Brian's in a hall at the hospital, where he runs into his former bishop. The bishop says he was praying and thinking of Brian earlier and now here he is again. Brian's like, "Yeah, great," and tries to walk off, but the bishop points out that his six month suspension is up now. Brian says it went fast. The bishop asks if he's thought about coming back to the church and Brian says, "Not so much." The bishop tells him God might be calling him back, but Brian says he's not. He wants the bishop to give God a message for him, though: "The fact that we're all dragged here through time and space and then made to suffer and die? Really sucks." Amen.
Nola's walking down the street, being stalked by Jeremy, all dressed in black with dark glasses. She gets into a limo with, of course, Simon. Jeremy's shocked!
After a commercial break, Nola walks into Patrick's office, and Jeremy's there waiting. He grills her about "seeing Simon Elder." She tries to ignore it by asking about the permits from the mayor again, but he's not going to be led off topic. She says she's not seeing him, but he says he followed her, so she can spare the lies. She says this is harassment, and it's none of his business, but he says he's telling Patrick about how she's been bouncing on the "Corinthian leather" in the back of Simon's limo. Then he calls her "Trampolina!" Can I just say that whoever gets to write Jeremy's slang must have the most fun, because they come up with some crazy awesome stuff. He tells her that if she likes Simon for his jewelry, he can wear jewelry too. She tells him she's not sleeping with Simon, but she meets with him from time to time because he helped her father out once, and he now has control of her brother and won't tell her where he is. What does that mean? "Control"? That is called kidnapping, I think. Nola: Go to the cops. But Jeremy says he's going to get her out of this. She tells him that he can't let on he knows or her brother could be in serious danger. Again: cops.
Brian's in the church praying angrily to God, and it's seriously beautiful and gives me hope for this show again: "This is you, being you. I get that. This is what you do. You bring us into this world, you make it incredibly hard to feel at home here and then right when we finally realize that this is where we want to be, you force us out -- all part of your wonderful, unknowable plan. Look. She's dying. She thinks she's ready, but here's the thing: I'm not. And neither is our kid. You want me to pray? I'll pray. Please don't take her. She's got a few more paper chains to make for a few more Christmas trees. A few more birthday parties to arrange. Cupcakes to ice for a few more years. At least give us K through 12." And then he breaks down a little bit, and says, "It was just getting good." Then he gets really mad: "You want me back, then you step up and show me what you can do for me." He drops some money in the collection box and says, "If you do, I'll do whatever you want." If that reads as treacly to you, you didn't watch the episode. Because a lesser actor could not have made that as compelling and real and heart-wrenching without sap as Glenn Fitzgerald, who's become so dear to me, and is the one true shining light in what's become a somewhat barren landscape of a show.