brings it down a notch, saying that it's really nice to be there with him. He says they have to do this again sometime, and without too much of a nod to the end of the episode I will say I hope they do, indeed.
Among the Miami harbor drunks on this particular evening is a young woman who looks remarkably unsteady on her feet, although I would have thought the common wisdom when you live on a boat and are planning a big night out would be NOT TO WEAR HEELS. Surprisingly, the girl does make it to her destination without pitching herself into the drink, although in this case she might have been advised to do so, as before she can climb into her boat, Colin Hanks has grabbed her from behind. He seems to have no idea what to do beyond this, though, and soon, the girl's muffled cries and loud kicks against a nearby metal control box have attracted the attention of some guys nearby, and as they approach, Colin Hanks gives it up as a bad job and gets the hell out of there...
...And then he's turning up to EJO to confess his failure in an abject manner. EJO, however, thinks he put too much on Colin Hanks, and says the night, he'll be there with him, as the police are no match for God, or something. Not sure why he didn't think that three hours earlier, but maybe he really wanted to finish the painting he was working on.
The day, after Colin Hanks leaves for work, Dexter breaks into his house and finds a graduate diploma from the University of Tallahassee. He also discovers Colin Hanks's Bible, with some of the numbers in the 1200s cut out. He slices out one of those pages with its number missing and gets out of there...
...And then, back in his office, he gets out the numbers they found in the victims and finds that one of them fits exactly into the cut-out space on the page. Those pages, by the way, look rather pristine for having resided in victims' eyes, throats, and entrails, but I suppose there's only so far you can make the Props Department go before you're breaking like seventeen union rules here.
Quinn and Batista have made it to Tallahassee and discover the young-ish Professor Porter sitting outside. She looks less than pleased to see them, and tells them up front that there's no way EJO had anything to do with the Revelations killings -- she was his TA for a year, and he even helped her get her job. Quinn points out that he has a rather provocative blog, but she tells him EJO, who by the way she hasn't seen since he left the university, likes to stir up trouble and make people think. The glowing terms in which she talks about him lead Quinn to suspect a romantic relationship, hitting on her himself in the process, and she admits it, but says that after they'd lived together for a while, her year as his TA ended, and he found another brunette with whom to replace her. Of course, that implies that she wasn't his last TA, as Batista said earlier, but whatever, I certainly can't get bogged down in minor continuity errors on this show or I'll never make it out of here. Porter's not bitter about it, anyway, instead remembering the time they had together fondly, and says that if EJO should happen to contact her, she'll let them know. Not content to end things cleanly a second time, however, Quinn tells her that they're going to be stuck there for the night, and wonders if she might know someplace where they could get a drink that evening? Porter, apparently a willing participant in taking this to an unseemly place, offers that she might, at that, at which Batista walks away in disgust. Dude, you're the one that bought the Trans Am, and yet I still agree with you.
Deb and the backpack she's sporting that makes her look like she's in the sixth grade are heading out; Anderson, making notes on a large whiteboard, asks if she always takes her work home, and she tells him she can't get anything done in that new office, not with LaGuerta's perfume seeped into the walls. "If she ever had a soul, it's still in there." No comment. Anyway, this scene goes on too long, so here's the gist: Anderson is still impressed with Dexter, Deb wistfully stares at pictures of the murder-suicide apartment, and Anderson thinks Masuka is gross. !
Quinn and Porter are sloshed; she's slurring some story about plagiarism, and Quinn pretends like he has the slightest idea who C.S. Lewis is. Batista then appears and points out that they have a long ride to Miami tomorrow (about eight hours; I had to look it up to see if Quinn was full of shit about being "stuck here overnight," but no), so does Quinn maybe want to call it? I like to think that Batista is worried about Quinn vomiting on his leather interiors, because otherwise, it'd be kind of fun to blast the radio on his shattered ass. Quinn, however, pulls Batista aside and tells him, and this is an accurate quote, that he's "about to cross a fucking college professor off [his] bucket list," like, Quinn having a bucket list, having that on his bucket list, and using the term "bucket list" are all WTF, obvs, but Batista points out another problem, that being that the woman is part of their investigation. Also, did Quinn recently get a tooth knocked out, or did he just eat something green at dinner? (Haha, like he hasn't been subsisting on liquids since he blew into town.) Anyway, Batista has neither the time nor the energy to argue with Quinn's dick, so he leaves him and the professor to have their round...
...And then they're spilling through her doorway and getting rid of their clothing, which allows us to see that Porter has a tattoo of, as I said in the recaplet, what might possibly be a seven-headed snake; art design aside, it's surely got to be apocalypse-related. Not sure how God would feel about her sporting one of his sacred signs as a tramp stamp, but I'm not the one who's going to have to answer for it.
At home, Deb has a bunch of grisly photos laid out around her when Harrison wanders in to see her. She's goofy and playful with him, but when Jamie comes in with Deb's ring in hand, she's horrified to see the type of material to which Harrison's been unwittingly exposed. She hustles Harrison out of there, and then returns to upbraid Deb, asking if there isn't anywhere else she could do this. Deb gets shirty in response at the attitude, justified though it may be, and they are about to really get into it when Dexter just happens to arrive home. Getting two immediate earfuls, DVO wonders if there's any way he could just turn around and leave, but he steps up and tells Jamie that if Harrison's down for the night, she can just go home. After she withdraws, Deb wonders if Dexter's taking her side, but when Dexter points out that the photos can't be good for Harrison (as opposed to watching his father plan murder after murder), Deb drops the argument and admits she's a mess, and wonders if she does need to go to therapy. Dexter sighs that she doesn't need it any more than he does, which causes her to worriedly and sincerely reply, "Am I that fucked up?" HA HA HA! Not enough humor for my tastes, but sometimes this show pulls a great one out. Totally burned, Dexter walks out without a word. Hee.
Sitting in a car, EJO observes a drunken pair teetering into each other and speculates that they don't even know each other's names, so it's no wonder God wants them to end it all. Hey, they're not the ones sitting in a parked car like they're at Inspiration Point, EJO. EJO points out another couple and instructs Colin Hanks to follow them, and when Colin Hanks notes that the guy is pretty big, EJO responds by starting the car and pushing Colin Hanks's leg down so his foot presses the gas, thereby sending the car into the unsuspecting pair. Colin Hanks is horrified, but EJO tells him to get the girl and put her in the trunk before somebody comes, which he does, apologizing to the half-conscious girl along the way. I haven't read the Bible in ages, it's true, but did the Whore of Babylon really get run over by a four-door sedan?
Batista shows up at Porter's door, and he's awfully brave to be knocking here, but Porter is decent when she answers, and tells him Quinn's in the bathroom. She heads off to get him, and presumably he pulls her in for some goodbye action, as she leaves Batista alone for an awfully long time. Which works out well when he spots some boxes under the desk with EJO's name on them; as ominous music plays, he finds a leather satchel with a Post-It marked "The Alpha And The Omega Of The Enesserette." He opens it, and his eyes go wide when he sees drawings of some rather disturbing imagery we've seen recently -- locusts, angels, you get the point. Batista decides not to be coy, instead asking Porter to join him, and his urgency overrides any feeble protests she advances about invasion of privacy. When Quinn appears, Porter takes the book from Batista, and she and Quinn are stunned to see what it contains. Well, this'll put a damper on any further goodbye sex.
Deb enters her office to discover that the therapist she's been dodging has taken it upon herself to come see her; don't know how realistic that is, but if more therapists shared her initiative the world would probably be a healthier place. The woman asks Deb some questions about the shooting, and Deb's all, it was great, why wouldn't I love shooting at people, I'd shoot him again right now if I could. However, she does admit that everything that's happened since has been tough for her -- the promotion and its attendant baggage, the Doomsday Killer, the end of her relationship meaning no personal space for her. The therapist is all, I hope this isn't insultingly simple, but maybe you should get your own place, moron? Of course she says it much more nicely than that, but, like, hello, Deb? Is this thing on?
Of course, I don't know how the therapist would feel about Deb moving into Casa Murder-Suicide, but at least she's taken Anderson along for the ride so he can introduce her to the landlord. After a quick mention from Anderson that he's married, to which Deb reflexively looks most understandably disappointed, Deb introduces herself, and they head inside; as they do, Deb says she's interested in renting the place. As much of a pain to her as Anderson seems to like being, he rather enjoyably plays things up here, talking in exaggerated tones about how the floors are just a mess -- the toxic damage probably means replacing them will be a necessity. He continues bullshitting about blood-borne antigens and whatever to distract the guy from the fact that Deb's practically measuring for new window treatments, and I'm not sure I'd buy Anderson going to this much trouble for Deb except for the part where I think he's just being petty because he doesn't like the landlord. I knew this character was doing it for me. He puts a "friendly" arm around the landlord and silkily tells him that it's going to be quite a job renting the place, what with his legal obligation to disclose the fact that murder took place on the premises. Deb pipes up that she, however, already knows about it, and is willing to offer two-thirds of the current rent right now. The guy makes the deal respectable for himself -- three-quarters of the rent, two-year lease, and she cleans the place up herself -- and she's happy to accept. She might have bargained a little harder, but it probably wasn't worth risking another fight with Jamie. Deb and the landlord practically have to lean over the huge bloodstain on the floor to shake hands, and then they all get out of there before anyone can think about the fact that she's going to be living in a MURDER HOUSE. I'd ask if these people watch current fare like American Horror Story, but given that Dexter tried to pass off "Worst. [Whatever]. Ever." as fresh, I don't feel the need to bother.
Deb shows up to Quinn's desk, but he's of course still navigating his way through a raging hangover and central Florida, neither of which I'd wish on anyone. Deb takes one last look at the ring and puts it in Quinn's desk drawer, and Music That Would Break The Heart Of Anyone Who Cared One Bit About This Relationship plays mournfully and is, by my own definition, one hundred percent wasted.
Masuka gets a report from Green; the bad news is that he couldn't retrieve the hand, as whoever bought it used an "e-sniper" program that firewalled him. However, Green was able to erase any trace of the sale from the Internet, and what's more, he did some computer-fu that improved Masuka's credit rating and added a porn-scrubber to his machine. Masuka looks like he's considering switching teams for this guy, and as a gay man, all I can say is this: DON'T YOU DARE.
In the parking garage at the Cultural Center, Colin Hanks gets in his car and is just starting it up when something lashes itself around his throat. Nice -- I wasn't expecting a direct confrontation from Dexter just yet. Dexter, who is undisguised, gives Colin Hanks some driving directions as he chokes him further to let him know he's not kidding around, and then I guess releases enough pressure that he can drive safely. Once they're on the road, Colin Hanks frantically tries to tell Dexter he can have the car or anything else, but Dexter placidly tells him he wants none of those things as he calls him by name. Colin Hanks, realizing this is an even worse game than he realized, asks what he does want, and Dexter informs him that he wants his life in return for the ones he took. Colin Hanks spills everything he knows, or believes he knows, or whatever -- EJO is the one that talks to God, the one through whom God speaks. Before Colin Hanks met him, he was lost, but EJO showed him the truth, and is filled with light. Having become attached to the idea of light within him, Dexter calls a rather aggressive "BULLSHIT!" on the idea that EJO is an agent of the light, but Colin Hanks tells Dexter he couldn't kill the victims, even though he wanted to, and he's pathetic -- it's EJO who's so much stronger. Even Dexter is powerless to resist Colin Hanks's self-flagellation, as he considers for a moment, and then leans forward and whispers that EJO is pulling him toward darkness, not light, and he needs to find someone else to follow. He has Colin Hanks pull over, releases him, and tells him to get out and walk -- he'll find his car back at the museum. Dexter replaces him in the front seat, and as he watches Colin Hanks walk off in the rearview mirror, DVO says that Colin Hanks will lead him to the one that really deserves his table...
...And speaking of whom, Colin Hanks is calling EJO and lying badly that he doesn't feel well, so he's just going to go home. EJO, whom you'll remember was a college professor and as such quite wise to the excuses of young men, tells Colin Hanks that Jonah tried to run from God. "He didn't get too far." If Colin Hanks wasn't actually sick before, it looks like he is now. God, I just know that whatever reveal is coming about EJO, it's going to make no sense at all. And this is coming from someone who loves everything about Fight Club.
Dexter is once again waiting outside Colin Hanks's house, and from Colin Hanks's reaction he looks surprised to see his car there, even though Dexter had said he could pick it up at the museum, so you'd think he would have done that last night. Oy. Oh, and then Mos Def opens up his garage to find, presumably, one of those gang members he referenced, who shoots him three times in the torso. Good thing he wore a white shirt so we could see all the blood clearly. Mos Def, you'd better not die! Not that you'll hear about it from me -- Jeff Long will be back week. Thanks for reading!
John Ramos is a writer and film producer living in Los Angeles. Believe it or not, he's worked with Michael C. Hall, as well as Lucy Liu and Peter Fonda, on his film "East Fifth Bliss," which will be in theaters in March 2012 and about which you can get information here.
Also, he writes about film and television on his blog "Pull Up A Chair," which he would just love for you to visit. And you can follow him on Twitter here.