The Walking Dead: Daryl Dixon (2023) s02e04 Episode Script
Le Paradis Pour Toi
1
I need you to take him
to our secret place.
The cave in the woods.
I'm looking for an American.
Daryl Dixon.
Why do you want to find Dixon?
I came here to kill him.
DARYL: You know, you were right.
I found something here.
DARYL: Where are you taking her?!
She knows we have a mission
here, a greater purpose.
I know where the kid is. Isabelle!
♪
You're turning them?
I'm giving you what you asked for.
You're gonna kill your friend.
Hey! Get off me!
♪
♪
♪
♪
♪
♪
[VEHICLE APPROACHING]
♪
[MEN SPEAKING FRENCH]
♪
[BREATHING HEAVILY]
♪
Allez, allez, allons-y.
♪
[GUNS COCKING, CROWD EXCLAIMS]
♪
[CROWD SHOUTING]
♪
♪
♪
[DART GUNS FIRING]
♪
♪
♪
♪
[PANTING]
♪
[CORPSES GROWLING]
♪
♪
♪
Yaah!
[SHOUTING IN FRENCH]
CODRON: Get us out of here. Hurry up!
CAROL: Hold on!
[WALKERS GROWLING]
♪
♪
♪
[THEME PLAYS]
♪
♪
♪
[ENGINE REVVING]
[WALKERS GROWLING]
♪
♪
CODRON: What are you doing?
Why are you stopping?!
They're coming! They're coming!
[WALKERS GROWLING]
MAN: Allez, plus vite!
[MEN SHOUTING IN FRENCH]
[MORTAR WHISTLING]
[EXPLOSION]
♪
CODRON: Go! Go!
- Go!
- [ENGINE REVVING]
[MEN SHOUTING IN FRENCH, GUNFIRE]
[BULLETS RICOCHETING]
[WALKERS GROWLING]
♪
♪
[FLESH TEARING]
♪
♪
[BULLETS RICOCHETING]
♪
[GUNSHOTS]
♪
[TIRES SCREECH, BODY THUDS]
Get me loose. Get me loose!
[GUNFIRE]
[PEOPLE SHOUTING, WALKERS GROWLING]
[CHAINS RATTLING]
♪
Hold still.
♪
[WALKER GROWLING, MAN SHOUTS]
[FLESH RENDING]
♪
Go on, up the mountain.
What about you?
Tell Dixon I did it for the boy.
[GUNFIRE]
[GRUNTS]
- [WALKERS GROWLING]
- [GUNFIRE]
♪
♪
♪
♪
This is what you chose.
♪
When we first met,
Laurent was 6.
I'd heard of him,
a child torn from the womb of un Affamé.
From a horrific ending
a miraculous beginning.
♪
We met with the boy,
we evaluated his gifts,
we found him to be special.
As Père Jean had said he would be.
As you said he would be.
For years, the good father and I
stayed in touch as best we could.
And then, when it seemed time,
we summoned the boy here.
Time for you or time for him?
Time for us all.
To be free again.
There was only one reason.
He feared losing control.
I can see that now.
♪
I'm sorry your will has weakened.
I want to fortify you and everyone.
who's feeling tired and hopeless.
What you're doing
is not strength, Losang.
It's desperate, misguided,
and it's savage.
Sounds like Daryl talking.
No, it's me.
Part of me that was asleep
until I met him.
The part that doesn't believe
in false prophets anymore.
You yourself said how special
the boy was all those years ago.
He is special. He thinks
and feels in a way
that humanity needs in order to survive.
But he's human.
He can bleed, he can
be hurt, he can die.
Like Jesus, like Mohammed, like Buddha.
This is a waste of time.
Arrête !
♪
Sister
we're going to offer the flock
proof of their faith.
It must be done.
Do you understand?
And so I need you to tell me
where the boy is.
[FOOTSTEPS APPROACHING RAPIDLY]
- Unh!
- [GASPS]
♪
[KNIFE PLUNGES, ISABELLE GASPS]
[GRUNTS, BODY THUDS]
♪
♪
[MEN SHOUTING IN DISTANCE]
Losang, we must go.
♪
[SHOUTING IN DISTANCE]
♪
[GUNFIRE]
[WOMAN SCREAMS]
[GUNFIRE IN DISTANCE]
Oh, scuse!
Unh!
- Unh!
- [BODY THUDS]
[GUNFIRE]
♪
♪
♪
♪
[GROANS]
[GRUNTS]
♪
[GUNFIRE IN DISTANCE]
♪
♪
♪
Unh!
♪
♪
[LABORED BREATHING]
♪
♪
[GUNSHOTS, WOMAN SCREAMS]
[MAN SHOUTING IN FRENCH]
♪
♪
♪
[GUNFIRE, MAN SCREAMS]
[GUNFIRE]
♪
[GROANS]
♪
♪
[WALKER GROWLING]
♪
[GUNSHOT]
[BREATHING HEAVILY]
♪
Are you all right?
♪
I think so.
Were you stabbed?
Let's sit you down.
Just right here.
- [WHIMPERS]
- Careful. Careful.
Ah! Ah.
Careful.
[WHIMPERS]
Can I have a look?
Looks pretty clean. That's good.
[CLOTH RIPS]
Who are you?
My name's Carol.
Easy now.
[GROANS]
Keep that pressed pretty tight, okay?
- Can you do that for me?
- [MUMBLES]
- [GRUNTS]
- You're shivering.
♪
♪
What are you doing here?
I'm looking for a friend of mine.
From America.
♪
♪
[PANTING]
[WALKER GROWLING]
♪
♪
♪
♪
♪
♪
♪
♪
[SHOUTING IN DISTANCE]
[WALKERS GROWLING]
♪
♪
♪
♪
[CHAIN RATTLES]
♪
[GRUNTING]
♪
♪
♪
♪
♪
♪
♪
[WALKERS GROWLING IN DISTANCE]
[WHIMPERS]
[STICK CLATTERS]
♪
♪
♪
♪
♪
♪
♪
♪
[CAROL CRYING]
CAROL: She's right there.
No, no, no, no.
Oh, no.
[WEAKLY] Daryl, it's okay.
- Shit.
- Here.
Here. Hold this real tight.
We're getting out of here. Come on.
No, this is too late.
It's not too late.
Not like this.
Don't.
Just
Just make sure he's okay.
We can do that together.
♪
♪
Make sure he's taken care of.
And that he knows I'm always with him.
♪
♪
Okay?
- Okay.
- Okay.
I can see them.
♪
The fireflies.
♪
♪
They're so beautiful.
[BREATHING SHALLOWLY]
[STOPS BREATHING]
♪
♪
♪
♪
♪
♪
♪
♪
Come on. Move faster.
Where are we going?
- Let's go!
- Okay.
You know, I got got somebody
ready to take us home.
A pilot with a plane back in Paris.
Everybody misses you.
Connie, Judith
they'll all be so happy
to have you come back.
Are you hearing me?
You knew her pretty well, I know.
Who was she talking
about taking care of?
This way.
[GRUNTING]
♪
C'est fini.
♪
♪
♪
♪
DARYL: Laurent?
They're gone.
Who's gone?
[BREATHING HEAVILY]
Look, Daryl, maybe we should just
- head back to Paris
- No.
Not without the kid.
Was that Was that who
Isabelle was talking about?
He was with Fallou. He was
supposed to meet us here.
♪
It's cold.
Fuck!
Hey. Hey.
♪
♪
- He was here.
- Okay.
- He left this for me.
- Okay. Okay.
Hey.
Let's find him together, okay?
- Yeah, okay.
- Okay.
Come on.
♪
They must have just gone through here.
Then we can't be too far behind.
So, Isabelle?
Yeah, we helped each other out.
I don't think I'd be here without her.
Your pilot what'd you do,
just load up the plane
and fly all the way to Maine?
We stopped in Greenland to refuel.
That's a whole other story.
You just left on a hunch?
Left everybody back home?
Yeah.
Just flew halfway around
the world on a feeling.
You were supposed to come back.
Hey, I was trying.
CAROL: Well, one thing's for sure.
We're not in Ohio anymore.
Dépaysant.
What?
- It's a French word.
- Uh-huh.
Means, uh, a place that
makes you see things different.
Ah.
What?
What?
Just you speaking French.
Me, you here this is crazy.
Mm.
Nah, it's stupid.
It's crazy.
I met a guy, helped me out.
His name is Codron.
Said he knows you.
I met him at that Maison Mère place.
Genet got him.
She's a piece of work.
He helped you find me?
Said he did it for the boy.
♪
Huh.
♪
Our war should be with the dead,
with hopelessness, with despair,
not some innocent child.
Empathy, concern.
I can see how you lull
the sheep into submission.
Do you think all this time
I've been relying
on only the truth?
♪
♪
We found the nun. Isabelle.
She won't tell you anything.
Not anymore, no.
Was she hiding the boy?
Did she fear what you would do to him?
She had nothing to fear.
But you do.
I fear for my people,
for the future.
When the boy escaped,
I feared that God was
protecting him from me.
I doubted myself, even my faith.
But I don't anymore.
Because I realize now that God
was protecting him from you.
Does the American work for God?
We all serve Him,
whether we believe or not, even you.
So if I find the boy,
it will prove God is on my side.
[INDISTINCT CONVERSATION]
I wouldn't worry so much
about the future.
You don't have one.
♪
♪
[DOOR SLAMS]
- CAROL: Où est la gare ?
- DARYL: What?
High school French.
It means, "Where's the train station?"
If we find a train,
you do all the talking.
Madame Bergeron.
If you'd miss a verb,
she'd crack your knuckles with a ruler.
She was the math teacher, too.
I wasn't very good at that either.
You know, I never really
went anywhere before.
We've been places.
You know what I mean.
When I was a kid,
my dad had this old globe
next to the TV. I'd spin it around,
think how easy it would be
to see the world.
So why didn't you?
Became a mom.
That was my world.
You said on the radio that
time someone came back.
Who was it?
It wasn't a person.
It was a feeling.
Everything at Commonwealth
just got so quiet.
All that old stuff
came back like ghosts.
So I got out of there, and
I was worried about you.
- Tracks?
- Yeah.
More than two people.
Someone caught up to them.
♪
[WALKERS GROWLING]
♪
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[FRENCH MUSIC ECHOING IN DISTANCE]
♪
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♪
♪
[MUSIC GETS LOUDER]
♪
♪
[GILLIAN HILLS' "LE PARADIS
POUR TOI" PLAYS CLEARLY]
M-Monsieur Dixon ?
Who the fuck are you?
Et Sœur Isabelle ?
I am Didi. He is Theo.
The boy said you will come.
♪
I'm out foraging when I see them.
[CHUCKLES] Didi she loves
the white mushrooms.
Mm.
Merci. C'est bon.
I see they are hungry, tired.
The big man, Fallou very nice.
And the boy. Laurent est très gentil.
He helps me with the dishes.
They left on foot?
- To Paris?
- Yeah.
No, I find them a car.
Can you find us a car?
I have many. Um
Maybe you can make one to work.
We'll look in the morning.
No, morning's fine.
- It's pitch black out there right now.
- All right.
Enjoy dinner. Rest.
Sister Isabelle knows best.
[CHUCKLES]
[SNORTS]
When was the last time
any of these worked?
Oh, who can remember?
I learned to drive in this truck.
And learned a few other things, too.
You grew up here?
Uh, fourth generation.
We sold carrots to the Germans
in the First World War,
uh, Nazis in the second,
and, uh, American soldiers after that.
Uh, armies come and go.
We're still here.
[CHUCKLES]
This one's shot. It's
been converted, though.
You got any ethanol?
Uh, i-in the barn.
This one ain't bad.
Need to find a battery,
one that holds a charge.
- A few hoses.
- Ah.
Oh, uh, I know a place
to find these things.
Uh, let me get my walking
shoes. I can take you.
All right.
[GILLIAN HILLS' "LE PARADIS
POUR TOI" PLAYS]
♪
I miss young people.
All the children grew up
and left so long ago.
Was nice having Laurent here,
even if only a day.
Well, like you said,
he's a really sweet kid.
Mm. He's very fond of his Aunt Isabelle.
Hm.
And Daryl. He went on and on.
Daryl's a really good influence.
And the way he talked
about the two of you.
Hm. Sometimes children see things
we're afraid to look at.
Why do I get the feeling
you're trying to tell me something?
Laurent thinks that Daryl
loves you but won't say it
because if he says it,
he won't be able to leave.
Hm.
It's a little more
complicated than that.
Mm. Not to a child.
And not to me.
I know how rare love is.
How long have the two
of you been married?
[CHUCKLES] Theo?
We are not married.
[CHUCKLES]
My husband died years ago.
My children, grandchildren
everyone's gone.
But you seem so happy.
For a long time, I wasn't.
Like Daryl, I was torn between
the world I lost and the one I found.
But
one must look for a way to
keep living.
Not so easy sometimes.
Reasons are everywhere.
- [DOOR OPENS]
- THEO: Ah.
[BOTH CHUCKLE]
[SONG CONTINUES]
[THEO AND DIDI SPEAKING INDISTINCTLY]
♪
♪
[WALKERS GROWLING]
I'm glad he put on his walking boots.
[CHUCKLES]
Place gives me the creeps.
The Walkers have Walkers.
Hey! Bonjour, Madame Ducasse !
[CHUCKLES] Kind lady. And good dentist.
I still have most of my teeth
thanks to her.
Hey! Monsieur Roux ! The baker.
Very quiet. Makes more noise now
than when he was alive.
Ah. Sadly, this whole street
has passed on.
Couldn't you just bury 'em?
There's only old people
left in the village.
Old people burying old people? Too hard.
So when someone dies,
we lock the gate and pay
respect when we pass by.
- That's a new one.
- Yeah.
Whoa! Monsieur Toussaint !
[CHUCKLES]
Stop.
You stay here. I talk to him first.
DARYL: All right.
[WALKERS GROWLING IN BACKGROUND]
Didi says Laurent idolizes you.
Well, she just spent
one day with him, so
Well, he made a big impression.
Sounds like he's gonna do
really well at Commonwealth.
Well, he's got friends in Paris.
Maybe it's better he stays with them.
Better for who? He's
your responsibility.
Maybe I don't want that.
What about the kids back home?
- This is different.
- Is it?
Yeah.
Yeah, it is.
I don't want to lose him.
What, you'll end up like me?
Is that what you're afraid of?
No. No, I ain't afraid of that.
THEO: C'est bon.
Yeah.
Hurry. Dépêchez-vous.
♪
Oh, yeah. Yeah, this will work.
Américains ?
- Uh, oui.
- Ah.
My brother he lives in Florida.
Louise and I
Yeah, he and his wife
go every year in winter.
To the Fontainebleau.
Florida's very nice.
Did you stay at the Fontainebleau?
- It's on our bucket list.
- Tell them I send you.
Ask for Room 22. The best.
Put everything back by Monday.
I must have the car to get to work.
You got it.
Merci.
He forgets everything,
even about the Hungry Ones.
Lucky him.
Sort of a bliss, huh?
I wish I could forget.
[METAL CLANKING]
Ow.
[DOOR OPENS AND CLOSES]
[GRUNTS]
[DIDI SPEAKS INDISTINCTLY]
Thank you.
How is it coming?
We'll have to turn it over to find out.
Hey, uh, Theo said you had some ethanol?
Oui. In the barn. I can bring it.
- Ah, thank you.
- I'll help you.
Oh, thank you.
[SPEAKS FRENCH]
[OMINOUS MUSIC PLAYS]
[WALKERS GROWLING]
[BREATHING HEAVILY]
[INDISTINCT VOICES]
[LOUD HEARTBEAT]
[WALKERS GROWLING]
MAN: Stay back!
♪
[MAN SCREAMS]
[WOMAN SHOUTING]
[INDISTINCT VOICES]
DIDI: Sister Isabelle.
Huh?
[DOWN-TEMPO MUSIC PLAYS]
What is it, dear?
Uh
♪
You can tell me.
♪
I had a little girl.
I got through it.
You will, too.
Oui?
♪
♪
♪
♪
♪
♪
♪
♪
Come. We'll go in together.
♪
[ENGINE STARTS]
All right, go ahead. Give
it some gas. Just a little.
[ENGINE REVS]
Stop! Stop!
I said a little.
That was a little.
No, that was too much.
How am I supposed to know
how much is too much?
Well, you listen, and if it
sounds like it's too much,
then it's too much.
Maybe you're too much.
- What?
- What?
- What?
- What?
Please don't stop. It's a good show.
Like an old married couple.
I'm glad you're enjoying it.
[VEHICLE APPROACHING, WALKERS GROWLING]
♪
It's the Guerrier. You hide here.
♪
♪
♪
♪
♪
♪
♪
♪
[INDISTINCT CONVERSATION]
They're gonna kill them.
We don't know that.
♪
♪
♪
♪
♪
♪
♪
♪
Get down.
♪
♪
♪
♪
♪
♪
♪
♪
I guess Genet won the battle.
I know you had people there.
Isabelle and Laurent.
[SNIFFLES AND SIGHS]
♪
♪
It's from Judith.
How is she?
She didn't want me to go.
Part of her knew I had to
if there was a chance I could find you.
♪
♪
♪
♪
I guess I'm just surprised
you got so close to people here.
I didn't mean to.
It's hard to explain, I guess.
Well, if you ever want to try
♪
♪
Hey.
I'm glad you came.
Me, too.
♪
♪
[SIGHS]
♪
♪
Y-You leave?
Long trip.
Oh, dommage.
Didi make something special.
Her truffle eggs.
You never ate truffle?
No, unh-unh.
Like sex, uh, for the tongue.
Uh, forgive me, Sister.
[SPEAKS FRENCH]
We'll make it quick. Come on.
[SOFT MUSIC PLAYING]
Mmm. Jesus.
I'm sorry. These are the
best eggs I've ever had.
[CHUCKLES]
Yeah, truffle.
I'm gonna have to get me some of these.
You need a good eye
and a lot of patience.
They're very hard to find.
Only for special occasions.
Well, thank you for the car.
And for all you've done.
What are your plans
after you find Laurent?
Will you stay in Paris?
I don't know. We're
still working it out.
Mmm. Mmm.
[VEHICLE APPROACHING]
♪
♪
[GUN CLICKS]
What are you doing?
Theo?
Qu'est-ce que ça veut dire ?
♪
What'd they offer you?
♪
♪
Do you know who those people are?
Armies come and go.
You don't survive by picking
the losing side.
♪
Come with me.
♪
[VEHICLES APPROACHING]
♪
Count five. Six.
There's Genet.
♪
You can hide down there.
♪
♪
Monsieur.
♪
♪
♪
♪
They're gonna search the barn.
Here. Cover me.
I'll get the car.
♪
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Didi
♪
♪
No.
[GUNS CLICKING]
♪
♪
♪
♪
[GUNFIRE, MEN SHOUTING IN FRENCH]
♪
- Allez, on sort !
- D'accord.
MAN: Qu'est-ce que c'est ?
Vite, vite, vite !
[METAL CLANGS]
♪
♪
[GRUNTS]
[SHELL CLATTERS]
♪
♪
♪
♪
[SOFT TAPPING NOISES]
♪
[GUNSHOTS]
[MAN SHOUTS]
[GUNSHOTS CONTINUE]
[SHOUTS IN FRENCH]
♪
♪
Judgment.
I see it in your eyes.
More like confusion.
About how someone like you could turn
turn into this.
♪
♪
Do you know what else I've seen?
The City of Lights gone dark
while the wealthy fled to
their villas and their chateaux.
Families huddled in terror
under the Pont Neuf
as barges took the powerful
down the Seine for refuge.
So you're making up for that now?
And while the great works were safe
I saw my love my hope
devoured by the monsters they made.
Five feet from me.
On the other side of the glass.
Have you ever known that kind of loss?
[CHUCKLES HUMORLESSLY]
♪
♪
- [GRUNTS]
- [GASPS]
♪
♪
[GROANS]
Oh!
[BREATHING SHAKILY]
[GRUNTING AND MOANING]
♪
♪
♪
♪
[SCREAMING]
♪
♪
[GASPS AND SIGHS]
♪
♪
♪
♪
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♪
[SOBBING]
♪
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[WHISPERING IN FRENCH]
♪
♪
Found a map in the glove box.
- Oh, good.
- Yeah.
♪
♪
You know, I-I didn't
think much of Isabelle
when I first met her.
She needed my help,
and I needed a way home.
So we made a deal.
Makes sense.
And Laurent he, uh,
kind of became the glue
that held us all together, you know?
Yeah, I do.
And I never, ever stopped
trying to get home to you.
The longer I stayed here,
the the harder it got.
You loved her.
♪
♪
You know Laurent's
coming home with us, right?
Yeah, I know.
♪
♪
[GROWLING]
♪
♪
♪
♪
♪
♪
♪
♪
She went after the boy
and now she's gone.
If that isn't proof that
God is on our side
Marion's way was not enough.
But neither is yours.
So now what?
♪
♪
♪
♪
[INDISTINCT CONVERSATIONS]
♪
♪
♪
♪
All is forgiven my friends.
[PEOPLE MUTTERING]
Tout est pardonné.
♪
Pouvoir des Vivants.
Bienvenue ici, à l'Union de l'Espoir.
Nous pouvons unir
nos rêves pour un avenir
meilleur et plus fort.
Let us merge our dreams
for a better, stronger future.
Ahead is the promised land.
Laurent will take us there.
♪
♪
Are you ready? [WHISTLES]
[GUNS COCK]
♪
Carol has a friend who has a plane.
We just got to find him.
[WALKERS GROWLING]
Do you think that someday
this will all be over?
You're thinking of everything
you could have done differently?
It's a pretty long list.
LOSANG: He wants to go home.
If he takes the boy,
what becomes of ours?
Be careful.
Some people will do anything
for a way out.
♪
Today we are at the
Mont-Saint-Michel, the Nest.
Genet is here with soldiers,
and we are going to try
to escape from her.
The first time for me in this place.
I'm thrilled by the beauty
of this location.
Filming at Mont-Saint-Michel at night,
and we have the lighting and
there's fog machines and smoke,
and then all of a sudden
comes these figures,
and they're moving faster and faster.
[GROWLING]
I had so much fun filming that.
These Walkers on the show
are frightening.
LEVI: Actually, I was really
scared when I saw them,
tell you the truth.
MCBRIDE: Getting to ride
on the ATVs was fun.
I did like the challenge
of being able to drive it
as quickly as I could through
some very narrow spaces,
and the challenge of, you
know, not hitting anybody.
That was fun.
Strapped to the back of the
vehicle is our friend Codron,
who's serving as zombie bait
for these amped-up zombies.
LEVI: The dummy it's very funny.
It really looks like me, all right?
The only thing is that his
head is a bit bigger than mine.
So I told them, "Listen, okay,
I have a big head.
But not so big, you know?"
I was shocked. I mean, to see a guy
who really look like you
like this, it's funny.
Sister, we're going to offer
the flock proof of their faith.
ZABEL: Losang has slowly been
kind of grinding
under the pressure of this more
radical faction within the Nest.
What I loved in that scene
with Losang is that I think
it's a very accurate scene
about beliefs gone too far,
and to just bring it back to humanity
and to try and bring him back
to his humanity,
which she, you know, fails. [LAUGHS]
[GASPS]
[GRUNTS]
I read that scene and my response was
was literally this
"Me?! No! No, no!"
I was both excited with the story,
but also sort of horrified
that it was my responsibility
to do this task.
[WOMAN GRUNTS]
[GROWLING]
Oh. [GRUNTS]
MCBRIDE: It was the second time
that I had been to
Mont-Saint-Michel, and I remember
it was the first time
that I had met Clémence.
I'd been waiting to meet her
since we started season two,
and we kept missing each other
because we were never
in the same locations.
And I saw her before
we went to rehearse.
We just had a big, long hug
and it was so,
so nice to meet her
and so incredibly frustrating
to just have these two scenes
and then to just kind of be done.
MCBRIDE: I did like that
they intersected when they did.
I mean, she was the piece
to get Carol to Daryl.
♪
[CAROL GASPS]
ZABEL: There was a lot of talk about
how Daryl and Carol reunite,
because obviously it was one
of the centerpieces
of the season for us.
I mean, there's a whole story going on,
but that story people are waiting on,
and it has to be [BLEEP] legendary.
There was an early version of them
fighting to get back to each other.
Then it changed into something
a little bit different.
That was Norman's idea.
I grabbed my phone
and I wrote down this idea
that I had about the meeting,
and, I don't know, it just came to me
while I was asleep,
then at like 11:00 at night,
I sent it to David,
and he and Jason both liked it,
and they took that idea
and they just elevated it 1,000%.
ZABEL: And then as we worked on scenes
around that whole sequence,
we continued talking about it,
Norman and Melissa and I,
and then we ended up with
this version that you see now.
I can see them.
The fireflies.
POÉSY: It's a world where
I guess you're very used to
saying goodbye. I think
there's an acceptance.
I don't think she's fighting it.
I think she knows she can't.
They're so beautiful.
ZABEL: For the moment
when Isabelle dies,
I think what we wanted was
great dignity,
intelligence, strength,
and a really moving ending
to the character.
REEDUS: Isabelle and Daryl's
relationship
has evolved to a point
where he truly cares about her.
POÉSY: It's been so nice, season two.
It's been such a sort of treat
to take Isabelle a bit further,
and knowing that we were taking
these two characters
on a journey
and exploring their
relationship a bit more
was just the greatest luxury.
ZABEL: Isabelle's death hits hard
because she's touched
something within him
that we haven't seen before,
and it's because she's
so different from him,
and it's also because she's tied
into this boy that he loves,
and now he's got to make sure after that
not to let the same thing
happen with Laurent.
CAROL: One thing's for sure.
We're not in Ohio anymore.
ZABEL: The scenes we're filming here
in this little village are scenes
that involve Daryl and Carol
trying to find a way
to get back to Paris to find Laurent.
This village is composed
entirely of old people.
The young people went away
or died during the apocalypse.
They all died of natural causes.
None of them were killed by zombies.
They died of old age.
So a lot of the rot that
we apply to the performers
signified deterioration,
not any sort of violent death.
Hey. Bonjour, Madam Picard.
ZABEL: There's a sense of
community in this village
that has led them
to this unusual decision
to allow some of the people
who have died
and become Walkers to continue to exist,
confined within their properties.
So it preserves
a very strange, touching,
but weird sense of community.
It's one of a number of sort of
signature Walker environments
that we've created on the show.
[GUN COCKS]
Judgment I see it in your eyes.
The trick with Genet is she has
been a tremendous villain,
so her death has to live up
to the glory of her evil-doings.
CHARRIER: She really did
believe she was doing
the right thing for the community,
you know, finding order
and, um, that's it.
It's gone.
[GRUNTS]
Oh.
NICOTERO: We really wanted
her death to be
just completely horrific,
painful, gut-wrenching.
It's a great death. It's a great death.
It was the only way she could die
from the monsters she created.
She's gonna be one of them.
[GRUNTING AND GASPING]
It's a complete character.
Her journey is complete.
I'm proud of it.
[GROANS]
MCBRIDE: They shot that separately.
But I did see what Nicotero
and his team came up with
for when she really goes
bananas on the ground.
NICOTERO: And bladders.
It's horrifying.
NICOTERO: We designed
this animatronic head
that we did several stages of makeup on,
and it was funny the phone calls.
I would have to call her from L.A.
"Hey, I need really detailed
photos of your teeth".
I'm in the south of France,
in a very remote village.
Like, "Okay, get a ruler
and put it next to your eyes".
So we had to go to the town
after to get just the ruler.
And my husband was taking pictures of me
in front of the kids who were, like,
passing by, going
That was very funny.
And, of course, when
she saw it, she's like,
"What are you gonna do with that
when you're done with it?"
And I said, "I don't know.
Probably end up in your house
somewhere, maybe".
Ah! He told me not to say it!
[LAUGHS] I'm so happy
that I have this head.
♪
♪
♪
♪
♪
♪
♪
♪
I need you to take him
to our secret place.
The cave in the woods.
I'm looking for an American.
Daryl Dixon.
Why do you want to find Dixon?
I came here to kill him.
DARYL: You know, you were right.
I found something here.
DARYL: Where are you taking her?!
She knows we have a mission
here, a greater purpose.
I know where the kid is. Isabelle!
♪
You're turning them?
I'm giving you what you asked for.
You're gonna kill your friend.
Hey! Get off me!
♪
♪
♪
♪
♪
♪
[VEHICLE APPROACHING]
♪
[MEN SPEAKING FRENCH]
♪
[BREATHING HEAVILY]
♪
Allez, allez, allons-y.
♪
[GUNS COCKING, CROWD EXCLAIMS]
♪
[CROWD SHOUTING]
♪
♪
♪
[DART GUNS FIRING]
♪
♪
♪
♪
[PANTING]
♪
[CORPSES GROWLING]
♪
♪
♪
Yaah!
[SHOUTING IN FRENCH]
CODRON: Get us out of here. Hurry up!
CAROL: Hold on!
[WALKERS GROWLING]
♪
♪
♪
[THEME PLAYS]
♪
♪
♪
[ENGINE REVVING]
[WALKERS GROWLING]
♪
♪
CODRON: What are you doing?
Why are you stopping?!
They're coming! They're coming!
[WALKERS GROWLING]
MAN: Allez, plus vite!
[MEN SHOUTING IN FRENCH]
[MORTAR WHISTLING]
[EXPLOSION]
♪
CODRON: Go! Go!
- Go!
- [ENGINE REVVING]
[MEN SHOUTING IN FRENCH, GUNFIRE]
[BULLETS RICOCHETING]
[WALKERS GROWLING]
♪
♪
[FLESH TEARING]
♪
♪
[BULLETS RICOCHETING]
♪
[GUNSHOTS]
♪
[TIRES SCREECH, BODY THUDS]
Get me loose. Get me loose!
[GUNFIRE]
[PEOPLE SHOUTING, WALKERS GROWLING]
[CHAINS RATTLING]
♪
Hold still.
♪
[WALKER GROWLING, MAN SHOUTS]
[FLESH RENDING]
♪
Go on, up the mountain.
What about you?
Tell Dixon I did it for the boy.
[GUNFIRE]
[GRUNTS]
- [WALKERS GROWLING]
- [GUNFIRE]
♪
♪
♪
♪
This is what you chose.
♪
When we first met,
Laurent was 6.
I'd heard of him,
a child torn from the womb of un Affamé.
From a horrific ending
a miraculous beginning.
♪
We met with the boy,
we evaluated his gifts,
we found him to be special.
As Père Jean had said he would be.
As you said he would be.
For years, the good father and I
stayed in touch as best we could.
And then, when it seemed time,
we summoned the boy here.
Time for you or time for him?
Time for us all.
To be free again.
There was only one reason.
He feared losing control.
I can see that now.
♪
I'm sorry your will has weakened.
I want to fortify you and everyone.
who's feeling tired and hopeless.
What you're doing
is not strength, Losang.
It's desperate, misguided,
and it's savage.
Sounds like Daryl talking.
No, it's me.
Part of me that was asleep
until I met him.
The part that doesn't believe
in false prophets anymore.
You yourself said how special
the boy was all those years ago.
He is special. He thinks
and feels in a way
that humanity needs in order to survive.
But he's human.
He can bleed, he can
be hurt, he can die.
Like Jesus, like Mohammed, like Buddha.
This is a waste of time.
Arrête !
♪
Sister
we're going to offer the flock
proof of their faith.
It must be done.
Do you understand?
And so I need you to tell me
where the boy is.
[FOOTSTEPS APPROACHING RAPIDLY]
- Unh!
- [GASPS]
♪
[KNIFE PLUNGES, ISABELLE GASPS]
[GRUNTS, BODY THUDS]
♪
♪
[MEN SHOUTING IN DISTANCE]
Losang, we must go.
♪
[SHOUTING IN DISTANCE]
♪
[GUNFIRE]
[WOMAN SCREAMS]
[GUNFIRE IN DISTANCE]
Oh, scuse!
Unh!
- Unh!
- [BODY THUDS]
[GUNFIRE]
♪
♪
♪
♪
[GROANS]
[GRUNTS]
♪
[GUNFIRE IN DISTANCE]
♪
♪
♪
Unh!
♪
♪
[LABORED BREATHING]
♪
♪
[GUNSHOTS, WOMAN SCREAMS]
[MAN SHOUTING IN FRENCH]
♪
♪
♪
[GUNFIRE, MAN SCREAMS]
[GUNFIRE]
♪
[GROANS]
♪
♪
[WALKER GROWLING]
♪
[GUNSHOT]
[BREATHING HEAVILY]
♪
Are you all right?
♪
I think so.
Were you stabbed?
Let's sit you down.
Just right here.
- [WHIMPERS]
- Careful. Careful.
Ah! Ah.
Careful.
[WHIMPERS]
Can I have a look?
Looks pretty clean. That's good.
[CLOTH RIPS]
Who are you?
My name's Carol.
Easy now.
[GROANS]
Keep that pressed pretty tight, okay?
- Can you do that for me?
- [MUMBLES]
- [GRUNTS]
- You're shivering.
♪
♪
What are you doing here?
I'm looking for a friend of mine.
From America.
♪
♪
[PANTING]
[WALKER GROWLING]
♪
♪
♪
♪
♪
♪
♪
♪
[SHOUTING IN DISTANCE]
[WALKERS GROWLING]
♪
♪
♪
♪
[CHAIN RATTLES]
♪
[GRUNTING]
♪
♪
♪
♪
♪
♪
♪
[WALKERS GROWLING IN DISTANCE]
[WHIMPERS]
[STICK CLATTERS]
♪
♪
♪
♪
♪
♪
♪
♪
[CAROL CRYING]
CAROL: She's right there.
No, no, no, no.
Oh, no.
[WEAKLY] Daryl, it's okay.
- Shit.
- Here.
Here. Hold this real tight.
We're getting out of here. Come on.
No, this is too late.
It's not too late.
Not like this.
Don't.
Just
Just make sure he's okay.
We can do that together.
♪
♪
Make sure he's taken care of.
And that he knows I'm always with him.
♪
♪
Okay?
- Okay.
- Okay.
I can see them.
♪
The fireflies.
♪
♪
They're so beautiful.
[BREATHING SHALLOWLY]
[STOPS BREATHING]
♪
♪
♪
♪
♪
♪
♪
♪
Come on. Move faster.
Where are we going?
- Let's go!
- Okay.
You know, I got got somebody
ready to take us home.
A pilot with a plane back in Paris.
Everybody misses you.
Connie, Judith
they'll all be so happy
to have you come back.
Are you hearing me?
You knew her pretty well, I know.
Who was she talking
about taking care of?
This way.
[GRUNTING]
♪
C'est fini.
♪
♪
♪
♪
DARYL: Laurent?
They're gone.
Who's gone?
[BREATHING HEAVILY]
Look, Daryl, maybe we should just
- head back to Paris
- No.
Not without the kid.
Was that Was that who
Isabelle was talking about?
He was with Fallou. He was
supposed to meet us here.
♪
It's cold.
Fuck!
Hey. Hey.
♪
♪
- He was here.
- Okay.
- He left this for me.
- Okay. Okay.
Hey.
Let's find him together, okay?
- Yeah, okay.
- Okay.
Come on.
♪
They must have just gone through here.
Then we can't be too far behind.
So, Isabelle?
Yeah, we helped each other out.
I don't think I'd be here without her.
Your pilot what'd you do,
just load up the plane
and fly all the way to Maine?
We stopped in Greenland to refuel.
That's a whole other story.
You just left on a hunch?
Left everybody back home?
Yeah.
Just flew halfway around
the world on a feeling.
You were supposed to come back.
Hey, I was trying.
CAROL: Well, one thing's for sure.
We're not in Ohio anymore.
Dépaysant.
What?
- It's a French word.
- Uh-huh.
Means, uh, a place that
makes you see things different.
Ah.
What?
What?
Just you speaking French.
Me, you here this is crazy.
Mm.
Nah, it's stupid.
It's crazy.
I met a guy, helped me out.
His name is Codron.
Said he knows you.
I met him at that Maison Mère place.
Genet got him.
She's a piece of work.
He helped you find me?
Said he did it for the boy.
♪
Huh.
♪
Our war should be with the dead,
with hopelessness, with despair,
not some innocent child.
Empathy, concern.
I can see how you lull
the sheep into submission.
Do you think all this time
I've been relying
on only the truth?
♪
♪
We found the nun. Isabelle.
She won't tell you anything.
Not anymore, no.
Was she hiding the boy?
Did she fear what you would do to him?
She had nothing to fear.
But you do.
I fear for my people,
for the future.
When the boy escaped,
I feared that God was
protecting him from me.
I doubted myself, even my faith.
But I don't anymore.
Because I realize now that God
was protecting him from you.
Does the American work for God?
We all serve Him,
whether we believe or not, even you.
So if I find the boy,
it will prove God is on my side.
[INDISTINCT CONVERSATION]
I wouldn't worry so much
about the future.
You don't have one.
♪
♪
[DOOR SLAMS]
- CAROL: Où est la gare ?
- DARYL: What?
High school French.
It means, "Where's the train station?"
If we find a train,
you do all the talking.
Madame Bergeron.
If you'd miss a verb,
she'd crack your knuckles with a ruler.
She was the math teacher, too.
I wasn't very good at that either.
You know, I never really
went anywhere before.
We've been places.
You know what I mean.
When I was a kid,
my dad had this old globe
next to the TV. I'd spin it around,
think how easy it would be
to see the world.
So why didn't you?
Became a mom.
That was my world.
You said on the radio that
time someone came back.
Who was it?
It wasn't a person.
It was a feeling.
Everything at Commonwealth
just got so quiet.
All that old stuff
came back like ghosts.
So I got out of there, and
I was worried about you.
- Tracks?
- Yeah.
More than two people.
Someone caught up to them.
♪
[WALKERS GROWLING]
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
[FRENCH MUSIC ECHOING IN DISTANCE]
♪
♪
♪
♪
♪
♪
♪
♪
[MUSIC GETS LOUDER]
♪
♪
[GILLIAN HILLS' "LE PARADIS
POUR TOI" PLAYS CLEARLY]
M-Monsieur Dixon ?
Who the fuck are you?
Et Sœur Isabelle ?
I am Didi. He is Theo.
The boy said you will come.
♪
I'm out foraging when I see them.
[CHUCKLES] Didi she loves
the white mushrooms.
Mm.
Merci. C'est bon.
I see they are hungry, tired.
The big man, Fallou very nice.
And the boy. Laurent est très gentil.
He helps me with the dishes.
They left on foot?
- To Paris?
- Yeah.
No, I find them a car.
Can you find us a car?
I have many. Um
Maybe you can make one to work.
We'll look in the morning.
No, morning's fine.
- It's pitch black out there right now.
- All right.
Enjoy dinner. Rest.
Sister Isabelle knows best.
[CHUCKLES]
[SNORTS]
When was the last time
any of these worked?
Oh, who can remember?
I learned to drive in this truck.
And learned a few other things, too.
You grew up here?
Uh, fourth generation.
We sold carrots to the Germans
in the First World War,
uh, Nazis in the second,
and, uh, American soldiers after that.
Uh, armies come and go.
We're still here.
[CHUCKLES]
This one's shot. It's
been converted, though.
You got any ethanol?
Uh, i-in the barn.
This one ain't bad.
Need to find a battery,
one that holds a charge.
- A few hoses.
- Ah.
Oh, uh, I know a place
to find these things.
Uh, let me get my walking
shoes. I can take you.
All right.
[GILLIAN HILLS' "LE PARADIS
POUR TOI" PLAYS]
♪
I miss young people.
All the children grew up
and left so long ago.
Was nice having Laurent here,
even if only a day.
Well, like you said,
he's a really sweet kid.
Mm. He's very fond of his Aunt Isabelle.
Hm.
And Daryl. He went on and on.
Daryl's a really good influence.
And the way he talked
about the two of you.
Hm. Sometimes children see things
we're afraid to look at.
Why do I get the feeling
you're trying to tell me something?
Laurent thinks that Daryl
loves you but won't say it
because if he says it,
he won't be able to leave.
Hm.
It's a little more
complicated than that.
Mm. Not to a child.
And not to me.
I know how rare love is.
How long have the two
of you been married?
[CHUCKLES] Theo?
We are not married.
[CHUCKLES]
My husband died years ago.
My children, grandchildren
everyone's gone.
But you seem so happy.
For a long time, I wasn't.
Like Daryl, I was torn between
the world I lost and the one I found.
But
one must look for a way to
keep living.
Not so easy sometimes.
Reasons are everywhere.
- [DOOR OPENS]
- THEO: Ah.
[BOTH CHUCKLE]
[SONG CONTINUES]
[THEO AND DIDI SPEAKING INDISTINCTLY]
♪
♪
[WALKERS GROWLING]
I'm glad he put on his walking boots.
[CHUCKLES]
Place gives me the creeps.
The Walkers have Walkers.
Hey! Bonjour, Madame Ducasse !
[CHUCKLES] Kind lady. And good dentist.
I still have most of my teeth
thanks to her.
Hey! Monsieur Roux ! The baker.
Very quiet. Makes more noise now
than when he was alive.
Ah. Sadly, this whole street
has passed on.
Couldn't you just bury 'em?
There's only old people
left in the village.
Old people burying old people? Too hard.
So when someone dies,
we lock the gate and pay
respect when we pass by.
- That's a new one.
- Yeah.
Whoa! Monsieur Toussaint !
[CHUCKLES]
Stop.
You stay here. I talk to him first.
DARYL: All right.
[WALKERS GROWLING IN BACKGROUND]
Didi says Laurent idolizes you.
Well, she just spent
one day with him, so
Well, he made a big impression.
Sounds like he's gonna do
really well at Commonwealth.
Well, he's got friends in Paris.
Maybe it's better he stays with them.
Better for who? He's
your responsibility.
Maybe I don't want that.
What about the kids back home?
- This is different.
- Is it?
Yeah.
Yeah, it is.
I don't want to lose him.
What, you'll end up like me?
Is that what you're afraid of?
No. No, I ain't afraid of that.
THEO: C'est bon.
Yeah.
Hurry. Dépêchez-vous.
♪
Oh, yeah. Yeah, this will work.
Américains ?
- Uh, oui.
- Ah.
My brother he lives in Florida.
Louise and I
Yeah, he and his wife
go every year in winter.
To the Fontainebleau.
Florida's very nice.
Did you stay at the Fontainebleau?
- It's on our bucket list.
- Tell them I send you.
Ask for Room 22. The best.
Put everything back by Monday.
I must have the car to get to work.
You got it.
Merci.
He forgets everything,
even about the Hungry Ones.
Lucky him.
Sort of a bliss, huh?
I wish I could forget.
[METAL CLANKING]
Ow.
[DOOR OPENS AND CLOSES]
[GRUNTS]
[DIDI SPEAKS INDISTINCTLY]
Thank you.
How is it coming?
We'll have to turn it over to find out.
Hey, uh, Theo said you had some ethanol?
Oui. In the barn. I can bring it.
- Ah, thank you.
- I'll help you.
Oh, thank you.
[SPEAKS FRENCH]
[OMINOUS MUSIC PLAYS]
[WALKERS GROWLING]
[BREATHING HEAVILY]
[INDISTINCT VOICES]
[LOUD HEARTBEAT]
[WALKERS GROWLING]
MAN: Stay back!
♪
[MAN SCREAMS]
[WOMAN SHOUTING]
[INDISTINCT VOICES]
DIDI: Sister Isabelle.
Huh?
[DOWN-TEMPO MUSIC PLAYS]
What is it, dear?
Uh
♪
You can tell me.
♪
I had a little girl.
I got through it.
You will, too.
Oui?
♪
♪
♪
♪
♪
♪
♪
♪
Come. We'll go in together.
♪
[ENGINE STARTS]
All right, go ahead. Give
it some gas. Just a little.
[ENGINE REVS]
Stop! Stop!
I said a little.
That was a little.
No, that was too much.
How am I supposed to know
how much is too much?
Well, you listen, and if it
sounds like it's too much,
then it's too much.
Maybe you're too much.
- What?
- What?
- What?
- What?
Please don't stop. It's a good show.
Like an old married couple.
I'm glad you're enjoying it.
[VEHICLE APPROACHING, WALKERS GROWLING]
♪
It's the Guerrier. You hide here.
♪
♪
♪
♪
♪
♪
♪
♪
[INDISTINCT CONVERSATION]
They're gonna kill them.
We don't know that.
♪
♪
♪
♪
♪
♪
♪
♪
Get down.
♪
♪
♪
♪
♪
♪
♪
♪
I guess Genet won the battle.
I know you had people there.
Isabelle and Laurent.
[SNIFFLES AND SIGHS]
♪
♪
It's from Judith.
How is she?
She didn't want me to go.
Part of her knew I had to
if there was a chance I could find you.
♪
♪
♪
♪
I guess I'm just surprised
you got so close to people here.
I didn't mean to.
It's hard to explain, I guess.
Well, if you ever want to try
♪
♪
Hey.
I'm glad you came.
Me, too.
♪
♪
[SIGHS]
♪
♪
Y-You leave?
Long trip.
Oh, dommage.
Didi make something special.
Her truffle eggs.
You never ate truffle?
No, unh-unh.
Like sex, uh, for the tongue.
Uh, forgive me, Sister.
[SPEAKS FRENCH]
We'll make it quick. Come on.
[SOFT MUSIC PLAYING]
Mmm. Jesus.
I'm sorry. These are the
best eggs I've ever had.
[CHUCKLES]
Yeah, truffle.
I'm gonna have to get me some of these.
You need a good eye
and a lot of patience.
They're very hard to find.
Only for special occasions.
Well, thank you for the car.
And for all you've done.
What are your plans
after you find Laurent?
Will you stay in Paris?
I don't know. We're
still working it out.
Mmm. Mmm.
[VEHICLE APPROACHING]
♪
♪
[GUN CLICKS]
What are you doing?
Theo?
Qu'est-ce que ça veut dire ?
♪
What'd they offer you?
♪
♪
Do you know who those people are?
Armies come and go.
You don't survive by picking
the losing side.
♪
Come with me.
♪
[VEHICLES APPROACHING]
♪
Count five. Six.
There's Genet.
♪
You can hide down there.
♪
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Monsieur.
♪
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They're gonna search the barn.
Here. Cover me.
I'll get the car.
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Didi
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No.
[GUNS CLICKING]
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♪
[GUNFIRE, MEN SHOUTING IN FRENCH]
♪
- Allez, on sort !
- D'accord.
MAN: Qu'est-ce que c'est ?
Vite, vite, vite !
[METAL CLANGS]
♪
♪
[GRUNTS]
[SHELL CLATTERS]
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♪
[SOFT TAPPING NOISES]
♪
[GUNSHOTS]
[MAN SHOUTS]
[GUNSHOTS CONTINUE]
[SHOUTS IN FRENCH]
♪
♪
Judgment.
I see it in your eyes.
More like confusion.
About how someone like you could turn
turn into this.
♪
♪
Do you know what else I've seen?
The City of Lights gone dark
while the wealthy fled to
their villas and their chateaux.
Families huddled in terror
under the Pont Neuf
as barges took the powerful
down the Seine for refuge.
So you're making up for that now?
And while the great works were safe
I saw my love my hope
devoured by the monsters they made.
Five feet from me.
On the other side of the glass.
Have you ever known that kind of loss?
[CHUCKLES HUMORLESSLY]
♪
♪
- [GRUNTS]
- [GASPS]
♪
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[GROANS]
Oh!
[BREATHING SHAKILY]
[GRUNTING AND MOANING]
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[SCREAMING]
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[GASPS AND SIGHS]
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[SOBBING]
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[WHISPERING IN FRENCH]
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Found a map in the glove box.
- Oh, good.
- Yeah.
♪
♪
You know, I-I didn't
think much of Isabelle
when I first met her.
She needed my help,
and I needed a way home.
So we made a deal.
Makes sense.
And Laurent he, uh,
kind of became the glue
that held us all together, you know?
Yeah, I do.
And I never, ever stopped
trying to get home to you.
The longer I stayed here,
the the harder it got.
You loved her.
♪
♪
You know Laurent's
coming home with us, right?
Yeah, I know.
♪
♪
[GROWLING]
♪
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♪
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She went after the boy
and now she's gone.
If that isn't proof that
God is on our side
Marion's way was not enough.
But neither is yours.
So now what?
♪
♪
♪
♪
[INDISTINCT CONVERSATIONS]
♪
♪
♪
♪
All is forgiven my friends.
[PEOPLE MUTTERING]
Tout est pardonné.
♪
Pouvoir des Vivants.
Bienvenue ici, à l'Union de l'Espoir.
Nous pouvons unir
nos rêves pour un avenir
meilleur et plus fort.
Let us merge our dreams
for a better, stronger future.
Ahead is the promised land.
Laurent will take us there.
♪
♪
Are you ready? [WHISTLES]
[GUNS COCK]
♪
Carol has a friend who has a plane.
We just got to find him.
[WALKERS GROWLING]
Do you think that someday
this will all be over?
You're thinking of everything
you could have done differently?
It's a pretty long list.
LOSANG: He wants to go home.
If he takes the boy,
what becomes of ours?
Be careful.
Some people will do anything
for a way out.
♪
Today we are at the
Mont-Saint-Michel, the Nest.
Genet is here with soldiers,
and we are going to try
to escape from her.
The first time for me in this place.
I'm thrilled by the beauty
of this location.
Filming at Mont-Saint-Michel at night,
and we have the lighting and
there's fog machines and smoke,
and then all of a sudden
comes these figures,
and they're moving faster and faster.
[GROWLING]
I had so much fun filming that.
These Walkers on the show
are frightening.
LEVI: Actually, I was really
scared when I saw them,
tell you the truth.
MCBRIDE: Getting to ride
on the ATVs was fun.
I did like the challenge
of being able to drive it
as quickly as I could through
some very narrow spaces,
and the challenge of, you
know, not hitting anybody.
That was fun.
Strapped to the back of the
vehicle is our friend Codron,
who's serving as zombie bait
for these amped-up zombies.
LEVI: The dummy it's very funny.
It really looks like me, all right?
The only thing is that his
head is a bit bigger than mine.
So I told them, "Listen, okay,
I have a big head.
But not so big, you know?"
I was shocked. I mean, to see a guy
who really look like you
like this, it's funny.
Sister, we're going to offer
the flock proof of their faith.
ZABEL: Losang has slowly been
kind of grinding
under the pressure of this more
radical faction within the Nest.
What I loved in that scene
with Losang is that I think
it's a very accurate scene
about beliefs gone too far,
and to just bring it back to humanity
and to try and bring him back
to his humanity,
which she, you know, fails. [LAUGHS]
[GASPS]
[GRUNTS]
I read that scene and my response was
was literally this
"Me?! No! No, no!"
I was both excited with the story,
but also sort of horrified
that it was my responsibility
to do this task.
[WOMAN GRUNTS]
[GROWLING]
Oh. [GRUNTS]
MCBRIDE: It was the second time
that I had been to
Mont-Saint-Michel, and I remember
it was the first time
that I had met Clémence.
I'd been waiting to meet her
since we started season two,
and we kept missing each other
because we were never
in the same locations.
And I saw her before
we went to rehearse.
We just had a big, long hug
and it was so,
so nice to meet her
and so incredibly frustrating
to just have these two scenes
and then to just kind of be done.
MCBRIDE: I did like that
they intersected when they did.
I mean, she was the piece
to get Carol to Daryl.
♪
[CAROL GASPS]
ZABEL: There was a lot of talk about
how Daryl and Carol reunite,
because obviously it was one
of the centerpieces
of the season for us.
I mean, there's a whole story going on,
but that story people are waiting on,
and it has to be [BLEEP] legendary.
There was an early version of them
fighting to get back to each other.
Then it changed into something
a little bit different.
That was Norman's idea.
I grabbed my phone
and I wrote down this idea
that I had about the meeting,
and, I don't know, it just came to me
while I was asleep,
then at like 11:00 at night,
I sent it to David,
and he and Jason both liked it,
and they took that idea
and they just elevated it 1,000%.
ZABEL: And then as we worked on scenes
around that whole sequence,
we continued talking about it,
Norman and Melissa and I,
and then we ended up with
this version that you see now.
I can see them.
The fireflies.
POÉSY: It's a world where
I guess you're very used to
saying goodbye. I think
there's an acceptance.
I don't think she's fighting it.
I think she knows she can't.
They're so beautiful.
ZABEL: For the moment
when Isabelle dies,
I think what we wanted was
great dignity,
intelligence, strength,
and a really moving ending
to the character.
REEDUS: Isabelle and Daryl's
relationship
has evolved to a point
where he truly cares about her.
POÉSY: It's been so nice, season two.
It's been such a sort of treat
to take Isabelle a bit further,
and knowing that we were taking
these two characters
on a journey
and exploring their
relationship a bit more
was just the greatest luxury.
ZABEL: Isabelle's death hits hard
because she's touched
something within him
that we haven't seen before,
and it's because she's
so different from him,
and it's also because she's tied
into this boy that he loves,
and now he's got to make sure after that
not to let the same thing
happen with Laurent.
CAROL: One thing's for sure.
We're not in Ohio anymore.
ZABEL: The scenes we're filming here
in this little village are scenes
that involve Daryl and Carol
trying to find a way
to get back to Paris to find Laurent.
This village is composed
entirely of old people.
The young people went away
or died during the apocalypse.
They all died of natural causes.
None of them were killed by zombies.
They died of old age.
So a lot of the rot that
we apply to the performers
signified deterioration,
not any sort of violent death.
Hey. Bonjour, Madam Picard.
ZABEL: There's a sense of
community in this village
that has led them
to this unusual decision
to allow some of the people
who have died
and become Walkers to continue to exist,
confined within their properties.
So it preserves
a very strange, touching,
but weird sense of community.
It's one of a number of sort of
signature Walker environments
that we've created on the show.
[GUN COCKS]
Judgment I see it in your eyes.
The trick with Genet is she has
been a tremendous villain,
so her death has to live up
to the glory of her evil-doings.
CHARRIER: She really did
believe she was doing
the right thing for the community,
you know, finding order
and, um, that's it.
It's gone.
[GRUNTS]
Oh.
NICOTERO: We really wanted
her death to be
just completely horrific,
painful, gut-wrenching.
It's a great death. It's a great death.
It was the only way she could die
from the monsters she created.
She's gonna be one of them.
[GRUNTING AND GASPING]
It's a complete character.
Her journey is complete.
I'm proud of it.
[GROANS]
MCBRIDE: They shot that separately.
But I did see what Nicotero
and his team came up with
for when she really goes
bananas on the ground.
NICOTERO: And bladders.
It's horrifying.
NICOTERO: We designed
this animatronic head
that we did several stages of makeup on,
and it was funny the phone calls.
I would have to call her from L.A.
"Hey, I need really detailed
photos of your teeth".
I'm in the south of France,
in a very remote village.
Like, "Okay, get a ruler
and put it next to your eyes".
So we had to go to the town
after to get just the ruler.
And my husband was taking pictures of me
in front of the kids who were, like,
passing by, going
That was very funny.
And, of course, when
she saw it, she's like,
"What are you gonna do with that
when you're done with it?"
And I said, "I don't know.
Probably end up in your house
somewhere, maybe".
Ah! He told me not to say it!
[LAUGHS] I'm so happy
that I have this head.
♪
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