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The name's Sherlock Holmes and the address is 221B Baker Street. | 0:00:03 | 0:00:07 | |
Afternoon. | 0:00:07 | 0:00:08 | |
Yeah. | 0:00:08 | 0:00:10 | |
He's always like that. | 0:00:10 | 0:00:12 | |
WHIPS AND POUNDS | 0:00:12 | 0:00:13 | |
Bad day was it? | 0:00:13 | 0:00:15 | |
Since yesterday you've moved in with him and now you're solving crimes together. | 0:00:15 | 0:00:18 | |
-Mwah! -Look at you, all happy, it's not decent. | 0:00:18 | 0:00:21 | |
Who cares about decent? The game, Mrs Hudson, is on! | 0:00:21 | 0:00:24 | |
Don't make people into heroes, John. Heroes don't exist and, if they did, I wouldn't be one of them. | 0:00:26 | 0:00:30 | |
I will burn the HEART out of you. | 0:00:30 | 0:00:32 | |
Right, this should do it. | 0:00:32 | 0:00:34 | |
-Are you wearing any pants? -No. -OK. | 0:00:37 | 0:00:40 | |
THEY CHUCKLE | 0:00:40 | 0:00:42 | |
This is how I want you to remember me, the woman who beat you. | 0:00:42 | 0:00:45 | |
But there never was any monster. | 0:00:45 | 0:00:47 | |
HOWLING | 0:00:47 | 0:00:49 | |
-Sherlock? -Here we are, at last. | 0:00:49 | 0:00:51 | |
Argh! GUNSHOT | 0:00:51 | 0:00:52 | |
-Goodbye, John. -Sherlock! -'Those things will kill you.' | 0:00:52 | 0:00:55 | |
Oh, you bastard! | 0:00:55 | 0:00:57 | |
The thrill of the chase, the blood pumping through your veins, | 0:00:57 | 0:01:00 | |
just the two of us against the rest of the world. | 0:01:00 | 0:01:02 | |
Wait! | 0:01:02 | 0:01:04 | |
We're going to need to coordinate. | 0:01:04 | 0:01:06 | |
I asked you for one more miracle. | 0:01:06 | 0:01:07 | |
-I asked you to stop being dead. -I heard you. | 0:01:07 | 0:01:10 | |
Shut up! You are not a puzzle solver, you never have been. | 0:01:10 | 0:01:12 | |
You're a drama queen! | 0:01:12 | 0:01:14 | |
Now there is a man in there about to die. | 0:01:14 | 0:01:15 | |
The game is on, solve it! | 0:01:15 | 0:01:17 | |
He is the Napoleon of blackmail. | 0:01:17 | 0:01:20 | |
No chance for you to be a hero this time, Mr Holmes. | 0:01:20 | 0:01:23 | |
I'm a high-functioning sociopath! | 0:01:23 | 0:01:25 | |
GUNSHOT | 0:01:25 | 0:01:26 | |
There is no prison in which we could incarcerate Sherlock without | 0:01:26 | 0:01:29 | |
causing a riot on a daily basis. | 0:01:29 | 0:01:31 | |
The alternative, however, would require your approval. | 0:01:31 | 0:01:34 | |
To the very best of times, John. | 0:01:34 | 0:01:37 | |
-WOMAN'S VOICE: -Did you miss me? | 0:01:37 | 0:01:39 | |
-DISTORTED VOICE: -Did you miss me? | 0:01:39 | 0:01:40 | |
How is this possible? | 0:01:40 | 0:01:41 | |
-How is the exile going? -I've only been gone four minutes. | 0:01:41 | 0:01:44 | |
Well, I certainly hope you've learnt your lesson. | 0:01:44 | 0:01:46 | |
Who needs me this time? | 0:01:46 | 0:01:48 | |
Miss me? | 0:01:48 | 0:01:49 | |
England. | 0:01:49 | 0:01:50 | |
SHELL WHINES | 0:02:00 | 0:02:02 | |
"The Second Afghan War brought honours and promotion to many. | 0:02:02 | 0:02:06 | |
"But, for me, it meant nothing but misfortune and disaster." | 0:02:08 | 0:02:12 | |
HE GROANS | 0:02:16 | 0:02:18 | |
HE MOANS | 0:02:21 | 0:02:23 | |
All right, Captain. | 0:02:25 | 0:02:27 | |
WAR CRIES | 0:02:31 | 0:02:32 | |
"I returned to England with my health irretrievably ruined | 0:02:36 | 0:02:39 | |
"and my future bleak. | 0:02:39 | 0:02:41 | |
"Under such circumstances, I naturally gravitated to London. | 0:02:41 | 0:02:45 | |
"That great cesspool into which all the loungers..." | 0:02:45 | 0:02:48 | |
-Watson! -"..and idlers of the empire are drained." | 0:02:48 | 0:02:51 | |
Watson! | 0:02:51 | 0:02:53 | |
Stamford. | 0:02:53 | 0:02:54 | |
Remember? | 0:02:54 | 0:02:56 | |
We were at Barts together. | 0:02:57 | 0:02:59 | |
Yes, of course. Stamford. | 0:02:59 | 0:03:01 | |
Good Lord! Where have you been? | 0:03:01 | 0:03:03 | |
You're as thin as a rake! | 0:03:03 | 0:03:05 | |
I made it home. Many weren't so lucky. | 0:03:06 | 0:03:09 | |
So what now? | 0:03:11 | 0:03:12 | |
I need a place to live. | 0:03:12 | 0:03:14 | |
Somewhere decent at an affordable price. It's not easy. | 0:03:14 | 0:03:17 | |
STAMFORD CHUCKLES | 0:03:17 | 0:03:19 | |
You know, you're the second person to say that to me today. | 0:03:19 | 0:03:22 | |
Hmm? Who was the first? | 0:03:22 | 0:03:24 | |
POUNDING | 0:03:25 | 0:03:28 | |
Good Lord. | 0:03:31 | 0:03:33 | |
It's an experiment, apparently. | 0:03:33 | 0:03:36 | |
Beating corpses to establish how long after death bruising is | 0:03:36 | 0:03:40 | |
still possible. | 0:03:40 | 0:03:42 | |
Is there a medical point to that? | 0:03:43 | 0:03:45 | |
Not sure. | 0:03:45 | 0:03:47 | |
Neither am I. So, where's this friend of yours, then? | 0:03:47 | 0:03:51 | |
POUNDING CONTINUES | 0:03:55 | 0:03:57 | |
Excuse me. | 0:03:59 | 0:04:01 | |
I do hope we're not interrupting. | 0:04:02 | 0:04:04 | |
You've been in Afghanistan, I perceive. | 0:04:10 | 0:04:12 | |
Dr Watson, Mr Sherlock... | 0:04:12 | 0:04:15 | |
Excellent reflexes, you'll do. | 0:04:15 | 0:04:16 | |
I'm sorry...? | 0:04:16 | 0:04:18 | |
I have my eye on a suite of rooms near Regent's Park. Between us we could afford them. | 0:04:18 | 0:04:22 | |
Rooms? Who said anything about rooms? | 0:04:22 | 0:04:24 | |
I did, I mentioned it this morning, I was in need of a fellow lodger. | 0:04:24 | 0:04:26 | |
Now he appears after lunch in the company of a man of military aspect | 0:04:26 | 0:04:29 | |
with a tan and a recent injury, both suggestive | 0:04:29 | 0:04:32 | |
of the campaign in Afghanistan and an enforced departure from it. | 0:04:32 | 0:04:34 | |
The conclusion seemed inescapable. We'll finalise the details tomorrow evening. | 0:04:34 | 0:04:38 | |
Now, if you'll excuse me, | 0:04:38 | 0:04:40 | |
I have a hanging in Wandsworth and I'd hate them to start without me. | 0:04:40 | 0:04:42 | |
-A hanging? -I take a professional interest. | 0:04:42 | 0:04:45 | |
I also play the violin and smoke a pipe. I presume that's not a problem. | 0:04:45 | 0:04:49 | |
-Er, no, well... -And you're clearly acclimatized to never getting | 0:04:49 | 0:04:52 | |
to the end of a sentence. We'll get along splendidly. | 0:04:52 | 0:04:55 | |
Tomorrow evening, seven o'clock, then. | 0:04:55 | 0:04:57 | |
Oh, and the name is Sherlock Holmes | 0:04:57 | 0:04:59 | |
and the address is 221B, Baker Street. | 0:04:59 | 0:05:03 | |
Yes...he's always been like that. | 0:05:05 | 0:05:08 | |
Papers! Papers! | 0:05:44 | 0:05:47 | |
Papers! Papers! | 0:05:51 | 0:05:55 | |
CAROL SINGING IN BACKGROUND | 0:05:55 | 0:05:57 | |
-Here, how's The Blue Carbuncle doing? -Very popular, Dr Watson. | 0:05:57 | 0:06:00 | |
Is there going to be a proper murder next month? | 0:06:00 | 0:06:03 | |
I'll have a word with the criminal classes. | 0:06:03 | 0:06:05 | |
If you wouldn't mind. | 0:06:05 | 0:06:07 | |
Is that him? Is he in there? | 0:06:07 | 0:06:09 | |
-THUD -Ow! No. | 0:06:09 | 0:06:11 | |
No, no, not at all. Er, good day to you. | 0:06:11 | 0:06:13 | |
Let on, walk. | 0:06:13 | 0:06:16 | |
Merry Christmas, Mr Holmes! | 0:06:16 | 0:06:17 | |
Mr Holmes! | 0:06:36 | 0:06:38 | |
I do wish you'd let me know when you're planning to come home! | 0:06:38 | 0:06:41 | |
I hardly knew myself, Mrs Hudson. | 0:06:41 | 0:06:44 | |
That's the trouble with dismembered country squires. | 0:06:44 | 0:06:46 | |
They're notoriously difficult to schedule. | 0:06:46 | 0:06:49 | |
-What's in there? -Never mind. | 0:06:49 | 0:06:50 | |
Thank you. | 0:06:50 | 0:06:52 | |
Did you catch the murderer, Mr Holmes? | 0:06:52 | 0:06:53 | |
Caught the murderer, still looking for the legs. I think we'll call it a draw. | 0:06:53 | 0:06:57 | |
And I noticed you've published another of your stories, Dr Watson. | 0:06:57 | 0:07:00 | |
Yes, did you enjoy it? | 0:07:00 | 0:07:01 | |
No. | 0:07:01 | 0:07:03 | |
Oh? | 0:07:03 | 0:07:05 | |
-I never enjoy them. -Why not? | 0:07:05 | 0:07:08 | |
Well, I never say anything, do I? | 0:07:08 | 0:07:10 | |
According to you, I just show people up the stairs | 0:07:10 | 0:07:13 | |
and serve you breakfasts. | 0:07:13 | 0:07:14 | |
Well, within the narrative, that is, broadly speaking, your function. | 0:07:14 | 0:07:17 | |
My what?! | 0:07:17 | 0:07:19 | |
-Don't feel singled out, Mrs Hudson, I'm hardly in the dog one. -"The dog one?" | 0:07:19 | 0:07:23 | |
I'm your landlady, not a plot device. | 0:07:23 | 0:07:25 | |
Do you mean The Hound Of The Baskervilles? | 0:07:25 | 0:07:27 | |
And you make the rooms so drab and dingy. | 0:07:27 | 0:07:30 | |
Oh, blame it on the illustrator, he's out of control! | 0:07:30 | 0:07:32 | |
I've had to grow this moustache just so people will recognise me. | 0:07:32 | 0:07:36 | |
"Over the many years it has been my privilege to record | 0:07:36 | 0:07:39 | |
"the exploits of my remarkable friend, Mr Sherlock Holmes, | 0:07:39 | 0:07:42 | |
"it has sometimes been difficult to choose which of his many | 0:07:42 | 0:07:46 | |
"cases to set before my readers. | 0:07:46 | 0:07:49 | |
"Some are still too sensitive to recount, | 0:07:49 | 0:07:52 | |
"whilst others are too recent in the minds of the public. | 0:07:52 | 0:07:55 | |
"But in all our many adventures together, no case pushed my friend | 0:07:55 | 0:08:00 | |
"to such mental and physical extremes | 0:08:00 | 0:08:03 | |
"as that of The Abominable Bride!" | 0:08:03 | 0:08:06 | |
Good Lord! | 0:08:07 | 0:08:09 | |
Mrs Hudson, there is a woman in my sitting room! | 0:08:09 | 0:08:12 | |
Is it intentional? | 0:08:12 | 0:08:14 | |
She's a client. Said you were out, insisted on waiting. | 0:08:14 | 0:08:20 | |
Would you, er, care to sit down? | 0:08:20 | 0:08:22 | |
Didn't you ask her what she wanted? | 0:08:22 | 0:08:24 | |
You ask her! | 0:08:24 | 0:08:26 | |
Why didn't YOU ask her? | 0:08:26 | 0:08:27 | |
How could I, what with me not talking and everything?! | 0:08:27 | 0:08:30 | |
Oh, for God's sake, give her some lines, | 0:08:30 | 0:08:33 | |
she's perfectly capable of starving us! | 0:08:33 | 0:08:35 | |
Good afternoon. I am Sherlock Holmes, this is my friend and colleague, Dr Watson. | 0:08:35 | 0:08:39 | |
-You may speak freely in front of him, as he rarely understands a word. -Holmes! | 0:08:39 | 0:08:42 | |
However, before you do, allow me to make some trifling observations. | 0:08:42 | 0:08:45 | |
You have an impish sense of humour, | 0:08:45 | 0:08:47 | |
which currently you are deploying to ease a degree of personal anguish. | 0:08:47 | 0:08:50 | |
You have recently married a man of a seemingly kindly disposition, | 0:08:50 | 0:08:53 | |
who has now abandoned you | 0:08:53 | 0:08:56 | |
for an unsavoury companion of dubious morals. | 0:08:56 | 0:08:58 | |
You have come to this agency as a last resort, | 0:08:58 | 0:09:01 | |
in the hope that reconciliation may still be possible. | 0:09:01 | 0:09:03 | |
Good Lord, Holmes! | 0:09:03 | 0:09:05 | |
All of this is, of course, perfectly evident from your perfume. | 0:09:05 | 0:09:09 | |
Her perfume? | 0:09:10 | 0:09:12 | |
Yes, her perfume, which brings insight to me and disaster to you. | 0:09:12 | 0:09:15 | |
How so? | 0:09:15 | 0:09:16 | |
Because I recognised it and you did not. | 0:09:16 | 0:09:20 | |
-Mary! -John. | 0:09:21 | 0:09:23 | |
Why, in God's name, are you pretending to be a client? | 0:09:23 | 0:09:26 | |
Because I could think of no other way to see my husband, husband. | 0:09:26 | 0:09:30 | |
VIOLIN PLAYS | 0:09:32 | 0:09:33 | |
It was an affair of international intrigue. | 0:09:33 | 0:09:36 | |
-It was a murdered country squire. -Nevertheless, matters were pressing. | 0:09:36 | 0:09:39 | |
-I don't mind you going, my darling, I mind you leaving me behind. -But what could you do?! | 0:09:39 | 0:09:43 | |
Well, what do you do, except wander around taking notes, looking surprised?! | 0:09:43 | 0:09:46 | |
VIOLIN SCREECHES Enough! | 0:09:46 | 0:09:48 | |
The stage is set, the curtain rises. | 0:09:49 | 0:09:52 | |
We are ready to begin. | 0:09:53 | 0:09:55 | |
Begin what? | 0:09:55 | 0:09:58 | |
Sometimes to solve a case, one must first solve another. | 0:09:58 | 0:10:01 | |
-Oh, you have a case, then, a new one? -An old one, very old. | 0:10:01 | 0:10:05 | |
I shall have to go deep. | 0:10:05 | 0:10:08 | |
Deep? Into what? | 0:10:08 | 0:10:09 | |
Myself. | 0:10:09 | 0:10:11 | |
Lestrade! Do stop loitering by the door and come in. | 0:10:13 | 0:10:17 | |
How did you know it was me? | 0:10:18 | 0:10:19 | |
The regulation tread is unmistakable. | 0:10:19 | 0:10:21 | |
Lighter than Jones, heavier than Gregson. | 0:10:21 | 0:10:24 | |
I, I just came up... Mrs Hudson didn't seem to be talking. | 0:10:24 | 0:10:27 | |
I fear she has branched into literary criticism | 0:10:27 | 0:10:30 | |
by means of satire. | 0:10:30 | 0:10:31 | |
It is a distressing trend in the modern landlady. | 0:10:31 | 0:10:34 | |
What brings you here in your off-duty hours? | 0:10:34 | 0:10:37 | |
-How do you know I'm off duty? -Well, since your arrival, | 0:10:37 | 0:10:39 | |
you've addressed over 40% of your remarks to my decanter. | 0:10:39 | 0:10:42 | |
Watson, give the Inspector what he so clearly wants. | 0:10:42 | 0:10:46 | |
So...Lestrade, what can we do for you? | 0:10:46 | 0:10:50 | |
Oh, I'm not here on business, I just thought I'd drop by. | 0:10:50 | 0:10:54 | |
A social call? | 0:10:54 | 0:10:56 | |
Yeah, of course, just to wish you the compliments of the season. | 0:10:56 | 0:11:03 | |
-Merry Christmas. -Merry Christmas. -Merry Christmas. -Merry Christmas. | 0:11:03 | 0:11:06 | |
Thank God that's over. | 0:11:06 | 0:11:07 | |
Now, Inspector, what strange happening compels you | 0:11:07 | 0:11:10 | |
to my door, but embarrasses you to relate? | 0:11:10 | 0:11:12 | |
Who said anything happened? | 0:11:12 | 0:11:13 | |
You did. By every means short of actual speech. | 0:11:13 | 0:11:16 | |
Ah, ah, ah, ah, ah, Holmes, you have misdiagnosed. | 0:11:17 | 0:11:21 | |
Then, correct me, Doctor. | 0:11:21 | 0:11:23 | |
He didn't WANT a drink, he needed one. | 0:11:23 | 0:11:27 | |
He's not embarrassed, he's afraid. | 0:11:27 | 0:11:30 | |
My Boswell is learning. They do grow up so fast. | 0:11:33 | 0:11:37 | |
Watson, restore the courage of Scotland Yard. | 0:11:37 | 0:11:39 | |
Inspector, do sit down. | 0:11:39 | 0:11:41 | |
I'm, I'm not afraid, exactly. | 0:11:42 | 0:11:45 | |
Fear is wisdom in the face of danger, | 0:11:45 | 0:11:47 | |
it is nothing to be ashamed of. | 0:11:47 | 0:11:49 | |
Thank you. | 0:11:50 | 0:11:52 | |
From the beginning, then. | 0:11:52 | 0:11:53 | |
BANG | 0:11:53 | 0:11:55 | |
BULLETS WHISTLE | 0:11:55 | 0:11:56 | |
You! | 0:11:59 | 0:12:01 | |
No, please! | 0:12:01 | 0:12:02 | |
You?! | 0:12:10 | 0:12:12 | |
GUNSHOTS | 0:12:14 | 0:12:16 | |
A moment. | 0:12:16 | 0:12:17 | |
GUNSHOT | 0:12:17 | 0:12:19 | |
When was this? | 0:12:24 | 0:12:25 | |
Yesterday morning. | 0:12:27 | 0:12:28 | |
The bride's face, how was it described? | 0:12:28 | 0:12:31 | |
"White as death, mouth like a crimson wound." | 0:12:34 | 0:12:38 | |
Poetry or truth? | 0:12:42 | 0:12:44 | |
Many would say they're the same thing. | 0:12:44 | 0:12:46 | |
Yes, idiots. Poetry or truth? | 0:12:46 | 0:12:48 | |
I saw her face myself. Afterwards. | 0:12:50 | 0:12:54 | |
After what? | 0:12:54 | 0:12:55 | |
You? | 0:12:55 | 0:12:57 | |
Or me? | 0:12:59 | 0:13:00 | |
GUNSHOT | 0:13:04 | 0:13:05 | |
SCREAMING | 0:13:05 | 0:13:07 | |
Oh, really, Lestrade, a woman blows her own brains out in public | 0:13:07 | 0:13:10 | |
and you need help identifying the guilty party? | 0:13:10 | 0:13:12 | |
I feel Scotland Yard has reached a new low. | 0:13:12 | 0:13:15 | |
That's not why I'm here. | 0:13:15 | 0:13:17 | |
-I surmised. -What was her name, the bride? | 0:13:17 | 0:13:20 | |
Emelia Ricoletti. Yesterday was her wedding anniversary. | 0:13:20 | 0:13:23 | |
The police, of course, were called. | 0:13:23 | 0:13:26 | |
And her body taken to the morgue. | 0:13:26 | 0:13:28 | |
Standard procedure. Why are you telling us what may be presumed? | 0:13:28 | 0:13:32 | |
Because of what happened next. | 0:13:32 | 0:13:35 | |
Limehouse. Just a few hours later. | 0:13:36 | 0:13:40 | |
CHURCH BELLS TOLL | 0:13:40 | 0:13:42 | |
Thomas Ricoletti. Emelia Ricoletti's husband. | 0:13:51 | 0:13:56 | |
Presumably on his way to the morgue to identify her remains? | 0:13:56 | 0:13:59 | |
As it turned out, he was saved the trip. | 0:14:00 | 0:14:03 | |
HORSES WHINNY | 0:14:07 | 0:14:10 | |
# Do not forget me | 0:14:10 | 0:14:13 | |
# Do not forget me | 0:14:14 | 0:14:18 | |
# Remember the maid... # | 0:14:18 | 0:14:20 | |
Who are you? | 0:14:20 | 0:14:21 | |
# The maid of the mill... # | 0:14:21 | 0:14:23 | |
Why are you doing this? Just tell me who you are! | 0:14:23 | 0:14:26 | |
You recognise our song, my dear? | 0:14:26 | 0:14:29 | |
I sang it at our wedding. | 0:14:30 | 0:14:32 | |
-HE SHIVERS -Emelia? | 0:14:36 | 0:14:40 | |
You, you're dead, you can't be here, you died! | 0:14:40 | 0:14:43 | |
Am I not beautiful, Thomas? | 0:14:43 | 0:14:46 | |
As beautiful as the day you married me? | 0:14:46 | 0:14:48 | |
Who... | 0:14:48 | 0:14:50 | |
What the hell is all this about?! | 0:14:50 | 0:14:52 | |
What does it look like, my handsome friend? | 0:14:52 | 0:14:55 | |
It's a shotgun wedding. | 0:14:58 | 0:15:00 | |
GUNSHOT | 0:15:01 | 0:15:03 | |
THUD | 0:15:05 | 0:15:09 | |
Till death us do part. Twice in this case. | 0:15:09 | 0:15:11 | |
SCREAMING | 0:15:14 | 0:15:15 | |
HE BLOWS WHISTLE | 0:15:22 | 0:15:23 | |
Extraordinary. | 0:15:29 | 0:15:31 | |
Impossible. | 0:15:31 | 0:15:33 | |
Superb. | 0:15:33 | 0:15:34 | |
Suicide as street theatre, murder by corpse. Lestrade, you're spoiling us. | 0:15:34 | 0:15:37 | |
-Watson, your hat and coat. -Where are we going? -To the morgue. | 0:15:37 | 0:15:40 | |
There's not a moment to lose, which one can so rarely say of a morgue. | 0:15:40 | 0:15:43 | |
And am I just to sit here? | 0:15:43 | 0:15:45 | |
Not at all, my dear. We'll be hungry later. | 0:15:45 | 0:15:47 | |
Holmes, just one thing, tweeds in a morgue? | 0:15:47 | 0:15:50 | |
Needs must when the devil drives, Watson. | 0:15:50 | 0:15:52 | |
Ma'am. | 0:15:55 | 0:15:57 | |
I'm part of a campaign, you know. | 0:15:57 | 0:15:59 | |
Oh, campaign? | 0:15:59 | 0:16:00 | |
Votes for women. | 0:16:00 | 0:16:03 | |
And are you for or against? | 0:16:03 | 0:16:05 | |
Get out. | 0:16:05 | 0:16:07 | |
SHE SIGHS | 0:16:14 | 0:16:16 | |
DOOR KNOCKS | 0:16:19 | 0:16:21 | |
Ooh-ooh! | 0:16:21 | 0:16:22 | |
Oh, have they gone off again, have they? | 0:16:22 | 0:16:25 | |
I don't know, what a life those gentlemen lead. | 0:16:25 | 0:16:28 | |
Huh, yes. Those gentlemen(!) | 0:16:28 | 0:16:31 | |
Oh, never you mind. | 0:16:31 | 0:16:32 | |
Oh, almost forgot, that came for you. | 0:16:32 | 0:16:36 | |
Oh. | 0:16:36 | 0:16:37 | |
Mrs Hudson, tell my husband I'll be home late, | 0:16:44 | 0:16:48 | |
I have some urgent business. | 0:16:48 | 0:16:50 | |
Is everything all right? | 0:16:50 | 0:16:52 | |
Oh, you know, just a, er, friend in need. | 0:16:52 | 0:16:54 | |
Oh, dear. What friend? | 0:16:54 | 0:16:57 | |
England. | 0:16:57 | 0:16:58 | |
Well, that's not very specific. | 0:17:01 | 0:17:04 | |
Who's on mortuary duty? | 0:17:07 | 0:17:10 | |
You know who. | 0:17:10 | 0:17:11 | |
Always him. | 0:17:11 | 0:17:13 | |
HORSE NEIGHS | 0:17:13 | 0:17:15 | |
Please tell me which idiot did this! | 0:17:20 | 0:17:22 | |
It's for everyone's safety. | 0:17:25 | 0:17:27 | |
This woman is dead, half her head is missing. | 0:17:29 | 0:17:32 | |
She's not a threat to anyone. | 0:17:32 | 0:17:34 | |
Tell that to her husband, he's under a sheet over there. | 0:17:34 | 0:17:37 | |
Whatever happened in Limehouse last night, I think | 0:17:37 | 0:17:39 | |
we can safely assume it wasn't the work of a dead woman. | 0:17:39 | 0:17:42 | |
Stranger things have happened. | 0:17:42 | 0:17:44 | |
Such as...? | 0:17:44 | 0:17:46 | |
Well... Strange things. | 0:17:46 | 0:17:49 | |
You're speaking like a child. | 0:17:49 | 0:17:50 | |
This is clearly man's work. Where is he? | 0:17:50 | 0:17:54 | |
DOOR OPENS | 0:17:54 | 0:17:56 | |
Holmes. | 0:17:57 | 0:17:58 | |
Hooper. | 0:18:00 | 0:18:01 | |
You, back to work! | 0:18:04 | 0:18:06 | |
So, come to astonish us with your magic tricks, I suppose? | 0:18:08 | 0:18:11 | |
Is there anything to which you would like to draw my attention? | 0:18:11 | 0:18:14 | |
Nothing at all, Mr Holmes. | 0:18:14 | 0:18:16 | |
You may leave any time you like. | 0:18:16 | 0:18:18 | |
Dr Hooper, I asked Mr Holmes to come here. Cooperate. | 0:18:19 | 0:18:22 | |
That's an order. | 0:18:22 | 0:18:24 | |
There are two "features of interest", | 0:18:26 | 0:18:28 | |
as you are always saying in Dr Watson's stories. | 0:18:28 | 0:18:30 | |
I never say that. | 0:18:30 | 0:18:32 | |
You do, actually, quite a lot. | 0:18:32 | 0:18:34 | |
First of all, this is definitely Emelia Ricoletti. | 0:18:34 | 0:18:37 | |
She has been categorically identified. | 0:18:37 | 0:18:40 | |
Beyond a doubt, it is her. | 0:18:40 | 0:18:41 | |
Then who was that in Limehouse last night? | 0:18:41 | 0:18:43 | |
That was also Emelia Ricoletti. | 0:18:43 | 0:18:45 | |
It can't have been. She was dead, she was here. | 0:18:45 | 0:18:48 | |
She was positively identified by her own husband, seconds before he died. | 0:18:48 | 0:18:52 | |
He had no reason to lie, could hardly have been mistaken. | 0:18:52 | 0:18:55 | |
The cabbie knew her, too, there's no question it's her. | 0:18:55 | 0:18:58 | |
But she can't have been in two places at the same time, can she? | 0:18:58 | 0:19:01 | |
No, Watson, one place is strictly the limit for the recently deceased. | 0:19:01 | 0:19:04 | |
-Holmes! -CLICKS FINGERS | 0:19:04 | 0:19:06 | |
-Could it have been twins? -No. -Why not? | 0:19:06 | 0:19:09 | |
Because it's never twins. | 0:19:09 | 0:19:10 | |
Emelia was not a twin, nor did she have any sisters. | 0:19:10 | 0:19:12 | |
She had one older brother who died four years ago. | 0:19:12 | 0:19:15 | |
Hmm, maybe it was a secret twin. | 0:19:15 | 0:19:19 | |
A what?! | 0:19:19 | 0:19:21 | |
A secret twin. | 0:19:21 | 0:19:22 | |
Hmm? You know? | 0:19:23 | 0:19:25 | |
A twin that nobody knows about. | 0:19:25 | 0:19:26 | |
This whole thing could have been planned. | 0:19:26 | 0:19:28 | |
Since the moment of conception. How breathtakingly prescient of her. | 0:19:28 | 0:19:32 | |
-It is never twins, Watson! -Then what's your theory? | 0:19:32 | 0:19:36 | |
More to the point, what's your problem? | 0:19:36 | 0:19:38 | |
-I, I don't understand... -Why were you so frightened? | 0:19:38 | 0:19:41 | |
Nothing so far has justified your assault on my decanter, | 0:19:41 | 0:19:43 | |
and why have you allowed a dead woman to be placed under arrest? | 0:19:43 | 0:19:46 | |
Ah, that would be the other feature of interest. | 0:19:46 | 0:19:49 | |
A smear of blood on her finger. | 0:19:50 | 0:19:53 | |
That could have happened any number of ways. | 0:19:53 | 0:19:55 | |
Indeed. There's one other thing. | 0:19:55 | 0:19:57 | |
It wasn't there earlier. | 0:19:58 | 0:20:00 | |
Neither was that. | 0:20:01 | 0:20:03 | |
You! | 0:20:13 | 0:20:14 | |
You? | 0:20:14 | 0:20:16 | |
You?! | 0:20:16 | 0:20:18 | |
Holmes? | 0:20:18 | 0:20:19 | |
Gun in the mouth, a bullet through the brain... | 0:20:21 | 0:20:26 | |
Back of the head blown clean off. | 0:20:26 | 0:20:28 | |
How could he survive? | 0:20:30 | 0:20:32 | |
"She", you mean. | 0:20:35 | 0:20:36 | |
I'm sorry? | 0:20:36 | 0:20:38 | |
Not "he", "she". | 0:20:38 | 0:20:40 | |
Yes, yes of course. | 0:20:40 | 0:20:41 | |
HE STARTS | 0:20:43 | 0:20:44 | |
Well, thank you all for a fascinating case. | 0:20:44 | 0:20:46 | |
I'll send you a telegram when I've solved it. Watson. | 0:20:46 | 0:20:49 | |
The gunshot wound was obviously the cause of death, | 0:20:51 | 0:20:53 | |
but there are clear indicators of consumption. | 0:20:53 | 0:20:56 | |
It might be worth a postmortem. | 0:20:56 | 0:20:57 | |
We need all the information we can get. | 0:20:57 | 0:20:59 | |
Oh, isn't he observant, now that Daddy's gone(!) | 0:20:59 | 0:21:02 | |
I AM observant in some ways, just as Holmes is quite blind in others. | 0:21:06 | 0:21:12 | |
Really? | 0:21:12 | 0:21:14 | |
Yes, really. | 0:21:14 | 0:21:15 | |
Amazing...what one has to do to get ahead in a man's world. | 0:21:17 | 0:21:20 | |
What's he saying that for? | 0:21:30 | 0:21:32 | |
Get back to work! | 0:21:32 | 0:21:33 | |
Well, Holmes? Surely you must have some theory? | 0:21:41 | 0:21:44 | |
Not yet. These are deep waters, Watson, deep waters. | 0:21:44 | 0:21:49 | |
And I shall have to go deeper still. | 0:21:52 | 0:21:54 | |
"It was not for several months that we were to pick up | 0:22:02 | 0:22:05 | |
"the threads of this strange case again. | 0:22:05 | 0:22:08 | |
"And then under very unexpected circumstances." | 0:22:08 | 0:22:12 | |
Five of them now, all the same, every one of them. | 0:22:12 | 0:22:15 | |
Hush, please, this is a matter of supreme importance. | 0:22:15 | 0:22:18 | |
-What is? -The obliquity of the ecliptic. I have to understand it. | 0:22:18 | 0:22:21 | |
-What is it? -I don't know, I'm still trying to understand it. | 0:22:21 | 0:22:23 | |
-I thought you understood everything. -Of course not, that would be an appalling waste of brain space. | 0:22:23 | 0:22:28 | |
-I specialise. -And what's so important about this? -What's so important about five boring murders? | 0:22:28 | 0:22:33 | |
They're not boring. Five men dead, murdered in their own homes, rice on the floor | 0:22:33 | 0:22:37 | |
like at a wedding, and the word "You" written in blood on the wall! | 0:22:37 | 0:22:41 | |
It's, it's her, it's the Bride. Somehow she's risen again. | 0:22:42 | 0:22:46 | |
-Solved it. -You can't have solved it! | 0:22:46 | 0:22:48 | |
Of course I've solved it, it's perfectly simple. | 0:22:48 | 0:22:51 | |
The incident of the mysterious Mrs Ricoletti, the killer from | 0:22:51 | 0:22:54 | |
beyond the grave, has been widely reported in the popular press. | 0:22:54 | 0:22:56 | |
Now people are disguising their own dull little murders as the | 0:22:56 | 0:22:59 | |
work of a ghost, to confuse the impossibly imbecilic Scotland Yard. | 0:22:59 | 0:23:02 | |
There you are, solved. | 0:23:02 | 0:23:04 | |
Pay Mrs Hudson a visit on your way out, she likes to feel involved. | 0:23:04 | 0:23:07 | |
You sure? | 0:23:07 | 0:23:08 | |
Certainly. Go away. Watson! I'm ready. | 0:23:08 | 0:23:11 | |
Your hat and boots, we have an important appointment. | 0:23:11 | 0:23:15 | |
Didn't Dr Watson move out a few months ago? | 0:23:15 | 0:23:18 | |
He did, didn't he? | 0:23:18 | 0:23:20 | |
Who have I been talking to all this time? | 0:23:20 | 0:23:22 | |
Well, speaking on behalf of the impossibly imbecilic Scotland Yard, | 0:23:22 | 0:23:25 | |
that chair is definitely empty. | 0:23:25 | 0:23:28 | |
It is, isn't it? Works surprisingly well, though. | 0:23:29 | 0:23:33 | |
I actually thought he was improving. | 0:23:33 | 0:23:35 | |
HE EXHALES | 0:24:01 | 0:24:03 | |
Ah. Where have you been? | 0:24:10 | 0:24:12 | |
Sorry, sir, I'm rather behind my time this morning. | 0:24:12 | 0:24:14 | |
Are you incapable of boiling an egg?! | 0:24:14 | 0:24:17 | |
The fires are rarely lit, there is dust everywhere | 0:24:17 | 0:24:19 | |
and you almost destroyed my boots scraping the mud off them. | 0:24:19 | 0:24:22 | |
If it wasn't my wife's business to deal with the staff, I would talk to you myself. | 0:24:22 | 0:24:26 | |
-Where is my wife? -Begging your pardon, sir, but the mistress has gone out. | 0:24:26 | 0:24:29 | |
-Out? At this hour of the morning? -Yes, sir. Did you not know that, sir? | 0:24:29 | 0:24:32 | |
Where did she go? She's always out these days. | 0:24:32 | 0:24:35 | |
-CHUCKLING: -Not unlike yourself...sir. | 0:24:35 | 0:24:37 | |
I'm sorry...? | 0:24:37 | 0:24:38 | |
-Just observing, sir. -Well, that's quite enough, nobody asked you to be observant. | 0:24:38 | 0:24:42 | |
Sorry, sir, I just meant you're hardly ever home together any more, sir. | 0:24:42 | 0:24:45 | |
You are dangerously close to impertinence. | 0:24:45 | 0:24:47 | |
I shall have a word with my wife to have a word with you. | 0:24:47 | 0:24:50 | |
Very good, sir. And when will you be seeing her? | 0:24:50 | 0:24:53 | |
Now, listen... | 0:24:53 | 0:24:55 | |
-Oh, I nearly forgot, sir. A telegram came for you. -You forgot?! | 0:24:55 | 0:24:59 | |
-No, I nearly forgot. -What have you been doing all morning? | 0:24:59 | 0:25:01 | |
Reading your new one in The Strand, sir. | 0:25:01 | 0:25:04 | |
Did you enjoy it? | 0:25:04 | 0:25:06 | |
Why do you never mention me, sir? | 0:25:06 | 0:25:07 | |
Go away. | 0:25:07 | 0:25:09 | |
-The what of the what? -The obliquity of the ecliptic. | 0:25:24 | 0:25:27 | |
"Come at once," you said. I assumed it was important. | 0:25:27 | 0:25:29 | |
It is. | 0:25:29 | 0:25:30 | |
It's the inclination of the earth's equator to the path of the sun | 0:25:30 | 0:25:34 | |
on the celestial plane. | 0:25:34 | 0:25:35 | |
-CHUCKLING: -You been swotting up? -Why would I do that? -To sound clever. | 0:25:35 | 0:25:39 | |
-I am clever. -Oh, oh, I see. -You see what? | 0:25:39 | 0:25:41 | |
I deduce we're on our way to see someone cleverer than you. | 0:25:41 | 0:25:45 | |
Shut up. | 0:25:47 | 0:25:48 | |
Sh... | 0:25:59 | 0:26:01 | |
Sorry, what? Oh. | 0:26:59 | 0:27:00 | |
To anyone who wishes to study mankind, this is the spot. | 0:27:18 | 0:27:20 | |
Handy really, as your ever-expanding backside is permanently glued to it. | 0:27:20 | 0:27:24 | |
-Good morning, brother mine. -Sherlock. Dr Watson. | 0:27:24 | 0:27:28 | |
You look...well, sir. | 0:27:29 | 0:27:31 | |
Really? I rather thought I looked enormous. | 0:27:31 | 0:27:33 | |
Well, now you mention it, this level of consumption | 0:27:33 | 0:27:36 | |
is incredibly injurious to your health. | 0:27:36 | 0:27:40 | |
-Your heart... -No need to worry on that score, Watson. -No? | 0:27:40 | 0:27:42 | |
There's only a large cavity where that organ should reside. | 0:27:42 | 0:27:45 | |
-It's a family trait. -Oh, I wasn't being critical. | 0:27:45 | 0:27:47 | |
If you continue like this, sir, I give you five years at the most. | 0:27:47 | 0:27:50 | |
Five? We thought three, did we not, Sherlock? | 0:27:50 | 0:27:54 | |
I'm still inclined to four. | 0:27:54 | 0:27:55 | |
As ever, you see but you do not observe. | 0:27:55 | 0:27:57 | |
Note the discolouration in the whites of my eyes, | 0:27:57 | 0:27:59 | |
the visible rings of fat around the corneas. | 0:27:59 | 0:28:01 | |
-Yes, you're right. I'm changing my bet to three years, four months and 11 days. -A bet?! | 0:28:01 | 0:28:05 | |
I understand your disapproval, Watson, | 0:28:05 | 0:28:07 | |
but if he's feeling competitive, it's perfectly within his power to die early. | 0:28:07 | 0:28:10 | |
-That's a risk you'll have to take. -You're gambling with your own life? | 0:28:10 | 0:28:13 | |
Why not? It's so much more exciting than gambling with others'. | 0:28:13 | 0:28:17 | |
-Three years flat - if you eat that plum pudding! -Done. | 0:28:17 | 0:28:19 | |
HE GRUNTS | 0:28:21 | 0:28:22 | |
I expected to see you a few days ago about the Manor House case. | 0:28:25 | 0:28:28 | |
I thought you might be a little out of your depth there. | 0:28:28 | 0:28:31 | |
No. I solved it. | 0:28:31 | 0:28:32 | |
-It was Adams, of course. -Yes, it was Adams. | 0:28:32 | 0:28:34 | |
Murderous jealousy. He'd written a paper for the Royal Astronomical Society | 0:28:34 | 0:28:38 | |
on the obliquity of the ecliptic, | 0:28:38 | 0:28:41 | |
-and then read another that seemed to surpass it. -I know, I read it. | 0:28:41 | 0:28:44 | |
Did you understand it? | 0:28:44 | 0:28:45 | |
Yes, of course I understood it, it was perfectly simple. | 0:28:45 | 0:28:48 | |
No, did you understand the murderous jealousy? | 0:28:48 | 0:28:51 | |
It is no easy thing for a great mind to contemplate a still greater one. | 0:28:51 | 0:28:55 | |
Did you summon me here just to humiliate me? | 0:28:56 | 0:28:58 | |
Yes. | 0:28:58 | 0:29:00 | |
Of course not, but it is by far the greater pleasure. | 0:29:00 | 0:29:02 | |
Then would you mind explaining exactly why you did summon...? | 0:29:02 | 0:29:05 | |
Our way of life is under threat from an invisible enemy. | 0:29:05 | 0:29:08 | |
One that hovers at our elbow on a daily basis. | 0:29:08 | 0:29:11 | |
These enemies are everywhere... undetected...and unstoppable. | 0:29:11 | 0:29:17 | |
Socialists? | 0:29:17 | 0:29:18 | |
Not socialists, Doctor, no. | 0:29:18 | 0:29:20 | |
-Anarchists? -No. | 0:29:20 | 0:29:22 | |
The French? The suffragists? | 0:29:22 | 0:29:24 | |
Is there any large body of people you're not concerned about? | 0:29:24 | 0:29:27 | |
Dr Watson is endlessly vigilant. Elaborate... | 0:29:27 | 0:29:30 | |
No. Investigate. | 0:29:30 | 0:29:31 | |
This is a conjecture of mine, I need you to confirm it. | 0:29:31 | 0:29:34 | |
I'm sending you a case. | 0:29:34 | 0:29:36 | |
-The Scots? -The Scots?! | 0:29:36 | 0:29:37 | |
Are you aware of recent theories concerning what is | 0:29:37 | 0:29:40 | |
known as paranoia? | 0:29:40 | 0:29:41 | |
Oh, sounds Serbian. | 0:29:41 | 0:29:43 | |
A woman will call on you - Lady Carmichael. | 0:29:43 | 0:29:45 | |
I want you to take her case. | 0:29:45 | 0:29:47 | |
But these enemies, how are we to defeat them | 0:29:47 | 0:29:49 | |
if you won't tell us about them? | 0:29:49 | 0:29:50 | |
We don't defeat them. We most certainly lose to them. | 0:29:50 | 0:29:54 | |
Why? | 0:29:54 | 0:29:56 | |
Because they are right. And we are wrong. | 0:29:57 | 0:30:01 | |
Lady Carmichael's case, what is it? | 0:30:02 | 0:30:04 | |
Rest assured, it has features of interest. | 0:30:04 | 0:30:07 | |
-I never really say that. -You really do. | 0:30:07 | 0:30:09 | |
And you've solved it already, I assume? | 0:30:09 | 0:30:11 | |
Only in my head. I need you for the, er, legwork. | 0:30:11 | 0:30:14 | |
Why not just tell us your solution? | 0:30:14 | 0:30:16 | |
And where would be the sport in that? | 0:30:16 | 0:30:19 | |
Will you do it, Sherlock? | 0:30:19 | 0:30:20 | |
I can promise you a superior distraction. | 0:30:20 | 0:30:23 | |
On one condition. Have another plum pudding. | 0:30:23 | 0:30:25 | |
There's one on the way. | 0:30:25 | 0:30:26 | |
Two years, 11 months and four days. | 0:30:26 | 0:30:28 | |
Ha, it's getting exciting now! Ticktock, ticktock, ticktock. | 0:30:28 | 0:30:32 | |
Thank you, Wilder. | 0:30:36 | 0:30:37 | |
Also, a Mr Melas to see you, Mr Holmes. | 0:30:37 | 0:30:41 | |
Ah. Give me five minutes, I have a wager to win. | 0:30:41 | 0:30:43 | |
Better make that 15. | 0:30:46 | 0:30:49 | |
Ticktock. | 0:30:50 | 0:30:52 | |
SQUELCH | 0:30:52 | 0:30:54 | |
Mr Holmes, I have come here for advice. | 0:30:56 | 0:30:58 | |
-That is easily got. -And help. | 0:30:58 | 0:31:00 | |
Not always so easy. | 0:31:00 | 0:31:02 | |
Something has happened, Mr Holmes, something...unusual | 0:31:02 | 0:31:06 | |
and...terrifying. | 0:31:06 | 0:31:09 | |
Then you are in luck. | 0:31:09 | 0:31:10 | |
-SCOFFING: -Luck?! | 0:31:10 | 0:31:11 | |
Those are my specialisms. Hmm, this is really very promising. | 0:31:11 | 0:31:14 | |
Holmes... | 0:31:14 | 0:31:15 | |
Please...do tell us what has so distressed you. | 0:31:17 | 0:31:19 | |
I, I thought long and hard as to what to do, | 0:31:21 | 0:31:24 | |
but then it occurred to me that my husband was | 0:31:24 | 0:31:27 | |
an acquaintance of your brother and that perhaps through him... | 0:31:27 | 0:31:32 | |
The fact is, I'm not sure this comes within your purview, Mr Holmes. | 0:31:32 | 0:31:35 | |
No? | 0:31:35 | 0:31:36 | |
Lord help me, I think it may be a matter for a priest. | 0:31:36 | 0:31:39 | |
And what does your morning threaten, my dear? | 0:31:41 | 0:31:44 | |
A vigorous round of embroidering? | 0:31:45 | 0:31:48 | |
An exhausting appointment at the milliners? | 0:31:48 | 0:31:50 | |
I hope you are teasing, Eustace. | 0:31:50 | 0:31:52 | |
HE CHUCKLES | 0:31:52 | 0:31:54 | |
SINISTER SCORE | 0:32:00 | 0:32:03 | |
What is it? | 0:32:03 | 0:32:04 | |
Eustace? | 0:32:04 | 0:32:07 | |
Daniel, Sophie, go out and play. | 0:32:07 | 0:32:08 | |
But, Mama... | 0:32:08 | 0:32:10 | |
Look, do as I tell you, quickly now. | 0:32:10 | 0:32:12 | |
SHE LAUGHS | 0:32:25 | 0:32:27 | |
Well, Eustace, what does this mean? | 0:32:27 | 0:32:29 | |
Death. | 0:32:33 | 0:32:34 | |
What? | 0:32:34 | 0:32:36 | |
It means death. | 0:32:36 | 0:32:37 | |
Er, nothing, it's, er, it's nothing. | 0:32:41 | 0:32:45 | |
I was...mistaken. | 0:32:45 | 0:32:47 | |
My dear, you've gone quite pale. | 0:32:47 | 0:32:49 | |
It's nothing! | 0:32:50 | 0:32:52 | |
Eustace... | 0:32:55 | 0:32:56 | |
'Did you keep the envelope?' | 0:32:56 | 0:32:57 | |
My husband destroyed it, but it was blank. | 0:32:57 | 0:33:00 | |
No name or address of any kind. | 0:33:00 | 0:33:02 | |
Tell me, has Sir Eustace spent time in America? | 0:33:02 | 0:33:06 | |
-No. -Not even before your marriage? | 0:33:06 | 0:33:08 | |
-Well, not to my knowledge. -Hmm. | 0:33:08 | 0:33:11 | |
Pray, continue with your fascinating narrative. | 0:33:11 | 0:33:14 | |
Well, that incident took place last Monday morning. | 0:33:15 | 0:33:19 | |
It was two days later on the Wednesday | 0:33:19 | 0:33:21 | |
that my husband first saw her. | 0:33:21 | 0:33:23 | |
Who? | 0:33:23 | 0:33:25 | |
Eustace? | 0:33:29 | 0:33:31 | |
HE MOANS | 0:33:31 | 0:33:33 | |
HE WHIMPERS | 0:33:33 | 0:33:36 | |
She's come for me, Louisa! | 0:33:36 | 0:33:38 | |
Oh, God, help me, my sins have found me out! | 0:33:38 | 0:33:41 | |
Who's come for you? Eustace, you're frightening me. | 0:33:41 | 0:33:45 | |
Well, look, look! | 0:33:45 | 0:33:47 | |
Don't you see her? | 0:33:51 | 0:33:53 | |
No, I see no-one. | 0:33:53 | 0:33:54 | |
Gone. | 0:34:00 | 0:34:02 | |
HE WAILS | 0:34:02 | 0:34:04 | |
You keep so many secrets from me, is this another? | 0:34:05 | 0:34:08 | |
Who have you seen? | 0:34:08 | 0:34:09 | |
It was her! | 0:34:11 | 0:34:12 | |
It was the Bride! | 0:34:14 | 0:34:16 | |
And you saw nothing? | 0:34:19 | 0:34:20 | |
Nothing. | 0:34:20 | 0:34:22 | |
-Did your husband describe...? -Nothing, until this morning. | 0:34:22 | 0:34:25 | |
Eustace?! | 0:34:41 | 0:34:43 | |
SHE PANTS | 0:34:46 | 0:34:48 | |
Eustace?! | 0:34:55 | 0:34:56 | |
Eustace? | 0:35:05 | 0:35:07 | |
Eustace?! | 0:35:10 | 0:35:12 | |
Argh! | 0:35:13 | 0:35:14 | |
Blast! | 0:35:16 | 0:35:18 | |
Eustace?! | 0:35:18 | 0:35:20 | |
Where are you? It's me! | 0:35:20 | 0:35:22 | |
# Do not forget me | 0:35:24 | 0:35:29 | |
# Do not forget me | 0:35:29 | 0:35:33 | |
# Remember the maid | 0:35:35 | 0:35:38 | |
# The maid of the mill... # | 0:35:38 | 0:35:41 | |
Who are you? | 0:35:56 | 0:35:57 | |
I demand you speak, who are you?! | 0:35:59 | 0:36:02 | |
Eustace, speak to me. In the name of God! | 0:36:05 | 0:36:09 | |
She's... | 0:36:11 | 0:36:13 | |
She is Emelia Ricoletti. | 0:36:13 | 0:36:15 | |
No, not you. | 0:36:23 | 0:36:25 | |
No... | 0:36:27 | 0:36:28 | |
Please! | 0:36:29 | 0:36:31 | |
This night, Eustace Carmichael, you will die! | 0:36:31 | 0:36:36 | |
DRAMATIC SCORE BUILDS | 0:36:39 | 0:36:41 | |
HE GROANS | 0:36:43 | 0:36:44 | |
SHE GROANS | 0:36:48 | 0:36:50 | |
-Holmes? -Hush, Watson. | 0:37:04 | 0:37:07 | |
But Emelia Ricoletti, the Bride. | 0:37:07 | 0:37:09 | |
-Well, you know the name? -You must forgive Watson, | 0:37:09 | 0:37:11 | |
he has an enthusiasm for stating the obvious, which borders on mania. | 0:37:11 | 0:37:14 | |
May I ask, how is your husband this morning? | 0:37:14 | 0:37:16 | |
He refuses to speak about the matter. | 0:37:16 | 0:37:19 | |
-Obviously, I have urged him to leave the house. -No, no, he must stay exactly where he is. | 0:37:19 | 0:37:23 | |
Well, you don't think he's in danger? | 0:37:23 | 0:37:24 | |
Oh, no, somebody definitely wants to kill him, but that's good for us. You can't set a trap without bait. | 0:37:24 | 0:37:29 | |
-My husband is not bait, Mr Holmes. -No, but he could be if we play our cards right. | 0:37:29 | 0:37:32 | |
Now, listen, you must go home immediately. | 0:37:32 | 0:37:34 | |
Dr Watson and I will follow on the next train. | 0:37:34 | 0:37:37 | |
-There's not a moment to lose, Sir Eustace is to die tonight. -Holmes. | 0:37:37 | 0:37:39 | |
And we should...probably avoid that. | 0:37:39 | 0:37:42 | |
-Definitely. -Definitely avoid that. | 0:37:42 | 0:37:44 | |
Little brother has taken the case, of course. | 0:37:50 | 0:37:53 | |
I now rely on you to keep an eye on things, | 0:37:53 | 0:37:56 | |
but he must never suspect you are working for me. | 0:37:56 | 0:37:58 | |
Are you clear on that, Watson? | 0:37:58 | 0:38:00 | |
You can rely on me, Mr Holmes. | 0:38:04 | 0:38:06 | |
-You don't suppose... -I don't and neither should you. | 0:38:09 | 0:38:12 | |
You don't know what I was going to say. | 0:38:12 | 0:38:13 | |
You were about to suggest there may be some supernatural agency | 0:38:13 | 0:38:16 | |
involved in this matter. And I was about to laugh in your face. | 0:38:16 | 0:38:19 | |
But the Bride, Holmes, Emelia Ricoletti again. | 0:38:19 | 0:38:21 | |
A dead woman walking the earth. | 0:38:21 | 0:38:23 | |
-SIGHING: You amaze me, Watson. -I do? | 0:38:23 | 0:38:26 | |
Since when have you had any kind of imagination? | 0:38:26 | 0:38:29 | |
Perhaps since I convinced the reading public that | 0:38:29 | 0:38:31 | |
an unprincipled drug addict was some kind of gentleman hero. | 0:38:31 | 0:38:34 | |
Yes, now you come to mention it, that was quite impressive. | 0:38:34 | 0:38:37 | |
You may, however, rest assured there are no ghosts in this world. | 0:38:37 | 0:38:41 | |
TRAIN WHISTLE | 0:38:43 | 0:38:44 | |
(Save those we make for ourselves.) | 0:38:44 | 0:38:47 | |
Sorry, what did you say? | 0:38:48 | 0:38:51 | |
Ghosts we make for ourselves, what do you mean? | 0:38:51 | 0:38:54 | |
Somnambulism. | 0:38:59 | 0:39:01 | |
I beg your pardon? | 0:39:01 | 0:39:02 | |
I sleepwalk, that's all. It's a common enough condition. | 0:39:02 | 0:39:06 | |
I thought you were a doctor! | 0:39:06 | 0:39:08 | |
The whole thing was a...bad dream. | 0:39:08 | 0:39:11 | |
Including the contents of the envelope you received? | 0:39:11 | 0:39:14 | |
Well, that's a grotesque joke. | 0:39:14 | 0:39:16 | |
Well, that's not the impression you gave your wife, sir. | 0:39:16 | 0:39:19 | |
-She's an hysteric, prone to fancies. -No. | 0:39:19 | 0:39:22 | |
-I'm sorry, what did you say? -I said no, she's not an hysteric. | 0:39:24 | 0:39:27 | |
She's a highly intelligent woman of rare perception. | 0:39:27 | 0:39:30 | |
My wife sees terror in an orange pip. | 0:39:30 | 0:39:33 | |
Your wife can see worlds where no-one else can see | 0:39:33 | 0:39:35 | |
anything of value whatsoever. | 0:39:35 | 0:39:37 | |
Can she really(?) | 0:39:37 | 0:39:39 | |
And how do you "deduce" that, Mr Holmes? | 0:39:39 | 0:39:42 | |
She married you. | 0:39:42 | 0:39:44 | |
I assume she was capable of finding a reason. | 0:39:44 | 0:39:47 | |
I'll do my best to save your life tonight, but first it would | 0:39:47 | 0:39:49 | |
help if you would explain your connection to the Ricoletti case. | 0:39:49 | 0:39:53 | |
Ricoletti? | 0:39:53 | 0:39:55 | |
Yes. In detail, please. | 0:39:55 | 0:39:57 | |
I've never heard of her. | 0:39:57 | 0:39:59 | |
Interesting. I didn't mention she was a woman. | 0:39:59 | 0:40:01 | |
We'll show ourselves out. I hope to see you again in the morning. | 0:40:01 | 0:40:04 | |
You will not. | 0:40:04 | 0:40:06 | |
Then sadly I shall be solving your murder. Good day. | 0:40:06 | 0:40:09 | |
Well, you tried. | 0:40:14 | 0:40:15 | |
Will you see that Lady Carmichael receives this. Thank you. | 0:40:17 | 0:40:20 | |
-Good afternoon. -Certainly, sir. -What was that? | 0:40:20 | 0:40:22 | |
Lady Carmichael will sleep alone tonight, | 0:40:22 | 0:40:24 | |
upon the pretence of a violent headache. | 0:40:24 | 0:40:26 | |
All the doors and windows of the house will be locked. | 0:40:26 | 0:40:28 | |
Ha! You think the spectre, er, Bride, | 0:40:28 | 0:40:33 | |
will attempt to lure Sir Eustace outside again? | 0:40:33 | 0:40:36 | |
Certainly. Why else the portentous threat? | 0:40:36 | 0:40:38 | |
-"This night you will die!" -Well, he won't follow her, surely? | 0:40:38 | 0:40:41 | |
Hmm, it's difficult to say quite what he'll do. | 0:40:41 | 0:40:44 | |
-Guilt is eating away at his soul. -Guilt? About what? | 0:40:44 | 0:40:46 | |
Something in his past. The orange pips were a reminder. | 0:40:46 | 0:40:49 | |
-Not a joke? -Not at all. | 0:40:49 | 0:40:50 | |
Orange pips are a traditional warning of avenging death, | 0:40:50 | 0:40:54 | |
originating in America. | 0:40:54 | 0:40:55 | |
Sir Eustace knows this only too well, | 0:40:55 | 0:40:57 | |
just as he knows why he is to be punished. | 0:40:57 | 0:40:59 | |
Something to do with Emelia Ricoletti? | 0:40:59 | 0:41:01 | |
I presume. We all have a past, Watson. Ghosts. | 0:41:01 | 0:41:05 | |
They are the shadows that define our every sunny day. | 0:41:05 | 0:41:08 | |
Sir Eustace knows he's a marked man. | 0:41:08 | 0:41:10 | |
There's something more than murder he fears. | 0:41:10 | 0:41:13 | |
He believes he is to be dragged to hell by the risen corpse | 0:41:13 | 0:41:16 | |
of the late Mrs Ricoletti. | 0:41:16 | 0:41:18 | |
That's a lot of nonsense, isn't it? | 0:41:21 | 0:41:23 | |
God, yes. Did you bring your revolver? | 0:41:23 | 0:41:24 | |
What good would that be against a ghost? | 0:41:24 | 0:41:26 | |
-Exactly. Did you bring it? -Yeah, of course. | 0:41:26 | 0:41:28 | |
Then come, Watson, come. The game is afoot. | 0:41:28 | 0:41:31 | |
WATSON GROANS | 0:41:39 | 0:41:40 | |
-Get down, Watson, for heaven's sake! -Sorry. Cramp. | 0:41:40 | 0:41:43 | |
-Is the lamp still burning? -Yes. | 0:41:47 | 0:41:49 | |
There goes Sir Eustace. | 0:41:52 | 0:41:54 | |
And Lady Carmichael. | 0:41:55 | 0:41:58 | |
The house sleeps. | 0:41:58 | 0:41:59 | |
Hmm, good God, this is the longest night of my life. | 0:42:03 | 0:42:05 | |
Have patience, Watson. | 0:42:05 | 0:42:07 | |
Only midnight. | 0:42:09 | 0:42:10 | |
You know, it's rare for us to sit together like this. | 0:42:12 | 0:42:16 | |
I should hope so. It's murder on the knees. | 0:42:16 | 0:42:18 | |
Two old friends just talking. Chewing the fat. | 0:42:20 | 0:42:23 | |
Man-to-man. | 0:42:25 | 0:42:26 | |
So, a remarkable woman. | 0:42:31 | 0:42:33 | |
-Who? -Lady Carmichael. | 0:42:33 | 0:42:35 | |
The fair sex is your department, Watson. | 0:42:35 | 0:42:37 | |
-I'll take your word for it. -Well, you liked her. "A woman of rare perception." | 0:42:37 | 0:42:41 | |
And admirably high arches. I noticed them as soon as she stepped into the room. | 0:42:41 | 0:42:44 | |
-Huh, she's far too good for him. -You think so? | 0:42:44 | 0:42:46 | |
No. You think so. I could tell. | 0:42:46 | 0:42:48 | |
On the contrary, I have no view on the matter. | 0:42:48 | 0:42:50 | |
Yes, you have. | 0:42:50 | 0:42:52 | |
-Marriage is not a subject upon which I dwell. -Oh, why not? | 0:42:53 | 0:42:56 | |
What's the matter with you this evening? | 0:42:56 | 0:42:58 | |
That watch that you're wearing, there's a photograph inside it. | 0:42:58 | 0:43:01 | |
I glimpsed it once. I believe it is of Irene Adler. | 0:43:01 | 0:43:04 | |
You didn't glimpse it, you waited till I'd fallen asleep | 0:43:04 | 0:43:07 | |
-and looked at it. -Yes, I did. | 0:43:07 | 0:43:08 | |
-You seriously thought I wouldn't notice? -Irene Adler. | 0:43:08 | 0:43:11 | |
Formidable opponent, a remarkable adventure. | 0:43:11 | 0:43:13 | |
-A very nice photograph. -Why are you talking like this? | 0:43:13 | 0:43:15 | |
-Why are you so determined to be alone? -Are you quite well, Watson? | 0:43:15 | 0:43:18 | |
Is it such a curious question? | 0:43:18 | 0:43:19 | |
From a Viennese alienist, no. | 0:43:19 | 0:43:21 | |
From a retired Army surgeon, most certainly. | 0:43:21 | 0:43:23 | |
Holmes, against absolutely no opposition whatsoever, | 0:43:23 | 0:43:27 | |
-I am your closest friend. -I concede it. | 0:43:27 | 0:43:29 | |
I am currently attempting to have | 0:43:29 | 0:43:31 | |
a perfectly normal conversation with you. | 0:43:31 | 0:43:33 | |
Please don't. | 0:43:33 | 0:43:35 | |
Why do you need to be alone? | 0:43:35 | 0:43:37 | |
If you are referring to romantic entanglement, Watson, | 0:43:37 | 0:43:40 | |
which I rather fear you are, as I have often explained before, | 0:43:40 | 0:43:42 | |
all emotion is abhorrent to me. | 0:43:42 | 0:43:45 | |
It is the grit in a sensitive instrument. | 0:43:45 | 0:43:47 | |
-The crack in the lens. -The crack in the lens. Yes. | 0:43:47 | 0:43:49 | |
-Well, there you are, you see, I've said it all before. -No, I wrote all that. | 0:43:49 | 0:43:52 | |
-You're quoting yourself from The Strand Magazine. -Well, exactly. | 0:43:52 | 0:43:55 | |
Those are my words, not yours! | 0:43:55 | 0:43:58 | |
That is the version of you that I present to the public. | 0:43:58 | 0:44:01 | |
The brain without a heart. The calculating machine. | 0:44:01 | 0:44:04 | |
I write all of that, Holmes, and the readers lap it up. | 0:44:04 | 0:44:07 | |
But I do not believe it. | 0:44:07 | 0:44:08 | |
-Well, I've a good mind to write to your editor. -You are a living, breathing man. | 0:44:08 | 0:44:12 | |
-You've lived a life, you have a past. -A what?! | 0:44:12 | 0:44:14 | |
Well, you must have had... | 0:44:14 | 0:44:15 | |
Had what? | 0:44:15 | 0:44:16 | |
-You know. -No. | 0:44:18 | 0:44:20 | |
Experiences. | 0:44:21 | 0:44:23 | |
Pass me your revolver, I have a sudden need to use it. | 0:44:23 | 0:44:25 | |
Damn it, Holmes, you are flesh and blood, you have feelings, | 0:44:25 | 0:44:28 | |
you have... | 0:44:28 | 0:44:29 | |
You must have... Impulses. | 0:44:29 | 0:44:32 | |
Dear Lord, I have never been | 0:44:32 | 0:44:33 | |
so impatient to be attacked by a murderous ghost. | 0:44:33 | 0:44:36 | |
As your friend, as someone who worries about you... | 0:44:36 | 0:44:39 | |
..what made you like this? | 0:44:41 | 0:44:43 | |
Oh, Watson... | 0:44:44 | 0:44:46 | |
Nothing made me. | 0:44:48 | 0:44:49 | |
DOG YELPS | 0:44:50 | 0:44:52 | |
I made me. | 0:44:52 | 0:44:53 | |
Redbeard? | 0:44:55 | 0:44:57 | |
Good God! | 0:44:57 | 0:44:58 | |
What are we to do? | 0:45:04 | 0:45:05 | |
Why don't we have a chat? | 0:45:10 | 0:45:12 | |
Mrs Ricoletti, I believe! | 0:45:18 | 0:45:21 | |
A pleasant night for the time of year, is it not? | 0:45:21 | 0:45:23 | |
It cannot be true, Holmes, it cannot! | 0:45:23 | 0:45:25 | |
No, it can't. | 0:45:25 | 0:45:28 | |
MAN SCREAMS | 0:45:28 | 0:45:30 | |
GLASS SHATTERS | 0:45:30 | 0:45:32 | |
-Is it locked? -As per instruction. | 0:45:36 | 0:45:38 | |
That was a window breaking, wasn't it? | 0:45:38 | 0:45:40 | |
There's only one broken window we need concern ourselves with. | 0:45:40 | 0:45:43 | |
-Stay here, Watson. -What? No. | 0:45:53 | 0:45:54 | |
All the doors and windows to the house are locked. | 0:45:54 | 0:45:56 | |
This is their only way out, I need you here! | 0:45:56 | 0:45:58 | |
-But the sound was so close. It had to be from this side of the house. -Stay here! | 0:45:58 | 0:46:03 | |
WOMAN WAILS | 0:46:09 | 0:46:11 | |
Oh! | 0:46:13 | 0:46:15 | |
No! | 0:46:16 | 0:46:17 | |
You promised to keep him safe. You promised! | 0:46:25 | 0:46:29 | |
You... | 0:46:29 | 0:46:30 | |
SHE SOBS | 0:46:32 | 0:46:35 | |
CREAKING | 0:46:39 | 0:46:41 | |
BARREL CLICKS | 0:46:41 | 0:46:43 | |
CREAKING | 0:46:43 | 0:46:44 | |
HE STANDS ON GLASS | 0:46:46 | 0:46:47 | |
You're human, I know that. | 0:46:54 | 0:46:55 | |
You must be. | 0:46:58 | 0:47:00 | |
Little use us standing here in the dark. | 0:47:04 | 0:47:08 | |
After all, this is the 19th century. | 0:47:09 | 0:47:13 | |
WOMAN SCREAMS | 0:47:31 | 0:47:32 | |
WIND WHISTLES | 0:47:34 | 0:47:36 | |
HE PANTS | 0:47:36 | 0:47:38 | |
HE BREATHES HEAVILY | 0:47:48 | 0:47:50 | |
Do not forget me! | 0:47:54 | 0:47:57 | |
Do not forget me! | 0:47:58 | 0:48:02 | |
SHE WAILS | 0:48:05 | 0:48:07 | |
Watson! | 0:48:09 | 0:48:10 | |
-She's there! She's down there! -Don't tell me you abandoned your post! | 0:48:10 | 0:48:13 | |
What? Holmes, she's there, I saw her! | 0:48:13 | 0:48:15 | |
Empty, thanks to you! | 0:48:19 | 0:48:21 | |
Our bird is flown! | 0:48:21 | 0:48:23 | |
No! No, Holmes, it wasn't what you think. | 0:48:23 | 0:48:26 | |
I saw her! The ghost! | 0:48:26 | 0:48:27 | |
THERE ARE NO GHOSTS! | 0:48:27 | 0:48:29 | |
What happened? Where is Sir Eustace? | 0:48:32 | 0:48:35 | |
Dead. | 0:48:38 | 0:48:39 | |
You really mustn't blame yourself, you know. | 0:48:42 | 0:48:45 | |
-EXHALES: No, you're quite right. -I'm glad you're seeing sense. | 0:48:45 | 0:48:48 | |
Watson is equally culpable. | 0:48:48 | 0:48:50 | |
Between us, we've managed to botch this whole case. | 0:48:50 | 0:48:52 | |
I gave an undertaking to protect that man, | 0:48:52 | 0:48:54 | |
now he's lying there with a dagger in his breast. | 0:48:54 | 0:48:56 | |
In fact, you gave an undertaking to investigate his murder. | 0:48:56 | 0:48:59 | |
In the confident expectation I would not have to! | 0:48:59 | 0:49:02 | |
Anything you can tell us, Doctor? | 0:49:03 | 0:49:05 | |
Well, he's been stabbed with considerable force. | 0:49:05 | 0:49:09 | |
It's a man, then? | 0:49:09 | 0:49:10 | |
Possibly. | 0:49:10 | 0:49:12 | |
A very keen blade, so it could conceivably have been a woman? | 0:49:12 | 0:49:15 | |
In theory, yes, but we know who it was, I saw her. | 0:49:15 | 0:49:17 | |
-Watson! -I saw the ghost, with my own eyes! | 0:49:17 | 0:49:19 | |
You saw nothing! You saw what you were supposed to see! | 0:49:19 | 0:49:22 | |
You said yourself, I have no imagination. | 0:49:22 | 0:49:24 | |
Then use your brain, such as it is, to eliminate the impossible, | 0:49:24 | 0:49:26 | |
which in this case is the ghost, and observe what remains, which in this case is a solution | 0:49:26 | 0:49:30 | |
-so blindingly obvious even Lestrade could work it out! -Thank you! | 0:49:30 | 0:49:33 | |
Forget spectres from the other world! | 0:49:33 | 0:49:35 | |
There is only one suspect with motive and opportunity. | 0:49:35 | 0:49:38 | |
-They might as well have left a note. -They did leave a note. | 0:49:38 | 0:49:40 | |
And then there's the matter of the other broken window. | 0:49:40 | 0:49:42 | |
-What other broken window? -Precisely! There isn't one. | 0:49:42 | 0:49:45 | |
The only broken window is the one that Watson and I entered through, | 0:49:45 | 0:49:48 | |
yet, prior to that, we distinctly heard the sound of... | 0:49:48 | 0:49:50 | |
-What did you just say? -Sorry? -About a note, what did you just say? | 0:49:50 | 0:49:53 | |
-I said the murderer DID leave a note. -No, they didn't. | 0:49:53 | 0:49:56 | |
There's a message tied to the dagger. You must have seen it! | 0:49:56 | 0:49:59 | |
-There's no message. -Yes! | 0:49:59 | 0:50:00 | |
There was no message when I found the body. | 0:50:00 | 0:50:03 | |
Holmes? | 0:50:19 | 0:50:20 | |
What is it? | 0:50:24 | 0:50:25 | |
Do you? | 0:50:44 | 0:50:45 | |
Do I what? | 0:50:45 | 0:50:47 | |
H-how did you get that? | 0:50:50 | 0:50:52 | |
I left it at the crime scene. | 0:50:52 | 0:50:55 | |
"Crime scene"? Where do you pick up these extraordinary expressions? | 0:50:55 | 0:50:58 | |
Do you miss him? | 0:50:58 | 0:51:00 | |
Moriarty is dead. | 0:51:00 | 0:51:01 | |
And yet...? | 0:51:01 | 0:51:03 | |
His body was never recovered. | 0:51:05 | 0:51:07 | |
To be expected when one pushes a maths professor over a waterfall. | 0:51:07 | 0:51:11 | |
Pure reason toppled by sheer melodrama. | 0:51:11 | 0:51:14 | |
Your life in a nutshell. | 0:51:14 | 0:51:16 | |
Where do you pick up these extraordinary expressions? | 0:51:17 | 0:51:20 | |
HE SNIFFS Have you put on weight? | 0:51:32 | 0:51:35 | |
You saw me only yesterday. Does that seem possible? | 0:51:36 | 0:51:38 | |
No. | 0:51:38 | 0:51:40 | |
Yet here I am, increased. | 0:51:40 | 0:51:41 | |
What does that tell the foremost criminal investigator in England? | 0:51:41 | 0:51:45 | |
In England? | 0:51:45 | 0:51:46 | |
You're in deep, Sherlock, deeper than you ever intended to be. | 0:51:46 | 0:51:50 | |
-Have you made a list? -Of what? | 0:51:50 | 0:51:52 | |
Everything. We will need a list. | 0:51:52 | 0:51:55 | |
Good boy. | 0:52:00 | 0:52:02 | |
No, I haven't finished yet. | 0:52:02 | 0:52:05 | |
Moriarty may beg to differ. | 0:52:05 | 0:52:08 | |
HE SIGHS | 0:52:08 | 0:52:09 | |
He's trying to distract me. To derail me. | 0:52:09 | 0:52:13 | |
Yes. | 0:52:13 | 0:52:14 | |
He's the crack in the lens, the fly in the ointment, | 0:52:14 | 0:52:17 | |
the virus in the data. | 0:52:17 | 0:52:18 | |
I have to finish this. | 0:52:22 | 0:52:24 | |
If Moriarty has risen from the Reichenbach cauldron, | 0:52:26 | 0:52:30 | |
he will seek you out. | 0:52:30 | 0:52:32 | |
I'll be waiting. | 0:52:32 | 0:52:33 | |
Yes. | 0:52:40 | 0:52:42 | |
I'm very much afraid you will. | 0:52:46 | 0:52:47 | |
(Two days he's been like that.) | 0:53:30 | 0:53:32 | |
(Has he eaten?) | 0:53:32 | 0:53:34 | |
No, not a morsel. | 0:53:34 | 0:53:35 | |
Press are having a ruddy field day. There's still reporters outside. | 0:53:36 | 0:53:40 | |
Oh, they've been there all the time, I can't get rid of them. | 0:53:40 | 0:53:43 | |
I've been rushed off my feet making tea. | 0:53:43 | 0:53:46 | |
Why do you make him tea? | 0:53:46 | 0:53:48 | |
I dunno, I just sort of do. | 0:53:49 | 0:53:51 | |
He said, "There's only one suspect," and then he just walks away | 0:53:53 | 0:53:56 | |
and now he won't explain. | 0:53:56 | 0:53:57 | |
Which is strange, because he likes that bit. | 0:53:57 | 0:53:59 | |
Said it was so simple I could solve it. | 0:53:59 | 0:54:02 | |
I'm sure he was exaggerating. | 0:54:02 | 0:54:03 | |
What's he doing, do you think? | 0:54:07 | 0:54:09 | |
-He says he's waiting. -For what? | 0:54:09 | 0:54:11 | |
The devil. I wouldn't be surprised. | 0:54:11 | 0:54:15 | |
We get all sorts here. | 0:54:15 | 0:54:17 | |
-Well, wire me if there's any change. -Yeah. | 0:54:18 | 0:54:23 | |
CREAKING | 0:54:57 | 0:54:59 | |
FOOTSTEPS | 0:55:02 | 0:55:04 | |
Everything I have to say has already crossed your mind. | 0:55:04 | 0:55:06 | |
Then possibly my answer has crossed yours. | 0:55:06 | 0:55:09 | |
Like a bullet. | 0:55:09 | 0:55:11 | |
It's a dangerous habit, | 0:55:18 | 0:55:20 | |
to finger loaded firearms in the pocket of one's dressing gown. | 0:55:20 | 0:55:24 | |
Or are you just pleased to see me? | 0:55:24 | 0:55:26 | |
NECK CREAKS | 0:55:29 | 0:55:31 | |
You'll forgive me for taking precautions. | 0:55:31 | 0:55:33 | |
I'd be offended if you didn't. | 0:55:33 | 0:55:35 | |
Obviously, I've returned the courtesy. | 0:55:35 | 0:55:38 | |
BARREL CLICKS | 0:55:41 | 0:55:42 | |
I like your rooms. They smell so... | 0:55:46 | 0:55:51 | |
..manly. | 0:55:53 | 0:55:56 | |
I'm sure you acquainted yourself with them before now. | 0:55:56 | 0:55:58 | |
Well, you are always away, on your little adventures for The Strand. | 0:55:58 | 0:56:02 | |
Tell me, does the illustrator travel with you? | 0:56:02 | 0:56:05 | |
Do you have to pose... during your deductions? | 0:56:05 | 0:56:08 | |
I'm aware of all six occasions you have visited these apartments | 0:56:08 | 0:56:11 | |
-during my absence. -I know you are. | 0:56:11 | 0:56:13 | |
By the way, you have a surprisingly comfortable bed. | 0:56:15 | 0:56:18 | |
Did you know that dust is largely composed of human skin? | 0:56:22 | 0:56:25 | |
Yes. | 0:56:25 | 0:56:27 | |
Doesn't taste the same, though, you want your skin fresh. | 0:56:29 | 0:56:31 | |
-Just a little crispy. -Won't you sit down? | 0:56:31 | 0:56:34 | |
That's all people really are, you know, | 0:56:34 | 0:56:36 | |
dust waiting to be distributed. | 0:56:36 | 0:56:38 | |
And it gets everywhere. Ugh. | 0:56:38 | 0:56:39 | |
In every breath you take, dancing in every sunbeam, | 0:56:39 | 0:56:42 | |
all the used-up people. | 0:56:42 | 0:56:45 | |
Fascinating, I'm sure. Won't you sit... | 0:56:45 | 0:56:47 | |
People, people, people! Can't keep anything shiny. | 0:56:47 | 0:56:50 | |
Do you mind if I fire this? | 0:56:52 | 0:56:54 | |
Just to clean it out. | 0:56:54 | 0:56:56 | |
Exactly, let's stop playing. | 0:57:12 | 0:57:14 | |
We don't need toys to kill each other. | 0:57:14 | 0:57:16 | |
-Where's the intimacy in that? -Sit down. | 0:57:16 | 0:57:19 | |
-Why? What do you want? -You chose to come here. | 0:57:19 | 0:57:21 | |
Not true, you know that's not true. | 0:57:21 | 0:57:23 | |
What do you want, Sherlock? | 0:57:23 | 0:57:25 | |
The truth. | 0:57:25 | 0:57:27 | |
That. Truth's boring! | 0:57:28 | 0:57:31 | |
You didn't expect me to turn up at the scene of the crime, did you? | 0:57:35 | 0:57:38 | |
Poor old Sir Eustace. He got what was coming to him. | 0:57:38 | 0:57:41 | |
But you couldn't have killed him. | 0:57:41 | 0:57:43 | |
Oh, so what? Does it matter? Stop it. Stop this. | 0:57:43 | 0:57:47 | |
You don't care about Sir Eustace, or the Bride, or any of it. | 0:57:47 | 0:57:49 | |
There's only one thing in this whole business that you find interesting. | 0:57:49 | 0:57:53 | |
(I know what you're doing.) | 0:57:53 | 0:57:55 | |
RATTLING | 0:57:55 | 0:57:57 | |
The Bride put a gun in her mouth and shot the back of her head off | 0:57:57 | 0:58:00 | |
and then she came back. | 0:58:00 | 0:58:01 | |
Impossible. But she did it. | 0:58:03 | 0:58:06 | |
And you need to know how. | 0:58:06 | 0:58:08 | |
How? | 0:58:09 | 0:58:10 | |
Don't you? | 0:58:10 | 0:58:12 | |
It's tearing your world apart, not knowing. | 0:58:12 | 0:58:14 | |
You're trying to stop me... To distract me, derail me. | 0:58:14 | 0:58:19 | |
Because doesn't this remind you of another case? | 0:58:19 | 0:58:22 | |
Hasn't this all happened before? | 0:58:22 | 0:58:25 | |
There's nothing new under the sun. What was it? | 0:58:25 | 0:58:27 | |
What was it? What was that case? Huh? | 0:58:27 | 0:58:31 | |
Do you remember? | 0:58:31 | 0:58:32 | |
(It's on the tip of my tongue. It's on the tip of my tongue.) | 0:58:35 | 0:58:38 | |
(It's on the tip of my tongue.) | 0:58:38 | 0:58:40 | |
(It's on the tip...) | 0:58:40 | 0:58:42 | |
(..of my tongue.) | 0:58:46 | 0:58:48 | |
For the sake of Mrs Hudson's wallpaper, I must remind you | 0:58:52 | 0:58:55 | |
that one false move with your finger and you will be dead. | 0:58:55 | 0:58:57 | |
HE MUMBLES | 0:58:57 | 0:58:59 | |
I'm sorry? | 0:58:59 | 0:59:00 | |
Dead...(is the new sexy.) | 0:59:02 | 0:59:06 | |
RUMBLING | 0:59:09 | 0:59:11 | |
GUNSHOT | 0:59:11 | 0:59:13 | |
Well, I'll tell you what, that rather blows the cobwebs away. | 0:59:15 | 0:59:18 | |
(How can you be alive?) | 0:59:18 | 0:59:20 | |
How do I look? | 0:59:20 | 0:59:22 | |
Huh? | 0:59:22 | 0:59:23 | |
You can be honest, is it noticeable? | 0:59:28 | 0:59:30 | |
You blew your own brains out, how could you survive? | 0:59:30 | 0:59:33 | |
Or maybe I could backcomb. | 0:59:33 | 0:59:35 | |
I saw you die. | 0:59:35 | 0:59:36 | |
Why aren't you dead? | 0:59:38 | 0:59:40 | |
Because it's not the fall that kills you, Sherlock. | 0:59:40 | 0:59:44 | |
Of all people, you should know that, it's not the fall, | 0:59:44 | 0:59:47 | |
it's never the fall. | 0:59:47 | 0:59:48 | |
It's the landing! | 0:59:51 | 0:59:53 | |
RATTLING | 0:59:53 | 0:59:55 | |
TYRES SCREECH | 0:59:59 | 1:00:01 | |
We've landed, sir. | 1:00:09 | 1:00:10 | |
We've landed. | 1:00:10 | 1:00:12 | |
No, no, not now, not now! | 1:00:12 | 1:00:14 | |
Not now, not now. | 1:00:18 | 1:00:19 | |
I trust you had a pleasant flight, sir? | 1:00:19 | 1:00:21 | |
-MYCROFT: -Well, a somewhat shorter exile | 1:00:21 | 1:00:22 | |
than we'd imagined, brother mine, | 1:00:22 | 1:00:24 | |
but probably adequate, given your levels of OCD. | 1:00:24 | 1:00:26 | |
-I have to go back! -What? | 1:00:26 | 1:00:27 | |
I was...I was nearly there, I nearly had it! | 1:00:27 | 1:00:29 | |
What on earth are you talking about? | 1:00:29 | 1:00:31 | |
Go back where? You didn't get very far. | 1:00:31 | 1:00:33 | |
Ricoletti and his abominable wife! Don't you understand?! | 1:00:33 | 1:00:35 | |
No, of course we don't, you're not making any sense, Sherlock. | 1:00:35 | 1:00:38 | |
It was a case, a famous one from 100 years ago. | 1:00:38 | 1:00:41 | |
Lodged in my hard drive, she seemed to be dead, but then she came back. | 1:00:41 | 1:00:44 | |
-What, like Moriarty? -Shot herself in the head, exactly like Moriarty. | 1:00:44 | 1:00:48 | |
But you've only just been told. | 1:00:48 | 1:00:49 | |
We've only just found out, he's on every TV screen in the country. | 1:00:49 | 1:00:52 | |
Yes? So? It's been five minutes since Mycroft called. | 1:00:52 | 1:00:54 | |
What progress have you made? What have you been doing? | 1:00:54 | 1:00:57 | |
More to the point, what have YOU been doing? | 1:00:57 | 1:00:59 | |
-I've been in my Mind Palace, of course. -Of course. | 1:00:59 | 1:01:01 | |
Running an experiment. How would I have solved the crime, | 1:01:01 | 1:01:03 | |
-if I'd been there in 1895? -Oh, Sherlock. | 1:01:03 | 1:01:06 | |
I had all the details perfect. | 1:01:06 | 1:01:09 | |
I was there, all of it, everything. I was immersed. | 1:01:09 | 1:01:11 | |
Of course you were. | 1:01:11 | 1:01:12 | |
You've been reading John's blog. The story of how you met. | 1:01:12 | 1:01:15 | |
It helps me if I see myself through his eyes sometimes. | 1:01:15 | 1:01:18 | |
I'm so much cleverer. | 1:01:18 | 1:01:19 | |
Do you really think anyone is believing you? | 1:01:20 | 1:01:22 | |
No, he can do this, I've seen it. | 1:01:22 | 1:01:24 | |
The Mind Palace, it's like a whole world in his head. | 1:01:24 | 1:01:26 | |
Yes, and I need to get back there. | 1:01:26 | 1:01:28 | |
The Mind Palace is a memory technique, I know what it can do | 1:01:28 | 1:01:31 | |
and I know what it most certainly cannot. | 1:01:31 | 1:01:34 | |
Maybe there are one or two things that I know that you don't. | 1:01:34 | 1:01:38 | |
Oh, there are. | 1:01:39 | 1:01:41 | |
Did you make a list? | 1:01:41 | 1:01:42 | |
You've put on weight. That waistcoat is clearly newer than the jacket. | 1:01:46 | 1:01:49 | |
-Stop this! Just stop it! Did you make a list?! -Of what? | 1:01:49 | 1:01:51 | |
Everything, Sherlock. Everything you've taken. | 1:01:51 | 1:01:53 | |
No, it's not that, he goes into a sort of trance. I've seen him do it. | 1:01:53 | 1:01:56 | |
PAPER FLUTTERS | 1:01:56 | 1:01:58 | |
We have an agreement, my brother and I, ever since that day. | 1:02:06 | 1:02:10 | |
GASPING | 1:02:10 | 1:02:12 | |
Wherever I find him, | 1:02:12 | 1:02:14 | |
whatever back alley or doss-house... | 1:02:14 | 1:02:17 | |
..there will always be a list. | 1:02:18 | 1:02:21 | |
He couldn't have taken all that in the last five minutes. | 1:02:21 | 1:02:24 | |
He was high before he got on the plane. | 1:02:24 | 1:02:26 | |
He didn't seem high. | 1:02:26 | 1:02:27 | |
Nobody deceives like an addict. | 1:02:27 | 1:02:30 | |
I'm not an addict, I'm a user. | 1:02:30 | 1:02:32 | |
I alleviate boredom and occasionally heighten my thought processes. | 1:02:32 | 1:02:36 | |
For God's sake! This could kill you! | 1:02:36 | 1:02:37 | |
-You could die! -Controlled usage is not usually fatal | 1:02:37 | 1:02:40 | |
and abstinence is not immortality. | 1:02:40 | 1:02:43 | |
What are you doing? | 1:02:43 | 1:02:44 | |
Emelia Ricoletti, I'm looking her up. | 1:02:44 | 1:02:46 | |
Oh, I suppose we should. | 1:02:46 | 1:02:48 | |
I have access to the top level of the MI5 archive. | 1:02:48 | 1:02:51 | |
Yep, that's where I'm looking. | 1:02:51 | 1:02:52 | |
What do you think of MI5 security? | 1:02:54 | 1:02:56 | |
I think it would be a good idea. | 1:02:57 | 1:02:59 | |
Emelia Ricoletti, "unsolved", like he says. | 1:03:00 | 1:03:03 | |
Could you all just shut up for five minutes! | 1:03:03 | 1:03:05 | |
I have to go back. | 1:03:05 | 1:03:06 | |
I was nearly there before you stepped on and started yapping away! | 1:03:06 | 1:03:09 | |
"Yapping?" Sorry, did we interrupt your session? | 1:03:09 | 1:03:12 | |
Sherlock, listen to me. | 1:03:12 | 1:03:13 | |
No, it only encourages you. | 1:03:13 | 1:03:14 | |
-I'm not angry with you. -Oh, that's a relief(!) | 1:03:14 | 1:03:16 | |
I was really worried... No, hold on, | 1:03:16 | 1:03:18 | |
I really wasn't. | 1:03:18 | 1:03:20 | |
I was there for you before. | 1:03:21 | 1:03:23 | |
I'll be there for you again. | 1:03:23 | 1:03:25 | |
I'll always be there for you. | 1:03:27 | 1:03:29 | |
This was my fault. | 1:03:31 | 1:03:32 | |
It was nothing to do with you. | 1:03:33 | 1:03:36 | |
-A week in a prison cell, I should have realised. -Realised what? | 1:03:36 | 1:03:39 | |
That, in your case, | 1:03:39 | 1:03:40 | |
solitary confinement is locking you up with your worst enemy. | 1:03:40 | 1:03:43 | |
Oh, for God's sake! | 1:03:43 | 1:03:44 | |
Morphine or cocaine? | 1:03:44 | 1:03:46 | |
What did you say? | 1:03:48 | 1:03:50 | |
I didn't say anything. | 1:03:50 | 1:03:51 | |
No, you did, you said... | 1:03:51 | 1:03:53 | |
IN WATSON'S VOICE: 'Which is it today? Morphine or cocaine.' | 1:03:53 | 1:03:56 | |
'Holmes?' | 1:03:59 | 1:04:00 | |
Morphine or cocaine - which is it today? | 1:04:00 | 1:04:02 | |
-DOOR SLAMS -Answer me, damn it! | 1:04:02 | 1:04:04 | |
SLUGGISHLY: Moriarty was here. | 1:04:06 | 1:04:08 | |
Moriarty's dead. | 1:04:08 | 1:04:10 | |
I was on a jet. | 1:04:12 | 1:04:14 | |
A what? | 1:04:14 | 1:04:15 | |
You were there, and Mycroft. | 1:04:15 | 1:04:17 | |
You haven't left these rooms, Holmes. | 1:04:18 | 1:04:21 | |
You...haven't...moved. | 1:04:21 | 1:04:24 | |
Now, tell me, morphine or cocaine? | 1:04:24 | 1:04:26 | |
Cocaine. A 7% solution. | 1:04:28 | 1:04:31 | |
-Would you care to try it? -No. | 1:04:32 | 1:04:34 | |
But I would quite like to find every ounce of the stuff | 1:04:34 | 1:04:36 | |
in your possession and pour it out of the window. | 1:04:36 | 1:04:39 | |
I should be inclined to stop you. | 1:04:39 | 1:04:40 | |
Then you would be reminded, quite forcibly, | 1:04:40 | 1:04:43 | |
which of us is a soldier and which of us a drug addict. | 1:04:43 | 1:04:46 | |
You're not a soldier, you are a doctor. | 1:04:46 | 1:04:48 | |
I'm an army doctor, | 1:04:48 | 1:04:49 | |
which means I could break every bone in your body while naming them. | 1:04:49 | 1:04:52 | |
My dear Watson, you are allowing emotion to cloud your judgment. | 1:04:52 | 1:04:56 | |
Never on a case. | 1:04:56 | 1:04:58 | |
You promised me, never on a case. | 1:04:58 | 1:05:00 | |
-No, I just said that in one of your stories. -Listen, | 1:05:00 | 1:05:03 | |
I'm happy to play the fool for you. | 1:05:03 | 1:05:06 | |
I will run along behind you like some halfwit, | 1:05:06 | 1:05:09 | |
making you look clever, if that's what you need. | 1:05:09 | 1:05:11 | |
But dear God above, you will hold yourself to a higher standard! | 1:05:11 | 1:05:16 | |
-Why? -Because people need you to. | 1:05:16 | 1:05:18 | |
What people, why? Because of your idiot stories? | 1:05:18 | 1:05:20 | |
Yes, because of my "idiot stories". | 1:05:20 | 1:05:22 | |
-FOOTSTEPS APPROACH -Mr Holmes! | 1:05:22 | 1:05:24 | |
Mr Holmes, telegram, Mr Holmes. | 1:05:25 | 1:05:27 | |
What is it? What's wrong? | 1:05:36 | 1:05:38 | |
-It's Mary. -Mary? What about her? | 1:05:38 | 1:05:40 | |
-It's entirely possible she's in danger. -Danger? | 1:05:40 | 1:05:42 | |
There's not a moment to lose. | 1:05:42 | 1:05:44 | |
Is this the cocaine talking? | 1:05:44 | 1:05:46 | |
What danger could Mary be in? | 1:05:46 | 1:05:48 | |
-I'm sure she's just visiting with friends. -Come on! | 1:05:48 | 1:05:51 | |
What is happening? | 1:05:56 | 1:05:58 | |
Are you even in a fit state? | 1:05:58 | 1:06:00 | |
For Mary, of course. Never doubt that, Watson. | 1:06:00 | 1:06:03 | |
Never that. | 1:06:03 | 1:06:05 | |
-HOLMES GROANS -Holmes? | 1:06:05 | 1:06:07 | |
I'm fine. I'm fine! | 1:06:07 | 1:06:08 | |
Not that one! | 1:06:10 | 1:06:11 | |
This one. | 1:06:12 | 1:06:14 | |
-Why? -You're Sherlock Holmes. Wear the damn hat. | 1:06:14 | 1:06:17 | |
Cab! Cab! | 1:06:24 | 1:06:26 | |
So tell me, where is she? | 1:06:29 | 1:06:31 | |
You must tell me, what's going on?! | 1:06:31 | 1:06:33 | |
Oh, good old Watson(!) | 1:06:33 | 1:06:35 | |
How would we fill the time if you didn't ask questions?! | 1:06:35 | 1:06:37 | |
Sherlock, tell me where my bloody wife is, you pompous prick, | 1:06:37 | 1:06:41 | |
or I'll punch your lights out! | 1:06:41 | 1:06:42 | |
Holmes, where is she? | 1:06:44 | 1:06:45 | |
A de-sanctified church. | 1:06:47 | 1:06:48 | |
She thinks she's found the solution and, for no better reason than that, | 1:06:48 | 1:06:51 | |
she's put herself in the path of considerable danger. | 1:06:51 | 1:06:54 | |
What an excellent choice of wife. | 1:06:54 | 1:06:56 | |
What the devil?! | 1:07:08 | 1:07:09 | |
I've found them. | 1:07:09 | 1:07:11 | |
CHANTING | 1:07:11 | 1:07:14 | |
-What is all this, Mary? -This is the heart of it all, John. | 1:07:19 | 1:07:22 | |
The heart of the conspiracy. | 1:07:22 | 1:07:24 | |
CHANTING CONTINUES | 1:07:24 | 1:07:26 | |
FIGURES CHANT IN LATIN | 1:07:40 | 1:07:43 | |
Great God, what is this place? | 1:07:43 | 1:07:46 | |
And what the devil are you doing here?! | 1:07:46 | 1:07:48 | |
I've been making enquiries. | 1:07:48 | 1:07:51 | |
Mr Holmes asked me. | 1:07:51 | 1:07:52 | |
Holmes, how could you? | 1:07:52 | 1:07:54 | |
No, not him, the clever one. | 1:07:54 | 1:07:55 | |
It seemed obvious to me that this business could not be managed alone. | 1:07:56 | 1:08:00 | |
My theory is that Mrs Ricoletti had help. | 1:08:00 | 1:08:02 | |
Help from her friends. | 1:08:02 | 1:08:04 | |
-Bravo, Mary. "The clever one?" -I... | 1:08:04 | 1:08:06 | |
I thought I was losing you. | 1:08:07 | 1:08:09 | |
I thought perhaps we were... | 1:08:10 | 1:08:12 | |
-neglecting each other. -Well, you're the one who moved out. | 1:08:12 | 1:08:15 | |
I was talking to Mary. | 1:08:15 | 1:08:16 | |
You're working for Mycroft? | 1:08:18 | 1:08:19 | |
He likes to keep an eye on his mad sibling. | 1:08:19 | 1:08:21 | |
And he had a spy to hand. Has it never occurred to you | 1:08:21 | 1:08:24 | |
-your wife is excessively skilled for a nurse? -Of course it hasn't, | 1:08:24 | 1:08:27 | |
because he knows what a nurse is capable of. | 1:08:27 | 1:08:29 | |
-When did it occur to you? -Only now, I'm afraid. | 1:08:29 | 1:08:31 | |
Must be difficult, | 1:08:31 | 1:08:33 | |
being the slow little brother. | 1:08:33 | 1:08:35 | |
Time I sped up. Enough chatter, let's concentrate. | 1:08:35 | 1:08:38 | |
Yes, all right. What's all this about? | 1:08:38 | 1:08:40 | |
-What do they want to accomplish? -Why don't we go and find out. | 1:08:41 | 1:08:43 | |
CHANTING CONTINUES | 1:08:46 | 1:08:48 | |
GONG CRASHES | 1:09:01 | 1:09:02 | |
Sorry! I can never resist a gong. | 1:09:02 | 1:09:04 | |
-Or a touch of the dramatic. -Never have guessed(!) | 1:09:04 | 1:09:07 | |
Though it seems you share my enthusiasm in that regard. | 1:09:07 | 1:09:10 | |
Excellent. | 1:09:12 | 1:09:13 | |
Superlative theatre. | 1:09:13 | 1:09:15 | |
I applaud the spectacle. | 1:09:16 | 1:09:18 | |
Emelia Ricoletti shot herself, | 1:09:21 | 1:09:23 | |
then apparently returned from the grave and killed her husband. | 1:09:23 | 1:09:26 | |
So... | 1:09:26 | 1:09:28 | |
how was it done? | 1:09:28 | 1:09:29 | |
Let's take the events in order. | 1:09:30 | 1:09:32 | |
Mrs Ricoletti gets everyone's attention in very efficient fashion. | 1:09:35 | 1:09:38 | |
You! | 1:09:38 | 1:09:40 | |
GUNFIRE CONTINUES | 1:09:40 | 1:09:42 | |
You?! | 1:09:42 | 1:09:43 | |
Or me? | 1:09:43 | 1:09:45 | |
She places one of the revolvers in her mouth, | 1:09:45 | 1:09:47 | |
while actually firing the other into the ground. | 1:09:47 | 1:09:49 | |
An accomplice sprays the curtains with blood | 1:09:49 | 1:09:51 | |
and thus her apparent suicide | 1:09:51 | 1:09:53 | |
is witnessed by the frightened crowd below. | 1:09:53 | 1:09:55 | |
A substitute corpse, bearing a strong resemblance to Mrs Ricoletti | 1:09:57 | 1:10:00 | |
takes her place and is later transported to the morgue, | 1:10:00 | 1:10:02 | |
a grubby little suicide of little interest to Scotland Yard. | 1:10:02 | 1:10:06 | |
Meanwhile, the real Mrs Ricoletti slips away. | 1:10:06 | 1:10:09 | |
Now comes the really clever part. | 1:10:14 | 1:10:16 | |
Mrs Ricoletti persuaded a cab driver, someone who knew her, | 1:10:16 | 1:10:19 | |
to intercept her husband outside his favourite opium den. | 1:10:19 | 1:10:22 | |
The perfect stage for a perfect drama. | 1:10:22 | 1:10:25 | |
Who are you? What do you want? | 1:10:26 | 1:10:27 | |
Emelia? | 1:10:29 | 1:10:31 | |
-MAN: -Help! | 1:10:31 | 1:10:32 | |
A perfect positive identification. | 1:10:32 | 1:10:34 | |
The late Mrs Ricoletti has returned from the grave | 1:10:34 | 1:10:37 | |
and a little skilled make-up | 1:10:37 | 1:10:38 | |
and you have nothing less than the wrath of a vengeful ghost. | 1:10:38 | 1:10:41 | |
There was only one thing left to do. | 1:10:54 | 1:10:57 | |
Swiftly now. No tears. | 1:10:57 | 1:10:59 | |
GUNSHOT | 1:11:02 | 1:11:03 | |
All that remained was to substitute the real Mrs Ricoletti | 1:11:03 | 1:11:06 | |
for the corpse in the morgue. | 1:11:06 | 1:11:08 | |
This time, should anyone attempt to identify her, | 1:11:08 | 1:11:10 | |
it would be positively, absolutely her. | 1:11:10 | 1:11:13 | |
-MARY: -But why would she do that? | 1:11:13 | 1:11:15 | |
Die to prove a point? | 1:11:15 | 1:11:16 | |
Every great cause has martyrs. | 1:11:16 | 1:11:19 | |
Every war has suicide missions and make no mistake, this is war. | 1:11:19 | 1:11:23 | |
One half of the human race at war with the other. | 1:11:23 | 1:11:26 | |
The invisible army hovering at our elbow, | 1:11:27 | 1:11:31 | |
tending to our homes, | 1:11:31 | 1:11:33 | |
raising our children. | 1:11:33 | 1:11:34 | |
Ignored, patronised, | 1:11:36 | 1:11:38 | |
disregarded. | 1:11:38 | 1:11:40 | |
Not allowed so much as a vote. | 1:11:41 | 1:11:43 | |
But an army nonetheless, | 1:11:52 | 1:11:54 | |
ready to rise up in the best of causes. | 1:11:54 | 1:11:57 | |
To put right an injustice as old as humanity itself. | 1:11:57 | 1:12:01 | |
So you see, Watson, Mycroft was right. | 1:12:04 | 1:12:06 | |
This is a war we must lose. | 1:12:06 | 1:12:08 | |
She was dying. | 1:12:08 | 1:12:09 | |
-Who was? -Emelia Ricoletti. | 1:12:11 | 1:12:13 | |
There were clear signs of consumption - | 1:12:13 | 1:12:15 | |
I doubt she was long for this world. | 1:12:15 | 1:12:17 | |
So she decided to make her death count. | 1:12:17 | 1:12:20 | |
She was already familiar with the secret societies of America. | 1:12:22 | 1:12:25 | |
And was able to draw on their methods of fear | 1:12:25 | 1:12:27 | |
and intimidation to publicly, very publicly, | 1:12:27 | 1:12:29 | |
confront Sir Eustace Carmichael with the sins of his past. | 1:12:29 | 1:12:32 | |
He knew her out in the States. | 1:12:32 | 1:12:34 | |
Promised her everything. | 1:12:36 | 1:12:38 | |
Marriage, position. | 1:12:38 | 1:12:40 | |
And then he had his way with her... | 1:12:42 | 1:12:45 | |
..and threw her over. | 1:12:46 | 1:12:48 | |
Left her abandoned and penniless. | 1:12:48 | 1:12:50 | |
Hooper! | 1:12:50 | 1:12:52 | |
Holmes. | 1:12:57 | 1:12:59 | |
For the record, Holmes, she didn't have me fooled. | 1:12:59 | 1:13:03 | |
Why do you never mention me, sir? | 1:13:07 | 1:13:09 | |
Emelia thought that she'd found happiness with Ricoletti, | 1:13:12 | 1:13:16 | |
but he was a brute too. | 1:13:16 | 1:13:19 | |
RAPID SPEECH | 1:13:19 | 1:13:20 | |
Emelia Ricoletti was our friend. | 1:13:25 | 1:13:27 | |
You have no idea how that bastard treated her. | 1:13:27 | 1:13:30 | |
But the Bride, Holmes, we saw her. | 1:13:32 | 1:13:35 | |
Yes, Watson, we did. | 1:13:35 | 1:13:36 | |
The sound of breaking glass? | 1:13:37 | 1:13:39 | |
Not a window, | 1:13:39 | 1:13:41 | |
just an old theatrical trick. | 1:13:41 | 1:13:43 | |
-It cannot be true, Holmes, it cannot! -No, it can't. | 1:13:43 | 1:13:47 | |
'It's called Pepper's Ghost. | 1:13:47 | 1:13:49 | |
'A simple reflection in glass of a living, breathing person. | 1:13:50 | 1:13:54 | |
'Their only mistake was breaking the glass when they removed it.' | 1:13:56 | 1:13:59 | |
Look around you. | 1:14:02 | 1:14:03 | |
This room is full of brides. | 1:14:04 | 1:14:06 | |
Once she had risen, | 1:14:12 | 1:14:14 | |
anyone could be her. | 1:14:14 | 1:14:15 | |
The avenging ghost. | 1:14:17 | 1:14:20 | |
A legend to strike terror into the heart of any man | 1:14:20 | 1:14:22 | |
with malicious intent. | 1:14:22 | 1:14:24 | |
A spectre to stalk those unpunished brutes | 1:14:24 | 1:14:27 | |
whose reckoning is long overdue. | 1:14:27 | 1:14:29 | |
A league of furies awakened. | 1:14:30 | 1:14:33 | |
The women I... | 1:14:33 | 1:14:35 | |
WE have lied to, betrayed. | 1:14:35 | 1:14:37 | |
The women we have ignored and disparaged. | 1:14:39 | 1:14:42 | |
Once the idea exists, | 1:14:50 | 1:14:52 | |
it cannot be killed. | 1:14:52 | 1:14:54 | |
This is the work of a single-minded person. | 1:14:55 | 1:14:58 | |
Someone who knew first-hand about Sir Eustace's mental cruelty. | 1:14:58 | 1:15:02 | |
The dark secret, | 1:15:02 | 1:15:05 | |
kept from all but her closest friends, | 1:15:05 | 1:15:07 | |
including Emelia Ricoletti... | 1:15:07 | 1:15:09 | |
..the woman her husband wronged all those years before. | 1:15:10 | 1:15:13 | |
If one disregards the ghost, | 1:15:14 | 1:15:17 | |
there is only one suspect. | 1:15:17 | 1:15:19 | |
Isn't that right, Lady Carmichael? | 1:15:20 | 1:15:22 | |
One small detail doesn't quite make sense to me, however. | 1:15:25 | 1:15:28 | |
Why engage me to prevent a murder you intended to commit? | 1:15:30 | 1:15:35 | |
Hmm? | 1:15:35 | 1:15:37 | |
-MORIARTY: -"Doesn't quite make sense, doesn't quite make sense." | 1:15:38 | 1:15:41 | |
Of course it doesn't make sense, it's not real. | 1:15:41 | 1:15:43 | |
HE SCOFFS | 1:15:43 | 1:15:44 | |
Oh, Sherlock. | 1:15:44 | 1:15:46 | |
-SHERLOCK EXHALES SHARPLY -Peek-a-boo. | 1:15:48 | 1:15:50 | |
No. | 1:15:50 | 1:15:52 | |
No, not you. | 1:15:53 | 1:15:54 | |
It can't be you. | 1:15:56 | 1:15:57 | |
I mean, come on, be serious. | 1:15:57 | 1:15:59 | |
The costumes, the gong? | 1:15:59 | 1:16:02 | |
Speaking as a criminal mastermind, | 1:16:02 | 1:16:04 | |
we don't really have gongs or special outfits. | 1:16:04 | 1:16:07 | |
What the hell is going on? | 1:16:08 | 1:16:10 | |
Is this silly enough for you yet? | 1:16:12 | 1:16:13 | |
Gothic enough? Mad enough, even for you? | 1:16:15 | 1:16:18 | |
It doesn't make sense, Sherlock, | 1:16:18 | 1:16:20 | |
because it's not real. | 1:16:20 | 1:16:22 | |
-None of it. -What's he talking about? | 1:16:22 | 1:16:25 | |
This is all in your mind. | 1:16:25 | 1:16:27 | |
Sherlock? | 1:16:29 | 1:16:30 | |
Holmes! | 1:16:30 | 1:16:32 | |
You're dreaming. | 1:16:32 | 1:16:34 | |
-Argh! MARY: -Is he dreaming? | 1:16:34 | 1:16:35 | |
-MYCROFT: -And there he is. | 1:16:38 | 1:16:39 | |
Thought we'd lost you for a moment. | 1:16:39 | 1:16:41 | |
May I just check, is this what you mean by "controlled usage"? | 1:16:41 | 1:16:44 | |
Mrs Emelia Ricoletti, I need to know where she was buried. | 1:16:44 | 1:16:47 | |
-What, 120 years ago? -Yes. | 1:16:47 | 1:16:51 | |
That would take weeks to find, if those records even exists. | 1:16:51 | 1:16:54 | |
-Even with my resources. -Got it. | 1:16:54 | 1:16:56 | |
I don't get it, how is this relevant? | 1:16:58 | 1:17:00 | |
I need to know I was right, then I'll be sure. | 1:17:00 | 1:17:02 | |
-You mean how Moriarty did it? -Yes. | 1:17:02 | 1:17:03 | |
But none of that really happened, it was in your head. | 1:17:03 | 1:17:06 | |
My investigation was the fantasy, | 1:17:06 | 1:17:07 | |
the crime happened exactly as I explained. | 1:17:07 | 1:17:09 | |
The stone was erected by a group of her friends. | 1:17:09 | 1:17:11 | |
-I don't know what you think you'll find here. -I need to try! | 1:17:11 | 1:17:14 | |
Mrs Ricoletti was buried here, but what happened to the other one? | 1:17:22 | 1:17:25 | |
The corpse they substituted for her after the so-called suicide? | 1:17:25 | 1:17:28 | |
-They'd move it, of course they would. -But where? | 1:17:28 | 1:17:30 | |
Well, not here. | 1:17:30 | 1:17:31 | |
But that... That's exactly what they must have done. | 1:17:31 | 1:17:34 | |
The conspirators had someone on the inside. | 1:17:34 | 1:17:36 | |
They found a body, just like Molly Hooper found a body for me, when... | 1:17:36 | 1:17:39 | |
Yeah, well, we don't need to go into all that again, do we? | 1:17:39 | 1:17:41 | |
You're not seriously going to do this? | 1:17:41 | 1:17:43 | |
It's why we came here. I need to know. | 1:17:43 | 1:17:45 | |
Spoken like an addict. | 1:17:45 | 1:17:46 | |
This is important to me! | 1:17:46 | 1:17:48 | |
No, this is you needing a fix. | 1:17:48 | 1:17:49 | |
-John... -Moriarty's back. | 1:17:49 | 1:17:51 | |
We have a case, we have a real-life problem right now. | 1:17:51 | 1:17:53 | |
Getting to that, it's next on the list. Just let me do this. | 1:17:53 | 1:17:55 | |
No, everyone always lets you do whatever you want. | 1:17:55 | 1:17:58 | |
-That's how you got in this state! -John, please... | 1:17:58 | 1:18:00 | |
I'm not playing this time, Sherlock. Not any more! | 1:18:00 | 1:18:03 | |
When you're ready to go to work, give me a call. | 1:18:03 | 1:18:05 | |
-I'm taking Mary home. -You're what? | 1:18:05 | 1:18:07 | |
-Mary's taking me home. -Better. | 1:18:07 | 1:18:08 | |
-He's right, you know. -So what if he's right?! | 1:18:11 | 1:18:13 | |
He's always right, it's boring! | 1:18:13 | 1:18:14 | |
Will you help me? | 1:18:17 | 1:18:18 | |
Cherchez la femme. | 1:18:22 | 1:18:24 | |
THEY GRUNT AND STRAIN | 1:18:33 | 1:18:36 | |
LOUD BUMP | 1:18:36 | 1:18:38 | |
LESTRADE GRUNTS | 1:18:43 | 1:18:44 | |
Eurgh! | 1:19:01 | 1:19:02 | |
Oh, dear. | 1:19:08 | 1:19:10 | |
The cupboard is bare. | 1:19:10 | 1:19:11 | |
They must have buried it underneath. | 1:19:13 | 1:19:15 | |
They must have buried it underneath the coffin. | 1:19:15 | 1:19:18 | |
Bad luck, Sherlock. | 1:19:32 | 1:19:33 | |
Maybe they got rid of the body in another way. | 1:19:35 | 1:19:38 | |
-No... -More than likely. | 1:19:38 | 1:19:39 | |
At any rate, it was a very long time ago. | 1:19:39 | 1:19:41 | |
We do have slightly more pressing matters to hand, little brother. | 1:19:41 | 1:19:44 | |
Moriarty? Back from the dead? | 1:19:44 | 1:19:47 | |
-FAINT, RASPING FEMALE VOICE: -'Do not forget me. | 1:19:47 | 1:19:51 | |
'Do not forget me!' | 1:19:51 | 1:19:55 | |
CREAKING | 1:19:55 | 1:19:57 | |
SCREECHING | 1:20:03 | 1:20:05 | |
SHERLOCK GASPS | 1:20:05 | 1:20:07 | |
CRASHING WATER This? | 1:20:09 | 1:20:10 | |
Oh, I see. | 1:20:10 | 1:20:12 | |
Still not awake, am I? | 1:20:13 | 1:20:15 | |
Too deep, Sherlock, way too deep. | 1:20:41 | 1:20:43 | |
Congratulations, you will be the first man in history | 1:20:45 | 1:20:48 | |
to be buried in his own Mind Palace. | 1:20:48 | 1:20:50 | |
The setting is a shade melodramatic, don't you think? | 1:20:52 | 1:20:54 | |
For you and me? | 1:20:54 | 1:20:56 | |
Not at all. | 1:20:57 | 1:20:58 | |
What are you? | 1:21:01 | 1:21:03 | |
You know what I am. | 1:21:03 | 1:21:05 | |
I'm Moriarty. | 1:21:05 | 1:21:07 | |
The Napoleon of Crime. | 1:21:07 | 1:21:09 | |
-Moriarty's dead! -Not in your mind. | 1:21:09 | 1:21:11 | |
I'll never be dead there. | 1:21:11 | 1:21:13 | |
You once called your brain a hard drive. | 1:21:13 | 1:21:16 | |
Well, say hello to the virus. | 1:21:16 | 1:21:18 | |
This is how we end, you and I. | 1:21:19 | 1:21:21 | |
Always here, | 1:21:22 | 1:21:24 | |
always together. | 1:21:24 | 1:21:25 | |
You have a magnificent brain, Moriarty. | 1:21:28 | 1:21:31 | |
I admire it. | 1:21:31 | 1:21:33 | |
I concede it may even be the equal of my own. | 1:21:33 | 1:21:36 | |
I'm touched. | 1:21:36 | 1:21:38 | |
I'm honoured. | 1:21:40 | 1:21:41 | |
But when it comes to the matter of unarmed combat | 1:21:41 | 1:21:44 | |
on the edge of a precipice... | 1:21:44 | 1:21:46 | |
..you're going in the water, | 1:21:47 | 1:21:50 | |
short-arse. | 1:21:50 | 1:21:52 | |
MORIARTY HISSES, SHERLOCK CHOKES | 1:21:52 | 1:21:54 | |
THEY GRUNT | 1:21:58 | 1:22:00 | |
Oh, you think you're so big and strong, Sherlock! | 1:22:04 | 1:22:06 | |
Not with me. | 1:22:06 | 1:22:08 | |
SHERLOCK GRUNTS | 1:22:08 | 1:22:09 | |
THEY GRUNT AND GASP | 1:22:16 | 1:22:18 | |
I am your weakness! | 1:22:21 | 1:22:23 | |
I keep you down! | 1:22:25 | 1:22:27 | |
Every time you stumble, every time you fail, | 1:22:28 | 1:22:32 | |
when you're weak, | 1:22:32 | 1:22:33 | |
I...am... | 1:22:33 | 1:22:35 | |
there! | 1:22:35 | 1:22:37 | |
No, | 1:22:39 | 1:22:41 | |
don't try to fight it. | 1:22:41 | 1:22:42 | |
Lie back and lose! | 1:22:42 | 1:22:44 | |
Shall we go over together? | 1:22:50 | 1:22:52 | |
It has to be together, doesn't it? | 1:22:52 | 1:22:54 | |
At the end it's always just you | 1:22:54 | 1:22:57 | |
and me! | 1:22:57 | 1:22:59 | |
WATSON CLEARS HIS THROAT | 1:22:59 | 1:23:02 | |
PISTOL COCKS | 1:23:02 | 1:23:03 | |
Professor, if you wouldn't mind stepping away from my friend, | 1:23:04 | 1:23:07 | |
I do believe he finds your attention a shade annoying. | 1:23:07 | 1:23:11 | |
That's not fair, there's two of you! | 1:23:13 | 1:23:16 | |
There's always two of us. Don't you read The Strand? | 1:23:16 | 1:23:18 | |
On your knees, Professor. | 1:23:20 | 1:23:22 | |
Hands behind your head. | 1:23:26 | 1:23:29 | |
Thank you, John. | 1:23:30 | 1:23:31 | |
Since when do you call me John? | 1:23:33 | 1:23:35 | |
You'd be surprised. | 1:23:36 | 1:23:37 | |
No, I wouldn't. | 1:23:37 | 1:23:39 | |
Time you woke up, Sherlock. | 1:23:41 | 1:23:43 | |
I'm a story-teller, I know when I'm in one. | 1:23:44 | 1:23:47 | |
Of course. | 1:23:47 | 1:23:49 | |
Of course you do, John. | 1:23:49 | 1:23:50 | |
So what's he like? | 1:23:51 | 1:23:53 | |
The other me in the other place? | 1:23:53 | 1:23:55 | |
Smarter than he looks. | 1:23:57 | 1:23:58 | |
Pretty damn smart, then. | 1:23:58 | 1:24:00 | |
Pretty damn smart. | 1:24:01 | 1:24:03 | |
Ugh, why don't you two just elope, for God's sake?! | 1:24:03 | 1:24:06 | |
Impertinent. | 1:24:06 | 1:24:08 | |
Offensive. | 1:24:08 | 1:24:10 | |
Actually, would you mind? | 1:24:10 | 1:24:12 | |
Not at all. | 1:24:12 | 1:24:14 | |
MORIARTY SCREAMS | 1:24:18 | 1:24:20 | |
-It was my turn. -Quite so. | 1:24:23 | 1:24:26 | |
So how do you plan to wake up? | 1:24:26 | 1:24:27 | |
Oh... | 1:24:29 | 1:24:31 | |
I should think like this. | 1:24:31 | 1:24:33 | |
Are you sure? | 1:24:34 | 1:24:36 | |
Between you and me, John, I always survive a fall. | 1:24:36 | 1:24:39 | |
But how? | 1:24:39 | 1:24:41 | |
Elementary, my dear Watson. | 1:24:42 | 1:24:44 | |
HE GASPS | 1:25:10 | 1:25:12 | |
-Miss me? -Sherlock, are you all right? | 1:25:16 | 1:25:18 | |
Yes. Of course I am, why wouldn't I be? | 1:25:18 | 1:25:19 | |
Because you probably just OD'd. You should be in hospital. | 1:25:19 | 1:25:22 | |
Hm, no time. | 1:25:22 | 1:25:24 | |
I have to go to Baker Street now, Moriarty's back. | 1:25:24 | 1:25:27 | |
I almost hope he is, | 1:25:27 | 1:25:29 | |
if it'll save you from this. | 1:25:29 | 1:25:31 | |
No need for that now, | 1:25:33 | 1:25:35 | |
I've got the real thing. | 1:25:35 | 1:25:36 | |
-I have work to do. -Sherlock... | 1:25:36 | 1:25:38 | |
..promise me. | 1:25:40 | 1:25:41 | |
What are you still doing here? | 1:25:43 | 1:25:44 | |
Shouldn't you be off getting me a pardon or something, | 1:25:44 | 1:25:46 | |
like a proper big brother? | 1:25:46 | 1:25:48 | |
Dr Watson... | 1:25:53 | 1:25:54 | |
Look after him. | 1:25:58 | 1:26:00 | |
Please. | 1:26:01 | 1:26:03 | |
Sherlock, hang on, explain. Moriarty's alive, then? | 1:26:23 | 1:26:26 | |
I never said he was alive, I said he was back. | 1:26:26 | 1:26:28 | |
So he's dead? | 1:26:28 | 1:26:30 | |
Of course he's dead, he blew his own brains out, no-one survives that. | 1:26:30 | 1:26:33 | |
I just went to the trouble of an overdose to prove it. | 1:26:33 | 1:26:37 | |
Moriarty is dead, no question. | 1:26:37 | 1:26:39 | |
But more importantly, I know exactly what he's going to do next. | 1:26:40 | 1:26:44 | |
THEME TUNE BEGINS | 1:26:51 | 1:26:53 | |
THEME TUNE JUDDERS TO HALT | 1:26:53 | 1:26:55 | |
Flying machines, | 1:26:55 | 1:26:56 | |
these, er, telephone contraptions? | 1:26:56 | 1:26:58 | |
What sort of lunatic fantasy is that? | 1:26:58 | 1:27:00 | |
It was simply my conjecture of what a future world might look like | 1:27:00 | 1:27:03 | |
and how you and I might fit inside it. | 1:27:03 | 1:27:05 | |
From a drop of water a logician should be able to infer | 1:27:05 | 1:27:07 | |
the possibility of an Atlantic or a Niagara. | 1:27:07 | 1:27:10 | |
Or a Reichenbach? | 1:27:10 | 1:27:12 | |
-Have you written up your account of the case? -Yes. | 1:27:12 | 1:27:14 | |
Hmm. | 1:27:14 | 1:27:15 | |
-Modified to put it down as one of my rare failures, of course? -Of course. | 1:27:15 | 1:27:20 | |
The Adventure Of... | 1:27:22 | 1:27:24 | |
The Invisible Army. | 1:27:24 | 1:27:26 | |
The League Of Furies? | 1:27:28 | 1:27:29 | |
The Monstrous Regiment? | 1:27:30 | 1:27:32 | |
I rather thought The Abominable Bride. | 1:27:32 | 1:27:35 | |
-A trifle lurid. -It'll sell. It's got proper murders in it too. | 1:27:36 | 1:27:39 | |
You're the expert. | 1:27:39 | 1:27:40 | |
As for your own tale, | 1:27:40 | 1:27:43 | |
are you sure it's still just a 7% solution that you take? | 1:27:43 | 1:27:47 | |
I think you may have increased the dosage. | 1:27:47 | 1:27:49 | |
Perhaps I was being a little fanciful. | 1:27:49 | 1:27:51 | |
But perhaps such things could come to pass. | 1:27:52 | 1:27:55 | |
In any case, I know I would be very much at home in such a world. | 1:27:56 | 1:27:59 | |
-Huh, I don't think I would be. -I beg to differ. | 1:27:59 | 1:28:01 | |
But then I've always known I was a man out of his time. | 1:28:03 | 1:28:06 |