A woman's hand draws a needle through a needlepointed image of a baby. Its left eye is out of proportion. Eye of Horus! More moon imagery! Y'know, maybe.
Sandy opens a door, unties Ben's hands, and shoves Ben through the door before slamming it shut again. Ben immediately lunges for the door, but it's locked shut. Ben finally turns and explores the room he's been locked inside. Framed pictures cover the walls, including a rough drawing of crosses around a Confederate flag, and a photograph of a lynching. A cat runs by Ben's feet, yowling for no reason. (That isn't the cat-scare that got me, for the record.) The camera pans over to a dresser, upon which is a doll and...well, honestly, some stuff. I assume the camera moved over to it because I was supposed to see something important, but I'm not sure what, and this whole "toy with the audience" thing is tiresome. There's a huge bed in the room, hung with gauze curtains, the better to generate suspense. Ben moves around the bed until he sees a woman in a rocking chair in the corner, with her back to him. I assume that the reference to Psycho was intentional. Ben says, "Hey," which isn't a terribly polite greeting. The woman, her face hidden, drops the needlepoint she's been working on. Ben says "Hey" again, and puts his hand on her shoulder. The woman immediately grabs his wrist and pulls him down until she can reach over with her right hand and explore his face. "You're his boy!" she gasps. "I've been waiting so long for you." Ben shakily asks the woman who she is. She says, "You and me is blood, boy," and turns so that we can see her eyes are...well, not there. It's like the skin grew over them. She adds, "I'm your grandma." Oh. How...nice?