Back home, Rita and Elliott sit around, after dinner, polishing off a bottle of wine. Bad idea, Rita, come on. When Rita begs off more wine, Elliott teases that she's a lightweight, causing Rita to reminisce about her days as a "dress-over-the-head party girl." She's instantly embarrassed by this, but Elliott assures her he finds her completely charming. Blah, blah, blah, Rita feels weird.
Tampa. We montage our way through Dexter outfitting his hotel room in plastic wrap. It's fine and functional, but with none of the joie de vivre of past kills. Where are the rotating murals? Where are the mementos of his victims? Oh, wait, he has photos at least. I have always loved this aspect of Dexter. This "hectoring Jewish mother" side of him that will never ever let you live anything down. The last two photos are of Lundy and Deb because this shit got personal. Kind of. As the clock strikes quarter to five, Dexter fills up his syringe and ventures to the room next door.
Dexter sneaks into Trinity's room and skulks up to the bed...but no one is there. He's gone. He heads out to the parking lot and sees the van's still there but his tools are gone. DVO deduces he's gone to the Habitat for Inhumanity build. And in the half-second it takes to cut to Arthur standing on a high floor of the quite unfinished house, the sun has come up. Dexter's checking out the site on the assumption that Trinity's come to make a kill (which, if you'd stop to think about it, you'd know he's not; the bathtub is the first kill in his cycle, and ain't no bathtubs in this half-finished house). Dex spots Arthur on the third level and is so caught up in his own kill that he doesn't seem to notice Arthur zombie-walking to the edge in the international gesture for I'm Gonna Jump to My Death. Dex gets up to the third floor and watches Arthur, his back turned, dump a vial of ashes over the ledge. As he inches his feet to the edge, DVO finally starts to wonder what's up. We see about a dozen long sections of rebar sticking up from the ground below, just waiting to impale something. He puts his arms out in the Jesus pose, then starts to fall.
"No, you're mine!" gasps DVO, as Dexter lurches ahead to grab Arthur. He's almost too late but he manages to catch him by the arm. So Arthur's dangling, as we've seen in so many lesser TV shows and movies. "This isn't how you die," Dexter says. There's anger in his voice, but in the heat of the moment it can easily be mistaken for adrenaline. Arthur whimpers, "Let me go!" Man, for such a fearsome killer, Arthur can be a GIANT pussy. Seeing that -- or, more accurately, seeing that killing Arthur and letting him die ("as long as it's by my hand") end up with the same man dead -- Dexter contemplates letting him drop. But just as he's about to let go, two construction workers show up from completely out of nowhere to pull Arthur to safety. That really did not sit well with me. Not only the dues ex day-laboria but also Dexter's thought process. For a second there, I was intrigued by the idea of Dexter needing to kill Arthur rather than just let him die. Remember, Herr Dark Passenger is a beast that needs to be fed, blah blah blah. "As long as it's by my hand" covers the bases, but there's a blood lust in Dexter that's not gonna be satiated by letting Trinity fall off a building. This is a seriously OCD creature of habit, remember. I don't entirely buy that Dexter is satisfied unless he can cut that body up, place it into six equal-sized bags, and dump it in the ocean. Not to mention that, this way, it seems like Dexter's endgame is justice (seeing the bad guys get killed) rather than killing. But anyway. Arthur's pulled to safety.