|By Julie Browning|
Looks like all of us, including Josh (Sam Huntington), were worried for nothing, as we open this week with Nora (Kristen Hager) and Liam (Xander Berkeley) enjoying a lovely cup of Joe. After last week’s episode ended with a trail of blood leading from the decimated storage locker door, Nora’s safety was the cliffhanger du jour. Turns out that chewing his way through the door was murder on Liam’s gums, hence the blood.
His motives seem fatherly, as he tries to convince Nora that all he wants is to find Brynn (Tracy Spiridakos); but one has to wonder if he will do the same thing to Josh when he gets his paws on him.
When Nora returns home, of course everyone is relieved. Josh seems to be the only one without a major issue this week, as Sally (Meaghan Rath) and Aidan (Sam Witwer) have some unfinished business to take care of with their unfortunate “victims.” Sally is so guilt-ridden that she has killed Trent (John Bregar) that she is eating her way through the entire stash of food in the house.
Ironically, Aidan has a food related problem himself, as the supply continues to dwindle, causing his “son” Henry (Kyle Schmid) to go insane with rabid hunger.
At the suggestion of Henry, Aidan sweet talks Josh into checking patient files at the hospital to find potential blood donors. But, it looks like that just isn’t good enough for Henry, who Josh finds trying to check the patient records himself. Bad vampire! After shooing him away from the suspiciously available stash of records, Josh is distracted by a loud patient waiting to be treated.
Enter yet another new character, Erin (Lydia Doesburg) a troubled teen who’s apparently been bitten by a large dog. Josh and Nora know better, so they decide to take her under their care to help her transition from a bad girl to a really bad dog (werewolf). I like the addition of this new character, she was given some great lines, and has a very interesting and troubled back story. Lydia Doesburg does a fine job of giving us a clear picture of what this character has been through, with a witty and charming performance. I hope she will be a new regular.
When Josh and Nora take her out to the woods to experience her first turn, she does a number on Josh’s car, but Nora’s mother wolf instinct takes over, and we see them have a little Kodak moment as Josh looks on with fondness, giving a rare “Awwwww” moment to the show.
While we’re talking about new characters, Sally meets a handsome young mortician at the funeral home taking care of Trent’s final arrangements. Max (Bobby Campo) seems like he may be a possible love interest for Sally, in another tongue in cheek plot twist. Who’s a better match for a re-animated dead girl than a mortician?
This was another quiet episode, full of deliciously subtle character interactions, plot development and highly quotable lines. Many of which were delivered by the increasingly crazy Henry. His quest for food has won out over his judgement and as a result, he contracts the deadly virus that’s culled the vampire population. Aidan can’t do much at this point except try to comfort him until the end comes, which Henry isn’t going to take lying down.
With babysitting being the central theme in this week’s episode, we need to revisit Sally and Trent one last time. Sally tries unsuccessfully to salve her conscience by helping him find his door to the other side. The only salvation a ghost can hope for in the Being Human world. After Sally makes her peace with Trent’s fiancee at the funeral, we hope that his door will appear, but it doesn’t. Not right away….it comes later, when everyone’s gone home, and Trent is quietly sulking in the funeral home garage.
Where does it lead? We should know something is amiss here, as this is the first time we’ve ever seen what’s on the other side of a ghost’s door. It’s Donna’s (Amy Aquino) soup kitchen! She’s been waiting for Sally’s first victim. After a quick karate chop with her trusty cleaver, Trent explodes into a pile of dust, which Donna then eats.
As I’m overtaken by a big wave of Ewww! and wondering why on Earth she did that, Donna’s face transforms to a much younger, prettier visage. Oh the plot is getting thick in Boston, is it not?