Canadian show

Mary Kills People – The Means

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The first season of Mary Kills People sensitized the audience, for better or for worse, on the “end of life” conflicting themes, rights and choices of terminally ill people, emphasising the inevitability and the imminence of the departure and the opportunity to face it with dignity.

The second season takes those conflicts generated during the first one and pulverizes them within the opening minutes of its premiere.

The strong perception that we had during the previous season, strengthens into certainty in this one.
Mary Kills People stands as one of the most original and valid products in the current TV productions landscape, for its contents which force a new definition of the word entertainment and how such contents are narrated for, with a combination of literary and directorial qualities and the acting talents so hard to match.

“A friend once told me that life can make you strong or it can break you. There is not much in between. “


Mary knows something about how you must be strong not to be broken by life.
Just eight months after having extraordinarily unraveled the complex affair that saw her at the centre of the police investigation, close to being indicted and a victim of the threat that Grady represented, we find her intent on her usual business.

Intent but alone.

She has to be. She needs to be for her trip to Mexico to get her Pentobarbital, facing all the risks, from contacts with underworld to customs controls.
Alone she is ready to face one of the most complicated cases she ever faced.


Des is back and he wants and needs to get back on with their business, though it’s soon crystal clear for our Mary that she is once again, unfailingly, alone.

The Des who has returned to Mary’s life after 8 months is not a new or different Des. It was obvious in the first season that there were signs that showed us a Des animated by solid moral sense. Solitude, silence and prison, have rather given way to enlighten those aspects of his personality which he so lovingly and brilliantly managed to hide through his sarcasm and irony.
Bravo to Richard Short who knows how to permeate the character of Des with a number of nuances impossible to find in any script.


This time, however, there is no space either for irony or for sarcasm. Des’s moral qualities are forced to show themselves, roaring, at the first opportunity.
Victor is a terminally ill man, though, Mary warns him:

“Betty and Victor want to die together.”

It is all here, disruptive and overbearing, Mary’s revolution.
This brilliant storyline immediately shows us the villain of the moment – such a villain! Rachelle Lefrevre is so at ease in Olivia’s shoes that she seems to have always been there in the shadows.
The clash between Mary and Olivia promises to be one of those not to be forgotten. The preview on Olivia’s doorstep is a captivating taste of what history will reserve and we are all intrigued.


However, what makes Mary Kills People a provocative and revealing series, undoubtedly raising the bar with respect to the first season, is not on Olivia’s threshold but rather at Victor and Betty’s.
Listening to Mary and Des debate the issue, we are all, inevitably and very strongly, with Des. What he says is true because he evidence shows that he is right, when he expresses his moral scruples for example, reflecting on Betty’s situation and when he lays risks for them.
He is right because it is simple; Betty is not dying therefore Betty must not die.

So, does Mary really think and act like a criminal?
Was Frank right on the phone with Ben and she’s just a psychopath who enjoys others’ death?
We know this is not the answer. We know there is more.
Dark, difficult to understand and perhaps even more difficult to justify but we know there is more.

“Maybe one day, scientists will find a cure for dying and we can live forever.”

Cambie’s words are singular. Intuitive even if unaware. Revelatory for those who want to pry Mary’s intimate thoughts and find a reason for her choices, her decisions, her actions.


Betty is not a suicidal aspirant. She has lived a happy life next to her Victor and does not want to live without him.
Des called her a “Perfectly healthy individual who happens to be a bit sad.”
“We should not be the ones to decide that Betty’s suffering is any less than Victor’s.” Replies Mary
“But he’s dying! She’s not. “
“Suffering is not always physical.”

This exchange between Mary and Des at Victor and Betty’s house redefines meaning and value that Mary gives to what she does.

“I have no interest in any life without my husband.”

Betty’s statement is simple, decisive, has no hesitation nor, as we know, second thoughts. This wonderful characterisation is given to us by Karen Robinson and thank you to her for making us cry, for reminding us so much that Betty’s life was happy. A life less than happy would now be unacceptable to her.


For Mary it is the memory of that girl, the daughter of a sick woman who is sick of unhappiness.
“Suffering is not always physical.”
We always knew her thoughts, she never hid it, never.
Mary is a doctor but she wants to be more. She wants to be for her patients what she felt she has not been for her mother, able to make her happy.
Death is not only the means to accelerate the end of those who have remained in nothing but physical pain.
Mary accepts death as an instrument to give meaning to life when life no longer has one.
After all, to be called Life, it must make sense.
Sometimes it seems an unrealisable utopia, a life in which everything is perfect.
Sometimes you struggle, as Mary does everyday, to give value to what you have.
Sometimes it has been so much that anything else would debase what has been.
For Betty the choice redefines dignity, in living, not only in dying.



“Maybe one day, scientists will find a cure for suffering and we can all live happily.

So champagne and pentobarbital become a modern hemlock that heals Mary’s patients from the illness of life.

It’s right? It’s wrong? Is it shareable? It does not matter for now.
We are not in a hurry to understand, nor right to judge.
We are here with Mary, ready to take her by the hand and go where she will lead us.

“In 100 years, they’ll look back to now and say that the most popular form of torture was refusing to let people die.” (Morgan, from Mary Kills People, Season 1 Episode 5.)


Edited by Lisa

A little bit of Jay Ryan

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If we had to be really honest, when we created Lost in TV we might have called it Lost in Jay Ryan, because Jay struck us in a peculiar way, he made us to find each other and kept us united.

Now that it’s his birthday, it’s natural for us to talk about him.

And we thought to “celebrate” him with you, without claiming to be complete, quite simply with a reel to make a toast to his talent, his honesty, his choices.

A bit of Jay Ryan, a bit of what he did, a bit of what he thought, a bit of what they told about him, a bit of what struck us.










“Bringing his radiant energy and joy to a role that slowly peels back its fascinating facade and reveals a deeply layered and rich dichotomy of contradictory emotions, Jay Ryan is more than simply riveting in MARY KILLS PEOPLE, he is downright addictive. It will be easy to see how and why Mary, as phenomenally portrayed by Caroline Dhavernas, falls immediately under his character’s spell, which subsequently leads to a taut game of cat-and-mouse.” Tiffany Vogt, from  Shining The Spotlight on Jay Ryan, SEAT42F

(Mary Kills People)… “it’s a serious and stylishly watchable drama, thanks mostly to Dhavernas’s capable performance of a morally ambiguous person with too many dangerous irons in the fire, and Ryan’s portrayal of a hurt-and-handsome lawman struggling to do his job, even though he’s in love with his suspect.” Washington Post



“…Tassie and Amy Cameron assembled a divine team and are true and hungry storytellers themselves. But at the end of the day everyone was on the same page, out to make a work we all believed in lead by the phenomenal Caroline Dhavernas — what more could you really ask for.

…The role of  ‘Joel’ came with a responsibility that shocked me when I read the final pages of Tara’s script. I didn’t see it coming and that ‘edge of your seat’ feeling was just as exciting to read as it is to watch this series.  Also knowing that it was allo to be helmed entirely by one director (Holly Dale) over the entire project was very appealing. There were very clear visions of what we were making from the beginning.” from  Shining The Spotlight on Jay Ryan, SEAT42F

“People are talking about [having more women in the lead] in the industry like, ‘Yes this is what we should be doing’, but this is actually one of the projects that has managed to pull it off and create something amazing, and successful and fresh,” Why Jay Ryan ditched Beauty and the Beast for Mary Kills People – NZ Herald Entertainment

About his character:

“It wasn’t wrapped up in the six episodes about who exactly he was and I was never sure if I was going to get to play him again. We wanted to play that ambiguity in him. I like that about him, that you never knew who he really was and there wasn’t a lot to say who he was or who he used be.” Kiwi Jay Ryan ageing gracefully as Hollywood drama star, Stuff NZ Entertainment








“The original theme of ‘Beauty and the Beast’ is don’t judge a book by its cover. Love what’s inside.”

About Vincent… “It’s like playing two characters, the two extremes of someone’s personality or moral compass. All characters that I play have the good and the bad, and for me, this is just the extreme. You can’t have one without the other and we all have this wild part of us which we keep hidden and maybe only show in our darkest moments, or to our most loved ones. For me, it’s the complete gamut of the character.” from ‘Beauty and the Beast’: Jay Ryan May Be An Animal, But He’s Romantic at Heart – the Huffington Post

Screenshot 2015-09-30 01.01.13

“There’s this whole thing about, “Oh, you’re too good-looking to play a beast.”  Sure, that’s what they were after and that’s what they cast, but I’m very much about being true to what a beast can be.  For me, his beast is on the inside.  It’s not about the physical.  It’s about the demon that is within him.  It’s quite opposite to what the beast usually is.  Everyone thinks the beast should be this creature, but beasts don’t advertise.  You don’t know who a beast is.  The nicest looking person can be that serial killer, or whatever.  They’re more dangerous to me.  It’s more relatable to an audience to deal with the beast within us. ” Jay Ryan Talks Beauty and the Beast – Collider 




“Being an actor is tough. You take what you are offered. You can’t be too picky in the early days but finally I’ve got my chops up and people have seen me in a different light.

“A lot of that has to do with Jane (Campion) casting me in Top Of The Lake. That was a real page-turner for me in my career. It got me in front of certain people who I really wanted to work with.” Kiwi Jay Ryan ageing gracefully as Hollywood drama star, Stuff NZ Entertainment

“I really would like to see where the Mitchum Brothers from TOP OF THE LAKE ended up a few years down the track after the end of Season 1.  I had the opportunity to return for Season 2, but the scheduling didn’t work out traveling between Toronto and Queenstown.   I’m cheekily hopeful. There’s a lot more story there, I remember Jane Campion toying with some ideas about those two characters’ futures when we shot the first season.” JR on Top of the Lake, from Shining The Spotlight On Jay Ryan, SEAT42F




“When I read Kev on page for the first time, I had an instant idea of who he was, he jumped off the page for me, and I knew the character was within me strongly already. It’s not something I have to play really.

“All of Kev’s reactions, all that sort of stuff just happens naturally, I just jump into him.”

But he sees their differences too.

“Kev is me if I had stayed in West Auckland basically. I grew up out west and if I’d stayed there and if I wasn’t an actor, I’d probably be there and have an apprenticeship, and maybe had a couple of kids and a house or something.”


From  – Go Girls Stars Tackles Your Questions:

Toni asks “One of the best male Kiwi actors we have, Jay, what made you get into acting in the first place?”
Boredom of childhood. I truly think that’s what got me acting, making s**t up in my head, working the imagination, make believe and all that crap. Yeah I guess it all started there.

Kirsty asks “Do you have close friendships with women like your character or are you mostly a bloke’s bloke?”
From my very early teen years I was raised in a house full of women (possibly a little McMann style). So yes, I have some very close female friends. They are the best friends to have – they smell better, they are a lot easier on the eye and generally can give a more constructed emotional response than “Yeah, Nah”.



“I was lucky enough to actually go into a surgery and witness a caesarean being performed, which was one of the most amazing experiences I’ve had in my life. What I will never forget is the image of this baby’s face, eyes closed, totally silent, and then without its eyes even opening, you can see it’s face change and register that it’s in a new world, and it breathes in air.”

“We’d have these 2-week-old babies, and they’d come on set for about 10 mins. And they’d be covered in jam to make it look real, so these babies are really slippery, super fragile, and I’ve got these latex gloves on. So I’m freaking out trying to remember my lines, and trying to hold them properly. And the live babies are between an actress’ legs, so it’s kind of uncomfortable. And then they call action, and you’ve gotta keep it all together.” It’s all in the delivery




A day in the life of Spider – Jay Ryan















What about his sensitivity as producer?

Looking forward to watching Sunday Fun Day, which had its premiere last July at Auckland International Film Festival, enjoy Tuffy and Schnipples



We wish this ride through Jay’s career left our readers a little more in love, enchanted and intrigued by this guy who, totally and permanently, bewitched our hearts.

Happy Birthday Jay.

Angela, Elisa, Federica

A special thanks to @JulesCrem who helped us to find gold dust…


Mary Kills People – Raised by Wolves

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It is a weird thing, trust, a delicate feeling. Whether you give or receive, you have to handle it with care because it takes very little to damage it and only a little more to break it.
When that happens, when you stay there, knowing that something that could have been will never be, fragments strike you like the reflections of sun on the water caressed by wind.

It is such a precarious feeling and it is said to be easier to love than to trust and to have someones confidence is an honor more precious than being loved.

Raised with Wolves’ absolute protagonist is trust.
Trust that you would give but too much pain keeps you from daring.
Trust that your logic would never give but the heart has already granted, no matter what.
Trust that has always been there, you’ve just never thought to call into question and that, however, is likely to crumble apart, crumbling even you.

I don’t want to sound corny though, watching Mary Kills People one episode after another, I am invariably struck by how much and how well everything contributes to a riveting, engaging narrative.
Examples are in every scene, proving mastery and dedication of all the professionals who contribute to wrap such a beautiful product.
Grady waiting for Mary framed by water transparency or Ben talking on his cell with the picturesque lake on his back, are just two examples of the will to engage the viewer in sharing not only a tale but the emotional warmth of the scene.

You can breathe harmony and mutual understanding behind the narrative, even in conflicts.
The continuity of direction by Holly Dale, undoubtedly ensures consistency to the canvas, from background to single details. Characters, scenery, lines, lights and sounds, everything spreads real emotion, rough, conflicting and uncertain, just like those in real life.
The most intense tones are those generated by conflicts and hardest conflicts are those within each character.

Trusting another person means giving that person the power to break your heart and hoping they won’t.

This hope is so fragile in Des… He is determined to avoid Mary, to give her the chance to break his heart.
Fear of betrayal, by the only person who counts on him, is so big that he prefers to play himself in the role of the villain, compromising its principles and let it all go to hell, not to have to test his friend loyalty.


Ben, on the contrary, wants to conquer Mary’s trust, intimately gratified by her cry for help.
Deserving, perhaps, even more than conquering, aware that he had tried to betray her confidence before earning it.
Then he says what he shouldn’t say, does what he shouldn’t do, goes where he shouldn’t go, as he didn’t know whether it is strongest the desire that Mary trusts him, or the confirmation that he can trust her.

His feelings for Mary, the irrational instinct to protect her from her own vulnerabilities, are so strong and pressing that, for Mary, he is willing to go to the limit of what his ethics allows. Maybe he would be ready to cross some limit too because of Mary. After all, Ben is aware he has got her and understands her reasons. However, knowing what Mary is doing, he disapproves, though, as only one who loves can do, he is ready to accept it…Indeed, he has already done so, almost earlier than Nicole (Hats off to Charlotte Sullivan’s extraordinary skill, delivering a character so complete and complex, with just a few brushes as an expert painter).

Ben accepted Mary without wonder and shyness, he doesn’t let what Mary does to be a reason to hold back his desire to be there for her.
He doesn’t allow Mary to be defined by her mistakes…

Ben’s ability to see the good in Mary is amazing in spite of the truth of what she does, which is, for him, burning, crystal and inescapable.

Ben seems ready to do anything for Mary. He admits with candor to Frank at the district.

For some reason she chose him. Him, the son of a happy couple who share a serene retirement in Florida. He, who was brought up on good and right, cannot hold back.
He cannot remain emotionless to what he saw in Mary, when, alone and desperate, she came knocking on his door.
That evening, two solitary beings took refuge in one another.

He is so sure of the vulnerability he saw behind her strength. A strength that only fear and pain feed.
He is so sure as to follow his instinct leading him to her side. He moves us most with the sincerity and tenderness with which he proposes the trip to Florida with Mary or with looks and the sweetness he reserves for her,later, at every Nicole sympathetic allusion.


This is why the disappointment of then, it hurts so much ….
That’s why Ben does not have the clarity of mind nor the calm to understand that Mary is going to tell him exactly what he has just found out.
Mary’s “I want to be honest with you” has a tremendous, unappreciated value.

Mary confirms his instinct, Mary trusts him.

But in Ben’s ear, on the pontoon, there is only the cry of pain of his broken heart and Mary’s sincerity, the reciprocated trust, is lost in that echo of pain.

Ben was freaked out by Mary’s vulnerability and fell in love.
Jumping to conclusions during the phone call, believing everything he had imagined about her suddenly wrong, miserably shatters the confidence he felt, the trust he thought she deserved.

Even before being betrayed by Mary, Ben is betrayed by the collapse of his expectations. Doesn’t wait, doesn’t listen, he overreacts.

It’s too painful to think that Mary is not as fragile as she looked in his arms.
In front of her, he was incredibly himself.
Too much pain to think that she has not reciprocated.
It is not the thought of a Mary “worse” than he thought to crush Ben’s heart and logic,
it is the horror at the thought of exposing himself, to have been true in front of someone capable instead of pretending emotions, fragility and involvement.
Once undermined the trust in Mary’s emotional honesty, there is no room for his feelings.
Ben goes away, leaving Mary torn and lonely.



That’s how Mary has always seen herself. How she always felt.
The immensity of pain inside her to suggest that such an immense sorrow could not be shared, could not be understood and loneliness was the remedy to survive.
Keeping all this pain inside, though, because your sister does not deserve it, your husband would not understand (and that’s how he became an ex) and taking this almost clinical detachment from any emotional involvement, makes you tougher, preventing you from trust issues, pushing people away, even daughters.
The fear of allowing the ones she loves to come too close to her runs deep and corrodes her soul like a burning fire.

Mary can only rely on herself.

An indelible pain which will never die, as she says, has been caused by those who loved her most.
She is no longer used, not capable and too afraid to trust. She would not trust Ben and she is committed to strenuously keep him away since the beginning, at her wake up in the motel.
She slams in his face that he cannot be trusted because he is the one always working, the one pretending.
She shows coldness, distance. She knows how much any weakness could cost.
And trust would be for her an unforgivable weakness.
The temptation to break her haven of loneliness’ barriers is great, the price is likely to be very high.


Mary would like to give up, oh how she would.
Close her eyes, shoulders enclosed by his arms as when he taught her to aim, protected.
“To properly aim you have to control subconscious”, he said.
Surrounded by him, her inner demons silent at last, she felt herself, without fear and the shot was direct and precise.
I wonder what she thought.
Taking a deep breath, the warmth of Ben on arms and back, she must have thought how everything would have been easier, in that warmth, finally protected.


However Mary seems to resist there and later, during the walk.

Yet, Ben’s protective desire to crumble Mary’s solitude broke through, the sincerity of his feelings not unheard.
She needs just a little encouragement by Nicole as she had already settled inside her that Ben and what he means, is worth the risk.

Sadly just to hear his voice in delivering her real name, it’s enough to know her choice was late.
Nothing ever easy for Mary.
The resolution to confide, to share everything with Ben, not just the loneliness, is a difficult and important step, so bitterly reviled by the simple lack of timing.
Not enough strength to grab Ben, to stop him, yelling at him that what he found out was exactly what she went to tell him. That it’s what she meant her “to be honest”.

He should just listen to her.
She is so resigned to being disappointed by those who love her that she doesn’t even try, does not believe it.
It is easier to keep protecting herself, to see in Ben’s reaction a cold pro calculation rather than his disappointed irrational bitterness.
Easier to whisper to herself “I told you so,” and letting him leave, rather than risk of not being trusted once she explained.

Rejecting because of the dread of not being accepted.

Expectations play a role in the episode secondary to that played by the trust.
Ben and Mary, they wound each other because of the fear of being hurt, because of hesitation in believing, afraid that trusting each other will mean to concede too much into their vulnerability.
To protect themselves, expose both of them to a bigger pain.

To trust means exposure to risk of suffering, of course.
Those we love can hurt us more than anyone else, even not on purpose.
What Ben and Mary must both ask themselves, from the depth of their solitude, is whether the warmth of the presence of each other in the other’s life is worth the risk of getting burned.


Edited by Lisa

Mary Kills People – Wave the White Flag

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“There is beauty in the Inevitable”

It’s impressive that each episode of Mary Kills People takes the audience to a gradually deeper level of knowledge of the events and characters.
It is as if they had shown us a large canvas from the beginnning, already complete, which the evolution of the story makes us focus right down to details.
We could easily define this third episode as the best seen so far, except that, as said, it helps to create a bigger picture, every detail to enrich the overall vision so, at the end of the six, each one will be quite an important chapter of the wonderful story.

In “Wave the white flag” reactions to events are like layers of an onion on character’s skin, fallen away, one after the other, exposing all the emotions, the truth, the reasons which move each one of the protagonists in this choral tale.
Meeting Irene and Declan in the opening moment, Mary and Des are enchanted by peacefulness and love they perceive as an aura around the tight-knit couple. The shared happiness they exhibit in spite of everything has a special value for Mary who’s maybe feeling the vibes of an old nostalgia for never having experienced something even close to that emotion, softened by the knowledge, mixed with hope, that maybe sometimes, somewhere, it truly exists.

The overture sequence Lime and Coconut alone brings about praise and plaudits to the wonderful Holly Dale for the skill with which she introduces lights and contrast, peacefulness and chaos and anticipates much of the episode’s tone, ‘tuning’ viewers as to what is about to happen.


It is a narrative choice which is really very effective to put so much sunshine and serenity – the fantastic music score helps a lot – at the beginning of a story that is rather turbulent and confused as though the grey of the sky rocked by the wind before a storm.
The cinematography also admirably tells of this conflict, from the exuberance of Irene and Declan’s garden, to the coldness of the beach where Mary meets Ben for the first of three contacts, each one more illuminating than the others.


Characters are stretched like violin strings, moment by moment, raw nerves at every clash they share.
That instinctive awareness, misty but strong, in all that is happening today will complicate tomorrow life.
They each do their best to keep the helm and not get carried away by the storm, not always easy though.

Far from it.

It is not always even possible.

Des knows it when he sees the routine that has been scrupulously built and shared with Mary, creak under the weight of unexpected events and Mary’s dramatic reaction to them.
Bravo, from deep down, to Richard Short who introduces us, with unusual and uninhibited skill, a character multifaceted, true and credible both in sarcastic tones and in the dramatic moments, all intensely and brilliantly delivered.


Frank knows it as much as he knows Ben and is able to read his soul sooner than the colleague reads his own feelings. His affection is so sincere that he has not the courage to intervene, but you could lose yourself in the depth and intensity of Lyriq Bent’s eyes when, at the hospital, he puts in his stare all the sincere concern, without judgments or convictions, for what Ben is living.

Jess knows it. Jess who does not see any hope for her heartfelt need of certainties.
The people she loves seem so ready to hurt her. She sees the storm everywhere around her, not only in the sky.

Even Grady knows, the merciless Grady, frenzied and moody figure created by the talented genius of Greg Bryk. Things could get messy from time to time and his coldness and maniacal ability to control each factor may not be enough.


Mary knows of course. Oh yes, she knows …
She has already lost more than a protective layer, maybe she never had so many, feels the storm coming more intensely because she lives the storm inside, holding it within, even before impacting events that trigger it.

Mary is storm.



Ben is the one who notices it.
Ben who fits into the story so deviously, a liar and who reveals a conflicting personality at the very least so fascinating, a moral so pure as to make him tenderly vulnerable.

Ben reads Mary.
He reads the hidden implications in the innermost defenses and he is bewitched.
He knows so little that he should not get her so well, he could not.

But Mary has exposed herself to him. She was softly herself when she saw only a chance encounter, a sudden contact, intense, though not dangerous.
In his fake, dingy apartment, Ben was someone to tell everything to without fear, knowing that he would not have time or no other to witnesses her narration.

The storm that Mary hurls at Ben is truly and deeply destabilizing. Whatever happens, it changes you forever.


Ben makes no effort to do his job honestly. He is honest.
He is investigating Mary, does not tell fibs to himself nor justify himself to her.


He is consistent in his soul even as he is overwhelmed by the swirl of emotions that Mary arouses. No armor but certainly reminds us of a knight of yesteryear, always ready to do his duty and to protect Mary without thinking for a moment.
Although Mary is the one who errs.

Even those who make mistakes deserve protection.

Even those who are fragile make mistakes and Ben saw the fragility of Mary. He perceived, felt, touched every moment Mary was close to him.
The fragility and the conflict.
The fragility of Mary, Ben cannot resist.

The most beautiful scene of the episode, the narrative moment that changes the whole story is definitely in the hospital when Ben, anything but lost, has no hesitation in grasping the arm of Mary and writes his number to be called for anything. For anything at all. The sight of Mary shocked, yet another perception of her fragility, gives him the strength to take a step that is kind of an irrevocable choice.
Moved, touched, bewitched by this messy creature who he didn’t ask to meet but has, Ben feels he wants to be there for her.


He decided to do so.

To reach Mary, later, at the motel is only a consequence of the steps taken in that corridor.
He does not respond with words but by kissing her when she asked why he had reached her.
With tenderness and intensity of what seems like the first kiss, which they missed in the heat of their first encounter, he tells her he is there because he cares about her, because the attraction has quickly given way to something more engaging, more intimate, deeper.
The conflict that Ben will have to live, for those steps in the hospital corridor and the sweet hugging at the motel, does not currently have any importance.
What matters right now, is that the raw, fragile Mary feels lonely.


He wants her to know she is not alone.

And Mary?

Maybe Mary fell asleep in Ben’s arms after making love. Maybe she’d have dreamed of a lush garden and the color of the flowers, the warmth of the sun on the skin and the happiness in the heart …



Edited by Lisa

Abigail Winter

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Born in Whistler, British Columbia, this young artist already boasts credits as actress, writer, director and producer.

As actress she began to work very young. Known expecially for  The Fog, Bridges and Sanguine, she currently  plays the recurring role of Samantha in “Between” and Jess in “Mary Kills People”.

As Jess, in both season of Mary Kills People Abigail is playing  Mary’s teen daughter who learns that the people closest to her are not what they seem.

Coming so


2016  Imposter   (Short)
 Unless  Natalie
 2015 Dorothy’s Secret (Short) Dorothy
           I Don’t Love You Like That   (Short)

 2015-2016  Between (TV Series)  Samantha

 2016 Saving Hope (TV Series) Georgia Vandever

 2015 V Morgan Is Dead (TV Series) Laura

 2015 Rookie Blue (TV Series) Starr
 2015 Coconut Hero Sarah
 2015 Chalk Dust (Short) Jenny
 2014 Emma Emma

 2014 Warehouse 13 (TV Series)  Claire (15 years old)

 2013 Copper (TV Series) Gillian Purvis
          Bridges (Short) Lucy (as Abigail Winter-Culliford)
 2010 As You Like It (TV Short)  Lord / Guard (as Abigail Winter-Culliford)
 2008 Sanguine (Short) Melissa (as Abigail Winter-Culliford)
 2005 The Fog – Nebbia assassina Child In Hold (as Abigail Winter-Culliford)
 2005 The Collector (TV Series) Child Caroline
Mary Kills People – Featurette: Teenagers | Season 2