…in which Agent Janis Hawk is miraculously saved.  She’s whisked to Olivia Benford’s hospital and saved by Olivia who I’m starting to guess is the only trauma surgeon in Los Angeles.

I’ve decided that Joseph Fiennes bugs the ever livin’ bejesus out of me.  I don’t know what it is, but the way he sucks in through his teeth or grimaces or furrows his brow or what.  It’s possible it comes from the character he’s created and the fact that it’s covering up a British accent and the best way to do that is really invest in the character and how they sound and react.  It’s a weird one way dialect road where Brits can assume an American accent and fool most Americans, but us Yanks trying to sport a British accent (no matter the location) are known to butcher it completely.

Regardless, Fiennes’ performance is beginning to wear me down.  He and Sonja Walger (as Olivia) are getting a lot of screen time to argue and find reason to mistrust each other.  Sonja does rather well, and I can’t fully blame her for the lines she’s given.  “Scary Monsters and Super Creeps” is really about the falling out the Benfords have and showing us that despite the truth finally being revealed, it’s too little too late.  The snowball has been pushed down the hill and despite Mark’s assurances that the future is mutable, his marriage is having no trouble winding down the path toward its eventual fate as a divorce.

Mark and Aaron take Charlie trick or treating and Mark chases down a couple kids wearing the same masks as the gunmen in his vision.

Lloyd Simcoe was even in the Benford’s home after locating Dylan who ran away from the hospital.  Mark stared at him through enraged and nearly flaming eyebrows to tell him to get out but when he and Olivia spoke (fought) later and he revealed his vision was of him drinking, she called him on his hypocrisy and left him with the final thought that there was no trust left in their marriage.

Speaking of eventualities, Agents Demetri Noh and Agent Al Gough (Lee Thompson Young) begin investigating the men who attacked the FBI Agents.  As Agent Hawk recovers, thanks to a simple yet effective suturing technique by Dr. Benford, Noh and Gough follow a lead to an abandoned house with several bodies.  They’ve tracked a “blue hand” clue to the scene of what appears to be an execution or sacrifice.  It doesn’t lead them exactly where they want, but it does correspond to Agent Gough’s flashforward in which he is still working on the case.

Agent Noh’s story is actually quite intriguing.  It may stem from the fact that John Cho is very likable on screen, even when he’s being petulant and brooding, he comes across as a very down to Earth fellow who just wants to do his job the best he can.  He’s the first character I’ve felt anything for.  His drama and his life seem hopeless and yet he still tries to push on.  It’s tragic and likely the reason for the emotional tie.

Dominic Monaghan’s Simon character is back this time and gets an updated amount of screen time.  He seduces a woman on a train with his intelligent banter and we find out he’s a quantum physicist.  His flashforward is of him choking a man to death.  This shocks the woman a little but she currently has her legs wrapped around him so it must not be THAT horrible.  After Lloyd gets excused from the Benford’s, Simon is waiting for him in his car.  He tells Lloyd that “they” have been worried about him since he ran away to Los Angeles.  Lloyd says he wants nothing to do with them, as it is their experiment killed hundreds of millions of people.

Which we already figured, and I wish this had been more substantive.

Agent Hawk is ok, but because of her injury and the way Dr. Benford saved her from bleeding to death, she may never have kids.  Why she’s so upset then, because of her flashforward, she doesn’t understand.  She didn’t want kids to start.  Maya has sent her flowers.

“Scary Monsters and Super Creeps” did something a lot of dramas do and that’s try to stay current.  Airing two days before Halloween, the Benfords neighborhood was alight with revelers and decorations.  It was bright and colorful and very safe.  Even the cemetery in which Mark chases the hoodlum is quite banal and typical.  It was all there to link the show to reality, to say that it could really happen because these are real people who dress up on Halloween.  The cemetery was a bit much as it didn’t do anything but tie into the title.

The kangaroo makes a return and as yet we don’t have any idea to the significance.  I’ve heard everything from the director had a bad experience with them to it signifying that everything we need to know about the Blackout is in Australia.  Come to find out, David S. Goyer (creator and writer) said it’s a grace-note or just something put in there, mostly in disaster movies, to be neat little things to make you think about something else for a second.  However, it got such a huge response that they brought it back for this episode and will likely have a back story for it.

If the kangaroo gets a flashforward, I’m removing the show from my scheduled recordings.

There was nothing revealing in “Scary Monsters,” rather it was an emotional episode designed to allow the viewers to find if they can identify with the cast.  Each in their own way has a good case for emotional attachment, but some of the performances will not let that happen.  Despite any history a character may have, if they are currently unbelievable then you’ve lost the viewers.

Three out of five broken clocks.