I think the exchange with Brandt emphasized something that I see as continuing with Rebecca's character: does pain make you stronger or does it make you more fragile? Does Rebecca go off half-cocked because she's convinced that the worst has already happened to her? Can you go beyond being a victim?

Does Rebecca go off half-cocked because she's convinced that the worst has already happened to her? Can you go beyond being a victim?

Interesting point. Is it fatalism? Or is it just that she already survived something almost no one survives, and figures she can take whatever the world hands out?

Maybe she has survivor guilt? Maybe she doesn't truly believe she deserved to escape, all those years ago.

I don’t think that he was gay. I think that he wanted to punish Brandt by using Brandt’s method of control – sex.

While I didn't read the character as closeted gay in a general, I think it was pretty clear that he became erotically fixated on Brandt and that led to his desire to punish him.

Does Rebecca go off half-cocked because she's convinced that the worst has already happened to her?

I think that _she_ thinks that, but it backfires on her.

I gotta say it – I don’t like Rebecca. I like everybody else, but I don’t like her. I hate the way that she pretends to be strong, and when the chips are down, she doesn’t come through. She was good last week when Simon had her captive, but then this week she puts herself in a situation where she knows that she’s vulnerable, then loses it when Brandt takes advantage? And then sits on the street in a bad part of town, crying and repressing the situation? Ugh.

I sort of agree with this, though I don't think that crying on the street is out of character. I think we can assume she didn't mean to be found like that, and that the experience with Brandt was MORE traumatic given her past and the surprising (presumable) sexual thrill she got out of it.

Nonetheless, I wish she showed fewer layers. Too much is on the surface of her "expressive" face. I don't see why she would show so much given her trauma. Her behavior shows us what she thinks about the possibilities Brandt offers-- I don't think we needed to see an overt prickling of awareness.

By contrast I really like Jay Harrington and his character. Last week I found his, um, pussy-ness to be distasteful, but this week he seemed to come into focus as a sensitive yet strong guy. As stereotypical as that sounds, he still seemed like a different character than I'd seen before. Also in that scene while surveiling Brandt... he was sexy.

how is reamworks not trademark infringement?

During the re-enactment, I got to the point where Rebecca says: "He let me go." And then the next bit I saw was when Mel and Danny were going after Preacher Boy. Can anyone summarize what I missed while I was cursing at the TV anchor?

Anyone? Anyone? Bueller?

Web surveys the room. The paraphernalia. The steel.

WEB: It’s all just a game for him. Props and costumes. Pain without panic. But as soon as it gets serious...

Rebecca and Web see the answer in each other’s eyes.

INT. BRANDT’S LOFT - LIVING ROOM - LATER

Web, Paul and Rebecca have rejoined Mel and Danny. MEL: He’s innocent?

DANNY: Don’t buy it. Innocent men don’t rabbit.

WEB: They do if they can’t abide being controlled and the FBI is trying to do just that.

DANNY: So the fact that he’s linked to all four victims, that’s a coincidence? REBECCA: Maybe the UNSUBS’s punishing these women because they’re linked to Brandt.

MEL: Punishing them for what?

Paul sees something in Danny’s hand (the last thing he’s been going through during his search): a handful of those orange flyer’s from George Skoll, the club doorman. Paul takes one, displays it for Rebecca:

PAUL: Their sins?

INT. V.C.U. - TECH ROOM - NIGHT

Web, Paul, Mel and Rebecca, gathered around CARTER, who is operating a computer displaying an old mug shot of:

CARTER: George Skoll. Arrested in ‘98 for exposing himself on a city bus. Filed an appeal violation of religious freedom.

PAUL: How’d he figure that?

CARTER: Something about comforting people with his rod and staff. Nice.

PAUL: So in his mind he’s saving them.

MEL: A motive for rape, but why kill them?

REBECCA : Sending them to heaven?

PAUL: So he follows them back to Brandt’s place, grabs them on the way out, brings them back to his apartment --

DANNY: And delivers them unto the Lord.

CARTER: Not my Lord, thank you very much.

REBECCA: The detective on the earlier case, Bill Strong, he said there were other suspects early on.

WEB: This guy one of them?

REBECCA: I don’t know.

WEB: Find out. This time we may need a warrant. (then, to:) Danny and Mel, check out where Skoll is now.

MEL: We have a home addy?

CARTER: Not sure, but I’ve got an address on this church of his.

DANNY: You do?

CARTER: Eleven-forty two Moorpark. Van Nuys.

Carter holds up the flyer.

CARTER (CONT’D): At least, that’s what it says here.

That bring you up to date?

Yeah, that'll work. Thanks, Tim.

That little re-enactment was one of my favorite scenes in this episode, Web's eyes twinkling with evil mischief. The "judge/don't judge" conversation between Paul and Rebecca was the other.