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Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 00:00:06,700 --> 00:00:08,740 Hey, everyone. I'm Clark Wolfe. 2 00:00:08,870 --> 00:00:10,700 And welcome to "Show Me More", where we take 3 00:00:10,830 --> 00:00:13,310 a behind the scenes look at what went into creating 4 00:00:13,440 --> 00:00:14,790 AMC's hit shows. 5 00:00:14,920 --> 00:00:16,750 Before we get into it, I should warn you, 6 00:00:16,880 --> 00:00:19,100 there are lots of spoilers ahead. 7 00:00:19,230 --> 00:00:22,060 Now, if you're all caught up, let's get into part one 8 00:00:22,190 --> 00:00:26,630 of the final season of "Fear The Walking Dead." 9 00:00:26,760 --> 00:00:28,760 Announcer: Presented by T-Mobile. 10 00:00:36,030 --> 00:00:38,210 Padre was a mystery for most of season seven. 11 00:00:38,340 --> 00:00:40,820 And what we did learn about it at the end 12 00:00:40,950 --> 00:00:43,130 with Morgan and Madison was hardly encouraging. 13 00:00:43,260 --> 00:00:44,910 Come on. She sounds scared. 14 00:00:45,040 --> 00:00:46,870 Padre: Like all the children here, 15 00:00:47,000 --> 00:00:49,080 she will learn to separate herself from her emotions. 16 00:00:49,170 --> 00:00:51,000 Wolfe: Well, in season 8, we sure learned 17 00:00:51,130 --> 00:00:53,400 a lot more about Padre. 18 00:00:53,530 --> 00:00:54,936 You're doing this for the same reason 19 00:00:54,960 --> 00:00:56,660 we do everything. For Padre. 20 00:00:56,790 --> 00:00:58,310 Wolfe: Like who's in charge, 21 00:00:58,440 --> 00:01:00,620 how the community survived for over seven years, 22 00:01:00,750 --> 00:01:05,580 and why you wouldn't exactly call it a family friendly place. 23 00:01:05,710 --> 00:01:07,540 Not even close. 24 00:01:09,370 --> 00:01:11,280 Man: Who are we learning this for? 25 00:01:11,410 --> 00:01:13,850 All: Padre! 26 00:01:13,980 --> 00:01:15,850 Man: Who sustains our way of life? 27 00:01:15,980 --> 00:01:18,200 All: Padre. 28 00:01:18,330 --> 00:01:21,290 Goldberg: Padre is our central settlement 29 00:01:21,420 --> 00:01:25,040 that is well fortified, on the water, 30 00:01:25,170 --> 00:01:28,080 where we find our characters in season 8. 31 00:01:28,210 --> 00:01:30,090 Man: Who is teaching us to be strong? 32 00:01:30,220 --> 00:01:31,300 All: Padre. 33 00:01:31,430 --> 00:01:33,090 Goldberg: When Padre started, 34 00:01:33,220 --> 00:01:35,260 it was in this altruistic place. 35 00:01:35,390 --> 00:01:39,180 It really was created to rebuild the world. 36 00:01:39,310 --> 00:01:40,806 Chambliss: Padre isn't just a group of people. 37 00:01:40,830 --> 00:01:42,710 It isn't just a settlement. 38 00:01:42,840 --> 00:01:44,710 It really is a way of life. 39 00:01:44,840 --> 00:01:47,360 We kind of thought of this as kind of like a modern day 40 00:01:47,490 --> 00:01:50,500 version of Sparta, where Padre is collecting all these children 41 00:01:50,630 --> 00:01:53,150 from the apocalypse, and they're kind of like this blank slate 42 00:01:53,280 --> 00:01:56,330 that Padre can teach this new way of life to. 43 00:01:56,460 --> 00:01:59,640 Goldberg: They operate on this philosophy of 44 00:01:59,770 --> 00:02:02,380 separating children from their parents 45 00:02:02,510 --> 00:02:05,770 and raising them to not have emotional connections. 46 00:02:05,900 --> 00:02:07,616 Chambliss: Individual relationships, individual wants 47 00:02:07,640 --> 00:02:11,470 and needs are secondary to the good of the community. 48 00:02:11,600 --> 00:02:12,796 You're doing this for the same reason 49 00:02:12,820 --> 00:02:14,220 we do everything. 50 00:02:14,350 --> 00:02:15,740 For Padre. 51 00:02:15,870 --> 00:02:18,660 Goldberg: Children are being raised to be strong, 52 00:02:18,790 --> 00:02:21,220 to be warriors, to approach the world 53 00:02:21,350 --> 00:02:24,490 in a cold, brutal way. 54 00:02:24,620 --> 00:02:27,140 However, there's something that they grow up 55 00:02:27,270 --> 00:02:30,100 fundamentally lacking, which is connection. 56 00:02:30,230 --> 00:02:32,760 Every time I look out there. I feel like something 57 00:02:32,890 --> 00:02:34,850 really big is missing inside of me. 58 00:02:37,890 --> 00:02:41,030 Goldberg: Our characters are separated from the people 59 00:02:41,160 --> 00:02:43,200 they care about, and it's really redefined 60 00:02:43,330 --> 00:02:45,550 who they are as people in the seven years 61 00:02:45,680 --> 00:02:46,900 since we last saw them. 62 00:02:48,770 --> 00:02:50,770 Who's that? 63 00:02:50,900 --> 00:02:52,470 Madison: That's your dad. 64 00:02:52,600 --> 00:02:55,820 Are you really my father? 65 00:02:55,950 --> 00:02:57,560 I am Mo... 66 00:02:57,690 --> 00:03:00,260 Wren. My name is Wren. 67 00:03:00,390 --> 00:03:02,700 Essentially, the kids have been brainwashed. 68 00:03:04,310 --> 00:03:06,270 They believe their parents abandoned them. 69 00:03:06,400 --> 00:03:09,790 They believe that Padre has their best interests at heart. 70 00:03:09,920 --> 00:03:13,100 Padre. Can you hear me? This is Wren. 71 00:03:13,230 --> 00:03:16,150 Man: Padre 1. Wren, do you copy? 72 00:03:16,280 --> 00:03:18,850 Chambliss: Padre is run by these two traumatized 73 00:03:18,980 --> 00:03:21,590 young adults who are doing all of this because 74 00:03:21,720 --> 00:03:23,150 they lost their father. 75 00:03:23,290 --> 00:03:28,120 Don't let this die. It's so important. 76 00:03:28,640 --> 00:03:31,600 Goldberg: They believe they are protecting other kids 77 00:03:31,730 --> 00:03:35,080 from the pain that they felt. 78 00:03:35,210 --> 00:03:37,210 I know the pain Wren's in. 79 00:03:37,340 --> 00:03:40,520 The whole reason I am doing what I'm doing 80 00:03:40,650 --> 00:03:44,390 is to prevent anyone else from feeling that kind of pain. 81 00:03:44,520 --> 00:03:48,050 Chambliss: There are, in some ways, good intentions behind 82 00:03:48,180 --> 00:03:50,440 Padre, but Shrike and Crane have gone to this 83 00:03:50,570 --> 00:03:52,920 kind of very dark place. 84 00:03:55,270 --> 00:03:57,280 Woman: Wren, this is to protect you, 85 00:03:57,410 --> 00:03:59,130 Eshet: Shrike and Crane, they're extremists. 86 00:03:59,230 --> 00:04:03,630 They take very harsh actions to keep their community safe. 87 00:04:03,760 --> 00:04:05,410 Stop, please! 88 00:04:05,540 --> 00:04:07,370 Eshet: And they really did manage to keep 89 00:04:07,500 --> 00:04:08,810 this community going. 90 00:04:08,940 --> 00:04:10,460 Just so you know, Red Kite, 91 00:04:10,590 --> 00:04:13,600 no one's ever stolen a child from Padre before. 92 00:04:13,730 --> 00:04:16,250 Padre's philosophy has been quite effective. 93 00:04:16,380 --> 00:04:19,250 But there is a cost that comes when you have to enforce 94 00:04:19,380 --> 00:04:22,430 your ideology with such extreme measures. 95 00:04:24,130 --> 00:04:25,700 Stop! Let her go! 96 00:04:25,830 --> 00:04:27,440 Get her out of here now. 97 00:04:27,570 --> 00:04:30,220 Padre really has to be careful 98 00:04:30,350 --> 00:04:32,960 about showing any kind of weakness. 99 00:04:34,790 --> 00:04:36,490 Don't move. 100 00:04:36,620 --> 00:04:38,880 Shrike: Call the prefect. Tell them to get more guards. 101 00:04:39,010 --> 00:04:41,970 She's the reason Finch got bit. 102 00:04:42,100 --> 00:04:43,670 Finch got bit? 103 00:04:43,800 --> 00:04:45,980 They don't want to have a bunch of kids wondering, 104 00:04:46,110 --> 00:04:47,800 wait, is it better out there? 105 00:04:47,930 --> 00:04:51,110 Are the parents that we've been told didn't care about us, 106 00:04:51,240 --> 00:04:53,240 were our enemies, are they really our enemies? 107 00:04:53,380 --> 00:04:55,860 Those kind of questions are the thing that Padre really 108 00:04:55,990 --> 00:04:57,510 has to try to snuff out. 109 00:04:57,640 --> 00:05:00,640 You wanted to ask Padre for the truth? 110 00:05:00,770 --> 00:05:03,120 Go ahead, ask us. 111 00:05:03,250 --> 00:05:06,390 Walton: Dove finds these files, and it holds all the information 112 00:05:06,520 --> 00:05:08,430 about who her parents were, what her name is. 113 00:05:08,560 --> 00:05:12,130 And that's just one story out of many of the kids. 114 00:05:13,260 --> 00:05:15,480 Eshet: They lied to all of the children. 115 00:05:15,610 --> 00:05:18,570 And I think that is going to be their downfall. 116 00:05:18,700 --> 00:05:19,790 Let her go. 117 00:05:19,920 --> 00:05:21,660 You don't understand. 118 00:05:21,790 --> 00:05:24,620 She's Padre's daughter. You've been lied to. 119 00:05:24,750 --> 00:05:26,556 Chambliss: Ultimately, in its effort to survive, 120 00:05:26,580 --> 00:05:29,110 Padre ended up creating the very people 121 00:05:29,240 --> 00:05:31,060 who are going to end up bringing it down. 122 00:05:38,640 --> 00:05:40,900 Season 8 took us to a watery world 123 00:05:41,030 --> 00:05:42,550 full of muck and mud 124 00:05:42,690 --> 00:05:45,560 and sinking boats and swamp walkers. 125 00:05:45,690 --> 00:05:48,340 To do this, the show went to the wetlands of Georgia, 126 00:05:48,470 --> 00:05:51,480 where they built a swamp in a swamp. 127 00:06:00,700 --> 00:06:03,970 I really like working in the manmade swamp. 128 00:06:04,100 --> 00:06:06,320 It's such an impressive production design, 129 00:06:06,450 --> 00:06:07,450 the set design. 130 00:06:07,580 --> 00:06:09,100 All the special effects team, 131 00:06:09,230 --> 00:06:11,760 everything they've done, it's pretty remarkable. 132 00:06:14,800 --> 00:06:17,370 Goldberg: The swamp was a whole new element 133 00:06:17,500 --> 00:06:20,680 that we got in season 8 with the move to Savannah. 134 00:06:20,810 --> 00:06:23,770 Well, do the alligators, and do the snakes, 135 00:06:23,900 --> 00:06:26,420 do they all know that this is a manmade swamp? 136 00:06:26,560 --> 00:06:29,600 Goldberg: Our team went in and excavated an area, 137 00:06:29,730 --> 00:06:33,610 put in our own swamp water so that we could regulate 138 00:06:33,740 --> 00:06:35,666 and we could make sure that there were no alligators 139 00:06:35,690 --> 00:06:37,440 or anything that were getting in. 140 00:06:37,570 --> 00:06:39,410 We built this thing to control the water levels 141 00:06:39,520 --> 00:06:42,010 and control the critters and control... 142 00:06:42,140 --> 00:06:44,660 Just basically have control over the environment. 143 00:06:46,270 --> 00:06:47,920 Goldberg: We got our swamp walkers, which 144 00:06:48,050 --> 00:06:53,100 KNB just made them so nightmarish and cool. 145 00:06:54,670 --> 00:06:56,516 Dickens: The first night we worked in the swamp, 146 00:06:56,540 --> 00:06:58,800 it was really moderate temperatures. 147 00:06:58,940 --> 00:07:01,290 And I remember us kind of looking at each other like, 148 00:07:01,420 --> 00:07:03,770 "This is kind of fun, right?" 149 00:07:06,900 --> 00:07:09,950 James: Particularly the man made swamp that we had, 150 00:07:10,080 --> 00:07:12,780 the water was constantly moving and pumped fresh 151 00:07:12,910 --> 00:07:15,040 and all of that. 152 00:07:15,170 --> 00:07:20,780 And it was kind of nice, I'm saying in inverted commas, 153 00:07:20,910 --> 00:07:23,220 when the weather was warm. 154 00:07:24,740 --> 00:07:27,400 When we were doing it later on in the season 155 00:07:27,530 --> 00:07:31,710 and the weather had turned, not so much. 156 00:07:34,230 --> 00:07:36,190 Dickens: It was a little bit like a carnival ride 157 00:07:36,320 --> 00:07:38,280 to work on it because you're working at an angle 158 00:07:38,410 --> 00:07:41,850 like this the whole time and half wet the whole time. 159 00:07:41,980 --> 00:07:43,996 David: Looking at the set with the houseboat in the water 160 00:07:44,020 --> 00:07:46,680 and Grace coming in on that raft was so badass. 161 00:07:46,810 --> 00:07:50,550 I mean, I could not have asked for a better entrance 162 00:07:50,680 --> 00:07:51,990 to start off the season. 163 00:07:52,120 --> 00:07:53,990 Who are you? 164 00:07:54,120 --> 00:07:56,250 I'm your mother. 165 00:07:56,380 --> 00:07:58,300 We've seen a lot of horrible things 166 00:07:58,430 --> 00:08:00,300 on "Fear The Walking Dead" over the years, 167 00:08:00,430 --> 00:08:02,430 but Shrike infecting Finch with a walker bite 168 00:08:02,560 --> 00:08:06,260 on the train car is about as dark as it gets. 169 00:08:06,390 --> 00:08:08,050 No, please! 170 00:08:08,180 --> 00:08:11,220 All in the name of finding a cure that doesn't work. 171 00:08:19,890 --> 00:08:24,670 Goldberg: The train car was this off site medical facility 172 00:08:24,800 --> 00:08:28,110 where Padre was doing horrific experiments 173 00:08:28,240 --> 00:08:30,550 in the name of this cure. 174 00:08:32,030 --> 00:08:33,680 Hello, Blue Jay. 175 00:08:33,810 --> 00:08:37,030 Eshet: I infect Finch to give June motivation 176 00:08:37,160 --> 00:08:39,510 to continue the research. 177 00:08:39,640 --> 00:08:41,496 Elfman: Padre started these horrible experiments 178 00:08:41,520 --> 00:08:44,170 and held June at gunpoint and made her do them. 179 00:08:44,300 --> 00:08:46,520 Why is Padre doing this? 180 00:08:46,650 --> 00:08:48,480 The same reason he does everything... 181 00:08:48,610 --> 00:08:51,870 To ensure what he's built endures. 182 00:08:52,000 --> 00:08:56,180 I sacrifice one individual in order to find a vaccine 183 00:08:56,310 --> 00:08:59,190 and maybe solve this for humanity. 184 00:09:03,230 --> 00:09:05,540 The set looked awesome. 185 00:09:05,670 --> 00:09:09,330 Goldberg: We wanted to create this image of this 186 00:09:09,460 --> 00:09:11,020 house of horrors where people who've had 187 00:09:11,110 --> 00:09:13,770 these terrible experiments done to them for walker bites. 188 00:09:18,070 --> 00:09:20,640 But it's all coming from this place of 189 00:09:20,770 --> 00:09:22,770 wanting to prevent loss, 190 00:09:22,910 --> 00:09:25,340 which is ultimately something that you can't do. 191 00:09:27,820 --> 00:09:32,130 It was really brutal to shoot that scene. 192 00:09:34,830 --> 00:09:37,400 It was awful. 193 00:09:37,530 --> 00:09:41,310 Dwight: No, no, no, no, no, no, no. 194 00:09:41,450 --> 00:09:44,400 We're in this tight train car. 195 00:09:44,540 --> 00:09:47,060 Finch is a few feet in front of us. 196 00:09:47,190 --> 00:09:49,320 We're tied to this pipe. 197 00:09:49,450 --> 00:09:53,850 To watch Dwight and Sherry's reaction, as parents, 198 00:09:53,980 --> 00:09:56,720 helplessly watching something happen to your child 199 00:09:56,850 --> 00:10:02,380 that you can't do anything about is very emotional. 200 00:10:04,160 --> 00:10:06,080 Amelio: It was pretty dark world, you know? 201 00:10:06,210 --> 00:10:10,910 So it's like you got to go there in order for it to be truthful. 202 00:10:11,040 --> 00:10:15,220 I'm gonna kill you. I'm gonna kill you! 203 00:10:15,350 --> 00:10:17,390 Elfman: I think we all went back to the hotel 204 00:10:17,520 --> 00:10:19,220 and just, like, sat outside 205 00:10:19,350 --> 00:10:23,050 and, like, had to get some fresh air after that day. 206 00:10:29,450 --> 00:10:33,150 Sure enough, one by one, our characters turned on Padre. 207 00:10:33,280 --> 00:10:34,410 Where are you taking me? 208 00:10:34,540 --> 00:10:35,696 As far away from Padre as possible. 209 00:10:35,720 --> 00:10:37,980 It started with Madison, but Padre, 210 00:10:38,110 --> 00:10:39,290 led by Shrike and Crane, 211 00:10:39,420 --> 00:10:41,590 had a real knack for making enemies. 212 00:10:41,720 --> 00:10:44,810 Just ask June or Morgan, Grace, and Mo. 213 00:10:44,940 --> 00:10:45,940 What about everyone else? 214 00:10:46,080 --> 00:10:47,080 Or Dwight and Sherry. 215 00:10:47,210 --> 00:10:48,210 I'm gonna kill you. 216 00:10:48,340 --> 00:10:49,950 Or Daniel and his parent army. 217 00:10:50,080 --> 00:10:53,690 Padre, you pissed off the wrong group of people. 218 00:10:56,090 --> 00:10:59,390 Hello? Is anyone in there? 219 00:10:59,520 --> 00:11:01,050 Wait, wait. 220 00:11:01,180 --> 00:11:03,530 Please. I'm not going to hurt you. 221 00:11:03,660 --> 00:11:06,880 Dickens: Madison is really important to Padre 222 00:11:07,010 --> 00:11:11,100 because she's rebelling against them. 223 00:11:11,230 --> 00:11:14,060 She was being controlled and brainwashed and led to believe 224 00:11:14,190 --> 00:11:17,410 that she was going to get access to her children. 225 00:11:17,540 --> 00:11:19,060 You lied to me. 226 00:11:19,200 --> 00:11:22,460 She's consumed with guilt for participating with Padre 227 00:11:22,590 --> 00:11:24,720 and collecting all the children. 228 00:11:24,850 --> 00:11:27,120 Her obsession becomes, "Let me help these kids 229 00:11:27,250 --> 00:11:28,680 reunite with their parents." 230 00:11:28,810 --> 00:11:29,810 What's your name? 231 00:11:29,950 --> 00:11:31,080 Wren. 232 00:11:31,210 --> 00:11:34,080 No, it's not. It's Mo. 233 00:11:34,210 --> 00:11:37,740 When Mo realized maybe she wasn't being told 234 00:11:37,870 --> 00:11:41,260 everything about how she came to the island, 235 00:11:41,390 --> 00:11:42,830 things start to change. 236 00:11:42,960 --> 00:11:45,350 Change of plans. We're leaving. 237 00:11:45,480 --> 00:11:47,480 Chambliss: When Madison ends up escaping with Mo, 238 00:11:47,610 --> 00:11:49,570 that is such a dangerous thing for Padre. 239 00:11:49,700 --> 00:11:51,620 If word were to get out, that would start to show 240 00:11:51,750 --> 00:11:53,880 kind of the fissures in the foundation. 241 00:11:54,010 --> 00:11:55,270 Where are we going? 242 00:11:55,410 --> 00:11:57,230 To find your dad. 243 00:11:57,360 --> 00:11:59,020 On a personal level, 244 00:11:59,150 --> 00:12:03,810 the revolution started with Morgan spending time with Mo. 245 00:12:03,940 --> 00:12:08,110 I think he knows he's never going to let her go again. 246 00:12:08,240 --> 00:12:10,940 I think the initial act of defiance is massive 247 00:12:11,070 --> 00:12:13,470 because he's within Padre's reach. 248 00:12:14,950 --> 00:12:17,950 What are you doing here? How'd you find me? 249 00:12:18,080 --> 00:12:19,836 Evangelista: Sherry and Dwight are on their mission 250 00:12:19,860 --> 00:12:22,780 to bring him back so they could save their son. 251 00:12:22,910 --> 00:12:25,700 When they see what Morgan is going through, 252 00:12:25,830 --> 00:12:28,480 there's a lot of compassion. 253 00:12:28,610 --> 00:12:29,660 Duane? 254 00:12:29,790 --> 00:12:32,310 And you sort of see these two 255 00:12:32,440 --> 00:12:34,270 parents mirroring each other. 256 00:12:34,400 --> 00:12:36,400 Morgan is essentially going through 257 00:12:36,530 --> 00:12:38,010 the same thing with his son. 258 00:12:39,710 --> 00:12:43,760 Elfman: For June, Padre is the exact opposite 259 00:12:43,890 --> 00:12:46,590 of everything June stands for. 260 00:12:46,720 --> 00:12:49,940 Her whole purpose is to help, and once she left Padre, 261 00:12:50,070 --> 00:12:52,550 the only way she could still help 262 00:12:52,680 --> 00:12:56,160 is by somehow disabling the collectors. 263 00:12:57,290 --> 00:13:00,510 And she did that by cutting off their trigger fingers. 264 00:13:02,300 --> 00:13:06,780 Padre has survived for so long because it was mostly 265 00:13:06,910 --> 00:13:09,000 young people that were being controlled. 266 00:13:09,130 --> 00:13:13,180 Elfman: There's been no forces for good that are strong enough 267 00:13:13,310 --> 00:13:14,880 to overtake Padre. 268 00:13:15,010 --> 00:13:16,440 And we're all separated. 269 00:13:16,570 --> 00:13:17,880 Woman: Hands up! 270 00:13:18,010 --> 00:13:20,580 Blades: The army that Daniel has trained, 271 00:13:20,710 --> 00:13:24,580 this army of parents, it has proven pretty effective. 272 00:13:24,710 --> 00:13:26,320 Padre has lied to all of us. 273 00:13:26,450 --> 00:13:28,930 Maybe we can find out what else he's lied about. 274 00:13:29,060 --> 00:13:30,630 Together. 275 00:13:30,760 --> 00:13:32,020 We'll let the commander decide. 276 00:13:32,150 --> 00:13:33,160 Who's the commander? 277 00:13:33,290 --> 00:13:34,980 Daniel: Turn around. 278 00:13:35,110 --> 00:13:36,950 What Daniel has done is to give them a purpose, 279 00:13:37,070 --> 00:13:39,990 an organization, and a leadership. 280 00:13:40,120 --> 00:13:42,030 Madison? 281 00:13:42,160 --> 00:13:43,340 Daniel? 282 00:13:43,470 --> 00:13:44,730 You know these people? 283 00:13:44,860 --> 00:13:46,600 Give them back their weapons. 284 00:13:46,730 --> 00:13:49,610 Blades: Daniel's family is gone, but now he's going to try to get 285 00:13:49,740 --> 00:13:51,870 these people their families back. 286 00:13:52,000 --> 00:13:55,830 And Padre is a place where he can make that possible. 287 00:13:55,960 --> 00:13:58,660 Daniel: All these people lost their children to Padre. 288 00:13:58,790 --> 00:14:01,970 And there are more of them. Maybe your own parents. 289 00:14:02,100 --> 00:14:03,530 Madison. 290 00:14:03,660 --> 00:14:05,270 We'll hold them off. Go. 291 00:14:05,400 --> 00:14:08,890 When Madison and June and Dove storm into Padre 292 00:14:09,020 --> 00:14:13,980 to have him show himself, Madison smashes the mirror. 293 00:14:19,160 --> 00:14:22,250 We discover that it's a very young man in there, 294 00:14:22,380 --> 00:14:23,420 Shrike's brother. 295 00:14:23,550 --> 00:14:24,770 Eshet: The secret revealed, 296 00:14:24,900 --> 00:14:28,120 is a huge danger for the entire operation. 297 00:14:28,250 --> 00:14:30,780 What they're risking is that all of the members of the community 298 00:14:30,910 --> 00:14:32,390 are going to turn against them, 299 00:14:32,520 --> 00:14:34,300 and then everything could collapse. 300 00:14:34,430 --> 00:14:37,920 Do you know the truth about Padre? 301 00:14:38,050 --> 00:14:41,480 There is no Padre. He's been dead for a long time. 302 00:14:41,610 --> 00:14:45,840 Given the fact that Padre was all built on just a series of 303 00:14:45,970 --> 00:14:48,230 lies, a series of playing people off each other... 304 00:14:48,360 --> 00:14:50,190 Guns up! 305 00:14:50,320 --> 00:14:52,166 And because Shrike and Crane were trying to prevent 306 00:14:52,190 --> 00:14:54,710 anyone else from feeling any kind of loss, 307 00:14:54,850 --> 00:14:58,280 that kind of absolute I think is just what ultimately made it 308 00:14:58,410 --> 00:15:00,630 inevitable that it would fall. 309 00:15:04,720 --> 00:15:07,210 You were just given an order! 310 00:15:07,340 --> 00:15:09,470 Fire. 311 00:15:10,560 --> 00:15:11,950 They won't do it. 312 00:15:12,080 --> 00:15:14,690 I think ultimately people do need connection. 313 00:15:14,820 --> 00:15:19,170 People need family and to build a community. 314 00:15:21,050 --> 00:15:23,920 Goldberg: More and more people start to kind of tear down this 315 00:15:24,050 --> 00:15:27,880 wall of what Padre has built and what was behind it. 316 00:15:28,010 --> 00:15:31,100 And even though it hurts more to connect with people 317 00:15:31,230 --> 00:15:33,190 that you might lose, it's still better 318 00:15:33,320 --> 00:15:36,670 than walling yourself off from that connection. 319 00:15:39,540 --> 00:15:42,110 Morgan didn't just fight Padre this season. 320 00:15:42,240 --> 00:15:45,030 He fought some serious inner demons, as well. 321 00:15:45,160 --> 00:15:48,120 There was no telling when he went into his red fugue state 322 00:15:48,250 --> 00:15:51,990 whether he might kill anyone and anything around him. 323 00:15:52,120 --> 00:15:53,770 No! 324 00:15:53,900 --> 00:15:56,250 Lennie James talks about how and why this happened, 325 00:15:56,390 --> 00:15:59,130 and cast and crew take us through how they created 326 00:15:59,260 --> 00:16:02,480 the action on a sinking houseboat full of walkers 327 00:16:02,610 --> 00:16:04,960 with Morgan seeing red. 328 00:16:12,270 --> 00:16:14,190 Morgan: I can't! 329 00:16:14,320 --> 00:16:18,320 This is Morgan's version of post traumatic stress. 330 00:16:18,450 --> 00:16:19,580 Easy! Madison! 331 00:16:19,710 --> 00:16:21,760 Easy there. What happened? 332 00:16:21,890 --> 00:16:25,020 He doesn't remember when he's in the red state. 333 00:16:25,150 --> 00:16:28,160 The audience actually get a vision of Morgan 334 00:16:28,290 --> 00:16:29,550 that he never sees. 335 00:16:29,680 --> 00:16:32,160 My ax! Where is my ax?! 336 00:16:32,290 --> 00:16:35,380 He's trying to document this version of himself. 337 00:16:35,510 --> 00:16:38,300 He's trying to write down "Morgan was here," 338 00:16:38,430 --> 00:16:43,260 and it just comes out in broken, disjointed graffiti. 339 00:16:44,350 --> 00:16:47,520 The reason why this has all woken up in him 340 00:16:47,650 --> 00:16:52,310 is because Morgan has taken on the responsibility of Mo. 341 00:16:52,440 --> 00:16:54,050 What does clear mean? 342 00:16:54,180 --> 00:16:59,140 Clear? It's when I was killing anything and anyone. 343 00:16:59,270 --> 00:17:01,190 If I can't look after her now, 344 00:17:01,320 --> 00:17:03,670 I might not be able to do it in the future. 345 00:17:03,800 --> 00:17:05,720 I might not be able to keep this child alive. 346 00:17:05,840 --> 00:17:07,370 Dad, help me! 347 00:17:07,500 --> 00:17:08,980 That is what blacks him out. 348 00:17:09,110 --> 00:17:12,370 That is what sends him into the red. 349 00:17:15,900 --> 00:17:17,770 Before the take, I'd try and hold my breath 350 00:17:17,900 --> 00:17:19,340 for as long as it's humanly possible. 351 00:17:19,420 --> 00:17:21,690 It's like he's coming out from being underwater. 352 00:17:21,820 --> 00:17:24,300 And he just needs to get to the surface. 353 00:17:24,430 --> 00:17:28,390 And when he gets out of it, he's gasping that air in. 354 00:17:28,520 --> 00:17:30,220 Woman: Morgan! 355 00:17:32,000 --> 00:17:35,090 James: We kept reminding everybody who was around Morgan 356 00:17:35,220 --> 00:17:38,010 in those episodes that what they had seen 357 00:17:38,140 --> 00:17:40,230 was someone to be frightened of. 358 00:17:40,360 --> 00:17:41,970 Did I hurt you? 359 00:17:42,100 --> 00:17:43,670 Managed to stay out of your way. 360 00:17:43,800 --> 00:17:46,580 There's a reason why Morgan has lasted this long. 361 00:17:46,710 --> 00:17:48,060 When he's in the fugue state, 362 00:17:48,190 --> 00:17:51,240 he is capable of serious destruction. 363 00:17:53,280 --> 00:17:55,110 McLean: We worked with the show runner 364 00:17:55,240 --> 00:17:58,680 to develop a very interesting effect for the Red Fugue states. 365 00:17:58,810 --> 00:18:00,550 We wanted a texture to it. 366 00:18:00,680 --> 00:18:03,640 Some of the things I used was like melting paint inside of oil 367 00:18:03,770 --> 00:18:05,510 so that it swirled. 368 00:18:05,640 --> 00:18:08,130 And then we had to figure out what is the best type of shot. 369 00:18:08,260 --> 00:18:10,130 You want it to be close on his face so that 370 00:18:10,260 --> 00:18:11,936 he can shift, and the background, just shoom. 371 00:18:11,960 --> 00:18:13,870 And then speed. 372 00:18:14,000 --> 00:18:16,050 A lot of it has to do with timing. 373 00:18:16,180 --> 00:18:17,920 One of the last pieces was an overlay. 374 00:18:18,050 --> 00:18:21,050 What is something that floats on top of the screen? 375 00:18:21,180 --> 00:18:23,310 We sourced medical images of eyeballs, 376 00:18:23,450 --> 00:18:27,100 so he's kind of in his mind's eye, literally. 377 00:18:31,840 --> 00:18:33,850 I think it's going to be a really cool effect. 378 00:18:35,200 --> 00:18:36,630 Sorry! 379 00:18:36,760 --> 00:18:38,940 You started killing, and then it was like 380 00:18:39,070 --> 00:18:40,086 you thought I was one of them. 381 00:18:40,110 --> 00:18:41,200 It's okay. 382 00:18:41,330 --> 00:18:44,340 Man: Ready. Three, two, one. Action. 383 00:18:44,470 --> 00:18:48,080 Today, the scenes that I'm shooting are where Morgan and Mo 384 00:18:48,210 --> 00:18:50,690 are stuck in the houseboat fighting the walkers 385 00:18:50,820 --> 00:18:53,080 while the water is rising. 386 00:18:55,560 --> 00:18:59,000 It does feel like I am in a sinking boat 387 00:18:59,130 --> 00:19:01,740 because it happened so quickly. 388 00:19:01,870 --> 00:19:04,066 Armstrong: There's a progression in terms of the sinking. 389 00:19:04,090 --> 00:19:06,310 We started on two different set pieces we had. 390 00:19:06,440 --> 00:19:09,100 One was on airbags that we could control 391 00:19:09,230 --> 00:19:12,360 a small, slight descent into the swamp, 392 00:19:12,490 --> 00:19:16,850 and then we transitioned to our full dunk tank. 393 00:19:18,240 --> 00:19:20,200 Iudica: And we have a 120-ton crane 394 00:19:20,330 --> 00:19:23,330 to gently lower this set piece underwater. 395 00:19:23,460 --> 00:19:25,250 When we sink the boat, we'll sink it level, 396 00:19:25,380 --> 00:19:27,810 but it'll look like it's at an angle. 397 00:19:27,940 --> 00:19:29,990 Platform weighs about 15,000 pounds, 398 00:19:30,120 --> 00:19:34,430 so it gives us room for about 20 or so people on board. 399 00:19:34,560 --> 00:19:37,910 We control the speed, we control the stops and the starts. 400 00:19:38,040 --> 00:19:41,220 There's always a safe exit. 401 00:19:41,350 --> 00:19:44,440 We have water pumps that will create a lot of wake 402 00:19:44,570 --> 00:19:47,960 and agitation so you can get water on the surface to ripple 403 00:19:48,090 --> 00:19:50,310 towards them or you can bounce water off the wall, 404 00:19:50,450 --> 00:19:53,400 and then also compressed air to add bubbles 405 00:19:53,540 --> 00:19:58,150 as if all of the air pockets in the boat are releasing. 406 00:20:01,850 --> 00:20:03,410 Mo, give me my ax! 407 00:20:03,550 --> 00:20:06,030 McLean: When we're in the swamps, VFX is here to help 408 00:20:06,160 --> 00:20:08,250 make things that are safe seem dangerous. 409 00:20:08,380 --> 00:20:11,070 So any time there's a safety wire or a rig 410 00:20:11,210 --> 00:20:14,560 or if there's hoses to keep the water level in the right place, 411 00:20:14,690 --> 00:20:17,730 if we see that in the shot, we can paint that out later. 412 00:20:19,300 --> 00:20:21,300 Come on. I can help you. 413 00:20:21,430 --> 00:20:22,740 I've got it. 414 00:20:22,870 --> 00:20:24,196 You know, we have zombies stuck in the mud. 415 00:20:24,220 --> 00:20:25,586 We have people fighting on the houseboat. 416 00:20:25,610 --> 00:20:27,610 The houseboat is sinking. It's a wild scene. 417 00:20:31,180 --> 00:20:32,816 McLean: We make it super controlled and super safe 418 00:20:32,840 --> 00:20:34,766 on set, and with a little help from our stunt department 419 00:20:34,790 --> 00:20:35,870 and a little help from VFX, 420 00:20:35,970 --> 00:20:37,450 we make it look really dangerous. 421 00:20:39,150 --> 00:20:40,970 Morgan: You're gonna make it out of here, Mo. 422 00:20:42,850 --> 00:20:45,330 A big part of Morgan's story this season was his need 423 00:20:45,460 --> 00:20:46,890 to deal with his trauma. 424 00:20:47,020 --> 00:20:49,030 That's why he returned to his home in King County 425 00:20:49,160 --> 00:20:52,810 to put his wife Jenny and son Duane to rest after so long. 426 00:20:52,940 --> 00:20:54,860 Sorry it took me so long. 427 00:20:54,990 --> 00:20:56,550 Wolfe: Over 10 years later, 428 00:20:56,690 --> 00:20:59,120 this iconic place we know from "The Walking Dead" pilot 429 00:20:59,250 --> 00:21:02,080 was recreated thanks to show runners Ian Goldberg 430 00:21:02,210 --> 00:21:05,690 and Andrew Chambliss, along with the design and FX teams. 431 00:21:05,820 --> 00:21:07,830 It was a powerful journey for Morgan, 432 00:21:07,960 --> 00:21:11,270 and it ends in devastation when his moment of peace 433 00:21:11,400 --> 00:21:14,010 is shattered by Grace getting bitten. 434 00:21:20,100 --> 00:21:22,620 Man: We just add a puff of smoke. 435 00:21:22,750 --> 00:21:24,890 Two cameras. 436 00:21:25,020 --> 00:21:27,930 We knew as soon as we started talking about season 8 437 00:21:28,060 --> 00:21:32,330 that this was going to be a crucial episode for Morgan, 438 00:21:32,460 --> 00:21:35,510 and his journey, was taking him back to King County, 439 00:21:35,640 --> 00:21:38,470 which is where his journey began as a character, 440 00:21:38,600 --> 00:21:41,250 way back on the pilot of "The Walking Dead." 441 00:21:41,380 --> 00:21:42,510 He say something? 442 00:21:42,640 --> 00:21:44,120 Thought I heard him say something. 443 00:21:44,250 --> 00:21:46,340 He called me Carl. Son, you know they don't talk. 444 00:21:46,470 --> 00:21:49,260 But it was kind of a tall order. To say to ourselves like, 445 00:21:49,390 --> 00:21:51,830 "Okay, if we're going to go back to this location, 446 00:21:51,960 --> 00:21:56,140 these sets, where the entire kind of Walking Dead universe 447 00:21:56,270 --> 00:21:58,270 began, you know, we had to have a story 448 00:21:58,400 --> 00:21:59,790 that really justified it. 449 00:21:59,920 --> 00:22:02,660 Over here. Come on. 450 00:22:02,790 --> 00:22:07,840 And I have to give just huge, huge props to our entire team 451 00:22:07,970 --> 00:22:11,330 and our production designer, Russell and his team, 452 00:22:11,460 --> 00:22:14,940 who rebuilt the house with painstaking detail 453 00:22:15,070 --> 00:22:17,510 to match exactly what was there, 454 00:22:17,640 --> 00:22:19,640 which was no easy feat, considering the last time 455 00:22:19,770 --> 00:22:22,470 we saw that house was over 10 years ago, 456 00:22:22,600 --> 00:22:25,250 and it felt like stepping into the past. 457 00:22:25,380 --> 00:22:26,510 Daddy. 458 00:22:26,640 --> 00:22:27,780 Bless him. 459 00:22:27,910 --> 00:22:29,430 The work that they did on their own 460 00:22:29,560 --> 00:22:31,870 recreating that place was fantastic. 461 00:22:32,000 --> 00:22:33,846 Jaeger: Obviously, we had to do a tremendous amount of research 462 00:22:33,870 --> 00:22:36,960 to create what is just an iconic space 463 00:22:37,090 --> 00:22:39,790 and then take that space to its ultimate demise 464 00:22:39,920 --> 00:22:43,880 of destroying this iconic piece of Walking Dead history. 465 00:22:44,010 --> 00:22:46,360 Mo: Dad, I'm upstairs. I can't get out. 466 00:22:46,490 --> 00:22:49,360 Get to the attic, Mo. I'm on my way to you. 467 00:22:49,930 --> 00:22:52,890 When my agent sent me the e-mail, 468 00:22:53,020 --> 00:22:55,410 I literally asked him, was he serious? 469 00:22:55,540 --> 00:22:57,850 And then I said, "Well, I guess you are." 470 00:22:57,980 --> 00:22:59,900 And then I said yes. 471 00:23:02,420 --> 00:23:04,810 It was so exciting to bring Jenny back. 472 00:23:04,940 --> 00:23:07,600 And the image of Jenny as a walker 473 00:23:07,730 --> 00:23:09,600 standing outside that house, 474 00:23:09,730 --> 00:23:13,130 it's just so kind of rooted in The Walking Dead's history. 475 00:23:13,260 --> 00:23:16,390 It was like we were right back in "The Walking Dead" pilot. 476 00:23:16,520 --> 00:23:19,570 It was great to see her, and I think it's a real testament 477 00:23:19,700 --> 00:23:22,530 to this particular universe that such things can happen. 478 00:23:27,010 --> 00:23:28,580 I'm on my way! 479 00:23:28,710 --> 00:23:30,726 Chambliss: Through a combination of some makeup effects 480 00:23:30,750 --> 00:23:33,800 and then some visual effects, we were able to recreate 481 00:23:33,930 --> 00:23:35,330 walker Duane in those final moments, 482 00:23:35,450 --> 00:23:37,800 when we finally saw him up in that attic. 483 00:23:37,930 --> 00:23:39,150 Seeing the walker... 484 00:23:39,280 --> 00:23:40,280 Please! 485 00:23:40,410 --> 00:23:43,940 Duane as alive Duane, 486 00:23:44,070 --> 00:23:46,290 it's about that battle that... 487 00:23:46,420 --> 00:23:47,900 Help!...Morgan's having with himself. 488 00:23:48,030 --> 00:23:50,120 Daddy! Daddy. 489 00:23:56,560 --> 00:23:58,650 McLean: They tore down the house that was built 490 00:23:58,780 --> 00:24:00,870 and then made it look like it had been burnt down. 491 00:24:01,000 --> 00:24:03,310 And it's super weird to see something that you were just 492 00:24:03,440 --> 00:24:05,830 here for the night before be completely transformed 493 00:24:05,960 --> 00:24:09,310 into something different for the next scene. 494 00:24:09,440 --> 00:24:11,310 David: It's a home full of memories, 495 00:24:11,450 --> 00:24:13,970 a home full of history, a home full of love, 496 00:24:14,100 --> 00:24:16,670 a home full of heartache. 497 00:24:16,800 --> 00:24:21,410 And to see that all be obliterated so quickly, 498 00:24:21,540 --> 00:24:24,280 like even me as Karen, I was just watching this. 499 00:24:24,410 --> 00:24:27,160 I was so heartbroken in that moment. 500 00:24:28,550 --> 00:24:31,420 James: When he buries Duane and Jenny, 501 00:24:31,550 --> 00:24:34,600 I think he thinks he's at peace. 502 00:24:34,730 --> 00:24:37,040 We do what we said we were gonna. 503 00:24:37,170 --> 00:24:40,130 Spend as much time together as we can. 504 00:24:41,430 --> 00:24:43,650 Goldberg: I think Morgan does have a moment of peace 505 00:24:43,780 --> 00:24:46,000 when he's burying Jenny and Duane. 506 00:24:46,130 --> 00:24:49,740 And the tragic part of it is that just as that happens... 507 00:24:49,870 --> 00:24:52,050 Dad! 508 00:24:52,180 --> 00:24:53,790 Grace gets bit. 509 00:24:53,920 --> 00:24:55,450 Come on. 510 00:24:55,580 --> 00:24:57,620 Morgan's love story was one of the things 511 00:24:57,750 --> 00:25:00,490 that was hardest for us to achieve, 512 00:25:00,620 --> 00:25:03,450 and I don't think we could have done that 513 00:25:03,580 --> 00:25:06,760 without an actress of Karen's caliber, really. 514 00:25:06,890 --> 00:25:09,590 Man: And cut. 515 00:25:10,070 --> 00:25:13,510 Kenneth Requa did such a beautiful job directing it. 516 00:25:13,640 --> 00:25:16,210 We're really happy with how it turned out. 517 00:25:17,730 --> 00:25:20,120 And cut. Great. Let's move on. 518 00:25:21,650 --> 00:25:24,690 Not so easy to move on from an episode like this. 519 00:25:24,820 --> 00:25:28,910 And seeing that walker bite on Grace, it hurts. 520 00:25:29,040 --> 00:25:32,180 The end of the first half of this final season 521 00:25:32,310 --> 00:25:35,700 sadly takes us to the end of our time with Grace and Morgan 522 00:25:35,830 --> 00:25:38,580 and with Karen David and Lennie James, 523 00:25:38,710 --> 00:25:40,710 who talk about the Grace/Morgan love story, 524 00:25:40,840 --> 00:25:43,540 saying goodbye to these powerful characters, 525 00:25:43,670 --> 00:25:46,190 and what the show has meant to them. 526 00:25:46,320 --> 00:25:47,930 We also hear from their fellow cast 527 00:25:48,060 --> 00:25:51,720 and the show runners as they pay tribute to this beloved duo. 528 00:26:01,900 --> 00:26:04,950 James: When Morgan walked in on "Fear", 529 00:26:05,080 --> 00:26:06,730 he had holes in his shoes, 530 00:26:06,860 --> 00:26:10,300 his boots were held together by tape, he was alone, 531 00:26:10,430 --> 00:26:13,130 he was friendless, frightened. 532 00:26:13,260 --> 00:26:14,960 He wanted to avoid people. 533 00:26:15,090 --> 00:26:16,456 Man: Are you sure you're going to be 534 00:26:16,480 --> 00:26:17,586 all right out there on your own? 535 00:26:17,610 --> 00:26:20,920 This world, we're always alone. 536 00:26:22,710 --> 00:26:27,670 Grace: Take off your clothes. All of them. 537 00:26:27,800 --> 00:26:30,890 Grace is such a vital character toward Morgan's journey. 538 00:26:31,020 --> 00:26:33,760 I've always been a kind of serious guy. 539 00:26:33,890 --> 00:26:35,460 Really? 540 00:26:35,590 --> 00:26:37,696 The journey that this love story has to go on has to go on 541 00:26:37,720 --> 00:26:39,240 the fact that this is a man 542 00:26:39,380 --> 00:26:42,470 who is not in any way aware of the possibility 543 00:26:42,600 --> 00:26:44,550 of loving anybody apart from his dead wife. 544 00:26:44,690 --> 00:26:47,780 So this has to take him by surprise. 545 00:26:47,910 --> 00:26:49,340 And that's a hell of a job to do. 546 00:26:49,470 --> 00:26:51,740 And Karen did it. 547 00:26:53,820 --> 00:26:56,440 David: When Morgan lay, Duane and Jenny to rest, 548 00:26:56,570 --> 00:26:59,480 there was this sense of finality, closure, 549 00:26:59,610 --> 00:27:01,350 this beautiful sense of peace. 550 00:27:01,480 --> 00:27:04,710 It was sort of a 1-2 punch of wanting to feel like right 551 00:27:04,840 --> 00:27:08,930 at that moment of maximum hope, 552 00:27:09,060 --> 00:27:12,450 a walker punches through a rubble. 553 00:27:12,580 --> 00:27:14,340 David: What a parent will do for their child, 554 00:27:14,370 --> 00:27:15,516 they will die for their child. 555 00:27:15,540 --> 00:27:17,670 And she saw her daughter in danger, 556 00:27:17,810 --> 00:27:20,630 and she just acted like any parent would have. 557 00:27:20,760 --> 00:27:22,420 It's just heartbreaking in that moment 558 00:27:22,550 --> 00:27:24,120 because whatever happiness and lightness 559 00:27:24,250 --> 00:27:26,810 that this family, you know, the three of them could have, 560 00:27:26,940 --> 00:27:29,430 you want that so much for them, and that's now been robbed. 561 00:27:29,560 --> 00:27:30,840 Grace, I don't think I'm going to 562 00:27:30,910 --> 00:27:32,520 make it to you before... 563 00:27:32,650 --> 00:27:34,780 I tell you, filming my last moments with Lenny 564 00:27:34,910 --> 00:27:36,040 was really tough. 565 00:27:36,170 --> 00:27:37,830 I'm so sorry, Morgan. 566 00:27:37,960 --> 00:27:40,610 David: Being on the walkie and doing that scene 567 00:27:40,740 --> 00:27:42,920 was just so incredibly heartbreaking. 568 00:27:44,440 --> 00:27:45,830 David: When Grace is a walker, 569 00:27:45,960 --> 00:27:48,270 it was hard to watch even on the playback. 570 00:27:48,400 --> 00:27:51,450 There's so much love in how 571 00:27:51,580 --> 00:27:54,930 Morgan just gently laid her down. 572 00:27:55,060 --> 00:27:57,670 When we lose characters on this show or characters die, 573 00:27:57,800 --> 00:27:59,190 we want it to mean something, 574 00:27:59,320 --> 00:28:01,760 we want it to leave an emotional ripple. 575 00:28:01,890 --> 00:28:04,070 And Karen definitely did that. 576 00:28:04,200 --> 00:28:06,810 James: The way we finished with Grace is a real testament 577 00:28:06,940 --> 00:28:09,200 to the job that Karen's done, really. 578 00:28:09,330 --> 00:28:10,510 It's supposed to hurt. 579 00:28:10,640 --> 00:28:12,120 It's supposed to break your heart. 580 00:28:12,250 --> 00:28:14,080 You're supposed to be angry. 581 00:28:14,210 --> 00:28:18,260 All of those things come into play because we're losing Karen. 582 00:28:18,390 --> 00:28:22,390 She is like a bright light. She's just sunshine. 583 00:28:22,520 --> 00:28:24,310 I'm proud to have worked with her. 584 00:28:24,440 --> 00:28:27,960 I feel blessed that we had this journey together. 585 00:28:29,620 --> 00:28:31,970 Both women, both Grace and Karen, 586 00:28:32,100 --> 00:28:38,280 are just these lovely sort of self-sacrificial women. 587 00:28:38,410 --> 00:28:39,710 It's always hard to say goodbye. 588 00:28:39,840 --> 00:28:43,590 Saying goodbye to Karen David is not easy 589 00:28:43,720 --> 00:28:45,280 because she's truly one of the loveliest 590 00:28:45,410 --> 00:28:47,290 human beings to work with. 591 00:28:47,420 --> 00:28:50,380 When I think of her, I think of her as a bouquet of flowers. 592 00:28:55,900 --> 00:28:59,170 David: The family that we've created with our crew, 593 00:28:59,300 --> 00:29:01,080 our creatives, our cast, 594 00:29:01,210 --> 00:29:03,690 the beautiful thing about this whole experience 595 00:29:03,820 --> 00:29:08,350 of being part of this universe is that you take the people 596 00:29:08,480 --> 00:29:13,400 in your hearts and you take them on your journey wherever you go. 597 00:29:13,530 --> 00:29:15,920 They are a part of who I am now. 598 00:29:18,100 --> 00:29:22,190 Morgan: The way out is opening the door to people, 599 00:29:22,320 --> 00:29:26,150 to possibility, to the hurt that will happen. 600 00:29:26,280 --> 00:29:28,410 I've found the way, and I opened the door, 601 00:29:28,540 --> 00:29:30,980 and then my life started all over again. 602 00:29:31,110 --> 00:29:33,070 Chambliss: Lenny has been such a fixture 603 00:29:33,200 --> 00:29:35,120 since Ian and I started in season 4, 604 00:29:35,250 --> 00:29:38,250 and he's been such a fixture of The Walking Dead universe 605 00:29:38,380 --> 00:29:42,990 that it's really hard to imagine making this show without him. 606 00:29:43,120 --> 00:29:45,780 I'm a bit in denial that Lenny's gone, to be honest. 607 00:29:45,910 --> 00:29:48,040 He's been such a vital part of the journey. 608 00:29:48,170 --> 00:29:51,520 I think he's an inspiration. Truly, he's one of a kind. 609 00:29:51,650 --> 00:29:55,660 We'll be forever grateful to Lenny for his time with us. 610 00:29:55,790 --> 00:29:59,100 Lenny has been such a tremendous part of it 611 00:29:59,230 --> 00:30:00,400 once he joined the show. 612 00:30:00,530 --> 00:30:01,970 It's been great to play adversaries. 613 00:30:02,100 --> 00:30:03,840 I truly hope that I get the chance 614 00:30:03,970 --> 00:30:06,800 to create with him other characters in the future. 615 00:30:06,930 --> 00:30:09,060 But for now, I know I have a brother and a friend. 616 00:30:09,190 --> 00:30:12,200 Dickens: Lenny James could not have been more open to me 617 00:30:12,330 --> 00:30:15,680 and gracious in welcoming me back. 618 00:30:15,810 --> 00:30:18,250 He's been an incredible inspiration to watch 619 00:30:18,380 --> 00:30:21,820 and to work with, and he lives in our hearts. 620 00:30:21,950 --> 00:30:24,640 Elfman: I really look up to Lenny James as an actor. 621 00:30:24,770 --> 00:30:28,340 Every chapter of Morgan has that essence to him, 622 00:30:28,470 --> 00:30:32,430 just that benevolent heart that he gets to walk away with. 623 00:30:32,560 --> 00:30:34,960 Mo, I think, is super beautiful. 624 00:30:35,090 --> 00:30:38,270 To recognize for himself that he has found love, 625 00:30:38,400 --> 00:30:41,140 that he's capable of love, that he's capable of giving again. 626 00:30:41,270 --> 00:30:44,530 And so he leaves with the cup so full. 627 00:30:46,010 --> 00:30:49,020 James: When Morgan walks away from "Fear", 628 00:30:49,150 --> 00:30:51,890 he has a child, he has made friends, 629 00:30:52,020 --> 00:30:55,070 he's lost friends, and he's had an effect on them. 630 00:30:55,200 --> 00:30:58,680 And he leaves them better than he found them. 631 00:30:58,810 --> 00:31:02,030 You can't really ask for much more than that. 632 00:31:02,160 --> 00:31:05,420 Morgan: This message is for Rick Grimes. 633 00:31:05,550 --> 00:31:07,820 It's Morgan Jones. 634 00:31:07,950 --> 00:31:10,300 Man, I'm going to come and look for you. 635 00:31:10,430 --> 00:31:15,220 Who knows? Maybe you might even be listening. 636 00:31:27,620 --> 00:31:29,400 Goodbyes are never easy, 637 00:31:29,530 --> 00:31:32,320 and neither is finding love in the apocalypse. 638 00:31:32,450 --> 00:31:33,630 But Grace and Morgan did it. 639 00:31:35,190 --> 00:31:37,720 AMC has partnered with the organization 640 00:31:37,850 --> 00:31:39,680 See Her to celebrate the women of 641 00:31:39,810 --> 00:31:40,980 "Fear The Walking Dead." 642 00:31:41,110 --> 00:31:42,330 I'm not gonna hurt you. 643 00:31:42,460 --> 00:31:44,070 We put that spotlight on Kim Dickens, 644 00:31:44,200 --> 00:31:46,510 who talked about her portrayal of Madison Clark 645 00:31:46,640 --> 00:31:48,640 and her fight against Padre. 646 00:31:48,770 --> 00:31:49,876 Mo ended up at Padre because of me. 647 00:31:49,900 --> 00:31:51,250 Let me try to make this right. 648 00:31:51,380 --> 00:31:52,980 With a formidable performance like Kim's, 649 00:31:53,040 --> 00:31:56,690 it's no wonder Padre was so scared of Madison. 650 00:32:00,870 --> 00:32:03,310 Padre: Do you really want to do this? 651 00:32:03,440 --> 00:32:04,920 There's nothing you could do to me 652 00:32:05,050 --> 00:32:06,750 that's worse than what I'm already living. 653 00:32:06,880 --> 00:32:08,026 Dickens: Madison has said it over and over. 654 00:32:08,050 --> 00:32:09,750 She's got nothing left to lose. 655 00:32:09,880 --> 00:32:13,360 Once she's able to break free from Padre's imprisonment 656 00:32:13,490 --> 00:32:15,320 and starts the rescue mission, 657 00:32:15,450 --> 00:32:18,240 that's the only thing that gives Madison a will to live, 658 00:32:18,370 --> 00:32:20,500 is to make up for the wrongs she's done 659 00:32:20,630 --> 00:32:23,240 by reuniting these families. 660 00:32:23,370 --> 00:32:24,630 Seriously? 661 00:32:24,760 --> 00:32:27,110 Coming back to the show was very interesting 662 00:32:27,240 --> 00:32:30,330 because I'd never worked with Lenny. 663 00:32:30,470 --> 00:32:33,950 I'd never worked with Morgan Jones. 664 00:32:34,080 --> 00:32:36,080 Back on that beach, I said I was going 665 00:32:36,210 --> 00:32:37,340 to save your daughter. 666 00:32:37,470 --> 00:32:38,870 I also said I was going to save you. 667 00:32:38,910 --> 00:32:40,056 I guess that's what I'm going to have to do. 668 00:32:40,080 --> 00:32:41,130 We don't need saved. 669 00:32:41,260 --> 00:32:44,170 Those two unlikely travel partners, 670 00:32:44,310 --> 00:32:47,610 Morgan and Madison, or as I like to call them, M&M, 671 00:32:47,740 --> 00:32:52,700 they have an amazing knowledge and insight into each other. 672 00:32:52,840 --> 00:32:54,920 Go. I'll draw them away. 673 00:32:55,060 --> 00:32:56,620 We fell right into step with each other. 674 00:32:56,750 --> 00:32:59,190 I spent seven years in a cell so you could be with her. 675 00:32:59,320 --> 00:33:02,370 This isn't about you. I'm doing this for her. 676 00:33:02,500 --> 00:33:04,110 I got to fight him. 677 00:33:04,240 --> 00:33:05,850 We were fighting like our day one 678 00:33:05,980 --> 00:33:07,330 of getting to know each other. 679 00:33:09,200 --> 00:33:12,290 I think she spots very early on that Morgan needs to do 680 00:33:12,420 --> 00:33:13,900 what Morgan needs to do. 681 00:33:14,030 --> 00:33:15,770 It's happening again. 682 00:33:15,900 --> 00:33:18,730 Dickens: As far as Madison's arc goes, I think you finally see 683 00:33:18,860 --> 00:33:20,560 a glimmer of the old Madison, 684 00:33:20,690 --> 00:33:24,350 the warrior and the person who's going to make things right. 685 00:33:24,480 --> 00:33:27,090 And for me, I thought that was astounding. 686 00:33:27,220 --> 00:33:29,390 Goldberg: Kim Dickens is such a force. 687 00:33:29,520 --> 00:33:33,440 That role is such an iconic role in not just 688 00:33:33,570 --> 00:33:36,310 "Fear The Walking Dead," but in the Walking Dead universe. 689 00:33:36,440 --> 00:33:38,970 And this season, Madison realizes that she's got 690 00:33:39,100 --> 00:33:40,320 a decision to make. 691 00:33:40,450 --> 00:33:41,880 Who is she going to be, 692 00:33:42,020 --> 00:33:44,450 and how is she going to protect the settlement? 693 00:33:48,110 --> 00:33:51,070 So with Morgan passing the leadership torch to Madison 694 00:33:51,200 --> 00:33:54,420 and Padre's leaders going down, there are some big questions 695 00:33:54,550 --> 00:33:56,860 to be answered before the series concludes. 696 00:33:56,990 --> 00:33:59,340 Can Madison make Padre into something good? 697 00:33:59,470 --> 00:34:01,430 Will Dwight and Sherry be able to help? 698 00:34:01,560 --> 00:34:04,080 Will they even be around? Will June? 699 00:34:04,210 --> 00:34:06,000 And of course, there are a bunch of folks 700 00:34:06,130 --> 00:34:07,520 we haven't seen in a while. 701 00:34:07,650 --> 00:34:10,170 Like, say, Victor Strand. 702 00:34:21,010 --> 00:34:23,190 Now, why was he calling you Anton? 703 00:34:23,320 --> 00:34:26,230 It's such a gigantic task to think about bringing 704 00:34:26,360 --> 00:34:28,970 all these stories, all these character journeys, 705 00:34:29,110 --> 00:34:30,410 not just to a conclusion, 706 00:34:30,540 --> 00:34:32,590 but also kind of bringing them full circle. 707 00:34:32,720 --> 00:34:33,810 Come here. 708 00:34:33,940 --> 00:34:35,890 When we started to think about 709 00:34:36,030 --> 00:34:37,750 where do we want these characters to end up, 710 00:34:37,810 --> 00:34:40,860 it actually led to the question of, well, where did they start? 711 00:34:44,420 --> 00:34:46,860 Chambliss: We wanted to look back at these characters 712 00:34:46,990 --> 00:34:48,950 from their very beginnings on the show 713 00:34:49,080 --> 00:34:53,870 and look at who they were back then and who they were now, 714 00:34:54,000 --> 00:34:57,350 and we could see how far they've come. 715 00:34:57,480 --> 00:35:00,050 Goldberg: With each of the characters, to a certain degree, 716 00:35:00,180 --> 00:35:01,960 in the back half of this season, 717 00:35:02,100 --> 00:35:04,490 they have to look back in order to look forward. 718 00:35:04,620 --> 00:35:07,270 I drew that when we were both living here. 719 00:35:07,400 --> 00:35:09,930 And the theme that kept coming to the front 720 00:35:10,060 --> 00:35:13,670 of our minds was just this idea of family. 721 00:35:13,800 --> 00:35:18,630 If I just did it differently, they both might be here. 722 00:35:18,760 --> 00:35:20,500 And it all started with Madison Clark. 723 00:35:20,640 --> 00:35:24,420 She was this matriarch at the beginning of the apocalypse 724 00:35:24,550 --> 00:35:27,380 who always wanted to protect her kids, 725 00:35:27,510 --> 00:35:29,690 who wanted to create a world where they could be safe, 726 00:35:29,820 --> 00:35:31,300 who wanted to give them something that 727 00:35:31,430 --> 00:35:33,130 really didn't exist anymore. 728 00:35:33,260 --> 00:35:34,340 You missed breakfast. 729 00:35:34,480 --> 00:35:35,760 The kid needs a place of her own. 730 00:35:35,870 --> 00:35:37,146 I was thinking about putting the bed over here. 731 00:35:37,170 --> 00:35:39,480 It all kind of boils down to the story 732 00:35:39,610 --> 00:35:41,530 and the story you want to tell, 733 00:35:41,660 --> 00:35:45,490 the story that we think will bring together all the themes, 734 00:35:45,620 --> 00:35:48,230 all the characters, everyone's stories in a way 735 00:35:48,360 --> 00:35:50,530 that will feel satisfying 736 00:35:50,670 --> 00:35:54,150 and also feel like it has some real finality to it. 737 00:35:57,800 --> 00:35:59,670 I'm going to help you. 738 00:35:59,800 --> 00:36:01,590 You're going to help me. 739 00:36:01,720 --> 00:36:03,630 Help you do what? 740 00:36:04,980 --> 00:36:06,770 Save Padre. 741 00:36:07,770 --> 00:36:09,860 I can't wait to see how it all turns out 742 00:36:09,990 --> 00:36:12,210 in the final episodes. 743 00:36:12,340 --> 00:36:14,120 And for fans of The Walking Dead universe, 744 00:36:14,250 --> 00:36:17,340 there is so much to look forward to on AMC. 745 00:36:17,470 --> 00:36:19,690 We're going to make Padre what it was meant to be 746 00:36:19,820 --> 00:36:21,040 in the first place. 747 00:36:21,170 --> 00:36:22,530 Thanks for watching "Show Me More", 748 00:36:22,610 --> 00:36:24,570 and thanks for watching "Fear The Walking Dead." 749 00:36:24,700 --> 00:36:27,790 Remember, you can catch episodes of "Fear The Walking Dead" 750 00:36:27,920 --> 00:36:31,920 on AMC Plus, the AMC site and apps, and on demand. 751 00:36:32,050 --> 00:36:34,880 Until next time, I'm Clark Wolfe. 752 00:36:34,930 --> 00:36:39,480 Repair and Synchronization by Easy Subtitles Synchronizer 1.0.0.0 59618

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