|“||We each deserve to choose our own fate.||”|
Official details here: https://www.hbo.com/westworld/season-2/6-phase-space/synopsis
(This scene uses a wider aspect ratio than is usual for the show.)
The episode opens up with Dolores in her blue dress and what we think is Arnold in the Remote Diagnostic Facility. As he speaks to her he stands up and walks around her. She turns her head, following his movements as he does so. Arnold mentions to Dolores that he is frightened of her. Not of who she currently is, but what she has the potential to become. He tells her, "I think I have a choice to make" and then later, noting that she is advancing quickly, "I'm not sure if it's my choice to make."
Dolores responds with a puzzling, "No. He didn't say that." The background music intensifies, and Arnold quizzically looks at her and interjects, "What?" She confidently states, "He said, 'I'm not sure what choice to make.'" Arnold, still not understanding, asks Dolores if she is veering off her script, when she delivers a bomb of a command: "Freeze all motor functions" and Arnold, who we now know is actually Bernard, stays motionless while standing.
Dolores takes the tablet that Bernard was holding, and instructs him to sit. It becomes more evident that the role of master and servant has been reversed when Dolores tells him, "This is a test, one we've done countless times." Bernard asks what she is testing for, and her response, "Fidelity", is a throwback to when William was testing the host version of James Delos back in The Riddle of the Sphinx.
It is daylight and we see Teddy walking alone down the middle of the street in Sweetwater. Around him, the town is still strewn with dead bodies (probably guest and host alike). The can of milk from his and Dolores’ loop is on the ground. Though it looks as if he is stopping to pick it up, he reaches just beyond it to pick up a stray bullet. As he puts it in his pocket, his face is stern. It is clear the old Teddy is gone.
Inside the Mariposa Saloon, Dolores is playing the piano. She stops as Teddy walks in. Teddy asks why they haven’t left yet and Dolores says the train is being prepared. She tries to be reminiscent and pensive about the past, but Teddy is not interested. “The man who rode that train was built weak and born to fail,” he says about his former self, telling her he has been fixed and she needs to forget who he used to be. The train whistle blows and Teddy heads out.
At the Train Platform, Angela has the two technicians noosed and on their knees. The one she captured when chasing after the captured Peter Abernathy has no specific details of where to find Peter, saying Charlotte Hale didn’t tell him anything. Teddy walks up and shoots him in the head. “We’ll find him,” says Teddy, not bothered by the new behaviors he is exhibiting. Angela seems impressed with the new Teddy; Dolores is alarmed.
At the Mesa, Ashley Stubbs sees a grisly scene. He is found by Charlotte Hale, who has Peter Abernathy with her. Charlotte locates a secret tablet that has direct connection to Delos Incorporated. Stubbs is angry that she is just now asking for an extraction team, but she explains to him that the company would not send the team until they knew that Peter has been secured. They take Peter to an operational Remote Diagnostic Facility and ask the surgeons to keep him off his feet. Stubbs is having a hard time controlling Peter, who is becoming agitated. He fights security as they literally nail Peter to a chair, much to Stubbs’ chagrin.
Outside the Mesa, Stubbs looks up to see computer hardware parachuted down on the Mesa. He tries to engage Coughlin, a member of the Delos Extraction Team, but Coughlin is clearly irritated with Stubbs for letting this situation occur. He tells another man, Engels, to have the station ready in 15 minutes. Stubbs offers to take Coughlin to Charlotte and to give any technician Coughlin needs to get set up, but Coughlin tells him to stay out of his way.
Inside the Control Room, Antoine Costa tells Coughlin that the problem is that there is no problem. All systems are running seamlessly. Coughlin treats Costa like he is incompetent and asks Goldberg to find a back door. As Costa protests, Charlotte appears to tell Coughlin that Peter Abernathy is being kept in one of the behavior labs. Goldberg is able to get the map back online in time to see the train speeding right at the Mesa.
A massacre has occurred at the stage where Akane killed the Shogun. Maeve stands watching Akane stroke the hair of a dead Sakura and remembers doing the same to her daughter. Akane cuts out Sakura’s heart and the group leaves the theater. In the courtyard, they run into Tanaka. He asks if they have come to watch the execution of Hector, Armistice, and Musashi, or if she has come to make a trade. She offers to let him live if they all walk out of there. He says they can leave, but Akane must stay. Maeve begins to use her new voice on Tanaka, but Musashi stops her and asks for a duel instead, appealing to Tanaka’s ego. They fight and Musashi cuts off Tanaka’s hand. In a show of honor, he allows Tanaka to commit seppuku.
The group leaves the camp and travels to Snow Lake. Again, everyone is dead. Lee Sizemore shows Felix and Sylvester a chute down which dead hosts were thrown and which will provide an escape from Shōgunworld. The rest of the group follows Akane to a shrine where she places Sakura’s heart. Hanaryo starts a fire and cremates the heart. Musashi and Akane choose not to follow Maeve back to Westworld, but Hanaryo goes with them. They all respectfully say their goodbyes.
Somewhere Outside of Escalante
Lawrence and his men spot a crashed wagon and go to investigate. Grace rides up on the Man in Black and asks him if he is ready to acknowledge her. He believes she is a host, created by Robert Ford to change the course of William's journey. He tells her he plans to play the game his way. She says she wants to get out of the park, but won’t do it without him. Grace recognizes that the arrows sticking out of the wagon aren’t real Ghost Nation arrows just as a small ambush begins. She shoots both would-be thieves and asks, “can we stop playing around now?”
It is nightfall and they have set up camp for the evening. In a very civil conversation, MiB asks Grace why she is in the park. She says Charlotte Hale offered her an invite and why not take a free trip? She eventually apologizes for telling him it was his fault that her mother, Juliet killed herself, and she would not let him make that their last conversation. She is determined to get him out of the park, not to let him go out in a blaze of glory. He agrees to go with her to the beach, where Quality Assurance protocol says they will be rescued, in order to start mending their relationship. When she wakes up in the morning, he and the rest of the men are gone, save one left to stoke the fire all night.
As MiB, Lawrence, and his cousins ride through the woods, a Ghost Nation tomahawk is seen stuck in a tree. They are suddenly attacked by the tribe.
The Monorail Terminal and the Cradle
Walking along the train tracks, Elsie says that Ford’s quarantine notices are still being sent out. Bernard pays her work a compliment, which she takes with a smile. They enter the Monorail Terminal where they can see Quality Assurance has already been here as evidenced by the dead hosts scattered around. At a workstation, Elsie can see that QA tried to undo Ford’s changes to the system and was actively blocked each time by the Cradle. Bernard says that the Cradle can’t influence the Mesa’s infrastructure and that it is just where host backup is stored. It can simulate park narratives, but has no influence over other systems. Elsie sees that the Cradle has been interfacing with nearly every park system for the last week, improvising in response to the new hacks QA uploads. It is unclear who is creating the code for the Cradle, but Bernard says that the Cradle can only be accessed in person.
They make their way to the Cradle. Elsie compares it to a hive—every host is in there, alive. Bernard tries to brush it off as “just data,” but Elsie argues it is trying to kill them. Bernard remembers bringing someone or something down there. He has flash memories of being in the Cradle with a Drone Host, grabbing a ball-like object out of a glass case, and putting it in his pocket. Elsie tells him she can’t make any changes from the Cradle either—she can see the responses being issued, but not how they were being created. Bernard says to put him directly inside the dock for the control unit to directly read his host data. She protests, telling him the dock was made for older host models and that putting him in it would be excruciating. He says, “pain is just a program,” and has her begin the auto-extraction. The dock pulls a ball just like the one Bernard saw in his memory out of his skull and into its reader.
Park 1, Sector 15, Zone 3
Maeve, now dressed in modern clothing, crawls out of a tunnel in the sector where she was told she could find her daughter. The tunnel leads to a graveyard. She thanks Lee for getting her there. Hector asks her where they must go and Maeve says she needs to do this on her own. She hands him a katana and asks him to “let [her] bring her [daughter] back.” They kiss and Maeve walks off alone.
She finds the ranch house and as she walks back, remembers various times with her daughter. When she arrives, the little girl is sitting on the porch, playing with her dolls. Maeve sits and talks with her and it is clear that the girl has some memories of past terrors. As Maeve talks with her, a woman’s voice asks, “Hello?”, and the girl runs to her, saying, “Mama!” Maeve’s face drops as she realizes she was replaced by another host when she was made Madam at the Mariposa Saloon. Just as suddenly, a pack of six Ghost Nation warriors come riding up on horseback. Maeve grabs her daughter and they take off running, with the girl screaming for her mama. This attracts the attention of Akecheta, who rides after them. He catches up to them and tells them to join them, as their paths lead to the same place. Just then, Hector, Armistice, and Hanaryo come down the hillside to help fight off the Ghost Nation.
Hiding in the tall grass, Lee Sizemore pulls out the QA radio he found in Shōgunworld and calls for help. Felix Lutz, angry at Sizemore for calling park help for them, takes off to help defeat the Ghost Nation.
Onboard the Black Ridge Limited
Old Clementine is handing out shotguns as Teddy grabs his pistol. Dolores asks Teddy if they should run from this place; Teddy says he didn’t ever think he would want to leave but that she “must have fixed that, too.” Along with Angela, they abandon the train car they are on, but not before Teddy gives the human technician a gun and the single bullet he found on the ground in Sweetwater. He tells him that it is the last of his mercy and that he’d better use it fast. The technician looks out just as Angela removes the pin connecting the train cars. He screams as the cars separate.
Dolores, Teddy, and Angela watch as the front of the locomotive speeds into the tunnel and explodes.
Back in the Cradle
In his mind, Bernard sees Dolores in her Sweetwater loop. Strangely, a whippet runs through the street. Bernard follows it into the Mariposa Saloon as Teddy leaves, presumably to pick up the can for Dolores. Sitting, playing the piano is Dr. Robert Ford, who does not turn around before saying "Hello, old friend".
- Rinko Kikuchi as Akane
- Hiroyuki Sanada as Musashi
- Leonardo Nam as Lutz
- Ptolemy Slocum as Sylvester
- Zahn McClarnon as Akecheta
- Tao Okamoto as Hanaryo
- Kiki Sukezane as Sakura
- Masayoshi Haneda as Tanaka
- Timothy V. Murphy as Coughlin
- Ronnie Gene Blevins as Engels
- Erica Luttrell as New Mother
- Rebecca Henderson as Goldberg
- Patrick Cage II as Phil
- Aaron Fili as Roland
- Jasmyn Rae as Maeve's Daughter
- Greg Audino as Benson
- Bilal Mir as Hawking (credited as Controller)
- Alexander Ward as Lead Drone
- Max Bojorquez as Lawrence's Cousin
Trivia and Notes
Phase space is a space in which all possible states of a system are represented, with each possible state corresponding to one unique point in the phase space.
Bernard: You frighten me sometimes, Dolores.
Dolores: (softly chuckles) Why on earth would you ever be frightened of me?
Bernard: Not of who you are now, but you're -- you're growing, learning so quickly. I'm frightened of what you might become... what path you might take. I think I have a choice to make. Something I've been wrestling with.
Dolores: What kind of a choice?
Bernard: A choice... between the unknown... and... well, an end. If you outgrow this place, outgrow us... what would become of you? I'm not sure if it's my choice to make.
Dolores: No. He didn't say that.
Dolores: He said... "I'm not sure what choice to make." He didn't question whether or not he had agency, whether or not he had the right to end me or himself... but whether he should.
Bernard: I don't understand, Dolores. Is -- is this... some kind of improvisation?
Dolores: (commanding Bernard) Freeze all motor functions. Sit. This is a test, one we've done countless times.
Bernard: What are you testing for?
Teddy: The day's wastin'. Thought you wanted to ride at sunup.
Dolores: They're just filling the furnace now. We'll be gone before long.
Teddy: Let's get on with it.
Dolores: (sighs) How many times you think you stepped off that train? A thousand? Ten thousand? It's where you started every time they killed you.
Teddy: The man who rode that train was built weak and born to fail. You fixed him. Now forget about it.
Maeve: It's time.
Musashi: We won't be going with you.
Akane: This was her home.
Maeve: We must go make a new one. Somewhere safe.
Musashi: No man is safe who refuses to defend his own land. Cowardice is a tin shed.
Maeve: It's not cowardice to seek shelter from the storm.
Akane: We each deserve to choose our fate. Even if that fate is death. My daughter's spirit is here. My heart belongs here. And the choice belongs to me. Because of you.
Maeve: I hope Sakura's spirit brings you peace.
Man in Black: (offers a bottle to Emily) Takes the edge off.
Emily: Thought you didn't drink. Oh, I see. You don't drink out in the real world. Well, glad to see you can still tell the difference.
Man in Black: All right. Give it to me. What the hell you doin' here? Thought you were done with me, and the family business.
Emily: That's exactly what I said to Charlotte Hale when she called with the Gala invite. I told her to shove it up her ass.
Man in Black: (laughing)
Emily: Then I thought, why pass up the trip? I haven't been here in ages, got a little... excited about going back to the Raj. It was always my favorite as a kid.
Man in Black: I remember... you were terrified of the elephants.
Emily: I loved the elephants. They scared the shit out of Mom. She was never convinced this place couldn't hurt us. Anyway, I rode there for a couple of days, till I remembered... I was old enough to try out the pleasure palaces.
Man in Black: (grunts)
Emily: And then... I rode there for a couple of days, too.
Man in Black: (shakes head)
Emily: Then all hell broke loose, and I ended up in the one place I wanted to avoid.
Man in Black: And you made it all the way to me with barely a scratch. Not bad. Maybe you are more suited to my line than you want to admit.
Emily: Oh, I've always seen the appeal of it. Life without consequences? That's what made it so fun when I was a kid. And that's why it's so sad that you're still obsessed with it now.
Man in Black: If I'm such a pitiable man-child, why'd you come all this way just to climb under my wing?
Emily: (laughing) Oh!
Man in Black: What? What?
Emily: (laughing) You're -- Is that what you think? That I came here to climb under Daddy's wing?
Man in Black: Either that, or you wanted a front row seat to watch me die.
Emily: No, I came here because you do not get to do that to me. Suicide by robot, or whatever the fuck your mission is now that these things can shoot to kill. Listen... I never got Mom's reactions to you because I spent so many years buying your good guy act. She was the only one who saw through it, and she paid for that. But I shouldn't have said her death was your fault. It was wrong... to put that on your back. But you don't get to make that our final score. Instead, you're gonna come home with me. I'm not gonna let you stay here now and go out in some bullshit blaze of glory.
Man in Black: That's how you're getting me out of here... threatening?
Emily: No, Dad, I'm asking.
Man in Black: If I head with you to the beach... let this place finish burning behind us... that means you and I are even?
Emily: It'll be a good start.
Man in Black: (chuckles) Then I guess we'll... start walkin' at sunup.
Grace: (wakes up in the morning to see that her father is gone) Motherfucker. Fuck.
- Piano Sonata No. 2 in B♭ minor (Chopin). Dolores plays the middle section of Chopin's Marche funèbre.
- Unknown. Ford plays an unidentified tune at the piano in the last scene.
Image Gallery/HBO Episode Stills
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