Original subtitles

Hey, everyone. I'm Clark Wolfe.

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

a behind the scenes look at what went into creating

AMC's hit shows.

Before we get into it, I should warn you,

there are lots of spoilers ahead.

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

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

Announcer: Presented by T-Mobile.

♪

Padre was a mystery for most of season seven.

And what we did learn about it at the end

with Morgan and Madison was hardly encouraging.

Come on. She sounds scared.

Padre: Like all the children here,

she will learn to separate herself from her emotions.

Wolfe: Well, in season 8, we sure learned

a lot more about Padre.

You're doing this for the same reason

we do everything.For Padre.

Wolfe: Like who's in charge,

how the community survived for over seven years,

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

Not even close.

Man: Who are we learning this for?

All: Padre!

Man: Who sustains our way of life?

All: Padre.

Goldberg: Padre is our central settlement

that is well fortified, on the water,

where we find our characters in season 8.

Man: Who is teaching us to be strong?

All: Padre.

Goldberg: When Padre started,

it was in this altruistic place.

It really was created to rebuild the world.

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

It isn't just a settlement.

It really is a way of life.

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

version of Sparta, where Padre is collecting all these children

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

that Padre can teach this new way of life to.

Goldberg: They operate on this philosophy of

separating children from their parents

and raising them to not have emotional connections.

Chambliss: Individual relationships, individual wants

and needs are secondary to the good of the community.

You're doing this for the same reason

we do everything.

For Padre.

Goldberg: Children are being raised to be strong,

to be warriors, to approach the world

in a cold, brutal way.

However, there's something that they grow up

fundamentally lacking, which is connection.

Every time I look out there. I feel like something

really big is missing inside of me.

Goldberg: Our characters are separated from the people

they care about, and it's really redefined

who they are as people in the seven years

since we last saw them.

[Grunts]

Who's that?

Madison: That's your dad.

Are you really my father?

I am Mo--

Wren. My name is Wren.

Essentially, the kids have been brainwashed.

[Grunts]

They believe their parents abandoned them.

They believe that Padre has their best interests at heart.

Padre. Can you hear me? This is Wren.

Man: Padre 1. Wren, do you copy?

Chambliss: Padre is run by these two traumatized

young adults who are doing all of this because

they lost their father.

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

Goldberg: They believe they are protecting other kids

from the pain that they felt.

I know the pain Wren's in.

The whole reason I am doing what I'm doing

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

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

Padre, but Shrike and Crane have gone to this

kind of very dark place.

Woman: Wren, this is to protect you,

Eshet: Shrike and Crane, they're extremists.

They take very harsh actions to keep their community safe.

Stop, please!

Eshet: And they really did manage to keep

this community going.

Just so you know, Red Kite,

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

Padre's philosophy has been quite effective.

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

your ideology with such extreme measures.

[Growling]

Stop! Let her go!

Get her out of here now.

Padre really has to be careful

about showing any kind of weakness.

Don't move.

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

She's the reason Finch got bit.

Finch got bit?

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

wait, is it better out there?

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

were our enemies, are they really our enemies?

Those kind of questions are the thing that Padre really

has to try to snuff out.

You wanted to ask Padre for the truth?

Go ahead, ask us.

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

about who her parents were, what her name is.

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

Eshet: They lied to all of the children.

And I think that is going to be their downfall.

Let her go.

You don't understand.

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

Chambliss: Ultimately, in its effort to survive,

Padre ended up creating the very people

who are going to end up bringing it down.

♪

Season 8 took us to a watery world

full of muck and mud

and sinking boats and swamp walkers.

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

where they built a swamp in a swamp.

♪

I really like working in the manmade swamp.

It's such an impressive production design,

the set design.

All the special effects team,

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

[Walkers growling]

Goldberg: The swamp was a whole new element

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

Well, do the alligators, and do the snakes,

do they all know that this is a manmade swamp?

Goldberg: Our team went in and excavated an area,

put in our own swamp water so that we could regulate

and we could make sure that there were no alligators

or anything that were getting in.

We built this thing to control the water levels

and control the critters and control --

just basically have control over the environment.

Goldberg: We got our swamp walkers, which

KNB just made them so nightmarish and cool.

Dickens: The first night we worked in the swamp,

it was really moderate temperatures.

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

"This is kind of fun, right?"

James: Particularly the man made swamp that we had,

the water was constantly moving and pumped fresh

and all of that.

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

when the weather was warm.

When we were doing it later on in the season

and the weather had turned, not so much.

[Grunts]

Dickens: It was a little bit like a carnival ride

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

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

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

and Grace coming in on that raft was so badass.

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

to start off the season.

Who are you?

I'm your mother.

We've seen a lot of horrible things

on "Fear The Walking Dead" over the years,

but Shrike infecting Finch with a walker bite

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

No, please!

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

♪

Goldberg: The train car was this off site medical facility

where Padre was doing horrific experiments

in the name of this cure.

Hello, Blue Jay.

Eshet: I infect Finch to give June motivation

to continue the research.

Elfman: Padre started these horrible experiments

and held June at gunpoint and made her do them.

Why is Padre doing this?

The same reason he does everything --

to ensure what he's built endures.

I sacrifice one individual in order to find a vaccine

and maybe solve this for humanity.

[Growling]

[Clapping]

The set looked awesome.

Goldberg: We wanted to create this image of this

house of horrors where people who've had

these terrible experiments done to them for walker bites.

[Walkers growling]

But it's all coming from this place of

wanting to prevent loss,

which is ultimately something that you can't do.

[Growling]

It was really brutal to shoot that scene.

[Growls]

It was awful.

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

We're in this tight train car.

Finch is a few feet in front of us.

We're tied to this pipe.

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

helplessly watching something happen to your child

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

[Screaming]

Amelio: It was pretty dark world, you know?

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

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

Elfman: I think we all went back to the hotel

and just, like, sat outside

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

[Walkers growling]

[Man groaning, screaming]

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

Where are you taking me?

As far away from Padre as possible.

It started with Madison, but Padre,

led by Shrike and Crane,

had a real knack for making enemies.

Just ask June or Morgan, Grace, and Mo.

What about everyone else?

Or Dwight and Sherry.

I'm gonna kill you.

Or Daniel and his parent army.

Padre, you pissed off the wrong group of people.

♪

Hello? Is anyone in there?

[Gasps]Wait, wait.

Please. I'm not going to hurt you.

Dickens: Madison is really important to Padre

because she's rebelling against them.

She was being controlled and brainwashed and led to believe

that she was going to get access to her children.

You lied to me.

She's consumed with guilt for participating with Padre

and collecting all the children.

Her obsession becomes, "Let me help these kids

reunite with their parents."

What's your name?

Wren.

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

When Mo realized maybe she wasn't being told

everything about how she came to the island,

things start to change.

Change of plans. We're leaving.

Chambliss: When Madison ends up escaping with Mo,

that is such a dangerous thing for Padre.

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

kind of the fissures in the foundation.

Where are we going?

To find your dad.

On a personal level,

the revolution started with Morgan spending time with Mo.

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

I think the initial act of defiance is massive

because he's within Padre's reach.

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

Evangelista: Sherry and Dwight are on their mission

to bring him back so they could save their son.

When they see what Morgan is going through,

there's a lot of compassion.

Duane?

And you sort of see these two

parents mirroring each other.

Morgan is essentially going through

the same thing with his son.

Elfman: For June, Padre is the exact opposite

of everything June stands for.

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

the only way she could still help

is by somehow disabling the collectors.

And she did that by cutting off their trigger fingers.

Padre has survived for so long because it was mostly

young people that were being controlled.

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

to overtake Padre.

And we're all separated.

Woman: Hands up!

Blades: The army that Daniel has trained,

this army of parents, it has proven pretty effective.

Padre has lied to all of us.

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

Together.

We'll let the commander decide.

Who's the commander?

Daniel: Turn around.

What Daniel has done is to give them a purpose,

an organization, and a leadership.

Madison?

Daniel?

You know these people?

Give them back their weapons.

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

these people their families back.

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

Daniel: All these people lost their children to Padre.

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

Madison.

We'll hold them off. Go.

When Madison and June and Dove storm into Padre

to have him show himself, Madison smashes the mirror.

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

Shrike's brother.

Eshet: The secret revealed,

is a huge danger for the entire operation.

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

are going to turn against them,

and then everything could collapse.

Do you know the truth about Padre?

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

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

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

Guns up!

...and because Shrike and Crane were trying to prevent

anyone else from feeling any kind of loss,

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

inevitable that it would fall.

You were just given an order!

Fire.

They won't do it.

I think ultimately people do need connection.

People need family and to build a community.

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

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

And even though it hurts more to connect with people

that you might lose, it's still better

than walling yourself off from that connection.

Morgan didn't just fight Padre this season.

He fought some serious inner demons, as well.

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

whether he might kill anyone and anything around him.

No!

Lennie James talks about how and why this happened,

and cast and crew take us through how they created

the action on a sinking houseboat full of walkers

with Morgan seeing red.

[Indistinct voices shouting]

Morgan: I can't!

This is Morgan's version of post traumatic stress.

Easy! Madison!

Easy there. What happened?

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

The audience actually get a vision of Morgan

that he never sees.

My ax! Where is my ax?!

He's trying to document this version of himself.

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

and it just comes out in broken, disjointed graffiti.

The reason why this has all woken up in him

is because Morgan has taken on the responsibility of Mo.

What does clear mean?

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

If I can't look after her now,

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

I might not be able to keep this child alive.

Dad, help me!

That is what blacks him out.

That is what sends him into the red.

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

for as long as it's humanly possible.

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

And he just needs to get to the surface.

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

Woman: Morgan!

[Gasps]

James: We kept reminding everybody who was around Morgan

in those episodes that what they had seen

was someone to be frightened of.

Did I hurt you?

Managed to stay out of your way.

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

When he's in the fugue state,

he is capable of serious destruction.

[Screams]

McLean: We worked with the show runner

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

We wanted a texture to it.

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

so that it swirled.

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

You want it to be close on his face so that

he can shift, and the background, just shoom.

And then speed.

A lot of it has to do with timing.

One of the last pieces was an overlay.

What is something that floats on top of the screen?

We sourced medical images of eyeballs,

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

[Speaking indistinctly]

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

[Grunts]

Sorry!

You started killing, and then it was like

you thought I was one of them.

It's okay.

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

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

are stuck in the houseboat fighting the walkers

while the water is rising.

[Walkers growling]

It does feel like I am in a sinking boat

because it happened so quickly.

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

We started on two different set pieces we had.

One was on airbags that we could control

a small, slight descent into the swamp,

and then we transitioned to our full dunk tank.

Iudica: And we have a 120-ton crane

to gently lower this set piece underwater.

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

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

Platform weighs about 15,000 pounds,

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

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

There's always a safe exit.

We have water pumps that will create a lot of wake

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

towards them or you can bounce water off the wall,

and then also compressed air to add bubbles

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

Mo, give me my ax!

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

make things that are safe seem dangerous.

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

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

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

[Grunts]

Come on. I can help you.

I've got it.

You know, we have zombies stuck in the mud.

We have people fighting on the houseboat.

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

[Walkers growling]

[Grunts]

McLean: We make it super controlled and super safe

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

and a little help from VFX,

we make it look really dangerous.

[Grunts]

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

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

to deal with his trauma.

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

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

Sorry it took me so long.

Wolfe: Over 10 years later,

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

was recreated thanks to show runners Ian Goldberg

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

It was a powerful journey for Morgan,

and it ends in devastation when his moment of peace

is shattered by Grace getting bitten.

[Walkers growling]

Man: We just add a puff of smoke.

Two cameras.

We knew as soon as we started talking about season 8

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

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

which is where his journey began as a character,

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

He say something?

Thought I heard him say something.

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

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

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

these sets, where the entire kind of Walking Dead universe

began, you know, we had to have a story

that really justified it.

Over here. Come on.

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

and our production designer, Russell and his team,

who rebuilt the house with painstaking detail

to match exactly what was there,

which was no easy feat, considering the last time

we saw that house was over 10 years ago,

and it felt like stepping into the past.

Daddy.

Bless him.

The work that they did on their own

recreating that place was fantastic.

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

to create what is just an iconic space

and then take that space to its ultimate demise

of destroying this iconic piece of Walking Dead history.

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

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

When my agent sent me the e-mail,

I literally asked him, was he serious?

And then I said, "Well, I guess you are." [Laughs]

And then I said yes.

[Walkers growling]

It was so exciting to bring Jenny back.

And the image of Jenny as a walker

standing outside that house,

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

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

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

to this particular universe that such things can happen.

[Shouts indistinctly]

I'm on my way!

Chambliss: Through a combination of some makeup effects

and then some visual effects, we were able to recreate

walker Duane in those final moments,

when we finally saw him up in that attic.

Seeing the walker...

Please!

...Duane as alive Duane,

it's about that battle that...

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

Daddy! Daddy.

♪

McLean: They tore down the house that was built

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

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

here for the night before be completely transformed

into something different for the next scene.

David: It's a home full of memories,

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

a home full of heartache.

And to see that all be obliterated so quickly,

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

I was so heartbroken in that moment.

James: When he buries Duane and Jenny,

I think he thinks he's at peace.

We do what we said we were gonna.

Spend as much time together as we can.

Goldberg: I think Morgan does have a moment of peace

when he's burying Jenny and Duane.

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

[Screams] Dad!

...Grace gets bit.

Come on. [Grunts]

Morgan's love story was one of the things

that was hardest for us to achieve,

and I don't think we could have done that

without an actress of Karen's caliber, really.

Man: And cut.

Kenneth Requa did such a beautiful job directing it.

We're really happy with how it turned out.

And cut. Great. Let's move on.

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

And seeing that walker bite on Grace, it hurts.

The end of the first half of this final season

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

and with Karen David and Lennie James,

who talk about the Grace/Morgan love story,

saying goodbye to these powerful characters,

and what the show has meant to them.

We also hear from their fellow cast

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

[Walker growling]

[Gunshot]

James: When Morgan walked in on "Fear",

he had holes in his shoes,

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

he was friendless, frightened.

He wanted to avoid people.

Man: Are you sure you're going to be

all right out there on your own?

This world, we're always alone.

Grace: Take off your clothes. All of them.

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

I've always been a kind of serious guy.

Really?

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

the fact that this is a man

who is not in any way aware of the possibility

of loving anybody apart from his dead wife.

So this has to take him by surprise.

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

And Karen did it.

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

there was this sense of finality, closure,

this beautiful sense of peace.

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

at that moment of maximum hope,

a walker punches through a rubble.

David: What a parent will do for their child,

they will die for their child.

And she saw her daughter in danger,

and she just acted like any parent would have.

It's just heartbreaking in that moment

because whatever happiness and lightness

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

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

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

make it to you before --

I tell you, filming my last moments with Lenny

was really tough.

I'm so sorry, Morgan.

David: Being on the walkie and doing that scene

was just so incredibly heartbreaking.

[Growling]

David: When Grace is a walker,

it was hard to watch even on the playback.

There's so much love in how

Morgan just gently laid her down.

When we lose characters on this show or characters die,

we want it to mean something,

we want it to leave an emotional ripple.

And Karen definitely did that.

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

to the job that Karen's done, really.

It's supposed to hurt.

It's supposed to break your heart.

You're supposed to be angry.

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

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

I'm proud to have worked with her.

I feel blessed that we had this journey together.

Both women, both Grace and Karen,

are just these lovely sort of self-sacrificial women.

It's always hard to say goodbye.

Saying goodbye to Karen David is not easy

because she's truly one of the loveliest

human beings to work with.

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

[Applause]

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

our creatives, our cast,

the beautiful thing about this whole experience

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

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

They are a part of who I am now.

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

to possibility, to the hurt that will happen.

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

and then my life started all over again.

Chambliss: Lenny has been such a fixture

since Ian and I started in season 4,

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

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

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

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

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

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

Lenny has been such a tremendous part of it

once he joined the show.

It's been great to play adversaries.

I truly hope that I get the chance

to create with him other characters in the future.

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

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

and gracious in welcoming me back.

He's been an incredible inspiration to watch

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

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

Every chapter of Morgan has that essence to him,

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

Mo, I think, is super beautiful.

To recognize for himself that he has found love,

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

And so he leaves with the cup so full.

James: When Morgan walks away from "Fear",

he has a child, he has made friends,

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

And he leaves them better than he found them.

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

Morgan: This message is for Rick Grimes.

It's Morgan Jones.

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

Who knows? Maybe you might even be listening.

Goodbyes are never easy,

and neither is finding love in the apocalypse.

But Grace and Morgan did it.

AMC has partnered with the organization

See Her to celebrate the women of

"Fear The Walking Dead."

I'm not gonna hurt you.

We put that spotlight on Kim Dickens,

who talked about her portrayal of Madison Clark

and her fight against Padre.

Mo ended up at Padre because of me.

Let me try to make this right.

With a formidable performance like Kim's,

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

Padre: Do you really want to do this?

There's nothing you could do to me

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

Dickens: Madison has said it over and over.

She's got nothing left to lose.

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

and starts the rescue mission,

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

is to make up for the wrongs she's done

by reuniting these families.

Seriously?

Coming back to the show was very interesting

because I'd never worked with Lenny.

I'd never worked with Morgan Jones.

Back on that beach, I said I was going

to save your daughter.

I also said I was going to save you.

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

We don't need saved.

Those two unlikely travel partners,

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

they have an amazing knowledge and insight into each other.

Go. I'll draw them away.

We fell right into step with each other.

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

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

I got to fight him.

We were fighting like our day one

of getting to know each other.

-[Screams] -[Groans]

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

what Morgan needs to do.

It's happening again.

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

a glimmer of the old Madison,

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

And for me, I thought that was astounding.

Goldberg: Kim Dickens is such a force.

That role is such an iconic role in not just

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

And this season, Madison realizes that she's got

a decision to make.

Who is she going to be,

and how is she going to protect the settlement?

[Walkers growling]

So with Morgan passing the leadership torch to Madison

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

to be answered before the series concludes.

Can Madison make Padre into something good?

Will Dwight and Sherry be able to help?

Will they even be around? Will June?

And of course, there are a bunch of folks

we haven't seen in a while.

Like, say, Victor Strand.

♪

Now, why was he calling you Anton?

It's such a gigantic task to think about bringing

all these stories, all these character journeys,

not just to a conclusion,

but also kind of bringing them full circle.

Come here.

When we started to think about

where do we want these characters to end up,

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

[Grunts]

Chambliss: We wanted to look back at these characters

from their very beginnings on the show

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

and we could see how far they've come.

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

in the back half of this season,

they have to look back in order to look forward.

I drew that when we were both living here.

And the theme that kept coming to the front

of our minds was just this idea of family.

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

And it all started with Madison Clark.

She was this matriarch at the beginning of the apocalypse

who always wanted to protect her kids,

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

who wanted to give them something that

really didn't exist anymore.

You missed breakfast.

The kid needs a place of her own.

I was thinking about putting the bed over here.

It all kind of boils down to the story

and the story you want to tell,

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

all the characters, everyone's stories in a way

that will feel satisfying

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

[Walkers growling]

I'm going to help you.

You're going to help me.

Help you do what?

Save Padre.

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

in the final episodes.

And for fans of The Walking Dead universe,

there is so much to look forward to on AMC.

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

in the first place.

Thanks for watching "Show Me More",

and thanks for watching "Fear The Walking Dead."

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

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

Until next time, I'm Clark Wolfe.

♪

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