After two winter-beaten weeks on the Dutton ranch, 1923‘s third episode – “Wrap Thee in Terror” – begins on a slightly brighter note. It’s the morning after the blizzard that halted Jacob’s (Harrison Ford) journey home, and he and his frost-bitten crew have miraculously survived the night.
Zane can barely walk, the horses are missing, and the children will freeze to death without a fire to warm them. Still, given that they’re not being shot at or stalked by wild animals, it’s a pretty good day in the Montana wilderness.
Cara (Helen Mirren) has braved another rough night as well. The rabid wolf she killed in her living room is strung up outside, and the remains of the nurse it attacked are being loaded into the doctor’s buggy. Skip to the matriarch literally slapping some tough love into a hysterical Elizabeth (Michelle Randolph) — who’s still resisting her rabies injections — and it’s just another day on the Dutton ranch.
We next catch up with Alex (Julia Schlaepfer), who’s also lived to see another day. Not only has her ship survived the rough seas that threatened to submerge it, but it’s about to arrive in New York. While this marks a significant step forward in her long journey to reunite with Spencer (Brandon Sklenar), it’s soon followed by two steps back. Before Alex can set foot on American soil, she must be processed as an immigrant on Ellis Island.
This unexpected hiccup proves to be an arduous one, filled with humiliating, frightening, and even abusive encounters with various immigration officials who have no patience for Alex’s plucky British charm. Over the course of a very long day — that sees her disparaged as a “mongrel,” “prostitute,” “invalid,” and “beggar” — she’s surprised to learn America actually has no desire to welcome the huddled masses.
After a disturbingly invasive venereal disease exam, she’s marked — literally, with ink — as pregnant. Coupled with the fact she has no marriage license, being with child threatens her passage into the country. By the time Alex enters her final meeting, with an official who trades access to America for sexual favors, she’s had it with all the dignity-stripping abuse.
She puts the man in his place, proving she can read — at his flippant request — by not only showing her command of the written word, but her mastery of Walt Whitman’s “Leaves of Grass.” She then points out the lipstick left on his collar by his previous applicant, leading the befuddled official to approve her papers.
Julia Schlaepfer as Alexandra. Lauren Smith/Paramount+
After an exhausting day dealing with abusive men in power, the former Duchess of Sussex finally catches a break upon arriving in the city. A kind gentleman working at a newspaper stand sells her a map, warns her of the unsavory sorts targeting tourists, and puts her safely in a taxi to Grand Central. At the train station, she’s again treated with kindness and respect by the ticket salesman, who advises her on the safest way to travel, and warns her about the city’s pickpockets and predators.
The episode uncharacteristically continues its feel-good streak in Texas, where Teonna’s (Aminah Nieves) father, Runs His Horse (Michael Spears), manages to track down the cowboys working the ranch he, his daughter, and Pete (Jeremy Gauna) have unknowingly been camping on. The head cowboy (played by C. Thomas Howell) not only welcomes his offer to help track the ranch’s lost cattle — in exchange for them staying on the land — but offers him a hot meal.
Michael Spears as Runs His Horse. Lauren Smith/Paramount+
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While it seems Teonna’s crew may finally be able to take a breath, we’re also reminded why they must continue to keep an eye open when they sleep. We return to the camp where Marshall Kent and Father Renaude (Sebastian Roche) shot and killed a number of young Comanche, including some children.
The murderers are long gone, but Marshall Mamie Fossett (Jennifer Carpenter) and her deputy are examining the scene along with some of the victims’ family. The latter warns Fosset they intend to deliver their own brand of justice if they find the culprits before the law does. Meanwhile, the priest and Kent aren’t about to give up the hunt. Hot on Teonna’s trail, they saddle up for Texas.
Back at the ranch, Cara anxiously awaits Jacob’s return. Despite the doctor — who’s about to hit the road with his nurse’s corpse — remaining positive, Cara’s losing all hope. Her greatest fear is squashed, however, when Jacob’s crew is spotted in the distance. He’s finally made it home, but there’s no time to celebrate — Zane needs immediate medical attention.
The doc postpones his return to town, examines the ailing wagon boss, and diagnoses him with a subdural hematoma. The good news is he can save Zane by relieving the pressure in his head with a drill and some anesthesia. The bad news is he has no anesthesia.
As Jacob delivers this good/bad news to Zane, Jack (Darren Mann) checks in on his possibly rabies-infected bride Elizabeth. To his surprise, she’s angrily packing her bags for Boston. She invites him to join her, but intends on going regardless of his decision. And if her mind wasn’t already made up, Cara enters the room with belly injection number three.
The episode thankfully doesn’t conclude without catching us up with fan-favorite Spencer, last seen reluctantly agreeing to smuggle booze into Fort Worth. He and Luca arrive in the Texas town, illegal liquor in tow, but spot a significant police roadblock up ahead of them.
Brandon Sklenar as Spencer and Andy Dispensa as Luca. Lauren Smith/Paramount+
Luca insists on pushing forward, using the bribe money and/or pistol his mobster cousin gave him to pave the way. But Spencer’s not taking any chances. He abandons the truck, wishes Luca the best of luck, and begins hoofing it to the train station. But he doesn’t get very far before he sees his poor, misguided friend gunned down at the roadblock.
While Spencer helplessly watches this tragedy unfold from afar, Alex’s voiceover chimes in. She’s at the train station, penning a letter to her love. She’s hopeful — promising to be on Spencer’s doorstep within a week — but also pessimistic. “What calamity awaits to keep me from you? What fresh hell has the devil devised?” she writes.
Sadly, and unbeknownst to her, those questions are answered before the credits roll. With some time to spare before her train to Billings arrives, Alex heads to the women’s room. As she enters, the camera pans to a scruffy man in a tattered bowler hat. Seconds before the screen goes black, the shady-looking individual follows.
