Season 1, Episode 7: “In the Pride of His Face”
Directed by Craig David Wallace
Written by Aaron Martin
The penultimate episode of Slasher‘s first season begins in the aftermath of Captain Iain Vaughn (Dean McDermott) being burned alive in a crematorium.
Sarah Bennett (Katie McGrath) is visiting with Tom Winston (Patrick Garrow). She wants to know the full truth, now that they’re being honest with one another.
Flashback to 1988, Halloween night. A young Tom, as The Executioner, murders the pregnant wife and her husband. Whereas the pilot took us up until the door shut, this episode gives us what happened behind the door. Laura’s mother reveals the baby belongs to her and Tom. This stops him in his tracks. Momentarily.
In the present, Tom claims it was to “save” her from their parentage. But he won’t give up anything further.Robin (Christopher Jacot) comforts Sarah, as best he can. Meanwhile, at home Dylan (Brandon Jay McLaren) is trying to make amends, for being a “bad husband” and not paying her enough attention while lavishing in the bit of praise given to him for his coverage of the killings in Waterbury. Could he still be a suspect? You never know. She wants to leave, she wants him to stop covering the story. He doesn’t necessarily say that’ll happen, only: “I don‘t wanna lose you.”
A creepy sub-genre moment sees Cam Henry (Steve Byers) sneak in behind behind Officer Sharma (Shawn Ahmed), as they find a room filled with The Executioner’s Seven Deadly Sins drawings. The whole scene is creepy. They find all sorts of things, diaries, lists. Even one that says Sarah and Tom are in the crosshairs for the sin of Pride.
More than ever now Dylan is appearing suspicious. The way he talks with Sarah makes him seem strange. So late in the game, could he be a definite suspect now? It’s easy to be suspicious, though. The red herring game is strong in writer Aaron Martin, following along excellently with the slasher sub-genre trope. Even further than that Sarah catches Dylan in a bit of a lie, making him that much more suspicious. He’s followed The Executioner story since before they met. He did it all for a lead that eventually brought about their marriage. He lied about it all. Sketchy.
Still, Dylan’s out in front of the cameras. All the while, Cam is keeping Sarah safe. And Tom Winston’s being transported elsewhere. That is until he launches an escape, choking out Officer Sharma and then looming over the paramedic. Terrifying.
Lisa Ann Follows (Enuka Okuma) is dangling a book deal in front of Dylan. Could he be guilty of Pride himself? Could this all be a deflection?
Well Winston shows up to take Sarah. Not for anything nefarious, obviously. He wants to protect her, afraid that Cam and the police can’t do the job properly. This is an excellently written series of events because we’re placed in a strange position, at once hating Tom for being a vicious murderer, and at the same time rooting for him because he’s, oddly enough, a caring father at the bottom of it all. The father in him comes out now that we know for sure, and it’s sickly a sweet situation in ways. Again, that’s the sort of paradox writer Martin puts us in; to hate and admire the original Executioner.
Sarah and Tom have a cute little chat about her past, her grandmother, camping, and so on. She again asks why Tom killed her mother and her husband. Then out of nowhere, Tom starts seizing. He manages to smash her phone, but urges her to run – The Executioner could trace the call, if he’s tricky tricky tricky. The police, they catch her phone. Cam and Dylan are both concerned. Even Father Alan Henry (Rob Stewart) offers to help.
Is it coincidence that right after the priest heads out to search The Executioner captures Tom and Sarah?
We find out after that Sarah is guilty of “playing God” when she attempted suicide. That’s why The Executioner has slated her for death. Tom begs for the life of his daughter. But the killer is not interested in that.
Back to 1988. A young Tom Winston preaches in a church. Laura’s mother Rachel shows up and joins the congregation. Tom’s actually talking about Alan Henry, the sins of Waterbury. Cut to him in bed with Rachel. He’s wracked with guilt, and he’s in love with her. The whole situation is tough, especially once things with the married couple devolve. We’re getting a better perspective on why Tom felt so betrayed by everything; he had no idea about being filmed. Such a heavy revelation. I’d not expected this whole angle particularly. The couple blackmailed Tom into leaving their burgeoning enterprise alone. This is what drove him to madness. To murder.
So this is the story of Tom Winston’s Pride.
The Executioner plans to kill Sarah, but instead Tom gives himself up for her. “I love you, Sarah,” he says before going willing into the arms of the killer. He lays down upon the saw, broken on the wheel, and it tears him apart. What a bloody, violent death for Tom! Wow. Very impressed with the horror elements in this episode. Quite vicious.
“It is our duty, our burden, to take action against sin wherever we may find it.”
Sarah’s escaped the grip of The Executioner. Her life keeps getting stranger and stranger, more complex, and not in any sort of good way. Then a mannequin of The Executioner pops up int the middle of town, including a note for Sarah specifically. The plot only thickens.
At home, Father Henry is a little too chipper. Another red herring? Or perhaps his talk of the town being “cleansed” is more than just talk?
There are certainly secrets in the Henry household. In a closet, Cam has a box of mementos. He adds a new one – a piece of bloody shirt, one an awful lot like that which Tom wore. Is this really it? Is Cam truly The Executioner? WHOA! WHOA! WHOA! I had my suspicions, but still. This changes the game.Stay with me, fellow fans. I love this series. I don’t care what anyone else says, despite the flaws and all. Lots of fun. Next episode, the finale, is titled “Soon Your Own Eyes Will See” and we will get our answers.