Dark Winds Season 3 Finale Shocker: Monster Reveal and Joe’s Heartbreaking Choice Uncovered!

SPOILER ALERT: This story contains spoilers for the Season 3 finale of “Dark Winds.”

The third season of “Dark Winds” on AMC’s mystery series delves deeper into enigmas and intergenerational wounds, this time with a chilling twist as it weaves Navajo legends into horror narratives. As Detective Joe Leaphorn (Zahn McClarnon) hunts for a missing Native teenager following his friend’s murder, he encounters a remorseless killer disguised as a beast, all while grappling with a challenging conversation with his wife Emma (Deanna Allison). At the same time, Bernadette’s (Jessica Matten) duties with the border patrol take a dangerous turn, pulling her into the intricate network of a rancher dealing in drugs and human trafficking who has many officers under his control.

In the intense and emotional climax titled “Iron Horse,” Leaphorn along with his partner Gordo Sena (A Martinez) track down young George Bowlegs, pinpointing both him and the murderer at the train station. A thrilling scene reminiscent of old Western movies unfolds as Leaphorn, Chee (Kiowa Gordon) and Sena confront Dr. Reynolds, the dangerous archaeologist, on the train, shoving passengers aside and sprinting through the train compartments. Stricken with remorse, Leaphorn reveals to Gordo that he might never have another opportunity to reconcile with his wife Emma, who has abandoned him following Leaphorn’s confession of his part in BJ Vines’ death during the previous season.

Following a tense instant where Bernadette nearly gets trapped under a pile of soil from a truck, her Border Patrol partner and love interest Ivan (Alex Meraz) rescues her. Despite her efforts to persuade him to expose his corrupt colleagues, she ultimately understands that their relationship isn’t destined, and she returns to Navajo country, reuniting with Chee in the process.

As FBI agent Sylvia Washington (Jenna Elfman) was leaving town, she handed the enlightening cassette tape containing Emma’s emotional account of Vines’ demise to Leaphorn. “I trust this will be useful,” she said to Leaphorn. “To what purpose?” he inquired. “Your path forward,” she responded.

Upon playing the recording, he’s taken aback to discover that Emma was prepared to deceive for him — and equally surprised when it seems there might be a possibility left with her. In the recording, she expresses, “I hope someday I can find it in myself to forgive him.” The series concludes with Neil Young’s melancholic song “Glimmer” playing softly as Leaphorn clings to hope, repeatedly replaying Emma’s chilling message on the tape player.

In this setting, McClarnon assists in dissecting Leaphorn’s challenging odyssey together with Chris Eyre, the director and executive producer of the final episode, as well as John Wirth, the mastermind behind “Dark Winds”.

This season had more of a horror feeling. How did you decide on that?

John Wirth: During our second series, we adopted a mood reminiscent of a detective tale. For Season 3, we delved into the concept of Ye’iitsoh, or ‘big monster’ in Navajo. Our aim was to craft a narrative revolving around a monster.

We struggled to devise an engaging method for narrating a monster tale, considering the type of content produced on this platform, such as “The Walking Dead” universe and similar shows that are crucial for our continued operation. After investing a significant amount of resources in crafting this monster, I initially thought it might not appear much, if at all, or merely fleeting glimpses. However, I questioned the logic behind creating this monster if we weren’t going to showcase it. Consequently, we decided to reveal it more than we initially planned.

How has Leaphorn been dealing with his guilt over letting BJ Vines die, and his sorrow over his marriage? He says it came at a cost.

Zahn McClarnon: The expense might be linked to his relationship with Emma, as well as those with Chee and Bern. This season’s risks were significant, with Agent Washington uncovering the truth about what happened to BJ Vines in Season 2. Essentially, this season has delved into the sorrow that struck the Leaphorn family, examining the aftermath of their son’s death, the ripple effects on all relationships, his mental health, but particularly his marriage with Emma, and potentially losing Emma. As a result, he’s carried a lot of worry throughout this season.

In Episode 6, it’s also made clear to him when he’s handcuffed and Emma enters his dream under the influence of ketamine. This scene illustrates how he prioritizes his job over their marriage, as well as how his work has become an all-consuming force in his life. We hint at this theme in Season 4, although I can’t disclose specific details about that season.

What was it like shooting the train scene?

Chris Eyre: (Executive producer) George R.R. Martin personally owns the train, which departs from his theater, the Jean Cocteau, located in a rail yard. The track stretches for 18 miles to Lamy, New Mexico, where it crosses with both eastbound and westbound Amtrak trains. Filming on this train was thrilling since I hadn’t done so before. There were drone shots, a chase sequence on the train, gunfights on the train, and that’s where the boy was taken back by Leaphorn. The story’s resolution is particularly significant in this set piece, making it one of the more substantial scenes in the production.

What did you want to show about Bernadette’s arc?

As a devoted viewer, I found the climax of Season 3 particularly captivating, where Bernadette manipulates Ivan into returning the money. In a sense, she mirrors Emma’s actions by not reporting Ivan. This underlines an intriguing matriarchal influence these characters possess, as they are the pillars holding up both their families and the community.

The last scene is so emotional, what went into making that?

For me as an actor portraying Leaphorn, it felt incredibly real and profound when I understood the depth of his love for his wife in that particular scene. The boundaries between us, the actor, and him, the character, became somewhat hazy. There were numerous attempts that were markedly emotional, with me shedding tears at times. However, we decided to tone it down a bit, and I believe that subtle approach was more effective than having Joe express his sorrow over his wife’s departure in a more obvious manner.

The story concludes with Leaphorn alone at his kitchen table after his wife has left him. He’s playing a tape that Sylvia Washington provided, which is an interview of his wife defending him, but also saying things she likely wouldn’t have said directly to him. This scene was impactful because it showed him dealing with the pain. I thought such a man, in this situation, might want to keep hearing it despite the discomfort. So, I recommended that when he reaches that part on the tape, he should rewind and listen to it repeatedly, almost as self-torture. Hearing it again is like a strong blow to the gut.

Was that always going to be the way the episode ends?

McClarnon: In our script, Joe visits Phoenix, knocks on Emma’s door, she opens, they stare, and she invites him in for a meal. John and I discussed this scene quite a bit, and he felt that ending with Joe listening to her and repeatedly pushing the button was a more fitting conclusion, leaving Season 4 open for potential exploration of various Emma and Joe storylines.

McClarnon describes a scene in which Joe travels to Phoenix, meets Emma at her door, they exchange a silent moment, she invites him in for food, and he listens to her and presses a button repeatedly as the season ends. John and McClarnon had many discussions about this ending, with John suggesting that it leaves room for further examination of Emma and Joe’s storylines in Season 4.

Eyre: In that particular scene, I was the one responsible for its direction. I was truly amazed by how effectively Emma and Leaphorn communicated without any dialogue, creating a very moving moment. However, upon further reflection, I realized it offered resolutions a bit too swiftly, making the scene seem somewhat abrupt. It’s still a beautiful scene, though.

What’s the prospect for Joe and Emma getting back together?

Eyre: Essentially, “Dark Winds” revolves around Emma and Joe. If Joe were to remain apart from her, he wouldn’t be the same Joe we know. He’d lack the stability needed to combat crime effectively. I truly hope they reconcile so he can continue his work efficiently.

What do you think was the biggest twist or the biggest surprise for viewers in the finale?

Eyre: Perhaps the most striking revelation is that the beast turns out to be a human. This is such a powerful symbol, fitting within Navajo and many traditional cultures. We often use symbols like “the monster” to represent danger or evil, and it’s fascinating how Leaphorn discovers this fearsome creature is actually a man – a villain. The twist lies in the way the metaphor transforms into reality.

Initially, we didn’t want viewers to immediately assume that Dr. Reynolds was the murderer at the start of the season. Instead, we introduced other potential suspects such as Sonny Bowlegs, the boy’s father, Eddie Isaacs, the assistant archaeologist, and Dr. Reynolds himself. We hoped to create an atmosphere where it seemed plausible that any one of these individuals could be the culprit.

How have you approached whether or not to show some of the Navajo traditions?

Wirth: Navajo culture, tradition, religion, and ceremonies for the Navajo people are delicate matters that require respect and privacy. During Tony Hillerman’s novel-writing era in the ’70s, ’80s, and ’90s, attitudes towards these topics were different compared to today. To ensure we handle these subjects appropriately, we collaborate closely with our two Navajo consultants. We generally defer to their guidance, and if something doesn’t bother them, it likely won’t bother us either, allowing us to portray it in the show. If they express sensitivity towards a particular topic, however, we’ll make an effort to find an alternative approach.

Eyre: Jennifer and Manny Wheeler, serving as our language and cultural consultants, are both proficient Navajos and authorities in their respective fields. It’s thrilling to embark on this journey of discovery alongside them. I believe we’re venturing into uncharted territory with that.

Zahn, what does it mean to you to be able to work with a Native crew and cast?

MacClarnon: A large number of those involved in creating this series are Indigenous, therefore we aim to portray tribal customs accurately, respectfully, and authentically. It’s crucial to understand the Navajo culture deeply, and that can only be achieved by spending considerable time on the Navajo Nation immersed in their way of life. If “Dark Winds” encourages people to visit the Navajo Nation, interact with the Navajo community, and gain more insights into their culture, then it would indeed be a beneficial outcome.

Being involved with productions like ‘Reservation Dogs,’ which primarily feature Native people, is something I take pride in. Historically, such shows have been rare, but in the last ten years, we’ve seen a significant increase.

I’m excited to see the first episode of Season 4, which Zahn is directing. How did it go?

We finished the episode two weeks ago, and I’ve completed my director’s version of it. It was an enjoyable experience. I had fantastic first ADs and DP who assisted me throughout, and I received a lot of support. You know, it was my debut as a director. I simply couldn’t let this opportunity to learn more slip away.

Eyre: I stayed with them throughout. I functioned as their friend, equal, and backer. We formed a genuine family collective.

What are you looking forward to for next season, which will be based on Tony Hillerman’s novel “The Ghostway”?

Eyre: Let me make a quick note: Just like everyone else here, I’m thrilled to learn about the events following Season 3. At the moment, we’re hard at work on it, and I’m handling Episode 403. Even so, I’m still in the dark about how things will wrap up in Season 4.

This interview has been edited and condensed.

2025-04-28 05:22