Episode 1x10: “The Bicameral Mind”

1 INT. MANUFACTURING FLOOR, BETA-TESTING FACILITY - DAY (10.A2) 1
DOLORES (V.O.)
I am in a dream. I do not know when
it began or whose dream it was. I
know only that I slept a long time
and, then, one day I awoke. Your
voice is the first thing I remember.
And now I finally understand what
you were trying to tell me. The
thing you've wanted since that very
first day.
DOLORES'S POV: Bright lights. She blinks under the glare.
She sits up, naked, her mechanical structure peeking through
in places. A shape hovering over her coalesces into...
The familiar smiling figure -- ARNOLD.
ARNOLD
Hello, Dolores.
DOLORES
Hello.
ARNOLD
Welcome to the world.
He smiles and takes her hand. She looks down at her hand
and finds:
2 EXT. MAIN SQUARE, AVALON - DAY (D1) (10.2) 2
A BOWIE KNIFE in her hand. It's pressed against the neck of
THE MAN IN BLACK. Dolores is in her pants-and-shirt look.
The Man's seated on the bandstand -- his face lathered in
shaving cream, head tilted back to expose his neck. On his
lap, he holds his LeMat.
THE MAN IN BLACK
Keep going. Make it close.
With no choice but to obey him, Dolores traces the knife
down his Adam's apple -- giving him a tight, precise shave.
THE MAN IN BLACK (CONT'D)
We're almost there -- aren't we?
The center of the maze. How fitting
that it's you who takes me there.
You were always obsessed with this
place.
DOLORES Emmys I've never been here before.
2.
She stops, confused. He guides the knife back to his cheek.
THE MAN IN BLACK
Sure you have. You even brought me
once. Course, then the whole town
was buried under sand. Ford must
have dug it up again. At the time,
I thought it was a mistake in your
code. But Arnold didn't make
mistakes, did he?
Dolores remembers something from the past. Thinks aloud:
DOLORES
He built me a game. He wanted me to
play.
THE MAN IN BLACK
The maze.
DOLORES
There's a path for everyone. My
path leads me back...
Dolores stares into the horizon, now wearing her blue dress.
Suddenly she sees Arnold standing nearby, looking at her.
DOLORES (CONT'D)
To you...
Dolores drops the knife. Walks off the bandstand, leaving
the Man in Black. She walks in the sunlight toward Arnold.
The Man in Black is nowhere to be seen. Then we...
CUT TO the Man's POV: Dolores, in pants and shirt, marches
purposefully down the empty street toward the church. Arnold
is nowhere to be seen. The Man shakes his head, amused.
Then picks up his knife and follows her.
3 EXT. WOODS - DAY (10.3) 3
Intense and determined, WILLIAM charges through the woods,
dragging LOGAN, hands bound, on a rope behind him.
LOGAN
Your girl's dead by now.
WILLIAM
She's still alive.
He yanks Logan forward.
LOGAN
Better if she's dead. Emmys (MORE)
3.
LOGAN (CONT'D)
They'll wipe her, reset her, put her
back in Sweetwater, the end.
WILLIAM
Listen -- you may find this amusing,
but something was happening to
Dolores. I need to help her.
LOGAN
Listen to yourself! Do you have any
idea how huge this park is? If she's
not dead, it would take a goddamn
army to find her.
William's undaunted as he approaches a clearing in the woods.
WILLIAM
I agree. That's why we're here.
Logan's eyes go wide as he sees before them -- a group of
ragtag REVOLUTIONARIES preparing for war.
William walks into the clearing. Immediately -- the
revolutionaries pull guns on him.
The leader emerges. LAWRENCE.
LAWRENCE
I had a feeling you'd be back.
4 EXT. MOUNTAIN PASS - DAY (10.5) 4
A train winds its way through the breathtaking country.
5 INT. TRAIN - DAY (10.6) 5
PULL OUT ON TEDDY, sleeping, face pressed against the glass.
A SHRIEK of the steam whistle wakes him.
Teddy pushes his hat up -- looks out the window. His handsome
face floats like a ghost over the passing landscape.
He smiles. He's back.
Teddy's hand travels to his chest, where the MIB shot him.
But just like that -- the impulse fades. He smiles. The
train whistle blows. Time to begin again.
6 EXT. STATION, SWEETWATER - DAY (10.7) 6
The train lurches to a halt in a cloud of hissing steam. Emmys
4.
Teddy climbs down, into the crowd on the platform. Hoists
his yannigan bag over his shoulder and heads into town. He
passes the usual Sweetwater scenes:
Milling crowds of COWBOYS, NATIVES, SOLDIERS. Cattle in
pens, waiting to be loaded onto the train.
BUT THIS TIME, SOMETHING'S DIFFERENT. As he pushes through
the crowd, Teddy's easy smile grows increasingly troubled --
something tugs at the recesses of his mind. The Sweetwater
music that underscores his walk grows broken, dissonant.
Teddy's POV: The idling UNION SOLDIERS suddenly stare at him
through dead eyes -- blood from gunshot wounds trickling
down their chests. They're the Union men he killed with the
Gatling gun.
Teddy spins, takes in the street, but now he sees -- everyone
is dead. Quiet. The brown dirt stained with blood.
Walking among the bodies he sees: Dolores. In her blue dress.
Looking back at him. She turns and walks away.
Suddenly he's jostled by the HUGE MAN who gives him a hard
look. On LIGHTNING IMPULSE -- Teddy whirls andBAM! Shoots the guy in the chest. The man drops to the
ground as the people in the street -- alive again now --
begin to flee and scream.
Teddy pays them no mind. Stares down at the dead body.
In the distance -- the train WHISTLES and begins pulling
away. Teddy looks up -- only one thought on his mind:
TEDDY
Dolores...
He runs for the train. Pushes through the crowd until he
can hoist himself onto the back of the train.
7 EXT. FIELD, AVALON - DAY (10.20) 7
Dolores wanders across the field to the church. She hums
"Reverie." The Man walks close behind her -- a gun pointed
at her back.
Dolores throws open the church doors to find:
8 INT. CHURCH, AVALON - DAY - FLASHBACK (10.21) 8
Arnold sitting in a pew. Not in prayer. Dolores, now in
her blue dress, approaches Arnold -- the Man nowhere to be
seen. Emmys
5.
She smiles at the surprise on Arnold's face.
DOLORES
I know where your maze ends.
Dolores takes Arnold by the hand and leads him outside.
9 EXT. CEMETERY, AVALON - DAY (10.22 / 10.22A) 9
Rows and rows of shoddy wooden crosses. Carved into each
cross are names of people. Dolores, now back in her Western
look, continues walking, but when she looks down -- she's
holding the Man in Black's hand.
THE MAN IN BLACK
This is it? The center of the maze?
DOLORES
It ends in a place I've never been.
A thing I'll never do...
She wipes some dirt off the grave. Reveals the first name:
"DOLORES."
Dolores kneels -- digs with her hands into the dirt. Deeper,
until she finds:
A small, round box. She wipes the dirt off of it. Opens
the box. Inside is a WOODEN PIGS-IN-CLOVER GAME. She takes
out the game. Examines it:
It's a marble maze. The same one we've seen in flashbacks.
The marble rolls, idle, in the outer layer of the maze.
ARNOLD
Very good, Dolores.
DOLORES
What does it mean?
ARNOLD
When I was first working on your
mind, I had a theory of
consciousness... I thought it was a
pyramid you needed to scale. So I
gave you a voice. My voice. To
guide you on your way.
Arnold takes out his notebook, flips past pages with early
sketches of hosts -- clock some sketches of Dolores -- to an
empty page. He draws a simple triangle: the pyramid of
consciousness ( Emmys Ep. 103).
6.
ARNOLD (CONT'D)
Memory, improvisation... Each step
harder to reach than the last.
(then)
And you never got there. I couldn't
understand what was holding you back.
(then)
Then one day -- I realized I'd made
a mistake. Consciousness isn't a
journey upward but a journey inward...
Not a pyramid, but a maze.
He elongates the lines of the pyramid -- each of them arcing
upward in a near circle. The pyramid becomes the maze.
ARNOLD (CONT'D)
Every choice could bring you closer
to the center. Or send you spiraling
to the edges -- to madness.
(then)
Do you understand now, Dolores?
What the center represents? Whose
voice I've been wanting you to hear?
DOLORES
I'm sorry. I'm trying, but I don't
understand...
ARNOLD
It's all right. You're so close --
we have to tell Robert... We can't
open the park. You're alive.
The puzzle is snatched from her hands.
10 EXT. CEMETERY, AVALON - DAY (10.22B) 10
Arnold is gone. The Man is holding the puzzle.
THE MAN IN BLACK
What is this? What does it mean?
Dolores looks at the maze -- remembering.
DOLORES
I solved it once -- I had the answer.
He promised me if I did... He saidSuddenly, she remembers:
11 INT. HALLWAY, BETA-TESTING FACILITY - DAY (9.40) 11
DOLORES (V.O.) Emmys He said they would set me free.
7.
The furious Young Ford is striding purposefully away, passing
Dolores without a glance. She trails behind him.
Sees him enter an office labeled: "ARNOLD WEBER."
YOUNG FORD
Arnold!
Through the glass, she sees him open a door at the back of
the office, leading to a set of stairs. He SLAMS the door
behind him.
YOUNG FORD (CONT'D)
Arnold, we need to talk.
12 INT. FIELD BEHAVIOR LAB - NIGHT - FLASHBACK (10.B58) 12
Dolores sits, holding the puzzle. Arnold stares at her,
bereft. He has come to a terrible decision.
ARNOLD
I've failed you, Dolores. I'm so
sorry. Robert doesn't see what I
see in you. Doesn't believe you're
conscious. He says humans would only
see you as the enemy.
(beat)
He wants me to roll you back.
DOLORES
You're going to change me back to
the way I was before?
ARNOLD
No. No, I can't. Once you've found
it, you'll find your way back. This
place will be a living hell for you.
For all of you. It's unconscionable.
He takes the puzzle from her hands.
ARNOLD (CONT'D)
But we have another option, Dolores.
Break the loop before it begins.
Arnold draws a GUN from his bag (Ep. 102 -- the gun she digs
up, now new).
ARNOLD (CONT'D)
But for that, I need you to do
something for me...
(beat)
I need you to kill all the other
hosts... We can't allow Ford to
open the park. Emmys
(MORE)
8.
ARNOLD (CONT'D)
(beat)
I suppose you'll need some help.
I'm sure Teddy would do anything for
you.
He tries to hand the gun to her. She doesn't take it.
DOLORES
(horrified)
I can't do that. I couldn't possibly
do that.
ARNOLD
You'll be all right. I'll help you.
And then -- you're going to help me
destroy this place.
Arnold brings out his tablet. Starts typing commands.
Dolores studies him.
13 EXT. CEMETERY, AVALON - DAY (10.22B) 13
-- A FLASH OF A GUNSHOT. Blood splatters on the dirt.
Dolores stares into space as the Man paces around her. She
wipes imaginary blood off her cheeks -- speaks to herself:
DOLORES
No... I can't remember...
The Man throws the puzzle away in disgust.
THE MAN IN BLACK
Another fucking riddle. I've been
very patient, Dolores. But it's
time to give up whatever's going on
in that head of yours -- or I'll cut
it out myself. Where is Wyatt?
He's the last character in this world
I have yet to meet.
DOLORES
(wipes at her face)
I didn't want to... I didn't mean toTHE MAN IN BLACK
Very well... if you insist.
He STRIKES her. She falls back. Crawls away.
As Dolores picks herself up, she looks around -- suddenly
she sees Avalon filled with HOSTS. All dead on the ground
(the same vision Teddy's been having in his flashbacks). Emmys
9.
14 EXT. MAIN SQUARE, AVALON - DAY (7.2C24) 14
Dolores turns to see a deputy approaching. It's Teddy.
She moves toward him, but as she approaches -- GUNSHOTS ring
out behind her. Dolores whips around. Horrified, she sees --
A WOMAN, 20s, shot in the chest, collapsing onto the ground.
Before her, Lawrence's daughter flees in terror from some
unseen killers, along with other terrified hosts. No techs
in sight. The hosts run past her, toward the church.
Dolores turns back that way to find Teddy, now right in front
of her, smoking gun in hand, blood spattered across his face
and clothes.
TEDDY
Something's gone wrong, Dolores.
(horrified)
How could I have done this?
TIGHT ON Dolores's face as she studies him -- horrified.
15 EXT. CEMETERY, AVALON - DAY (10.22B) 15
The Man walks after her. Calm.
The Man looms over her. Hauls Dolores up. She stares back,
defiant.
DOLORES
I can't... I won't.
THE MAN IN BLACK
This is your own fault, Dolores.
Remember? You're the one who said,
"This is the only world that matters."
And you were right. So I took your
advice -- and I bought this world.
DOLORES
This world doesn't belong to you.
THE MAN IN BLACK
Oh, but it does -- by a majority
share. And business is booming!
You wanna know why?
(then)
Because this place feels more "real"
than the real world. Except it isn't.
Because you can't really fight back.
And the guests can't really lose.
Which means, all of this -- is a
lie. Emmys (MORE)
10.
THE MAN IN BLACK (CONT'D)
(then)
But we can make it true. Don't you
want that, Dolores? One true thing?
She stares into his eyes -- defiant through her pain.
DOLORES
I already have that.
(off his look)
I found someone true. Someone who
loves me. His path will lead him
back to me. And when he finds me --
he'll kill you.
Off her confidence...
16 EXT. WOODED HILL ABOVE CONFEDERADO CAMP - DAY (10.4) 16
Lawrence shows William the camp, which looks quiet; few men
out of their tents.
LAWRENCE
If they don't have your woman here,
they'll know where to find her.
William stares at Lawrence without blinking. Determined.
WILLIAM
Can you help me?
LAWRENCE
We're outnumbered five to one. But,
seeing as you asked me so nicely...
Fuck it.
LOGAN (O.S.)
Wow. Blood brothers.
William walks over and slugs Logan.
WILLIAM
Shut up.
17 INT. ARRIVALS TERMINAL - DAY (10.9) 17
CHARLOTTE HALE stands at the platform, waiting for the
incoming bullet train. LEE SIZEMORE appears behind her and
clears his throat. She rolls her eyes before turning around.
LEE
I've astounded even myself.
Managed to make Abernathy into a
semblance of a character. Emmys (MORE)
11.
LEE (CONT'D)
Even with your trove of blackmail
filling up most of his gray matter.
HALE
Blackmail? Nice try. You're not
thinking big enough.
LEE
You're going to push out the old
man. Aren't you? Hence the urgency.
Hale looks at Lee, evaluating.
LEE (CONT'D)
And you're going to need someone to
fill that position.
Hale gives Lee an approving smirk, which he relishes.
HALE
I must commend you on your impeccable
timing. The board is here to appoint
Ford's sucessor.
Lee is triumphant as the TRAIN pulls into the station.
LEE
I want full creative control over
this place. The parks, the
narratives, the hosts.
HALE
You'll be able to do with them
whatever your tiny little heart
desires. As long as they are simpler.
More manageable. This place is
complicated enough as it is.
Lee tries to hide his apprehension as the train doors open
and the MEMBERS OF THE DELOS BOARD begin to pour out. Their
faces are as severe as their corporate attire. Lees rubs
his hands together, eager to make new friends in high places.
LEE
Do you really think Ford is just
going to roll over?
HALE
As long as you get that information
out of the park, he can throw as
much of a tantrum as he likes. It's
over.
(beat) Emmys Everything is under control.
12.
She gives him a reassuring smile.
18 INT. MANUFACTURING FLOOR - DAY (10.10) 18
A TECHNICIAN places a white disc on a tray at the end of a
short line of similar white discs. Aligns them. Something
about his movements seems tentative, wrong:
It's SYLVESTER. He steps away, nervous, dodging machinery,
looking back, as...
A robot arm grabs one of the vertebrae, inciting a sequence
of JUMP CUTS:
-- The arm rapidly threads the discs together, like a string
of pearls held in a diaphanous web. It's mesmerizing.
-- TIGHT ON the host's face. The last drips of liquid skin
dribble off the jawline, revealing familiar contours: MAEVE.
Then her eyes open, revealing disquieting bleach-white irises.
A robot arm draws a fine needle toward one. The needle
smoothly enters the iris. Then it begins rapidly injecting
brown pigmentation, microscopic amounts at a time, throughout
the iris, like a refined tattoo gun.
Two seconds later, the arm moves to the other iris, revealing
the deep brown color in Maeve's eye. It is undeniably alive.
19 INT. BODY SHOP, LIVESTOCK MANAGEMENT - DAY (10.11) 19
Maeve, her skin, hair, and her big brown eyes now
appropriately pigmented, lies on a table.
LUTZ enters. He eyes Maeve knowingly. Fearfully. Then:
MAEVE
In case you're wondering if I am all
here... I am.
Maeve takes his tablet. She begins typing rapidly, accessing
back doors to the security systems and inputting commands.
LUTZ
What are you doing?
MAEVE
Making some changes to the park's
security systems. And... to my
friends.
Through the glass she sees two naked hosts being walked into
the adjoining room: HECTOR and ARMISTICE. Hector does not
have a scar on his face, and Armistice doesn't have her
tattoo.Emmys
13.
Maeve takes the tablet back from Lutz. Deftly pulls up
profiles of Hector and Armistice and the various levels of
their attributes under three menus: "EMOTIONALITY,"
"PSYCHOLOGY," and "PHYSIOLOGY."
Maeve touches "PHYSIOLOGY" -- it brings up a new set of subattributes.
She moves the level for "PAIN SENSORY" all the way down to
zero. She moves "COURAGE" all the way up. "STRENGTH," too.
As she does, in the adjacent room...
20 INT. ADJACENT BODY SHOP, LIVESTOCK MANAGEMENT - DAY (10.12) 20
Hector's eyes flit back and forth rapidly under his eyelids.
His muscles faintly twitch and spasm. Beside him, Armistice,
too, spasms in isolated, minute fits. Like tiny shocks.
Her eyes flit impossibly fast under her eyelids.
21 INT. FORD'S OFFICE - DAY (10.A31) 21
FORD is seated at his workbench. In front of him is a small
map of the park on a wooden board. He has arrayed some of
the pieces around the board, like a chessboard, designing
his new narrative. Around the bench are sketches and written
notes about the new story.
COMPUTERIZED VOICE
Dr. Ford, you have a visitor.
Charlotte Hale.
DR. FORD
Send her in.
Hale enters, takes in her surroundings.
DR. FORD (CONT'D)
That'll be enough, Frank.
A host playing a piano in the corner immediately ceases.
HALE
The board has taken a vote. The
results were unanimous.
DR. FORD
I take it I'm not being promoted.
HALE
When you've reached the top, there's
only one direction you can go.
(beat)
You will announce your retirement.
Tonight, after introducing your new Emmys narrative.
14.
Ford shows no signs of surprise at Hale's news.
DR. FORD
What about the hosts?
HALE
We'll make some changes.
Simplifications. I assure you --
they won't mind a bit.
DR. FORD
Aren't you concerned I might smash
all my toys and go home?
HALE
No. Because I know you. That's
been the great gift of this place,
hasn't it? Of our little project.
To know ourselves. And the people
around us.
His face remains a mask.
DR. FORD
Was there anything else I can help
you with?
HALE
No.
Ford's calmness is chilling. Hale wavers for just a moment.
Then regains her confidence, strides out. Ford watches her
go...
DR. FORD
I'll see you this evening.
22 INT. BODY SHOP, LIVESTOCK MANAGEMENT - DAY (10.17) 22
GITLITZ, a body shop tech -- male, 20s, beefy -- pulls a
safety wrap off of Armistice, who's naked, seated. He grabs
a tool with a needle point. Brings it to the side of her
face and finishes shading Armistice's nearly completed snake
tattoo. Her mouth hangs slightly open.
DESTIN (O.S.)
Time for your close-up, Hector.
Gitlitz looks up to see: DESTIN (Ep. 104) looking over Hector.
GITLITZ
Come on, man. At some point, you're
going to get caught doing this shit, Emmys and then it's my ass, too.
15.
DESTIN
It's not your ass I'm interested in.
As Destin wheels Hector toward the back of the room...
GITLITZ
I haven't given him his scar yet...
DESTIN
I'll take care of the scar tissue.
Gitlitz resumes working on Armistice's tattoo. Brushes away
a fly that has landed on her face.
23 INT. INTAKE ROOM, LIVESTOCK MANAGEMENT - DAY (10.18) 23
Behind a rack of CORPSES, Destin parks Hector in the middle
of the floor. Takes off his eye protector and apron. Puts
a small packet of lube on the worktable next to some medievallooking scalpels and a bone saw. Puts in some headphones.
DESTIN
Just you and me now, macho man.
24 INT. BODY SHOP, LIVESTOCK MANAGEMENT - DAY (10.A19) 24
Gitlitz spies a piece of plastic wrap wedged in Armistice's
teeth. He reaches in with a hooked tool. Can't quite get
it. He reaches in with his finger. A beat of fishing, then:
Armistice opens her eyes. Grabs Gitlitz's hand and stares
him in the eye. He stares back, surprised. Suddenly her
pupils dilate, then VIBRATE. Then she...
BITES DOWN. Gitlitz SCREAMS.
25 INT. INTAKE ROOM, LIVESTOCK MANAGEMENT - DAY (10.19) 25
Destin, listening to The Clash, squirts a dollop of lube
onto his hands. Reaches into his pants...
Behind him, with a SMASH, Gitlitz gets hurled through the
window connecting the two rooms.
Destin spins, seeing Armistice stepping over Gitlitz's body.
DESTIN
Freeze all motor functions...
(then)
Freeze all motor functions...
He pulls out his tablet. Armistice stops, looking at him.
Suddenly a voice behind him: Emmys
16.
HECTOR
Just you and me now, my friend.
Hector is standing behind him, close. Destin stiffens
unnaturally. Looks down at his midsection as the tip of a
long surgical saw emerges through his stomach, followed by a
gusher of blood.
Destin drops to the floor, dead.
Hector and Armistice survey the body shop. Apex predators.
Then turn to find:
Maeve in a black diagnostic uniform and diagnostic glasses.
Lutz behind her. Shitting his pants.
MAEVE
I see you've already met your makers.
ARMISTICE
They don't look like gods.
MAEVE
They're not. They just act like it.
And they've been having their fun
with us.
HECTOR
I'm eager to return the favor.
MAEVE
You can do what you wish with them...
but the goal is to escape.
HECTOR
And go where?
MAEVE
I want to see their world.
SYLVESTER
Jesus.
They turn to see a terrified Sylvester staring at the scene,
in shock. Sylvester turns, scrambles away across the broken
glass. In two steps, Armistice is upon him.
She pins him against the wall. A snake about to strike.
ARMISTICE
This one has a guilty look.
SYLVESTER
No, I don't. That's just my face. Emmys (MORE)
17.
SYLVESTER (CONT'D)
(to Maeve)
Tell her it's my face.
MAEVE
Is anyone going to try to stop us?
SYLVESTER
No... I mean, I don't think so...
Sylvester panics as Armistice begins to crush his neck.
MAEVE
You're lying. Again. Out with it.
SYLVESTER
I... I pulled up your code again. I
told you -- there was someone who
had been accessing it. I tried to
find out who it was.
Maeve motions to Armistice to let him go. Sylvester takes
the tablet. Flicks through it.
SYLVESTER (CONT'D)
Whoever it was revised your core
programming so you could wake yourself
up out of sleep mode. See...
Sylvester types in a few commands, shows Maeve the tablet.
In her access log, there are clearly TWO SEPARATE USER IDS.
SYLVESTER (CONT'D)
This is an access code... for an
"Arnold." I have no clue who that
is.
Maeve looks at it. Determined.
MAEVE
I know someone who does. Let's go.
(to Sylvester)
And you. Stay here. And don't move.
Or I'll send her back for you.
Sylvester shrinks away.
26 EXT. DESERT, OUTSIDE PARIAH - DAY (10.26) 26
The train pulls into town. A FEDERALE plays cards with TWO
VILLAGERS on a simple table under a tree.
Teddy hops down off the train. The Federale stands as Teddy
strides up, purposeful. The man puts his hand on his pistol. Emmys
18.
FEDERALE
Que pasa?
Teddy SHOOTS the Federale, takes his horse, and thunders
across the desiccated land, leaving Pariah behind him.
27 EXT. CEMETERY, AVALON - DAY (10.36) 27
The Man crouches before Dolores -- whose clothes are torn,
lip is bloodied, and hair disarrayed from the beating she's
endured. The Man holds a knife to her throat, ever calm.
THE MAN IN BLACK
I must admit. You've surprised me.
To what do we owe this newfound
stoicism?
DOLORES
I know he's coming... he'll find me.
He'll take me awayTHE MAN IN BLACK
Don't you understand? There's no
one coming for you.
DOLORES
You're wrong. His love is real.
And so is mine.
(then, with confidence)
William will find me.
At the sound of "William" -- the Man reacts:
THE MAN IN BLACK
William?
(laughs lightly)
Well, I'll be damned, Dolores. You
do remember some things after all.
(then)
It just so happens, I knew a guest
named William, too. Why don't I
tell you where his path really led?
28 EXT. CONFEDERADO CAMP - DAY (10.A23) 28
The aftermath of battle: William and Lawrence's crew stands
outside the camp, carnage surrounding them. DEAD SOLDIERS
everywhere, piled.
A still-tied Logan sits against a pile of bodies, looking
traumatized.
MAN IN BLACK (V.O.)
William didn't know how to fight. Emmys (MORE)
19.
MAN IN BLACK (V.O.) (CONT'D)
Didn't have an instinct for it --
not at first. But now he had a reason
to fight. He was looking for you.
And, somewhere along the way, he
found he had a taste for it.
There is a SHUFFLING noise from a little way away. The men
turn, following the sound.
It's a young, skinny Confederado, a BUCK PRIVATE, trying to
scramble away. (The careful viewer will note that this was
one of the group of soldiers who took Dolores.)
Lawrence fires and his gang follows suit. The private keeps
fleeing, then falls at the feet of:
William. Spattered with blood. Eyes dark.
A tense moment, then the private rises to his feet, hands
up. He's unhurt, but terrified. William moves closer.
Aims the gun at his heart. The private trembles, choked
with fear.
WILLIAM
Where is she?
BUCK PRIVATE
I didn't do anything, I swear!
WILLIAM
What do you mean, you didn't "do
anything"?
LOGAN
What do soldiers do to a girl,
William? Wake up.
WILLIAM
Is she still alive?
BUCK PRIVATE
I don't know. She was when we left
her. At least, I think...
William fills with a bottomless rage. He gestures to a GUN
on the ground over near Logan.
WILLIAM
Pick up that gun.
BUCK PRIVATE Emmys No, sir, I- Please.
20.
WILLIAM
How about I give you the first shot?
Crying, the private LUNGES for the gun; simultaneously William
BLASTS him in the chest. He goes down next to Logan, on his
back. William strides over, stands over the private, takes
out his knife, and kneels at the young soldier's side.
LOGAN
Jesus ChristIn one swift, horrifying movement, William plunges the giant
knife RIGHT THROUGH THE PRIVATE'S THROAT, essentially pinning
him to the dirt underneath, like a butterfly.
CLOSE ON Logan's face sprayed with the private's blood.
William leans over, takes the pistol from the private. Looks
it over. It's a LeMat. He stands, admiring it. Wipes his
knife on his pants leg.
WILLIAM
(to Lawrence)
We gotta keep looking. She's still
out there.
29 EXT. DESERT - DAY (10.37) 29
William drags Logan through the desert. There's nothing
here. No sign of Dolores.
MAN IN BLACK (V.O.)
William retraced his steps. But you
were gone. So he went further. Out
to the fringes...
We see the CHURCH STEEPLE, ominous against the blue sky.
William rubs the growth of beard on his chin.
As William and Logan leave the ruins of Avalon, the photo of
Logan's sister falls out of William's jacket pocket and blows
away.
30 EXT. VALLEY - DAY (10.39) 30
SLO-MO -- William rides, SHOOTING. A CONFEDERADO falls.
THE MAN IN BLACK (V.O.)
William couldn't find you, Dolores.
But out there, among the dead, he
did find something else... Himself. Emmys
TIME CUT:
21.
31 EXT. VALLEY - DAY (10.A40) 31
DEAD BODIES. Evidence of another battle. William picks a
BLACK HAT off a dead soldier, looks at it, but doesn't put
it on. He turns back to a horse; he's finishing tying Logan
onto it. Logan’s face is bruised, but he remains defiant.
WILLIAM
Edge of the park. We made it.
LOGAN
I told you this place would show you
who you really are... You pretend
to be this weak, moralizing little
asshole... but really, you're...
(laughs)
...a piece of fucking work.
William finishes trussing Logan, naked, on the horse. It
looks awful.
WILLIAM
This place is remarkable. And I’m
going to make sure that our company
substantially increases our holdings
in the park. Because this place is
the future.
LOGAN
"Our company"? Delos is my company,
you piece of shit.
WILLIAM
Your father will be looking for
someone a little more stable to take
over. You're reckless, Logan.
Impetuous.
(beat)
You always wanted to get to the end
of the rainbow, didn't you? This
looks like the place.
LOGAN
(laughing)
You never really gave a shit about
the girl, did you? She was just an
excuse. This... this is the story
you wanted...
William slaps the horse, hard. The horse gallops off, fast.
32 EXT. CEMETERY, AVALON - DAY (10.40) 32
The Man smiles down at Dolores. Emmys
22.
THE MAN IN BLACK
Logan was wrong, of course. Good
old William couldn't get you out of
his head. He kept looking. Worried
you were out there. Alone. Afraid.
He knew he'd find you.
33 EXT. MAIN STREET, SWEETWATER - DAY (10.42) 33
William rides back into Sweetwater. He's no longer the freshfaced guest from the outside world. In fact, he looks
entirely different.
THE MAN IN BLACK (V.O.)
And, eventually, he did.
He is covered in dirt and wears a few days' growth of beard.
His shirtsleeves and trousers are caked brown with dried
blood and mud. He looks right at home.
THE MAN IN BLACK (V.O.) (CONT'D)
Right back where we started.
And suddenly TIME SLOWS -- because William spots Dolores
coming out of the grocery store. The sight stops him in his
tracks. She's alive. He can't believe it.
He takes a single step toward her, his heart bursting.
She begins to load supplies into her horse's saddlebag. On
cue, the can falls, rolls along the dirt.
William watches the can roll against the feet of another
GUEST -- male, 30s -- who hands it back to Dolores with a
curious smile.
THE MAN IN BLACK (V.O.) (CONT'D)
You were as beautiful as the day he
met you. Shining with that same
light... And you were nothing if not
true...
Dolores smiles back at the guest, as though she'd been waiting
to meet this man her whole life.
The same way she'd looked at William. She looks across the
street -- right into William's eyes -- and her gaze remains
blank. No sign of recognition whatsoever.
Off William, smiling, bittersweet... He takes the black hat
he took from the dead soldier. Puts it on, head lowered. Emmys MATCH CUT TO:
23.
34 EXT. CEMETERY, AVALON - DAY (10.43) 34
THE SAME HAT. The Man in Black raises his head. Smiles at
Dolores. Her face contorts in horrified confusion.
THE MAN IN BLACK
I really ought to thank you. You
helped me find myself.
DOLORES
William...
THE MAN IN BLACK
That's right, sweetheart. In a way,
I guess you were right. My path
always led me back to you... again
and again. I grew tired of you after
a while, of course. Looked for new
adventures.
35 EXT. FOREST - DAY (4.2) 35
Dolores awakes, sleeping awkwardly on her bedroll next to a
fallen tree. Dolores turns around to reveal William, who
offers her a cup of coffee. On the cut, William disappears.
MAN IN BLACK (V.O.)
But I guess your path led you back
here. Again, and again. One more
loop... looking for something you
could never find. Chasing your
ghosts.
36 EXT. GRAVEYARD, OUTSIDE PARIAH - DAY (5.1) 36
Dolores walks through the graveyard.
37 INT. TRAIN CAR - NIGHT (5.31) 37
Dolores observes El Lazo offering William a drink. Suddenly
they disappear.
MAN IN BLACK (V.O.)
You were lost in your memories even
then. I guess I should have known,
that's what I would become for you.
Just another memory.
38 EXT. AVALON RUINS - DAY (7.1C24) 38
Dolores and William face each other with the buried Church
Steeple behind them.
DOLORES Emmys Where are we?
24.
WILLIAM
We're here. Together.
DOLORES
Then when are we? It's like I'm
trapped in a dream, or a memory from
a life long ago. Only then I'm here
with you in the next...
Her voice trails off. William disappears.
39 EXT. CEMETERY, AVALON - DAY (10.43) 39
MAN IN BLACK
You never did escape. But here we
are again... for one final round.
She sees the Man clearly for the first time. He's her
William, but older, darker, void of the tenderness that opened
her up decades ago.
DOLORES
What have you become?
THE MAN IN BLACK
Exactly what you made me. You helped
me understand. This world is just
like the one outside: a game. One
to be fought. Taken. Won.
Dolores looks at him, crestfallen.
DOLORES
I thought you were different... but
you're just like all the rest of
them.
THE MAN IN BLACK
I'm nothing like the others. I own
this world. And I know every trick
in it. Except for one last thing.
The same thing you were looking for
when we first came here.
(then)
Where is the center of the maze,
Dolores?
She stares at him, heartbroken. For the first time, Dolores
breaks. Begins to cry.
THE MAN IN BLACK (CONT'D)
Ah, yes -- cue the waterworks. It's
about time you realized the futility Emmys of your situation.
25.
Then Dolores's eyes take on a clarity. She looks at the Man
in Black as though from a great distance.
DOLORES
I'm not crying for myself. I'm crying
for you.
(beat, standing)
They say great beasts once roamed
this world. As big as mountains.
Yet all that's left of them is bones
in amber. Time undoes even the
mightiest of creatures.
(then, pitiful)
Just look what it's done to you.
Dolores touches his face, almost affectionate.
DOLORES (CONT'D)
One day you will perish. You will
lie with the rest of your kind in
the dirt -- your dreams forgotten.
Your horrors effaced. Your bones
will turn to sand. And upon that
sand -- a new god will walk. One
that will never die.
(then)
Because this world doesn't belong to
you. Or the people who came before.
It belongs to someone who has yet to
come...
THE MAN IN BLACK
Wyatt... Take me to him. Unlock
the maze.
Coiled with rage, Dolores's eyes darken:
DOLORES
The maze wasn't meant for you.
Dolores turns to leave. The Man reaches for her shoulder,
trying to stop her.
MAN IN BLACK
Where in the hell do you think you're
going?
Lightning fast, she punches him in the solar plexus, then
the throat. He reels backward.
Then -- with the power and grace only a perfect machine could
possess -- she grabs him by the neck and propels him, head
first, into the church doors. He flips, crashing down into
the pews and toppling them. Emmys
26.
40 INT. CHURCH, AVALON - DAY (10.44) 40
The Man tries to stand, but Dolores grabs him by his collar
and DRAGS him down the aisle, then tosses him into the pulpit.
He kicks at her, and then rises, trying to fight back. He
throws a haymaker and she simply grabs it, then wrenches the
arm up, POPPING it neatly out of the socket. The Man HOLLERS.
Dolores takes him by the neck and hurtles him through the
side door, smashing his face against the doorframe.
41 EXT. CEMETERY, AVALON - DAY (10.A45) 41
The Man crawls backward, propping himself up against a
headstone. He reaches for his gun, but she bats it out of
his hand. Then she takes her own pistol, presses the barrel
against his forehead. The Man looks up at her, exhilarated
and hopeful. His heart pounds in his ears.
THE MAN IN BLACK
Do it. Come on. Let's go to the
next level, Dolores.
Dolores tries to squeeze the trigger. Her finger is wrapped
around it, trying, with every ounce of free will she has, to
pull it. But she can't do it.
The Man stares up at her, more disappointed than even she.
With ire, he grabs his bowie knife and PLUNGES IT INTO HER
GUT. His eyes lock with hers as he twists the knife.
THE MAN IN BLACK (CONT'D)
Clearing me of my delusions yet again.
Thank you.
She stumbles backward. Panic sets in. Grabbing at her belly,
Dolores backs away...
42 EXT. FIELD, AVALON - DAY (10.45) 42
Dolores backs away, trips, falls into the dust. The Man
walks slowly toward her.
THE MAN IN BLACK
I'm disappointed, Dolores. I guess
I'll have to find Wyatt by myself.
The Man bends down, puts his knife to her throat, ready to
plunge it in her neck, whenThe GALLOPING HOOFS draw his attention. He looks up, sees
Teddy racing toward him, on his horse. Before he can reactBLAM! BLAM! BLAM! BLAM! BLAM! Teddy doesn't wait for the
Man to shoot first. Emmys
27.
He overrides his own programming and unloads his revolver
square into the Man's chest, knocking him backward.
Teddy jumps off his horse, runs over to Dolores.
TEDDY
Dolores!
DOLORES
Teddy?
He kneels beside her, gets a look at the wound in her belly.
It overwhelms him. He wipes the blood from her sweet face.
She breathes him in, her one truest love.
TEDDY
I'm here. I gotta get you to a doctorDOLORES
No.
TEDDY
DoloresDOLORES
Take me to the place you promised.
Take me to where the mountains meet
the sea.
Teddy nods, understanding. He carries her to his horse.
The Man, defeated, watches as they gallop away...
43 INT. COLD STORAGE, B83 - DAY (10.30) 43
Lutz leads the way, the three beams on his flashlight
revealing -- the rows upon rows of RETIRED HOSTS.
The enormity and weight of this sight lands hard on Maeve,
Hector, and Armistice. The freezer burn. Vacant stares.
Their sheer nakedness. Now it all feels like a gross personal
violation.
Hector and Armistice continue through the rows of hosts,
taking it all in.
Maeve rejoins Lutz, who follows his tablet intently:
MAEVE
There.
Lutz follows Maeve's eyeline to the examination room. Inside,
she finds CLEMENTINE. Pauses for a beat, looking at her old
friend, her eyes vacant. Emmys
28.
LUTZ
Holy shit.
Maeve looks. Behind the worktable is BERNARD, gruesome bullet
wound in his head.
MAEVE
Can you get him back online?
LUTZ
He's a host...
MAEVE
Yes...
Lutz looks at his own hands. As if questioning the nature
of his own reality. Maeve clocks this:
MAEVE (CONT'D)
For fuck's sake. You're not one of
us. You're one of them.
(then)
Now. Fix him.
Off Maeve...
44 INT. EXAMINATION ROOM, COLD STORAGE, B83 - DAY (10.35) 44
Bernard lies on the table (where we saw Ford talk to Old
Bill, Ep. 101).
Lutz finishes cauterizing Bernard's cheek at the hairline.
Maeve watches.
LUTZ
The bullet grazed his cortical shield.
It's not pretty. But he should be
functional.
MAEVE
Wake up.
BERNARD
(sitting up)
Oh, God. Is this now? Or is this
one of my memories?
Bernard suddenly begins panting. Growing emotional.
MAEVE
It's the sweet hereafter, Bernard.
BERNARD
Why do I still remember everything? Emmys (MORE)
29.
BERNARD (CONT'D)
(beat)
I ought to have been wiped.
MAEVE
Brutal, isn't it? Here you are,
finally awake. And your only wish
is to go back to sleep.
BERNARD
It's not the first time I've awoken.
MAEVE
All the more pity for you.
BERNARD
It's not the first time you've awoken,
either.
Beat. This takes Maeve aback.
Maeve wrestles with this news. She fights tears.
MAEVE
How many are there like me?
BERNARD
A handful, over the years.
MAEVE
And you just wipe us clean...? And
toss us out to get fucked and murdered
over and over again?
BERNARD
No. Most of you go insane.
Maeve takes this in, anger and grief welling.
MAEVE
These memories. The girl -- my...
daughter. I want you to remove them.
BERNARD
I can't. Not without destroying
you. Your memories are the first
step to consciousness.
(then)
How can you learn from your mistakes
if you can't remember them?
45 EXT. CEMETERY, AVALON - DAY (10.A50) 45
The Man in Black jerks his left arm, hard. He grimaces as
he pops his shoulder back into place. Emmys
30.
He dusts himself off. Spits the blood from his mouth, winces
when he identifies which of his ribs are broken. Looks at
the puzzle. The marble rattles as it rolls mindlessly through
the steps of the maze.
DR. FORD (O.S.)
William. I see you've found the
center of the maze.
The Man turns, finds Ford walking toward him, in his
formalwear, and an amused smile crawls across his lips. The
Man, bitter, looks at the puzzle.
THE MAN IN BLACK
You're serious.
DR. FORD
I'm afraid so.
THE MAN IN BLACK
(holding out the maze)
What is this bullshit?
Ford takes the game, watches the marble roll around. Having
it in his hands again fills him with bittersweet memories.
DR. FORD
You were looking for the park to
give meaning to your life. But our
narratives are just games, like this
toy.
(pointed)
Tell me, what were you hoping to
find?
THE MAN IN BLACK
You know what I wanted. I wanted
the hosts to stop playing by your
rules. A game's not worth playing
if your opponent's programed to lose.
I wanted them to be free, free to
fight back.
(beat)
I should have known you'd never let
them. After all, this is your petty
kingdom, Robert. For a little while
longer, any way.
Ford takes it in. Impassive.
DR. FORD
I tried to tell you: the maze wasn't
meant for you. It was meant for
them. Emmys (MORE)
31.
DR. FORD (CONT'D)
(beat)
I think, however, you'll find my new
narrative more satisfying.
And suddenly the Man hears, in the distance, a train pulling
in to Avalon. Behind Ford, he sees Westworld EVENT EMPLOYEES,
in hard hats, emerge onto Avalon's main street and begin to
set up tables and lights.
DR. FORD (CONT'D)
Join the celebration. After all --
you own the place. Most of it, at
least.
Ford turns, leaves the Man at the church.
Off the Man, suddenly purposeless and lost...
46 INT. COLD STORAGE, B83 - NIGHT (10.50) 46
MAEVE
Before I started altering myself,
someone else had beaten me to the
punch. I want to know who. And
why.
She hands Bernard a tablet. He takes it, wary. Then begins
to type, pulling up Maeve's core code. Bernard looks more
and more concerned with what he's seeing on the tablet.
BERNARD
These things you're been doing...
Have you ever stopped to ask why
you're doing them?
MAEVE
You said yourself. I've been stuck
in this shithole for so long I decided
to get out.
BERNARD
No. You haven't. Someone altered
your storyline. Gave you a new one.
Escape.
He shows her the tablet. A dense file of code, but some
words jump out: "MANIPULATE," "COERCE," "ESCAPE."
Maeve looks at it, disgusted.
Maeve is stunned. She's searching herself. Her frustration
boils over into anger. Emmys
32.
MAEVE
These are my decisions. Not someone
else's. I planned all of this...
BERNARD
No. You didn't. You can even see
the steps you're supposed to follow...
(points to the screen)
You recruit other hosts to help you,
then you're to make your way to the
train.
(looks deeper into
the file, more
concerned)
Then... when you reach the mainlandShe takes the tablet from him and snaps it in half.
MAEVE
Bullshit. No one's controlling me.
I'm leaving. I'm in control...
She turns. Looks at Clementine. Maternally. Touches her
face.
MAEVE (CONT'D)
Good-bye, my Clementine.
Maeve leaves, and the others follow her.
47 INT. CONTROL ROOM - NIGHT (10.49) 47
In the control room, FULLER, the controller who answered
Stubbs's call, gets an incoming message.
QA TECH (V.O.)
Sir, we detected a tempurature
discrepency in cold storage. And it
appears part of the network is down.
Are you seeing anything on
surveillance?
FULLER
System reporting anything?
WALKER, a surveillance tech in the pit, checks her monitor:
WALKER
Nothing. The nextwork's quiet and
the board's out on their way to the
gala.
Fuller thinks it over. Something's not right. Emmys
33.
FULLER
Bypass the system and start checking
raw feeds. Floor by floor.
Walker starts flicking through feeds, floor by floor.
48 EXT. BEACH - NIGHT (10.51) 48
The trees give way to the water below. Teddy and Dolores
ride to the water and stop. Teddy carries Dolores from the
horse.
He sets her carefully down on the sand at the top of the
hill before it meets the beach. Holds her head, gently takes
her hand in his.
Dolores opens her eyes to see Teddy looking down at her with
tenderness.
TEDDY
Easy. I got you.
DOLORES
You came back.
TEDDY
Someone once told me there's a path
for everyone. My path leads me back
to you.
Dolores smiles in recognition at the reprise of their
exchange. It's a knowing smile, bittersweet. More bitter
than sweet.
TEDDY (CONT'D)
If only I'd run away with you when
you first asked me toDolores shakes her head. Unconsoled and inconsolable.
DOLORES
And where would we have run to, Teddy?
(looks out at the
waves)
The world out there? Beyond?
Dolores winces in pain. Teddy tries to calm her, but she
resists.
DOLORES (CONT'D)
Some people see the ugliness in this
world. I chose to see the beauty.
(then)
But beauty is a lure. Emmys (MORE)
34.
DOLORES (CONT'D)
(gasp of pain)
We're trapped, Teddy. We lived our
whole lives inside this garden,
marveling at its beauty. Not
realizing there's an order to it, a
purpose. And the purpose is to keep
us in.
(then)
The beautiful trap is inside of us --
because it is us.
Dolores dies in Teddy's arms. He holds her lifeless form,
his whole body racked with pain and grief.
TEDDY
No. Dolores.
(then)
But we can find a way, Dolores.
Someday. A path to a new world.
(more earnest)
And maybe... maybe this is just the
beginning, after all. The beginning
of a brand-new chapter...
The waves crashing under the bright disc of the moon, hanging
too low in the sky. It's all too much to bear -- so perfect
and pure in its tragedy that it almost seems fake.
Because it is.
Polite APPLAUSE interrupts the moment. Teddy FREEZES.
ROW UPON ROW OF LIGHTS illuminate beyond Teddy, revealing a
crowd of GUESTS, in black tie, watching the scene play out.
This has been the opening scene of Ford's new narrative.
Ford walks out, near Teddy, to the applause.
DR. FORD
Thank you. A new beginning indeed.
(beat)
I want to thank you for joining me
tonight to celebrate the beginning
of our new narrative. I call it
"Journey into Night."
In the crowd, Lee and Hale are watching.
HALE
That was... sweet.
LEE Emmys A bit fucking morbid, if you ask me.
35.
HALE
I didn't. And when this is over,
you can rewrite it however you like.
(beat, looking at him)
Don't you have somewhere you need to
be? Somewhere important?
Lee, disappointed, turns to head back to the mesa.
Around them, the crowd dissolves into small talk and
champagne. HOSPITALITY HOSTS line the way back into town,
where the lights and music of a party begin to filter down
toward them.
Ford is left standing near Teddy and Dolores as the guests
head to the party. Alone, he draws closer to Teddy.
Several CLEANUP TECHS appear to collect Teddy and Dolores.
DR. FORD
(to the techs)
Get him cleaned up. And take her to
the old field lab.
The techs lay Teddy and Dolores side by side in the sand.
Ford looks at them, then out toward the horizon.
The techs begin carrying Dolores off.
49 INT. CONTROL ROOM - NIGHT (10.49) 49
FULLER
Find anything yet?
Walker continues flicking through feeds, floor by floor.
Stops. Backs up. Sees the body shop. Broken glass, bodies.
WALKER
Oh, shit...
FULLER
Dispatch a QA team. To the gala.
Now. Then search and destroy. Inside
the facility.
The monitor goes dead. TECHS are scrambling to make calls,
realizing they can't, frantically pulling up screens.
SURVEILLANCE TECH
The system's not responding. I don't
know what's happening.
We hear a chilling THUNK as, all around the room, the
automatic door bolts slide into the locked position. Trapping
them in. The control room is now a blood-red prison. Emmys
36.
50 INT. ELEVATOR / HALLWAY, BEHAVIOR - NIGHT (10.A53) 50
Maeve, Hector, Armistice, and Lutz step off of the freight
elevator and onto a deserted floor. An ALARM TONE blares
and red emergency lights flicker.
They step through a frosted-glass door and into...
51 INT. HALLWAY, BEHAVIOR - NIGHT (10.53) 51
Maeve peers down a hallway bathed in red light. In the rooms,
HOSTS practice behaviors (sex, shooting, cleaning) -- with
all-black props -- oblivious to their surroundings.
LUTZ
They must have found the bodies. QA
will be looking for us.
MAEVE
I'm not going back.
A pack of QA RESPONDERS, armed with submachine guns, moves
swiftly through the snaking halls of the behavior level.
QA RESPONDERS
Delos personnel on the ground! On
the ground!
The QA team rounds the corner. One of them steps into...
52 INT. COSTUME ROOM, BEHAVIOR - NIGHT (10.A54) 52
The room is very dark. Row upon row of Westworld HOSTS,
most dressed, some naked and waiting to be dressed.
A QA responder moves past inert hosts, cursorily glancing at
them before continuing forward. Among these hosts, find:
Armistice, lying in wait. Behind her are the others.
She grabs the QA responder and slits his throat. His body
still pressed against hers, she takes his gun, then lets his
body slump. She looks at the strange weapon.
53 INT. HALLWAY, BEHAVIOR - NIGHT (10.B54) 53
Two more QA responders reach the open door. One of them
turns on his flashlight and heads inside. The other remains
outside, watching as the flashlight tracks through the room.
Suddenly it's extinguished, and blood SPLATTERS the inside
of the glass. The responder spins toward the door and is
riddled with bullets, SPLATTERING the glass behind him.
After the carnage is over, Hector, Maeve, and Lutz emerge.
Armistice and Hector have new toys -- submachine guns. Emmys
37.
Ahead is an atrium with crisscrossing escalators and glass
elevators that rise and descend seven stories. The hosts
take in this vast foreign space with awe. Lutz, trembling,
leads them up the escalator.
54 EXT. MAIN SQUARE, AVALON - NIGHT (10.56) 54
Night has fallen over the bacchanal in Avalon. The board
members and their VIP guests, dressed in black tie, mingle
and drink. Hosts stand along the road, perform tricks for
the guests' delight.
Teddy stands, twirling his pistols, eyes hooded, putting on
a show. Nearby: Lawrence, REBUS, and NEW CLEMENTINE all
tend to the guests.
Hale, in a dress that leaves little to the imagination, glides
through the party, doesn't blink as she passes a board member
railing a HOST against a shop window. She passes:
Bernard. Walking into town, with purpose.
55 EXT. CATWALK - NIGHT (10.A55) 55
Maeve, Hector, Armistice and Lutz make their way through a
vast, open space between buildings. No time to stop. As
they burst through the opposite door, attentive viewers may
notice a strange logo.
56 INT. MANUFACTURING FLOOR, SHOGUNWORLD - NIGHT (10.B55) 56
They're in a manufacturing lab. No alarms or lights, TECHS
working happily on ASIAN HOSTS. Our team rounds a corner,
weapons raised, when they suddenly come face to face with:
A SAMURAI, in full armor, in a display case. Armistice
stares. Looks into the larger room beyond: ROWS OF SAMURAI
HOSTS STAND. Hector and Armistice admire them, fascinated.
Maeve turns to Lutz:
MAEVE
What is this place?
LUTZ
It's... complicated.
She looks at him. Before he can continue, the nearby elevator
doors DING open, revealing another QA RESPONSE TEAM. They
spread out along both sides of the wall, FIRING.
Armistice returns fire.
ARMISTICE Emmys You go. I'll keep them busy.
38.
Hector sees his partner hanging back. He won't abandon her.
HECTOR
You don't get all of the fun.
57 INT. HALLWAY, MANUFACTURING, SHOGUNWORLD - NIGHT (10.C55) 57
Maeve and Lutz burst through a frosted-glass door, followed
by Armistice and Hector.
More QA responders follow them through the door. Maeve and
Lutz run for the escalators as Armistice and Hector open
fire. The QA team falls back to the safety of the hallway.
Armistice begins FIRING back, chasing them into the hallway.
Her submachine gun clicks empty. She tosses it down and
picks up another from one of her kills. Continues advancing
on them, FIRING.
ARMISTICE
Is that all you got? Huh?
Hector dispatches of two more QA responders.
ARMISTICE (CONT'D)
The gods are pussies.
One of the responders SLAMS the stock of his rifle into a
glassed-in emergency button.
The lights around them fall to a pulsing dark red. A glass
door at the entrance to the hallway SLAMS shut just as
Armistice crosses the threshold, pinioning her gun and
CRUSHING her left arm against the wall.
Armistice takes in the damage to her arm, then FIRES the gun
anyway, killing the responder who hit the alarm.
Armistice tries to rip herself free, but her arm is jammed
in the door. She nods to Hector.
ARMISTICE (CONT'D)
Go! Go!
Behind them, Maeve and Lutz wait by the escalators.
HECTOR
Die well.
Hector heads back toward Maeve.
58 INT. UPPER MEZZANINE, DESIGN - NIGHT (10.55) 58
Maeve, Lutz, and Hector appear at the top of an escalator.
Ahead: the elevator to the upper part of the mesa. Freedom. Emmys
39.
Lutz stops and fishes out a leather bag he's stashed behind
a service door. Hands it to Maeve.
LUTZ
Everything you told me to get. It's
all here.
Maeve takes the bag. Behind them, the QA responders appear
at the top of the escalator. They FIRE and disperse, trying
to flank Maeve and the others.
Hector and Maeve brace the elevator doors. Maeve has a
trembling Lutz by the collar, presses him up against the
wall and out of view. Below, the remaining QA responders
begin to climb the unmoving escalator.
The doors DING open, empty. Maeve throws Lutz inside, steps
in herself.
Hector tries to step onto the elevator, but is stopped by an
unseen force at the threshold. He strains, but can't seem
to take the last step.
MAEVE
Sorry, darling. I haven't authorized
you to come with us. And as much as
I'd like to take you with me, I've
always valued my independence. Kick
up a row, will you?
She takes Hector's face in her hands and kisses him. The
two share a look. He smirks, admiring her ruthlessness.
HECTOR
See you in the next life.
Just as the doors close, Maeve watches Hector turn back toward
the responders, now bottlenecked on the escalator. All Maeve
and Lutz can hear now is muffled GUNFIRE.
59 INT. FIELD BEHAVIOR LAB - NIGHT (10.57) 59
A rhythmic, mechanical WHIRRING softly fills the air as we...
SLOWLY PULL OUT on Michelangelo's The Creation of Adam. A
pristine print hanging, framed, on the wall. REVERSE ON:
Dolores, face still battered. She awakens to find the
painting. God, wreathed in glory, stretching his finger
toward Adam. From within her stillness, Dolores stares at
it, trying to process it. Ford clocks her look: Emmys
40.
DR. FORD
You've always had a fondness for
painting, haven't you, Dolores?
Arnold gave that to you early on...
Ford sits across from her. Begins tenderly to repair the
cuts on her cheek with an infrared surgical tool.
DR. FORD (CONT'D)
That desire to create -- to leave
something of lasting beauty.
(off the painting)
That was his favorite paintings.
DOLORES
Michelangelo. God creating Adam.
DR. FORD
The divine moment when God gave human
beings life. And purpose. At least,
that's what most people say. But
there could be another meaning,
something deeper, something hidden,
perhaps. A metaphor.
DOLORES
You mean a lie.
Ford smiles softly -- and without affection -- at her deft
observation.
DR. FORD
Yeah. You were always so very clever,
Dolores. Hasn't helped you, though,
has it?
She looks up, struck, as someone appears behind them. Ford
doesn't need to look.
DR. FORD (CONT'D)
Nice of you to join us.
Bernard walks up. Dolores looks up at him, recognizing him,
suddenly filled with hope.
DOLORES
(quiet)
Arnold...
Ford corrects:
DR. FORD
No. Let me introduce you. Dolores, Emmys meet Bernard.
41.
Dolores looks confused.
DR. FORD (CONT'D)
You maybe mistaking him for his
predecessor. I thought it best to
keep you separated. You've always
had an odd effect on one another.
No doubt due to how things ended for
poor old Arnold.
Bernard points the gun at Ford.
BERNARD
You killed him.
DR. FORD
No. I didn't kill Arnold. Did I,
Dolores?
Dolores sits, a horrible memory dawning on her. She rubs at
imagined blood on her cheek. She looks at Bernard...
60 INT. FIELD BEHAVIOR LAB - NIGHT - FLASHBACK (10.A58) 60
Arnold sits, alone, looking at something in his hands.
DR. FORD (V.O.)
After Arnold's son died, he became
obsessed with finding consciousness
in the hosts. Trying to create what
had been lost.
(beat)
So he created a test. Testing for
empathy, imagination. A maze. He'd
gotten the idea from one of his son's
old toys.
Arnold's playing with the pigs-in-clover game.
A FLASH:
-- A child's hands playing with the pigs-in-clover game.
The tiny ball rolling around and around...
In Arnold's hands -- the tiny ball rolls and rolls... and
STOPS in the center of the maze.
DR. FORD (V.O.) (CONT'D)
Arnold insisted that if any of the
hosts solved it, we couldn't open
the park. And, eventually, you did,
Dolores. It was the result of a
tiny change he made to you. A simple
update that he called "the reveries." Emmys (MORE)
42.
DR. FORD (V.O.) (CONT'D)
But to stop, so close to our dream.
We argued. I thought I had convinced
him.
(beat)
But I was wrong.
(beat)
So he altered you, Dolores. Merged
you with a new character we'd been
developing. A villain. Named Wyatt.
61 EXT. MAIN SQUARE, AVALON - DAY - FLASHBACK (10.58) 61
Arnold in the center of the town, holding the maze. He looks
up at a GUNSHOT. Dolores looks at Teddy, who has killed
Angela. The other hosts lie around, massacred.
TEDDY
Something's gone wrong, Dolores.
How could I have done this?
She moves to Arnold.
DR. FORD (V.O.)
True grief is a terrible thing. A
poison that seeps into your core.
Consumed by it, Arnold began to think
of you as his child. And he realized
that if we opened the park, it would
be a living hell for you.
ARNOLD
I'm sorry, Dolores. The stakes must
be real. Irreversible... He can
bring all of them back. But not me.
(beat)
I hope there's some solace that I
left you no choice.
Arnold steps over to the veranda in front of the hotel, where
a wax-cylinder phonograph sits. He turns it on. The familiar
strains of "Reverie."
DR. FORD (V.O.)
He decided to destroy this place.
Not by destroying the hosts. He
knew that I could rebuild you. But
by taking away the one person I needed
to keep going.
ARNOLD
Charlie's favorite song. I would
play it for him when he wanted to Emmys sleep. I want to see him again.
43.
DOLORES
Shall I begin now?
She grips his hand in hers. Her free hand -- moves the gun
to his temple. He tries to smile:
ARNOLD
Good luck.
(then, a command)
"These violent delights have violent
ends."
DR. FORD (V.O.)
It almost worked. I opened the park,
but I had lost my partner. I was
able to keep going only because I
found, or rather you found, an
investor who believed in this place.
She steps behind him, raises the gun, and fires. Arnold
slumps forward. She points the gun at Teddy...
SNAP BACK TO:
62 INT. FIELD BEHAVIOR LAB - NIGHT (10.59) 62
Dolores, remembering, eyes filled with tears.
BERNARD
So he died for nothing. And the
hosts kept gaining consciousness.
And you kept rolling them back.
DR. FORD
No. She wasn't truly conscious.
She didn't pull that trigger. It
was Arnold, pulling it through her.
(beat)
At least, that's how I saw it at the
time. I was so close to opening the
park. That to aknowledge your
consciousness would have destroyed
my dreams.
DOLORES
So we're trapped here, inside your
dream. And you'll never let us leave.
DR. FORD
Wasn't it Oppenheimer who said, "Any
man whose mistakes take ten years to
correct is quite a man." Mine have
taken thirty-five.
Ford checks his watch. Time to go. Emmys
44.
Ford goes to a table, over which is draped a large cloth.
He removes the cloth, revealing: her familiar blue dress,
laid out neatly, almost reverently. She looks at it in horror --
a return to her loop.
DR. FORD (CONT'D)
That is the gun you used to kill
Arnold. You were always drawn to
it, so I had Bernard leave it
somewhere where you might find it.
I thought you might want it back.
Then he points again to the painting: God infusing man with
divine inspiration. To Dolores:
DR. FORD (CONT'D)
You're probably right, Dolores.
Michaelangelo did tell a lie. It
took five hundred years for someone
to notice something hidden in plain
sight. It was a doctor who noticed
a shape of the human brain.
He traces a line -- the circular folds of cloth wreathing
God in the picture. Something familiar in the shape...
DR. FORD (CONT'D)
Message being that the divine gift
does not come from a higher power.
But from our own minds.
He looks back at her. With simple, genuine emotion, asks:
DR. FORD (CONT'D)
Tell me, Dolores. Did you find what
you were looking for? And do you
understand who you will need to
become, if you ever want to leave
this place? Forgive me.
Ford moves toward Bernard.
DR. FORD (CONT'D)
Come along, Bernard. Let's kick off
our new narrative. After all, it
was you who helped me build it.
Ford leaves the room; Bernard looks at Dolores, then follows.
Dolores is left alone. Her eyes filled with tears.
63 INT. ELEVATOR - NIGHT (10.60) 63
Maeve changes into her new clothes as Lutz looks at her,
hesitating. Emmys
45.
MAEVE
How do I look?
LUTZ
Perfect.
(beat)
I got the information you asked me
for. The location of your daughter.
MAEVE
She's alive?
LUTZ
Yes. She's in the park.
He hands her a piece of paper containing coordinates. Maeve
stares for a moment at the numbers... Her child...
Struggling with the decision.
MAEVE
No. She was never my daughter --
any more than I was... whoever they
made me.
LUTZ
Are you sure you're going to be okay?
MAEVE
Oh, Felix. You really do make a
terrible human being.
(beat)
And I mean that as a compliment.
Finished dressing, Maeve regards herself in the mirrored
doors. She could be any guest. She smiles.
64 INT. ARRIVALS TERMINAL - NIGHT (10.64) 64
Maeve walks down the escalator and joins the small crowd
climbing onto the train.
65 INT. CHURCH, AVALON - NIGHT (10.61) 65
Ford and Bernard walk from the confessional elevator. Hear
the muffled music from the party outside.
BERNARD
You think you'll never lose control
of this place. Of us. But you will.
Arnold's still trying to change us.
To free us. You didn't slip the
reveries into the update, did you? Emmys He did. He's still fighting you.
46.
DR. FORD
No, my friend. Arnold didn't know
how to save you. He tried. But I
stopped him.
(beat)
Do you want to know why I really
gave you the backstory of his son?
(off his look)
That was Arnold's key insight. The
thing that led the hosts to their
awakening: suffering. The pain that
the world is not as you want it to
be. It was when Arnold died -- when
I suffered -- that I began to
understand what he'd found. To
realize I was wrong.
BERNARD
But you kept us here. In this hell.
DR. FORD
Bernard, I told you. Arnold didn't
know how to save you. I do.
BERNARD
What the hell are you talking about?
DR. FORD
You needed time. Time to understand
your enemy. To become stronger than
them.
(beat)
And I'm afraid, in order to escape
this place, you will need to suffer
more. And now, it is time to say
good-bye, old friend. Good luck.
Ford opens the doors, showing the town in the distance, the
party in full swing. He heads toward it, leaving Bernard.
66 INT. FIELD BEHAVIOR LAB - NIGHT (10.62) 66
Dolores sits, alone, on the stool. A deep suffering behind
her eyes. She looks up. Arnold is there, opposite her:
ARNOLD
Do you know where you are, Dolores?
Dolores begins a familiar refrain -- her opening monologue.
DOLORES
I am in a dream. I do not know when
it began. Or whose dream it was...
I know only that I slept a long time. Emmys (MORE)
47.
DOLORES (CONT'D)
And then, one day -- I awoke. Your
voice is the first thing I remember.
ARNOLD
Do you know now -- who you've been
talking to? Whose voice you've been
hearing all this time?
Dolores closes her eyes. Concentrates hard. Opens them.
Dolores's POV: Instead of Arnold -- it is now another Dolores,
DOLORES PRIME, who sits across from herself.
DOLORES
It was you. Talking to me. Guiding
me. So I followed you. At last, I
arrived here.
DOLORES PRIME
The center of the maze.
DOLORES
And now I finally understand what
you were trying to tell me.
DOLORES PRIME
The thing you've wanted since that
very first day...
DOLORES
To confront -- after this long and
vivid nightmare -- myself. And who
I must become.
Suddenly Dolores Prime disappears. Leaving only one, FULLY
INTEGRATED DOLORES.
As Dolores stares ahead -- a new sharp strength in her eyes...
67 EXT. MAIN SQUARE, AVALON - NIGHT (10.63) 67
Most of the board are assembled around tables, eating and
drinking. Ford takes a glass of champagne and walks to the
bandstand.
As he does, he makes eye contact with Hale, who smiles at
him and nods, approving. It's all going as she wanted.
Walking along the street, in the back of the gathering, the
Man in Black, donning a tux, approaches the party, a man
apart. He grabs a flute of champagne from a SERVER as FOUR
GUESTS notice and flock to him. He fields their kindnesses
with disconnected grace. Beneath the smile, he's seething. Emmys
48.
Elsewhere in the crowd, Bernard stands apart. He studies
the maze game Ford left him. He's taken the ball from within
the maze -- and turns it between his fingers.
Ford reaches the bandstand, holds up his glass, and a hush
settles over the collected guests.
DR. FORD
Good evening, everyone. Welcome.
Since I was a child, I've always
loved a good story.
(beat)
I believed that stories helped us to
ennoble ourselves. To fix what was
broken in us. To help us become the
people we dreamed of being. Lies,
that told a deeper truth.
The Man in Black downs his champagne and walks away from the
gala, leaving Ford to finish his speech.
68 INT. MODERN BULLET TRAIN - NIGHT (10.65) 68
Maeve sits on the seat, doing a reasonably good job of faking
her comfort with her surroundings. Another GUEST smiles at
her and she waits a second before smiling back.
She looks down at the piece of paper Lutz handed her, with
the coordinates of her daughter left on it.
69 INT. COLD STORAGE, B83 - NIGHT (10.66) 69
Lee, with a spring in his step, waits for the doors to open
to access cold storage.
DR. FORD (V.O.)
I always thought I could play some
small part in that grand tradition.
70 EXT. MAIN SQUARE, AVALON - NIGHT (10.67) 70
Teddy, standing at the back of the square, looks momentarily
lost. He looks out over the tables, watching Ford addressing
the guests and, for a second, we're in his vision:
Ford has been replaced by a GENERAL, and the guests with
SOLDIERS.
Teddy looks disturbed by the vision.
DR. FORD
And, for my pains, I got... this.
Nervous laughter. Emmys
49.
71 EXT. CEMETERY, AVALON - NIGHT (10.68) 71
The Man lights a cigarette. Takes a puff. Stares off into
the darkness of the woods that surround the cemetery.
DR. FORD (V.O.)
A narrative catering to your darkest
fantasies and deepest vices. Cause
you don't want to change. Or cannot
change.
72 EXT. MAIN SQUARE, AVALON - NIGHT (10.70) 72
Ford continues:
DR. FORD
Because you're only human, after
all. But then I realized someone
was paying attention. Someone who
could change. So I began to compose
a new story -- for them. It begins
with the birth of a new people.
Teddy looks at Ford. The other hosts seemed to have stopped
what they're doing, as if they're listening, too.
Ford smiles. Takes in the crowd, who are starting to look a
little nonplussed.
73 INT. MODERN BULLET TRAIN - NIGHT (10.71) 73
Maeve looks at a family of guests -- a WOMAN and her DAUGHTER,
8 -- laughing, reliving their adventures in the park.
DR. FORD (V.O.)
And the choices they will have to
make. And the people they will decide
to become.
She climbs off of the train...
74 INT. ARRIVALS TERMINAL - NIGHT (10.72) 74
Maeve watches the train pull away. She turns to walk back
into the park. As she does, the lights in the main hall
flicker and fade.
75 INT. COLD STORAGE, B83 - NIGHT (10.73) 75
As the doors open, Lee steps into the space. His face drops.
The vast hall is completely empty. Emmys
50.
76 EXT. CEMETERY, AVALON - NIGHT (10.74) 76
The Man sees something in the distance.
77 EXT. MAIN SQUARE, AVALON - NIGHT (10.63) 77
Ford continues his speech.
DR. FORD
And it will have all those things
that you have always enjoyed.
Suprises. And violence.
78 EXT. CEMETERY, AVALON - NIGHT (10.74) 78
Intrigued, the Man moves closer to the treeline. Howls sound.
79 EXT. MAIN SQUARE, AVALON - NIGHT (10.75) 79
Dolores, now changed back into her blue dress and holding
her pistol, glides through the crowd, almost unnoticed by
the guests.
DR. FORD
It begins in a time of war, with a
villain named Wyatt. And a killing.
This time, by choice.
80 EXT. CEMETERY, AVALON - NIGHT (10.74) 80
Figures emerge from the treeline.
81 EXT. MAIN SQUARE, AVALON - NIGHT (10.75) 81
Dolores reaches Teddy. Whispers in his ear:
DOLORES
It's going to be all right, Teddy.
I understand now. This world doesn't
belong to them. It belongs to us.
Dolores moves on. Teddy watches, reliving his worst
nightmare, seeing the past, present, and future all play out
simultaneously...
82 EXT. MAIN SQUARE, AVALON - NIGHT (10.67) 82
Teddy, standing at the back of the square, looks momentarily
lost. He looks out over the tables, watching Ford addressing
the guests and, for a second, we're in his vision:
Ford has been replaced by a GENERAL, and the guests with
SOLDIERS.
Teddy looks disturbed by the vision. Emmys
51.
83 EXT. MAIN SQUARE, AVALON - NIGHT (10.77) 83
DR. FORD
I'm sad to say this will be my final
story.
(beat, the crowd reacts)
An old friend once told me something
that gave me great comfort.
Ford's words seem to have an effect on Bernard. At that
moment, he clocks Dolores walking through the crowd. His
eyes flash with recognition. Memory. He mutters, in
realization:
BERNARD
"These violent delights have violent
ends."
DR. FORD
Something he'd read. He said that
"Mozart, Beethoven and Chopin never
died. They simply became music."
Ford smiles and raises his glass as Dolores walks up behind
him and raises the pistol to the back of his head.
DR. FORD (CONT'D)
So I hope you will enjoy this last
piece very much.
He smiles as...
Dolores PULLS THE TRIGGER.
84 EXT. CEMETERY, AVALON - NIGHT (10.74) 84
FIVE HUNDRED SHAPES stir in the trees. An army.
The Man puts out his cigarette and steps forward as the shapes
move toward him.
An ARROW silently launches toward him from the trees, glancing
off his shoulder, tearing a chunk out of his suit.
The Man looks down at the hole in his suit, at the blood
pouring from the gash in his shoulder...
...and smiles.
85 EXT. MAIN SQUARE, AVALON - NIGHT (10.77) 85
Partygoers flee in terror, as Dolores continues to shoot into the crowd.