It’s comforting to know that governmental bureaucracy can survive the vampire apocalypse, and when Phil calmly explains that he’s unwilling to wait days for information regarding his wife’s whereabouts, he reveals a side of his personality even he didn’t know existed. “If I have four to six days to plot your death, no one will ever find you,” he informs the man behind the counter, who in all fairness, has no idea he’s being confronted by a man who has already risen from the dead on three separate occasions. However, Phil now has a purpose beyond simple survival, and though he immediately faces a seemingly insurmountable impediment, this is a reborn man seeking forgiveness from the woman he loves. God help the person that tries to stand in his way.

Nevertheless, no one said Phil’s journey would be easy, and the revelation that his wife has been sent to Loveland Prison not only acknowledges that organized society is on the way back, but that draconian measures have been put in place as well. “No one goes there, and no one comes back,” Frankie tells Phil about the prison colony to which his wife has been sent. But it’s Phil’s reaction to learning that only one option exists if he’s to reunite with his wife that tells the true story here. Going to prison to protect a loved one is certainly not a new concept, but Phil’s situation is unique on several levels, not the least of which will be to plot an escape once he finds his wife. And, oh yeah, there’s the part about him not being able to die.

Phil will not be going to Loveland alone, however. While Doc’s relationship with Jolene continues to grow, it also provides Blak Tek supervisor Caitlin Bruce the opportunity to blackmail Doc into working for her. Caitlin, though, makes the same mistake many before her have made; she underestimates the lengths to which Doc will go to get what she needs. As ruthless as Caitlin’s actions have been, her decision to frame Jolene and send her to prison pushes Doc into uncharted territory. Like the others, Doc has killed to stay alive, but here, with Caitlin, the decision to exact revenge for the woman she loves could come back to emotionally haunt her.

Writers Jeremy Smith and Matt Venables wisely accelerate Axel’s timeline, and at Dre’s urging, the marine finally decides to address his own needs now that the opportunity presents itself. Unfortunately, Axel’s decision to go after Scarlett coincides with his successful delivery of Kit’s baby daughter during a heart wrenching scene in which the mother ironically succumbs to a loss of blood during the procedure. But it’s baby Kit who represents the purity of spirit that’s been lost during this cataclysmic event, and the spirit that must once again be found if the human race is to regain control. It’s not clear yet who will actually raise the child, but who better than Barry to instill a sense of wonder, loyalty, and bravery.

Now that he’s fulfilled his commitment to deliver Marybeth’s group to the safety of Denver, Axel puts into motion his plan to find Scarlett and perhaps even tell her how he feels about where their relationship could be headed. Director David Winning treats us to a wonderful shot of a wistful Axel climbing into the truck, momentarily hesitating as if he’s a bit reluctant to take on this risk. But lurking nearby are Ivory, Scab, and the Sisterhood, ready to pounce on this too-good-to-be-true opportunity to feed and add to their vampire army. In all fairness, he has no idea what’s about to transpire, but in retrospect there’s really no reason for him to stay. The authorities seemingly have things under control, but in the world of Van Helsing, that’s often the kiss of death.