On the one hand, it’s somewhat surprising that the two safely return to the hospital, though from a storytelling perspective it’s doubtful anyone would have suggested going to search for them even though they are most responsible for the pack still being alive. The episode’s title provides multiple layers of meaning, not the least of which implies that the hospital, for better or worse, has become home to the survivors. Nonetheless, Vanessa’s desire to find her daughter supersedes any part she may play in the group, and more importantly, in the odyssey to prevent the human race’s extinction. And while the stakes continue to rise relative to Vanessa’s inherent ability to rid the infected of their vampiric qualities, it’s the introduction of new characters and a new understanding of the heretofore cloudy power structure outside of the hospital’s confines that really sends Van Helsing into a higher gear. When we first observe Sheema (Naika Toussaint), she’s engaged in a bit of sexual voyeurism, but as the narrative unfolds and we begin piecing together the puzzle that is “Coming Back,” it becomes impossible to ignore a connection between her appearance and Mohammed’s desire to leave the building simply to go with Vanessa for some fresh air. Now that we understand Mohammed’s motivation for venturing outside is the desire to find his missing sister, we may be witnessing the first seeds of a symbiotic relationship moving forward. Of course, the reactions of Sam and Axel loom large over this plot development, and we wonder whether or not they’ll step in to quash any further unscheduled excursions. Either way, it can’t be long before they all decide to take their chances on the outside. “Coming Back” deftly establishes a hierarchy among the vampires, and we’ve learned that the lowest seem to be Ferals who appear subhuman while the Feeders occupy the next rung up on the ladder. Who is the older woman that implies Julius is merely following orders and needs to regain his place? There must be someone else pulling strings but who? Dmitri? Without doubt though, most fascinating is Rebecca (Laura Mennell), whom Sheema observes having sex with a terrified young man. She appears completely unaffected, outside of the black leather and restraints, but suddenly begins feeding leaving viewers more puzzled than when the scene began. Why does the virus affect individuals differently? Back on the home front, there is, at best, an uneasy peace. Doc refuses to acknowledge that her predicament is not as bad as the situation with which Flesh must contend. Though all of that becomes moot when Flesh finds Cynthia hanging from rafter having hung herself propelling the story into a classic whodunit. It doesn’t take Doc long to determine that this is a murder and not a suicide, so now, as if things aren’t shaky enough, the killer walks among them and determining the culprit won’t be easy. Or did the killer come and go leaving Axel and the others to turn on each other? Now that we’re a third of the way through the first season, Kelly Overton’s portrayal of the emotionally vulnerable woman coming to terms with the horrifying realization that she alone may be responsible for saving the human race, dominates each and every scene in which she appears. And while Axel’s dutiful Marine earns our admiration, it’s the subtle introduction of the enigmatic Rebecca that sets up a potentially engaging confrontation. Van Helsing is right where it needs to be. Each and every character living on the edge with death just around the corner. There’s no going back.
