.
- Reverie, a virtual reality program
where the impossible becomes possible.
Anything you desire you can find here.
But sometimes, people get lost,
caught between fantasy and reality.
That's where she comes in.
Her name is Mara Kint.
Her job, find the lost ones and bring them home.
And maybe by saving them,
she just might find a way to save herself.
[sweeping orchestral music]
♪
- Previously on "Reverie"...
- I know you're in danger. - What kind of danger?
- Losing your mind.
- Is Oliver right? Am I going to go crazy?
- Oliver was unstable long before he got a BCI.
- Stop, no! [gunshot]
- I got shot. Should I be worried?
I'm really sorry, by the way,
that I didn't return your calls.
- The calls I made 19 months ago?
I've been thinking about you.
Can we talk later?
- I was wondering when you'd finally get up.
Good morning.
Okay, out with it.
- No, no, it's nothing. - Mara.
- [exhales]
Okay.
Do you think this was a good idea?
- You think I would still be here if I didn't?
- Come on.
- Yeah, I probably would. - You know.
[both laugh]
- What about you, do you think this was a good idea?
- You know, okay, all right, here's the thing, I just...
I feel like, um...
It's been a while since you and I have been together.
- Mm-hmm.
- And it's really easy to just fall into old behaviors,
because they're comfortable,
and I'm really overthinking this, aren't I?
- I'm good.
I hope you are, too. - I want to be.
Yes.
Yes, I am.
- Then...
Everything's okay?
- It is.
- Okay. - Okay.
[gentle music]
♪
- Here you go.
Here you are.
♪
[upbeat percussive music]
♪
[knocking]
- Pilar, Georgie said you were feeling--
What are you doing?
- Apertus.
[machine beeping]
[upbeat Latin music]
♪
- Pilar! - Hola, Senor Castillo!
♪
- Mi hijitas. all: Pilar!
- Pilar.
I was waiting for the sun to shine.
- So, I hear they serve the best pisco sours in this bar.
- Let's find out.
♪
- Obviously my staff had no idea what Pilar was doing.
If we had known she was using your program,
we would have put a stop to it instantly.
- Mara, this is Jack Selve. He's executive director
of Shady Pines Assisted Living. - Hi, how are you?
- One of his residents is a client of ours.
Pilar Simonet.
- Mr. Selve, you make it sound like
she's doing drugs or something.
- We work very hard to keep our residents engaged
with the outside world, keep them active, social.
If we gave them Reverie, all of that would mean nothing.
They'd never come out. Pilar is a case in point.
- Well, you and I may disagree, but it is her choice.
- Pilar has lung cancer. Thanks to your program,
she's missing a round of treatment today.
And not eating, and not getting physical therapy.
- Mr. Selve, how did Pilar get the program?
It's not like she drove herself here.
- Apparently, she bribed one of our aides.
Ex-aides.
And she's been visiting your facility repeatedly,
under the guise of hairdressing appointments.
- Clever lady.
- We think Pilar has been sneaking time
in the Reverie program for the past two weeks,
Which is probably why her health
has gotten significantly worse.
We can't have it.
Now when I called, Mr. Ventana explained
that you could extract people from Reveries?
- Something like that.
- What Pilar is doing is a danger to herself
and a bad example for our community.
I want her out of the program by this time tomorrow.
If not, I'll be forced to take action.
- What action?
- Pilar will have to leave Shady Pines
and be transferred to a state facility.
- What's her family have to say about that?
- She has no family. Never married, no children.
- Well, wait, so you're just going to toss her out?
I mean, that seems a bit harsh, don't you think?
- I'm responsible to all of our residents.
What I'm doing is in their best interest.
Now if you'll excuse me.
- Okay.
Let's see what you're up to.
Apertus.
[machine beeping]
[lively dance music]
♪
[indistinct chatter]
- Puh-lar?
Puh-lar Simonet?
- It's pronounced "Pilar."
Oh, wow, program really messed up with your outfit.
You don't look period at all.
- Oh, well, that's because I'm not part of the program.
Mara Kint, from Onira-Tech.
- Oh...
Did Jack Selve send you in after me?
He tell you I've been a bad girl?
- [laughs]
Well, kind of, yeah.
Well, he's just worried about you.
- The cancer?
Querida, I've been dying for a while.
Cancer and I are best friends.
- Well he also says that if you don't leave the program,
he's going to move you from Shady Pines
into a state facility, immediately.
- What?
No, that place is like a prison, he can't do that.
- He can, and I'm pretty sure that he will.
I can see how much fun that you're having.
I bet this place is a great escape from Shady Pines,
but it's time to go home now.
[engine rumbling] - Shh-shh-shh.
You hear that? - What?
- [exhales] It's happening.
[yelling in Spanish]
[gunshots] [screaming]
- We've got to get out of here!
- Go? No, this is my second chance.
- At what? - Everything.
I have things to do. I'm not letting go of that.
- [sighs] [grunts]
- [shouting in Spanish]
.
- Her Reverie is in Latin America?
- Yeah, Central or South, I'm not exactly sure which,
With like a, uh...
a distinct early '70s vibe.
- Sounds kind of sexy.
- Oh, it was until the shooting started.
This wasn't historical tourism, Paul.
This was something that she was anticipating.
I mean, she was just waiting for this to happen.
- Okay, I pulled a favor with a buddy of mine
from the State Department.
Pilar's parents were from Mexico.
She was born in Phoenix. In 1973, she went on a trip.
Got visas for Bolivia, Brazil, Chile, Ecuador, and Peru.
- That doesn't exactly narrow it down.
There was a poster in the bar for a concert.
Uh, I think it said Sacros?
Hey, Dylan, can you search Sacros,
along with all the countries that Charlie named?
- Sacros, a psychedelic rock band from Santiago, Chile.
Their album was set to be released
on September 18, 1973,
but never officially came out.
- Why not? - Probably because of the coup.
The coup in Chile?
Oh, come on, children, read your history.
In 1973, the Chilean army engineered a coup d'etat
that forced the president to step down.
- So, Pilar's Reverie is watching
a military dictatorship take over the country?
I'm sure it's all sorts of fun, but why?
- Well, that's what I need to figure out, and fast.
There's nobody else but us looking out for her.
- I have a board meeting. Keep me posted.
- Um, are you going to go back in right away?
- I have to.
Pilar's in the street if I can't get her to come out. Why?
- Oh, just wondering about the bruising.
- Oh, you mean from when I got shot?
Yeah, it, um, it's getting better.
Are you worried that it's going to happen again?
- The Reverie experience isn't supposed to leave a mark.
That's sort of the point.
And I can't explain why yours did.
It concerns me.
- Well, um, I've decided that
I'm not going to worry about it,
because you and Alexis are gonna figure it out,
and everything else is going to be fine.
- You're in an awfully good mood.
Any particular reason?
All right then. - [laughs]
[clears throat] Apertus.
[computer beeping]
- [speaking Spanish]
- Pilar.
I had a bad dream, that the soldiers came and got me.
- Oh, honey, they won't. In here, you're safe.
My friend told me so.
- What friend?
Now you just hold on to her,
and everything's going to be okay.
Okay, go to sleep.
- Psst. Pilar.
- It's past curfew. You shouldn't be here, Joaquin.
If things were different-- - I would still be a professor.
And I wouldn't have met you.
Te amo, Pilar.
- Oh, Joaquin. - Before we go do this,
I will come see you tomorrow.
[sweeping music]
♪
- Pilar! - [gasps]
- Ay, que susto!
Shame on you for scaring me like that.
- I'm sorry, I'm so sorry--
- Should never rush up on an old woman that way.
- You're right, you're right.
- What are you doing here? - I understand now.
You built the Reverie because of Joaquin.
- Oh, dios mio,this woman will be the death of me.
Ms. Kint, stay out of my business.
[grunts]
Oh, God, that hurts. [grunts]
What is happening to me?
- Being in the program is making you sicker.
It's affecting you out there,
and that is making you feel worse in here.
You need to leave now, Pilar. - No, I need to stay in here.
Me being here matters more. - Pilar.
- Stay away from me!
Sister! Es Pilar.
[somber music]
♪
.
- It's not possible.
- I saw the bruise on her skin after she came out.
- Parasympathetic reactions to Reverie actions
stop at the Anteroom door.
- That's what we always thought, but not anymore.
Look, there are precedents.
Women with false pregnancy believe they're pregnant.
So the mind produces hormones,
which produce symptoms of pregnancy.
The mind creates the physical state.
- Hmm, you're saying she's pregnant, too?
- [laughs] I am saying
that Reverie is designed to fool the brain
into thinking that something that doesn't exist is real.
That may have more profound
physical consequences than we thought.
Somebody we both know warned us about this.
- That was pure conjecture. We were blue skying "what ifs."
I don't see the worry here. What happened is a one-off.
A fluke. - Unless it isn't.
What if next time, Mara comes back and it's not a bruise?
It's an open wound.
Are you willing to risk that? Because I'm not.
- Why are you so worried about her?
- What--I'm not!
Look, I am concerned
about how this affects the program moving forward.
You know he understands more about this than anybody else.
We should talk to him.
I'll make the call if you don't want to.
- No!
I'll look into it. - Alexis.
- I said I'd look into it.
[tense music]
♪
[phone buzzing]
- Hey there, stranger.
- [moans]
This, my friends, is a story about love.
- Really. - Go on.
- Pilar never married.
She never had kids. Why?
Because of Joaquin Alcazar. - Who's Joaquin Alcazar?
- Dylan? - Joaquin Alcazar
was a professor of literature at the University of Chile.
He became a leader in the revolutionary movement.
- He's the man that I saw kissing Pilar.
- Are you stalking her in there?
- He got killed leading a rebel group against the military.
She never saw him again after that.
- So you think Joaquin's the reason Pilar built her Reverie?
- But you said she'll never see Joaquin in there again.
If that's why she built the Reverie,
then why isn't she coming out?
- She got what she wanted, but it just--it wasn't enough.
She needed something else. - So how do we fix that?
- By giving her the opportunity
for a full-on romantic moment with Joaquin.
She gets to say what she wants to say.
She gets to do what she wants to do.
You give her that,
and I promise she's going to come out.
- But remember though.
Even the slightest influence by you inside the Reverie
can change everything in Pilar's story.
You sure that's all right?
- I think it's the best way to get her out quickly.
I mean, we can't afford to wait her out, right?
She's stabilized, but who knows how long that will last?
And I'm going to need a little something when I go in.
Hello, hi, excuse me?
Can I, what, uh-- Hey!
Okay, good, all right.
I am looking for a man named Joaquin Alcazar.
I am sure that all of you know who he is.
And this...
is for the first person who can take me to him.
Pilar, hang on.
- Oh, you've got to be kidding me.
What do you want? I can't be late.
- I know what Joaquin means to you.
He said he loved you.
- And men say a lot of things before they go off to war.
Besides, what's done is done. - But it doesn't have to be!
Reverie isn't the real world. In here...
Anything can happen!
- What is he doing here?
- I brought him here for you!
- What do you mean you brought him here for me?
He's supposed to be leading the raid!
You're supposed to be leading the raid!
- But I am here for you.
- He can't be here.
[speaking Spanish]
- But I thought that's what you wanted?
- And why would I want that?
Because you got it in your bird brain that this is what I want?
You didn't ask me! You just decided for me!
Just like everyone else. The government, Shady Pines.
Everyone's got an opinion about my life.
There's so many, there's no room for me
to have one of my own, not even in here.
- What's happening?
- What do you mean? You did this.
[indistinct chatter]
No, no, no, no, no, no, no!
Por favor!
- [screaming]
[children screaming]
- [screams]
- [shouting in Spanish] - No!
- Pilar, help us! - [screams]
- [groaning]
♪
.
- The soldiers are holding the girls inside of a schoolhouse.
- That's where they're taking people
to question them about the rebels.
- But why take the girls? They're just children.
- It's easier to force the truth out of them.
- I'm so sorry, Pilar.
When I saw you and Joaquin together,
and then I learned that he died,
I just thought that you came here because of love.
- I did.
For those girls.
- Okay, I really messed this up.
I shouldn't have assumed.
But those girls aren't really gone.
If you want to see them again, all you have to do
is just leave the program and restart it.
- Oh.
You really think Jack Selve is going to let me do that?
Give me one last ride? - Well, I could ask.
- [scoffs]
- Pilar, what really happened here?
- I was on a cultural homestay in Chile.
And on this exact day, 45 years ago,
I fled town with those girls.
I piled them into the back of a stolen van,
and I drove them to the border.
Away from the soldiers and the shooting.
- You saved them.
- The only reason we were able to escape
was because the soldiers were busy
with the resistance fighters.
- Joaquin's men.
- I had the whole thing set up here, just like before.
Only this time, the soldiers aren't busy with the men,
because Joaquin's not there to lead them.
- Because I-- I brought him to you.
- I just wanted that feeling one more time.
That my life had purpose, that it meant something.
But now, any hope of that is gone.
Thanks to you.
- Thank you for coming. - It's good to see you.
In this very public place.
No problem, I get it. So what's the big secret?
- Who said I have a secret? - Come on, Lex.
Charlie would never let you come by yourself,
which means you didn't tell him.
Ergo, secret.
- The 2.0 prototype crossed paths with a secondary program.
- East Berlin. - There was an anomaly.
A physical manifestation of an injury in Reverie.
- Was it you? - Mara Kint.
- Kint. What happened to her?
- Bruising, on the abdomen.
Caused by a virtual gunshot wound.
- I warned you this could happen, I said--
- Oliver, can we skip this part?
- I told you that we needed safeguards.
- And now I'm agreeing with you.
Okay?
I could use some help identifying the glitch.
Please.
- You said this wasn't your main code, what was it?
- An experimental Reverie.
The exitusfunction was disabled.
- Why?
- Detainment. - Forced detainment?
Well, as much as I hate to admit it,
It's quite possible this has nothing to do
with regular 2.0
- Then what? - Crossed Reveries.
Weakens the bond between the BCI
and the parasympathetic nervous system.
When the bullet hit Kint, she wasn't in deep enough
for the body to ignore the signal from her brain.
Tensing up all the muscles in her abdomen.
An internal injury caused by an autonomic response.
A bit like getting a bruise
from throwing up after one too many daiquiris.
- [chuckles]
Ugh, I remember that.
- This is the file name and the number of the memo.
It outlines safeguards, and gives suggestions
on where and how to amend the code.
I could do more.
If you let me back in.
- "Planet of the Petechia"? Your titles are so terrible.
But thank you.
- You're welcome.
The military?
- What? - Forced detainment,
the exitusdisabled, a gunshot wound.
You've given the source code to the military.
- Oliver. - After everything we
talked about, how dangerous this would be
in the wrong hands-- - It's not what you think.
- No, it's worse, it's giving a loaded gun
to a three-year-old!
- Don't do this, all right?
- You need to stop it, now.
- I understand how you feel.
But you don't get to decide what I do with Onira-Tech.
Not anymore.
- No.
You're right.
It's not my company, it's yours.
My bad, as they say.
- Take care of yourself, okay?
[tense music]
♪
,
- Absolutely not.
- Mr. Selve, if Pilar starts the program over again,
she can have the experience she was always looking for
and be done with Reverie for good.
- You're asking me to violate policy.
- I am asking you to let an old woman live again.
- [exhales]
- You said it yourself, you want these people
to engage in life. Well, that's what she's doing.
Now more than ever.
Please, this is such an easy thing to say yes to.
- Ms. Kint. I have 116 patients with
complicated, life-threatening medical issues.
My job is to keep them alive for as long as I possibly can.
I will not put a very frail, very sick woman
at unnecessary risk.
The answer remains no.
I asked you to return her by this afternoon.
Will you be able to?
- I'm working on it.
[whispering] Hey, Pilar.
It's me.
Mara.
[gentle music]
♪
- Now you just hold on to her,
and everything's going to be okay.
- The facility took away Pilar's tablet,
and they won't let her restart her Reverie,
but she won't leave until she gets those girls back.
And if she doesn't get those girls back today,
then they're going to kick her out.
I would like to go back in and help her.
- Paul? - I'm guessing this involves
engaging with armed military avatars?
- Okay, look. I screwed up.
I have to fix it, and if I'm lucky,
maybe I'll get her out in the process.
- Well then.
Let's go save some kids, shall we?
[computer beeping]
- What does Selve say?
- He said absolutely not.
- I told you.
- Well, I don't care what he said.
And neither should you.
I am going to do everything that I can
to help you get what you came for.
As long as you're still willing to fight.
- I'll do anything for those girls.
- I was hoping you'd say that.
- There's soldiers everywhere.
How are we going to get in? - Okay.
Step one, create a distraction.
- What is that? - C-4.
- The explosive? - Oh, yeah.
Okay, let's go.
[all shouting in Spanish]
- I'd say you distracted them. Now what?
- Step two, follow me.
Let's go.
[men shouting in Spanish]
- You see anything?
- Pilar! - Pilar, you came for us!
- I never would have left without you.
- Are you okay? Yeah, okay.
We have to go now. - Okay, let's go.
- Okay. - Let's go.
[suspenseful music]
♪
- Okay, stay down.
Stay down and follow me. Let's go, let's go.
Let's go, the van is just right over there.
You see it? Let's go.
Come on, okay, go, go, go, come on.
Come on, come on.
- [yells]
[yelling in Spanish]
- What do I do? - Drive, drive!
- Stay down.
Go, go, go! - [yelling in Spanish]
[bullets ricochet] - Stay down, down!
.
[suspenseful music]
♪
- We made it, girls! We're safe!
- Yay! [cheering]
[gentle music]
♪
There's the border. We made it, girls.
- Okay, come on out, come on out.
Here we go, good job.
Here we go, guys.
There we go, good job.
We pulled it off.
- It was even better than the first time around.
- So what happens now?
- They cross.
They find people they know. People from their town.
- But, I mean, um...
What happens to them?
You don't know.
- I tried to search for them.
For years, I tried, but...
Between the refugee camps and the foster homes,
I lost them.
This moment, right here,
was the last time I ever saw them.
I know I'm supposed to say good-bye, but...
I can't.
I'm sorry, Mara.
Girls.
Come on. Let's go.
- But you know what'll happen if you stay here, right?
- When you get to my age, you realize
there are things that are worse than death.
- Okay, yes, yes, you're right. You can stay here.
And you can just let your body wither away.
But deep down, you know the truth.
These are not the girls that you loved.
These are just...
They're digital ghosts.
They're echoes of real memories.
You said it yourself, you want to feel like you have purpose.
Pilar, I believe that you still can.
Out there.
And think about the real girls.
Is this what they would have wanted for you?
- [exhales]
[speaking Spanish]
Ciao, mis amores.
Elvia.
Adios.
Go to the border.
Gracias.
[somber music]
♪
Exitus.
[somber music]
♪
- You were so brave. - Are you kidding?
You busted through that barricade
like a bat out of hell.
I don't know too many people with the guts to pull that off.
- I told you, I'd do anything for those girls.
Well...
I got to say good-bye to them this time.
It's more than I could ever ask for.
- I don't know about that.
- What do you mean? - Charlie?
- Hello.
- Pilar, this is an old friend of yours.
♪
- [gasps]
♪
Elvia.
- Hello, Ms. Pilar.
- Elvia. - [laughs]
- I thought I'd never see you again.
I thought...
It is you, isn't it?
You've gotten so old.
- [laughs]
Well, that's what happens after 45 years.
[both laugh]
- How did you do this?
- This is my friend, Charlie.
He's the one who found Elvia, and the others.
- The others. - Mm-hmm.
[both laugh]
And who is this young lady?
- This is my granddaughter.
Her name is Pilar.
We brought something to show you.
- Ooh, thank you.
Oh, this is your family. - They wanted me to thank you.
- For what?
- Ms. Pilar.
I wouldn't be here without you,
which means they wouldn't be here either.
All these people, children, grandchildren.
They're all here because of you.
♪
- Everything set your end? - Sure.
- You're sure you understand what you have to do?
- I think so. It's not complicated.
- Good, I'll get the money to you after.
20,000 cash.
- Sounds right to me. - See you then.
[ominous music]
♪
- Apertus. [tablet beeps]
♪
[both chuckle]
- Sorry. - [laughs]
Oh, my God, you scared me.
- Sorry.
- How did you get in?
[laughs]
- You never asked for it back. I took it as a sign of--
Oh. [chuckles]
- For 18 months? - Yeah, well, you know...
- Oh yeah. - I'm a very hopeful person.
- Oh, really, are you now?
I'm so sorry I was late. Oh, my God.
It was just such a crazy day. - Good crazy or bad crazy?
- Uh, you know what, I will tell you in just one second.
But first, I'm starving. Are you ready for the pasta?
- Mmm, sure. - Okay, good.
[phone ringing]
- Yes? - Are you calling me?
- Mmm, no.
- This is you.
[ringing continues]
Hello? - Mara.
- Who is this? - It's me, Chris.
Sorry, I was in session with patients all day.
I just got your message. Uh, I saw your text.
Um, dinner.
What do you mean?
Did you send this to the wrong person?
- No.
Who is this, seriously?
- Mara, it's me. It's Chris.
Mara, are you there?
- I'm here, I'm here.
[stammering] When-- when was the last time that--
that we saw each other?
- What is going on? Is everything okay?
- No Chris, please-- please answer the question.
When was the last time that we saw each other?
- Three days ago, why?
- Mara, Mara, what's happening?
- Mara, what's happening?
- You're not real. - Mara?
- You're not real. - Just calm down.
And everything's going to be--
- [grunts]
- I'm here for a reason, Mara.
[intense music]
♪