The Walking Dead: Daryl Dixon (2023) s03e05 Episode Script
Limbo
1
I feel like us being here
has caused a lot of trouble.
[DRAMATIC MUSIC PLAYS]
Surviving six ofrendas
such luck.
- She feels guilty.
- I think I put the idea in her head.
If anything's worth fighting for,
isn't it two young people
that just want to be together?
- [EXPLOSION]
- [WALKERS GROWLING]
Roberto took a truck, got away.
CAROL: We got to go after him.
So they're together?
♪
They split up here.
Looks like three went down there.
Two that way.
[WALKERS GROWLING]
- Los huecos.
- Yeah. Come on.
♪
[GROWLING]
♪
[MAN LAUGHS]
♪
[CHUCKLES]
Ooh! [LAUGHS]
[GROWLING]
♪
[GUNSHOT]
- [GASPS]
- [GUNSHOT]
- ANTONIO: Roberto!
- DARYL: Hey!
Hey!
♪
Roberto!
♪
Roberto! Hey!
♪
ANTONIO: Roberto! Argh!
Roberto! Roberto!
♪
[GRUNTING]
♪
He's breathing.
♪
♪
♪
[THEME SONG PLAYS]
♪
♪
♪
I find her,
w-we drive away.
[ENGINE REVVING]
But then we hear them come after us.
[CRASH]
[GRUNTS]
[MEN SPEAKING SPANISH]
♪
- Aah!
- No!
No! No!
[GRUNTING, SHOUTING]
And they took her again.
Again?
She never volunteered.
Fede lied all along.
- And cheated.
- ANTONIO: Cheated?
The ravens. She was never chosen.
She she says she will tell everyone
if he doesn't stop la Ofrenda.
♪
We must get him back.
Doña Marga will make him healthy again.
I don't know if it's safe
enough for him to go back,
knowing what we know.
They have new medicine from El Alcazar.
It can help him.
Sí.
♪
[SNIFFLES, SOBS]
Come on.
♪
Look, maybe it's safer we don't know.
If we don't know?
We'll say he got jumped
on the road or something,
and that'll throw Fede
off, and he can get better.
I mean, that's what matters, right?
It could work.
All we need is a good liar,
and we got one of those.
What are we going to do about Justina?
I don't think there's
anything we can do about that.
- Not now.
- Can't just do nothing.
It's like we're taking advantage of
- We're not taking advantage.
- Especially these two.
After everything that
they've done for us.
For me.
I'll just go after him myself.
You can't go.
Stop telling me what I can and can't do.
We should be leaving.
Where's that convoy go next?
Barcelona, probably.
They go through there
before heading south.
Barcelona. How far is Barcelona?
A few days by road.
You got a map?
Yeah, in the glove box.
♪
I'm coming with you.
You're not 100%.
I'm faster on my own.
- Daryl.
- They need you.
Both of them.
I'll be back in a few days.
All right?
♪
Hot dogs.
♪
♪
♪
♪
ANTONIO: The potion is called queimada.
A special brandy remedy
the meigas know how to brew.
- CAROL: Meigas?
- Folk healers.
Ancient learning passed down
from mothers to daughters.
Hmm. Like
Like, witches?
No.
Well, yes.
If it doesn't fix him, at
least it will make him drunk.
♪
♪
FEDE: My mother will do
all she can for Roberto.
She has calendula, epazote, berberis
[SPEAKS SPANISH] I don't
know the word in English.
All herbs brought to us by El Alcazar.
It's hard here now, in the village.
Los Primitivos were a surprise.
We paid a dear price.
But we get through it.
We get through it with
the munitions and supplies
that El Alcazar gives us.
Yes, we pay the price.
Sit down.
You know, my cousin
Raul's family used to live
up in this part of the town.
Two houses over.
We called him "Toneti" all the time.
Raul, he'd show up for
dessert almost every night.
Like it was only a coincidence.
[CHUCKLES]
Maria was the best baker in Solaz.
Maria?
Roberto's mother.
Toneti was a lucky man.
But he knows that. He knows that.
♪
So tell me, what happened out there?
When you found Roberto,
how did he end up like this?
We couldn't say exactly.
Seems he was caught by Bandoleros.
Snuck up on him, left him for dead.
By the time we got to him,
he was barely conscious.
What about the car?
Gone.
They must have taken it.
You think it was Los Primitivos?
Yes. We think.
I don't think so.
They would have killed him.
No sign of El Alcazar?
No.
♪
Well, that's for the best, I suppose.
For everyone.
Fede.
But he'll behave, right?
I'll talk to him about
it when he's well.
What of your friend?
Oh, he went to check on the boat.
Mm. Okay.
Ah. If he's going to come
into the village at night,
we should know so he
can enter safely, okay?
That's very kind of you,
but I think he's going
to spend the night there.
On the beach?
Yeah.
He's very outdoorsy.
Yeah, he looks it.
Bueno.
♪
♪
♪
El Alcazar did this to
Roberto, didn't they?
- Paz.
- It's all right. We can trust Paz.
What about the convoy and Daryl?
Daryl went after them, to get Justina.
♪
♪
♪
♪
♪
♪
♪
Agua.
Agua.
♪
- Agua.
- Here.
Agua, por favor. Agua. Agua, por favor.
Agua, agua, agua.
Here you go.
♪
Hey, hey.
Hey!
♪
[VULTURE SCREECHING]
♪
♪
[CACKLING MADLY]
♪
♪
[ENGINE TURNS OVER]
♪
Agua. Agua.
Agua. Agua
♪
[DISTANT RUMBLING]
[GUITAR PLAYING]
♪
[MAN SINGING IN SPANISH]
♪
♪
[WALKERS GROWLING]
[SINGING CONTINUES]
MAN: Chofo.
[EXHALES DEEPLY]
[WALKERS GROWLING DISTANTLY]
♪
♪
♪
♪
♪
♪
♪
[ENGINE HUMMING]
♪
♪
♪
♪
[GUNSHOT]
[SHOUTS]
[GUNSHOT]
♪
[GUNSHOT]
♪
♪
♪
[SHOUTS]
♪
♪
[VULTURES SCREECHING]
♪
♪
[WALKER GROWLING DISTANTLY]
♪
♪
♪
♪
[SHIVERING]
♪
You gotta go now.
Go!
♪
[BRANCH SNAPS]
♪
Back up.
Back up!
♪
No. No, no, no, no.
♪
[MURMURING INDISTINCTLY]
♪
Buenas noches, señor.
♪
♪
♪
Mateo. Mateo.
♪
♪
Vamos.
♪
♪
♪
♪
♪
♪
- Is that water? Can I have some?
- No.
Ahh.
Come on.
Mas!
[SNAPS FINGERS]
♪
This agua is what we have for all of us.
♪
♪
♪
It's a cistern that holds water.
Agua.
Sí. Sí, sí.
[KNOCKS ON CISTERN]
Sí. Para agua. Agua.
Antes hace muchos años, aqui lluvia.
- Lluvia.
- Rain. Rainwater.
Sí. Sí. Agua.
It's all dried up.
Is that from the sun?
Dries
Does the sun
Dry It dries it up?
No, no. Bandidos.
Bandidos took your water?
AMAIA: Buitres.
Bad man come.
They take our water.
Uh a su tren.
♪
They're on a train?
♪
Did the bad men do this to your town?
No, no, esto fue
Um
Old, old war.
España contra España.
Civil war.
Sí, Generalísimo Franco.
Franco.
He do this to kill la Resistencia.
The Resistance.
♪
Why do you all live here?
Why not somewhere else?
They have no other place.
No one will have them.
Nosotros we
leprosos.
Lepers. Lepers.
Limbos, people say.
Entre los vivos y los muertos.
No is, um, living, not dead.
How come you're not a leproso?
Um, I can
♪
A little bit is okay.
It's safe for you.
Yeah, I get it.
♪
Look, I need to get to Barcelona.
Those men on the train,
they they took my bike.
My motorcycle.
♪
You can take this.
For you.
And why would you do that?
Bring our water from el tren.
You want me to bring your water back?
Four, five days.
No water, no life.
Nada.
Now we sleep. Tomorrow you tell us.
♪
♪
[BABY CRYING]
♪
♪
♪
♪
[SIGHS]
♪
[WIND WHISTLING]
[INDISTINCT CONVERSATION]
Okay, I'll do it.
I'll go get your water.
[MURMURING]
♪
Look, this is all I got. Four. Cuatro.
Okay? Mucho bandidos. Okay? Mucho.
We have to fight them.
Fight. You understand me?
- F-Fight.
- Fight.
Fight. Fight.
Temos que luchar. Temos que luchar.
I'm gonna need
Here, thank you.
A lot of rope. See this? Mucho.
Corda, sí.
You got it? Here.
♪
♪
Oh, that's good. That's real good.
Bueno.
♪
[SPEAKING SPANISH]
He asked what you think?
This town, these people.
♪
The French have a word for it.
Dépaysant.
That's a good thing. You
tell him it's a good thing.
♪
[HAMMERING]
♪
[SIGHS]
♪
Sí.
♪
♪
♪
♪
♪
♪
Gracias.
♪
♪
♪
Mateo thinks you bring us water.
What, and you don't?
I think you leave us to die.
♪
[ENGINE TURNS OVER]
♪
♪
♪
♪
♪
[MOTORCYCLE ENGINES REVVING]
♪
♪
♪
[ENGINES RUMBLING DISTANTLY]
♪
♪
♪
[SPEAKS SPANISH]
♪
[BOTH GROAN]
♪
[BABY CRYING]
Shh.
♪
♪
[ENGINE RUMBLING]
♪
♪
♪
♪
[GRUNTS]
[GROANING]
♪
[GUNSHOT]
♪
♪
♪
♪
♪
[GUNSHOT]
♪
♪
♪
♪
[GUNSHOT]
♪
♪
Puño.
♪
♪
[GUNSHOT]
♪
Argh! Argh
Argh!
[SCREAMING]
♪
[CONTINUES SCREAMING]
♪
♪
♪
[GROANING]
[GURGLING]
♪
♪
[INDISTINCT CONVERSATIONS]
♪
♪
[GUITAR PLAYING]
[MAN SINGING IN SPANISH]
♪
[WALKERS GROWLING]
♪
♪
♪
Ah.
Ah. [INHALES SHARPLY]
[BLOWS]
[SMOOCHES]
Hungry, Lola, Lola, Lola!
Oh.
[MAN PLAYING GUITAR
AND SINGING IN SPANISH]
[WALKERS GROWLING]
[BANGING]
♪
♪
No, no, no, no, no, no, no! Aah!
♪
♪
Hey! Hey!
♪
♪
Shh, shh, shh, shh.
♪
[GROWLING]
[SINGING AND PLAYING]
[SCREAMING]
♪
[SNARLING]
Chicos.
♪
♪
[GROWLING]
♪
[GUNSHOT]
[SHOUTING]
[GUNSHOT]
- Aah!
- [GASPS]
[SPEAKING INDISTINCTLY]
♪
[WALKERS GROWLING]
Aah! [SCREAMING]
♪
[FOOTSTEPS ABOVE]
[SCREAMS]
♪
[SPEAKING SPANISH]
♪
♪
♪
[GROWLING]
♪
♪
♪
♪
Aah!
♪
♪
[WALKERS GROWLING]
♪
♪
[EXHALES SHARPLY]
♪
[BOTH SHOUT]
♪
♪
♪
♪
[GRUNTS]
♪
♪
[GUNSHOT]
[GROWLING SOFTLY]
♪
♪
♪
Thank you.
- Barcelona?
- Yeah.
♪
Thank you.
♪
♪
Señor.
♪
♪
Gracias.
Rosa?
Sí.
Daryl.
Da-Daryl?
♪
[ENGINE TURNS OVER]
♪
♪
♪
♪
♪
♪
Robert
I need to get more
orujo for the queimada.
- I can help you?
- Yeah, thanks.
♪
VALENTINA: I come into Solaz so rarely.
Too many eyes here. Too
many jueces judges.
It's good of you to come make the trip.
And you? What are your plans now?
Daryl and I still plan to
set sail as soon as we can.
I realize I have it
wrong about you and him.
I was looking for something
in the wrong place maybe.
You prefer the local wine.
When in Galicia.
[BOTH CHUCKLE]
Don't take this the wrong way.
But has anyone ever told
you you are a horny old lady?
[LAUGHS]
Usually they don't call me a lady.
Hmm!
Can we get a ride to the orchard?
♪
♪
♪
♪
♪
So, Valentina,
has she been bending your ear?
[CHUCKLES] She bent
it a little, I guess.
She's
How do you say?
Nosy.
- Sí.
- Yeah.
- Un poquito.
- Tell me about it.
She was asking what my plans are.
And you said?
I said, when Daryl comes back,
we're setting sail for America, I guess.
What about you? What are your plans?
This is home for me.
Starting over somewhere else,
I tried it once,
but it didn't end so well.
Barcelona, you mean?
- Mm-hmm.
- Mm.
[SIGHS] Well, it's not Barcelona.
Ohio, I mean. It's
But it's not a bad place either.
It's I mean, it's a
It's a place where a person,
someone like you could
learn to like, maybe.
What I'm saying is that
you could come with us,
on the boat.
We have to get back.
They are waiting for us.
♪
♪
♪
♪
Bueno.
♪
♪
Sergio.
♪
♪
♪
[WHISPERING INDISTINCTLY]
♪
♪
♪
What the hell you doing here?
You might need a tour
guide in Barcelona.
The old Gothic neighborhood.
That's where the convoy will be going.
I wonder what your town would think
if they knew what you were doing.
You want to threaten me?
You get to save our girl.
You get to kill the next King of Spain.
No more king,
no more ofrenda.
[DEBRIS CLATTERS]
[CRASHING]
MAN: They took her again.
DARYL: Where's that convoy go next?
Uh, Barcelona, probably.
You got a map?
♪
DAVID ZABEL: Daryl's
character has a big change,
really, mid-season,
where he becomes finally fully engaged
in the Justina and Roberto story,
which Carol has been engaged in earlier,
and they've been at
odds a bit about that.
We see it really hit full throttle
in episode five, "In Limbo."
This episode was the one
that we most consciously
and aggressively leaned
into the Spaghetti Western.
When he goes looking for Justina,
you know, Carol's back in Solaz.
But he's moving on,
going through the desert.
I think that was primo
Spaghetti Western, kind of.
Spain helps us a lot.
This is where they've done
all the Western before.
We're filming now in, uh, Zaragoza.
This is the first time
that I'm shooting here,
and I had no idea that
we had such a beautiful
desert so close to Madrid.
[IN SPANISH]
NORMAN REEDUS: I was hoping
this was gonna happen.
To ride motorcycles up
here in the mountains
it's like a dream.
PACO CABEZAS: Norman
he not only a great rider.
He knows the show like
nobody else knows the show.
He comes to the location. It's like,
"Oh, this is so great. Let
me use this. Let me use that."
So it's like it's like having fun,
like two little children
with having fun together.
♪
[GUN COCKS]
Back up.
Buenas noches, señor.
DAVID ZABEL: Episode
five is called "Limbo."
It is the name of this group of
people that live in the desert.
They suffer from leprosy.
GREG NICOTERO: We
started researching, like,
what the disease looks like
and how it manifests itself physically,
because the idea is that Daryl
comes across this group of people,
and you want them to think
it's walkers for a minute,
and then all of a sudden
they start talking.
So he comes in boom. I
think he's a zombie, right?
Puts his hand up. The hands go down.
Then the rest of them
come in with weapons.
So does this go back up again?
Oh, interesting.
And then you reveal it's a leper colony.
DAVID ZABEL: They're called
Limbos partially because
they're kind of between living and dead,
because they're not
perceived as fully acceptable
in human society, and they're sometimes
sort of treated almost
as if they were walkers.
But they're not walkers.
They're just humans with a disease.
Their town is in the
national Monument of Belchite,
which, from the Spanish
Civil War, is a town
that was bombed mercilessly.
JASON RICHMAN: And it's
visually kind of stunning.
There are these churches in the town
that are just, like, fantastic.
Only these, the ceilings are bombed out
and they're sort of relics,
still it retains an
enormous amount of beauty.
STEVEN SQUILLANTE: The thing that they
most guard preciously is their water.
This agua is what we have for all of us.
They are besieged by a group of people
who regularly come in and
take the water from them
and leave them on the margins.
Daryl comes upon this world,
and knowing his character quite well,
this is not something
that he'll let abide.
And then he kicks into full hero mode.
MAN: Okay, ready and action!
Aaah!
JASON RICHMAN: We just immediately
started to see a confrontation
between Daryl and one
of these characters.
NORMAN REEDUS: The showdown between
me and the bad guy on the bikes
I really liked because it's a very
"wah-wah-wah" moment, you know?
And that actor was
really fun to work with
'cause he was like, "Aah!"
Aaah!
And then I like the thing
that looks like a katana,
but it folds like a switchblade.
It's called a fukyo,
which is fun to say.
But I like that going
in and slicing him.
Aaah!
Yeah, it was awful.
[WALKERS GROWLING]
JASON RICHMAN: In the back
of my head, I had an idea
about zombies pulling a
train through the desert.
I thought, "A," that's awesome.
And "B," I don't know if we can do that.
When we were able to
finally put it on its feet,
it was pretty amazing.
NORMAN REEDUS: I really
liked that whole sequence,
you know, and the guy playing guitar,
singing an old Spanish
song and on the horse,
and they're following him.
It was one of the most
exciting sequences we've done.
STEVEN SQUILLANTE: We have high falls,
we have people being, you know,
knocked off by Daryl,
all the while surrounded by walkers.
I also will say it required
an incredible amount of work.
We got an actual real old train.
We had to find tracks in the desert
that we could get it to,
that we could get walkers on,
that we could safely have actors.
Three, two, one. Action!
Watch your hand!
So it took a tremendous amount
of team effort and preparation
to actually get us there.
Crazy day doing crazy action.
It was perfect.
I love that guy that I end
up drowning in the bathtub.
♪
[BOTH SHOUTING]
He was really fun to work with.
I actually kept his bathrobe.
It's my bathrobe in
Spain, but everyone's like,
"Why don't you throw
it away? It's filthy."
And I'm like, "It's just
makeup. It's not really dirt."
Yeah, that whole sequence was great.
[GUNSHOT]
It felt like "Outlaw
Josey Wales," you know,
"Mad Max" sort of
Western. It was really fun.
I think it's everybody's
favorite episode.
JASON RICHMAN: It's just
a really lovely parable
in the middle of our story
that is kind of a Western tale
that's kind of truest to
the Sergio Leone homage.
So it had a lot of
things coming together
that felt really
indigenous to this place.
So "Limbo" reflects that
story very specifically.
Limbo also is relevant
to the Roberto side of it,
the Carol side of it.
[IN SPANISH]
And they're hoping they're gonna
be able to get him out of it.
But they can't, and they're struggling
to pull him back to life.
[IN SPANISH]
[IN SPANISH]
♪
♪
♪
♪
♪
I feel like us being here
has caused a lot of trouble.
[DRAMATIC MUSIC PLAYS]
Surviving six ofrendas
such luck.
- She feels guilty.
- I think I put the idea in her head.
If anything's worth fighting for,
isn't it two young people
that just want to be together?
- [EXPLOSION]
- [WALKERS GROWLING]
Roberto took a truck, got away.
CAROL: We got to go after him.
So they're together?
♪
They split up here.
Looks like three went down there.
Two that way.
[WALKERS GROWLING]
- Los huecos.
- Yeah. Come on.
♪
[GROWLING]
♪
[MAN LAUGHS]
♪
[CHUCKLES]
Ooh! [LAUGHS]
[GROWLING]
♪
[GUNSHOT]
- [GASPS]
- [GUNSHOT]
- ANTONIO: Roberto!
- DARYL: Hey!
Hey!
♪
Roberto!
♪
Roberto! Hey!
♪
ANTONIO: Roberto! Argh!
Roberto! Roberto!
♪
[GRUNTING]
♪
He's breathing.
♪
♪
♪
[THEME SONG PLAYS]
♪
♪
♪
I find her,
w-we drive away.
[ENGINE REVVING]
But then we hear them come after us.
[CRASH]
[GRUNTS]
[MEN SPEAKING SPANISH]
♪
- Aah!
- No!
No! No!
[GRUNTING, SHOUTING]
And they took her again.
Again?
She never volunteered.
Fede lied all along.
- And cheated.
- ANTONIO: Cheated?
The ravens. She was never chosen.
She she says she will tell everyone
if he doesn't stop la Ofrenda.
♪
We must get him back.
Doña Marga will make him healthy again.
I don't know if it's safe
enough for him to go back,
knowing what we know.
They have new medicine from El Alcazar.
It can help him.
Sí.
♪
[SNIFFLES, SOBS]
Come on.
♪
Look, maybe it's safer we don't know.
If we don't know?
We'll say he got jumped
on the road or something,
and that'll throw Fede
off, and he can get better.
I mean, that's what matters, right?
It could work.
All we need is a good liar,
and we got one of those.
What are we going to do about Justina?
I don't think there's
anything we can do about that.
- Not now.
- Can't just do nothing.
It's like we're taking advantage of
- We're not taking advantage.
- Especially these two.
After everything that
they've done for us.
For me.
I'll just go after him myself.
You can't go.
Stop telling me what I can and can't do.
We should be leaving.
Where's that convoy go next?
Barcelona, probably.
They go through there
before heading south.
Barcelona. How far is Barcelona?
A few days by road.
You got a map?
Yeah, in the glove box.
♪
I'm coming with you.
You're not 100%.
I'm faster on my own.
- Daryl.
- They need you.
Both of them.
I'll be back in a few days.
All right?
♪
Hot dogs.
♪
♪
♪
♪
ANTONIO: The potion is called queimada.
A special brandy remedy
the meigas know how to brew.
- CAROL: Meigas?
- Folk healers.
Ancient learning passed down
from mothers to daughters.
Hmm. Like
Like, witches?
No.
Well, yes.
If it doesn't fix him, at
least it will make him drunk.
♪
♪
FEDE: My mother will do
all she can for Roberto.
She has calendula, epazote, berberis
[SPEAKS SPANISH] I don't
know the word in English.
All herbs brought to us by El Alcazar.
It's hard here now, in the village.
Los Primitivos were a surprise.
We paid a dear price.
But we get through it.
We get through it with
the munitions and supplies
that El Alcazar gives us.
Yes, we pay the price.
Sit down.
You know, my cousin
Raul's family used to live
up in this part of the town.
Two houses over.
We called him "Toneti" all the time.
Raul, he'd show up for
dessert almost every night.
Like it was only a coincidence.
[CHUCKLES]
Maria was the best baker in Solaz.
Maria?
Roberto's mother.
Toneti was a lucky man.
But he knows that. He knows that.
♪
So tell me, what happened out there?
When you found Roberto,
how did he end up like this?
We couldn't say exactly.
Seems he was caught by Bandoleros.
Snuck up on him, left him for dead.
By the time we got to him,
he was barely conscious.
What about the car?
Gone.
They must have taken it.
You think it was Los Primitivos?
Yes. We think.
I don't think so.
They would have killed him.
No sign of El Alcazar?
No.
♪
Well, that's for the best, I suppose.
For everyone.
Fede.
But he'll behave, right?
I'll talk to him about
it when he's well.
What of your friend?
Oh, he went to check on the boat.
Mm. Okay.
Ah. If he's going to come
into the village at night,
we should know so he
can enter safely, okay?
That's very kind of you,
but I think he's going
to spend the night there.
On the beach?
Yeah.
He's very outdoorsy.
Yeah, he looks it.
Bueno.
♪
♪
♪
El Alcazar did this to
Roberto, didn't they?
- Paz.
- It's all right. We can trust Paz.
What about the convoy and Daryl?
Daryl went after them, to get Justina.
♪
♪
♪
♪
♪
♪
♪
Agua.
Agua.
♪
- Agua.
- Here.
Agua, por favor. Agua. Agua, por favor.
Agua, agua, agua.
Here you go.
♪
Hey, hey.
Hey!
♪
[VULTURE SCREECHING]
♪
♪
[CACKLING MADLY]
♪
♪
[ENGINE TURNS OVER]
♪
Agua. Agua.
Agua. Agua
♪
[DISTANT RUMBLING]
[GUITAR PLAYING]
♪
[MAN SINGING IN SPANISH]
♪
♪
[WALKERS GROWLING]
[SINGING CONTINUES]
MAN: Chofo.
[EXHALES DEEPLY]
[WALKERS GROWLING DISTANTLY]
♪
♪
♪
♪
♪
♪
♪
[ENGINE HUMMING]
♪
♪
♪
♪
[GUNSHOT]
[SHOUTS]
[GUNSHOT]
♪
[GUNSHOT]
♪
♪
♪
[SHOUTS]
♪
♪
[VULTURES SCREECHING]
♪
♪
[WALKER GROWLING DISTANTLY]
♪
♪
♪
♪
[SHIVERING]
♪
You gotta go now.
Go!
♪
[BRANCH SNAPS]
♪
Back up.
Back up!
♪
No. No, no, no, no.
♪
[MURMURING INDISTINCTLY]
♪
Buenas noches, señor.
♪
♪
♪
Mateo. Mateo.
♪
♪
Vamos.
♪
♪
♪
♪
♪
♪
- Is that water? Can I have some?
- No.
Ahh.
Come on.
Mas!
[SNAPS FINGERS]
♪
This agua is what we have for all of us.
♪
♪
♪
It's a cistern that holds water.
Agua.
Sí. Sí, sí.
[KNOCKS ON CISTERN]
Sí. Para agua. Agua.
Antes hace muchos años, aqui lluvia.
- Lluvia.
- Rain. Rainwater.
Sí. Sí. Agua.
It's all dried up.
Is that from the sun?
Dries
Does the sun
Dry It dries it up?
No, no. Bandidos.
Bandidos took your water?
AMAIA: Buitres.
Bad man come.
They take our water.
Uh a su tren.
♪
They're on a train?
♪
Did the bad men do this to your town?
No, no, esto fue
Um
Old, old war.
España contra España.
Civil war.
Sí, Generalísimo Franco.
Franco.
He do this to kill la Resistencia.
The Resistance.
♪
Why do you all live here?
Why not somewhere else?
They have no other place.
No one will have them.
Nosotros we
leprosos.
Lepers. Lepers.
Limbos, people say.
Entre los vivos y los muertos.
No is, um, living, not dead.
How come you're not a leproso?
Um, I can
♪
A little bit is okay.
It's safe for you.
Yeah, I get it.
♪
Look, I need to get to Barcelona.
Those men on the train,
they they took my bike.
My motorcycle.
♪
You can take this.
For you.
And why would you do that?
Bring our water from el tren.
You want me to bring your water back?
Four, five days.
No water, no life.
Nada.
Now we sleep. Tomorrow you tell us.
♪
♪
[BABY CRYING]
♪
♪
♪
♪
[SIGHS]
♪
[WIND WHISTLING]
[INDISTINCT CONVERSATION]
Okay, I'll do it.
I'll go get your water.
[MURMURING]
♪
Look, this is all I got. Four. Cuatro.
Okay? Mucho bandidos. Okay? Mucho.
We have to fight them.
Fight. You understand me?
- F-Fight.
- Fight.
Fight. Fight.
Temos que luchar. Temos que luchar.
I'm gonna need
Here, thank you.
A lot of rope. See this? Mucho.
Corda, sí.
You got it? Here.
♪
♪
Oh, that's good. That's real good.
Bueno.
♪
[SPEAKING SPANISH]
He asked what you think?
This town, these people.
♪
The French have a word for it.
Dépaysant.
That's a good thing. You
tell him it's a good thing.
♪
[HAMMERING]
♪
[SIGHS]
♪
Sí.
♪
♪
♪
♪
♪
♪
Gracias.
♪
♪
♪
Mateo thinks you bring us water.
What, and you don't?
I think you leave us to die.
♪
[ENGINE TURNS OVER]
♪
♪
♪
♪
♪
[MOTORCYCLE ENGINES REVVING]
♪
♪
♪
[ENGINES RUMBLING DISTANTLY]
♪
♪
♪
[SPEAKS SPANISH]
♪
[BOTH GROAN]
♪
[BABY CRYING]
Shh.
♪
♪
[ENGINE RUMBLING]
♪
♪
♪
♪
[GRUNTS]
[GROANING]
♪
[GUNSHOT]
♪
♪
♪
♪
♪
[GUNSHOT]
♪
♪
♪
♪
[GUNSHOT]
♪
♪
Puño.
♪
♪
[GUNSHOT]
♪
Argh! Argh
Argh!
[SCREAMING]
♪
[CONTINUES SCREAMING]
♪
♪
♪
[GROANING]
[GURGLING]
♪
♪
[INDISTINCT CONVERSATIONS]
♪
♪
[GUITAR PLAYING]
[MAN SINGING IN SPANISH]
♪
[WALKERS GROWLING]
♪
♪
♪
Ah.
Ah. [INHALES SHARPLY]
[BLOWS]
[SMOOCHES]
Hungry, Lola, Lola, Lola!
Oh.
[MAN PLAYING GUITAR
AND SINGING IN SPANISH]
[WALKERS GROWLING]
[BANGING]
♪
♪
No, no, no, no, no, no, no! Aah!
♪
♪
Hey! Hey!
♪
♪
Shh, shh, shh, shh.
♪
[GROWLING]
[SINGING AND PLAYING]
[SCREAMING]
♪
[SNARLING]
Chicos.
♪
♪
[GROWLING]
♪
[GUNSHOT]
[SHOUTING]
[GUNSHOT]
- Aah!
- [GASPS]
[SPEAKING INDISTINCTLY]
♪
[WALKERS GROWLING]
Aah! [SCREAMING]
♪
[FOOTSTEPS ABOVE]
[SCREAMS]
♪
[SPEAKING SPANISH]
♪
♪
♪
[GROWLING]
♪
♪
♪
♪
Aah!
♪
♪
[WALKERS GROWLING]
♪
♪
[EXHALES SHARPLY]
♪
[BOTH SHOUT]
♪
♪
♪
♪
[GRUNTS]
♪
♪
[GUNSHOT]
[GROWLING SOFTLY]
♪
♪
♪
Thank you.
- Barcelona?
- Yeah.
♪
Thank you.
♪
♪
Señor.
♪
♪
Gracias.
Rosa?
Sí.
Daryl.
Da-Daryl?
♪
[ENGINE TURNS OVER]
♪
♪
♪
♪
♪
♪
Robert
I need to get more
orujo for the queimada.
- I can help you?
- Yeah, thanks.
♪
VALENTINA: I come into Solaz so rarely.
Too many eyes here. Too
many jueces judges.
It's good of you to come make the trip.
And you? What are your plans now?
Daryl and I still plan to
set sail as soon as we can.
I realize I have it
wrong about you and him.
I was looking for something
in the wrong place maybe.
You prefer the local wine.
When in Galicia.
[BOTH CHUCKLE]
Don't take this the wrong way.
But has anyone ever told
you you are a horny old lady?
[LAUGHS]
Usually they don't call me a lady.
Hmm!
Can we get a ride to the orchard?
♪
♪
♪
♪
♪
So, Valentina,
has she been bending your ear?
[CHUCKLES] She bent
it a little, I guess.
She's
How do you say?
Nosy.
- Sí.
- Yeah.
- Un poquito.
- Tell me about it.
She was asking what my plans are.
And you said?
I said, when Daryl comes back,
we're setting sail for America, I guess.
What about you? What are your plans?
This is home for me.
Starting over somewhere else,
I tried it once,
but it didn't end so well.
Barcelona, you mean?
- Mm-hmm.
- Mm.
[SIGHS] Well, it's not Barcelona.
Ohio, I mean. It's
But it's not a bad place either.
It's I mean, it's a
It's a place where a person,
someone like you could
learn to like, maybe.
What I'm saying is that
you could come with us,
on the boat.
We have to get back.
They are waiting for us.
♪
♪
♪
♪
Bueno.
♪
♪
Sergio.
♪
♪
♪
[WHISPERING INDISTINCTLY]
♪
♪
♪
What the hell you doing here?
You might need a tour
guide in Barcelona.
The old Gothic neighborhood.
That's where the convoy will be going.
I wonder what your town would think
if they knew what you were doing.
You want to threaten me?
You get to save our girl.
You get to kill the next King of Spain.
No more king,
no more ofrenda.
[DEBRIS CLATTERS]
[CRASHING]
MAN: They took her again.
DARYL: Where's that convoy go next?
Uh, Barcelona, probably.
You got a map?
♪
DAVID ZABEL: Daryl's
character has a big change,
really, mid-season,
where he becomes finally fully engaged
in the Justina and Roberto story,
which Carol has been engaged in earlier,
and they've been at
odds a bit about that.
We see it really hit full throttle
in episode five, "In Limbo."
This episode was the one
that we most consciously
and aggressively leaned
into the Spaghetti Western.
When he goes looking for Justina,
you know, Carol's back in Solaz.
But he's moving on,
going through the desert.
I think that was primo
Spaghetti Western, kind of.
Spain helps us a lot.
This is where they've done
all the Western before.
We're filming now in, uh, Zaragoza.
This is the first time
that I'm shooting here,
and I had no idea that
we had such a beautiful
desert so close to Madrid.
[IN SPANISH]
NORMAN REEDUS: I was hoping
this was gonna happen.
To ride motorcycles up
here in the mountains
it's like a dream.
PACO CABEZAS: Norman
he not only a great rider.
He knows the show like
nobody else knows the show.
He comes to the location. It's like,
"Oh, this is so great. Let
me use this. Let me use that."
So it's like it's like having fun,
like two little children
with having fun together.
♪
[GUN COCKS]
Back up.
Buenas noches, señor.
DAVID ZABEL: Episode
five is called "Limbo."
It is the name of this group of
people that live in the desert.
They suffer from leprosy.
GREG NICOTERO: We
started researching, like,
what the disease looks like
and how it manifests itself physically,
because the idea is that Daryl
comes across this group of people,
and you want them to think
it's walkers for a minute,
and then all of a sudden
they start talking.
So he comes in boom. I
think he's a zombie, right?
Puts his hand up. The hands go down.
Then the rest of them
come in with weapons.
So does this go back up again?
Oh, interesting.
And then you reveal it's a leper colony.
DAVID ZABEL: They're called
Limbos partially because
they're kind of between living and dead,
because they're not
perceived as fully acceptable
in human society, and they're sometimes
sort of treated almost
as if they were walkers.
But they're not walkers.
They're just humans with a disease.
Their town is in the
national Monument of Belchite,
which, from the Spanish
Civil War, is a town
that was bombed mercilessly.
JASON RICHMAN: And it's
visually kind of stunning.
There are these churches in the town
that are just, like, fantastic.
Only these, the ceilings are bombed out
and they're sort of relics,
still it retains an
enormous amount of beauty.
STEVEN SQUILLANTE: The thing that they
most guard preciously is their water.
This agua is what we have for all of us.
They are besieged by a group of people
who regularly come in and
take the water from them
and leave them on the margins.
Daryl comes upon this world,
and knowing his character quite well,
this is not something
that he'll let abide.
And then he kicks into full hero mode.
MAN: Okay, ready and action!
Aaah!
JASON RICHMAN: We just immediately
started to see a confrontation
between Daryl and one
of these characters.
NORMAN REEDUS: The showdown between
me and the bad guy on the bikes
I really liked because it's a very
"wah-wah-wah" moment, you know?
And that actor was
really fun to work with
'cause he was like, "Aah!"
Aaah!
And then I like the thing
that looks like a katana,
but it folds like a switchblade.
It's called a fukyo,
which is fun to say.
But I like that going
in and slicing him.
Aaah!
Yeah, it was awful.
[WALKERS GROWLING]
JASON RICHMAN: In the back
of my head, I had an idea
about zombies pulling a
train through the desert.
I thought, "A," that's awesome.
And "B," I don't know if we can do that.
When we were able to
finally put it on its feet,
it was pretty amazing.
NORMAN REEDUS: I really
liked that whole sequence,
you know, and the guy playing guitar,
singing an old Spanish
song and on the horse,
and they're following him.
It was one of the most
exciting sequences we've done.
STEVEN SQUILLANTE: We have high falls,
we have people being, you know,
knocked off by Daryl,
all the while surrounded by walkers.
I also will say it required
an incredible amount of work.
We got an actual real old train.
We had to find tracks in the desert
that we could get it to,
that we could get walkers on,
that we could safely have actors.
Three, two, one. Action!
Watch your hand!
So it took a tremendous amount
of team effort and preparation
to actually get us there.
Crazy day doing crazy action.
It was perfect.
I love that guy that I end
up drowning in the bathtub.
♪
[BOTH SHOUTING]
He was really fun to work with.
I actually kept his bathrobe.
It's my bathrobe in
Spain, but everyone's like,
"Why don't you throw
it away? It's filthy."
And I'm like, "It's just
makeup. It's not really dirt."
Yeah, that whole sequence was great.
[GUNSHOT]
It felt like "Outlaw
Josey Wales," you know,
"Mad Max" sort of
Western. It was really fun.
I think it's everybody's
favorite episode.
JASON RICHMAN: It's just
a really lovely parable
in the middle of our story
that is kind of a Western tale
that's kind of truest to
the Sergio Leone homage.
So it had a lot of
things coming together
that felt really
indigenous to this place.
So "Limbo" reflects that
story very specifically.
Limbo also is relevant
to the Roberto side of it,
the Carol side of it.
[IN SPANISH]
And they're hoping they're gonna
be able to get him out of it.
But they can't, and they're struggling
to pull him back to life.
[IN SPANISH]
[IN SPANISH]
♪
♪
♪
♪
♪