I love the first scene in this ep., a great shot where we see only Barnabas and Charity. They are somewhere apart from normal time and space, surrounded by utter darkness. After Barnabas bites Charity, she answers his questions: Do you know what happened to you? Yes. Do you remember where you are? Yes. Do you feel the urge to run away? No--I feel I belong with you, Charity concludes. So you do, Barnabas tells her with satisfaction. But you will come to me only when I summon you. You are under my influence--you cannot resist me. Do you understand? Charity smiles as she says, I understand. She promises fervently, I will tell no one. I will never fail you--never. Being a gentlemanly sort of vampire, Barnabas says Goodnight, Charity. He leaves behind a very sated-looking young woman.
Nora is wearing Amy's "dress-up" clothes of 1969. She breaks it to Edward that Trask was "mean and cruel" to Jamison, which is why he ran away.
Charity tells Edward that her father has gone to Collinsport on school business. But Nora just told him the school is in Rockport! Somehow the light hurts Charity's eyes, and her Bible just doesn't seem to have the same attraction as it did yesterday.
Quentin takes great delight in telling the genuinely shocked Edward about how Jenny stabbed him--to death. Quentin piles it on by wondering why Edward hasn't asked about Laura, not even once. Edward is furious, and for once, justifiably so. After Quentin agrees to hand Jamison over and Edward still refuses to tell him where Jenny is, Quentin vows to kill her when he finds her.
It turns out that the last place Quentin saw Laura was Alexandria--Egypt. And here's Nora drawing a pyramid and Egyptian-looking hieroglyphs. Barnabas arrives and speaks to her with the interest and gentleness he shows all children, but even he doesn't have enough clues--yet. He shows the drawing to Edward, who blames Quentin for interfering in his children's lives.
Nora insists that she saw her mother's face--and I think she did, too. She literally digs in her heels when Edward tries to drag her out of the drawing room. Edward stares at his daughter, shaken. We see a wavery version of Laura Collins’s face, surrounded by anachronistic 1840s-style blond banana curls and hovering just above the fire.…