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Ariane DeVere
Sherlock, Season 4, episode 2 transcript: The Lying Detective, part 4 
14th-Jan-2017 05:13 pm
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Sherlock, Season 4, episode 2 transcript: The Lying Detective, part 4



Polite request: If you take extracts from this transcript for use elsewhere, and especially if you repost my own words, it would be kind if you would acknowledge the source and/or give a link back to this transcript. Thanks.

Sherlock, Season 4, episode 2 transcript: The Lying Detective, part 4

Return to Part 1 / Return to Part 2 / Return to Part 3

HOSPITAL ROOM. The heart monitor continues to beep quietly. Smith, still sitting on the chair and watching Sherlock, huffs out a noisy breath, probably deliberately. Sherlock opens his eyes and blinks a couple of times. His left eye is almost completely bloodshot. Smith breathes out noisily again.
SMITH (quietly): You’ve been ages waking up. I watched you. It’s quite lovely in its way.
(Sherlock swallows and looks towards him.)
SMITH (quietly): Take it easy. It’s okay. Don’t want to rush this. You’re Sherlock Holmes.

MARY (offscreen): I’m giving you a case, Sherlock.
(In the living room of 221B, John sits in front of the TV and stares at it with tears in his eyes. Mrs Hudson stands behind him.)
MARY (offscreen): Might be the hardest case of your career.
(The angle changes to show Mary on the TV screen.)
MARY: When I’m ... gone – if I’m gone – I need you to do something for me. Save John Watson.
(John grimaces and shakes his head slightly.)
MARY: Save him, Sherlock.
(Mrs H bends down to him.)
MRS HUDSON: John, if you want to watch this later ...
MARY (offscreen): Save him.
(John breathes out a silent, “No,” his tear-filled eyes fixed on the screen. Mrs Hudson straightens up again.)
MARY: Don’t think anyone else is going to save him, because there isn’t anyone. It’s up to you. Save him. But I do think you’re gonna need a little bit of help with that, because you’re not exactly good with people, so here’s a few things you need to know about the man we both love – and more importantly what you’re going to need to do to save him.
(John stares at the screen wide-eyed.)

HOSPITAL ROOM.
SHERLOCK (in a whisper): How did you get in?
(Smith stands and walks closer to the bed, pointing towards the door. He keeps his voice low throughout the rest of the scene.)
SMITH: Policeman outside, you mean? Come on. Can’t you guess?
(Sherlock’s gaze turns to the wooden panel opposite the bed.)
SHERLOCK (softly): Secret door.
SMITH (looking up and twirling a finger to indicate their surroundings): I built this whole wing. Kept firing the architect and builders so no-one knew quite h-how it all fitted together. I can slip in and out anywhere I like, you know ... when I get the urge.
SHERLOCK: H. H. Holmes.
SMITH: Murder castle, but done right. I have a question for you. Why are you here? It’s like you walked into my den and laid down in front of me.
(Sherlock lowers his eyes.)
SMITH: Why?
SHERLOCK (meeting his gaze briefly, then lowering his eyes again): You know why I’m here.
SMITH: I’d like to hear you say it. (He smiles briefly.) Say it for me, please.
(Sherlock fixes his gaze on Smith.)
SHERLOCK: I want you to kill me.

BAKER STREET. The door to 221B opens and John hurries out into the street, looking down at his phone. He hasn’t stopped to put on his jacket. As he walks to the kerb and looks down the road, probably looking for a taxi, Mrs Hudson hurries onto the doorstep.
MRS HUDSON: John!
(He turns to her and she holds up a key fob with one or two keys on it and tosses it to him. He catches them. She points to her left.)
MRS HUDSON: My car.
(He holds up a hand in acknowledgement and heads briskly down the road, looking down to his phone. Raising it to his ear, he breaks into a run.)

HOSPITAL ROOM. Smith has moved to the side of the bed and is resting his gloved left hand on the bed very close to the end of Sherlock’s left hand as it rests on the blanket.
SHERLOCK (softly): If you increase the dosage four or five times ...
(Smith looks across to the drip stand.)
SHERLOCK: ... toxic shock should shut me down within about an hour.
SMITH (straightening up and starting to walk around the foot of the bed): Then I restore the settings. Everyone assumes it was a fault, or you just gave up the ghost. (He smiles.)
SHERLOCK: Yes.
SMITH: You’re rather good at this.
(He takes off his jacket.)
SMITH: Before we start ... (he drops his jacket onto the chair near the drip stand) ... tell me how you feel.
(He reaches to the shirt cuff on his left hand and takes out the cufflink.)
SHERLOCK (softly): I feel scared.
(Smith scoffs quietly.)
SMITH: Be more specific. (He chuckles.) You only get to do this the once.
SHERLOCK: I’m ... scared of dying.
(Smith has now removed his right cufflink and puts both of them onto the seat of the chair.)
SMITH: You wanted this, though. (He starts to roll up his shirtsleeves.)
SHERLOCK: I have ... reasons.
SMITH: But you don’t actually want to die.
SHERLOCK: No.
(Smith smiles.)
SMITH: Good. (Still smiling, he continues rolling up his sleeves.) Say that for me. Say it.
SHERLOCK (frowning slightly): I don’t want to die.
SMITH (looking at his left sleeve as he rolls it up): And again.
SHERLOCK (a little louder and more firmly): I don’t want to die.
SMITH (softly, looking at him as he rolls his right sleeve even higher): Once more for luck.
SHERLOCK (his voice tearful): I don’t want to die. I don’t ...
(He pauses as Smith steps closer to bed and leans over him.)
SHERLOCK (tearfully): ... don’t want to die.
(Smith leans closer until his face is only a few inches above Sherlock’s.)
SMITH (softly, intensely): Lovely.
(Twitching a smile, he straightens up.)
SMITH: Here it comes.
(Sherlock stares at him with an anguished look on his face. Smith reaches a finger to the control panel next to the drip stand. He presses a button twice. It beeps noisily each time. He reaches to another button and starts to press it repeatedly. The read-out on the screen, initially reading 3.2, starts to rise.)

Out on the streets, the Aston Martin is speeding along Victoria Embankment beside the river.

JOHN (offscreen): Please, I don’t think he’s safe.
LESTRADE’s VOICE (over phone): No, he’s fine. I’ve got a man on the door. What-what do you think’s happened?
(In the driver’s seat, John has his phone to his left ear and is driving one-handed.)
JOHN (into phone): I don’t know! Something! Mary left a message.
LESTRADE (frowning wherever he is, into his phone): What message?

MARY (on her DVD recording): John Watson never accepts help, not from anyone. Not ever.
(Cut-away shot of 221B’s living room in the day time. The camera focuses in on John’s empty chair.)
MARY (offscreen): But here’s the thing: he never refuses it. So, here’s what you are going to do.

In the hospital room, a drop of liquid drips down from the bag on the stand. Smith is slowly walking around the foot of the bed.
SMITH: So tell me: why are we doing this? To what do I owe the pleasure?
SHERLOCK (quietly): I wanted to hear your confession; needed to know I was right.
SMITH: But why do you need to die?
SHERLOCK: The mortuary; your favourite room.
(Smith smiles slightly.)
SHERLOCK: You talk to the dead. You make your confession to them.
(Smith sniffs, straightens up, rubs his nose and turns away towards the chair, shaking his head.
Outside the room, the police officer is talking into his phone.)

POLICE OFFICER: Sorry, sir, what?
(Still listening, he turns to the door.)
POLICE OFFICER: What do you mean?
(He takes hold of the door handle and turns it and pushes but the door doesn’t open.)
POLICE OFFICER (into phone): I think the door’s jammed.
(He rams his shoulder against it as Nurse Cornish approaches along the corridor behind him.)
NURSE CORNISH: Oh, has that door locked itself again? Yeah, it’s always doing that.

MARY (on the DVD): You can’t save John because he won’t let you. He won’t allow himself to be saved. The only way to save John ... is to make him save you.

SHERLOCK (in the hospital room): Why do you do it?
SMITH (sitting in the chair): Why do I kill? (He has his hands together and gently rubs his fingers against each other.) It’s-It’s not about hatred or-or revenge. I’m not a dark person. It’s ... Killing human beings ...
(He lowers his head and chuckles almost silently for several seconds, putting the back of one hand to his mouth.)
SMITH: ... it just makes me ... (he lets out a long contented sigh) ... incredibly happy.
(Sherlock gives him a tiny smile. Smith’s smile slowly fades and he breathes out a hard breath through his nose and stands up, walking to the bed.)
SMITH (leaning his hands on the blanket): You know i-i-in films when-when you see dead people pretending to be dead and it’s just living people lying down? (He shakes his head.) That’s not what dead people look like. (His voice and gaze become more intense.) Dead people look like things. I like to make people into things. Then you can own them.
(He huffs out a laugh and straightens up.)
SMITH: You know what? I’m getting a little impatient.
(He bends to the foot of the bed and presses a button on the side. The top of the bed lowers down to the horizontal position. Sherlock looks anxious, his eyes turning to the door. Once the bed is flat, Smith straightens up and bares his teeth as he looks at Sherlock, running his tongue along his bottom lip before walking around to the other side of the bed. He straightens the glove on his right hand and leans down towards Sherlock.)
SMITH (in a whisper): Take a big breath if you want.
(Sherlock, looking afraid, lowers his gaze to Smith’s hands.)

MARY (on the DVD): Go to Hell, Sherlock.

(Sherlock gasps in a breath as Smith lays his right palm over his mouth and presses down hard, then covers Sherlock’s nose with his left hand .)

MARY (on the DVD): Go right into Hell, and make it look like you mean it.

(Brief shot of Sherlock’s empty chair in the living room.)

SMITH (pushing his hands down while Sherlock writhes under him): Murder is a very difficult addiction to manage. People don’t realise how much work goes into it. You have to be careful.
(Sherlock’s eyes are wide and he grabs at Smith’s lower right arm and flails weakly with his other hand, trying to dislodge him.)
SMITH: ... but if-if you’re rich or famous and loved, it’s amazing what people are prepared to ignore.
(His voice shakes with effort as he resists Sherlock’s struggles.)
SMITH: There’s always someone desperate, about to go missing ...
(The camera angle changes to show John’s cane leaning against the chair near the door.)
SMITH: ... and no-one wants to suspect murder if it’s easier to suspect something else!
(Sherlock continues to struggle under him, his face covered with sweat.)
SMITH: I just have to ration myself; choose the right heart to stop.

MARY (on the DVD): Go and pick a fight with a bad guy. Put yourself in harm’s way.

(Sherlock struggles, his eyes full of panic.)
SMITH (in an intense whisper): Please, maintain eye contact. Maintain eye contact.
(Sherlock stares up at him, writhing.)
SMITH (even quieter but just as intense, staring down at Sherlock): Maintain eye contact. Please. I like to watch it ... happen.

MARY (on the DVD): If he thinks you need him, I swear ...

(John comes through the door at the end of the hospital corridor and hurries along it. He reaches the door to Sherlock’s room. The police officer isn’t there but his cap still lies on the chair beside the door. John lowers the door handle and pushes forward but the door doesn’t open. He rattles the handle a couple of times, then urgently looks along the corridor.
Inside, Smith leans down closer to Sherlock, his teeth bared and his gaze ecstatic as he speaks.)

SMITH (savagely, slowly): And off we ... pop.
(Sherlock’s eyes glaze and begin to close.)

MARY (on the DVD): ... he will be there.

(Sherlock stops moving and the heart monitor goes into a long single tone. The door smashes open revealing John holding a fire extinguisher. Clearly he just rammed it into the door to break the lock. Smith turns to look, straightening up and releasing Sherlock, who noisily hauls in a long painful breath. As the heart monitor starts to blip again, John drops the fire extinguisher and storms into the room, followed by the police officer.)
POLICE OFFICER: Mr Holmes! You okay?
(John surges across the room and wraps his arm around Smith’s neck, bundling him away from the bed.)
JOHN: What were you doing to him?
(Smith whimpers plaintively. Sherlock moves weakly on the bed.)
JOHN (yelling): What were you doing?!
(He drags Smith across the room. Smith flails in the direction of the bed.)
SMITH: He’s in distress! I-I’m helping him!
(John hurls him into the confused police officer’s hands.)
JOHN: Restrain him, now. Do it.
(The officer takes hold of Smith’s arms from behind. Smith gestures towards the bed.)
SMITH: I was trying to help him!
JOHN: Sherlock, what was he doing to you?
SHERLOCK (breathlessly): Suffocating me, overdosing me. (He points weakly towards the drug stand.)
JOHN: On what?
SHERLOCK: Saline.
JOHN (frowning round to him): Saline?
SHERLOCK: Yeah, saline.
(He props himself up onto one elbow, still breathing hard.)
JOHN: What d’you mean, saline?
(He goes over to look at the drip bag. Sherlock groans and breathes out shakily. Smith looks worriedly towards John’s back.)
SHERLOCK: Well obviously I got Nurse Cornish to switch the bags. She’s a big fan, you know? Loves my blog.
(John frowns down at him.)
JOHN: You’re okay?
SHERLOCK (having now caught his breath): No-no, of course I’m not okay. Malnourished, double kidney failure, and frankly I’ve been off my tits for weeks. (He squints up at John.) What kind of a doctor are you?
(Groaning, he settles down on the pillows.)
SHERLOCK: I got my confession, though, didn’t I?
(He looks across to Smith, who pulls himself free of the police officer.)
SMITH: Huh! I don’t recall making any confession.
(He walks forward. John holds out a hand towards him.)
JOHN: Whoa, whoa, whoa, whoa.
SMITH (stopping and looking indignantly at him): What would I be confessing to?
SHERLOCK: You can listen to it later.
SMITH: But there is no confession to listen to!
(He stops and gasps, holding up his hands.)
SMITH: Oh, Mr Holmes. I-I don’t know if this is relevant, but we found three potential recording devices in the pockets of your coat.
(Sherlock looks across to him.)
SMITH: Um, all your possessions were searched. (He looks at John.) Sorry.
(Sherlock lowers his eyes, looking shocked. John and Smith look at him.)
SHERLOCK (softly): Must be something comforting about the number three. People always give up after three.
(He raises his eyes to Smith, who stares back at him in horror. Sherlock’s gaze moves across to John.)
JOHN: What? What is it? What?
(Sherlock stays silent, a slight smile forming on his face while he waits. After a moment John sighs in exasperation.)
JOHN: You cock.
SHERLOCK: Yeah.
JOHN: Utter, utter cock.
SHERLOCK: Heard you the first time.
(He turns his head away and settles more comfortably onto the bed. John steps across to the chair by the door and picks up his walking cane. Turning back to the bed, he holds it up.)
JOHN: So how-how does it open?
SHERLOCK: Screw the top.
(John takes hold of the handle and starts to turn it, while Smith watches with a grim expression on his face. John pulls the handle off the cane, revealing a small device inside the stick which is glowing bright red. John pulls the recording device out and the bulb goes out. He looks across to Sherlock.)
JOHN: Two weeks ago?
SHERLOCK: Three.
JOHN: I’m that predictable?
SHERLOCK (smiling): No.
(Holding his gaze, John sighs through his nose, then looks down. Sherlock turns to look at Smith.)
SHERLOCK: I’m just a cock.
(Smith stumbles on the spot, staring at the recording device, his face full of despair.)

POLICE INTERVIEW ROOM. Greg reaches across to the side of the table and switches off the recorder. Smith sits on the other side of the table beside a woman who is presumably his lawyer. Greg rests his elbow on the table and lowers his head into his hand, then rubs his eyes with his fingers and thumb.
SMITH (his usually neat hair in disarray): It’s funny, I ... I never realised confessing would be so enjoyable.
(Greg lifts his head, looking at him tiredly.)
SMITH: I sh-should have done it sooner.
(Greg looks away.)
LESTRADE: We’ll carry on tomorrow. (He reaches for his jacket on the back of his chair.)
SMITH: Well, w-w-we could carry on now. I’m-I’m not tired. There’s loads more.
LESTRADE (putting on his jacket): Tomorrow.
SMITH: You know, I am gonna be so famous now.
LESTRADE (grimly): You’re already famous. (He drinks from a polystyrene cup.)
SMITH: Yeah, but with this ...
(He looks down thoughtfully, his eyes wide.)
SMITH: ... I can break America.
(Looking disgusted, Greg stands up and walks away. Smith gazes into the distance, smiling delightedly.)

SHERLOCK (voiceover): I had, of course, several other backup plans. Trouble is, I couldn’t remember what they were.
(In 221B’s living room, he sits in his chair holding a mug in both hands. He has his dark blue dressing gown over his clothes. Although he still has a few days’ of beard growth, his hair looks cleaner than it has been recently, though it’s still not at the full SherCurls standard. The room is much tidier, all evidence of Culverton Smith removed, and the fire is lit.)
SHERLOCK: And, of course, I hadn’t really anticipated that I’d hallucinated meeting his daughter.
(Sitting opposite him and also holding a mug, John nods.)
MARY (offscreen): Basically he trashed himself on drugs so that you’d help him ...
(John’s eyes have lifted to where Mary turns around from where she’s standing in front of the window, now wearing the same top she wore when recording her DVD to Sherlock. Throughout most of the rest of the scene she intermittently disappears and then reappears by the window behind Sherlock’s chair.)
MARY: ... so that you’d have something to do, something doctory. You get that now, though?
(In front of her, Sherlock has taken a drink from his mug, gazing towards the floor, and now he sighs.)
SHERLOCK (softly): Still a bit troubled by the daughter. Did seem very real, and she gave me information I couldn’t have acquired elsewhere.
(He raises his eyes to John’s. His left eye is still very bloodshot, though not as badly as it was in the hospital.)
JOHN: But she wasn’t ever here?
SHERLOCK: Interesting, isn’t it? I have theorised before that if one could attenuate to every available data stream in the world simultaneously, it would be possible to anticipate and deduce almost anything.
(He sniffs and looks down pensively.)
JOHN (nodding): Hm. So you dreamed up a magic woman who told you things you didn’t know.
MARY: Well, it sounds about right to me. (She looks up thoughtfully.) Possibly I’m biased. (She smiles down at John.)
SHERLOCK: Perhaps the drugs opened certain doors in my mind. (He looks away again, thinking about it.) I’m intrigued. (He takes another drink from his mug.)
JOHN: Oh, I know you are ...
(He tilts his head towards the door.)
JOHN: ... which is why we’re all taking it in turns to keep you off the sweeties.
SHERLOCK (lowering his mug and looking at him): I thought we were just hanging out.
(He smiles slightly. John looks at his watch, then looks up again.)
JOHN: Molly’ll be here in twenty minutes.
SHERLOCK: Oh, I do think I can last twenty minutes without supervision.
(He smiles again. John looks down, thinking for a moment.)
JOHN: Well, if you’re sure.
(He lifts his mug to drink from it. Sherlock turns his head, looking hurt.)
MARY (exasperated): Christ, John, stay. Talk!
(John puts his mug on the tray which is on top of the table beside him, then puts his hands on the chair arms and shifts forward.)
JOHN: Uh, sorry, it’s just, um, you know, Rosie.
SHERLOCK: Yes, of course, Rosie.
MARY: Go and solve a crime together. Make him wear the hat!
JOHN (looking at Sherlock): You’ll be okay for twenty minutes?
(Mary narrows her eyes and glares at him.)
SHERLOCK: Yes. Yes! Sorry, I-I wasn’t thinking of Rosie.
JOHN (standing up): No problem.
SHERLOCK (looking down initially): I should, uh, come and see her soon.
(He looks up hopefully at John.)
JOHN (flatly): Yes.
MARY: Actually, he should wear the hat as a special tribute to me. I’m dead. I would really appreciate it.
(As she speaks, John turns and walks towards the door. Behind him, Sherlock lowers his head, looking very lonely. He looks at his mug, and then raises his head.)
SHERLOCK: Oh, by the way, the recordings will probably be inadmissible.
(John turns on the landing and walks back into the room a little way.)
JOHN: Sorry, what?
SHERLOCK: Well, technically, it’s entrapment so it might get thrown out as evidence. Not that that matters; apparently he can’t stop confessing. (He chuckles.)
JOHN: That’s good.
SHERLOCK: Yeah.
(He looks away. John nods, flexing the fingers of his left hand for a moment, then turns towards the door. Mary watches him, a hopeful and expectant look on her face. Sherlock looks down at his mug again, then raises his head.)
SHERLOCK: Are you okay?
(Laughing sarcastically, John comes back into the room.)
JOHN: Uh, what, am I ... no, no, I’m not okay. I’m never gonna be okay.
(Standing behind Sherlock, Mary’s hands are linked in front of her and her head is tilted to one side but now she tilts it to the other side.)
JOHN: ... but we’ll just have to accept that. It is what it is; and what it is is ... shit.
MARY: John, do better.
(Sherlock lowers his eyes and nods understandingly. John pulls in a breath through his nose and lowers his own head.)
JOHN (almost silently): Hm.
(He lifts his head as he speaks.)
JOHN: You didn’t kill Mary.
(Sherlock’s eyes snap up to look at him.)
JOHN: Mary died saving your life. It was her choice. No-one made her do it. No-one could ever make her do anything ...
(Mary smiles at him.)
JOHN: ... but the point is: you did not kill her.
(Mary lowers her head and looks towards Sherlock. He turns his eyes to the carpet, his gaze distant.)
SHERLOCK (quietly): In saving my life, she conferred a value on it. (He hesitates for a moment.) It is a currency I do not know how to spend.
(Mary smiles affectionately at him, then raises her eyes to John. John looks at Sherlock for a while, looks away and then turns back to him.)
JOHN: It is what it is.
(He gives a brief tight smile. Sherlock nods and lowers his head.)
JOHN (pulling in a breath): Uh, I’m tomorrow, six ’til ten. I’ll see you then.
SHERLOCK (raising his mug to him in a toast and smiling): Looking forward to it.
JOHN (unconvincingly): Yeah.
(He turns to leave. Just then Sherlock’s phone, face down on the table beside him, lights up and a very familiar female orgasmic voice sighs from the speaker. John stops dead on the landing. Mary, smiling towards John’s back, looks down in surprise. Sherlock, raising his mug to his lips, glances across at the phone.)
MARY: That noise: that’s a text alert noise.
JOHN (to Sherlock, turning round and coming in again): What was that?
(Lowering his mug, Sherlock looks around the room as if confused.)
SHERLOCK: Mm? (He swallows his mouthful.) What was what?
MARY: That’s the text alert of Irene Adler. She’s the scary mad one, right?
JOHN (to Sherlock): That noise.
SHERLOCK (raising his mug to his mouth again): What noise?
(Mary walks around to Sherlock’s side and looks down at him.)
MARY: But she’s dead. (She sucks in a long gasp and looks at John.) Ooh, I bet she isn’t dead!
(John walks slowly closer while Mary bends down to look at Sherlock, smiling at him.)
MARY: I bet he saved her! (Laughing) Oh my God!
(Sherlock tries to look as if he doesn’t understand the fuss as John walks closer to him, frowning.)
MARY: Oh, the posh boy loves the dominatrix! (Raising her eyes to John as she speaks) He’s never knowingly under-clichéd, is he?
(John stops in front of his chair, looking thoughtful. Sherlock looks up at him.)
SHERLOCK: John?
JOHN: I’m gonna make a deduction.
SHERLOCK: Oh, okay. That’s good.
JOHN: And if my deduction is right, you’re gonna be honest and tell me, okay?
SHERLOCK: Okay. Though I should mention that it is possible for any given text alert to become randomly attached to a ...
JOHN (interrupting): Happy birthday.
(Mary, now standing up straight, smiles down at Sherlock as he looks up at John silently for a moment, then nods his head.)
SHERLOCK: Thank you, John. That’s ... very kind of you. (He looks down to his mug.)
JOHN: Never knew when your birthday was.
SHERLOCK (quietly, lifting the mug to his lips): Well, now you do. (He drinks.)
JOHN: Seriously, we’re not gonna talk about this?
SHERLOCK (keeping his eyes lowered): Talk about what?
JOHN: I mean, how does it work?
SHERLOCK (precisely, still not meeting his eyes): How does what work?
JOHN (smiling briefly): You and The Woman.
(Sherlock closes his eyes and sighs in exasperation as John continues.)
JOHN: D’you go to a discreet Harvester sometimes? Is there a ... night of passion in High Wycombe?
[Harvester is a restaurant chain in the UK. High Wycombe is a town in Buckinghamshire.]
SHERLOCK: Oh, for God’s sakes. I don’t text her back.
JOHN (chuckling as he moves a few steps across the room): Why not?!
(He stops and looks at him, grinning, and his voice becomes louder.)
JOHN: You bloody moron!
(Sherlock stares up at him.)
JOHN (loudly): She’s out there ... (he points towards the stairs) ... she likes you, and she’s alive.
(His voice starts to get angry.)
JOHN: ... and do you have the first idea how lucky you are?
(Beside Sherlock, Mary smiles down at him as he looks up at John, his left hand upturned on the arm of the chair as if still pretending he doesn’t know what John’s talking about.)
JOHN: Yes, she’s a lunatic, she’s a criminal, she’s insanely dangerous – trust you to fall for a sociopath ...
(As he was speaking, Mary has walked across the room towards the kitchen. Now she turns her head towards John as she loops around his chair.)
MARY (exasperated): Oh, married an assassin!
(She heads off across the room and ends up in front of the dining table. She turns and leans against the back of one of the dining chairs while John talks loudly to Sherlock, his hands on his hips.)
JOHN: ... but she’s ... you know ... (He stops, unable to find the words.)
SHERLOCK: What?
JOHN: Just text her back.
SHERLOCK: Why?
JOHN: Because High Wycombe is better than you are currently equipped to understand.
(Sherlock looks down, pouting a little.)
SHERLOCK: I once caught a triple poisoner in High Wycombe.
JOHN (quieter): That’s only the beginning, mate.
SHERLOCK (sighing): As I think I have explained to you many times before, romantic entanglement, while fulfilling for other people ...
JOHN (interrupting): ... would complete you as a human being.
SHERLOCK: That doesn’t even mean anything.
JOHN (leaning closer to him): Just text her. Phone her. Do something while there’s still a chance, because that chance doesn’t last forever. Trust me, Sherlock: it’s gone before you know it. (Firmly, emphasising each word) Before you know it.
(Mary lowers her head, her face sad. Sherlock flicks a couple of nervous glances up at John. After a moment, John tilts his head towards where Mary is standing.)
JOHN: She was wrong about me.
(Mary raises her head. Sherlock looks up at him.)
SHERLOCK: Mary? How so?
(John looks towards the fireplace, then pulls in a breath and walks a little closer.)
JOHN: She thought that if you put yourself in harm’s way I’d ... I’d rescue you or something. But I didn’t – not ’til she told me to. (He briefly glances towards Mary as he says ‘she.’) And that’s how this works. That’s what you’re missing. (He points towards Mary.) She taught me to be the man she already thought I was. Get yourself a piece of that.
SHERLOCK: Forgive me, but you are doing yourself a disservice. I have known many people in this world but made few friends, and I can safely say ...
JOHN: I cheated on her.
(Sherlock stops. Mary straightens up from where she was leaning on the back of the chair, looking shocked. John gestures towards Sherlock.)
JOHN: No clever comeback?
(Immediately he turns to directly face the ghost of his wife.)
JOHN: I cheated on you, Mary.
(Sherlock blinks, perhaps realising what’s happening, but he stays silent as he turns his head towards where John is looking.)
JOHN: There was a woman on the bus, and I had a plastic daisy in my hair. I’d been playing with Rosie. (He pauses for a moment then raises his eyes.) And this girl just smiled at me.
(Mary gazes back at him. There is no condemnation on her face.)
JOHN: That’s all it was; it was a smile.
(Sherlock’s eyes turn back to John.)
JOHN (to Mary): We texted constantly. You wanna know when? Every time you left the room, that’s when. When you were feeding our daughter; when you were stopping her from crying – that’s when.
(Mary lowers her eyes and gives a small smile. John swallows, his eyes starting to fill with tears.)
JOHN: That’s all it was, just texting.
(Sherlock has lowered his eyes and is gazing into the distance.)
JOHN: But I wanted more.
(Sherlock lifts his head and his eyes to John again. Mary is smiling tearfully at her man.)
JOHN: And d’you know something? I still do. I’m not the man you thought I was; I’m not that guy. I never could be. But that’s the point. (He sniffs, then looks at her as his eyes fill with more tears. He bites his lip and speaks tearfully.) That’s the whole point.
(Again he bites his lip. Mary looks back at him, her own eyes filled with tears. She smiles at him as he speaks again.)
JOHN: Who you thought I was ... (she nods at him) ... is the man who I want to be.
(He swallows, fighting off his tears. She smiles gently back at him.)
MARY (softly): Well, then ... John Watson ...
(She raises her head and smiles widely and fondly at him. He stares back at her. She looks at him for a long moment.)
MARY: Get the hell on with it.
(She nods at him and smiles through her tears. The perspective changes and she has gone. John stares ahead of himself for a long moment, then gradually lowers his head into his left hand and starts to cry. Sherlock quietly puts his mug onto the table beside him, then stands up. John sobs, tears pouring from his face and falling to the floor. Slowly Sherlock walks across to him.)
SHERLOCK (softly): It’s okay.
(He tentatively raises his arms, perhaps hesitating momentarily for fear of being rejected again, then slowly puts his left hand onto John’s arm and his right hand onto his back before sliding it upwards to gently cradle his neck. He moves closer, sliding his left arm up to hold John’s shoulder.)
JOHN (tearfully): It’s not okay.
SHERLOCK (softly): No.
(He lowers his cheek onto the top of John’s head.)
SHERLOCK (softly): But it is what it is.
(Blinking against his own tears, he continues to hold his sobbing best friend.)

Later, after your transcriber has had a bloody good cry and can finally see the screen of her laptop again, the camera pans down from the view over the houses of Baker Street and descends down towards the street.
SHERLOCK (offscreen): So Molly’s going to meet us at this ‘cake place.’
JOHN (offscreen): Well, it’s your birthday. Cake is obligatory.
(In the living room, Sherlock is putting on his coat.)
SHERLOCK: Oh, well. Suppose a sugar high’s some sort of substitute.
JOHN: Behave.
(He walks across the room towards the door. He has already put on his jacket.)
SHERLOCK: Right then. You know ...
(John stops and turns to him.)
SHERLOCK: ... it’s not my place to say but ... it was just texting.
(John looks away.)
SHERLOCK: People text.
(John heaves an unhappy sigh as Sherlock continues.)
SHERLOCK: Even I text. Her, I mean, The Woman. Bad idea; try not to, but, you know, sometimes.
(He pulls in a breath.)
SHERLOCK: It’s not a pleasant thought, John, but I have this terrible feeling, from time to time, that we might all just be human.
JOHN: Even you?
SHERLOCK: No.
(John blinks at him.)
SHERLOCK: Even you.
(John looks at him silently for a long moment while he takes that in, then turns towards the door.)
JOHN: Cake?
SHERLOCK (nodding): Cake.
(John starts to walk out the door but stops when Sherlock speaks again.)
SHERLOCK: Oh, um ...
(He walks across the room to the cabinet to the right of the dining table. It’s the same cabinet he put Irene’s phone into at the end of “Scandal.”)
JOHN: What? What is it?
(Sherlock pulls open a drawer and starts rummaging in it.)
JOHN: What’s wrong?
(Sherlock straightens up and turns, simultaneously putting on his deerstalker. John laughs.)
JOHN: Seriously?!
SHERLOCK: I’m Sherlock Holmes. I wear the damn hat.
(Lifting one leg behind him and kicking the drawer closed, he walks across the room and out of the door.)
SHERLOCK (not slowing or turning around): Isn’t that right, Mary?
(Startled, John stops and turns back into the room and looks around before blinking and then turning to follow his friend. The camera pans slowly across the room to show that there’s nobody there.)

[Transcriber’s note, inserted here so as not to interrupt later scenes: a person’s name will be given during a later conversation. It’s an unusual name and there has been much discussion online about how it is spelled, because historically there are two variants. I have chosen to go with the version that seems most likely to be correct, even though it’s pronounced slightly differently, but this spelling was used in the BBC subtitles and was therefore probably given to the subtitler by the producers. If the next episode or the writers/producers specifically clarify that they choose to spell it the other way, I’ll correct the transcript.]

John is again sitting in the chair in the back room of his therapist’s house, his legs crossed in front of him.
THERAPIST (offscreen): You seem so much better, John.
JOHN (nodding): Yeah, I ... I am. I think I am. Not all day; not every day, but, uh, you know.
THERAPIST: It is what it is?
JOHN: Yeah.
THERAPIST: And Rosie?
JOHN: Oh, beautiful, perfect, unprecedented in the history of children. (He smiles.) That’s not my bias; that’s scientific fact. (He nods.)
THERAPIST: Good.
(He smiles again.)
THERAPIST: And Sherlock Holmes?
JOHN: Back to normal.

SHERLOCK (offscreen, angrily): Get out!
(In the living room of 221B Sherlock – now clean-shaven, with his hair back into the proper SherCurls and wearing his usual suit – grabs the door handle and angrily pulls it open.)
MALE CLIENT: She’s possessed by the Devil!
(The angle changes to look at the middle-aged man. Beyond him, the horns of the skull on the wall above the dining table look as if they’re coming out of either side of his head.)
MALE CLIENT: I swear my wife is channeling Satan!
SHERLOCK (crossly): Yes, boring. (He gestures towards the landing.) Go away!
(Making an exasperated sound, the man storms out of the room. His wife follows, turning to Sherlock as she passes him.)
WIFE (exasperated): I’m not channelling Satan!
SHERLOCK: Why not, given your immediate alternative?
(He slams the door shut, then turns and walks towards the kitchen but stops when he sees a piece of paper lying on the floor in front of the small table in the corner. It had been blocked from his view by a cabinet behind John’s chair. Frowning, he goes down onto one knee to pick it up. His eyes widen when he realises that it’s Faith’s note.)

THERAPIST (in her consulting room): What about his brother?
JOHN: Mycroft? He’s fine.

MYCROFT: So, you’re off now?
(In his Diogenes office, both he and Lady Smallwood are putting on their coats. Your transcriber’s eyes raise for a moment but then she realises that this is Mycroft bloody Holmes and there’s no chance that they’ve been up to what she momentarily thought they might have been.)
MYCROFT: I won’t see you for a week?
LADY SMALLWOOD (looking into the mirror on the wall as she adjusts her coat around her): Just spending it at home ... unless she calls.
(She turns away from the mirror.)
MYCROFT: The P.M.
[Prime Minister.]
LADY SMALLWOOD (holding out a business card to him): Here.
MYCROFT (taking it): What’s this?
LADY SMALLWOOD: My number.
MYCROFT: I already have your number.
LADY SMALLWOOD: My private number.
MYCROFT: Why would I need that?
LADY SMALLWOOD (blinking innocently): I don’t know. Maybe you’d like a drink some time.
MYCROFT (frowning): Of what?
LADY SMALLWOOD: Up to you. (She smiles at him.) Call me.
(She turns and leaves the room. Mycroft turns to follow, looking at the card, then chuckles, turns back and drops the card onto an open notebook on his desk. A close-up shows that the card reads LADY ALICIA SMALLWOOD [which immediately sent your transcriber into hysterics and prompted her to post this set of screencaps on Tumblr which, in less than a week, received more than 4000 Likes and Reblogs!]. Under her name, too out-of-focus to see clearly, are her email address and a telephone number. Mycroft turns and starts to walk away, then he stops, looking thoughtful, and turns back.)

JOHN (in the therapist’s room): I mean, obviously ‘normal’ and ‘fine’ are both relative terms when it comes to Sherlock and Mycroft.
THERAPIST (smiling): Obviously.

In his office, Mycroft walks back to the desk and reaches out a hand towards the card. He hesitates for a long moment, tapping his fingers on the edge of the desk, then turns away again.

In 221B, Sherlock has gone into the kitchen and holds the piece of paper up to the light suspended over the table, looking at the writing on it. He turns it over and continues looking at it.

SHERLOCK: She was real.
(He frowns at the paper.)

Mycroft pulls open his office door and starts to walk out, but then pauses, looking thoughtful. Eventually he turns back. A few moments later he picks up the card.
Handwritten on the left page of the notebook on which the card had been lying are the words:


Monitor —
Baker Street.
Blind Greenhouse.
Leaning Tomb.
Clock Face —
        Elizabeth
           Tower?

[The last entry, which reads in full ‘Clock Face – Elizabeth Tower?’ harks back to Mrs Hudson’s suggestion in “His Last Vow” that Sherlock had a ‘bolt hole’ behind the clock face of Big Ben. More explanation of the differing names here.]

On the right hand page is handwritten:


CALL
SHERRINFORD
2 pm

THERAPIST (offscreen): I didn’t mean Mycroft.
(In her consulting room, she smiles across to John.)
THERAPIST: I meant the other one.
JOHN: Wh-which other one?
THERAPIST: You know – the secret one.
JOHN: Oh, that was just something I ... (he smiles and takes a breath) ... I said. I’m sure there’s ...
(He stops, looking at her for a long moment.)
JOHN: How did you know about that? I didn’t tell you that.
THERAPIST: You must have done.
JOHN: I really didn’t.
THERAPIST: Well, maybe Sherlock told me.
JOHN (shifting forward in his seat): No, you’ve met Sherlock exactly once. In this room. He was off his head.
THERAPIST: Oh, no, no. I-I-I met him before that.
JOHN: When?
THERAPIST (smiling): We spent a night together.
(John blinks.)
THERAPIST: It was lovely. We had chips.
(Cut-away flashback to Faith sitting at the bus stop beside Sherlock, eating from the carton on her lap.
Cut-away flashback to the camera revolving around that version of Faith as she sits on the client chair in 221B’s living room.
Cut-away to a new flashback of Faith walking briskly alone across one of the Golden Jubilee Bridges holding her walking cane in front of her, clearly having no need for it.)

THERAPIST (in her consulting room, speaking with Faith’s northern English accented voice): You’re not what I expected, Mr Holmes. (She over-emphasises the accent.) You’re ... nicer.
(John frowns. The woman takes off her glasses, blinking as her vision adjusts. When she next speaks, her German accent is back but is slipping slightly.)
THERAPIST: Culverton gave me Faith’s original note. (She stands up.) A mutual friend put us in touch.
(She walks across to the French windows and turns the key in the lock of the door, removing the key afterwards before turning back. As she continues talking, her accent slips even more, sometimes sounding German and sometimes veering more towards an English accent.)
THERAPIST: Did Sherlock ever tell you about the note?

In 221B’s kitchen, Sherlock – still holding Faith’s note in one hand – frantically pulls open the top drawer under the work surface, glances quickly in, slams it shut again and pulls open the next drawer down and starts rummaging inside it.

THERAPIST: I added some deductions for Sherlock. (She puts the door key onto the side table, then drops her glasses onto the table.) He was ... quite good.

In 221B’s kitchen Sherlock reaches up to the overhead light and adjusts the bulb until it goes out, plunging the kitchen into near-darkness.

THERAPIST (turning towards John): But ...

Sherlock stares downwards, his face illuminated by a dark blue light.

THERAPIST: ... he didn’t get the big one.

Sherlock shines an ultraviolet torch down onto the note. Illuminated by its blue glow, written on the paper in something like linseed oil, two large words glow brightly, overlaying the handwriting. They read

MISS
ME?

Sherlock’s eyes lift from the note in shock.

The therapist is bent forward, gasping sharply as she holds her right eye open with her left index finger and thumb. Lowering that hand she straightens up and looks down to her right hand. A contact lens is resting on the tip of her index finger. The lens has brown colouring around the centre. Tossing her hair back a little, she turns to look at John, revealing that her right eye is now a grey-blue colour while her left eye is still brown. John stares up at her. When she speaks, all trace of the German accent is gone. She’s now talking with a well-educated southern English accent.

THERAPIST: In fairness, though, he does have excellent taste in chips.
(She reaches up with her left hand and brushes her hair back. She has a white plastic daisy-like flower behind her ear.)
JOHN: What’s that?
THERAPIST: What’s what?
JOHN: The flower in your hair: it’s like I had on the bus.
THERAPIST (taking the flower from her ear as she walks towards him): You looked very sweet. (She looks down at the flower.) But then ...
(She bends down and looks into his eyes. When she speaks, it’s with the Scottish voice of the girl on the bus.)
THERAPIST: ... you have such nice eyes.
(Brief cut-away of the redhead on the bus smiling towards John.
In the house, John sinks back in his chair, stunned by the revelation.)

THERAPIST (back in her English accent): Amazing the times a man doesn’t really look at your face. (She turns and walks across the room.) Oh, you can hide behind a sexy smile, or a walking cane ... (she turns and looks at him with her mis-matched eyes) ... or just be a therapist, talking about you ... (she looks bored) ... all the time.
(John finally catches up to the fact that he’s in trouble and stands up. Instantly she reaches to a nearby table and turns back and aims a pistol at him. He raises his hands and backs away a little.)
THERAPIST: Oh, please don’t go anywhere. I’m sure the therapist who actually lives here wouldn’t want blood on the carpet.
(She pauses briefly as if thinking.)
THERAPIST: Oh, hang on, it’s fine. She’s in a sack in the airing cupboard.
JOHN: Who are you?
THERAPIST (lowering the gun to her side): Isn’t it obvious? (She steps forward a few paces, smiling.) Haven’t you guessed? (Her smile drops.) I’m Eurus.
JOHN (shaking his head): Eurus?
THERAPIST/EURUS: Silly name, isn’t it? Greek. Means the East Wind.
(John stares at her.)
EURUS: My parents loved silly names, like Eurus ... or Mycroft ... or Sherlock.
(John’s mouth drops open a little.)
EURUS: Oh, look at him. Didn’t it ever occur to you – not even once – that Sherlock’s secret brother might just be Sherlock’s secret sister?
(John blinks, frowning.)
EURUS: Huh. He’s making a funny face.
(She raises her gun and points it at him.)
EURUS: I think I’ll put a hole in it.
(John raises his hands again, his eyes wide.
Eurus pulls the trigger.
And in an identical repeat to the beginning of the episode, we see the gun from the business end pointing directly towards the camera as smoke rises from it, but then the image is overlaid with a blood red colour.)





A full list of episode transcripts, DVD commentary summaries/transcripts, and transcripts of the DVD special features can be found here.

Direct links to episode transcripts:
A Study in Pink (pilot) / A Study in Pink (broadcast) / The Blind Banker / The Great Game
A Scandal in Belgravia / The Hounds of Baskerville / The Reichenbach Fall
Many Happy Returns / The Empty Hearse / The Sign of Three / His Last Vow
The Abominable Bride
The Six Thatchers / The Lying Detective / The Final Problem


Or, to download the Episode Transcripts in Word or PDF, click here.


Comments 
14th-Jan-2017 07:06 pm (UTC)
Regarding Lady Smallwood, wouldn't be surprised that Elizabeth is her public name, but Alicia is what she goes by in private. Like a monarch not using his/her birth name (eg. King Edward VIII was actually David).
17th-Jan-2017 09:34 am (UTC)
Anonymous
This one time, it might be twins?
14th-Jan-2017 07:26 pm (UTC) - Mycroft's list
It's "Elizabeth Tower", i.e. the tower of Big Ben (of 9:02 chiming fame). It appears to be a list of Sherlock's "bolt holes" as mentioned in "His Last Vow".

As seen on this post along with theories of variable crackiness.

http://finalproblem.tumblr.com/post/155622848910/so-uh-hey-funny-thing-remember-how-i-said
14th-Jan-2017 09:50 pm (UTC) - RE: Mycroft's list
Fabulous, thank you! I'll edit it next time I'm on the laptop (typing on my phone at the moment).
14th-Jan-2017 09:11 pm (UTC)
I continue to be impressed not only with how your transcripts are written, but how quickly you manage to do so. (And, of course, I'm always impressed by how many details I have missed in every episode, even the ones I've watched more than once.)

One thing I never understood (but perhaps someone else might have thoughts on this) is how John [in The Six Thatchers] immediately blamed Sherlock for Mary's death, even tho he comes into the Aquarium Room at least 30 seconds or so AFTER Mary's been shot. He didn't see what occurred, so he doesn't even know that Mary died as a result of jumping in front of Sherlock. So, basically, John is blaming Sherlock just on the basis that he swore he'd protect himself and his wife, and somehow failed to do so. That seems a bit extreme, since he doesn't have a clue as to whether it would have been possible to stop the shooting. (Like, for ex., one of the policemen hovering around (uselessly) shooting Vivian in the leg to stop the worst from occurring.)

Indeed, most of what Sherlock says to Ms. Norbury is heard only by Sherlock and Mary, and the audience heard all that Mary said prior to her death. By not speaking to Sherlock & assuming Mary doesn't truly speak to John from the afterworld, John could never know what occurred (other than Mary jumping in front of Sherlock) and that's after the fact. Is his continued anger at Sherlock merely projection from his own actions or does he truly blame Sherlock for Mary's actions?

I've been thinking about this since the first episode (and, of course, it played a large role in the second) but I wanted to wait until everything had been written out about both episodes before bringing it up (per your extremely nice suggestion after episode one.)

Thanks again for not sleeping for a week so that others could read, in detail, what exactly occurred in episode 2!!
15th-Jan-2017 06:11 am (UTC)
I was thinking exactly the same thing, but a fellow fan pointed out to me that, even though he was out of the room, it's possible he could have heard the entire confrontation echoing through the halls while he was running to get there. He didn't see what occurred, but what he might have heard was possibly more damning because he wouldn't have known in that moment that it was Mary's choice to take the bullet. And that he wouldn't have seen what I found obvious from the visual (but apparently is not entirely common to every watcher)--that Sherlock stepped forward and started being insulting only after Vivian threatened Mary, in an effort to draw her attention onto himself rather than the superagent most likely to be a threat to her escape.

No disagreement, though, that John's a tool to bring up the stupid vow Sherlock became so obsessed with, and blame Sherlock for her death. It's has been a matter of no small internal difficulty for me to resolve with my previous internal picture of him. I've managed to get it to work in my head as simply another way John blames himself: for being such an idiot as to believe Sherlock could follow through on such a absurdly grandiose impossible promise; for sending his wife into danger without him; for having too much faith again in Sherlock Holmes. And of course the human instinct to lash out and find someone to blame, to which even the wisest fall victim.

(Also, minor point of fact: police in London do not carry guns. Why Mary didn't have one, I have no idea.)
15th-Jan-2017 12:30 pm (UTC) - John blaming Sherlock
I found this from Martin Freeman really helpful:
https://www.youtube.com/watch?v=7tThtRtMXk8
15th-Jan-2017 01:29 pm (UTC)
I guess guns are such a feature of American life that I forget most (all?) other developed countries do not have the same issue with guns that pervades the American culture. (But yes, one would think an accomplished assassin that has lived as long as Mary would always carry a gun on any mission that has just a possibility of being a problem...)

John's behavior throughout this entire season has baffled me. This is the second time someone has had to explain to me what or why he has behaved in a particular manner. For ex., while telling his 'therapist' that Sherlock has made no effort to come around and help, I (of course) think back to episode 1 wherein Sherlock (of course) comes over to John's place to see if there is another he can do to help, & Molly has been put in the impossible position of having to hand him (what I'll presume) is an extremely nasty note from John as well as tell Sherlock to his face that John would prefer help from 'anyone' else. After that, coming over again would be an act of astonishingly bad taste since Mary's death has to be resolved by John in his own time and way, rather than when Sherlock would like to repair his relationship with his friend.

But yes, while John is beating the shit out of Sherlock and then follows that with a statement that yes, Sherlock DID kill his wife, I felt like smacking him. No matter how much he was grieving over his tremendous loss, bc what a load of crap. At that point, I'm just thinking what a pretentious hypocritical prig he was, and a terrible friend to boot.

Sherlock is brilliant and quite a wondrous fighter in this series, but he is also cursed with an addiction that doesn't magically disappear bc of his other assets and he is not a superhero with the ability to leap over buildings or even build up iron suits to help him fight crime (altho I'd LOVE for him to meet up with Tony Stark, only bc that would be totally cool AND place two actors who have been SH together on screen...) John has to realize that Sherlock can deduct things in a second, but that he is still human (something Sherlock tells HIM later in the episode, and about John, as opposed to himself...)

I guess the first 3 seasons led me to think of John as someone less likely to fall prey to (lasting) human failure and thus he surprised me when he acted like a regular guy, rather than the upstanding, moral doctor and soldier I immediately think of when John pops into my head. It's a ridiculous simplification, but while the Holmes family was explained in more specific detail, I feel that BBC Sherlock didn't give the other characters as much depth and characterization. (Or, maybe, that I simply didn't see what the producers had truly said about John, for ex., until others' explained how his character had developed throughout the series.)

Thanks for answering my question, tho, and just in time, so that I can see the finale with some sort of understanding of the characters involved, instead of wallowing in ignorance during the airing. Less than 12 hours until it airs (my time) and I am extremely excited to see what occurs!! Even if I require Ariane's transcript and possibly yet a THIRD explanation to understand what actually happens...
15th-Jan-2017 03:07 pm (UTC)
I really don't have a problem with John here. He's human, he's imperfect, he reacts badly. To me - and I know that many others disagree - it's a sign of superb writing. He's not a perfect human being.

Yes, he over-reacts and blames Sherlock for Mary's death. Yes, he blames him for not keeping his vow. (It's actually lucky for Sherlock that John didn't hear Sherlock taunting Vivian and annoying her so much that she fired the gun, when she might not have if he'd kept his smug mouth shut.) But when you're devastated by the death of your loved one, you probably do over-react and look for anyone to blame. Also John is probably trying to hide from himself his guilt at having cheated on her.

I love how the writers have portrayed him here - as a proper, genuine, imperfect human being. I know that many people want all their characters to be beyond reproach, but that's not how real humans are, and I love the imperfection of both of our boys.

Also, take a look at the video which Betty links to above - Freeman explains it far better than me!

Edited at 2017-01-15 03:13 pm (UTC)
15th-Jan-2017 04:07 pm (UTC)
TY for the heads up on that video! When someone answers a comment I've made on your site, I only see their comment when I pull it up, and unless I deliberately seek out ALL comments for, say, part 4 of episode 2, I have no idea that someone else has done something so helpful as link to an explanation I'm seeking!

It's funny (albeit I understand why) that MF also mentions superheroes in his response, bc yes, it would have come down to Sherlock actually stopping a bullet: like Wonder Woman (I think?) wherein she has a bracelet that bullets hit and then just bang off to the side.

In any case, MF's explanation gives me a more well-rounded feel about Sherlock and John's relationship. (And, TBH, it's not just the horror of seeing John beat Sherlock up that offended me; I'm pretty positive I have a bias in how I view the show bc I care more about Sherlock then any of the other characters. So, while lots of fans are revolted by Sherlock trying to dose John in THoB, I merely see it as something Sherlock would of course do in order to test out his theory.)

Eight hours and counting!!
15th-Jan-2017 04:32 pm (UTC)
Actually you wouldn't have seen the link before. When someone puts a link in their post LiveJournal automatically screens it but - unlike other anonymous comments - it doesn't notify me of it. It's only if I go to the bottom of that page's entry and see it say that there is a 'suspicious' comment that I know to go and look at it, so I only spotted and unlocked it when I was writing to you.
14th-Jan-2017 10:12 pm (UTC) - Dramatic Irony
Anonymous
That’s what you’re missing. (He points towards Mary.) She taught me to be the man she already thought I was. Get yourself a piece of that.

Oh John, after all this time, how can you still not know? Sherlock HAS that. It's YOU, you blind bat! You and your blog! You've always seen Sherlock as a better man than he thinks he is. And you've BEEN teaching him, all this time, to be the man you already thought he was. The best and the wisest man you've ever known, remember?

Ack. too. much. dramatic. irony. Dying.

Thank you so, SO much. It's mind-boggling how you and your team manage to get these up so fast. Extraordinary! Amazing! Incredible! and all the rest of John's compliments to you! Your transcripts are the best way I know not to miss out on any of the truckloads of detail the writers put into each episode. I honestly don't know what I, or any hardcore fans, would do without you. THANK YOU.
14th-Jan-2017 10:33 pm (UTC)
I can't breathe, the tension is killing me! :)

Seriously, though, I do not like the whole Eurus thread, but John and Sherlock's show down and then their reconciliation was fantastic! I fell in love with John after these two episodes (yes, even his text fling didn't bother me, on the contrary, I thought it was so beautifully played), but those two scenes in TLD I simply loved so so much. They were both so good, it was just such a great, aesthetic pleasure to watch

And again I missed so much watching (I must be blind as a bat) that I only learn about in your wonderful transcripts.

So once again (and forever) thank you.

15th-Jan-2017 12:09 am (UTC)
You did it, 24 hours before the last episode! Hats off to you. And thank you so much, as always. You're a gem for the fandom.
15th-Jan-2017 04:44 am (UTC) - Yay x 4!
Lovely! Much, much, much appreciated!

** confetti **
** fireworks **
** other festive activity ad lib **
15th-Jan-2017 05:06 am (UTC) - Lady Whoever-the-hell
Not only should she not be both Lady Alicia and Lady Elizabeth, she should also not use both Lady [first name] and Lady Smallwood. Lady Alicia (or Elizabeth) she gets from being the daughter of an Earl, a Marquis, or a Duke. Lady Smallwood derives from being married to Lord Smallwood (although in modern times she might be Lady Something in her own right). Lord Smallwood might be a Baron or up. Smallwood might or might not also be his surname. The higher his rank, the more likely it's not his surname (or, by extension, hers). If he is (for example) Richard Roe, Lord Smallwood, then she is Elizabeth Roe, Lady Smallwood (neé Lady Elizabeth Evers) (for example, assuming she is indeed Lady both by birth and by marriage).

To be technical, if the hypothetical Richard Smallwood (we're assuming here that Smallwood is his surname) is a knight or a Baronet, he's not Lord Smallwood--he's Sir Richard Smallwood (not Sir Smallwood), but Alicia/Elizabeth still gets to be Lady Smallwood (not Lady Alicia/Elizabeth or Lady Richard).

FWIW.
15th-Jan-2017 03:01 pm (UTC) - Re: Lady Whoever-the-hell
Excellent point! I'd forgotten about the complicatedness of English titles. I assume that her card ought to have read, "Alicia, Lady Smallwood."

Blame Moffat, the ignorant Scot! ;-)

Edited at 2017-01-15 03:02 pm (UTC)
15th-Jan-2017 03:48 pm (UTC) - Re: Lady Whoever-the-hell
He was Lord Smallwood according to The Guardian.

Possible they're both life peers in their own right, like (eg) the Kinnocks.
15th-Jan-2017 06:13 am (UTC)
Thank you, thank you, thank you! Your efforts are so very much appreciated. :D
15th-Jan-2017 03:32 pm (UTC)
We may get confirmation tonight, but I've been assuming she's Euros rather than Eurus - since she said it was Greek, and Eurus would be the Latin spelling.

(So far, Sian Brooke has been credited as "Elizabeth" in the cast list, presumably to stop fans guessing her real significance as the East Wind which Sherlock told us Mycroft used to mention as a threat. Whether this has any bearing on the puzzle of Lady Smallwood's name, I cannot say. At present I'm assuming she's Alicia to her closest friends.)

ETA: Well, they seem to have gone with the Latin spelling, so no need for you to change it.

Edited at 2017-01-15 10:53 pm (UTC)
17th-Jan-2017 11:23 am (UTC) - Eurus/Euros
Anonymous
In the most recent episode, Sherlock and Mycroft pronounce their sister's name as Euros, quite distinctly. Also they say that the name is Greek, so that would indicate that it should be spelled 'Euros'[Εὖρος to be absolutely correct, I suppose]. The subtitles give 'Eurus', but I would not attach much importance to that, as they are produced by a different company (I believe).
[Bert]
17th-Jan-2017 01:59 pm (UTC) - Re: Eurus/Euros
Are the end credits also produced by a different company? They spell it "Eurus."

As for the subtitles, there is much evidence that although the subtitler is not given the script, he/she is given any unusual or complicated names or titles which will appear in the episode. Presumably, therefore, the production team included that name on the list.

As I said very clearly in my Transcriber's Note before the final scene, I will change the spelling only when the scriptwriters announce that they spell it the other way.
17th-Jan-2017 09:49 pm (UTC) - Re: Eurus/Euros
I think we have to go with the closing credits, which were quite clear. Moffat & co do go with unexpected spellings sometimes, such as Amy Pond's mother Tabetha.
15th-Jan-2017 03:49 pm (UTC)
Thank you so very, very much.

I don't know how you manage it in just a week; but I'm so grateful.

It's all printed out now, and ready for a re-watch later in the week, to see just how much I missed or misinterpreted!

You're a star . . . *hug*
16th-Jan-2017 04:41 am (UTC)
Anonymous
Hey, are you on Tumblr? I'm new to your blog and transcripts and I'd like to follow you but I'm not on LiveJournal. Sorry if you've already answered this somewhere obvious, and I totally understand if you don't want to give out your Tumblr to an anonymous person!
16th-Jan-2017 11:42 am (UTC)
I'm callie-ariane on Tumblr.
17th-Jan-2017 01:31 am (UTC) - Grammar
Anonymous
Did Smith say, "It’s like you walked into my den and laid down in front of me." or did he say, "It’s like you walked into my den and lay down in front of me."?
It would be very hard to hear the difference, so, unless you could get a sight of the actual script, we may never know. I have very rarely heard anyone on TV or radio use 'lie' when it is the correct verb to use (or its derivatives - lying, lay, lain). All I hear is 'lay', 'laying', 'laid' and 'laid'. It could be that Moffatt knows which is correct but chose to have Smith follow the herd, or it could be that Smith said 'lay down' (which is correct English).
[Bert]
22nd-Jan-2017 03:23 pm (UTC) - Re: Grammar
I've now had the chance to listen to this bit again and it does sound like "laid down" to me. There does seem to be an implied double 'd.' Admittedly he could have said "lay" but I'm hearing 'laid.'
17th-Jan-2017 03:16 pm (UTC)
Anonymous
Hey when will the third episode of sherlock holmes be on this?
17th-Jan-2017 03:57 pm (UTC)
When I've bloody written it! Give me a chance, for crying out loud; I'm barely sleeping as it is!
17th-Jan-2017 09:50 pm (UTC)
Take your time, dear. No hurry, we have the rest of our lives to ponder it!
18th-Jan-2017 01:24 am (UTC)
Thank you, sweetie. It's such a joy being nagged when I'm half-killing myself already(!) Thanks too for your agreement that we should use the spelling on the bloody screen of Eurus' name! There's just no pleasing some people ...
18th-Jan-2017 01:50 am (UTC)
Well, personally I think the Holmes parents got it wrong, but then Mrs H was a mathematician not a classicist. And Sherlock probably doesn't see it written down, as everything happened in a bit of a rush, so that may account for his pronunciation (which I agree sounded ossish).

I think 99% of people are amazed by the speed and efficiency of your transcription, not to mention the creativity and entertainment value of your commentary, and we're very grateful to you (and indeed the rest of the team) for putting so much work into it.
17th-Jan-2017 05:17 pm (UTC)
Thank you so much!
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