Original subtitles

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]

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Good morning.

Good morning.

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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.

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.

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[Indistinct conversations]

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[Clears throat]

We should go.

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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]

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This place is out in the middle of nowhere.

Does an old sailor live out there or something?

Yes.

A ship's captain.

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You sure this guy's gonna help us?

Yeah, trust me.

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[Guns cock]

[Gun cocks] Roberto.

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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 isthe 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?

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Ah!

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Okay, truck is fixed.

Shall we take a look at that death trap of yours?

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Antonio: Can I help you with something?

Oh, uh, no.

I'm good. Just getting some air.

Blood.

Bandage needs changing.

Come on.

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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.

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Is that how you got hurt?

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How do you mean?

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In the accident?

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You'll leave soon.

I think we know each other well enough.

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She hit the rocks. You got holes.

Below the waterline.

I'll patch it up.

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Oh, you cannot just patch it up.

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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.

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[Bang]

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[Door creaking]

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[Woman wailing]

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[Woman shouting in Spanish]

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[Man speaking Spanish]

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[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.

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The boatyard is just around the next bend.

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[Dog barking in distance]

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[Birds squawking]

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Look, I get it.

Ran away a whole bunch of times.

Why?

Different reasons.

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Man: Hey! Daryl!

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Get back here, you little bastard!

It's complicated.

Not for me.

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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.

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Hey!

I think I found something.

Come here.

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[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.

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[Banging]

Is it working? Roberto: Yeah.

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[Muffled banging]

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Okay, almost.

One more.

[Grunts] Ah, we got it.

Yeah! Whoo!

There's something in the water.

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Probably a fish. Come on, let's go.

No, no, no, it's not.

It wasn't fish.

[Walker growling]

[Gasps]

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[Gun cocks, gunshot]

Get on the beach.

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[Gun cocks]

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It ain't safe.

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Come on.

We'll find another one.

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We should go back.

We ain't going back.

[Walkers growling]

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[Gun cocks]

[Gunshots]

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Daryl: Leave it! We need it.

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[Gun clicks]

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Hey!

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[Walker growling]

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[Gunshot]

[Gun cocks, gunshots]

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[Breathing heavily]

[Birds chirping, distant clatter]

Ow!

Mm.

[Chuckles]

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[Box clatters]

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[Rattling]

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[Click]

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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.

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Come here.

Sit down.

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[Engine shuts off]

Roberto: Why are we stopping?

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Daryl.

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What's that?

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Used to belong to a kid I know.

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Maybe he's got a new one by now.

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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.

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Yeah.

You're right.

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Thank you.

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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.

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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.

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Carol: Doña Marga?

Where's Justina?

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[Sobbing softly]

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You know, you're right.

I think you two are gonna like it in America.

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[Men speaking Spanish]

[Horse neighs]

[Engine rumbles]

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Justina?

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Justina.

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Justina!

[Horse neighs]

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[In Spanish]

-What do they want? -To burn it all down.

[Bell tolling]

What is that?

[In Spanish]

It's under attack.

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We need every person we have

to keep the village protected.

[Walkers growling]

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Something ain't right.

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Cover!

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AntoniAntonio: 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.

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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.

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Justina!

[In Spanish]

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