All language subtitles for The Walking Dead S11E06.1080p.web.h264-ggez

You need to tell me something.
There's a woman.

She's the leader.

Previously
on "The Walking Dead"...

Oh, my God.
You made it.

We found each other
in the woods.

We didn't know
if you'd survived.

He told me there were a lot more
out there than we thought...

More than twice the force
we have in here.

You were right about this one.

He is family now.

We got to go.
Connie's out there, alive.

No!

Look! Look!

Sorry. Sorry.
I'm just... No.

No. It might be a house.

We could hide.

Go.

We'll make better time
if I ride out on my own.

It's less risky, and
we're gonna cover more ground

with a larger group.
The Council's working on a plan right now.

Connie doesn't have time
to wait on a committee.

Well, why don't we split the difference
between fast and safe?

Teams of two. We could divide
the map up into smaller grids.

It could reduce the risk.

Hey.
Any of you seen Kelly?

Unh!

Okay.

Uh...

I checked the whole house.

We're okay.
Nobody's here.

You need...

"You need...

some rest."

You haven't slept in days.

"I can keep watch."

"We will find...

your home."

You... sleep.

Listen.

Rest.

Huh?

Okay.

Tell us where they are!

My dance card's wide open, man.

We got all day.

This bother you?

I've done worse.

Hm.

Why don't you take a turn, then?

Speed things up for me.

All right. I'm up.

Like hell you are!

Well, are we just
gonna stand here

staring at each other dreamily
or are we gonna get to it?

Hey, you kill him, the two of us
are gonna have a problem!

Don't need a babysitter.

I know what I'm doing.

Just give 'em a location,
where your friends are hiding.

You do that, this all goes away.

That's, uh...

That's a good offer.

Or... and hear me out...

you all could go
eat shit instead.

Just a thought.

Already gone through
these steps.

Maybe we start taking pieces.

You do what you gotta do.

Give him a knife.

I don't think you understand.

I'm the best shot you got.

Why?
We "friends" now?

No. Not 'cause
we're friends.

'Cause I'm the one
holding the knife.

Yeah.

And your buddy's the one
holding the gun.

Shut up!

Shut up and listen to me.

I know you're close to her.

The leader.

Close enough to know
where they're hidin'.

No one needs to die in here.

So just say a location
so we can all walk away happy.

Go to hell, assho...

Location!

Or I take another!

I can't!

Location!

No! No! Please stop! Location!

Yellow house.

Town off the 283.

Antenna. Antenna.
Antenna. Antenna.

Is that good enough?

I can scout it out.

Take a squad.
Three of you.

See if our friend speaks truth.

You want us to take him?

Wait. What happened?

S-Slow down.
I don't understand.

What...

Looks quiet.
No movement.

Two entrances.
Breach both?

By twos.
You take Powell.

Washington, Fish, go around
the back of the yellow house.

What about dickhead?

Am I supposed to believe
he's got my back?

No, that's myjob.

Always.

Clear!

Clear!

Clear!

Clear!

It's all clear, Carve.

That son of a bitch
jerked us around.

We should stay, look around for
a bit, so we don't miss nothing.

No, we'll search the rest
of the town first.

Quick and quiet,
in case they're still nearby.

You three, take the north end
and work back.

We'll meet you
in the middle.
Copy.

Whoa.

Where are you?

My grandfather's house
used to have one of these.

I'd secretly shove stuff
in there.

Uh...

I-I'm sorry.
I don't see anything.

I'm sure you saw something...

but...

But you haven't slept.

So maybe it's...

Y-Yeah. 'Cause...

Okay, okay. Okay.
I'm sorry.

You and me, let's give the house
another sweep, okay?

Connie!

Hungry!

Clear!

Over here!

They're still wet.

Guess he was telling
the truth, then.

We should clear the other rooms.

- Clear!
- Clear!

Clear!

Clear!

Nothing.

Maybe they went out
the back. I can track them.

Are you in a hurry to leave?

What?

Other building,
you wanted to stick around

and make sure
we didn't miss anything.

Now you wanna run right off.
Which is it?

Look, man, I'm just
trying to help.

Yet you keep chirpin'.

Fine. You lose 'em, it's on you.
It ain't on me.

Stop.

Wash, we need a perimeter check.
Possible runners. Half a klick.

Copy that, Shaw.

Look. I don't have time
for this toddler bullshit.

Listen... I know.

I understand,
but I don't need it.

Go sift upstairs, make sure
we didn't miss anything.

Don't.

Don't what?

You're either with us
or you're not.

What do you want me to do?

For one thing...
stop pissing off Carver.

Usually don't end well.

Come on.

Please.

Please. Just a...

Just a little bit...

more!

Whoa! Kelly?

Awesome.

You need help?

What the hell were you thinking?

You should have told us
that you were heading out.

Come here.

I'm fine.

But Connie's not.

I found her camp.

She's with some guy
who knew Michonne.

They left in a hurry.
Something's not right.

She thought they were
being followed.

She's out there.

She's scared.

She needs me.

And if...

if something happened to her...

No. We're gonna
find her first.

Yeah.

Come on.
Let's get movin'.

Hungry!

Oh! Oh, God.
Connie.

Come on. I got you.
Come on.

Oh, God.

They ran. They ain't
comin' back here.

What?

I mean, think about it.
You hit 'em hard.

Even if they get more people,
they won't come back here.

It's a bad move.

You got what?
20 people in your town.

You got weapons.
You got walls.

You'd see them coming
from a mile away.

Trust me. They ran.

Is there a point to any of this?

Let's go. There's nothing here.
It's time we move on.

No. We're missing
something.

Fine. Let's waste another
hour. That's smart. Daryl...

It's not my fault he's too
stupid to pay attention!

Yeah.
Chirp, chirp, chirp.

Enough. Ah, screw that.

This dirtbag wants to play,
I'll teach him the rules.

I'm right here, man.
Make a move.

This is not the time,
and it's not your call to make.

Jesus, Shaw.

We both know who
he really is deep down.

What?

I was there.
Remember?

After.

What, you think this is
gonna end any different?

So this is what?
You looking out for me?

Always.

Uh-huh.

Gotcha.

And what about the fire?

When Pope locked me
in the cabin and lit it up.

You must have known.

Was that you looking out
for me, too?

Shaw. Wake up.

Everything's a test now.

If you think this guy
is ever gonna give a shit

about any of us,
you're gonna fail.

No, he's right.

I don't give a shit
about any of you.

Except you.

I'm here for you.

It's no secret.
I made mistakes.

But I'm here right now.

Maybe I'd be better at it
this time, if you'd let me.

And Pope scares
the shit outta me.

I don't wanna be face-first
in the fire under his boot.

But if you say trust 'em,
I'll trust 'em.

We've wasted enough time
here already.

Oh, you're not
seriously gonna...

It's time to move on.

Sure. Your call.

Hold on.

Told ya.

Which way?

We could split up, check
both trails, double back.

Storm's coming.
We should stick together.

It's up to you. Which way
do you think she went?

That way.

They led us here.

I've never seen people
this far gone.

To herd us, like prey.

But we're not.

I'm getting you out.

We'll make a run for it.

Take this.

No matter what happens...

you have to keep going.

With or without me.
Don't stop.

Just...

No. No, no, no, no, no.
Please.

Just take it.

I don't know
how to explain. Um...

But I don't have a choice.

I lost myself...
for a long time.

Off the map.

And I, um...

I made choices

that I can't un-choose.

But she gave me another chance.

Michonne.

She pointed me back to the road,

and somehow that road
led right to you.

So I have to
pass on that chance,

or it all means nothing.

And if you can...

If you...

can find your family...

No, no. No.

Listen, listen, listen.

I need you to promise me

that you will keep going,
no matter what happens.

Together?

Together.

Time's up.

Go. Go. Go, go.
Go, go!

Go!

Go. Get out.

Go.

They were there.

Caught signs,
but they slipped away.

Sorry.

Ooh.

I thought you'd be disappointed.

Well, this day was a success.

How so?

After you left,

I continued the "discussion"
with our guest.

He wasn't too talkative.

But I got everything
I needed out of him.

The world is different now...

Fewer people to fight for,

there's fewer things
to fight over.

You're saying you'd do things
differently?

If I could do it all over again?

Yeah.

Your people need help.
I can deliver for you.

Your brothers are dead,
are you not ashamed?!

It was so great to have
Lauren Ridloff back finally.

We had been planning
for a long time

to bring her back
in this episode,

and we'd sort of, like,
shaped the story,

and we wanted to give her,
like, a big reentry

into the show.

We loved having Kevin Carroll
back as Virgil,

and I think what was important
for us

is to show
that Virgil was affected

by meeting Michonne,

and I think he had to suppress
some of his heart

to kind of, like, get through
the death of his family,

and he sort of made
that decision

to try stepping out
and finding society again.

Of course, he found everything
was just abandoned

because our people were fleeing
the Whisperers,

but, fortunately,
he comes across Connie,

and I think he feels like he
wants to do better in the world.

And so
there's a real selflessness

that you see in Virgil here.

He has some skills, you know,

and when Connie's
about to be attacked,

like, he gets her out of the way
and takes the brunt of that

even though it means
he gets injured pretty badly,

and I think
we're starting to see

probably who he truly is
at the core.

So, this episode, we were
talking very, very, early on,

and one of the things
that we talked about

was, like, we would love to do

just a good, old fashioned
haunted-house horror story

because that just seemed
really fun,

and we just were talking about
how people become

too far gone in this world,

and we've seen people
who are cannibals,

we've talked about people
that Maggie had run across,

we've seen the Whisperers,
and we were just talking about

people that have gone
completely feral,

and what kind of desperation

would it take
to get to that point?

Greg Nicotero and his KNB Group,

they did all the creature design

and made these people unique
from zombies

and have their own
sort of terrifying look.

There's that set deck
where you see

the pictures on the wall
and the eyes are scratched out.

"A," we thought that's
creepy, so that's really fun,

but in the backstory of it,
we actually do think

that those are pictures
of relatives

or even some of the people
who became ferals

and are living in that house.

And as they sort of descended
into a much more feral state,

they just started destroying
the vestiges of their humanity.

So we totally had
a story reason why we did that,

but at the same time,
we also thought

it just looked, like,
super weird and creepy.

One of the things
that was interesting for us

in doing this episode
was just picking

which point of view
that you're in.

For the average viewer,
you're just gonna assume

that the default is being,
like, a hearing viewer,

and I think it's interesting
to sometimes kind of flip that

because they are experiencing
the same events

in slightly different ways.

It became really interesting
to go, like,

"Maybe we play the sound to him
in his point of view

but you don't play it when
we're in her point of view."

To me, the best horror,
it really is like

you're touching on the entire
range of human emotion

and the human experience,
and I think that, like,

she just captured all of that
so seemingly effortlessly.

I know she puts in
a lot of work into her craft

and what she does,

but she brings so much nuance
to these little moments

and, just, she's so expressive.

I think she's kind of

the perfect horror-movie star
in this.

I'm up.

The torture scene
is just very specific

to this group
and their philosophy

and the particular time
in history

when they were soldiers

as well as, more importantly,
mercenaries,

and the darkness
that continued to evolve

throughout the apocalypse.

We've seen Daryl in scenes

where he's had to
torture people before,

but certainly not to this extent

and certainly
not against somebody

that he considers an ally
and that he likes.

And I think
that what the show does

is put our characters
into situations

where they are just
in the worst possible things

that they could imagine.

Like, they're living nightmares.

This is not something
he wants to do,

but they are most likely
both gonna die

if he doesn't do this.

He certainly I don't think
blinks at the idea

of having to lay down
his own life for his friends,

but in this case, like,

he knows he might be a key
to getting this done.

But I think it's also about
Frost's bravery,

knowing that
he's going to be tortured

and basically going along
with it.

Go to hell, assho...

Ever since Daryl signaled to him
when they were behind bars

in Episode 4, like,
"These guys are listening.

We got to pretend
like we're not friends,"

Frost has really, really gotten

that he did exactly what Daryl
was hoping he would do,

which is he kind of gave him
the right neighborhood,

so there's some credibility,

and Daryl's hoping
that saves Frost.

He thinks, like, "If you
just say the neighborhood

but not exactly the house,
then I can buy some time,"

which is basically what he does,
and so, you know,

he's trying to, like,
create little signals

which allowed Maggie and company
to hide,

and Daryl's just trying
to feed them information

about, like, how many people
they are.

You got what?
20 people in your town.

You got weapons.
You got walls.

You'd see them coming
from a mile away.

Trust me. They ran.

I think, when Carver goes
for that trapdoor,

if you watch Norman, the way
he plays it is really great.

He's ready to, like,
go down fighting

if that trapdoor opens
and the people are there,

but, fortunately, they're not.
They got away.

So Daryl knows, like,
now he's in with these people

and his people are safe,

so that's as good of an outcome

as he can hope for
in the moment,

because it's like, if they
can just keep that going,

he can be that person
on the inside

that's gonna facilitate them
getting inside the walls.

What we wanted to play
at the end of this episode

is that Pope is unpredictable.

I don't think anybody predicted

that he was going to kill Frost
anyway in the middle of that,

but what we're learning
about Pope is

he's in a dark place.

He's spiraling in his own way.

He's obsessed with the idea
of Maggie being out there,

and so, in some ways,

he's messing with Daryl's head,
too, you know?

He's kind of, like,
making his own moves.

Him going off and talking
and laughing with Carver

is completely designed to create
paranoia in Leah and in Daryl.

It doesn't even matter
what he's saying.

This is more about who Pope is
as a person right now

and the questions
that's raising in Leah

and the potential openings
that Daryl is starting to see

in how he can work
the situation.