The Walking Dead: Daryl Dixon (2023) s03e03 Episode Script
El Sacrificio
1
Welcome to Solaz del Mar.
I apologize, my friend,
- but we allow no outsiders to stay in our town.
- No.
We have room for you.
Tomorrow is La Ofrenda.
A girl is chosen and
taken to El Alcazar.
It's here now
the thing we were running from.
Why surrender your
daughters to these people?
La Ofrenda gives these
girls the opportunity
to thrive and to be safe.
Look at me. I'm the living proof.
[BLADE SLICES]
- Aah!
- [WALKERS SNARLING]
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
Good morning.
Good morning.
♪
It seemed you spoke
out of turn last night.
From what I could see.
I didn't mean to upset anyone
or put you in an awkward position.
No.
In fact, I liked it.
Fede looked disturbed. So did Guillermo.
They're not used to someone with
the courage to speak her mind.
Mm.
Well, I am a guest.
I used to know when
to keep my mouth shut.
Maybe, because you're a
guest, you don't need to.
We're still taking
what we need from here
and hitting the road, right?
I'm worried.
Don't be.
You know I had to do that.
No, I get it, but
But nothing.
Come on. Eyes on the prize.
Right?
Daryl.
Just remember, hot dogs.
Daryl.
No, that's what we're about now
Eating them fucking hot dogs.
And beans.
Look, we're going home, alright?
Let's try and stay out
of everybody's shit.
Okay?
I don't know. I got a bad feeling.
Well, those guys ain't coming back.
I wouldn't worry about it.
What?
That's not even what I'm talking about.
Look, I'm going to the boat.
Your job is to get that off the wall.
What, you're gonna
steal their solar panel?
Yeah, and anything else we need.
Daryl.
Daryl!
Look, I got to thinking last night.
I mean, it's great that
Justina wasn't chosen.
Well, what about Alba?
Alba? Who the fuck's Alba?
Hot dogs, remember.
♪
[INDISTINCT CONVERSATIONS]
♪
♪
[CLEARS THROAT]
We should go.
♪
♪
♪
♪
What was that about?
Three Alcazar men are missing.
Missing, huh?
They disappeared last night,
sometime during the feast.
So now they try to find them.
They probably got drunk,
wake up in an alley somewhere.
Who cares anyway? I hate them all.
So you think you can
help me fix this boat?
I know somebody who
I think can help you.
Cool. How far is it?
Out on the coast. Not
too far from the beach.
[WALKERS GROWLING]
Great. Sooner we can fix this
boat, sooner we can leave.
[WALKERS GROWLING]
♪
♪
♪
♪
This place is out in
the middle of nowhere.
Does an old sailor live
out there or something?
Yes.
A ship's captain.
♪
♪
♪
♪
You sure this guy's gonna help us?
Yeah, trust me.
♪
[GUNS COCK]
[GUN COCKS] Roberto.
♪
♪
ROBERTO: She also hates El Alcazar.
This lady's your boat captain?
"This lady" spent 30 years
commanding cruise liners
all over the world.
You know who was always
the rudest passengers?
Americans.
I did not know she spoke English.
What do you want for your spicy olives?
Need help fixing a boat.
I imagine so.
You and your companion.
I have a telescope.
Most people don't sail their
boats right onto the beach.
We hit a storm.
That wasn't our plan.
Clearly. What is the plan?
To go home.
[LAUGHS]
To America?
[LAUGHING]
So you gonna help me or what?
I'm a little low on gunpowder.
- How low?
- Five kilos.
He'll get it.
Me?
♪
Ah!
♪
♪
♪
Okay, truck is fixed.
Shall we take a look at
that death trap of yours?
♪
♪
ANTONIO: Can I help you with something?
Oh, uh, no.
I'm good. Just getting some air.
Blood.
Bandage needs changing.
Come on.
♪
♪
So Fede and you
no love story there, huh?
Ah, it's a very old what's the word?
um
quarrel.
From when we were young.
Before I went to Barcelona.
Barcelona?
I have a friend whose brother
lived there back before.
- Mm-hmm.
- Mm.
It was a magical place.
But after la Caida, I came home.
To Solaz.
To raise my boy.
Roberto's mother
we'd lost her by then in an accident.
Let me see this.
Better.
♪
Is that how you got hurt?
♪
How do you mean?
♪
In the accident?
♪
You'll leave soon.
I think we know each other well enough.
♪
♪
♪
♪
She hit the rocks. You got holes.
Below the waterline.
I'll patch it up.
♪
Oh, you cannot just patch it up.
♪
The rudder is damaged.
I'll fix it.
No, you cannot just fix rudder.
Got to be someplace I
can find another one.
[SIGHS] I suppose it's possible.
If you could even find a similar boat.
Tell me where to look.
I think I know a place.
You can take my truck.
Great. Let's go.
No.
I bring you to my house,
helped your friend,
and got you a captain.
Before I do anything more,
I want to make sure
my demands are clear.
Your demands? What demands?
Justina and me.
We come on the boat with you.
Or else you are on your own.
Guess I'm on my own, then.
You want my ethanol?
You want my truck?
Take them to America.
♪
♪
♪
[BANG]
♪
[DOOR CREAKING]
♪
♪
♪
[WOMAN WAILING]
♪
[WOMAN SHOUTING IN SPANISH]
♪
[MAN SPEAKING SPANISH]
♪
[PROJECTOR WHIRRING]
[SQUEAKING]
I'm sorry. I'm
It's okay. Have a chair.
You can even bring the sword.
Please.
What about Jersey? Have you been there?
It's a United State.
Yeah, I know Jersey.
I've told Justina all about America.
What do you know about it?
Many things. From the Boss.
Bruce
- Springsteen.
- Yeah, I heard of him.
I know his songs.
Well, I know America very well
and now I will see it.
We got to get that rudder first.
I'm not worried.
They leave things for loved ones
and write messages on the stones
to honor and pray for them.
Why here?
Well, this is the Camino de Santiago,
the way of Saint James.
For hundreds of years,
pilgrims walk this trail
in search of something.
Hm. Like what?
Peace, I guess.
Or hope.
♪
The boatyard is just
around the next bend.
♪
♪
[DOG BARKING IN DISTANCE]
♪
♪
♪
♪
♪
♪
♪
♪
♪
[BIRDS SQUAWKING]
♪
♪
Look, I get it.
Ran away a whole bunch of times.
Why?
Different reasons.
♪
MAN: Hey! Daryl!
♪
Get back here, you little bastard!
It's complicated.
Not for me.
♪
You'll see. It gets harder.
Life ain't like one of
those songs you memorized.
That sounds like a thing
my father would say.
Maybe you should listen to him.
I know why I'm leaving.
Maybe you're still trying
to figure out why you did.
Ain't that the truth.
♪
♪
♪
♪
Hey!
I think I found something.
Come here.
♪
♪
[LAUGHING]
ANTONIO: This film is called
"The Exterminating Angel."
[CONVERSING IN SPANISH]
It's about these people who
got trapped in that house
and they don't know how to get out.
You built this place?
Little by little.
How did you get all these movies?
Mm.
When Roberto was young,
we would go on little
missions to art houses.
To get old movies?
Seems pretty dangerous.
Ah. Would you not save a van Gogh,
a Picasso,
the Mona Lisa?
Cinema is the record of humanity.
When this hell ends, our children,
their children will
need to know who we were.
[CONVERSING IN SPANISH]
You sound like Jerry.
He's another friend of mine back home.
Let's watch before the sun goes down.
The projector is
hooked to a solar panel.
♪
♪
[BANGING]
- Is it working?
- ROBERTO: Yeah.
♪
[MUFFLED BANGING]
♪
♪
Okay, almost.
One more.
[GRUNTS] Ah, we got it.
Yeah! Whoo!
There's something in the water.
♪
Probably a fish. Come on, let's go.
No, no, no, it's not.
It wasn't fish.
[WALKER GROWLING]
[GASPS]
♪
[GUN COCKS, GUNSHOT]
Get on the beach.
♪
[GUN COCKS]
♪
It ain't safe.
♪
Come on.
We'll find another one.
♪
We should go back.
We ain't going back.
[WALKERS GROWLING]
♪
[GUN COCKS]
[GUNSHOTS]
♪
- DARYL: Leave it!
- We need it.
♪
[GUN CLICKS]
♪
♪
♪
Hey!
♪
[WALKER GROWLING]
♪
[GUNSHOT]
[GUN COCKS, GUNSHOTS]
♪
[BREATHING HEAVILY]
[BIRDS CHIRPING, DISTANT CLATTER]
Ow!
Mm.
[CHUCKLES]
♪
♪
♪
♪
[BOX CLATTERS]
♪
[RATTLING]
♪
♪
[CLICK]
♪
♪
♪
♪
♪
♪
♪
Justina?
I have to speak to Roberto.
He's out with Daryl.
Sorry.
Hey.
Justina, if you if you
need somebody to talk to,
I'm somebody.
Last I checked.
♪
Come here.
Sit down.
♪
♪
[ENGINE SHUTS OFF]
ROBERTO: Why are we stopping?
♪
Daryl.
♪
♪
What's that?
♪
Used to belong to a kid I know.
♪
Maybe he's got a new one by now.
♪
♪
It's my friend Alba.
The one that was chosen.
You saw how close she is with her mom.
Going away
they will never survive
without each other.
I'm so sorry.
I have no parents.
But I get to stay.
How is it fair?
It's not. None of this is fair.
I have to do something.
I can't just
just let it happen.
I can't.
It's so frustrating, I know.
Feeling so helpless and angry.
So much so that you start to
feel like it's your own fault.
Like if if you could
do something different
or if you could switch
places, you could fix it.
But sometimes you can't.
♪
Yeah.
You're right.
♪
Thank you.
♪
♪
Mm. Wow.
I'll just be in my room.
Why?
Well, you're having company.
I don't want to impose.
But you are the company.
Have a seat, please.
ANTONIO: Is it good?
Mm. Mucho.
Bueno.
Bueno.
Mm.
If it's of use on your boat,
I have an extra solar panel.
Mm.
That's a good idea.
Never thought of that.
Sure.
And if you need anything
else, don't hesitate to ask.
Thank you.
Anything.
Tools, candles
food from my storeroom.
I'm sorry.
You really have been so generous.
And you saved my son's life.
You've done well raising him.
I'm not sure he would agree.
Yeah.
He's young. In love.
How do you compete with that?
Sí.
Justina.
Quite a young woman.
All the time thinking of others.
I was really sick.
I don't know what would have happened
if she hadn't talked
Roberto into helping me.
Surviving six ofrendas.
Such luck.
She feels guilty.
As much as she loves Roberto,
I worried she might feel responsible,
that she
what's the word?
that she might volunteer.
♪
♪
♪
You ever hear of Ohio?
What is Ohio?
It's where I'm trying to get to.
It's a state.
It's like Jersey?
Yeah, like Jersey but flat.
Shit ton of corn.
♪
♪
CAROL: Doña Marga?
Where's Justina?
♪
[SOBBING SOFTLY]
♪
You know, you're right.
I think you two are
gonna like it in America.
♪
♪
[MEN SPEAKING SPANISH]
[HORSE NEIGHS]
[ENGINE RUMBLES]
♪
Justina?
♪
Justina.
♪
Justina!
[HORSE NEIGHS]
♪
♪
♪
[IN SPANISH]
- What do they want?
- To burn it all down.
[BELL TOLLING]
What is that?
[IN SPANISH]
It's under attack.
♪
We need every person we have
to keep the village protected.
[WALKERS GROWLING]
♪
Something ain't right.
♪
Cover!
♪
ANTONIO: They're not used
to someone with the courage
to speak her mind.
Well, I am a guest.
I used to know when
to keep my mouth shut.
Maybe because you're a
guest, you don't need to.
♪
NORIEGA: Antonio is
a wonderful character.
It's a challenge to perform
a character so wounded
and and complex.
MCBRIDE: Eduardo is a fantastic actor,
so giving and right there.
NORIEGA: Step by step,
he gets to know Carol.
He starts to not only open to the world,
but open to be able to
get in touch with someone.
MCBRIDE: And I think for
Carol, coming out of the tunnel
and having that experience with Sophia
and having that sense
of, it's okay to let go.
I think she's seeing the
world in a different way,
because she doesn't have
that block there anymore.
It's going to be interesting to explore.
- I'm sorry. Um
- It's okay.
Have a chair.
RICHMAN: David had this idea of, well,
what if a guy was just a cinema lover?
What would that mean
in a world like this?
NORIEGA: It's a really beautiful
thing of this character,
because it's something really poetic,
keeping these old movies to show
how was the world before the apocalypse.
RICHMAN: Some people
might think it's in books.
Some people might think it's in art.
Some people might think it's in music.
He loved movies. And so to him,
sometime maybe this thing will end,
and he'll have the record of humanity.
This will tell the human story.
That opens up a guy who
filmed a lot of his life.
And maybe we get to see that life.
Does an old sailor live
out there or something?
Yes.
[IN SPANISH]
With Valentina, we really
wanted a very liberated woman.
We wanted a woman who was content
as much as you can be in the apocalypse.
Valentina ended up in
this beautiful lighthouse
where I live with my best friends.
And we have this very
special life that's
not necessarily accepted by
everybody else, but we love it.
SQUILLANTE: We found this
absolutely stunning lighthouse
in this beautiful location in Galicia,
and that became the perfect place
to have Valentina and her associates
be based out of.
VALENTINA: The rudder is damaged.
Gotta be someplace I
can find another one.
I think I know a place.
SQUILLANTE: Our heroes need
to get a piece for our boat,
and they have to go scavenging for it.
ARBUES: The harbor
scenes was tough days.
I mean, when you mix cameras
and water, it's not easy at all.
SQUILLANTE: We really
lean into the authenticity
of what we're trying to do.
So, you know, you could
try to do it in a tank.
You could try to cobble
it all together with VFX.
Usually we do that
when safety is really a
paramount issue for us,
but we try to be in
the actual environment.
So we found in Galicia an
incredibly sheltered harbor.
And I just have to say,
for both Norman and Hugo,
incredibly brave.
They did all the scenes in the water.
We had some "pretty difficult
to deal with" weather,
and they just went for it.
And of course, our zombie stunt players
are just like the MVP's
of like every season.
These people get lit on fire.
We push them off buildings.
We run them over with
cars, and in this case,
we had them emerge from the
surf to engage with them.
ARBUES: Oh, I had so much fun.
These kind of scenes make
you feel really proud.
When you come back home
and you're going to sleep,
you're like, I'm really
proud of this day.
[IN SPANISH]
"El Sacrificio" is Episode 3.
That means "the sacrifice" in Spanish.
And "the sacrifice" has
a kind of double meaning.
But mostly it refers to the
sacrifice that this town makes
in surrendering one of their children.
[IN SPANISH]
PERCIVAL: And this is what
Daryl and Carol observe.
They observe a community
that is functioning,
but that has this terrible
penalty clause to their safety.
JUSTINA: It's my friend, Alba.
CAROL: The one who was chosen.
You saw how close she is with her mom.
They will never survive
without each other.
I'm so sorry.
SAITTA: Justina is deeply empathetic.
She has no parents, and she
really needs to help people.
PERCIVAL: Carol observes these children,
they're accepting their fate.
But at the same time,
it's clear that this is a painful
experience for the families.
Where's Justina?
ZABEL: In this case, that
decision gets switched,
and who we thought it was
gonna be is not who it is, Alba.
It instead turns out to be Justina,
and she seems to be making
a sacrifice on behalf
of what she thinks is right,
what she thinks is fair.
SAITTA: The greatest risk for Justina
is being unable to see the
people she loves ever again.
As the story progresses,
even in subsequent episodes,
the idea of what the sacrifice was
and how the sacrifice was
made changes and evolves.
♪
Justina!
[IN SPANISH]
♪
♪
♪
Welcome to Solaz del Mar.
I apologize, my friend,
- but we allow no outsiders to stay in our town.
- No.
We have room for you.
Tomorrow is La Ofrenda.
A girl is chosen and
taken to El Alcazar.
It's here now
the thing we were running from.
Why surrender your
daughters to these people?
La Ofrenda gives these
girls the opportunity
to thrive and to be safe.
Look at me. I'm the living proof.
[BLADE SLICES]
- Aah!
- [WALKERS SNARLING]
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
♪
Good morning.
Good morning.
♪
It seemed you spoke
out of turn last night.
From what I could see.
I didn't mean to upset anyone
or put you in an awkward position.
No.
In fact, I liked it.
Fede looked disturbed. So did Guillermo.
They're not used to someone with
the courage to speak her mind.
Mm.
Well, I am a guest.
I used to know when
to keep my mouth shut.
Maybe, because you're a
guest, you don't need to.
We're still taking
what we need from here
and hitting the road, right?
I'm worried.
Don't be.
You know I had to do that.
No, I get it, but
But nothing.
Come on. Eyes on the prize.
Right?
Daryl.
Just remember, hot dogs.
Daryl.
No, that's what we're about now
Eating them fucking hot dogs.
And beans.
Look, we're going home, alright?
Let's try and stay out
of everybody's shit.
Okay?
I don't know. I got a bad feeling.
Well, those guys ain't coming back.
I wouldn't worry about it.
What?
That's not even what I'm talking about.
Look, I'm going to the boat.
Your job is to get that off the wall.
What, you're gonna
steal their solar panel?
Yeah, and anything else we need.
Daryl.
Daryl!
Look, I got to thinking last night.
I mean, it's great that
Justina wasn't chosen.
Well, what about Alba?
Alba? Who the fuck's Alba?
Hot dogs, remember.
♪
[INDISTINCT CONVERSATIONS]
♪
♪
[CLEARS THROAT]
We should go.
♪
♪
♪
♪
What was that about?
Three Alcazar men are missing.
Missing, huh?
They disappeared last night,
sometime during the feast.
So now they try to find them.
They probably got drunk,
wake up in an alley somewhere.
Who cares anyway? I hate them all.
So you think you can
help me fix this boat?
I know somebody who
I think can help you.
Cool. How far is it?
Out on the coast. Not
too far from the beach.
[WALKERS GROWLING]
Great. Sooner we can fix this
boat, sooner we can leave.
[WALKERS GROWLING]
♪
♪
♪
♪
This place is out in
the middle of nowhere.
Does an old sailor live
out there or something?
Yes.
A ship's captain.
♪
♪
♪
♪
You sure this guy's gonna help us?
Yeah, trust me.
♪
[GUNS COCK]
[GUN COCKS] Roberto.
♪
♪
ROBERTO: She also hates El Alcazar.
This lady's your boat captain?
"This lady" spent 30 years
commanding cruise liners
all over the world.
You know who was always
the rudest passengers?
Americans.
I did not know she spoke English.
What do you want for your spicy olives?
Need help fixing a boat.
I imagine so.
You and your companion.
I have a telescope.
Most people don't sail their
boats right onto the beach.
We hit a storm.
That wasn't our plan.
Clearly. What is the plan?
To go home.
[LAUGHS]
To America?
[LAUGHING]
So you gonna help me or what?
I'm a little low on gunpowder.
- How low?
- Five kilos.
He'll get it.
Me?
♪
Ah!
♪
♪
♪
Okay, truck is fixed.
Shall we take a look at
that death trap of yours?
♪
♪
ANTONIO: Can I help you with something?
Oh, uh, no.
I'm good. Just getting some air.
Blood.
Bandage needs changing.
Come on.
♪
♪
So Fede and you
no love story there, huh?
Ah, it's a very old what's the word?
um
quarrel.
From when we were young.
Before I went to Barcelona.
Barcelona?
I have a friend whose brother
lived there back before.
- Mm-hmm.
- Mm.
It was a magical place.
But after la Caida, I came home.
To Solaz.
To raise my boy.
Roberto's mother
we'd lost her by then in an accident.
Let me see this.
Better.
♪
Is that how you got hurt?
♪
How do you mean?
♪
In the accident?
♪
You'll leave soon.
I think we know each other well enough.
♪
♪
♪
♪
She hit the rocks. You got holes.
Below the waterline.
I'll patch it up.
♪
Oh, you cannot just patch it up.
♪
The rudder is damaged.
I'll fix it.
No, you cannot just fix rudder.
Got to be someplace I
can find another one.
[SIGHS] I suppose it's possible.
If you could even find a similar boat.
Tell me where to look.
I think I know a place.
You can take my truck.
Great. Let's go.
No.
I bring you to my house,
helped your friend,
and got you a captain.
Before I do anything more,
I want to make sure
my demands are clear.
Your demands? What demands?
Justina and me.
We come on the boat with you.
Or else you are on your own.
Guess I'm on my own, then.
You want my ethanol?
You want my truck?
Take them to America.
♪
♪
♪
[BANG]
♪
[DOOR CREAKING]
♪
♪
♪
[WOMAN WAILING]
♪
[WOMAN SHOUTING IN SPANISH]
♪
[MAN SPEAKING SPANISH]
♪
[PROJECTOR WHIRRING]
[SQUEAKING]
I'm sorry. I'm
It's okay. Have a chair.
You can even bring the sword.
Please.
What about Jersey? Have you been there?
It's a United State.
Yeah, I know Jersey.
I've told Justina all about America.
What do you know about it?
Many things. From the Boss.
Bruce
- Springsteen.
- Yeah, I heard of him.
I know his songs.
Well, I know America very well
and now I will see it.
We got to get that rudder first.
I'm not worried.
They leave things for loved ones
and write messages on the stones
to honor and pray for them.
Why here?
Well, this is the Camino de Santiago,
the way of Saint James.
For hundreds of years,
pilgrims walk this trail
in search of something.
Hm. Like what?
Peace, I guess.
Or hope.
♪
The boatyard is just
around the next bend.
♪
♪
[DOG BARKING IN DISTANCE]
♪
♪
♪
♪
♪
♪
♪
♪
♪
[BIRDS SQUAWKING]
♪
♪
Look, I get it.
Ran away a whole bunch of times.
Why?
Different reasons.
♪
MAN: Hey! Daryl!
♪
Get back here, you little bastard!
It's complicated.
Not for me.
♪
You'll see. It gets harder.
Life ain't like one of
those songs you memorized.
That sounds like a thing
my father would say.
Maybe you should listen to him.
I know why I'm leaving.
Maybe you're still trying
to figure out why you did.
Ain't that the truth.
♪
♪
♪
♪
Hey!
I think I found something.
Come here.
♪
♪
[LAUGHING]
ANTONIO: This film is called
"The Exterminating Angel."
[CONVERSING IN SPANISH]
It's about these people who
got trapped in that house
and they don't know how to get out.
You built this place?
Little by little.
How did you get all these movies?
Mm.
When Roberto was young,
we would go on little
missions to art houses.
To get old movies?
Seems pretty dangerous.
Ah. Would you not save a van Gogh,
a Picasso,
the Mona Lisa?
Cinema is the record of humanity.
When this hell ends, our children,
their children will
need to know who we were.
[CONVERSING IN SPANISH]
You sound like Jerry.
He's another friend of mine back home.
Let's watch before the sun goes down.
The projector is
hooked to a solar panel.
♪
♪
[BANGING]
- Is it working?
- ROBERTO: Yeah.
♪
[MUFFLED BANGING]
♪
♪
Okay, almost.
One more.
[GRUNTS] Ah, we got it.
Yeah! Whoo!
There's something in the water.
♪
Probably a fish. Come on, let's go.
No, no, no, it's not.
It wasn't fish.
[WALKER GROWLING]
[GASPS]
♪
[GUN COCKS, GUNSHOT]
Get on the beach.
♪
[GUN COCKS]
♪
It ain't safe.
♪
Come on.
We'll find another one.
♪
We should go back.
We ain't going back.
[WALKERS GROWLING]
♪
[GUN COCKS]
[GUNSHOTS]
♪
- DARYL: Leave it!
- We need it.
♪
[GUN CLICKS]
♪
♪
♪
Hey!
♪
[WALKER GROWLING]
♪
[GUNSHOT]
[GUN COCKS, GUNSHOTS]
♪
[BREATHING HEAVILY]
[BIRDS CHIRPING, DISTANT CLATTER]
Ow!
Mm.
[CHUCKLES]
♪
♪
♪
♪
[BOX CLATTERS]
♪
[RATTLING]
♪
♪
[CLICK]
♪
♪
♪
♪
♪
♪
♪
Justina?
I have to speak to Roberto.
He's out with Daryl.
Sorry.
Hey.
Justina, if you if you
need somebody to talk to,
I'm somebody.
Last I checked.
♪
Come here.
Sit down.
♪
♪
[ENGINE SHUTS OFF]
ROBERTO: Why are we stopping?
♪
Daryl.
♪
♪
What's that?
♪
Used to belong to a kid I know.
♪
Maybe he's got a new one by now.
♪
♪
It's my friend Alba.
The one that was chosen.
You saw how close she is with her mom.
Going away
they will never survive
without each other.
I'm so sorry.
I have no parents.
But I get to stay.
How is it fair?
It's not. None of this is fair.
I have to do something.
I can't just
just let it happen.
I can't.
It's so frustrating, I know.
Feeling so helpless and angry.
So much so that you start to
feel like it's your own fault.
Like if if you could
do something different
or if you could switch
places, you could fix it.
But sometimes you can't.
♪
Yeah.
You're right.
♪
Thank you.
♪
♪
Mm. Wow.
I'll just be in my room.
Why?
Well, you're having company.
I don't want to impose.
But you are the company.
Have a seat, please.
ANTONIO: Is it good?
Mm. Mucho.
Bueno.
Bueno.
Mm.
If it's of use on your boat,
I have an extra solar panel.
Mm.
That's a good idea.
Never thought of that.
Sure.
And if you need anything
else, don't hesitate to ask.
Thank you.
Anything.
Tools, candles
food from my storeroom.
I'm sorry.
You really have been so generous.
And you saved my son's life.
You've done well raising him.
I'm not sure he would agree.
Yeah.
He's young. In love.
How do you compete with that?
Sí.
Justina.
Quite a young woman.
All the time thinking of others.
I was really sick.
I don't know what would have happened
if she hadn't talked
Roberto into helping me.
Surviving six ofrendas.
Such luck.
She feels guilty.
As much as she loves Roberto,
I worried she might feel responsible,
that she
what's the word?
that she might volunteer.
♪
♪
♪
You ever hear of Ohio?
What is Ohio?
It's where I'm trying to get to.
It's a state.
It's like Jersey?
Yeah, like Jersey but flat.
Shit ton of corn.
♪
♪
CAROL: Doña Marga?
Where's Justina?
♪
[SOBBING SOFTLY]
♪
You know, you're right.
I think you two are
gonna like it in America.
♪
♪
[MEN SPEAKING SPANISH]
[HORSE NEIGHS]
[ENGINE RUMBLES]
♪
Justina?
♪
Justina.
♪
Justina!
[HORSE NEIGHS]
♪
♪
♪
[IN SPANISH]
- What do they want?
- To burn it all down.
[BELL TOLLING]
What is that?
[IN SPANISH]
It's under attack.
♪
We need every person we have
to keep the village protected.
[WALKERS GROWLING]
♪
Something ain't right.
♪
Cover!
♪
ANTONIO: They're not used
to someone with the courage
to speak her mind.
Well, I am a guest.
I used to know when
to keep my mouth shut.
Maybe because you're a
guest, you don't need to.
♪
NORIEGA: Antonio is
a wonderful character.
It's a challenge to perform
a character so wounded
and and complex.
MCBRIDE: Eduardo is a fantastic actor,
so giving and right there.
NORIEGA: Step by step,
he gets to know Carol.
He starts to not only open to the world,
but open to be able to
get in touch with someone.
MCBRIDE: And I think for
Carol, coming out of the tunnel
and having that experience with Sophia
and having that sense
of, it's okay to let go.
I think she's seeing the
world in a different way,
because she doesn't have
that block there anymore.
It's going to be interesting to explore.
- I'm sorry. Um
- It's okay.
Have a chair.
RICHMAN: David had this idea of, well,
what if a guy was just a cinema lover?
What would that mean
in a world like this?
NORIEGA: It's a really beautiful
thing of this character,
because it's something really poetic,
keeping these old movies to show
how was the world before the apocalypse.
RICHMAN: Some people
might think it's in books.
Some people might think it's in art.
Some people might think it's in music.
He loved movies. And so to him,
sometime maybe this thing will end,
and he'll have the record of humanity.
This will tell the human story.
That opens up a guy who
filmed a lot of his life.
And maybe we get to see that life.
Does an old sailor live
out there or something?
Yes.
[IN SPANISH]
With Valentina, we really
wanted a very liberated woman.
We wanted a woman who was content
as much as you can be in the apocalypse.
Valentina ended up in
this beautiful lighthouse
where I live with my best friends.
And we have this very
special life that's
not necessarily accepted by
everybody else, but we love it.
SQUILLANTE: We found this
absolutely stunning lighthouse
in this beautiful location in Galicia,
and that became the perfect place
to have Valentina and her associates
be based out of.
VALENTINA: The rudder is damaged.
Gotta be someplace I
can find another one.
I think I know a place.
SQUILLANTE: Our heroes need
to get a piece for our boat,
and they have to go scavenging for it.
ARBUES: The harbor
scenes was tough days.
I mean, when you mix cameras
and water, it's not easy at all.
SQUILLANTE: We really
lean into the authenticity
of what we're trying to do.
So, you know, you could
try to do it in a tank.
You could try to cobble
it all together with VFX.
Usually we do that
when safety is really a
paramount issue for us,
but we try to be in
the actual environment.
So we found in Galicia an
incredibly sheltered harbor.
And I just have to say,
for both Norman and Hugo,
incredibly brave.
They did all the scenes in the water.
We had some "pretty difficult
to deal with" weather,
and they just went for it.
And of course, our zombie stunt players
are just like the MVP's
of like every season.
These people get lit on fire.
We push them off buildings.
We run them over with
cars, and in this case,
we had them emerge from the
surf to engage with them.
ARBUES: Oh, I had so much fun.
These kind of scenes make
you feel really proud.
When you come back home
and you're going to sleep,
you're like, I'm really
proud of this day.
[IN SPANISH]
"El Sacrificio" is Episode 3.
That means "the sacrifice" in Spanish.
And "the sacrifice" has
a kind of double meaning.
But mostly it refers to the
sacrifice that this town makes
in surrendering one of their children.
[IN SPANISH]
PERCIVAL: And this is what
Daryl and Carol observe.
They observe a community
that is functioning,
but that has this terrible
penalty clause to their safety.
JUSTINA: It's my friend, Alba.
CAROL: The one who was chosen.
You saw how close she is with her mom.
They will never survive
without each other.
I'm so sorry.
SAITTA: Justina is deeply empathetic.
She has no parents, and she
really needs to help people.
PERCIVAL: Carol observes these children,
they're accepting their fate.
But at the same time,
it's clear that this is a painful
experience for the families.
Where's Justina?
ZABEL: In this case, that
decision gets switched,
and who we thought it was
gonna be is not who it is, Alba.
It instead turns out to be Justina,
and she seems to be making
a sacrifice on behalf
of what she thinks is right,
what she thinks is fair.
SAITTA: The greatest risk for Justina
is being unable to see the
people she loves ever again.
As the story progresses,
even in subsequent episodes,
the idea of what the sacrifice was
and how the sacrifice was
made changes and evolves.
♪
Justina!
[IN SPANISH]
♪
♪
♪