Is Rick Putting Himself In Check In The Walking Dead S08.E06?
Pieces get moved around the board and the white king turns himself over to an enemy in 'The King, The Widow, And Rick.'
We open on a wheelbarrow by the side of the road, loaded with refuse, including a derelict microwave. Are microwaves some kind of Rae Dawn Chong Challenge for The Walking Dead this season? While we're contemplating this stark still life, Rick comes walking briskly up the road from behind us, pops open the microwave door, collects a couple of folded sheets of paper stashed inside, and walks on without bothering to close it. Which seems rude. At the same time, in silent-movie mode, Carl and Michonne welcome the returning fighters to Alexandria. At the Kingdom, Nabila tends a homegrown memorial to the Kingdom's numerous fallen, and possibly to her soon-to-be-former status as the show's one identifiably Muslim character. While Carol cleans her guns at a picnic table nearby, two people hand-deliver letters to her and then walk away. There are also notes for Carl and Michonne, courtesy of returning Alexandrians. Some of these must be from Rick, as we hear him in voice-over telling his friends that the plan is working. He admits that they lost people, just as we see Maggie receiving a letter from the grief-stricken Aaron, who has just arrived at the Hilltop with a baby in place of a boyfriend. Not a good trade. Now we hear Maggie's voice updating the group on how their victory at the satellite outpost got complicated when Jesus decided to take prisoners there and brought them back to make them Maggie's problem. We hear Carol recounting how she and the Kingdom thought they'd taken the other outpost until an ambush wiped out all of them save King Ezekiel, his axe-wielding bodyguard Jerry, and herself. We also see her looking sadly at Ezekiel's theater, where Jerry is back standing guard outside the front door, his axe either repaired or replaced. Back now to Rick, whose voice tells us that he's on his way to the next phase in the plan, as the Saviors are constantly being weakened as a result of being surrounded and cut off from their supplies, with snipers in place all around. "We meet at Sanctuary in two days to end this. To win it all....We're so close. This can be our last fight." Cool! Cool cool cool. Now would someone mind explaining to me how they devised this little group z-mail system for all of our far-flung allies to stay in touch during ALL OUT WAR? Who's doing all the picking up and delivering? I get it as a story device, but the logistics are making my head hurt. I suppose it's just another one of those things you shouldn't think about too hard, like where all the gasoline is still coming from or whether Morgan is ever going to learn about moderation. So let's just get back to ALL OUT WAR, shall we?
Cut to the junkyard where the Scavengers live. Jadis and at least one of her people are busy working on art projects while wearing nothing but aprons, so I guess we know where Felix Dawkins would have ended up if zombies ever attacked Orphan Black. Something bangs on the outside of one of the shipping container doors that serve as entrances into their outdoor stronghold. Jadis makes a distinctly ugh, Jehovah's Witnesses face, then reluctantly nods at her people to open up. She doesn't want to put some pants on first? I guess not, because the doors swing wide to reveal...the opening credits. Ooooh, how very arty.
Outside the walls at the Hilltop, Jesus is feeding his Savior captives. Well, he's handing out raw turnips from a grungy burlap sack, and their hands are all still tied together, and he's still in his dusty traveling clothes, so it's more like a scene from Vagabond Santa And Root Vegetables: Christmas Tales For Children by Dwight Schrute. Then out of the gate comes Maggie, flanked by Gregory and of course Maggie's ever-present visual echo, Enid. Maggie shows us all how Jesus is not actually a fun nickname to have when someone is pissed at you, as she takes him to task for giving the Hilltop's food to Saviors. Well, it's actually the Hilltop's turnips, which is not quite the same thing. Gregory, not that anyone asked for his opinion, pipes up that they should just build a gallows already. This in front of two dozen poorly restrained Saviors, who are already dangerous enough without adding desperation to the mix. And of course Gregory calls them "Paul" and "Margaret" because he is nothing if not a vice principal at heart. Maggie dismisses him -- giving Enid something to do for once, because someone needs to escort him back inside -- and then tries to have a more private conversation about this with Jesus. Specifically, she leads Jesus about six inches further away so that the Saviors won't be able to hear them. She's not ruling out Gregory's suggestion, but Jesus doesn't want to do anything that will ruin what they're fighting for. Can't anyone on this show ever just say "We're supposed to be the good guys"? We get it: everyone has had to compromise morally to survive, a theme Jesus will be forced to revisit again later in the episode, and indeed for as long as he insists on being the new Glenn. Sure, being Glenn had its advantages, but as far as we know Maggie has not agreed to make them transferable.
At the Kingdom, Carol marches right on past Jerry -- still stationed dutifully at the front of the theater -- to bang on the front door and yell for Ezekiel to come out so that they can go meet Rick and the others as planned. There's no response from inside, but while Benjamin's little brother Henry looks up from his aikido practice to see what Carol is on about, Jerry volunteers that Ezekiel tried to dismiss him, but that he's staying because "this is what I do." Aw, poor dude. As Carol leaves the theater empty-handed, Henry falls in beside her and volunteers to come along with her to go help fight the Saviors. She refuses, rather snappishly, because she hates eager little blond-haired boys and she doesn't want to get stuck making cookies for another one.
At the junkyard, the Scavengers are in the circular formation they assume when greeting visitors, and Jadis is back in her clothes. She's a little surprised to see Rick here -- and alone, no less. "Shot you," she reminds him. "Grazed me," he corrects, as though people as taciturn as the Scavengers would have more than one word for things you can do to people with a gun. He's back to offer the same thing he offered before: an alliance. "Trust you? Shot you," Jadis points out. Which also raises the question of why Rick is so eager to trust her, but he's apparently ready to let it go as long as they can agree that she grazed him. "I would have still been mad if you'd shot me," he allows. She also reminds him that they killed some of his people, but since his people killed some of hers, and none of his were speaking roles, he's willing to call it a wash. They still need each other, he says -- but then he says they don't, because he busts out those photos from the raid on the Sanctuary as proof of the success of their campaign so far. Which at least explains why they were all dicking around with Polaroids in the middle of ALL OUT WAR. So he lays it out for Jadis and her people: take his deal, which is better than the one they made with Negan, though he offers no specifics; "Or, we destroy you." One of Jadis's sidekicks launches a wordy filibuster in response: "Threats and dreams," he says. "Dreams and threats." Jeez, Brion, does this story of yours have an end? Get a caboose on there already. Rick says that his people know he's here, and tells the Scavengers to make a choice. Jadis regards him cannily before finally breaking into a broad, sunny smile and telling him, "No." Someday I hope to enjoy something as much as Jadis enjoys being an asshole. Rick makes a face at her like hey, it's your funeral as he is led off to a holding trailer. Watching him go, Jadis remarks, "Talks too much." What I appreciate about the Scavengers is that unlike the main cast, they've developed modes of communication that make sense in a world dominated by flesh-eating monsters that are attracted by sound. That being said, Jadis's comment about Rick represents the three most unnecessary words she has ever spoken.
At the Hilltop, Maggie sits behind Gregory's old desk, fiddling thoughtfully with the pocket watch that used to be Glenn's, and her dad's before that, because apparently she hasn't figured out yet that the damn thing is cursed. She's supposedly letting Gregory hang out in there "so I can keep an eye on you while I think," which seems counterproductive at best. He's still giving unsolicited opinions on how tough it is to be the guy -- "or yes, sure, gal," because of course Gregory is someone who says "gal" -- who's in charge. He's still peddling his self-serving narrative about how he tried to sell out the Hilltop in order to save it or some damn thing. And he's telling Maggie that she should now follow her gut with regard to the captured Saviors. "You're the shepherd and you can't have wolves wandering around amongst the sheep," Gregory advises. Maggie still looks torn. I actually do understand that the watch is intended as a symbol of how Glenn and Hershel used to serve as the group's conscience, as a counterpoint to Maggie's current position at Gregory's desk in Gregory's office with Gregory himself arguing for a mass execution. Maybe if Glenn were still here, this would be the genesis of his and Maggie's first real fight, which would actually be interesting to see. In fact, the more conspicuous absence right now is that of Enid, who is usually competing in an ongoing staring contest with Maggie that only Enid seems to be aware of. Or maybe Maggie has the opposite of a restraining order on Enid that requires them to be within fifty feet of each other at all times. Basically it just amuses me to imagine Enid desperately pressed up against the other side of the office wall right now.
Back at Alexandria, Rosita catches Michonne about to get into a car and drive off, in clear violation of Rick's instructions. Michonne insists that she's just going to take a look and be right back, which I seem to recall were some famous words spoken by one George Armstrong Custer. Michonne is, of course, still recovering from the crunchy beating she took from that Scavenger, but when Rosita sees that she's not going to be able to stop Michonne from going, she hops right in with her. Of course we all remember Rosita was shot at about the same time Michonne was being curbstomped, and if we didn't, the bandage-baring tank top she's wearing is more than enough to remind us. Realizing that neither of them is going to be able to stop the other from going, Michonne puts the car in gear and gets this rolling convalescent home on the road.
Daryl pays Tara a visit at home. She admits that he was right not to kill Dwight before, given how valuable Dwight has turned out to be. However, she knows that Daryl will want to kill him after, because everybody tends to know everything about everyone else on this show whether it makes sense or not. Tara's so on board with Daryl's plan to eliminate Dwight that she wants to be the one to do it. "Maybe it could be you and me both," he says. "Maybe we don't gotta wait so long." Oh, Daryl, are you still thinking of rebelling against the Ricktatorship? And with such atrocious grammar on top of it?
In the season's first nighttime scene (because it's all taken place on the same day as far as I can tell), Jesus and some other Hilltoppers are still guarding the Saviors in their position outside the walls, trying to ignore the sounds of walkers passing through the woods within earshot. There are construction noises coming from inside the walls, oddly not attracting any of said walkers, and Jesus peers through a crack in the fence, but it's not clear what's going up in there. One of the Saviors -- the young blond one who was the first to surrender to Jesus back at the outpost -- wonders what's being built. "Don't worry about it" is all Jesus says. The kid, Alden, tries to draw Jesus into conversation, and tells a story about how he didn't really pay much attention to who was in charge of the people he fell in with, and was just at the outpost to build a fence: "Now here we are." Jesus snaps at him not to pretend he's innocent, which Alden denies doing. "I'm no angel," he says. "No such thing." Interesting point to make with someone named Jesus. Let's just hope the show can leave it there and not subject us to some future flashback episode in which we learn that Jesus once ate a baby or something.
The drive from Alexandria to the Sanctuary must be getting longer all the time, because it looks like Rosita and Michonne are on their second day of traveling, and they've switched places so the latter is driving now. Rosita wonders why Michonne wanted to come, and Michonne explains that as soon as everyone left for the Sanctuary, she's had an alarm going off in her head that she needs to shut off somehow, and then go back home. Rosita is cool with that. Normally, they would drive on in semi-companionable silence for a while after this, but at the sound of singing from somewhere in the distance, Michonne snaps, "Stop the car." Rosita brakes to a halt straddling the double yellow line, because why not tempt fate at a time like this, and they both leave the car right where it is to follow the sound of the music. They cut through the woods and come upon what looks like a mostly intact elementary school, from which the amplified sound of operatic soprano warbling is emanating. Are you telling me my fourth-grade music teacher survives the zombie apocalypse?
Elsewhere, in some different woods, a walker has impaled itself on a stake in an effort to reach an empty shopping bag hanging from a tree branch. I guess it was an American Beauty fan. Carl notices this tableau as he creeps through the woods, and he has arrived just in time to see a man come up behind the walker and take it out with a knife to the back of the skull. This is the same man Carl met at the abandoned gas station in the season premiere, whom Rick scared off with some warning shots after the man told Carl somebody threw a microwave at him. Carl calls out to him and offers him some provisions, specifically a tiny bottle of water and a single sandwich in a freezer bag. Wow, Carl, such largesse. We’re blushing over here. "Why?" asks the man, who gives his name as Siddiq. Carl gives a little speech about how he was moved by Siddiq's story about his mother and her belief in helping people. Apparently it reminded Carl of his own mom, because...uh...Carl once had a mom also. Plus there's always Carl's tendency to be deeply affected by the most recent thing he heard from anybody other than Rick. He tosses the bag on the ground between them, and Siddiq falls on it with little hesitation. Carl watches, proud of himself, and then busts out Rick's Three Questions, which I didn't even think were a thing anymore. Indeed, Carl feels a little silly even asking how many walkers Siddiq has killed at this late date, but Siddiq quickly answers, "237." Then he looks at the freshly re-killed corpse behind him and adds, "Give or take a couple." The answer to Question #2 (how many people have you killed) is one. And the answer to #3 (why?) is this: "The dead tried to kill him, but they didn't." Carl adds a question of his own to the list, about the traps Siddiq has apparently been making and whether that's how he's killed so many walkers. Siddiq explains, "My mom thought, or hoped, that killing them would free their souls." Of course, it's not like these traps are so elaborate or immune to failure, as we will see later on. When Carl wonders whether Siddiq's self-imposed mission makes it harder for him to survive, Siddiq doesn't have an answer: "You gotta honor your parents, right?" Whereupon Carl screams, "WROOOOOOONG!" as he turns and runs all the way back to Alexandria. No, he actually says that if he were honoring his dad, they wouldn't be talking right now. As he's wearing his dad's hat, after asking his dad's Three Questions, inviting his new friend back to the town his dad runs. If Rick had ever spoken out against Muslim bans, this would be a four-fecta.
Third consecutive scene set in woods. Somewhere outside the Kingdom, Henry has come across a couple of walkers and is batting them around with his aikido stick. But practice ends abruptly when a pair of gunshots ring out and both zombies drop to the ground. Of course, it's Carol, and she's not happy that Henry followed her out here. "Do you know what happens to kids when they go wandering around in the woods? They never get seen again, and if they do, they're monsters." My god, I just had a flashback to the first half of Season 2. Although, can you have a flashback to something that slow? Maybe it's more of a dimmerswitchback. Henry maintains that he's not scared, and if Carol is going to the Sanctuary, he wants to come along: "I have to get the guys who killed my brother." Better make a detour to the Hilltop, then, because that's where Jared is. And I'm sure some people there would be glad for the opportunity to reach a compromise. Carol relents and gives Henry her handgun, even though it's now two rounds lighter. "Stay close," she says. "Safety stays on until I say otherwise." That's a good rule, because this is going to be a pretty short expedition if Henry shoots her in the back.
It's daytime outside the Hilltop again, and Enid stretches her leash again by coming out and telling Jesus to bring the prisoners inside. Jesus apprehensively complies, clearly wondering whether the new construction project will turn out to be a gallows, a guillotine, or some kind of elaborate long-range catapult. But no, Maggie has had a stockade built in the corner of the compound, and the captured Saviors are to be humanely stashed there for the foreseeable. Maggie announces to everyone -- prisoners and Hilltoppers alike -- that the Saviors won't be starved or mistreated, as long as they respond with "total cooperation." Gregory, still acting in his role as the community's unsolicited advisor, objects: "You can't let people we don't trust run around inside our walls," he says. Oops, he walked right into that one. Sure enough, Maggie agrees with him for once, and orders Gregory stuffed in there along with the Saviors. Gregory puts on a pathetic display, even conking his head hard on one of the posts as he tries to wriggle free, but nobody objects when he is physically dragged inside with the Saviors to finish crying and bleeding in the pen with them. Dianne from the Kingdom gets a little too close as she makes to chain the gate up behind them all, and Jared makes a move to grab the sidearm from her holster. Fortunately, Maggie is ready for that, and poleaxes him with her rifle butt. From his new spot on the ground, a dazed Jared calls Maggie "honey" and says she's going to get these people killed. "Well, you already got some people killed, didn't you?" he sneers. Another blow from Maggie's rifle sends him to dreamland. Alden, on the other hand, thanks Maggie for these posh new accommodations. "Don't make me regret it," she threatens him. "Or you will." Then she walks away, carelessly forgetting to pop Jared on the noggin again as she goes.
As Carl leads Siddiq through the woods back toward Alexandria, they come across a trio of walkers feasting on a deer. Trying to cement his new friendship, I guess, Carl tells Siddiq, "For your mom," and they prepare to move in and free those three souls. This should be easy, but they've both gotten really bad at knife-fighting zombies for some reason. And several more show up while they've got their hands full, which complicates things. Siddiq tells Carl to run, but Carl stays in the fight -- or tries to. What actually happens is that he ends up flat on his back soaked in deer-guts while grappling with walkers empty-handed. Siddiq gets a little handier after a slow start, crushing one zombie's head against a tree trunk (though that one was already impaled by a stake in a way that makes it looks like it might have escaped one of Siddiq's own traps, so points off for that). Finally, after Carl manages to shoot one of his attackers point-blank, there's no one in the clearing but the two living humans, the remains of Bambi’s mom, and enough dead zombies to push Siddiq's tally over 240. He remarks that Carl could have left when it got hairy, and after pulling himself together, Carl tells Siddiq, "I’m responsible for you now. That's how it works." Uh, who do you think just saved whom, Deputy Dawg? Siddiq is still worried about Rick rejecting him, probably with justification. But he strikes me as a good guy, even though Carl seems to think so too. Not to mention it looks like Siddiq is very skilled at cutting his own hair. Carl unconsciously echoes Negan when he tells Siddiq, "Sometimes kids have to find their own way, to show their parents the way." Good lord, if Rick was only going to pass down one trait to Carl, did it have to be his tendency to act like a sanctimonious asshole?
Michonne and Rosita quietly creep into the building they discovered, which is not a school at all -- or if it was, it's certainly not anymore. It's now some kind of workshop-slash-warehouse, with free-standing shelving units all over the place to give intruders plenty of places to hide and sneak around in. Michonne and Rosita make appropriate use of these, which allows them to eavesdrop on the conversation between the two people inside. It doesn't take long to ascertain that they are Saviors. One of them, Leo, has seen the Sanctuary since the siege began and mostly deduced what happened. But Zia's not worried, because she and Leo are here with "The Fat Lady," mentioned in the last episode, which will turn out to be less of a terrifying weapon than that discussion would have seemed to imply. In fact, it's a flatbed truck stacked high with speakers and amplifiers like a Doof Wagon for a community theater production of Mad Max: Fury Road. As the two Saviors are discussing how this will draw away the walkers around the Sanctuary, save the day, and improve their station in life, Michonne and Rosita have been inching closer to their position. But if Saviors are terrible people, they are even worse housekeepers, so there's crap all over the floor. Thus it happens that Michonne accidentally kicks a tennis ball in the dark and sends it rolling into the Saviors' workspace, alerting them that they're not alone. And my god, I know she's not at 100 percent right now, but how bad do you have to be at stealth to give yourself away to people who have been fucking around with gigantic speakers? Leo and Zia draw their weapons, and start blasting away through the shelves at Rosita when they get a peek at her. She somehow drops her gun as she sprints for cover, so I guess neither Alexandrian is giving a great showing here today. As the Saviors stalk her through the warehouse, whistling their theme song, Rosita searches through the boxes of equipment looking for something she can use. Zia runs into Michonne, and they end up in a pipe vs. sword duel after liberating each other's guns. Zia, of course, sees right away that Michonne's hurting, so she calls out to Leo, "Get your ass to the Sanctuary. Leave them to me!" Michonne in turn yells, "Rosita, stop him!" Sure enough, Leo comes around a corner to find himself being covered by Rosita -- with a rocket launcher. Looks like she was able to find something she could use. His last words are "Baby girl, you're not gonna use that--" before Rosita turns him into a series of scattered grease fires. While Michonne goes bug-eyed at the sound of the explosion, Zia gets away from her and drives out of there in the truck herself. Some opera soprano is bellowing away on the mobile sound system as she goes, and as Michonne and Rosita run outside, they can only watch as it races off up the driveway, on its inevitable, unstoppable route to the Sanctuary where it will inexorably draw the zombies away and end the siege, freeing Negan and the Saviors to exact bloody revenge on everyone they know and love. The Fat Lady is singing, which means it's over, and there's nothing anyone can do to stop it.
Well, almost nothing.
Daryl hops out of the garbage truck that just T-boned the now-silenced Fat Lady, Tara right behind him, and double-taps Zia, who was probably dead already. Michonne explains to them how the Saviors were out here scavenging during the attack and were about to try drawing the walkers away from the Sanctuary. With the immediate crisis averted, Tara asks Michonne and Rosita, "Why are you guys out here?" That is an excellent question, Tara. Because with you four ninnies out on this unauthorized field trip and Carl conducting his own membership drive, that leaves the entire wartime defense of Alexandria in the oh-so-capable hands of Tobin. Michonne confesses that she needs to see the Sanctuary, because obsessively refreshing Twitter for news updates just doesn't cut it anymore. (In this timeline, it stopped updating while people were still busting on The Social Network.) Rosita volleys the question back, and all Daryl says is "We got a lot more work to do. All of us." Good thing they ran into each other, then, if you'll pardon the expression.
Carol and Henry are back at the Kingdom, and back at the entrance to the theater because Carol wants to take another crack at King Ezekiel. "He's still not seeing anyone," Jerry tells her, not putting down his plate of snacks. Carol tells him to go stand next to Henry, which Jerry agreeably does, so it's a good thing he's not getting paid for bodyguarding. Especially when he makes no move to stop Carol from raising her shotgun to blast open the doors. All he does is mildly say, "Yo, the door's not locked." I suppose he’s willing to cut Carol some slack after she saved his life, but it seems a little unprofessional. Carol turns around and glares at him like it's his fault she never bothered to try the knob.
Now, you might think that King Ezekiel has lost everything. He lost all of his soldiers save Jerry and Carol, and the few who are still at the Hilltop and elsewhere. He lost Shiva, the tiger from whom he drew so much of his power. He even lost the self-confidence and optimism that he worked so hard to maintain by sheer force of will. But he has in no way lost his sense of the dramatic. A normal person, after such crushing defeat, would retreat to his bed, or maybe his couch, or maybe even just one of the hundreds of cushy anonymous seats that fill this theater. But not so with King Ezekiel. No, he languishes on the very stage where he once held court, slouching against his former throne as though it physically tipped him onto the ground seconds before. He grasps Shiva's chain in a way that suggests that he not only grieves for her, but is literally a prisoner of that grief. It's such an indulgent display of self-pity that I'm actually disappointed in Carol for not turning on her heel and walking right back out again the second she lays eyes on him. But after she initially dismissed the King and his whole mise-en-scène as "make-believe," he worked so hard to sell it to her that she finally bought it, and now she has to sell it back to him. In his natural voice, Ezekiel confesses that he was playing a part, even with his people's lives at stake, "and yet I smiled." Yeah, that catchphrase is even more annoying now. But he can't do it anymore, so now he asks Carol to leave him alone. It would serve him right if she did, too, and locked the door on her way out. But before leaving, Carol, with tears in her eyes, asks Ezekiel why he kept coming to visit her. Uh, because he's into you? This isn't difficult. After dodging a bit, Ezekiel admits that it was because she made him feel real. "You are real," Carol says, with eyes brimming over. "To me." Which version of him? She repeats that the people need Ezekiel to lead them, and makes an impassioned case for him to get back in the game. She says that if he can't be King Ezekiel, then he needs to "do what you do best and play the part." She can even relate, saying she has to act too. "It's what they need, and it's what you have to give them." Too bad Ezekiel's not up for it, whining, "I can't." Carol finally leaves him to wallow, even though we all know he's just going to make a triumphant return at a critical moment. Again. You know, Zeke, this thing where you refuse to step up at first and then come back to save the day is only going to work so many more times.
At the Hilltop, Jared pretends to stand bored in the stockade, but he's actually using a sharp rock to rub away at the ropes tying his hands behind his back. Alden comes up and shoulder-checks him, making him drop it, and hisses, "I'm not gonna let you get us all killed." Jared smirks out at the ovine Hilltoppers milling about in a low state of alert and says, "Keep it together. This place is going to be ours." If he means that they're going to end up being series regulars like Dwight, I fear he's probably correct.
In her office, Maggie's holding a little grief survivors' support group, listening to Aaron talk about processing the loss of Eric. Holding Gracie the Savior-Baby, Maggie says she knows the feeling. Oh, and don't forget that Enid's parents also got killed before she found her way to Alexandria, so she's probably thinking something like Why am I here right now? Why am I always, always here? Jesus enters to report that Gregory will be fine, and to thank Maggie for doing the right thing. She tells him not to, saying that the Saviors might come in handy in the event of an opportunity for a prisoner exchange, and that's the only reason she's keeping them alive. In other words, Jesus brought her prisoners and she turned them into hostages. Jesus seems to think it's better than nothing. With that resolved, Aaron gets up and leaves, and you will not believe the fucked-up thing that happens next...
...Enid follows him! All the way out of the building! By herself! She catches up to Aaron outside as he's loading up a car, because he says he's going back to, as he puts it, "make sure we win." Enid asks if she can come along. In the version of this scene that occurs in my head, Aaron asks her, "But what will Maggie do without her Mini-Me to reflect all of her stressed-out expressions back at her?" And Enid answers, "Maggie can get a fucking mirror." But alas, this is only in my head. What actually happens is that Aaron tells Enid to get her stuff, and some food, because she's coming along and they might be a while. Which I guess is okay because now Maggie has Gracie, who is perfectly capable of doing just about everything that Enid's been doing anyway.
Daryl pulls his garbage truck up in sight of the Sanctuary, and lends Michonne a detached rifle scope so that she can see for herself the crowds of walkers surrounding the place. Yep, there they are. I hope it was worth all this trouble. "So what do you need us for?" asks a bored Rosita. "To end this thing right now," Daryl says, starting up the truck again. And by "right now" he actually means "next week."
And at the junkyard, Rick's worn boots make their way across the packed dirt. But the feet they're on belong to Jadis. She pauses to chalk-mark a kind of stylized "A" on the bullet-riddled door of a shipping container. From one of those bullet holes, an eye peers out covetously at those very boots. Yes, Rick is locked up in here, naked or nearly so. Now, Rick gets a lot of grief here on this site for all of his half-baked plans that inevitably go pear-shaped, but take a moment to consider this one in particular. In the middle of ALL OUT WAR, he went miles out of his way on foot to take a second crack at forging an alliance with people who've already proven to be the shittiest allies ever, which is tantamount to surrendering. And he did it alone, without backup. So now here is, locked up indefinitely until his captors decide to kill or free him, which could be days or weeks or years from now. I mean, obviously time moves much faster here at the junkyard, which is the only explanation for how the Scavengers seem to have been here for three generations instead of three years, but still. Rick's forcibly separated from his people, several of whom are on the verge of actively ditching his overall strategy in its entirety without him there to keep them in line. In other words, this play with the Scavengers is easily the best plan Rick's ever conceived of.