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Everyone gets a little more backstory this week. Young Elam is shown as a slave. He was made to read for his master's friends, not as a sign of his intelligence but as proof that slaves could be "trained like parrots." In actuality, young Elam understood far more than he let on. In the present day (aka 1865), Toole and his cronies drag Elam to the saloon for a hanging. Eva pleads with Cullen to save him. He's reluctant, but he rides in on his horse at the last minute like a knight in grimy armor and flees Hell on Wheels with Elam. At first, Elam is still kind of an ass to Cullen, but then he hears Cullen talking about his son. Cullen found the boy, burned to death by Union soldiers, cradled in the arms of the former slave who'd also raised Cullen. He says he realized then that his wife had been right to want their slaves freed. The day, Toole and an assortment of assholes come looking for them. Cullen quickly dispatches most of them, while Elam does away with Toole. It's like Christmas came early.
Meanwhile, Lily and Doc head to Chicago. En route, Doc mopes about his impending ruin and his crappy childhood in Hell's Kitchen. This diverges from the real Doc Durant's life story, but it does give Lily the opportunity to order him to stop feeling sorry for himself and figure a way out of his problems. Thus kicked in the pants, Doc realizes he can make a bundle by connecting the rail to New York. When he goes to see Jordan Crane the day, he gives the man an erroneous stock tip about his new project. This leaves Crane destitute and Doc five million bucks richer. While that's going on, Lily visits her late husband's family. They're all in black while Lily is in blazing red. Her in-laws make no secret of their disdain for Lily, who finally snaps and slaps the crap out of one of them when they blame her for Robert's death. In the end, she decides to return to Hell on Wheels with Doc instead of going on to England. Doc, of course, is now crushing on her pretty hard, as am I. Stay tuned for the full recap.
Want more? The full recap starts right below!When last we saw Elam, he was being dragged out of a tent by Toole and his scuzzy pals, about to be hanged for spending time with Eva. Before we find out what happens after that, we visit Elam as a nine-year-old, standing in front of his master and various other well-dressed white folks. In his little hands, he holds a large Bible and reads from it the Rules for Christian Households. Mr. Ferguson beams with pride as little Elam haltingly reads the words. It's not pride in Elam, mind you, but pride in himself for having trained a lowly slave to accomplish such a trick. "Slaves, obey your earthly masters in everything; and do it, not only when their eye is on you and to win their favor, but with sincerity of heart and reverence for the Lord." When Elam stumbles over the word "sincerity," Mr. Ferguson helps him out. His friends are amazed. They also hand some money to Ferguson, having apparently lost a bet on the subject. "It's dangerous, you know, teaching them to read," one of Ferguson's friends says, invoking Nat Turner as an example. Ferguson scoffs and asks Elam if he understood any of what he just read. Elam answers that he did not. Ferguson turns to his friends. "See? It's like a parrot reciting Shakespeare!" He deigns to praise his parrot: "Well done, Elam. Well done."
Later, with his family, Elam is presented with a small Bible they've kept hidden in the rafters of the barn in which they live. While another young slave keeps watch at the door, Elam begins to read at the dinner table. As he's no longer in the presence of the man he'd prefer to have underestimate him, Elam reads from Exodus quickly and easily. "Now I have heard the groaning of the Israelites who the Egyptians hold in slavery, and I have remembered my promise. Say unto the children of Israel I am the Lord." He closes the book and says the rest from memory: "I will bring you out from under the burdens of the Egyptians and I will rid you out from under their bondage, and I will redeem you with a stretched out arm and ye shall know that I am the Lord." Cue the opening credits.
Hell on Wheels. Workers ready the train for Doc and Lily's departure. Doc has called a meeting in his car to show off Robert's maps. Cullen, the young engineer, the Swede and a few others are in attendance. Doc speaks with confidence as he shows the men where they'll build the train and strike the Rockies to meet the government deadline. As soon as the men file out, though, it's apparent Doc is still racked with worry. "We won't finish anything if I don't dig myself out of this hole I'm in," he says. Only the Swede remains. When Doc says he's escorting Lily back to Chicago, the Swede makes a sound of naughty appreciation. "You can wipe that lascivious look off your face," Doc says. The look remains, so Doc hastens to explain, "It's not what you think. I'm seeing Senator Crane!" And Crane doesn't want to share him with Lily or something? The Swede says, in a singsong voice, "But I have seen how she looks at you." Doc dismisses the notion, but when the Swede encourages him, he can't help but feel a little hopeful.
Out on the platform, Cullen catches sight of Lily. She has on a brilliant, brick red taffeta dress. A matching hat sits atop her perfectly coiffed head. I know Lily is amazing and can sew up her own wounds and all, but how in the hell does she manage those fancy hairdos all by herself? There are braids and twists and perfect curls all intricately woven together without the benefit of a scrunchy or mousse. Anyway, Cullen watches her unseen before deciding to go over to her. Sad banjo music plays. "Guess you're leaving," he says. Lily, who's been peering out at the green hills as if to etch them into her memory, tells him she's going to Chicago to see Robert's family. After that, she'll travel on to England. She doesn't sound happy about going home, which Cullen notices. Lily says she doesn't have a home anymore. "I had hoped to stay here with Robert forever, settle down on a ranch or a farm, raise a family, grow old and die together." Unless you were killed by childbirth or botulism first. "The world don't care much for our plans, Mrs. Bell," Cullen says. "Indeed it don't, Mr. Bohannon," she says with a smile. He probably doesn't catch on that she's poking fun of him a little. With affection, she tells him to try to stay out of trouble. They look at each other for a long, long time.
Their staring contest is interrupted when Eva comes running up to Cullen, her nose bloodied. "You gotta stop them," she says, out of breath. "Elam, they're gonna hang him." Cullen doesn't see as how that's his problem, but Eva begs him for help. He tells her to talk to the Swede, but he's the one who gave the go-ahead. "Said his men gotta let off some steam," she says. It seems unlikely Toole would have let her go, but Cullen stands there thinking about it while the train carries Lily away. She's like, "No, not now! I have to find out what happens!" Cullen scowls and thinks and scowls some more.
Toole and an angry mob drag Elam into the saloon. How much time has passed? It was dark when Toole grabbed him and it's bright daylight now. Elam is a bit roughed up, but he still has a lot of fight left in him. It takes a lot of men to force him to the ground and slip a noose around his neck as he kicks and screams the whole time. Toole turns to the saloon's bewildered patrons. "Anyone squeamish about a hanging had best move along right now!" The untied end of the rope is thrown over a rafter. Psalms and a few other freedmen march into the saloon. One of the freedmen wields an ax. Others brandish shovels and axes. "Cut him loose right now or there's gonna be a river of mick blood flowing in here!" Psalms shouts. "There'll be an ocean of nigger blood," Toole counters, "I guarantee that." The members of Toole's mob whip out pistols and aim them at the freedmen. "Looks like you brought shovels to a gunfight," Toole sneers.
Just when it looks like a bunch of murderin' is about to break out, a sensible voice pipes up from the back of the room. "Put your weapons down." It's Elam and he's talking to Psalms. "This here between them and me. Ain't no use in y'all gettin' shot dead for that." Psalms doesn't back down. One of Toole's buddies cocks his gun and levels it at Psalms. "Mr. Toole," Elam says, "give me your word they ain't gonna come to no harm if they walk away." Tense stares all around. "You have my word," Toole says. How much could Elam possibly think that man's word is worth? Toole tells his buddies to put their guns down and the freedmen reluctantly leave the saloon. Apropos of nothing, but Common has really pretty eyelashes. Toole tightens the noose around Elam's neck. "I don't know if you're aware of it, but we Irish are the niggers of the British Empire." That sounds like an entirely too self-aware realization for Toole to have. I just don't see him drawing an analogy between himself and Elam like that. Elam calls Toole out on his reasons for killing him, for wanting to show the world he's "not at the bottom of the barrel." Toole has no problem with admitting it. When Toole asks Elam's last words, he offers this: "I'm gonna kill your lily white ass."
Now comes the part that must have warranted the advisory message at the beginning of the episode. Toole gives his men the go-ahead and several of them pull hard on the rope. Elam's boot-clad feet scratch at the floor as he's hoisted up. They only get him up a few inches before his struggles bring him back down. More men join the other end of the rope and pull him back him. Lordy, this is not easy to recap. His legs kick. He gasps and chokes. Just as Elam's world starts going blurry, Cullen rides into the saloon on horseback, revolver raised high. As some of the lynch mob scatter, a chair near Elam is knocked to the ground and he reaches for it with the toe of his boot. "Drop him," Cullen says. "Shoot him," Toole tells his men. One idiot actually listens to him and points a gun at Cullen. He doesn't get a shot off before Cullen blasts him right between the eyes. The blood splatters on a man standing behind him.
The men let go of the rope and Elam falls to the ground. Everybody gapes at Cullen. "Will somebody please shoot the bastard?" Toole asks. "Well, you shoot him," one of his buddies says. Heh. Cullen orders Toole to cut Elam's ropes and he complies. It's no rescuing the Israelites from bondage, but it'll do. Cullen tells Elam to get outside where there's a horse waiting for him. Cullen, still brandishing his gun, offers these parting words: "Any of you think about coming after me, you best get fitted for a shroud and a box!" With that, he rides back out and helps Elam get onto his own horse. Together they ride off for parts unknown while Eva watches.
Later, the Swede and Weasel investigate the aftermath at the saloon. Weasel looks down at the dead fellow. "Sure is a stupid looking spud-muncher, ain't he?" asks the guy whose shot-off ear is still wrapped in a grimy bandage. Hat in hand, the Swede turns to give him a look of severe disapproval. "Some respect for the dead, [Weasel]!" He leans down to close the dead man's eyes while philosophizing that our death is the only thing we truly own. "I seen men die screaming," the Swede says with a haunted look in his eyes. "I seen men die with nary a peep." When Weasel says this particular man died trying to kill Cullen Bohannon, the Swede chuckles and admits perhaps he was stupid, after all. He then goes to have a little confab with Toole and some of his friends. The Swede remarks, in a very conversational way, that the hanging didn't go so well. Toole bitterly blames Cullen, so the Swede asks him what he plans to do about it. Toole's thinking, "I was just going to blow some hot air and maybe beat up on some prostitutes later!" The Swede, simmering with a slightly controlled but very scary level of anger, talks about how Cullen has upset the balance of things. Toole is baffled as to what he's supposed to do about it. The Swede picks up a filthy fork from the table and hilariously uses it like a little puppet while he explains. "You must pursue Bohannon." He moves the fork like a little person walking along. Toole refuses to go after Cullen -- not as a matter of honor, mind you, but because he's a damned chicken. So the Swede jabs him in the face with the fork. HAH! He gets up and looms over Toole like a specter of the Grim Reaper himself. That rage beginning to boil over, he orders everyone in the lynch mob to go with Toole on his "noble quest." Weasel doesn't see that ending with success, so he volunteers to lead them. "I'll track him down like a rabid dog," he says. His shot-off ear laughs at him.
Elam and Cullen ride across the prairie, coming to a stop in a little clump of trees so they can set up camp for the night. As they dismount their horses, Elam starts to say something that sounds like words of gratitude, but Cullen cuts him off. "What the hell was you thinking? Carrying on with a white woman!" Elam bristles. "I'm a free man," he says. "You ain't that free," Cullen shoots back. Elam wonders why Cullen gets to decide that, but Cullen says it's just the way of the world.
Nightfall and Elam's been stewing for a while. "What's it like to own someone, Mr. Cullen?" he asks. "Any different than owning a dog or a pig or a plow?" Cullen pokes at the campfire and chaws on some jerky. He doesn't take offense to Elam's question, but says he treated his people well. Elam is surprised to hear Cullen refer to them as "his people," like they were his family. Cullen tells Elam that one of them practically raised him after his mother died. Elam points out that Cullen still owned her, even if she was changing his diapers. Cullen doesn't say anything to that. "I wouldn't mind owning me a white woman," Elam says. "Maybe I'd bring her in from the fields in the evening, have me some fun." Cullen warns him off that line of conversation, but Elam presses on. He wonders what would happen if they had a son. "Would I own that, too? Or would half of him be free?" Cullen doesn't answer. He's probably not super well equipped to have existential debates. Elam speaks hypothetically about this son, but those of us who saw the teaser know he's speaking of himself. He talks about teaching the boy to read and write, make him hope he was different from all his other slaves. He shakes his head and looks into the fire. "Nah, he ain't no different. He just a mule. Everybody know a mule ain't no horse." He looks back up at Cullen. "Ain't that right, Mr. Cullen?" Cullen chews on his jerky some more, but says nothing. Worst road trip ever.
Doc's train thunders eastward away from the setting sun. Doc goes through a stack of papers. Whatever they are, he's not happy about them and throws them all down onto his desk with a groan of frustration. He opens a small wooden box. For a moment it looks like he's contemplating the gun within, but he reaches in and plucks out a penny. He sighs and shakes his head at the coin. "Damn it all." The penny's like, "What are you so upset with me for? It's 1865! You can actually buy stuff with me!" Doc hears the floorboards creak behind him and turns to find Lily standing at the doorway. Clearly surprised to find him awake at this hour, she hastens to leave, but Doc eagerly asks her to stay. "You weren't at dinner," she says. "I supped on brandy -- a five-course meal," he says, holding up a glass. Perhaps this is why he launches into a story about how he came to be in possession of this penny, the seed of his own destruction, as he calls it.
Unlike the real-life Thomas "Doc" Durant who grew up pretty privileged, this version grew up in a shanty town in Hell's Kitchen. "Only difference between us and the rats were [sic] the rats were better fed and cleaner," he says. "Sorry to hear that," Lily says. "I don't want your sympathy," he says, even though he kind of does. He goes on to tell her he was rummaging through the garbage looking for food when some men saw him. One of them offered him a penny if he ate a rotten apple. "I will never forget that taste," he says. But he got his penny and instead of spending it, he set out on the path that would turn into a slightly crazy captain of industry. He vowed he would someday have it all. "And I would have it on my terms." He sighs and tells Lily he's faced ruin many times before and found a way out, but not this time. Lily takes it all in and asks, quietly, "Is this Thomas Durant I see before me, or a blubbering schoolboy?" Doc's eyebrows shoot up. He was not expecting this reaction. She reminds him she gave him the maps so he could finish the railroad. "For Robert's sake, I won't let you quit." He gapes at her as she stands up. "Get your head out of that bottle and figure out a way." She's not mean about it, but she's got no patience for foolishness and self-pity. She's the kind of friend who would tell you that you shouldn't wear jeans lower than the top of your thong, and she wouldn't do it to hurt your feelings but because you're not doing yourself any good by being so stupid. She leaves the room while Doc is still trying to gather his wits about him.
Back to that crappy road trip. Cullen drinks from a flask and tells Elam, "You know, I gave my slaves their freedom before the war started. Damn near went broke paying their wages." Elam, lying on his back, asks, "Am I supposed to thank you for that?" Well, no, but you could thank him for saving your life. Anyway. Cullen doesn't want Elam's thanks. He says he freed the slaves for his wife. He didn't understand it at the time. "Mary had a way of talking me into things," he says. "It wasn't until I come home from the war that I realized she was right." For some reason, the normally taciturn Cullen tells Elam the story of how he found his wife after she'd been hanged. He couldn't find his son, though. He smiles as he recalls earlier memories of playing hide-and-seek with his son. The boy hid in the hayloft each time, Cullen says with a chuckle. "I'd pretend like I couldn't find him." The smile fades. He says the Yankees burned the barn. He found his son in the hayloft, but he wasn't alone. "Bethel, the woman who raised me, she was with him," he says. "She had her arms wrapped around him, like she was protecting him from the flame." Cullen says their bodies were fused together so that he couldn't tell where one ended and the other began. "I just remember standing there and thinking God's got a funny way of teaching you things." This whole time, the focus has been on Cullen, with very few cutaways. Anson Mount must have done most of the monologue in one take and he's very good in this scene. When Cullen finally looks up, he sees Elam lying on his side, turned away from him, presumably having fallen asleep. "Yeah, I wouldn't give a shit if I was you, either," Cullen says. But when the camera pulls back, it's clear Elam has been awake the whole time. He blinks in the darkness, saying nothing.
The morning, it's time for a little target practice. Cullen counts off sixteen paces from a tree stump. "You ever shoot a gun?" he asks. "Oh, yeah, master let us shoot guns on the plantation all the time," Elam snarks, but in a friendlier way than usual. Cullen gives a funny little snort. He shoots the stump, then hands over his gun for Elam to try. Elam fires off a few shots, missing the stump each time. Cullen figures that's good enough, explaining that whoever Elam will be shooting at will be just as scared as him. "Count your rounds as you fire. If you're calm, count their rounds, too. The trick is to make sure the other man has to reload before you do." I'm totally going to remember that the time I get into a gunfight.
Doc's train is still barreling towards Chicago. Doc finds himself in a much better mood this morning and excitedly shows Lily a map of all the railroads connecting the eastern cities. He's noticed that something is missing. "Can you see it?" he asks. She's a bright lady, so it doesn't take her long to see that there's no direct route connecting New York to the Union Pacific. He has a choice between connecting to the R&R or the M&M line. He owns stock in the former. Lily doesn't understand how this helps Doc out of his mess. He explains: "A stock tip like that could have the President himself eating out of my hand. If I know Senator Crane, that's exactly what he's after."
But first, they go to the Bell house. As soon as Lily walks in, she realizes her fashion faux pas. While she wears her glorious red taffeta, everyone else is clad in funereal black. Also, there are many more people than she was expecting. "I didn't know they had something planned," she says to Doc. She also tells him that she's only met them once and asks him to stay with her. Strange in-laws are much scarier than murderous Cheyenne dog soldiers. Alas, Doc must take his leave to visit with the Senator. He promises to return for her later. Robert's mother comes to greet her, then his sisters Emily and Charlotte. They each give her a stiff little hug. "I see by your dress you're already out of mourning," Charlotte says. "Let's go meet the guests, shall we?" Lily walks into the parlor room as if to her own slaughter.
Doc sits before the Senator at his desk, hat in hand. "Jordan, I'm afraid you have me by the short hairs." He asks for Crane's mercy. He magnanimously offers Doc another chance, so long as he tells him if he plans to connect to the R&R or to the M&M. Doc pretends to mull it over. When he doesn't answer quickly enough, Crane again waves the threat of prison before him. "You'll be ruined, Doc -- your railroad snatched from you." Doc averts his gaze. "It's the R&R," he says. And why shouldn't Crane believe him, considering Doc has all that stock in the R&R? Crane is practically orgasmic with glee. Doc tells him to invest everything he has into the R&R and promises Crane he'll be a millionaire by the end of the week. He gives the Senator a conspiratorial wink, adding, "But don't tell a soul!" Crane, so jubilant to be out from under Doc's thumb, has let a bit of hubris seep in and doesn't recognize Doc is playing him.
Back at the Bell house, Lily and Mrs. Bell study a painting of the western landscape that hangs on the parlor wall. Lily tells Mrs. Bell that the painting was on display when Robert spoke in London. Mrs. Bell says -- not without a bit of hope -- that Lily will be going back there soon, to her old life. Lily doesn't look very happy at that thought. Nearby, Charlotte sits gossiping with other visitors. "The nerve of her, showing up with that Durant," she says. "And look at her peacocking around in that garish dress! I'd like to give her a good drubbing." The other ladies giggle, simultaneously delighted and scandalized. Lily overhears Charlotte talking, on account of Charlotte making no effort to lower her voice. "If she hadn't been there, Robert may have been able to save himself." She recounts the version of Robert's heroism that appeared in all the papers. "I begged Robert not to marry that woman -- spoiled, pampered aristocrat! 'Fair-haired maiden of the West,' indeed." Charlotte's companions suddenly stop giggling. Lily stands over Charlotte, all fired up. She tells Charlotte the true story of what happened the day Robert died. Charlotte calls her a liar and earns herself a good, hard slap for it. Lily goes on to say that Robert did save her, but that she was the one who killed the "savage." "We fought together, side by side, just as we lived," she says. Doc has just arrived and watches the entire exchange from the doorway. Lily tells the stunned room about how she killed the Indian with his own arrow. "So that's your 'fair-haired maiden of the west," she says, with the tiniest of triumphant smiles. A clock ticks somewhere in the otherwise silent room. Finally, Doc calls to Lily and holds out his arm, which she takes without so much as another glance back at the room. Charlotte touches her stinging cheek, still in shock. That, my dear, is what will someday come to be known as a burn.
Weasel and his posse ride into what used to be Cullen and Elam's campsite. Dix touches the remains of the fire and finds the charred logs cold. "They've been gone for hours." Toole whines, "This is madness! We're never gonna catch them!" Nor does he truly want to, of course. He complains about Weasel's crappy tracking skills while Weasel goes to investigate a pile of horse crap. He then picks up a chunk and finds that, unlike the one in the campfire, this log is fresh and warm. "Ambush!" he shouts to the others. He wheels around just in time to get shot in the chest. The more sensible men and horses scatter. Cullen emerges from the trees, firing off rifle shots. Dix goes down. Cullen shoots another man off his horse. Toole and another man flee for cover. Elam shoots at the other man, missing him the first time but not the second. Elam is wide-eyed and obviously scared, but keeps his cool. He chases Toole into the trees.
Cullen goes over to Weasel, who's twitching on the ground and spitting up blood. He reaches up towards Cullen. "Am I dying?" Cullen looks down at him, stony faced, and answers without joy, "Yeah." Weasel sputters and gurgles and asks if he'll find peace. Cullen tells him that men like them may never find peace. "But I hope so," he says. "I really do."
In the birches, Toole shoots at Elam and misses. They take turns firing. They take turns missing. Toole shoots again and hits a tree near Elam's head. Bits of bark dust explode into Elam's eyes, momentarily blinding him. He rubs his eyes and regains his vision just in time to find Toole standing in front of him, gun aimed at his chest. Elam grins. "What are you smiling at?" Toole asks. "You empty," Elam says, smile growing wider. Toole pulls the trigger and the gun clicks. "Any last words?" Elam asks. "Go to hell, you black -- " Toole doesn't get to finish his final epithet because Elam fires just then. The bullet goes into his mouth and out the back of his head. He falls to the ground, smoke escaping his lips. Elam stands over him. "My name is Elam Ferguson. You be sure to tell the devil that when he asks who killed you." Toole gurgles and gasps a bit then falls blessedly silent forever.
The day, Senator Crane is greeted with an assortment of telegrams and news headlines about Doc connecting to the M&M rather than the R&R as promised. "Why so glum, Jordan?" Doc asks. "I lost everything," Crane says. He tries to threaten Doc with that missing $147,000, but Doc has already replaced the money and made it look like a simple accounting error. To top it off, Doc is now five million dollars richer, having bought out the M&M stock at a discount. Crane pleads with him for some kind of mercy, some modicum of generosity. In response, Doc gives him a shiny new penny. He leaves the Senator's office chuckling to himself.
Back on the train, Doc is not alone. Lily is with him. "Are you sure about this?" he asks her. "What will you do? Where will you live?" She admits she hasn't figured that out yet, but she knows she can't go back to London. "I cannot go back to a life I now despise." She smiles up at him, thanking him for his understanding. He takes her by the arms and confesses he has something to tell her. She draws back from him a bit, knowing what he's going to say. He presses on. He starts by explaining his marriage and how it's not what he needs. It sounds like he loved his wife once, but it was, as he puts it, a practical marriage. Whatever he felt is in the past. "What I'm saying is, if I had a woman like you by my side - no, if I had you by my side, Lily, there is nothing I -- we -- couldn't do together." She's probably making a mental list of all the things she doesn't want them doing together. Doc says he knows it isn't fair for her. He's essentially asking her to be his mistress and he has to know she deserves more. He asks her not to say anything just yet, but that if there's even a slight chance, she would make him a very happy man.
At the road trip turned shooting spree, Elam and Cullen meet back up in the clearing and confirm that everyone is dead. Cullen says he found a Bible in one of the men's saddle bags. "Reckon I should say anything?" he asks. "Suit yourself," Elam says. When Cullen is pressed for appropriate reading material, Elam points him to Psalm 23. "The Lord is my shepherd, I shall not want," Cullen starts. Elam joins him a few lines later. "He restores my soul, He leadeth me in the paths of righteousness, for His name's sake. Yea, though I walk through the valley of the shadow of death, I will fear no evil..." The rest is in voice-over as they ride across the prairie towards the setting sun, as befits a proper Western.
Contact Tippi Blevins at b_tippi@yahoo.com, or find her on Twitter.
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