The Underground Railroad
Save this article to read it later.
Find this story in your accountsSaved for Latersection.
This episode is tragic, but cinematically the best so far it feels like a full film.
Royal has come back with a familiar face: Its Ellis!
The maintenance worker who drove Cora from South Carolina to North Carolina.
Royal apologies to Cora for how he left, and the two make up.
But what of those who cant?
They dont think of her any differently.
Many of the men participate in a corn-shucking bee split into two teams: the elders versus the whippersnappers.
When the elders win, Mingo and John Valentine drink from a jug of wine.
That evening, love is in the air again.
Cora and Royal navigate each other intimately by the crackling fire of Royals cabin.
Cora presses her hand to the center of Royals chest.
I hear your heart, Royal.
From the very first … His response is simple: I love you.
Cora doesnt say it back but accepts, they lean in to kiss and lay down.
Then its the next morning.
Ellis and Olivia head west and were left to hope whatever waits for them is kind.
It escalates to the point where Mingo invites them to the farm to witness the debate.
But I am, Peyton.
But I am, Mingo responds.
Land is property, Cora says, Tools is property.
Im still property, even in Indiana.
Why havent they settled her papers or bought her freedom?
Why havent they done that for as many Black folks as possible?
Everybody keep telling me how special I am, she says, full of frustration.
What good is a railroad if only special folk can take it?
What good is a farm full of freedom if only special folk can till it?
And finally, Ridgeway and Homer make their way to Indiana from Tennessee.
Ridgeway has Homer order a telegram to the Randall plantation, but it takes too long for Ridgeways liking.
He makes a public plea to the mayor, intentionally making a scene.
It works, riling up some men watching including Hardman.
Hardman and a companion find Ridgeway and Homer later, offering to help.
When I look in this room, I see that womans face in each and every one of yours.
Despite the optimism of this story, the residents never make it to a vote.
Sometimes a useful delusion is better than a useless truth, Valentine says.
But Valentine also returns to Mingo a line Mingos previously cut from his notes: Nothing was given.
Hold on to what belongs to you.
As the debate proceeds, though, we also watch a group of white men slowly surround the church.
The attackers in the church have been killed or driven back, but the white men still surround it.
The whole farm full of men like him.
Well, thats just too many.
Slightly away from the church and slightly less vigilant Royal and Cora encounter a mob straggler.
He shoots Royal, and Ridgeway shoots him before he can shoot Cora, too.
Ridgeway descends after Cora, Homer standing watch with a gun.
When he gazes up toward the light coming from the trapdoor, she pulls him off the rope.
He breaks her fall and his bones crack as she rolls off of him from the momentum.
The gun Homer pulls from Ridgeways body is empty; Cora doesnt bash anyone with a rock.
But Molly finds her, and the two of them return to the tunnel.
Ridgeway, not quite dead, is still telling Homer what to do, telling Cora hell find her.
The Caboose
This episode was written by Barry Jenkins.
The song played at the end is Childish Gambinos This Is America.
Judge Smith: You shouldve let em win a little.
Wouldnt hurt to not parade around how as good as white men you are every chance you get.
Mingo: But I am, Peyton.
Im struck by how bold this exchange feels.
Its this gun she uses to shoot Ridgeway.
Mingo to John Valentine: Thats the thing.
Were not the same.
Folks look at you.
Theyd never believe you were ever in chains.
But look at me.
Look at me and they refused to believe I could ever be free.
I love this exchange.
It tells us a little bit about the consequences and outcomes of colorism at the time.
Im really feeling the grief.
Reading Railroad:Black Futures, edited by Jenna Wortham and curator Kimberly Drew.
