All language subtitles for Game.of.Thrones.S00E53.The.Game.Revealed.The.Bells.AMZN.WEB-DL.AAC2.0.H.264-NTG

Episode five should
just be called "Holy Shit,"

because we started reading
the outline

and just went, "Holy shit!"

Doing lots of
dragon strafe runs,

burning most of the set.

We set fire to 22 people.

Twice.

We've been doing many burns,
amputees, mutilated bodies.

We had three motion control
rigs going, a spider cam.

Our King's Landing set
is round about 650 extras.

We had three
units going, and now, at the end, four.

We've been just slammed
since day one.

Big telescopic cranes,
up to nine cameras.

It was off the scale, really,
in every way.

And then we saw the set

and what Deb Riley and her team
was building,

and we just said,
"Wow, this is amazing."

King's Landing,
traditionally, has been Dubrovnik.

The thing about Dubrovnik is,
it's a really beautiful city,

and they love it,
and they don't want us

to, you know, burn it down.

We've had this area
out the back of the office.

It's been there for, you know,
since we ever started here.

It's so close and so easy,
and Belfast needs a backlot.

Why don't we just call this a
backlot and build the set for real?

There's no such thing as a set
you can just walk onto and shoot

when you're planning
on destroying it.

There was so much thought that
went into every single section

because it had
so many requirements.

While we were designing
the buildings,

we were designing the
destruction at the same time.

So, for every lovely drawing of plans
and elevations of the building,

we had lovely plans and elevations
of the buildings destroyed.

It's not just a set that stands
there and people walk in and out.

It goes through
all these changes.

We're gonna see the plaza
on Main Street all on fire.

In order to supply
all the flames,

each building has its own
manifold system

that gets broken up
into many, many different pipes

to each window or doorway
or roof.

- Stand there, mate.
- Yep, we're on now.

It's all kind of
steel and hoses

and cryogenic hoses
and valves, and normal valves,

and two-ton gas tanks,
three-ton gas tanks,

five-ton gas trucks.

It makes for a heavily
propane-filled set.

There wasn't a lot of time
up our sleeve

that we could take weeks to change
the set over into a destructed stage.

So, Tom Martin, our construction manager,
came up with the genius idea

of building the set
in its destroyed stage first

and then cladding it so that
it was perfect to begin with.

No crew member that wasn't there
during the build process

had any idea
that the destroyed version

was sitting underneath,
waiting to be revealed.

I took a little video
for myself on my phone

of the backstreets,
not even the main drag.

The lanes, the offshoots,
and the aged doors,

with tear stains of rust
running down them.

It absolutely looks like it's been there
for hundreds and hundreds of years.

So, it's loads of detail,
loads of cornices and pillars and friezes,

corbels, all over the set.

It's been
a lot of scenic sculpture.

We did a quite large
relief plaque

with the letter "D"
quite prominently.

Both Dan and David.

So we had two of them,
obviously.

From a set dec perspective,

Deb wanted an authentic
sort of place,

with the shopfronts, you know,
and the color palette,

all the doors, all the studs,
you know,

all that sort of detail
we wanted as real as possible.

It's shocking when you go behind one of
these doors and you see scaffolding,

'cause you really think
you're in these places.

Nikolaj and I
said the other day,

"We'll never be on anything
that is this vast ever again.

They've built Croatia.

And not, like, a street,

they've built, like,
17 streets and alleys.

It has its drawbacks,

because it's right in the middle
of the city.

The King's Landing set

was sprawling within Belfast within
view of a number of raised buildings.

We had an unprecedented number
of drones, paparazzi attention,

people just following the show around
and trying to get a sneak peek.

What we didn't want them to see

was get the view looking down
the King's Landing street,

so we stuck up a five-high
container wall

and that problem died down
pretty quick after that.

One of the great things about going to
Dubrovnik was there was a reality there

that it was impossible
to recapture with a set.

And this year, Deb recaptured
that reality with the set.

It felt like you were
wandering through Dubrovnik,

but we were in Belfast.
We were in a parking lot

across from
the Harland and Wolff cranes.

It was just, you know,
her crowning achievement.

Three, two, one,
action.

There's
something you need to know.

Someone's betrayed me.

Yes.

We enter into five...

with a broken Dany.

Jon Snow.

Varys.

He knows the truth about Jon.

He does.

Because you told him.

If Jon
hadn't told her the truth,

if Cersei hadn't betrayed her,

if Cersei hadn't
executed Missandei,

if all these things had happened
in any different way,

then I don't think
we'd be seeing

this side of
Daenerys Targaryen.

I, Daenerys
of House Targaryen,

sentence you to die.

What?
If Tyrion betrayed Varys,

Tyrion is responsible
for Varys's execution?

They're best of friends.

Not really.

There's other things
at play here.

It was me.

He has to betray
somebody, right?

It's a choice between betraying
your best friend or your queen,

and he chooses to remain loyal
to his queen.

♪ We all
need somebody To lean on ♪

No, just...
chillin' with the harmony, babe.

- That was really nice, That was good.
- Yeah, with the harmonizing.

Here we go, guys.
Shooting.

C marker.
Action!

It was scripted that he
puts his hand up to touch Varys.

What Conleth did
that I really, really liked

was his reaction,
which was shock.

He did that this one time,
and I said to him, "Why'd you do that?"

He said, "Well,
he's never been touched before.

And it was cool, and it was
just something like, "Wow.

Okay. That... I mean,
it made lots of sense."

It was like, suddenly
he was being touched,

and he... this is not a man
who's ever been touched.

Well, it was one of
the first scenes we shot.

We got to a certain point,
and then it started raining,

and it started pouring,
and then, basically,

the only time I've ever been on Thrones when we
got shut down because it was torrential rain.

Then we went back and we re-shot
the wides of that scene.

And then we realized
that we owed all the parts

from one side, where you have
the dragon behind.

So, basically, it was shot
over seven months,

and each time, you know,
poor Conleth had to kind of show up again,

Varys had to just stand there
going,

"Okay, I guess I'm dying again."

Dracarys.

We thought
it was important,

in the siege of King's Landing,

that the good guys
not be good guys anymore,

and that the lines
between good and bad

and right and wrong
get erased.

We mirrored a lot
of the Battle of Bastards shots,

but instead of having the
Boltons be the invading army,

we had the allied troops.

There's a shot that pulls up
behind Jon

and reveals the Bolton army for the
first time in "Battle of the Bastards,"

and we do the same thing
but from behind

the leader
of the mercenary group.

What we need to understand,
as an audience,

is that these people
have come here for blood.

The hardest series of shots
is the moment that

the King's Landing gate
is obliterated by dragonfire.

It's covered by eight cameras,

one explosion over all
of these camera views,

each camera view is carrying
the explosion further.

The complexity of breaking
not only the gate,

but destroying the wall,
wiping out the people,

getting the fire element,
you know,

big enough to travel
as we needed it to...

Then there was this whole series
of live action components,

Harry Strickland's horse
that gets annihilated.

Three, two, one.

Action!

A real Gold Company
and digital Gold Company.

Jump straight in,
make your arm into a shield, and that's it.

Do you wanna close down,
mate.

We trained them the
same as we trained the Unsullied,

but just changed a few
of their drill movements

to define them
from being Unsullied.

Rolling!

Forty-four bigger, take five,
eight camera mark.

Then there was a half-scale gate
built by Sam Conway.

The half-scale
gate explosion.

We've been building it out of,
like, basically,

biscuit foam and balsa.

We're gonna be blasting it
out of the way with, uh,

with many air mortars.

Three, two, one.

So, basically,
what the idea is

to achieve
this 60-foot explosion

coming out of the center
of the gates,

and also some flame bangs too.

You know, it was a lot of planning for
production and a lot of work for Sam,

and now it's a lot of work
for us.

Don't fall on him.

Don't drop your fire extinguisher
on his head.

Three, two, one, action.

As the dragons
have gotten bigger,

they've been lighting
more and more people on fire,

and I believe...
I believe this year,

one of the things
that Rowley brought to the table

was the most people
that have ever been burned

onscreen for a production.

Yeah, that's fine.

...if you haven't
done this before.

That's the director
just locking my head off.

I just know what he's doing.

I wish he wouldn't touch it.

The 22 burns is actually 44 burns.
Um... It's two halves.

And five of the 22 were
full burns, but with no masks.

When the time comes
and the call's given,

there's a process
of getting them ready.

They're all wearing
two-mil wetsuits

covered with three layers
of Nomex race underwear

soaked in Zel-Jel.

On top of that is a race suit
covered with a boiler-suit

and then a costume.
And then they have

silicon masks on
and gloves on.

What we essentially did was
we lit the five guys manually,

and then we detonated
17 Taymars,

which are basically, um,
gas camping canisters

inside metal cages.
And they create a 15-foot fireball.

"Three, two, one, action!"
17 poppers go off

amongst all the full fire jobs,
yeah?

Then "Three, two, one, action!"
everybody reacts forward.

The full burns go
on the "A" of "action,"

the partials go on "- tion,"
these guys go

after I've finished saying
the word "action."

Okay? So we get
a tiny ripple effect.

We'll do a rehearsal.

When he first lit me up,
my trousers were quite baggy,

so they had to spritz me
with IPH,

so there was some fumes
in there.

And I'm bending over,
and they lit me,

and it just went, boom!

I thought, "God, that's hot.

I'm hot already,
and we've not even started to countdown yet."

We're rolling, guys,
rolling, rolling.

Have a good one, boys.

Three, two, one, action!

Three, two, one, action!

We had up to nine
cameras covering that scene.

It was an extraordinary
sensation, as well, filming it.

You know it's fiction,
but to see that many men on fire,

I found quite distressing
at times.

I remember the smell.

It's horrifying.

Go, go, go, go, go!

And then we put them all out.

So, for 22 people, we had 22 other
people with fire extinguishers

plus another six people
with fire extinguishers

backing all of that up.
So, it's a big deal.

Three, two, one.

We have our initial destruction,
which is

the dragon comes in,
blows shit up,

says, very clearly, "This isn't
going to end well for you."

In come the allied forces,

and they take out
the Lannisters.

And the audience go, "Yeah!"

Once the Lannisters surrender and
the gates have been blown open,

and the Golden Company
has been dispersed,

the battle's over,

and Jon feels like
that's quite clear.

They did it, they did the impossible.
This is a bloodless coup.

It's out of Cersei's hands.

You cut to Cersei, see her.

You cut to Tyrion realizing
this is an opportunity,

this is the moment
where the bells could ring

and we could call all this off.

And then you go to Dany.

She feels empty. It wasn't what she
thought it was. It's not enough.

Every single thing
that's led her to this point,

and there she is, alone.

We've all got this part of us,
that part that goes,

"I'm gonna put
that chocolate cake down."

"I'm gonna walk away."

We can't be getting into these
moral conundrums all the time.

I'm not saying chocolate cake
is a moral conundrum,

eat as much fucking cake
as you want...

but those things that
you wrestle with in yourself.

She knows that
she has won this war.

It's in that moment when she makes
the decision to make this personal.

It's one of my favorite
Emilia performance moments,

because it took place
on the back

of, like, a giant green
dragon buck

without a real thing
anywhere in sight.

Emilia's really nice.
And she cares.

She's a whole bunch of things
that Dany isn't.

So reaching this part of Dany

is a...
was a tough call for her.

Ultimately, she is who she is,
and that's a Targaryen.

You know, she has said
repeatedly throughout the show,

"I will take what is mine
with fire and blood."

And in this episode,
she does it.

For the audience...

Oh, you wanted a battle?
Well, here you go.

Drogon's fire-blasting
does a lot of damage.

I mean, he's not Godzilla,
but we're heading in that direction.

Cameras on, all set, and...

Three, two, one, blast it.

Uh... We create a lot
of, um, interactive light

for dragonfire.
So that can either be

a series of large flamethrowers

or it can be a pyrotechnic
charge that we'll light up.

And of course, then, what happens is,
we take... we go back to the studio

and then we do it
with the VFX mo-co cameras.

We had the big flamethrower
on the Spidercam onstage

that was shooting, you know,
40 feet of fire.

And then we do, also,
the impact scene on the ground.

We do that as a half-scale model shoot,
pyrotechnic charge goes along.

Three. Two. One. Action!

And all these things
get tied in together,

so you'll see the dragonfire
chasing those flames,

and then where
the dragonfire lands,

you'll see all the pyrotechnic
charges going off.

The place, when she takes off...

and starts burning the city,

and when the Unsullied
on the ground

and the Northmen on the ground take
that as their cue that anything goes...

That should
be enough, guys, but it's not.

Just up ahead,
everyone looking up,

you can see the dragon coming down.
It fires on the city.

And... go, Gray Worm.

There's a moment when we see Gray Worm

taking out his enemies
when there's no need to do that.

The way we
described it in the screenplay

was that he's become
almost an angel of death.

He's just gone back to being like,
this kind of traumatized robot.

There are a lot of people
lurking in the background.

See if you can find
Aaron Rodgers.

I was helping a woman
who was injured,

uh, set her down, and then,
the hell with her, I'm getting outta there.

So, struggle, struggle,
and then, I struggle and die

- forcing me to the ground.
- Yeah.

Uh... Guys, room, please.

The beheading came from the idea
to take the audience

to a place where they felt that they
shared the bloodlust of the Starks,

so they wanted to see
these people get creamed,

and then to give them
what they wanted,

and show them with no mercy the horrors of war.

At that face-off in that moment,
you're with Jon more than anybody else.

Interestingly,
when we were editing it,

there was a mistake made at the
moment that it goes to slow motion.

Our sound cut, and I was like...

...and suddenly, I was riveted.

Nothing letting me
off the hook

from seeing what he's seeing and
experiencing what he's experiencing.

There's a great shot
that Miguel got.

You just have
the Lannister soldier,

who's guiding the civilians
of King's Landing to safety,

and the good guy in this shot
is a shot in bad guy armor,

and the bad guys in this shot

are the ones who are doing all these horrific things.

If three was the final
battle between good and evil,

five is "What have we become?"

It's all got a bit bleak,
hasn't it?

It's quite bleak.
This season's really bleak.

If I win...

I'll bring your head to Cersei
so you can kiss her.

One last time.

Finally, after
15 years of being colleagues,

I'm given two days
to kick his ass.

The time for gentleman-like
fights are over.

The idea was
it was a slugfest.

It's gonna be very funny
for Denmark,

because two of their actors
are gonna fight it off.

The Dane Bowl.

It's a little bit disconcerting

when they start talking Danish
to each other,

'cause I'm not sure whether
they're changing a move,

or conspiring to do something
that we don't want them to do.

Where we did it, it was
a very unfriendly environment,

which was big rocks and stones
and a tide... it was very...

you know, very small cove
where the tide came in and out,

and it was wet and sandy.

Those guys being soaking wet,
and having sand everywhere,

they're probably still finding
sand in the bath now.

Three, two, one, action.

Euron is a psychopath.

A normal person would not swim
to shore

just so he could murder
one other person.

He wants to know what new things
are like.

As he says with Cersei,
"Life can be boring."

The ultimate new interesting
experience he's never had before

is death, and I think
he's strangely excited

about having that experience
as well.

I mean, he dies with a smile
on his face.

That was the first thing
I asked Dan and David is,

"Am I dead?" They go like, "No!
Maybe. A little."

And I go like,
"No, I don't think so."

It struck us that it would be
apocalyptically beautiful

to see them fighting
on this stairway to nowhere

with the sky in the background
and the dragon flying by,

and the flames everywhere,
and it's just pretty epic

and that's what we wanted.

Hello, big brother.

One more and this time, guys...

We shot this thing
for days and days and days,

and it was so hard to shoot,
and it was a massive set.

There was a 72 steps.

The really important thing for me

in designing the staircase
was that it felt grand.

We've always seen these
computer generated illustrations

of King's Landing,
and there is a big tower

down the side of the big keep.

The problem with the
staircase is it will want to go up,

so I think the first time
in our kind of history

of building things here,
we've actually hit the grid of the stages.

There's a lot of crew,

and there's
just the one staircase, so...

trying to get cameras
into positions...

right up against the staircase,
it's been quite difficult.

The same time,
the building is being ruined

by the dragon fire, so there's
crumbling walls everywhere.

Special effects will be dropping
rocks and sand and debris,

and so there's all these kind
of interesting challenges

as well as... running in and fighting,
and falling down the stairs.

So, when you attack,
it's better that you're slower,

but on target...
...and he gets out of the way,

rather than try to be
really fast

and deliberately missing, 'cause
we'll see a deliberate miss.

- Does that make sense?
- Yeah.

Just slow and deliberate.

Everyone, ready?
And... rehearse stage. And...

three, two, one, action.

Ooh! Help. Sorry.

The way we tackled
it was we put one very big crane

on the inside of the circle,
on the inside of the staircase,

which could reach any point
on that staircase,

and then where the staircases
had been destroyed at the back,

we've got another crane on a large rostrum,
so we've could shoot both ways.

When we're on the staircase,

we shoot a whole combination
of handheld,

and then we deploy
our Artemis Maxima,

which is this handheld
stabilized rig.

We learn the choreography.

We get trust of the actors
and vice versa,

and if you learn it well enough,
you can step inside that zone

with the swords going over
the camera or under the camera.

Before you know it,
it gets pretty exciting.

Cut!

You know, that fight was brutal.

It's brutal to watch, but it was
brutal to shoot as well,

because... for Hafpór,

he's wearing
so many prosthetics.

Hafpór had to wake up
at midnight

to get ready
for a 8:00 a.m. call.

Seven-and-a-half
hours of makeup, um,

and then he had to do
a ten hour day.

They were... They were hard.
They were hard, hard work.

When we read the scripts,

we realized
that there's this big reveal.

And another step.
Ah, fuck it. Just pull it off.

So the last time
we'd really seen the Mountain

from the hands of our work
was season four.

He was like on the slab,
and he had this whole rotted,

kind of ulcerated area
on the side of his torso.

So, that was really

the only springboard we had
to the design.

They kept referring to him
as Franken-Mountain.

And we just came up
with this kind of putrid,

almost porcelain looking...

It was this Frankensteinian
looking figure.

Cut.

Hafpór won
World's Strongest Man this year.

We got him really late
because of that as well,

so we basically used
his strength

to throw Rory's character around
and he had a really big day

where literally, he spent the
whole day being thrown into walls.

This isn't a trained stuntman.

This is the guy
that smashes stuff up.

And three, two, one,
smack him against the wall.

Cut.

Rory was like...
I mean...

sometimes, we thought
he was dying on the stairs

in between takes, literally.

Everyone okay?

For a big man,
you're very gentle.

Thank you.

I, after a couple days, decided to have a...
I brought Hafpór in,

and I gave him this... a box
with a sandbag on top of it,

and I put the camera underneath
and we didn't...

there's no reason to shoot it,
and I was like,

"I just want you to just...
When I saw action,

just fucking smash that
as hard as you possibly can.

Pretend it's Rory's head.

And looking right
at the camera...

- And he was just like going...
- ...like that,

and we're shooting it
in slow motion.

Three, two, one, and action.

And one more time.
And three, two one, and action.

Great, and now this time, just...

And I just wanted to get
all his anger out,

so that it was all done

and then we went off
and did the scene.

Set!

We're gonna do a 30 foot fall
where Gyula takes off Mike,

the stunt double
for the Mountain,

into a box rig.
For two really big guys,

and one of them going off
backwards in full prosthetics,

it's getting the wall right
that's the difficult bit

because, you know, it's meant
to be like four-foot thick.

It will be a couple of feet
thick,

but it's trying to get that
to look right.

There are many times
when we're planning a season,

and you know, you kind of
have to avoid

giving the audience
exactly what they want

because then things start
to become predictable.

This is the case where we wanted
the same thing.

We've always wanted to see these
two face off, and they finally did.

Ready, ladies
and gentlemen. Here we go.

Yep. Here we go.

You needed a perspective

to carry you
through this horror,

and we thought Arya was the best
person to use for that purpose.

I got a call from Miguel,
basically was like,

"I can't tell anything, but
you know what we did in BOB?"

I was like, "Yeah." He was like,

"We're gonna do that
but with you,"

and I was like, "Okay."

It was meant to be, ultimately,
come across

as a seven-and-a-half minute,
non-stop shot,

where you follow her on the run.

We practiced this
many, many times.

We've spent a whole day, two days,
practicing the shot already

with Arya and with all the stunt
team and all the extras we require.

Little boy, back down
the stairs, round...

Gonna really throw away
the girl coming out the window.

- Cam speed.
- 69 apple, take six. 38 frames.

Three, two, one, action.

From a camera perspective,
it took us an hour...

to figure out
how we're gonna move the camera.

It's all the other stuff
that goes on in the background,

you know, and you've got
a great special effects crew,

who, you know, put in smoke and flame bars,
and lots of extras.

Every single extra you look at
will have each of their stories,

so... you know, I think that's what
makes those one-ers so intense.

So, I think definitely,
when you came in here,

that thing that first time
you're on the ground,

it's like, "Fuck! I'm fucked.

I'm fucked
unless I get out of here.

How do I get out of here?
Go this way."

We've got all sorts
of air mortars going off.

And she gets
picked up by the crowd.

And she is just cannon fodder,
because Dany is bombing the city.

I've decided on this journey
to a new life,

and I might not even make it out
of the gates.

I think we want the audience
to think that's she's dead,

for like a second, but audiences
are too smart for that.

There's an element
of luck in these things as well,

you know, we need everybody

to get a little bit lucky
at the same time.

We're setting people on fire
during it,

and putting them out during it.

If I miscue it or not cue it
quick enough, it doesn't work.

There's any number of things
that can just make the take

not as good
as you would hope it to be,

and they typically take
ten takes to get.

Delta mark, 48 frames.
Bravo, 69.

Delta take one on the end.

Um...

The journey that Arya's taking,

heavily inspired
by the firebombing of Dresden

because what it needs
to look like

is the firebombing
of King's Landing.

It was interesting to us
that we could...

we could take a modern reference

and map it
onto a pre-modern situation,

because we have air firepower
in the form of the dragons.

If you see some
of the photographs,

they're terrifying photographs of
not just the level of destruction,

but you know, there's people
walking to work the next day

with decapitated heads
lying on the ground.

It's like... it's a terrifying,
terrifying thing.

She's seen some awful things,

but this is like
mass destruction and...

it's pretty sickening, even for
the strongest of people.

We'd been doing
many full body burns,

some with negative space,
some crushed,

sort of mutilated bodies.

Extras, which are amputees,
and we've created severed limbs,

so we've had team of about five,
six people on a day to day basis

and on some days,
Miguel would say,

"Right, I need these guys
to have some head injuries.

This guy's
got his throat slashed.

This guy's gonna be
really badly burned.

So, suddenly,
our guys just pile in,

and we've got
this big jigsaw puzzle of pieces

that we've got in our arsenal,
and fortunately,

it seems to have worked out.

Now, I've got
one of my girls walking along,

and she's got handful
of intestines,

and we've got amputees.
Bless 'em. And then you make

the ends of the limbs
that they have look horrible,

and you make trails of blood
where they've been.

And then,
they're screaming horribly.

Cut, cut, cut.

But when they cut,

someone's walking around
with a box of ice-lollies

and going,
"You want an ice lolly?"

"No, I'm all right."

What we do for a living is a bit
surreal at times, you know.

It was originally shot
to be this really long one-er,

and it was actually a decision
that Miguel and his editor,

Tim Porter, made
as they were cutting it

that intercutting
the Clegane Bowl

and Arya's escape was actually
much more emotional

and effective than having
this 12 minute long one-er

and then the fight
as two separate pieces.

All she's left with
is the sound of burning people

and the smell of burning flesh.

And she sees a white horse
'cause it's symbolic...

and beautiful. And then,
she hops on and gallops off

and makes it out of the city.

68 echo, take one.

A, B, and C, come on boards,

D marker.

It's a kind of genuine
discovery as she goes along,

each step she takes, something
crumbles, something falls.

The destruction is unavoidable.

She loses people
and finds herself totally alone.

Dragon. Track.

The thing that he has with his sister,
which is absolutely unconditional love.

- You came back for me.
- Of course, I did.

He goes back to her,
even though he knows that she's gonna die.

He goes back to her even though he
knows that she'll never surrender.

He goes back to her
just to be there for her.

He almost goes back to her,
I would say,

to prove that
he was never going to leave.

The skull room, unfortunately,
had to be recreated

because in order to destroy
the space, we had to build it.

And then, a lot of bricks
were brought in for it,

and we had some big architectural
pieces made as well.

The great thing was I had
all of the information

about the space. We had already,
um, measured it and drawn it.

I had all of the photographs
of it.

One of the lessons
that I learned very quickly

was a pile of rubble
isn't very interesting...

unless you have identifiable
architectural pieces

that... that can sit in it,
and an audience can identify

with having fallen
from that building.

The escape route is blocked,

and there is no way out.

And now we're talking seconds,
and... and she's panicking.

Action.

Please don't let me die.

Please don't let me die.
I don't want to die.

Jaime, please.

Look... Look me in the eyes.
Don't look away.

Please don't let me die,
not like this.

Look at me!

There's a helplessness from both of
them and a sense of loss that...

is the strangest feeling to
experience with them, because...

you know, Cersei is one of
the most horrendous characters

committed to film, and yet,
somehow, at the end,

she's just a girl,
and she's just scared.

And... and he's there
to comfort her.

Just look at me.

- I don't want to die...
- Shh...

Nothing else matters. Just us.

Only us.