The third episode of Fargo's latest season kicks off with Roy Tillman arriving at the gas station, the scene of Alvie's grisly murder by Ole's hands. Gator, spared from a similar fate, stands by, tasked with relaying the ominous message that they "owe" him. Roy instructs Gator to dispose of the body using the truck, staging it as an accident. With all the evidence under their control, falsifying it will be a cinch. As the episode progresses, we learn that this is far from their first such manipulation.
Roy further assigns his son to visit the police station, where the evidence pertaining to the fallen kidnapper, Donny Ireland, is being stored. Witt, recently discharged and advised to rest, stumbles down to the station, startled to find Gator lurking around the evidence box. He watches in disbelief as the arrogant and deluded fascist surreptitiously pockets something. When confronted, Gator brazenly asserts his supposed authority over Witt, revealing a megalomaniacal mindset that colors his interaction with the state trooper.
Shortly after, Witt receives an email from Indira, containing a photo of Dorothy. This prompts him to delve deeper into the Tillman father-son duo and their corrupt procedural practices.
As the night falls, Roy returns home to find his father, Odin, waiting for him. He notes the presence of Odin's men lurking outside. Odin demands that Roy procure more weapons for them, but the sheriff firmly rejects the idea, citing the current volatile situation. His wife, Karen, offers him a drink to ease the tension, but Roy opts to check on their twin daughters instead.
As Karen joins him in bed, Roy lies back, deep in thought, smoking a cigarette and gazing at the ceiling. She attempts to entice him into a role-playing game, a familiar routine for them, but Roy's gaze remains fixed on an apparition of Dorothy, whom he knew as Nadine.
Meanwhile, Dorothy is on a mission of her own. She wants to leave no stone unturned in her preparations. In the dead of night, she sneaks out, changing the name signs on the streets to confuse Tillman's men. She senses that they are closing in on her family and decides to take proactive measures. On the eve of Halloween, she heads to Gun World, her knowledge of weapons surprising even the seasoned salesman, Wayne. After spending a considerable amount of money, she learns that there is a mandatory waiting period of a week for background checks before she can take possession of the weapons.
In a sudden and mysterious flashback, emerging unexpectedly from the abyss of time, we are granted a glimpse into the obscure origins of Ole's ancestors. Transported back nearly 500 years to the year 1522 in Wales, we witness Ole - or perhaps one of his forebears - engaged in a perplexing religious ceremony, consuming food from a bowl resting upon the lifeless form within a coffin. What he consumes is not mere sustenance, but the sins of another. Traditionally, in British folklore, these sin-eaters were often impoverished and forlorn individuals. They would "lease" their own souls in exchange for saving the souls of others. For them, sin became a relentless cycle from which there was no escape - a fate that eerily mirrors Ole's existence.
The man has now traveled a tortuous path to Bismarck, North Dakota, where he seeks refuge in the home of an elderly woman, declaring with absolute certainty, "I live here now." Meanwhile, Indira and Captain Muscavage visit Lorraine at her office, accompanied by the imposing figure of Danish. The trio brush aside any inquiries Indira attempts to pose, exhibiting a blatant display of power and privilege that undermines the authority of the police. It is also revealed that Danish has enlisted the help of a former CIA agent to delve into the shadowy past of Dorotthy.
A cleverly crafted montage, intertwining the narratives of Ole, Dorothy, and Roy, unfolds on the fateful night of Halloween. Roy has hatched a plan to capitalize on the holiday, sending Gator and a cadre of trusted men to eliminate Dorothy. Ole, on the other hand, is embarked on his own vendetta, a journey that will culminate at the Tillman house. Dorothy, fully cognizant of the danger looming, embarks on a trick-or-treat adventure with Wayne and Scotty. Earlier, Roy had telephoned her at her home, foreshadowing the events that were to unfold that evening.
As she spies a suspicious van circling the area and ultimately reversing to park near her house, Dorothy braces herself and prepares her domicile for the impending conflict. In a surreal sequence, Ole ventures into a crypt-like chamber in a remote location (seemingly Roy's farm), stripping himself naked and immersing himself in the blood of a sacrificed goat. The scene is both grotesque and incomprehensible, leaving us with more questions than answers. But one thing is certain - Karen and the twins are in grave danger, as the episode comes to a close with Ole entering the Tillman house, a dark omen for the fate that awaits.
