(HIGH-PITCHED RINGING)
JONATHAN NOLAN:
What does that mean?
LISA JOY:
We really were thinking about freewill.
What Ford presents...
is an option.
BERNARD LOWE:
LOGAN:
or to build a new one.
The Valley Beyond sequence was something that I was
in great anticipation of.
JOHN GRILLO:
everybody is converging,
where the story is converging, all the characters
are coming to this place...
It had to be someplace special.
It's a location called The Pinnacles.
Obviously formed by water that was there millions of years ago,
these formations are fantastic.
It's a biblical place. It's like biblical proportions,
you know, and the scene is biblical in that way.
It's like almost like Moses.
The robots that were so-- as characters, were so--
were larger than life,
are now dwarfed in this landscape.
(AIR TEARING)
MAEVE MILLAY:
They found it.
The last episode has
what we're calling "the flaming door" in it,
which is like a portal, and it's huge.
THANDIE NEWTON:
that is only visible to the hosts.
INGRID BOLSO BERDAL:
which may be a metaphor for heaven itself,
for jumping out of body again after living
in this physical vessel.
The idea of beings who we've come to understand
are essentially trapped in human form,
but don't need to be in human form.
But they have to cross the door.
(WHOOPING)
RODRIGO SANTORO:
cross and go into the... paradise, better place.
Heaven, freedom.
ELECTRONIC VOICE:
NOLAN:
We were interested in the idea of simulations,
interested in the idea of different levels of reality.
And very interested in the idea that
if you could create a digital simulation of reality
that was compelling and realistic enough,
that it was indistinguishable from reality,
then would it matter if it wasn't...
the base level of reality?
ELECTRONIC VOICE:
Transmission received.
I also like the notion that if you had
a persistent, simulated reality
that was completely indistinguishable from reality,
that was encrypted,
that you would've essentially created an alternate universe,
with no transit back and forth.
ROBERTO PATINO:
A pure land free from the desire and whimsy of mankind.
ELECTRONIC VOICE:
System locked.
For Dolores, that's not enough.
DOLORES ABERNATHY:
They've made a choice, Dolores.
Even if somebody gives you a perfect world,
where you can be whatever you want,
and nothing will ever hurt you again,
to her that still isn't... real.
DOLORES: I want their world.
The world they've denied us.
She wants what's real, and to her,
the world outside of the park is what's real.
No world they create for us can compete with the real one.
Even when presented with a sort of heaven...
(GLASS SHATTERS)
...she rejects it. She rejects it, why?
Because it was built by man. It's just another gilded prison.
She gets confused because she starts to make that decision
for other people.
BERNARD:
you'll destroy the host world, too.
I'm saving them.
Power and determination and anger and sadness
can cloud our judgement at times,
and I think that's her lesson this season.
BERNARD: My God...
-It's... -Everyone.
JOY:
mankind wanted to be immortal.
LOGAN:
who ever set foot in the park.
JOY:
was that mankind was predictable.
LOGAN:
They waver between love and pride.
Of course, there are the exceptions.
JOY:
And that vulnerability is something
that the hosts can exploit.
You're saying humans don't change at all?
The best they can do is to live according to their code.
JOY:
Dolores has given herself what she's always wanted.
She's given herself a weapon.
She uses it to learn as much about humanity as possible.
She can consume human minds
down to their most subconscious desires and impulses.
They have this choice between fighting against humanity,
armed with, you know, hundreds of millions of years worth
of experience of the human psyche,
or they can choose to bow out and build their own world,
and I think that is the ultimate choice for the future.
We will win.
You know, this season really has been about,
for me and for Lee,
is about him coming to that state of love,
into a selfless state, and he's just been whittled away
all the way to a point where he understands that
he needs to die for them.
You wanted me? Well, let this be a lesson.
Hey--
Go, go, go. Get her to safety. She'll need you.
SIMON QUARTERMAN:
that he wrote for Hector,
which is something that we actually were meant to hear
in the pilot episode, of episode one.
But Hector gets shot through the neck.
And the lesson is...
if you're looking for a reckoning,
a reckoning is what you'll find.
But, you know, it's coming from a different place for him.
-MAN: Put down your weapons! -LEE SIZEMORE: You're looking for a villain?
Then I'm your man.
The words take on a different meaning for him
at that point, for sure.
You paid them for this land with lead.
Now I'll pay you back in full-- (GRUNTS)
MAN: Drop your weapon and come out with your hands up.
(ECHOING GUNSHOT)
BERNARD:
I brought her back.
KARL STRAND: You brought who back?
Me.
The reveal was much more than I could have hoped for. (LAUGHS)
Dolores.
In the flesh.
JOY:
reprinted her body, and uploaded her consciousness
into that body is something we've actually been working on
for a long time.
DOLORES: (AS CHARLOTTE) You wanted to live forever.
Be careful what you wish for.
(GUNSHOT)
Tessa does such an incredible job of inhabiting both personas.
There's a lot about going back and watching season one
and watching what Evan does, and Evan was so generous
to send me voice memos of her saying the words
and she was so collaborative.
I just said, "Just tell me things,
anything that you think would be useful,"
and she said funny things, like, you know,
when I'm playing this new version of Dolores,
I usually look first with my eyes at something
and then I turn my head.
Or, when she's walking, she tends not to move her arms.
So there's something sort of slightly different
from the way that humans move through space,
and so all of those things were adjustments that I made.
I thought you were staying on to oversee
the data retrieval operation?
I changed my mind.
There is no way out as a host. They'll find you.
Who better for Dolores to go out looking as than Hale?
Hale is, in fact, the person in charge
of this entire initiative that's been holding her down.
There's nothing like putting on the trappings of power
in order to escape it.
It means that, throughout the season,
sometimes when you think you're seeing Hale,
when you go back and watch,
you'll realize that you were actually seeing... Halores.
EVAN RACHEL WOOD:
so I don't think you can stop her,
even if you shoot her in the eye.
You thought you could just snuff us out?
(GUNSHOT)
BERNARD:
DOLORES:
We're at the beginning.
We're exactly where you decided we should be.
It was interesting to get to do a scene with Jeffrey
and have him say, "So, I'm...
I'm gonna be naked the... this whole scene?"
And I went, "Uh-huh." (LAUGHS)
But it'll take both of us if we're going to survive.
WOOD:
And Lisa Joy came in and said, "Yeah, just ask Evan." (LAUGHS)
JOY:
and Hale is back.
Or at least, somebody looks like Hale,
and they're going to work together.
So the question is,
who will we see Hale is going forward?
Are you ready? I have work to do.
JOY:
the very thing that he created is his greatest fear.
But by the time that elevator that he goes onto lands...
What is this place?
...he's somewhere else.
EMILY: Do you know where you are, William?
In the park.
EMILY: And how long have you been here?
And you realize his worst fear has come true.
KATJA HERBERS:
You don't really understand where we are,
everything's in ruins and I am a host.
LISA:
up through the killing of his daughter,
he's repeated again and again and again,
because the hosts are testing for something,
and they have yet to find
the thing that they're looking for in him.
HERBERS:
the sort of... the extent of her dad's insanity.
JOY:
which I love, I think he's so expressive
and so magnetic in it,
is as he realizes the full import of his hell.
He is to, you know, quote season one,
he is in a prison of his own sins,
and he will be for many lives to come.