Instead, director Stefan Schwartz gets to put together a really good fight scene in which Travis somehow runs everyone out of the room, locks the door, and beats the crap out of two men to the point of stomping one of the fratters to death in an American History X tap-dance routine and throwing the other through a plate glass window. That’s tossed out immediately, because Travis has super comprehension powers and Maddie is a middle-aged teenage detective between the two, the frat boy’s story about Chris dying in a car crash is deconstructed Rashomon-style and reconstructed by Travis’s imagination (and shown in its entirety) as the real story comes out. Does she tell Travis about Chris’s death? Does she take away the only little bit of hope he has for his Night Stalker son? Throughout the episode thus far, writer Kate Barnow had been constructing a moral dilemma for Maddie. Travis, whose ability to part mobs by yelling English at Mexicans is some kind of super power, immediately runs downstairs leaving a hilariously injured Strand behind. This, of course, gets Travis’s attention, because there’s not a lot of rabble-rousing going on these days for obvious reasons. They use their names, and Travis has described them to a tee, so all the good work Maddie has done putting together a community goes out the window, because while she’s trying to throw them out-for no reason, as they hadn’t violated the rules-she creates an upheaval among the poor people living in the parking garage and a whole mob of people end up following Maddie and the frats to the gate. Injured after a car crash that killed the driver, the two complain enough about “mexcrement” to catch the attention of Madison, who is able to Miss Marple out the mystery of just what happened to Chris. In Wrath, the chickens of Chris’s trip north with the Frat Boy Killers come home to roost.
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