Show Title: Being Human


Described by: John Hauber Productions




Aiden: Played by Sam Witwer. In his thirties. Caucasian, athletic, with short and messy dark hair, chiselled features, a strong jaw with a dimple in the middle of his chin, and an intense stare. When in vampire mode, his eyes turn fully black and his fangs pop out. In the 1920s he dressed in dapper suits and his black hair was slicked back.


Josh: Played by Sam Huntington. In his thirties, Caucasian, slim and boyish-looking, with messy brown hair and large, puppy-dog eyes. When he transforms into a werewolf, his back arches first, then his jaw and nose stretch forward, forming a snout with fierce teeth, and his hands contort into paws with large claws. When in wolf mode, he’s a large, fierce-looking canine with dark and silver fur that can stand on end on his neck and the ridge of his back.


Sally Malik: Played by Meaghan Rath. In her late twenties to early thirties, Caucasian, but with tanned skin, dark eyes and long, flowing dark hair. She’s attractive, with a wide open smile. In past seasons, she was always dressed in the outfit she was wearing when she died, a grey top, a loose, grey knit cardigan and dark pants. Now, as a reanimated body, she wears different clothing.


Nora: Played by Kristen Hager. In her late twenties to early thirties, Caucasian, attractive, with long straight blond hair and blue/green eyes. She’s slim, with a disarming smile.


Bishop: Played by Mark Pellegrino. In his late thirties to early forties. Caucasian, handsome and blond, either clean shaven or scruffy, with piercing light eyes.


Suren: Played by Dichen Lachman. In her late twenties to early thirties, Caucasian and Asian, attractive, slim, with a long, pleasant face and widely set, almond-shaped brown eyes. Her hair tends to be long, dark and straight, though in other decades she has worn it according to the style of the period.


Julia: Played by Natalie Brown. In her thirties, Caucasian, with long wavy dark hair, slim and attractive. Her sadness or happiness is expressed through her dark eyes.




The house: A typical, urban, detached home. A set of steps leads from the sidewalk up to the front door. A small foyer opens up to the squarish living room, with a couch, armchairs and a TV set. Beyond it, an open doorway leads to the large kitchen, with a table at the centre of it. An L-shaped staircase goes from the living room to the top floor, with a landing after the first few steps, at the point where the staircase angles sharply to the left. Upstairs, the bedrooms are arranged on either side of a narrow hallway.


The hospital: An old, 1920s or 1930s building. Inside, offices and examination rooms line the long, well-lit corridors. In the basement, however, much darker corridors lead to other rooms and dungeon-like cells with large metal doors.


The funeral home: Seen only from the inside, a large, spacious area where the hearse and other vehicles can drive in. At the far end, Bishop’s simple desk. Off to the side, an office.


The hotel: Seen mostly in flashbacks to the early 1900s, an elegant, low rise building with a small, but well appointed lobby, banquet room and a large wooden staircase leading to the top floors.