The Walking Dead: Daryl Dixon (2023) s02e06 Episode Script

1
- So you'll take the boy with you, huh?
- That's the plan.
God is still here, and the boy is proof!
FALLOU: That's what faith is.
If you need proof,
you've already lost it.
♪
I can see them, the fireflies. [SIGHS]
I mean, using your dead
daughter to manipulate me
DARYL: Ash is gonna be
the one flying us home.
This plane will never get off
the ground with all four of us.
So, Paris, we have a problem.
♪
You know, where I'm from,
they say you blow on those
to set your wishes free.
In French, it's called pissenlit,
because if you eat one,
it makes you pee in bed.
[SCOFFS] Pissin the lit.
[CHUCKLES] Here.
Found this in the trunk of a car.
I did what I could with the strings.
[PLAYING NOTES]
Père Jean teach you how to play that?
He liked '70s rock.
Neil Young, Joan Baez, Led Zeppelin.
You're not coming, are you?
Somebody has to stay behind.
It makes sense that it's me.
You want to talk about it?
Why? It won't change your mind.
Every time something good happens,
something bad comes to ruin it.
It's only temporary.
Then why does it feel like forever?
It's a long way to America.
You'll be all alone.
I've been alone before.
A lot of times.
I'll make it back.
You can't promise that.
Hey. Look at me.
I can promise that.
I'm gonna see you again.
All right?
Go ahead. Play something.
[PLAYING "YOU CAN'
ALWAYS GET WHAT YOU WANT"]
♪
♪
You can't always get what you want ♪
TOGETHER: You can't
always get what you want ♪
You can't always get what you want ♪
But if you try sometimes ♪
You just might find ♪
You get what you need ♪
♪
♪
♪
How's it looking?
I want you to know that I
won't be coming with you.
I want you to take Daryl and the boy.
Why should I help any of you?
You bring me here under
bullshit pretenses.
For what?
So now I should do you
a huge fuckin' favor?
You want to punish me, I get it.
But you won't be doing any worse
than I'm already doing to myself.
♪
Please don't take it out on them.
♪
[SIGHS]
♪
Okay.
Yes.
[HORSE SNORTING]
[CHUCKLES]
♪
[WALKER GROWLING]
♪
♪
[WALKERS GROWLING SOFTLY]
♪
♪
♪
♪
Good.
♪
♪
[SNARLING]
♪
♪
FALLOU: Codron !
♪
[SPEAKS FRENCH] Hey, hey, doucement.
♪
[SETS GUN DOWN]
♪
♪
[ARROW WHISTLES]
[GUNSHOT]
♪
[GRUNTING]
♪
♪
♪
♪
♪
I don't think he likes me.
- [DOOR CLOSES]
- Who, Ash?
He's got a lot on his mind.
Because you lied to him.
Something like that.
And now you feel bad, too.
♪
People shouldn't lie.
No, they shouldn't.
But I'm glad you did.
If you told Ash the truth,
you might not be here.
And neither would Daryl.
You have a really special way
of seeing things, don't you?
You're gonna make a lot of
friends at the Commonwealth.
Do you think Daryl will be
able to make it back by himself?
♪
DARYL: What kind of
hose are we looking for?
ASH: Something long enough
to run from an external tank
so we don't have to stop.
Yeah, Greenland. I heard about that.
Hey, look, man, I don't
really need any help here.
All right. Fair enough.
What happened to his parents?
Who, Laurent? He's an orphan.
I'm sorry about your kid.
Carol told me.
I was there when she lost Sophia.
I wouldn't wish that on anyone.
Yeah. You lose a
a wife or a husband,
you're a widower, a widow.
♪
But if you lose a kid
there's no word for that.
Maybe that's too hard
of a thing to name.
You got kids?
No.
Well, maybe it's a good thing
you don't have that worry.
I worry about plenty.
♪
You know, you came here to save a kid.
You still can.
♪
Wait a minute.
Hey.
[WALKER SNARLING]
♪
I guess I am kind of glad
you're coming with us.
[SNARLING]
♪
ANNA: I used to live on this
street when I first moved here.
Ran away, actually,
from our little village to be a singer.
Hated my mother for not believing in me,
but maybe she was just
trying to protect me.
If she could only see you now.
I wonder if she'd be ashamed.
Where is she anyway?
Back home, I guess.
In Karelia.
♪
[TIRES SQUEAL]
- [GUNS COCKING]
- MAN: Get out!
[CAR DOOR OPENS, TIRES SQUEAL]
[MEN SHOUTING]
You want to get us killed?
♪
[SPEAKS FRENCH] Descends.
♪
♪
Perhaps you remember me from
that cesspool you operate.
Oh, yeah.
You came with a man and left alone.
I want the same thing he wanted.
I didn't help him. Why help you?
♪
[GUNSHOT, DRIVER GROANING]
[BLOWS LANDING]
♪
Ouch.
[SCOFFS]
I know they have an airplane.
Help me find them, or your
friend's pretty face goes next.
♪
This is why I don't make friends.
And I don't give
without getting
something good in return.
What about your life,
Mm. I could take it
or leave it.
♪
What do you want?
♪
To go home,
back where my people are.
So
I help you find the boy,
I get the plane
and the pilot.
♪
So, this way, we're
going to be able to talk.
This tells us how high we are.
And this tells us what
direction we're going.
- LAURENT: And this?
- It's how we communicate.
[CONVERSATION CONTINUES INDISTINCTLY]
Pretty good with him, huh?
Yeah. Yeah, he is.
Yep.
Brought you something.
- No way.
- [CHUCKLES]
You lug this all the way here?
Well, he allowed one carry-on, so
Yeah. Thank you.
Daryl, listen.
Look, I know what you're gonna say.
You ain't staying.
It's the right thing for everybody.
- It's already settled.
- I'm going to get you home
even if it means me staying behind.
Because if anything happens to you,
I'm not going to be
able to live with myself.
He's right.
Daryl has been here
longer on the ground.
He knows how to survive.
And you know the plane. You can help me.
Ash, this isn't about that.
It is about whatever can get
that kid back to a safe place.
Looks like you're outnumbered.
[DISTANT BANG]
Shh.
♪
- Easy, Fallou.
- Easy, easy.
Jacinta's still alive.
They are coming for Laurent.
You ready to fly?
You gotta go right now.
Come on. Help me get this wall down.
[DOORS OPENING]
DARYL: All right.
♪
All right. That's good right there.
I gotta test the engine.
♪
♪
Plane is on the other
side, near the racetrack.
They won't see you coming this way.
[MEN SHOUTING IN FRENCH]
♪
♪
♪
♪
ANNA: It doesn't look like it used to
does it?
It will be beautiful again someday.
I hope you get to go home soon.
So, which way?
Through the garage. It
will take you to the track.
♪
Okay. Go ahead. Lead the way.
♪
♪
♪
After you.
♪
♪
♪
♪
[CLATTERING]
[MURMURING, GUNS COCKING]
[WALKERS GROWLING]
♪
[SCREAMING, GUNFIRE]
♪
Aah!
♪
♪
♪
You knew.
Dixon will kill you.
No. God is on our side.
God gave up on us a long time ago.
[WALKERS SNARLING]
♪
[BODY THUDS]
MAN: Move, move.
♪
[HYPERVENTILATING]
♪
[BREATHING SLOWS]
[AIRPLANE ENGINE RUMBLING]
♪
Carburetor's a little stubborn.
I gotta make some tweaks.
Pop out.
- A skip means that
- There's air in the fuel line.
That's right. Just
tightening the intake.
That ought to do it.
Sure about that?
Yeah.
♪
[MOTORCYCLE ENGINE REVVING]
♪
Incoming!
CAROL: They found us.
All right. Give us some
time to get down that runway.
DARYL: You got it.
♪
Hey, look at me. I'll see you soon.
All right? I promise.
Take the gun.
[MEN SHOUTING IN FRENCH]
♪
♪
♪
I know. Go.
[ENGINE SPUTTERING]
Go on. Go.
[ENGINE SPUTTERING]
- [ENGINE TURNS OVER]
- Yes! Yes.
All right, let's go.
♪
Yo! Help me move this.
Okay!
♪
♪
[GUNSHOTS]
♪
[GUNFIRE]
Aaaaaaaah!
♪
♪
♪
Are we good?
Yeah.
Yeah, we're good.
♪
♪
♪
[SHOUTS IN FRENCH]
♪
♪
♪
♪
Look!
♪
[GUNSHOT]
♪
[GUNSHOT]
[LAUGHS]
Ah!
♪
[GASPS] Shit.
♪
[BULLET WHISTLES]
♪
Come on, come on, come on, come on.
[EXHALES DEEPLY]
♪
[CLICK]
Come on!
♪
[GUNSHOT]
♪
[BREATHING DEEPLY]
[LAUGHS] Suck it, motherfucker!
[LAUGHS]
♪
♪
♪
[GUNFIRE]
♪
♪
♪
[BREATHING RAGGEDLY]
♪
I had it.
Yeah, I know.
♪
♪
♪
[GUNSHOT]
♪
♪
♪
♪
♪
♪
♪
They say they'll be here by sundown.
We can head out in the morning.
Who are these people?
The couple I met at the Demimonde,
They can help us get to England.
From there, you may find
a way across to America.
- They speak English?
- They're from Scotland, so
- No.
- [LAUGHTER]
No, no.
♪
Get it up.
♪
Fallou, maybe your pals
could stop pointing those things at us?
Oh. [LAUGHS]
Bonjour, mes amis.
This is Fiona and Angus.
They will be our guides to the islands.
Good to see you.
Daryl, Codron, Carol, and Akila.
Hiya. Nice to meet youse.
Some supplies to get
through the checkpoint.
Aye. Supplies.
All right. Wine. Bit of food.
Very good.
Aye. That should be plenty.
[CHUCKLES] At least
one more than we need.
- Oh.
- Oh!
[LAUGHTER]
ANGUS: We were in Edinburgh
the first few years.
And Fiona said, "The hell with it.
- Let's get hitched."
- [LAUGHS]
I thought that Paris would
be romantic, you know.
We were young. Young and dumb.
[LAUGHS]
You know, I always had
this dream about France.
The history, the culture, the food.
You know? What was it really like
before the world turned to shite?
Ma France ? Parfait.
Well, most of the time.
Of course, some things
were not always so good.
I had these neighbors. Les
Desjardins, a White family.
They were so nice. My food smelled bad.
I played music too loud.
I worked in hospital back then,
so I came and went at all hours.
They complained about it.
- [CHUCKLES]
- Then Monsieur Desjardin,
he lost his job.
Drank a lot. Started calling me names.
Terrible words.
Telling me I should go
and live in la Goutte d'Or
with my people.
Then, boom.
The world changed.
We stayed in our flats,
hoping to hold out.
Wait for this terrible thing to pass.
One night, I hear a knock at my door.
I grab my weapon and look out.
It's him holding his two-year-old child
limp in his arms, pleading
in his eyes for me to help.
He thinks she's dead, but no.
Her airway was blocked
and she passed out.
I got her breathing again.
She smiled at me.
And the father?
He took her and left.
But I saw gratitude in his eyes.
So the apocalypse
put an end to racism?
[CHUCKLING]
Well, maybe it leveled
the field a tiny bit.
Only two kinds of people now.
The dead and the living.
We need more wood.
FIONA: Okay. Night-night.
DARYL: Night.
Uh
♪
♪
♪
♪
♪
I'm sorry about what
happened to the nun.
She's probably in a
better place, though.
Like my brother.
His name was Michel.
It's a very old name in France.
I used to laugh about that with him.
He hated that.
♪
It was so hard to see him that way.
♪
Having to
finish him off.
♪
In a way, you
you put an end to part of yourself.
♪
Yeah, I can imagine.
You never told me what happened.
When you killed Michel.
♪
I didn't kill him.
That girl beat me to it.
What?
What girl?
A skinny girl on the road.
She was with some old guy who
He tricked me into
thinking he was blind.
[CHUCKLES]
She told me it was you.
[SCOFFS] What'd you
expect her to tell you?
So, what, everything's
starting down in Marseille
L'Abbaye
La Maison Mère, le
Nid, the things I did
♪
all of that's because of her?
Well, I guess she was
a pretty good liar.
♪
♪
You all right?
They should be there by now.
Ezekiel's probably showing Ash around.
Maybe Judith is trying to teach
Laurent how to use her katana.
It wasn't easy there.
Never felt like home.
It'll be different this time.
We'll stay together.
[VOICE BREAKING]
I can't remember her face.
♪
All I see is of her after the farm.
♪
But her before,
that little girl that I
would read stories to
sing with and laugh with
♪
time took that Sophia away.
All that's left is what
came out of the barn.
It's more than that.
Just seems that way.
I'm tired, you know.
It's been so long, it all
just got churned up again.
Her. Lizzie.
Henry.
Hey.
None of that's your fault.
Come here.
Come here.
We keep going. All right?
That's what we do.
♪
♪
[GULLS CRYING]
♪
♪
♪
So that's it, huh?
ANGUS: Little bit worse for wear,
but we can still get through.
CAROL: Wow!
CODRON: Le tunnel sous la Manche.
FIONA: The Chunnel.
50 kilometers to England.
Took us about nine hours to
walk this on the way here.
- Take care.
- You too.
We'll all be here thinking of you guys.
Let's go.
Bon courage, mes amis.
I know you will get where you are going.
Tu viens pas ?
It's been a privilege
fighting with you guys.
[BOTH LAUGH]
Thank you for everything.
Frères d'armes pour toujours.
What did he say?
He said you're brothers-in-arms.
- That's what I thought he said.
- Mm.
- Your French is getting better.
- [CHUCKLES]
♪
♪
♪
♪
[BATS SQUEAKING]
♪
DARYL: So what's England like?
ANGUS: Ugh, England's shite.
That bad, huh?
FIONA: Actually, Army took over
and got things locked down pretty quick.
The island was good when we left.
Aye, but they're still
English, so they're shite.
Now, Scotland, there's
a wet fucking dream.
CAROL: What the hell is that?
- Guano.
- Guano?
Bat shit. Don't touch it.
- Yeah, don't worry.
- Ugh.
That stuff's psychoactive.
We're under the channel now.
DARYL: Hope that ceiling holds.
Drowning is not anything
I had on my to do list.
Don't worry. Pressure
will crush you to death
before you get your hair wet.
That's comforting. Thank you.
How do we know how far we've gone?
That yellow door leads
to a service tunnel.
There's one every half kilometer.
FIONA: Only 91 to go.
Yo. Hold up.
That must be a checkpoint.
CODRON: English? Why so close to France?
To keep out the fucking French.
Hey, relax, mate.
Just keep your guns away.
Let me do the talking.
You'll just piss them off.
♪
Hello!
We're British. Please don't shoot.
We come bearing gifts. Angus, get it.
Yeah. Yeah, fine.
- [SNARLING]
- Vino. We've got vino.
God save the Queen.
♪
DARYL: Guess they're not
going to be needing the wine.
More for us.
♪
[BANGING]
Shh.
♪
♪
♪
[WHIRRING]
♪
ANGUS: And God said, "Let there be"
♪
♪
They killed each other.
Why would they do that?
Maybe it's the guano. If
you breathe in too long,
you can start to see things,
start getting you paranoid.
People lose their minds.
♪
Let's keep moving.
♪
♪
♪
♪
CODRON: What is this?
FIONA: Bioluminescence.
Some animals and plants
generate their own light.
Like fireflies.
Yeah, exactly.
[GROWLING SOFTLY]
CAROL: Walker.
♪
All right. Follow me.
Single file. Keep quiet.
♪
[GROWLING]
♪
♪
[GROANS]
You okay?
Don't worry about me, froggy.
♪
Oh!
[GROWLING]
Got you, got you, got you.
[WALKERS GROWLING]
♪
What?
♪
♪
[GUNFIRE]
♪
♪
♪
[DISTORTED SNARLING]
♪
♪
[GUN CLICKS]
♪
♪
[GASPS] Oh, God.
[PANTING]
♪
♪
♪
[SWORD CLATTERS]
[SNARLING]
♪
No. No!
No!
No! No!
No. Michel !
Michel !
Michel ! No!
♪
No!
Where's Carol?
You killed my brother!
♪
♪
[GROWLING SOFTLY]
♪
♪
[GROWLING]
♪
[GASPS]
♪
♪
♪
[WALKERS SNARLING]
♪
[GRUNTING]
♪
[SNARLING]
♪
♪
[GRUNTS]
♪
♪
♪
Aah!
Stop! Stop! It's me.
Stop.
♪
Michel ?
♪
Michel ! Michel !
♪
[GROANS]
♪
[PANTING]
♪
♪
ANGUS: Hey, mate.
♪
Here. Put it on.
♪
[SNARLING]
♪
[SOBS]
♪
[SOBBING]
♪
♪
♪
There you are.
♪
Ugh!
Sorry, pal. There's not
enough masks for the lot of us.
We've got people waiting
for us back home, mate.
Just leave him here?
♪
♪
♪
Has it been so long?
♪
[CAROL SOBS]
[SIGHS]
♪
Can I
♪
Can I come with you?
♪
♪
♪
♪
♪
- ANGUS: Fetch my pistol.
- FIONA: What?
Fetch my pistol in my bag!
Where's your bag?
I gave it to you, all right?
ISABELLE: You think you've had enough.
That there's nothing left inside you.
You think it's over?
But you won't die here.
♪
♪
Not like him.
♪
♪
Remember when we first met?
What I told you?
Bet on hope.
♪
♪
[GUN COCKS]
♪
[FIONA SCREAMS]
[MUFFLED WHIMPERING]
[HEAD THUDS, WHIMPERING STOPS]
♪
[PANTING]
♪
♪
Bon courage, Monsieur Dixon.
♪
♪
♪
♪
Put that on.
Got it.
Are you okay?
I think so.
♪
Where's Codron?
He ran off.
♪
Let's go home.
Yeah.
♪
You can't always get what you want ♪
You can't always get what you want ♪
You can't always get what you want ♪
But if you try sometimes ♪
You might find ♪
You get what you need ♪
Oh, yeah ♪
Yeah, oh ♪
[BLOWS]
[WIND BLOWING]
ZABEL: "Au Revoir les
Enfants," "Goodbye Children"
is the title of episode 6.
It references a great old French movie,
and it had some themes that were
very relevant for this series.
It's also relevant to the episode
because we are saying
goodbye to Laurent,
at least for the time being.
You're not coming, are you?
Somebody has to stay behind.
That whole section was really moving.
It's Daryl being left alone again.
That surprised me a little bit.
I was kind of gripped
by that because I'm like,
"Well, he started alone
washing up on a beach
and now he's getting left alone again."
That's what it feels like in the moment.
Go ahead, play something.
SCIGLIUZZI: Yeah, I can play guitar.
I've been doing it for a year
and a half, maybe two years.
It was kind of hard to
play on that guitar on set
because it wasn't tuned,
but I think they wanted
it to not be tuned
because you wouldn't pick
up a guitar after 12 years
and just strum it, and
it would be perfect pitch.
The playfulness of badly singing
this amazing song together,
this thread became visible
between the two of us,
which kind of connected us like magnets.
And then it went to a really sad place.
PERCIVAL: I think the
most important thing here
is with all the violence
and all the action
and all the thrill and all the drama,
that you never lose sight of
that very simple human emotion
of two people saying farewell,
potentially for the last time.
I'll make it back.
You can't promise that.
I can promise that.
SCIGLIUZZI: I think
these two characters,
they grow on the sort of mentor
relationship in season two,
even more than in season one.
REEDUS: Yeah, I mean,
the relationship between
Laurent and Daryl,
it's very similar to the relationship
between Louis and I. We've
really bonded quite a bit.
We bond over funny things.
We tell jokes a lot.
But, yeah, our relationship's
it's pretty strong.
He's a cool kid, for sure.
♪
ZABEL: The Hippodrome
sequence was many days.
I think it was a full
week and multiple units.
It was probably the
hardest overall sequence
we filmed in the whole series.
[SPEAKING FRENCH]
It's one of the final
big events of the season.
Well, the action that happens here
in this location is quite extreme.
There's a starting gate,
which is a horse starting
gate at the Hippodrome,
and that's gonna be the
barrier that they erect
to stop Jacinta and her
warriors from capturing Louis.
And there'll be a fierce comeback.
- [YELLING]
- [RAPID GUNFIRE]
SCIGLIUZZI: The sequence
is gonna be so epic,
because there's gonna be people trying
to stop us getting away
and going up in the sky.
[GUNSHOTS]
We're gonna have an explosion as well,
and then Codron is
gonna throw a grenade,
and the car is gonna
lift on two kickers.
And then a motorbike following a plane.
Then the plane taking off.
LEVI: There was this real plane.
This plane is able to fly, you know.
So it's crazy. I loved it.
PERCIVAL: Very often,
directors like their toys.
They like their ships and
their planes and their trains.
But they all come with
all sorts of problems.
You know, it's very
complicated, very difficult.
We've had to do aerial photography.
We've had to do on-board
plane photography.
Some we've done live, some
we've done against green screen.
It adds enormous complexity,
but it's so rich in terms of
the scale and scope it gives us.
FOUASSIER: The first thing we've done
is we did a big rehearsal with the plane
to see if it was possible,
and then we worked with a storyboarder
and we pretty much draw the whole scene.
[GUNSHOT]
- And here we are shooting it.
- [LAUGHS]
MCBRIDE: My fondest memory of shooting
that whole crazy hippodrome scene
would be Carol laying in the grass,
taking that shot, and then
looking over and seeing Daryl.
Daryl seeing Carol.
There was some strange
happiness happening there.
ZABEL: The other thing
that I loved about it
that I didn't even realize
till I was standing there
when we were doing it, I was like,
"All the characters are here."
All the stories came together
in this huge action piece.
REEDUS: Having everybody together,
injecting their tastes, it's fun to do.
It makes it feel like a whole pie.
WOMAN: The Chunnel.
So we end the season in the Chunnel.
The Chunnel is a tunnel that
connects France to England.
And the idea that we're
positing in episode 6
is that things in England
are better, ostensibly,
and that that would
be a place to get to,
and also a place it's a
little bit closer to home.
REEDUS: It's sort of
like being in deep space
or like being really, really
low depths of the ocean.
It's claustrophobic,
but also pretty enlightening
at the same time.
Of course, the Chunnel holds
certain unexpected risks
and jeopardies that they encounter.
LEVI: The zombies.
I was shocked by their beauty.
There are new zombies.
They are very different
and they are amazing.
NICOTERO: We've been testing
these bioluminescent walkers.
This fungus that gets
underneath the skin glows,
and there was a lot of
talk at some point of like,
"Well, maybe we can put some LEDs
in the prosthetics themselves."
The trick with that is
the minute the actor moves,
if he pulls a wire out,
then all of a sudden,
it doesn't work anymore.
It's really, really
challenging to get lights
underneath the prosthetic makeup.
So we opted for some
black-light-activated paints,
and then we have several full bodysuits,
and we would paint the suits
and then put layers
of translucent silicone
over top of them to diffuse them.
So it looks like
they're actually
glowing from underneath.
[SQUEAKING]
ZABEL: In the writers' room,
we were talking about things
that could happen in the Chunnel,
and we wanted something a little crazy.
We were talking about bats, and
there'd be lots of bats there.
And then we talked about guano
and the effects of ingesting guano.
So then we ran with that.
LEVI: So it's a mix
between a kind of reality
and kind of dream nightmare, you know?
And then it became
about how to give resolve
to the Daryl, Isabelle,
Daryl in France story.
And how do you also give
some kind of resolve,
although it ends mysteriously,
with Codron and his brother?
That's how we went bat [BLEEP]
crazy in the writers' room.
[GROWLING]
MCBRIDE: Back in season four,
when they were going to kill Carol off,
I had gone to the studio and
they made a latex of my face,
and he used that as, I guess,
the preliminary drafts for
some of the Carol walkers,
which is, I don't know, a
little disturbing to see,
but it's just enough
to not totally mutilate
Carol in her own mind.
Whatever perception she has
in that moment of hallucinating
and the depths of her
perception of herself,
I think it's just enough to
make that work for that scene.
ZABEL: We are saying goodbye
to this sort of version of Sophia
that is haunting Carol.
Her fight for survival
is is a tribute to Sophia,
and it always has been.
I think it's a punishment
that she may not even deserve,
and I think that's what
she needs to get beyond.
There's so many losses that she
had taken responsibility for.
ZABEL: Not that Sophia's gone forever,
but this idea that she only
sees Sophia as a walker,
that walker, Sophia, leaves.
You okay?
I think so.
I like it in this season with just
the two of them. It's a full circle.
NICOTERO: It's an
effortless relationship,
and you don't need a
lot of words to express
how they feel about each other.
And that's how close
those two characters are.
MCBRIDE: It's just the two of them now.
They're not back in the Commonwealth.
They're still in Europe.
What's on the other side of the tunnel
and where are they gonna go from here?
CAROL: Let's go home.
♪
♪