Original subtitles

.

- Reverie,

a virtual reality program

where the impossible

becomes possible.

Anything you desire

you can find here.

But sometimes,

people get lost,

caught between

fantasy and reality.

That's where she comes in.

Her name is Mara Kint.

Her job, find the lost ones

and bring them home.

And maybe by saving them,

she just might find a way

to save herself.

[sweeping orchestral music]

♪ ♪

- Previously on "Reverie"...

- I know you're in danger.

- What kind of danger?

- Losing your mind.

- Is Oliver right?

Am I going to go crazy?

- Oliver was unstable

long before he got a BCI.

- Stop, no!

[gunshot]

- I got shot.

Should I be worried?

I'm really sorry, by the way,

that I didn't

return your calls.

- The calls I made

19 months ago?

I've been

thinking about you.

Can we talk later?

- I was wondering

when you'd finally get up.

Good morning.

Okay, out with it.

- No, no, it's nothing.

- Mara.

- [exhales]

Okay.

Do you think

this was a good idea?

- You think I would

still be here if I didn't?

- Come on.

- Yeah, I probably would.

- You know.

[both laugh]

- What about you, do you think

this was a good idea?

- You know, okay, all right,

here's the thing, I just...

I feel like, um...

It's been a while since

you and I have been together.

- Mm-hmm.

- And it's really easy to just

fall into old behaviors,

because they're comfortable,

and I'm really

overthinking this, aren't I?

- I'm good.

I hope you are, too.

- I want to be.

Yes.

Yes, I am.

- Then...

Everything's okay?

- It is.

- Okay.

- Okay.

[gentle music]

♪ ♪

- Here you go.

Here you are.

♪ ♪

[upbeat percussive music]

♪ ♪

[knocking]

- Pilar, Georgie

said you were feeling--

What are you doing?

- Apertus.

[machine beeping]

[upbeat Latin music]

♪ ♪

- Pilar!

- Hola, Senor Castillo!

♪ ♪

- Mi hijitas.

all: Pilar!

- Pilar.

I was waiting

for the sun to shine.

- So, I hear they serve the

best pisco sours in this bar.

- Let's find out.

♪ ♪

- Obviously my staff had no

idea what Pilar was doing.

If we had known

she was using your program,

we would have put a stop

to it instantly.

- Mara, this is Jack Selve.

He's executive director

of Shady Pines Assisted Living.

- Hi, how are you?

- One of his residents

is a client of ours.

Pilar Simonet.

- Mr. Selve,

you make it sound like

she's doing drugs or something.

- We work very hard

to keep our residents engaged

with the outside world,

keep them active, social.

If we gave them Reverie,

all of that would mean nothing.

They'd never come out.

Pilar is a case in point.

- Well, you and I may disagree,

but it is her choice.

- Pilar has lung cancer.

Thanks to your program,

she's missing a round

of treatment today.

And not eating, and not

getting physical therapy.

- Mr. Selve, how did

Pilar get the program?

It's not like

she drove herself here.

- Apparently,

she bribed one of our aides.

Ex-aides.

And she's been visiting

your facility repeatedly,

under the guise of

hairdressing appointments.

- Clever lady.

- We think Pilar

has been sneaking time

in the Reverie program

for the past two weeks,

Which is probably

why her health

has gotten significantly worse.

We can't have it.

Now when I called,

Mr. Ventana explained

that you could extract

people from Reveries?

- Something like that.

- What Pilar is doing

is a danger to herself

and a bad example

for our community.

I want her out of the program

by this time tomorrow.

If not, I'll be

forced to take action.

- What action?

- Pilar will have

to leave Shady Pines

and be transferred

to a state facility.

- What's her family

have to say about that?

- She has no family.

Never married, no children.

- Well, wait, so you're

just going to toss her out?

I mean, that seems

a bit harsh, don't you think?

- I'm responsible

to all of our residents.

What I'm doing

is in their best interest.

Now if you'll excuse me.

- Okay.

Let's see what you're up to.

Apertus.

[machine beeping]

[lively dance music]

♪ ♪

[indistinct chatter]

- Puh-lar?

Puh-lar Simonet?

- It's pronounced "Pilar."

Oh, wow, program really

messed up with your outfit.

You don't look period at all.

- Oh, well, that's because

I'm not part of the program.

Mara Kint, from Onira-Tech.

- Oh...

Did Jack Selve

send you in after me?

He tell you

I've been a bad girl?

- [laughs]

Well, kind of, yeah.

Well, he's just

worried about you.

- The cancer?

Querida, I've been

dying for a while.

Cancer and I are best friends.

- Well he also says that

if you don't leave the program,

he's going to move you

from Shady Pines

into a state facility,

immediately.

- What?

No, that place is like

a prison, he can't do that.

- He can, and I'm pretty sure

that he will.

I can see how much fun

that you're having.

I bet this place is a great

escape from Shady Pines,

but it's time to go home now.

[engine rumbling]

- Shh-shh-shh.

You hear that?

- What?

- [exhales]

It's happening.

[yelling in Spanish]

[gunshots]

[screaming]

- We've got to get out of here!

- Go?

No, this is my second chance.

- At what?

- Everything.

I have things to do.

I'm not letting go of that.

- [sighs]

[grunts]

- [shouting in Spanish]

.

- Her Reverie

is in Latin America?

- Yeah, Central or South,

I'm not exactly sure which,

With like a, uh...

a distinct early '70s vibe.

- Sounds kind of sexy.

- Oh, it was

until the shooting started.

This wasn't

historical tourism, Paul.

This was something

that she was anticipating.

I mean, she was just

waiting for this to happen.

- Okay, I pulled a favor

with a buddy of mine

from the State Department.

Pilar's parents

were from Mexico.

She was born in Phoenix.

In 1973, she went on a trip.

Got visas for Bolivia, Brazil,

Chile, Ecuador, and Peru.

- That doesn't exactly

narrow it down.

There was a poster

in the bar for a concert.

Uh, I think it said Sacros?

Hey, Dylan,

can you search Sacros,

along with all the countries

that Charlie named?

- Sacros, a psychedelic rock

band from Santiago, Chile.

Their album was

set to be released

on September 18, 1973,

but never

officially came out.

- Why not?

- Probably because of the coup.

The coup in Chile?

Oh, come on, children,

read your history.

In 1973, the Chilean army

engineered a coup d'etat

that forced the president

to step down.

- So, Pilar's

Reverie is watching

a military dictatorship

take over the country?

I'm sure it's

all sorts of fun, but why?

- Well, that's what

I need to figure out, and fast.

There's nobody else but us

looking out for her.

- I have a board meeting.

Keep me posted.

- Um, are you going to go

back in right away?

- I have to.

Pilar's in the street if I

can't get her to come out. Why?

- Oh, just wondering

about the bruising.

- Oh, you mean

from when I got shot?

Yeah, it, um,

it's getting better.

Are you worried that

it's going to happen again?

- The Reverie experience

isn't supposed to leave a mark.

That's sort of the point.

And I can't explain

why yours did.

It concerns me.

- Well, um, I've decided that

I'm not going

to worry about it,

because you and Alexis

are gonna figure it out,

and everything else

is going to be fine.

- You're in

an awfully good mood.

Any particular reason?

All right then.

- [laughs]

[clears throat]

Apertus.

[computer beeping]

- [speaking Spanish]

- Pilar.

I had a bad dream, that

the soldiers came and got me.

- Oh, honey, they won't.

In here, you're safe.

My friend told me so.

- What friend?

Now you just hold on to her,

and everything's

going to be okay.

Okay, go to sleep.

- Psst. Pilar.

- It's past curfew.

You shouldn't be here, Joaquin.

If things were different--

- I would still be a professor.

And I wouldn't have met you.

Te amo, Pilar.

- Oh, Joaquin.

- Before we go do this,

I will come see you tomorrow.

[sweeping music]

♪ ♪

- Pilar!

- [gasps]

- Ay, que susto!

Shame on you

for scaring me like that.

- I'm sorry, I'm so sorry--

- Should never rush up

on an old woman that way.

- You're right, you're right.

- What are you doing here?

- I understand now.

You built the Reverie

because of Joaquin.

- Oh, dios mio, this woman

will be the death of me.

Ms. Kint,

stay out of my business.

[grunts]

Oh, God, that hurts.

[grunts]

What is happening to me?

- Being in the program

is making you sicker.

It's affecting you out there,

and that is making you

feel worse in here.

You need to leave now, Pilar.

- No, I need to stay in here.

Me being here matters more.

- Pilar.

- Stay away from me!

Sister!

Es Pilar.

[somber music]

♪ ♪

.

- It's not possible.

- I saw the bruise on her skin

after she came out.

- Parasympathetic reactions

to Reverie actions

stop at the Anteroom door.

- That's what we always

thought, but not anymore.

Look, there are precedents.

Women with false pregnancy

believe they're pregnant.

So the mind produces hormones,

which produce

symptoms of pregnancy.

The mind creates

the physical state.

- Hmm, you're saying

she's pregnant, too?

- [laughs]

I am saying

that Reverie is designed

to fool the brain

into thinking that something

that doesn't exist is real.

That may have more profound

physical consequences

than we thought.

Somebody we both know

warned us about this.

- That was pure conjecture.

We were blue skying "what ifs."

I don't see the worry here.

What happened is a one-off.

A fluke.

- Unless it isn't.

What if next time, Mara comes

back and it's not a bruise?

It's an open wound.

Are you willing to risk that?

Because I'm not.

- Why are you

so worried about her?

- What--I'm not!

Look, I am concerned

about how this affects

the program moving forward.

You know he understands more

about this than anybody else.

We should talk to him.

I'll make the call

if you don't want to.

- No!

I'll look into it.

- Alexis.

- I said I'd look into it.

[tense music]

♪ ♪

[phone buzzing]

- Hey there, stranger.

- [moans]

This, my friends,

is a story about love.

- Really.

- Go on.

- Pilar never married.

She never had kids.

Why?

Because of Joaquin Alcazar.

- Who's Joaquin Alcazar?

- Dylan?

- Joaquin Alcazar

was a professor of literature

at the University of Chile.

He became a leader

in the revolutionary movement.

- He's the man

that I saw kissing Pilar.

- Are you

stalking her in there?

- He got killed leading a rebel

group against the military.

She never saw him

again after that.

- So you think Joaquin's the

reason Pilar built her Reverie?

- But you said she'll never see

Joaquin in there again.

If that's why

she built the Reverie,

then why isn't she coming out?

- She got what she wanted,

but it just--it wasn't enough.

She needed something else.

- So how do we fix that?

- By giving her the opportunity

for a full-on romantic

moment with Joaquin.

She gets to say

what she wants to say.

She gets to do

what she wants to do.

You give her that,

and I promise

she's going to come out.

- But remember though.

Even the slightest influence

by you inside the Reverie

can change everything

in Pilar's story.

You sure that's all right?

- I think it's the best way

to get her out quickly.

I mean, we can't afford

to wait her out, right?

She's stabilized, but who knows

how long that will last?

And I'm going to need a little

something when I go in.

Hello, hi, excuse me?

Can I, what, uh--

Hey!

Okay, good, all right.

I am looking for a man

named Joaquin Alcazar.

I am sure that all of you

know who he is.

And this...

is for the first person

who can take me to him.

Pilar, hang on.

- Oh, you've got to

be kidding me.

What do you want?

I can't be late.

- I know what

Joaquin means to you.

He said he loved you.

- And men say a lot of things

before they go off to war.

Besides, what's done is done.

- But it doesn't have to be!

Reverie isn't the real world.

In here...

Anything can happen!

- What is he doing here?

- I brought him here for you!

- What do you mean

you brought him here for me?

He's supposed to be

leading the raid!

You're supposed to be

leading the raid!

- But I am here for you.

- He can't be here.

[speaking Spanish]

- But I thought

that's what you wanted?

- And why would I want that?

Because you got it in your bird

brain that this is what I want?

You didn't ask me!

You just decided for me!

Just like everyone else.

The government, Shady Pines.

Everyone's got

an opinion about my life.

There's so many,

there's no room for me

to have one of my own,

not even in here.

- What's happening?

- What do you mean?

You did this.

[indistinct chatter]

No, no, no, no, no, no, no!

Por favor!

- [screaming]

[children screaming]

- [screams]

- [shouting in Spanish]

- No!

- Pilar, help us!

- [screams]

- [groaning]

♪ ♪

.

- The soldiers are holding the

girls inside of a schoolhouse.

- That's where

they're taking people

to question them

about the rebels.

- But why take the girls?

They're just children.

- It's easier to force

the truth out of them.

- I'm so sorry, Pilar.

When I saw

you and Joaquin together,

and then I

learned that he died,

I just thought that you

came here because of love.

- I did.

For those girls.

- Okay, I really

messed this up.

I shouldn't have assumed.

But those girls

aren't really gone.

If you want to see them again,

all you have to do

is just leave the program

and restart it.

- Oh.

You really think Jack Selve

is going to let me do that?

Give me one last ride?

- Well, I could ask.

- [scoffs]

- Pilar, what really

happened here?

- I was on a cultural

homestay in Chile.

And on this exact day,

45 years ago,

I fled town with those girls.

I piled them into

the back of a stolen van,

and I drove them to the border.

Away from the soldiers

and the shooting.

- You saved them.

- The only reason

we were able to escape

was because

the soldiers were busy

with the resistance fighters.

- Joaquin's men.

- I had the whole thing

set up here, just like before.

Only this time, the soldiers

aren't busy with the men,

because Joaquin's

not there to lead them.

- Because I--

I brought him to you.

- I just wanted

that feeling one more time.

That my life had purpose,

that it meant something.

But now,

any hope of that is gone.

Thanks to you.

- Thank you for coming.

- It's good to see you.

In this very public place.

No problem, I get it.

So what's the big secret?

- Who said I have a secret?

- Come on, Lex.

Charlie would never let you

come by yourself,

which means

you didn't tell him.

Ergo, secret.

- The 2.0 prototype crossed

paths with a secondary program.

- East Berlin.

- There was an anomaly.

A physical manifestation

of an injury in Reverie.

- Was it you?

- Mara Kint.

- Kint. What happened to her?

- Bruising, on the abdomen.

Caused by a virtual

gunshot wound.

- I warned you

this could happen, I said--

- Oliver,

can we skip this part?

- I told you that

we needed safeguards.

- And now

I'm agreeing with you.

Okay?

I could use some help

identifying the glitch.

Please.

- You said this wasn't

your main code, what was it?

- An experimental Reverie.

The exitus function

was disabled.

- Why?

- Detainment.

- Forced detainment?

Well, as much

as I hate to admit it,

It's quite possible

this has nothing to do

with regular 2.0

- Then what?

- Crossed Reveries.

Weakens the bond

between the BCI

and the parasympathetic

nervous system.

When the bullet hit Kint,

she wasn't in deep enough

for the body to ignore

the signal from her brain.

Tensing up all the muscles

in her abdomen.

An internal injury caused

by an autonomic response.

A bit like getting a bruise

from throwing up after

one too many daiquiris.

- [chuckles]

Ugh, I remember that.

- This is the file name

and the number of the memo.

It outlines safeguards,

and gives suggestions

on where and how

to amend the code.

I could do more.

If you let me back in.

- "Planet of the Petechia"?

Your titles are so terrible.

But thank you.

- You're welcome.

The military?

- What?

- Forced detainment,

the exitus disabled,

a gunshot wound.

You've given the source code

to the military.

- Oliver.

- After everything we

talked about,

how dangerous this would be

in the wrong hands--

- It's not what you think.

- No, it's worse,

it's giving a loaded gun

to a three-year-old!

- Don't do this, all right?

- You need to stop it, now.

- I understand how you feel.

But you don't get to decide

what I do with Onira-Tech.

Not anymore.

- No.

You're right.

It's not my company,

it's yours.

My bad, as they say.

- Take care of yourself, okay?

[tense music]

♪ ♪

.

- Absolutely not.

- Mr. Selve, if Pilar starts

the program over again,

she can have the experience

she was always looking for

and be done

with Reverie for good.

- You're asking me

to violate policy.

- I am asking you to let

an old woman live again.

- [exhales]

- You said it yourself,

you want these people

to engage in life.

Well, that's what she's doing.

Now more than ever.

Please, this is such

an easy thing to say yes to.

- Ms. Kint.

I have 116 patients with

complicated, life-threatening

medical issues.

My job is to keep them alive

for as long as I possibly can.

I will not put

a very frail, very sick woman

at unnecessary risk.

The answer remains no.

I asked you to return her

by this afternoon.

Will you be able to?

- I'm working on it.

[whispering]

Hey, Pilar.

It's me.

Mara.

[gentle music]

♪ ♪

- Now you just hold on to her,

and everything's

going to be okay.

- The facility

took away Pilar's tablet,

and they won't let her

restart her Reverie,

but she won't leave until

she gets those girls back.

And if she doesn't

get those girls back today,

then they're going

to kick her out.

I would like to go back in

and help her.

- Paul?

- I'm guessing this involves

engaging with armed

military avatars?

- Okay, look.

I screwed up.

I have to fix it,

and if I'm lucky,

maybe I'll get

her out in the process.

- Well then.

Let's go save

some kids, shall we?

[computer beeping]

- What does Selve say?

- He said absolutely not.

- I told you.

- Well, I don't care

what he said.

And neither should you.

I am going to do

everything that I can

to help you get

what you came for.

As long as you're

still willing to fight.

- I'll do anything

for those girls.

- I was hoping you'd say that.

- There's soldiers everywhere.

How are we going to get in?

- Okay.

Step one, create a distraction.

- What is that?

- C-4.

- The explosive?

- Oh, yeah.

Okay, let's go.

[all shouting in Spanish]

- I'd say you distracted them.

Now what?

- Step two, follow me.

Let's go.

[men shouting in Spanish]

- You see anything?

- Pilar!

- Pilar, you came for us!

- I never would have

left without you.

- Are you okay?

Yeah, okay.

We have to go now.

- Okay, let's go.

- Okay.

- Let's go.

[suspenseful music]

♪ ♪

- Okay, stay down.

Stay down and follow me.

Let's go, let's go.

Let's go, the van

is just right over there.

You see it?

Let's go.

Come on, okay,

go, go, go, come on.

Come on, come on.

- [yells]

[yelling in Spanish]

- What do I do?

- Drive, drive!

- Stay down.

Go, go, go!

- [yelling in Spanish]

[bullets ricochet]

- Stay down, down!

.

[suspenseful music]

♪ ♪

- We made it, girls!

We're safe!

- Yay!

[cheering]

[gentle music]

♪ ♪

There's the border.

We made it, girls.

- Okay, come on out,

come on out.

Here we go, good job.

Here we go, guys.

There we go, good job.

We pulled it off.

- It was even better

than the first time around.

- So what happens now?

- They cross.

They find people they know.

People from their town.

- But, I mean, um...

What happens to them?

You don't know.

- I tried to search for them.

For years, I tried, but...

Between the refugee camps

and the foster homes,

I lost them.

This moment, right here,

was the last time

I ever saw them.

I know I'm supposed

to say good-bye, but...

I can't.

I'm sorry, Mara.

Girls.

Come on.

Let's go.

- But you know what'll happen

if you stay here, right?

- When you get to my age,

you realize

there are things

that are worse than death.

- Okay, yes, yes, you're right.

You can stay here.

And you can just

let your body wither away.

But deep down,

you know the truth.

These are not the girls

that you loved.

These are just...

They're digital ghosts.

They're echoes

of real memories.

You said it yourself, you want

to feel like you have purpose.

Pilar, I believe

that you still can.

Out there.

And think about the real girls.

Is this what they

would have wanted for you?

- [exhales]

[speaking Spanish]

Ciao, mis amores.

Elvia.

Adios.

Go to the border.

Gracias.

[somber music]

♪ ♪

Exitus.

[somber music]

♪ ♪

- You were so brave.

- Are you kidding?

You busted through

that barricade

like a bat out of hell.

I don't know too many people

with the guts to pull that off.

- I told you, I'd do

anything for those girls.

Well...

I got to say

good-bye to them this time.

It's more than

I could ever ask for.

- I don't know about that.

- What do you mean?

- Charlie?

- Hello.

- Hello.

- Pilar, this is

an old friend of yours.

♪ ♪

- [gasps]

♪ ♪

Elvia.

- Hello, Ms. Pilar.

- Elvia.

- [laughs]

- I thought I'd

never see you again.

I thought...

It is you, isn't it?

You've gotten so old.

- [laughs]

Well, that's what happens

after 45 years.

[both laugh]

- How did you do this?

- This is my friend, Charlie.

He's the one who found Elvia,

and the others.

- The others.

- Mm-hmm.

[both laugh]

And who is this young lady?

- This is my granddaughter.

Her name is Pilar.

We brought something

to show you.

- Ooh, thank you.

Oh, this is your family.

- They wanted me to thank you.

- For what?

- Ms. Pilar.

I wouldn't be here

without you,

which means they

wouldn't be here either.

All these people,

children, grandchildren.

They're all here

because of you.

♪ ♪

- Everything set your end?

- Sure.

- You're sure you understand

what you have to do?

- I think so.

It's not complicated.

- Good, I'll get the money

to you after.

20,000 cash.

- Sounds right to me.

- See you then.

[ominous music]

♪ ♪

- Apertus.

[tablet beeps]

♪ ♪

[both chuckle]

- Sorry.

- [laughs]

Oh, my God, you scared me.

- Sorry.

- How did you get in?

[laughs]

- You never asked for it back.

I took it as a sign of--

Oh. [chuckles]

- For 18 months?

- Yeah, well, you know...

- Oh yeah.

- I'm a very hopeful person.

- Oh, really, are you now?

I'm so sorry I was late.

Oh, my God.

It was just such a crazy day.

- Good crazy or bad crazy?

- Uh, you know what, I will

tell you in just one second.

But first, I'm starving.

Are you ready for the pasta?

- Mmm, sure.

- Okay, good.

[phone ringing]

[phone ringing]

- Yes?

- Are you calling me?

- Mmm, no.

- This is you.

[ringing continues]

Hello?

- Mara.

- Who is this?

- It's me, Chris.

Sorry, I was in session

with patients all day.

I just got your message.

Uh, I saw your text.

Um, dinner.

What do you mean?

Did you send this

to the wrong person?

- No.

Who is this, seriously?

- Mara, it's me.

It's Chris.

Mara, are you there?

- I'm here, I'm here.

[stammering] When--

when was the last time that--

that we saw each other?

- What is going on?

Is everything okay?

- No Chris, please--

please answer the question.

When was the last time

that we saw each other?

- Three days ago, why?

- Mara, Mara,

what's happening?

- Mara, what's happening?

- You're not real.

- Mara?

- You're not real.

- Just calm down.

And everything's

going to be--

- [grunts]

- I'm here for a reason, Mara.

[intense music]

♪ ♪