It's nice to have 'previously on' segments, they gear you up for what important plot points you're going to see this episode, especially when, as is the case in this episode, we're seeing plot points from way back in Series 1, of Peter and his burned face.
As we discover in the first few moments, Brett, Werewolf Love Interest of Liam's Friend, is back, as is Kira, as the former and a friend are rescued from hunters with crossbows by the latter. More assassins? It seems likely, especially as hunters aren't meant to hunt teenagers. Has Brett gotten a haircut? Or a new actor? He looks different.
|I think he might have cut and dyed his hair, but you can't|
really see it in this picture, I just like the eyes.
Scott hears the news, and he rustles up Liam to head out, but Liam is feeling a bit overwhelmed with this situation. He's not only been thrust into the werewolf thing, but it almost came with the expectation that he'll help save everyone as well, when that's an enormously risky thing – and he asks Scott how all of them have managed to survive so far and gets the somewhat disheartening answer that not all of them have. Scott, being a good older brother alpha thing, though, says he'll drop Liam at home before he heads off for superheroics.
Stiles is trapped at the hospital, as despite not wanting to incur more medical costs, Melissa won't let him leave. Melissa, you're great, but you shouldn't be keeping Stiles here for a CT that he and his father probably can't afford. Stiles asks for a cassette player, intending to listen to the recording of Lorraine's last words.
At the police station, Lydia sarcastically raises the question of Meredith's competence. The Sheriff points out that given the complexity and skill involved in the crime in question, she kind of has to be competent – but that even with her in custody, assassins are still being hired, and may still be getting paid. It's not clear when he got this information, but that's fine, we don't need to see or hear about every call Scott and Kira makes to keep the rest of the cast informed, that would get boring very quickly.
(Meanwhile, Scott and Kira passionately unite at the animal clinic, where Kira shows him that Satome's pack – what remains of it, at least – has gathered; and Chris breaks into some kind of warehouse, where a yellow flower is growing. Who can say what it does? Nothing good, I'd imagine.)
Lydia's still at the police station come morning, and Meredith still isn't talking. Lydia insists to a rather incredulously Sheriff and Parrish that she should be allowed to go and talk to Meredith, since the girl has proven responsive to Lydia before. I do really like this scene: The Sheriff and Lydia have an almost father-daughter dynamic that is only enhanced by their mutual Meredith-directed frustration and lack of sleep.
|This one picture sums up their entire interaction.|
Malia visits Stiles at the hospital, and they somehow end up locked in – oh god, it's like fanfiction – and talking about their own issues using the medium of Melissa-accidentally-locking-the-door on them. Except Melissa didn't, as when they reconcile, after a fairly adorable scene, the door unlocks. Which is – strange. I'd call Nogitsune powers, but I don't think door locking was ever part of his abilities.
Chris returns to his … lair … to put the flower in his safe, but swiftly realises he's not alone. Surprise! It's an entire pack of werewolves, plus Scott and Kira. Satome's pack needs a place to stay and defend themselves against the team of assassins after them. Chris isn't happy at first, but he allows it, saying that he'll help them buy some time for Lydia to get Meredith to talk and to figure out how to cancel all the assassin contracts. He also reminds Scott that he's still target number one, with a massive price on his head.
While Stiles and Malia realise that Lorraine made her recording somewhere other than Eichen House, and that they need to find out where it was (and realise shortly thereafter she was at the lake house), Lydia is interrogating Meredith. It's kind of ridiculous to watch, because Lydia seems to be going full CSI: Miami on her, with a lot of walking around and dramatic spinning about and a lot of rather obviously faked confidence.
She settles down pretty quickly, though, and Meredith starts talking, saying that she gave Lydia and Stiles a cipher key because she wanted to help them. Lydia keeps pushing, and Meredith says that she does want to talk, but only to Peter. Everyone is – appropriately shocked.
Peter shows up, and is not – over-impressed with the Benefactor's identity. He goes in to talk to her, though, after some sarcastic belly-aching, and it becomes immediately obvious that they have met before, even if Peter doesn't recall it, as Meredith refers to when he had burns all over his face, expressing wonderment at the fact that they're gone.
|This won't go wrong, I'm sure.|
The conversation winds its way on, with Meredith insisting that Peter told her the dead pool had to be a secret, while Peter insists that they've never met before. Eventually, Peter gets frustrated enough to do the werewolf mind meld, rifling through her memories. Poor beleaguered Parrish gets some violence done to him in the attempt.
As all this is going on, Chris and Satome talk about her mantra, and how all werewolves are violent creatures at heart, which just seems to be making it more likely that Chris is going to revert to the side of evil before this series is done. Mercifully, assassins attack, armed with body armour, rifles, and smoke bombs. Where did they get all this equipment from? Who knows. Maybe Missouri's police departments have collectively taken up supernatural assassinations.
With Peter and Meredith mindmelded, Meredith starts whispering – but only Lydia can hear. Lydia narrates how Meredith ended up in hospital at the same time that Peter was there, burned and comatose, and how for the entire time she was there, she could hear all of his thoughts. Peter's thoughts, it turns out, are all about revenge, and detailed if rather lunatic plans thereof. It's almost silly how detailed Peter's plan is, and how perfectly it matches up what Meredith eventually did.
One thing of note is that Peter mentions how he might hire the Desert Wolf, who we know is Malia's biological mother.
|So that's nice.|
Over at the lake house, Malia and Stiles become frustrated with listening to the broken record player and switch it off – but Malia can still hear something, behind the wall that the record player sits against. Breaking through the wall, they discover a very old computer that's apparently generating the dead pool based on Lorraine's predictions years earlier.
Um. This is all getting very confusing very quickly.
Back at the police station, Peter, now having broken the mind meld, has a gun pointed at his head by the Sheriff. Some threatening ensues, and Lydia points out that this is what Meredith wants, as if the Sheriff shoots, the ensuing scuffle will most likely result in the deaths of Lydia, Meredith and Parrish, who are all on the dead pool. She also points out that the Sheriff has to let Peter go since, as Peter himself points out, nobody will believe the story. The Sheriff eventually relents, much to Meredith's disappointment.
The lake house computer needs a code or a prompt to make it stop – or, as Malia notices it has a keyhole on it, a key. They call Lydia, who quickly notices that the wine she spilt on the carpet episodes and episodes ago when they had that lake house party is gone, and that wine doesn't simply vanish – so it follows that, in a lake house where nothing is as it seems to be, the wine might not be wine. Stiles locates the wine bottle and Malia smashes it, allowing them to find the key in the shards and switch off the computer.
|The evil assassination computer.|
Which is a relief for Scott, I'd imagine, who is a) Caught up in a battle with heavily armed men, and b) Slowly becoming more monstrous and losing control of himself. In the aftermath, Lydia talks to Meredith, who says that when she heard Lydia's scream in Oak Creek way back last series, she knew it was time to set the plan in motion – and that they, the supernatural creatures of Beacon Hill, had done too much harm and caused too much death, and were all monsters, with only Peter able to set things right. Lydia uses Scott as an example of a monster who doesn't do monstrous things, which is – not promising for his continued moral rectitude, to be honest – and Meredith uses Lydia as an example of the same, before breaking down with the realisation of what she's done.
What a really disappointing end to the dead pool plot. Meredith's reveal as the Benefactor had potential, but the plot twist with Peter and his thoughts strained my suspension of disbelief more than a little, and the entire conclusion of this plot seemed incredibly rushed, and lacking any kind of bite. Also, so much stuff is left unexplained: The computer being the main offender of this. Did Lorraine make it? How did it end up spitting out a dead pool? Why was it hidden behind a wall and disguised as a record player?
This all seems rushed almost to the point of incoherence, which is a shame, because I was enjoying Series 4 so far.
In the final scene of the episode, Peter meets up with Kate. He's rattled, and Kate thinks he wants to stop the plan, despite the fact that everything is going in their favour, even if it isn't entirely in the ways they might expect. Peter insists that no, no, he's good to go as far as the plan goes, and he'd never shut it down when he's so close to killing Scott.
Which isn't so much of a surprise, that's been his stated goal since halfway through Series 3. It's looking like for the final two episodes – the second of which will be thirty five minutes longer than a regular episode, apparently, so I may have to review that over two days – Peter, Kate and the Berserkers will be the villains, so we'll see how that works out.