行尸走肉 第十季

仅供学习交流，请勿商用

翻译：Bruce

这集叫做“分歧”，名称来自于Daryl与Carol各自走上一条岔路的情形。我们认为从“来找我”那集延伸出来之后，再挖掘一下，嗯，真的很有意思。他们不在对方身边的时候是怎么做的？他们都算是度过了糟糕的一天。他们的心里都是，像是，心烦意乱。他们对彼此的做法并不高兴，但是他们都属于那种办事能力很强的人。所以，有点，当他们心情糟糕时，他们就把自己埋进工作里，对这种情形我非常，嗯，非常理解。所以我不知道这种应对机制好不好，但每件事情都有点分化了。

Jerry: “你找来的这是什么？” Carol:“哦？这个？额... 刚从街上捡的” Jerry: “这样哦” Carol:“我不知道。可能有人喜欢这东西，我也正好缝补点东西，干嘛不呢？”

我认为当Carol回到家跟Jerry谈话时，他也在思考着亚历山大社区；我真的认为在压力山大里她的感受跟看上去完全一致，她崩溃了。她能回到原来的样子吗？家能回到原来样子吗，她与Daryl的友谊能回到原来的样子吗？

Carol: “我知道他已经说的挺清楚了，道歉只是缓和下尴尬，这解决不了任何问题。”

在Daryl说了诸如“你只是，你只是想逃避得远远的，你不想去面对”之类的化，这也是她，她不得不强迫自己去面对。所以她就撸起了袖子要饱餐一顿，尝试把这个地方再变成家。

构思剧本时我们有了让老鼠登场的想法，想让老鼠在不同的时间联系到不同的人和事，随后我们就兴奋地这么拍了。这不只是一只老鼠，这老鼠象征着亚历山大所有的东西都乱套了。

Carol: “走开！见鬼。”

她感觉像是，“好吧，如果我能消灭这只老鼠，这能表示一些事恢复正常了。”像是，你知道，“（消灭它）或许就不用再担心老鼠吃粮食了。”所以这的确有点实际作用，但是更能带动出的观众的想法比灭鼠本身更多。

她试图不去想她跟Daryl的别扭，所以为什么不去抓一只老鼠？任何时候当你看到某个人拆坏房子时，都会感到有趣。因为（在这样的情景下）我们不能做那种点面俱到铺天盖地的丧尸场景，但这仍然让我们有幸看到作为一个演员Melissa做的这么好，演绎出这令人难以置信的情绪波动。

Daryl是我们的终极生存者之之一。他是如此，如此擅长在野外活动。他也是一个俨然以不同方式来处理感情的帅哥，就像是有些时候他言辞激烈，但随后想着“不去想它了，还是做点自己的事儿吧。” 所以我认为，情感上而言，他身上的气质里最对应这一集的就是，感觉像是，“我不能再想着跟Carol怄气了，我现在得回家。”

Carol: “你这是什么鬼情况？”Daryl: “我还正想问你呢”Carol: “你知道，跟往常一样” Daryl: “我也是”

他们历经风雨，只是在休憩时才展现出不同的个性来。所以，感觉有点，我喜欢在他们之间加一点冲突。我希望观众感受到的是，感觉像是，这两个人，他们彼此间有很深的羁绊，且你想让他们永远都是朋友，且你想让他们之间的裂痕能够痊愈，因为他们在一起相处的这么好。 我们有意地在两个视角下制造出这样的片刻：当Daryl的世界里只有Carol时，他不会这样纠结，或者会从纠结中很快走出来；当Carol的世界里只有Daryl时，她不会勉强自己做事。

Daryl: "我，额，有点累了。我得去睡一觉，好吧。" Carol: "好啊，我也是。"

他们都善于独处，且他们在一起是真的，真的很要好。所以我们认为两人心底之间交汇的，是那种我们希望观众所能感受到的常伴于他们之间的那股潜流。

执行出品人/节目运行人 Angela Kang

英文原本：

This episode is called "Diverge," and the title comes from the fact that Daryl and Carol each take a separate fork in the road and go their own ways. We thought it was really fun to kind of explore, um, coming off of their big fight in "Find Me." How do they do when they don't have each other? And they both kind of go through this mess of a day. They both got these sort of, like, roiling emotions. They don't feel good about where they left things, but they're also both very mission-oriented people. And so, like, when they're feeling bad, they just throw themselves into their work, which is something that I very much, um, understand. So I don't know if that's a good coping mechanism or not, but everything kind of falls apart.

Jerry: What's that you got there? Carol: Oh, this? Uh... Just found it in the street. Jerry: Okay.

I think when Carol comes home and she's talking to Jerry and she's thinking about Alexandria, I really think that she feels exactly the same way that Alexandria looks to her. She feels broken. Can she be put back together? Can home be put back together? Can her friendship with Daryl be put back together?

Carol: I know he meant what he said. An apology is just a truce. Doesn't fix anything.

It's also her, after Daryl kind of saying like, "You just -- You always just want to run away. You don't want to face it." She has to force herself to face it. So she's gonna kind of roll up her sleeves and dig in and try to make this place home again. No, I know. It's okay, buddy. It's just a rat. I know. I hear it too. I hear it, too. Hey, hey. No, no, no! No!

Carol: I don't know. Somebody loved it and I just want to fix something. Why not?

The idea of the rat came up in the writers room, and it sort of was attached to different people in different stories at various times. And then we wound up using it for this.

Carol: Go! Damn it.

It's more than just a rat. The rat is a symbol of everything that has gone wrong in Alexandria. She feels like, "Well, if I can stamp out this rat, that means some things are going to go back to normal." Like, you know, "Maybe I'm not going to have to worry about rats running through the grains." So there's definitely this, like, practical aspect of it, but it definitely starts to take up more mind space than it probably should.

She's trying to keep her mind off of the fight with Daryl. So why not hunt a rat? Anytime you see somebody rip a room apart, it's kind of fun. Because we couldn't do tons and tons of walker action that's really on any kind of scope and scale, it still gives you the opportunity to see Melissa really do what she does so well as an actor, which is just show this incredible range of emotion.Daryl is one of our ultimate survivors. He is so, so good out in the wild. He's also like a guy that processes his feelings about things in a really different way, like sometimes he lashes out and then he just kind of is very "I'm not going to think about that. I'm just going to do my deal for a while." And so I think that, emotionally, that's where he is for most of this episode, is he's just kind of like, "I can't think about me fighting with Carol. I just got to get home."

They go through quite a bit. It's just that there are different personalities at play. So, like, I love that we get a contrast between both of them.

Carol: What the hell happened to you? Daryl: I was going to ask you the same thing. Carol: You know, the usual. Daryl: Yeah. Same.

I'm hoping that what the audience feels is, like, these two, they are so tied to each other and you want them to be friends forever and you want them to kind of heal any divide that they have because they are so good together.

We purposely kind of made moments in both stories where if only Carol was in Daryl's story, he wouldn't have gotten into this jam or he would have gotten out of it a little faster, and if only Daryl were in Carol's story, she wouldn't have had to do that thing by herself.

Daryl: I'm, uh, kind of beat. I'm gonna hit the sack, alright? Carol: Yeah, me too.

They are both really good on their own and they're both really, really good when they're together. So I think that undercurrent is something that we hope that the audience feels always with the two of them.