All language subtitles for Fear the Walking Dead s08e00 Inside.eng

Hey, everyone. I'm Clark Wolfe.

And welcome to "Show
Me More", where we take

a behind the scenes look
at what went into creating

AMC's hit shows.

Before we get into
it, I should warn you,

there are lots of
spoilers ahead.

Now, if you're all caught
up, let's get into part one

of the final season of
"Fear The Walking Dead."

Announcer: Presented
by T-Mobile.

Padre was a mystery for
most of season seven.

And what we did learn
about it at the end

with Morgan and Madison
was hardly encouraging.

Come on. She sounds scared.

Padre: Like all
the children here,

she will learn to separate
herself from her emotions.

Wolfe: Well, in season
8, we sure learned

a lot more about Padre.

You're doing this
for the same reason

we do everything. For Padre.

Wolfe: Like who's in charge,

how the community survived
for over seven years,

and why you wouldn't exactly
call it a family friendly place.

Not even close.

Man: Who are we
learning this for?

All: Padre!

Man: Who sustains
our way of life?

All: Padre.

Goldberg: Padre is
our central settlement

that is well fortified,
on the water,

where we find our
characters in season 8.

Man: Who is teaching
us to be strong?

All: Padre.

Goldberg: When Padre started,

it was in this altruistic place.

It really was created
to rebuild the world.

Chambliss: Padre isn't
just a group of people.

It isn't just a settlement.

It really is a way of life.

We kind of thought of this
as kind of like a modern day

version of Sparta, where Padre
is collecting all these children

from the apocalypse, and they're
kind of like this blank slate

that Padre can teach
this new way of life to.

Goldberg: They operate
on this philosophy of

separating children
from their parents

and raising them to not
have emotional connections.

Chambliss: Individual
relationships, individual wants

and needs are secondary to
the good of the community.

You're doing this
for the same reason

we do everything.

For Padre.

Goldberg: Children are
being raised to be strong,

to be warriors, to
approach the world

in a cold, brutal way.

However, there's something
that they grow up

fundamentally lacking,
which is connection.

Every time I look out
there. I feel like something

really big is
missing inside of me.

Goldberg: Our characters are
separated from the people

they care about, and
it's really redefined

who they are as people
in the seven years

since we last saw them.

Who's that?

Madison: That's your dad.

Are you really my father?

I am Mo...

Wren. My name is Wren.

Essentially, the kids
have been brainwashed.

They believe their
parents abandoned them.

They believe that Padre has
their best interests at heart.

Padre. Can you hear
me? This is Wren.

Man: Padre 1.
Wren, do you copy?

Chambliss: Padre is run
by these two traumatized

young adults who are
doing all of this because

they lost their father.

Don't let this die.
It's so important.

Goldberg: They believe they
are protecting other kids

from the pain that they felt.

I know the pain Wren's in.

The whole reason I am
doing what I'm doing

is to prevent anyone else from
feeling that kind of pain.

Chambliss: There are, in some
ways, good intentions behind

Padre, but Shrike and
Crane have gone to this

kind of very dark place.

Woman: Wren, this
is to protect you,

Eshet: Shrike and Crane,
they're extremists.

They take very harsh actions
to keep their community safe.

Stop, please!

Eshet: And they really
did manage to keep

this community going.

Just so you know, Red Kite,

no one's ever stolen a
child from Padre before.

Padre's philosophy has
been quite effective.

But there is a cost that
comes when you have to enforce

your ideology with
such extreme measures.

Stop! Let her go!

Get her out of here now.

Padre really has to be careful

about showing any
kind of weakness.

Don't move.

Shrike: Call the prefect.
Tell them to get more guards.

She's the reason Finch got bit.

Finch got bit?

They don't want to have a
bunch of kids wondering,

wait, is it better out there?

Are the parents that we've
been told didn't care about us,

were our enemies, are
they really our enemies?

Those kind of questions are
the thing that Padre really

has to try to snuff out.

You wanted to ask
Padre for the truth?

Go ahead, ask us.

Walton: Dove finds these files,
and it holds all the information

about who her parents
were, what her name is.

And that's just one story
out of many of the kids.

Eshet: They lied to
all of the children.

And I think that is going
to be their downfall.

Let her go.

You don't understand.

She's Padre's daughter.
You've been lied to.

Chambliss: Ultimately,
in its effort to survive,

Padre ended up creating
the very people

who are going to end
up bringing it down.

Season 8 took us
to a watery world

full of muck and mud

and sinking boats
and swamp walkers.

To do this, the show went
to the wetlands of Georgia,

where they built a
swamp in a swamp.

I really like working
in the manmade swamp.

It's such an impressive
production design,

the set design.

All the special effects team,

everything they've done,
it's pretty remarkable.

Goldberg: The swamp
was a whole new element

that we got in season 8
with the move to Savannah.

Well, do the alligators,
and do the snakes,

do they all know that
this is a manmade swamp?

Goldberg: Our team went
in and excavated an area,

put in our own swamp water
so that we could regulate

and we could make sure that
there were no alligators

or anything that
were getting in.

We built this thing to
control the water levels

and control the
critters and control...

Just basically have control
over the environment.

Goldberg: We got our
swamp walkers, which

KNB just made them so
nightmarish and cool.

Dickens: The first night
we worked in the swamp,

it was really
moderate temperatures.

And I remember us kind of
looking at each other like,

"This is kind of fun, right?"

James: Particularly the
man made swamp that we had,

the water was constantly
moving and pumped fresh

and all of that.

And it was kind of nice, I'm
saying in inverted commas,

when the weather was warm.

When we were doing it
later on in the season

and the weather had
turned, not so much.

Dickens: It was a little
bit like a carnival ride

to work on it because
you're working at an angle

like this the whole time
and half wet the whole time.

David: Looking at the set with
the houseboat in the water

and Grace coming in on
that raft was so badass.

I mean, I could not have
asked for a better entrance

to start off the season.

Who are you?

I'm your mother.

We've seen a lot
of horrible things

on "Fear The Walking
Dead" over the years,

but Shrike infecting
Finch with a walker bite

on the train car is
about as dark as it gets.

No, please!

All in the name of finding
a cure that doesn't work.

Goldberg: The train car was
this off site medical facility

where Padre was doing
horrific experiments

in the name of this cure.

Hello, Blue Jay.

Eshet: I infect Finch
to give June motivation

to continue the research.

Elfman: Padre started
these horrible experiments

and held June at gunpoint
and made her do them.

Why is Padre doing this?

The same reason he
does everything...

To ensure what
he's built endures.

I sacrifice one individual
in order to find a vaccine

and maybe solve
this for humanity.

The set looked awesome.

Goldberg: We wanted to
create this image of this

house of horrors where
people who've had

these terrible experiments
done to them for walker bites.

But it's all coming
from this place of

wanting to prevent loss,

which is ultimately
something that you can't do.

It was really brutal
to shoot that scene.

It was awful.

Dwight: No, no,
no, no, no, no, no.

We're in this tight train car.

Finch is a few feet
in front of us.

We're tied to this pipe.

To watch Dwight and Sherry's
reaction, as parents,

helplessly watching something
happen to your child

that you can't do anything
about is very emotional.

Amelio: It was pretty
dark world, you know?

So it's like you got to go there
in order for it to be truthful.

I'm gonna kill you.
I'm gonna kill you!

Elfman: I think we all
went back to the hotel

and just, like, sat outside

and, like, had to get some
fresh air after that day.

Sure enough, one by one, our
characters turned on Padre.

Where are you taking me?

As far away from
Padre as possible.

It started with
Madison, but Padre,

led by Shrike and Crane,

had a real knack
for making enemies.

Just ask June or
Morgan, Grace, and Mo.

What about everyone else?

Or Dwight and Sherry.

I'm gonna kill you.

Or Daniel and his parent army.

Padre, you pissed off the
wrong group of people.

Hello? Is anyone in there?

Wait, wait.

Please. I'm not
going to hurt you.

Dickens: Madison is
really important to Padre

because she's
rebelling against them.

She was being controlled and
brainwashed and led to believe

that she was going to get
access to her children.

You lied to me.

She's consumed with guilt
for participating with Padre

and collecting all the children.

Her obsession becomes,
"Let me help these kids

reunite with their parents."

What's your name?

Wren.

No, it's not. It's Mo.

When Mo realized maybe
she wasn't being told

everything about how
she came to the island,

things start to change.

Change of plans.
We're leaving.

Chambliss: When Madison
ends up escaping with Mo,

that is such a dangerous
thing for Padre.

If word were to get out,
that would start to show

kind of the fissures
in the foundation.

Where are we going?

To find your dad.

On a personal level,

the revolution started with
Morgan spending time with Mo.

I think he knows he's never
going to let her go again.

I think the initial act
of defiance is massive

because he's within
Padre's reach.

What are you doing
here? How'd you find me?

Evangelista: Sherry and
Dwight are on their mission

to bring him back so they
could save their son.

When they see what
Morgan is going through,

there's a lot of compassion.

Duane?

And you sort of see these two

parents mirroring each other.

Morgan is essentially
going through

the same thing with his son.

Elfman: For June, Padre
is the exact opposite

of everything June stands for.

Her whole purpose is to help,
and once she left Padre,

the only way she
could still help

is by somehow disabling
the collectors.

And she did that by cutting
off their trigger fingers.

Padre has survived for so
long because it was mostly

young people that
were being controlled.

Elfman: There's been no forces
for good that are strong enough

to overtake Padre.

And we're all separated.

Woman: Hands up!

Blades: The army that
Daniel has trained,

this army of parents, it
has proven pretty effective.

Padre has lied to all of us.

Maybe we can find out
what else he's lied about.

Together.

We'll let the commander decide.

Who's the commander?

Daniel: Turn around.

What Daniel has done is
to give them a purpose,

an organization,
and a leadership.

Madison?

Daniel?

You know these people?

Give them back their weapons.

Blades: Daniel's family is gone,
but now he's going to try to get

these people their
families back.

And Padre is a place where
he can make that possible.

Daniel: All these people
lost their children to Padre.

And there are more of them.
Maybe your own parents.

Madison.

We'll hold them off. Go.

When Madison and June
and Dove storm into Padre

to have him show himself,
Madison smashes the mirror.

We discover that it's a
very young man in there,

Shrike's brother.

Eshet: The secret revealed,

is a huge danger for
the entire operation.

What they're risking is that all
of the members of the community

are going to turn against them,

and then everything
could collapse.

Do you know the
truth about Padre?

There is no Padre. He's
been dead for a long time.

Given the fact that Padre was
all built on just a series of

lies, a series of playing
people off each other...

Guns up!

And because Shrike and
Crane were trying to prevent

anyone else from feeling
any kind of loss,

that kind of absolute I think
is just what ultimately made it

inevitable that it would fall.

You were just given an order!

Fire.

They won't do it.

I think ultimately people
do need connection.

People need family and
to build a community.

Goldberg: More and more people
start to kind of tear down this

wall of what Padre has built
and what was behind it.

And even though it hurts
more to connect with people

that you might lose,
it's still better

than walling yourself
off from that connection.

Morgan didn't just
fight Padre this season.

He fought some serious
inner demons, as well.

There was no telling when he
went into his red fugue state

whether he might kill anyone
and anything around him.

No!

Lennie James talks about
how and why this happened,

and cast and crew take us
through how they created

the action on a sinking
houseboat full of walkers

with Morgan seeing red.

Morgan: I can't!

This is Morgan's version
of post traumatic stress.

Easy! Madison!

Easy there. What happened?

He doesn't remember when
he's in the red state.

The audience actually
get a vision of Morgan

that he never sees.

My ax! Where is my ax?!

He's trying to document
this version of himself.

He's trying to write
down "Morgan was here,"

and it just comes out in
broken, disjointed graffiti.

The reason why this
has all woken up in him

is because Morgan has taken
on the responsibility of Mo.

What does clear mean?

Clear? It's when I was
killing anything and anyone.

If I can't look after her now,

I might not be able to
do it in the future.

I might not be able to
keep this child alive.

Dad, help me!

That is what blacks him out.

That is what sends
him into the red.

Before the take, I'd
try and hold my breath

for as long as it's
humanly possible.

It's like he's coming out
from being underwater.

And he just needs to
get to the surface.

And when he gets out of it,
he's gasping that air in.

Woman: Morgan!

James: We kept reminding
everybody who was around Morgan

in those episodes that
what they had seen

was someone to be frightened of.

Did I hurt you?

Managed to stay out of your way.

There's a reason why Morgan
has lasted this long.

When he's in the fugue state,

he is capable of
serious destruction.

McLean: We worked
with the show runner

to develop a very interesting
effect for the Red Fugue states.

We wanted a texture to it.

Some of the things I used was
like melting paint inside of oil

so that it swirled.

And then we had to figure out
what is the best type of shot.

You want it to be close
on his face so that

he can shift, and the
background, just shoom.

And then speed.

A lot of it has
to do with timing.

One of the last
pieces was an overlay.

What is something that
floats on top of the screen?

We sourced medical
images of eyeballs,

so he's kind of in his
mind's eye, literally.

I think it's going to
be a really cool effect.

Sorry!

You started killing,
and then it was like

you thought I was one of them.

It's okay.

Man: Ready. Three,
two, one. Action.

Today, the scenes that I'm
shooting are where Morgan and Mo

are stuck in the houseboat
fighting the walkers

while the water is rising.

It does feel like I
am in a sinking boat

because it happened so quickly.

Armstrong: There's a progression
in terms of the sinking.

We started on two different
set pieces we had.

One was on airbags
that we could control

a small, slight
descent into the swamp,

and then we transitioned
to our full dunk tank.

Iudica: And we have
a 120-ton crane

to gently lower this
set piece underwater.

When we sink the boat,
we'll sink it level,

but it'll look like
it's at an angle.

Platform weighs
about 15,000 pounds,

so it gives us room for about
20 or so people on board.

We control the speed, we control
the stops and the starts.

There's always a safe exit.

We have water pumps that
will create a lot of wake

and agitation so you can get
water on the surface to ripple

towards them or you can
bounce water off the wall,

and then also compressed
air to add bubbles

as if all of the air pockets
in the boat are releasing.

Mo, give me my ax!

McLean: When we're in the
swamps, VFX is here to help

make things that are
safe seem dangerous.

So any time there's a
safety wire or a rig

or if there's hoses to keep the
water level in the right place,

if we see that in the shot,
we can paint that out later.

Come on. I can help you.

I've got it.

You know, we have
zombies stuck in the mud.

We have people fighting
on the houseboat.

The houseboat is sinking.
It's a wild scene.

McLean: We make it super
controlled and super safe

on set, and with a little
help from our stunt department

and a little help from VFX,

we make it look
really dangerous.

Morgan: You're gonna
make it out of here, Mo.

A big part of Morgan's story
this season was his need

to deal with his trauma.

That's why he returned to
his home in King County

to put his wife Jenny and son
Duane to rest after so long.

Sorry it took me so long.

Wolfe: Over 10 years later,

this iconic place we know
from "The Walking Dead" pilot

was recreated thanks to
show runners Ian Goldberg

and Andrew Chambliss, along
with the design and FX teams.

It was a powerful
journey for Morgan,

and it ends in devastation
when his moment of peace

is shattered by
Grace getting bitten.

Man: We just add
a puff of smoke.

Two cameras.

We knew as soon as we started
talking about season 8

that this was going to be a
crucial episode for Morgan,

and his journey, was taking
him back to King County,

which is where his journey
began as a character,

way back on the pilot
of "The Walking Dead."

He say something?

Thought I heard
him say something.

He called me Carl. Son,
you know they don't talk.

But it was kind of a tall
order. To say to ourselves like,

"Okay, if we're going to
go back to this location,

these sets, where the entire
kind of Walking Dead universe

began, you know, we
had to have a story

that really justified it.

Over here. Come on.

And I have to give just huge,
huge props to our entire team

and our production designer,
Russell and his team,

who rebuilt the house
with painstaking detail

to match exactly what was there,

which was no easy feat,
considering the last time

we saw that house was
over 10 years ago,

and it felt like
stepping into the past.

Daddy.

Bless him.

The work that they
did on their own

recreating that
place was fantastic.

Jaeger: Obviously, we had to do
a tremendous amount of research

to create what is
just an iconic space

and then take that space
to its ultimate demise

of destroying this iconic
piece of Walking Dead history.

Mo: Dad, I'm upstairs.
I can't get out.

Get to the attic, Mo.
I'm on my way to you.

When my agent sent
me the e-mail,

I literally asked
him, was he serious?

And then I said, "Well, I
guess you are."

And then I said yes.

It was so exciting
to bring Jenny back.

And the image of
Jenny as a walker

standing outside that house,

it's just so kind of rooted
in The Walking Dead's history.

It was like we were right back
in "The Walking Dead" pilot.

It was great to see her, and
I think it's a real testament

to this particular universe
that such things can happen.

I'm on my way!

Chambliss: Through a combination
of some makeup effects

and then some visual effects,
we were able to recreate

walker Duane in
those final moments,

when we finally saw
him up in that attic.

Seeing the walker...

Please!

Duane as alive Duane,

it's about that battle that...

Help!...Morgan's
having with himself.

Daddy! Daddy.

McLean: They tore down
the house that was built

and then made it look like
it had been burnt down.

And it's super weird to see
something that you were just

here for the night before
be completely transformed

into something different
for the next scene.

David: It's a home
full of memories,

a home full of history,
a home full of love,

a home full of heartache.

And to see that all be
obliterated so quickly,

like even me as Karen, I
was just watching this.

I was so heartbroken
in that moment.

James: When he buries
Duane and Jenny,

I think he thinks he's at peace.

We do what we said
we were gonna.

Spend as much time
together as we can.

Goldberg: I think Morgan
does have a moment of peace

when he's burying
Jenny and Duane.

And the tragic part of it is
that just as that happens...

Dad!

Grace gets bit.

Come on.

Morgan's love story
was one of the things

that was hardest
for us to achieve,

and I don't think we
could have done that

without an actress of
Karen's caliber, really.

Man: And cut.

Kenneth Requa did such a
beautiful job directing it.

We're really happy
with how it turned out.

And cut. Great. Let's move on.

Not so easy to move on
from an episode like this.

And seeing that walker
bite on Grace, it hurts.

The end of the first
half of this final season

sadly takes us to the end of
our time with Grace and Morgan

and with Karen David
and Lennie James,

who talk about the
Grace/Morgan love story,

saying goodbye to these
powerful characters,

and what the show
has meant to them.

We also hear from
their fellow cast

and the show runners as they
pay tribute to this beloved duo.

James: When Morgan
walked in on "Fear",

he had holes in his shoes,

his boots were held together
by tape, he was alone,

he was friendless, frightened.

He wanted to avoid people.

Man: Are you sure
you're going to be

all right out there on your own?

This world, we're always alone.

Grace: Take off your
clothes. All of them.

Grace is such a vital character
toward Morgan's journey.

I've always been a
kind of serious guy.

Really?

The journey that this love
story has to go on has to go on

the fact that this is a man

who is not in any way
aware of the possibility

of loving anybody apart
from his dead wife.

So this has to take
him by surprise.

And that's a hell
of a job to do.

And Karen did it.

David: When Morgan lay,
Duane and Jenny to rest,

there was this sense
of finality, closure,

this beautiful sense of peace.

It was sort of a 1-2 punch
of wanting to feel like right

at that moment of maximum hope,

a walker punches
through a rubble.

David: What a parent
will do for their child,

they will die for their child.

And she saw her
daughter in danger,

and she just acted like
any parent would have.

It's just heartbreaking
in that moment

because whatever
happiness and lightness

that this family, you know,
the three of them could have,

you want that so much for them,
and that's now been robbed.

Grace, I don't
think I'm going to

make it to you before...

I tell you, filming my
last moments with Lenny

was really tough.

I'm so sorry, Morgan.

David: Being on the walkie
and doing that scene

was just so incredibly
heartbreaking.

David: When Grace is a walker,

it was hard to watch
even on the playback.

There's so much love in how

Morgan just gently
laid her down.

When we lose characters on
this show or characters die,

we want it to mean something,

we want it to leave
an emotional ripple.

And Karen definitely did that.

James: The way we finished
with Grace is a real testament

to the job that
Karen's done, really.

It's supposed to hurt.

It's supposed to
break your heart.

You're supposed to be angry.

All of those things come into
play because we're losing Karen.

She is like a bright
light. She's just sunshine.

I'm proud to have
worked with her.

I feel blessed that we
had this journey together.

Both women, both
Grace and Karen,

are just these lovely sort
of self-sacrificial women.

It's always hard to say goodbye.

Saying goodbye to
Karen David is not easy

because she's truly
one of the loveliest

human beings to work with.

When I think of her, I think
of her as a bouquet of flowers.

David: The family that
we've created with our crew,

our creatives, our cast,

the beautiful thing about
this whole experience

of being part of this universe
is that you take the people

in your hearts and you take them
on your journey wherever you go.

They are a part of who I am now.

Morgan: The way out is
opening the door to people,

to possibility, to the
hurt that will happen.

I've found the way,
and I opened the door,

and then my life
started all over again.

Chambliss: Lenny has
been such a fixture

since Ian and I
started in season 4,

and he's been such a fixture
of The Walking Dead universe

that it's really hard to imagine
making this show without him.

I'm a bit in denial that
Lenny's gone, to be honest.

He's been such a vital
part of the journey.

I think he's an inspiration.
Truly, he's one of a kind.

We'll be forever grateful to
Lenny for his time with us.

Lenny has been such a
tremendous part of it

once he joined the show.

It's been great to
play adversaries.

I truly hope that
I get the chance

to create with him other
characters in the future.

But for now, I know I have
a brother and a friend.

Dickens: Lenny James could
not have been more open to me

and gracious in
welcoming me back.

He's been an incredible
inspiration to watch

and to work with, and
he lives in our hearts.

Elfman: I really look up
to Lenny James as an actor.

Every chapter of Morgan
has that essence to him,

just that benevolent heart
that he gets to walk away with.

Mo, I think, is super beautiful.

To recognize for himself
that he has found love,

that he's capable of love, that
he's capable of giving again.

And so he leaves
with the cup so full.

James: When Morgan
walks away from "Fear",

he has a child, he
has made friends,

he's lost friends, and
he's had an effect on them.

And he leaves them better
than he found them.

You can't really ask
for much more than that.

Morgan: This message
is for Rick Grimes.

It's Morgan Jones.

Man, I'm going to
come and look for you.

Who knows? Maybe you
might even be listening.

Goodbyes are never easy,

and neither is finding
love in the apocalypse.

But Grace and Morgan did it.

AMC has partnered
with the organization

See Her to celebrate
the women of

"Fear The Walking Dead."

I'm not gonna hurt you.

We put that spotlight
on Kim Dickens,

who talked about her
portrayal of Madison Clark

and her fight against Padre.

Mo ended up at
Padre because of me.

Let me try to make this right.

With a formidable
performance like Kim's,

it's no wonder Padre was
so scared of Madison.

Padre: Do you really
want to do this?

There's nothing
you could do to me

that's worse than what
I'm already living.

Dickens: Madison has
said it over and over.

She's got nothing left to lose.

Once she's able to break free
from Padre's imprisonment

and starts the rescue mission,

that's the only thing that
gives Madison a will to live,

is to make up for
the wrongs she's done

by reuniting these families.

Seriously?

Coming back to the show
was very interesting

because I'd never
worked with Lenny.

I'd never worked
with Morgan Jones.

Back on that beach,
I said I was going

to save your daughter.

I also said I was
going to save you.

I guess that's what I'm
going to have to do.

We don't need saved.

Those two unlikely
travel partners,

Morgan and Madison, or as
I like to call them, M&M,

they have an amazing knowledge
and insight into each other.

Go. I'll draw them away.

We fell right into
step with each other.

I spent seven years in a cell
so you could be with her.

This isn't about you.
I'm doing this for her.

I got to fight him.

We were fighting
like our day one

of getting to know each other.

I think she spots very early
on that Morgan needs to do

what Morgan needs to do.

It's happening again.

Dickens: As far as Madison's arc
goes, I think you finally see

a glimmer of the old Madison,

the warrior and the person who's
going to make things right.

And for me, I thought
that was astounding.

Goldberg: Kim Dickens
is such a force.

That role is such an
iconic role in not just

"Fear The Walking Dead," but
in the Walking Dead universe.

And this season, Madison
realizes that she's got

a decision to make.

Who is she going to be,

and how is she going to
protect the settlement?

So with Morgan passing the
leadership torch to Madison

and Padre's leaders going down,
there are some big questions

to be answered before
the series concludes.

Can Madison make Padre
into something good?

Will Dwight and Sherry
be able to help?

Will they even be
around? Will June?

And of course, there
are a bunch of folks

we haven't seen in a while.

Like, say, Victor Strand.

Now, why was he
calling you Anton?

It's such a gigantic task
to think about bringing

all these stories, all
these character journeys,

not just to a conclusion,

but also kind of bringing
them full circle.

Come here.

When we started to think about

where do we want these
characters to end up,

it actually led to the question
of, well, where did they start?

Chambliss: We wanted to look
back at these characters

from their very
beginnings on the show

and look at who they were back
then and who they were now,

and we could see how
far they've come.

Goldberg: With each of the
characters, to a certain degree,

in the back half of this season,

they have to look back
in order to look forward.

I drew that when we
were both living here.

And the theme that kept
coming to the front

of our minds was just
this idea of family.

If I just did it differently,
they both might be here.

And it all started
with Madison Clark.

She was this matriarch at the
beginning of the apocalypse

who always wanted
to protect her kids,

who wanted to create a world
where they could be safe,

who wanted to give
them something that

really didn't exist anymore.

You missed breakfast.

The kid needs a
place of her own.

I was thinking about
putting the bed over here.

It all kind of boils
down to the story

and the story you want to tell,

the story that we think will
bring together all the themes,

all the characters,
everyone's stories in a way

that will feel satisfying

and also feel like it has
some real finality to it.

I'm going to help you.

You're going to help me.

Help you do what?

Save Padre.

I can't wait to see
how it all turns out

in the final episodes.

And for fans of The
Walking Dead universe,

there is so much to
look forward to on AMC.

We're going to make Padre
what it was meant to be

in the first place.

Thanks for watching
"Show Me More",

and thanks for watching
"Fear The Walking Dead."

Remember, you can catch episodes
of "Fear The Walking Dead"

on AMC Plus, the AMC site
and apps, and on demand.

Until next time,
I'm Clark Wolfe.

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