Browse content similar to The Reichenbach Fall. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
THUNDER RUMBLES | 0:00:02 | 0:00:03 | |
Why today? | 0:00:03 | 0:00:05 | |
-Do you want to hear me say it? -18 months since our last appointment. | 0:00:09 | 0:00:14 | |
You read the papers? | 0:00:14 | 0:00:15 | |
Sometimes... | 0:00:17 | 0:00:18 | |
And you watch telly? | 0:00:18 | 0:00:19 | |
You know why I'm here. | 0:00:22 | 0:00:23 | |
I'm here because... | 0:00:27 | 0:00:28 | |
What happened, John? | 0:00:33 | 0:00:35 | |
Sherl... | 0:00:47 | 0:00:49 | |
You need to get it out. | 0:00:53 | 0:00:54 | |
My best friend... | 0:00:57 | 0:00:59 | |
Sherlock Holmes... | 0:00:59 | 0:01:00 | |
..is dead. | 0:01:03 | 0:01:04 | |
Falls Of The Reichenbach. Turner's masterpiece. | 0:01:37 | 0:01:42 | |
Thankfully recovered, | 0:01:42 | 0:01:43 | |
owing to the prodigious talent of Mr Sherlock Holmes. | 0:01:43 | 0:01:47 | |
APPLAUSE | 0:01:47 | 0:01:49 | |
A small token of our gratitude. | 0:01:51 | 0:01:53 | |
Diamond cufflinks... All my cuffs have buttons. | 0:01:54 | 0:01:57 | |
-He means thank you. -Do I? | 0:01:57 | 0:01:58 | |
-Just say it. -Thank you. | 0:01:58 | 0:02:01 | |
Hang on. | 0:02:01 | 0:02:03 | |
Back together with my family, after my terrifying ordeal. | 0:02:07 | 0:02:13 | |
And we have one person to thank for my deliverance... | 0:02:13 | 0:02:17 | |
Sherlock Holmes. | 0:02:17 | 0:02:20 | |
APPLAUSE | 0:02:20 | 0:02:21 | |
-Tie pin. I don't wear ties. -Shhh. | 0:02:23 | 0:02:26 | |
Peter Ricoletti... Number one on Interpol's most wanted list since 1982. | 0:02:29 | 0:02:34 | |
We got him, and there's one person we have to thank for giving us the decisive leads. | 0:02:34 | 0:02:38 | |
With all his customary diplomacy and tact. | 0:02:38 | 0:02:41 | |
-Sarcasm. -Yes. | 0:02:41 | 0:02:44 | |
We all chipped in. | 0:02:45 | 0:02:46 | |
Oh... | 0:02:52 | 0:02:53 | |
Put the hat on. Put the hat on. | 0:02:53 | 0:02:55 | |
Yes, Sherlock, put it on. | 0:02:55 | 0:02:57 | |
Just get it over with. | 0:02:57 | 0:03:00 | |
"Boffin!" | 0:03:10 | 0:03:13 | |
"Boffin Sherlock Holmes!" | 0:03:13 | 0:03:15 | |
Everybody gets one. | 0:03:15 | 0:03:16 | |
-One what? -Tabloid nickname. | 0:03:16 | 0:03:18 | |
-SuBo, Nasty Nick. I'll probably get one soon. -Page five, column six, first sentence. | 0:03:18 | 0:03:23 | |
Why is it always the hat photograph?! | 0:03:23 | 0:03:26 | |
-"Bachelor John Watson." -What kind of hat is it? -What are they implying?! | 0:03:26 | 0:03:29 | |
-Is it a cap? Why has it got two fronts? -It's a deerstalker. | 0:03:29 | 0:03:32 | |
-"Frequently seen in the company of bachelor John Watson." -What are you going to do, throw it? | 0:03:32 | 0:03:37 | |
-"Confirmed bachelor John Watson." -A death frisbee! -This is too much, | 0:03:37 | 0:03:41 | |
-we need to be more careful. -It's got flaps. Ear flaps, it's an ear hat, John. | 0:03:41 | 0:03:45 | |
What do you mean, more careful? | 0:03:45 | 0:03:47 | |
I mean, this isn't a deerstalker now, it's a Sherlock Holmes hat. | 0:03:47 | 0:03:51 | |
I mean, you're not exactly a private detective any more. | 0:03:51 | 0:03:53 | |
-You're this far from famous. -Oh, it'll pass. | 0:03:53 | 0:03:56 | |
It better pass. The press will turn, Sherlock, they always turn and they'll turn on you. | 0:03:56 | 0:04:03 | |
-It really bothers you. -What? -What people say. -Yes. | 0:04:03 | 0:04:06 | |
About me? why would it upset YOU? | 0:04:06 | 0:04:08 | |
Just try to keep a low profile. Find yourself a little case this week. | 0:04:10 | 0:04:14 | |
Stay out of the news. | 0:04:15 | 0:04:17 | |
MOBILE BLEEPS | 0:04:56 | 0:04:58 | |
That's your phone. | 0:04:58 | 0:04:59 | |
Hmm, it keeps doing that. | 0:04:59 | 0:05:02 | |
So, did you just talk to him for a really long time? | 0:05:05 | 0:05:10 | |
Oh, Henry Fishguard never committed suicide. | 0:05:10 | 0:05:13 | |
Bow Street runners missed everything. | 0:05:13 | 0:05:16 | |
-Pressing case, is it? -They're all pressing until they're solved. | 0:05:16 | 0:05:20 | |
Put your key back please. Thank you. | 0:05:20 | 0:05:23 | |
Excuse me, sir. | 0:05:26 | 0:05:29 | |
Any metal objects, keys, mobile phones? | 0:05:29 | 0:05:32 | |
You can go through. | 0:05:34 | 0:05:35 | |
Thank you. | 0:05:35 | 0:05:37 | |
Fancy a cuppa then, mate? | 0:06:08 | 0:06:09 | |
Yeah, why not? | 0:06:09 | 0:06:11 | |
Gilts at seven. | 0:06:13 | 0:06:15 | |
Dutch Telecoms in free-fall. Thank you, Harvey. | 0:06:15 | 0:06:18 | |
What are you saying? | 0:06:23 | 0:06:24 | |
Refuse them all parole and bring back the rope? | 0:06:24 | 0:06:28 | |
Let's begin. | 0:06:28 | 0:06:29 | |
ALARM SOUNDS | 0:06:47 | 0:06:48 | |
This is an emergency. Please leave. | 0:06:48 | 0:06:50 | |
Sir, I'm going to have to ask you to leave. | 0:06:50 | 0:06:54 | |
DOOR BANGS | 0:06:57 | 0:06:58 | |
Sir, there's been a break-in. | 0:07:07 | 0:07:09 | |
Not our division. | 0:07:09 | 0:07:10 | |
You'll want it. | 0:07:10 | 0:07:11 | |
ALARM SOUNDS | 0:07:11 | 0:07:13 | |
The vault! | 0:07:22 | 0:07:24 | |
Hacked into the Tower of bloody London's security?! How?! | 0:07:30 | 0:07:35 | |
MOBILE RINGS | 0:07:33 | 0:07:35 | |
-Tell them we're on our way! -There's been another one, another break-in. | 0:07:35 | 0:07:38 | |
Bank of England! | 0:07:38 | 0:07:40 | |
ALARM SOUNDS | 0:07:58 | 0:08:00 | |
Sir! Security's down, sir. It's failing. | 0:08:00 | 0:08:03 | |
What is it now? | 0:08:04 | 0:08:05 | |
Pentonville Prison. | 0:08:05 | 0:08:07 | |
Oh no! | 0:08:07 | 0:08:10 | |
POLICE SIRENS | 0:08:21 | 0:08:22 | |
No rush. | 0:09:20 | 0:09:22 | |
MOBILE BLEEPS | 0:09:23 | 0:09:25 | |
I'll get it, shall I? | 0:09:26 | 0:09:27 | |
-Here. -Not now, I'm busy. | 0:09:36 | 0:09:38 | |
-Sherlock... -Not now! -He's back. | 0:09:38 | 0:09:41 | |
That glass is tougher than anything. | 0:09:57 | 0:09:59 | |
Not tougher than crystallised carbon. He used a diamond. | 0:09:59 | 0:10:03 | |
# Oh, sinnerman, where you gonna run to? | 0:10:24 | 0:10:28 | |
# Sinnerman, where you gonna run to? | 0:10:28 | 0:10:31 | |
# Where you gonna run to? | 0:10:32 | 0:10:35 | |
# All on that day | 0:10:35 | 0:10:37 | |
# Well, I run to the rock... # | 0:10:37 | 0:10:40 | |
-Ready? -Yes. | 0:10:40 | 0:10:42 | |
-Stand back. Stand back. -Mr Holmes. Mr Holmes. | 0:10:44 | 0:10:47 | |
-Let them through. -Thank you. Get in. | 0:10:47 | 0:10:50 | |
# Oh, Lord... | 0:10:52 | 0:10:54 | |
# Please help me, Lord | 0:10:54 | 0:10:56 | |
# Don't you see me praying | 0:10:57 | 0:11:00 | |
# Don't you see me down here praying | 0:11:01 | 0:11:04 | |
# But the Lord said | 0:11:04 | 0:11:07 | |
# Go to the devil The Lord said | 0:11:07 | 0:11:10 | |
# Go to the devil | 0:11:10 | 0:11:13 | |
# He said Go to the devil | 0:11:14 | 0:11:17 | |
# All on that day | 0:11:17 | 0:11:18 | |
# So I ran to the devil | 0:11:18 | 0:11:21 | |
# He was waiting... # | 0:11:21 | 0:11:23 | |
-Remember... -Yes. | 0:11:23 | 0:11:25 | |
-Remember... -Yes. | 0:11:27 | 0:11:28 | |
-Remember what they told you. Don't try to be clever. -No. | 0:11:29 | 0:11:33 | |
-Please, keep it simple and brief. -God forbid the star witness at the trial should appear intelligent. | 0:11:33 | 0:11:38 | |
Intelligent, fine. Let's give "smart-arse" a wide berth. | 0:11:38 | 0:11:41 | |
-I'll just be myself. -Are you listening to me(?) | 0:11:41 | 0:11:44 | |
Today, outside the Old Bailey... | 0:11:52 | 0:11:54 | |
-This is the trial of the century... -The trial of James Moriarty... | 0:11:54 | 0:11:58 | |
James Moriarty, earlier today accused of... | 0:11:58 | 0:12:00 | |
..attempting to steal the Crown Jewels. | 0:12:00 | 0:12:02 | |
At the Old Bailey we have Reichenbach hero Sherlock Holmes... | 0:12:02 | 0:12:05 | |
Would you mind slipping your hand into my pocket? | 0:12:15 | 0:12:18 | |
Thanks. | 0:12:35 | 0:12:37 | |
# It was boiling, I ran to the sea | 0:12:37 | 0:12:40 | |
# It was boiling I ran to the sea... # | 0:12:40 | 0:12:43 | |
Crown v Moriarty, please proceed to Court 10. | 0:12:43 | 0:12:48 | |
You're him. | 0:12:49 | 0:12:50 | |
-Wrong toilet. -I'm a big fan. -Evidently. | 0:12:53 | 0:12:56 | |
I read your cases, follow them all. | 0:12:56 | 0:12:59 | |
Sign my shirt, would you? | 0:12:59 | 0:13:02 | |
-There are two types of fans. -Oh? | 0:13:04 | 0:13:06 | |
-Catch me before I kill again, Type A. -Uh-huh. | 0:13:07 | 0:13:10 | |
-What's Type B? -Your bedroom's just a taxi ride away. -Hmm. | 0:13:10 | 0:13:14 | |
Guess which one I am? | 0:13:14 | 0:13:16 | |
-Neither. -Really? -No, you're not a fan at all. | 0:13:19 | 0:13:22 | |
Those marks on your forearm, edge of a desk. | 0:13:22 | 0:13:25 | |
You've been typing in a hurry, probably, pressure on, facing a deadline. | 0:13:25 | 0:13:29 | |
That all? | 0:13:29 | 0:13:31 | |
There's an ink smudge on your wrist, a bulge in your jacket pocket. | 0:13:31 | 0:13:34 | |
-Bit of a giveaway? -The smudge is deliberate, to see if I'm as good as they say I am. | 0:13:34 | 0:13:38 | |
Hmm. Oil-based, used in newspaper print. | 0:13:38 | 0:13:41 | |
-But drawn on with an index finger, your finger. -Hmm. | 0:13:41 | 0:13:45 | |
Journalist. Unlikely you get your hands dirty at the press. | 0:13:45 | 0:13:49 | |
-You put that there to test me. -Wow! I'm liking you. | 0:13:50 | 0:13:54 | |
I'd make a great feature, "Sherlock Holmes, the man beneath the hat". | 0:13:54 | 0:13:57 | |
Kitty... | 0:13:57 | 0:13:59 | |
Riley. Pleased to meet you. | 0:13:59 | 0:14:01 | |
I'm saving you the job of asking. I won't give you an interview. No, I don't want the money. | 0:14:01 | 0:14:06 | |
You and John Watson, just platonic? Can I put you down for a "no" there as well(?) | 0:14:06 | 0:14:11 | |
There's all sorts of gossip in the press about you. | 0:14:11 | 0:14:16 | |
Sooner or later, you're going to need someone on your side. | 0:14:16 | 0:14:20 | |
Someone to set the record straight. | 0:14:20 | 0:14:23 | |
You think you're the girl for that job, do you? | 0:14:25 | 0:14:27 | |
I'm smart and you can trust me... | 0:14:27 | 0:14:30 | |
..totally. | 0:14:31 | 0:14:32 | |
Smart? OK, investigative journalist. | 0:14:32 | 0:14:36 | |
Good. Well, look at me and tell me what you see. | 0:14:36 | 0:14:39 | |
If you're that skilful, you don't need an interview, | 0:14:41 | 0:14:45 | |
you can just read what you need. | 0:14:45 | 0:14:47 | |
No? OK, my turn. | 0:14:49 | 0:14:51 | |
I see someone who's waiting for their first scoop, so their editor will notice them. | 0:14:51 | 0:14:56 | |
You're wearing an expensive skirt, that's been rehemmed twice. Only posh skirt you've got. | 0:14:56 | 0:15:01 | |
Your nails, you can't afford to do them that often. I see someone who's hungry, | 0:15:01 | 0:15:05 | |
I don't see smart. I don't see trustworthy. I'll give you a quote. if you like. Three little words. | 0:15:05 | 0:15:10 | |
You repel me. | 0:15:12 | 0:15:15 | |
-"A consulting criminal." -Yes. | 0:15:28 | 0:15:31 | |
Your words. Can you expand on that answer? | 0:15:31 | 0:15:34 | |
-James Moriarty is for hire. -A tradesman? | 0:15:36 | 0:15:39 | |
-Yes. -But not the sort who'd fix your heating? | 0:15:39 | 0:15:42 | |
No, the sort who'd plant a bomb or stage an assassination. | 0:15:42 | 0:15:45 | |
But I'm sure he'd make a decent job of your boiler. | 0:15:45 | 0:15:48 | |
Would you describe him as... | 0:15:48 | 0:15:49 | |
-Leading. -What? -You're leading the witness. | 0:15:49 | 0:15:52 | |
-He'll object and the judge'll uphold. -Mr Holmes. | 0:15:52 | 0:15:54 | |
Ask me how, HOW would I describe him? | 0:15:54 | 0:15:56 | |
What opinion have I formed of him? Do they not teach you this? | 0:15:56 | 0:16:00 | |
Mr Holmes, we are fine without your help. | 0:16:00 | 0:16:02 | |
HOW would you describe this man, his character? | 0:16:02 | 0:16:06 | |
First mistake. | 0:16:06 | 0:16:07 | |
James Moriarty isn't a man at all. | 0:16:07 | 0:16:10 | |
He's a spider. | 0:16:10 | 0:16:12 | |
A spider at the centre of a web, a criminal web with a thousand threads | 0:16:13 | 0:16:17 | |
and he knows precisely how each and every single one of them dances. | 0:16:17 | 0:16:21 | |
SHE CLEARS THROAT | 0:16:23 | 0:16:25 | |
-And how long...? -No, no. Don't, don't do that. | 0:16:25 | 0:16:27 | |
-That's really not a good question. -Mr Holmes! | 0:16:27 | 0:16:30 | |
How long have I known him? Not your best line of enquiry. | 0:16:30 | 0:16:32 | |
We met twice, five minutes in total. | 0:16:32 | 0:16:35 | |
I pulled a gun, he tried to blow me up. | 0:16:35 | 0:16:37 | |
I felt we had a special something. | 0:16:37 | 0:16:39 | |
Miss Sorrel, are you seriously claiming this man is an expert? | 0:16:39 | 0:16:44 | |
After knowing the accused for just five minutes? | 0:16:44 | 0:16:47 | |
Two minutes would have made me an expert, five was ample. | 0:16:47 | 0:16:50 | |
-Mr Holmes, that's a matter for the jury. -Oh, really? | 0:16:50 | 0:16:53 | |
One librarian, two teachers, | 0:16:56 | 0:16:58 | |
two high-pressure jobs, probably the City. | 0:16:58 | 0:17:00 | |
-The foreman's a medical secretary, trained abroad, judging by her shorthand. -Mr Holmes? | 0:17:00 | 0:17:05 | |
Seven are married, two are having an affair with each other. | 0:17:05 | 0:17:08 | |
-Oh, they've just had tea and biscuits. Would you like to know who ate the wafer? -Mr Holmes! | 0:17:08 | 0:17:12 | |
You've been called here to answer Miss Sorrel's questions, | 0:17:12 | 0:17:16 | |
not to give us a display of your intellectual prowess. | 0:17:16 | 0:17:20 | |
Keep your answers brief and to the point. | 0:17:20 | 0:17:24 | |
Anything else will be treated as contempt. | 0:17:24 | 0:17:26 | |
Do you think you could survive for just a few minutes... | 0:17:26 | 0:17:29 | |
WITHOUT SHOWING OFF?! | 0:17:29 | 0:17:30 | |
CELL DOOR SLAMS | 0:17:36 | 0:17:38 | |
What did I say? I said don't get clever. | 0:17:50 | 0:17:53 | |
-I can't just turn it on and off like a tap. Well? -Well, what? | 0:17:53 | 0:17:57 | |
You were there for the whole thing, up in the gallery, start to finish. | 0:17:57 | 0:18:01 | |
Like you said it would be - sat on his backside, never even stirred. | 0:18:01 | 0:18:04 | |
Moriarty is not mounting any defence. | 0:18:04 | 0:18:06 | |
Bank of England, Tower of London, Pentonville. | 0:18:06 | 0:18:09 | |
Three of the most secure places in the country | 0:18:09 | 0:18:12 | |
and six weeks ago, Moriarty breaks in, | 0:18:12 | 0:18:15 | |
no-one knows how or why. | 0:18:15 | 0:18:17 | |
-All we know is... -He ended up in custody. | 0:18:17 | 0:18:19 | |
-Don't do that. -Do what? | 0:18:21 | 0:18:23 | |
-The look. -Look? -You're doing the look again. -Well, I can't see it, can I? | 0:18:23 | 0:18:28 | |
It's my face. | 0:18:28 | 0:18:29 | |
Yes, and you're doing a "We both know what's really going on here" face. | 0:18:29 | 0:18:33 | |
-We do. -No, I don't, which is why I find the face so annoying. | 0:18:33 | 0:18:36 | |
If Moriarty wanted the jewels, he'd have them. | 0:18:36 | 0:18:38 | |
If he wanted the prisoners freed, they'd be on the streets. | 0:18:38 | 0:18:41 | |
The reason he's still in a prison cell is cos he chose to be there. | 0:18:41 | 0:18:45 | |
Somehow this is part of his scheme. | 0:18:45 | 0:18:47 | |
Mr Crayhill, can we have your first witness? | 0:18:57 | 0:19:01 | |
Your Honour, we're not calling any witnesses. | 0:19:03 | 0:19:07 | |
I don't follow. | 0:19:07 | 0:19:08 | |
You've entered a plea of not guilty. | 0:19:08 | 0:19:11 | |
Nevertheless, my client is offering no evidence. | 0:19:11 | 0:19:14 | |
The defence...rests. | 0:19:14 | 0:19:17 | |
Ladies and gentlemen of the jury, James Moriarty stands accused... | 0:19:26 | 0:19:31 | |
of several counts of attempted burglary. | 0:19:31 | 0:19:34 | |
Crimes which, if he's found guilty, | 0:19:35 | 0:19:37 | |
will elicit a very long custodial sentence, | 0:19:37 | 0:19:40 | |
and yet...his legal team... | 0:19:40 | 0:19:43 | |
has chosen to offer no evidence whatsoever | 0:19:43 | 0:19:47 | |
to support their plea. | 0:19:47 | 0:19:49 | |
I find myself in the unusual position | 0:19:49 | 0:19:51 | |
of recommending a verdict wholeheartedly. | 0:19:51 | 0:19:54 | |
You must find him guilty. | 0:19:54 | 0:19:57 | |
Guilty. | 0:20:01 | 0:20:02 | |
You must find him guilty. | 0:20:02 | 0:20:04 | |
DOOR SLAMS | 0:20:13 | 0:20:15 | |
-They're coming back. -That's six minutes. | 0:20:15 | 0:20:18 | |
Surprised it took them that long, to be honest. | 0:20:18 | 0:20:21 | |
There's a queue for the loo! | 0:20:21 | 0:20:23 | |
Have you reached a verdict on which you all agree? | 0:20:33 | 0:20:36 | |
PHONE RINGS | 0:20:42 | 0:20:44 | |
Not guilty, they found him not guilty. | 0:20:45 | 0:20:48 | |
No defence and Moriarty's walked free. | 0:20:48 | 0:20:51 | |
Sherlock? | 0:20:53 | 0:20:55 | |
Are you listening? He's out, you know he'll be coming after you. Sherl... | 0:20:55 | 0:20:59 | |
VIOLIN PLAYS | 0:21:11 | 0:21:14 | |
STAIRS CREAK | 0:21:28 | 0:21:30 | |
MUSIC STOPS | 0:21:30 | 0:21:32 | |
VIOLIN PLAYS AGAIN | 0:21:34 | 0:21:36 | |
DOOR CREAKS | 0:21:39 | 0:21:42 | |
Most people knock. | 0:21:46 | 0:21:47 | |
But then, you're not most people, I suppose. | 0:21:49 | 0:21:51 | |
Kettle's just boiled. | 0:21:52 | 0:21:54 | |
Johann Sebastian would be appalled. | 0:21:56 | 0:21:58 | |
-May I? -Please. | 0:22:02 | 0:22:04 | |
You know when he was on his deathbed, Bach, | 0:22:10 | 0:22:13 | |
he heard his son at the piano playing one of his...pieces. | 0:22:13 | 0:22:18 | |
The boy stopped before he got to the end. | 0:22:18 | 0:22:21 | |
The dying man jumped out of bed, ran to the piano and finished it. | 0:22:21 | 0:22:24 | |
-Couldn't cope with an unfinished melody. -Neither can you, that's why you've come. | 0:22:24 | 0:22:28 | |
-Be honest, you're a tiny bit pleased. -What, with the verdict? | 0:22:28 | 0:22:31 | |
With me, back on the streets. | 0:22:31 | 0:22:34 | |
Every fairy tale needs a good old-fashioned villain. | 0:22:36 | 0:22:38 | |
You need me or you're nothing. | 0:22:41 | 0:22:44 | |
Because we're just alike, you and I, | 0:22:45 | 0:22:47 | |
except you're boring. | 0:22:47 | 0:22:49 | |
You're on the side of the angels. | 0:22:50 | 0:22:52 | |
You got to the jury, of course. | 0:22:52 | 0:22:54 | |
I got into the Tower of London, | 0:22:55 | 0:22:57 | |
you think I can't worm my way into 12 hotel rooms? | 0:22:57 | 0:23:00 | |
Cable network. | 0:23:01 | 0:23:02 | |
Every hotel bedroom has a personalised TV screen. | 0:23:02 | 0:23:05 | |
And every person has their pressure point. | 0:23:07 | 0:23:09 | |
Someone that they want to protect from harm. | 0:23:09 | 0:23:13 | |
Easy peasy. | 0:23:14 | 0:23:16 | |
So how are you going to do it? | 0:23:16 | 0:23:18 | |
Burn me? | 0:23:20 | 0:23:21 | |
Ah, that's the problem, the final problem. | 0:23:21 | 0:23:25 | |
Have you worked out what it is yet? | 0:23:26 | 0:23:28 | |
What's the final problem? | 0:23:31 | 0:23:33 | |
I did tell you... but did you listen? | 0:23:33 | 0:23:37 | |
How hard do you find it, having to say "I don't know"? | 0:23:50 | 0:23:53 | |
-I don't know. -Oh, that's clever, very clever, awfully clever. | 0:23:54 | 0:23:57 | |
Speaking of clever, have you told your little friends yet? | 0:23:57 | 0:24:00 | |
Told them what? | 0:24:00 | 0:24:02 | |
-Why I broke into all those places and never took anything? -No. | 0:24:02 | 0:24:05 | |
-But you understand? -Obviously. -Off you go, then. | 0:24:05 | 0:24:08 | |
-Tell you what you already know? -No, prove that you know it. | 0:24:08 | 0:24:11 | |
-You didn't take anything because you don't need to. -Good. | 0:24:11 | 0:24:14 | |
-You'll never need to take anything ever again. -Very good, because? | 0:24:14 | 0:24:18 | |
Because nothing in the Bank of England, | 0:24:18 | 0:24:20 | |
the Tower of London or Pentonville Prison could possibly match | 0:24:20 | 0:24:23 | |
the value of the key that could get you into all three. | 0:24:23 | 0:24:26 | |
I can open any door anywhere with a few tiny lines of computer code. | 0:24:26 | 0:24:31 | |
No such thing as a private bank account now, they're all mine. | 0:24:31 | 0:24:35 | |
No such thing as secrecy, I OWN secrecy. | 0:24:35 | 0:24:38 | |
Nuclear codes? | 0:24:39 | 0:24:40 | |
I could blow up NATO in alphabetical order. | 0:24:40 | 0:24:42 | |
In a world of locked rooms, the man with the key is king. | 0:24:42 | 0:24:46 | |
And honey, you should see me in a crown. | 0:24:46 | 0:24:51 | |
You were advertising all through the trial, | 0:24:52 | 0:24:54 | |
you were showing the world what you can do. | 0:24:54 | 0:24:56 | |
And you were helping. | 0:24:56 | 0:24:58 | |
Big client list - rogue governments, intelligence communities, | 0:24:58 | 0:25:01 | |
terrorist cells. | 0:25:01 | 0:25:03 | |
They all want me. | 0:25:04 | 0:25:06 | |
Suddenly, I'm Mr Sex. | 0:25:06 | 0:25:08 | |
If you can break any bank, what do you care about the highest bidder? | 0:25:08 | 0:25:12 | |
I don't, I just like to watch them all competing. | 0:25:12 | 0:25:15 | |
"Daddy loves me the best." Aren't ordinary people adorable? | 0:25:15 | 0:25:19 | |
Well, you know, you've got John. I should get myself a live-in one. | 0:25:19 | 0:25:23 | |
-Why are you doing all of this? -It must be so funny. | 0:25:23 | 0:25:27 | |
You don't want money or power, not really. | 0:25:27 | 0:25:30 | |
What is it all for? | 0:25:30 | 0:25:33 | |
I want to solve the problem. | 0:25:33 | 0:25:34 | |
Our problem. | 0:25:37 | 0:25:38 | |
The final problem. | 0:25:38 | 0:25:40 | |
It's going to start very soon, Sherlock...the fall. | 0:25:43 | 0:25:47 | |
HE WHISTLES | 0:25:47 | 0:25:48 | |
But don't be scared, falling is just like flying, | 0:25:48 | 0:25:51 | |
except there's a more permanent destination. | 0:25:51 | 0:25:54 | |
Never liked riddles. | 0:26:02 | 0:26:03 | |
Learn to. | 0:26:07 | 0:26:08 | |
Because I owe you a fall, Sherlock. | 0:26:10 | 0:26:12 | |
I...owe...you. | 0:26:14 | 0:26:18 | |
KEYPAD BLEEPS | 0:27:03 | 0:27:06 | |
Er, excuse me, I'm looking for Mycroft Holmes? | 0:27:48 | 0:27:52 | |
Would you happen to know if he's around at all? | 0:27:56 | 0:27:58 | |
Can you not hear me? | 0:27:58 | 0:28:00 | |
Yes, all right. Anyone? | 0:28:00 | 0:28:03 | |
Anyone at all know... | 0:28:03 | 0:28:05 | |
where Mycroft Holmes is, I've been asked to meet him here? | 0:28:05 | 0:28:09 | |
No takers, right. Am I invisible, can you actually see me? | 0:28:09 | 0:28:13 | |
Ah, thanks, gents. I've been asked to meet Mycroft Holmes. What the hell?! | 0:28:13 | 0:28:17 | |
MUFFLED CRIES FROM JOHN | 0:28:17 | 0:28:19 | |
Tradition, John, our traditions define us. | 0:28:19 | 0:28:22 | |
So total silence is traditional, is it? | 0:28:22 | 0:28:24 | |
You can't even say pass the sugar? | 0:28:24 | 0:28:26 | |
Three-quarters of the diplomatic service | 0:28:26 | 0:28:28 | |
and half the government front bench all sharing one tea trolley, | 0:28:28 | 0:28:31 | |
it's for the best, believe me. | 0:28:31 | 0:28:33 | |
We don't want a repeat of...1972. | 0:28:33 | 0:28:38 | |
-But we can talk in here. -You read this stuff? | 0:28:38 | 0:28:40 | |
-Caught my eye. -Mm-hm. | 0:28:40 | 0:28:42 | |
Saturday, they're doing a big expose. | 0:28:42 | 0:28:45 | |
I'd love to know where she got her information. | 0:28:45 | 0:28:48 | |
Someone called Brook. Recognise the name? | 0:28:48 | 0:28:51 | |
School friend, maybe? | 0:28:51 | 0:28:53 | |
-HE LAUGHS -Of Sherlock's? | 0:28:53 | 0:28:55 | |
But that's not why I asked you here. | 0:28:56 | 0:28:59 | |
-Who's that? -Don't know? -No. -Never seen his face before? | 0:29:06 | 0:29:09 | |
-Um... -He's taken a flat in Baker Street, two doors down from you. | 0:29:09 | 0:29:13 | |
Hm, I was thinking of doing a drinks thing for the neighbours. | 0:29:13 | 0:29:16 | |
I'm not sure you'll want to. | 0:29:16 | 0:29:18 | |
Sulejmani, Albanian hit squad, expertly trained killer, | 0:29:18 | 0:29:22 | |
living less than 20 feet from your front door. | 0:29:22 | 0:29:25 | |
Well, it's a great location. Jubilee line's handy. | 0:29:25 | 0:29:28 | |
-John... -What's it got to do with me? | 0:29:28 | 0:29:30 | |
Dyachenko. Ludmila. | 0:29:30 | 0:29:32 | |
Oh... | 0:29:32 | 0:29:34 | |
-Actually, I think I have seen her. -Russian killer. | 0:29:35 | 0:29:38 | |
She's taken the flat opposite. | 0:29:38 | 0:29:40 | |
OK. | 0:29:40 | 0:29:41 | |
I'm sensing a pattern here. | 0:29:42 | 0:29:44 | |
In fact, four top international assassins relocate | 0:29:44 | 0:29:47 | |
to within spitting distance of 221b. | 0:29:47 | 0:29:50 | |
-Anything you'd care to share with me? -JOHN LAUGHS | 0:29:51 | 0:29:54 | |
-I'm moving? -It's not hard to guess the common denominator, is it? | 0:29:54 | 0:29:58 | |
You think this is Moriarty? | 0:29:58 | 0:30:00 | |
He promised Sherlock he'd come back. | 0:30:00 | 0:30:02 | |
-If this was Moriarty, we'd be dead already. -If not Moriarty, then who? | 0:30:02 | 0:30:07 | |
Why don't you talk to Sherlock, if you're so concerned about him? | 0:30:08 | 0:30:11 | |
Oh, God, don't tell me. | 0:30:11 | 0:30:15 | |
Too much history between us, John. | 0:30:15 | 0:30:17 | |
Old scores, resentments. | 0:30:17 | 0:30:20 | |
Nicked all his Smurfs? Broke his Action Man? | 0:30:20 | 0:30:23 | |
(Finished.) | 0:30:27 | 0:30:28 | |
We both know what's coming, John. | 0:30:30 | 0:30:32 | |
Moriarty is obsessed, he's sworn to destroy his only rival. | 0:30:32 | 0:30:36 | |
So you want me to watch out for your brother because he won't accept your help? | 0:30:36 | 0:30:40 | |
If it's not too much trouble? | 0:30:40 | 0:30:42 | |
DOOR BANGS | 0:30:54 | 0:30:55 | |
-Excuse me. -Sorry. | 0:31:25 | 0:31:27 | |
-Sherlock, something weird... What's going on? -Kidnapping. -Rufus Bruhl. | 0:31:35 | 0:31:39 | |
-The ambassador to the US. -He's in Washington, isn't he? | 0:31:39 | 0:31:42 | |
Not him, his children. Max and Claudette, age seven and nine. | 0:31:42 | 0:31:46 | |
-They're at St Aldates. -Posh boarding place in Surrey. | 0:31:46 | 0:31:48 | |
School broke up, the boarders went home. | 0:31:48 | 0:31:50 | |
-A few kids remained, including those two. -The kids have vanished. | 0:31:50 | 0:31:54 | |
-The ambassador's asked for you personally. -The Reichenbach hero. | 0:31:54 | 0:31:58 | |
Isn't it great to be working with a celebrity? | 0:32:00 | 0:32:02 | |
We shouldn't need to keep you for much longer. Thank you. | 0:32:12 | 0:32:16 | |
-It's all right. -Miss Mackenzie, House Mistress. Go easy. | 0:32:16 | 0:32:19 | |
Miss Mackenzie, you're in charge of pupil welfare, | 0:32:19 | 0:32:22 | |
yet you left this place wide open last night. | 0:32:22 | 0:32:24 | |
What are you, an idiot, a drunk or a criminal?! Quickly, tell me! | 0:32:24 | 0:32:28 | |
All the doors and windows were properly bolted. | 0:32:28 | 0:32:30 | |
No-one, not even me, went into their room last night. | 0:32:30 | 0:32:34 | |
-You have to believe me! -I do, I just wanted you to speak quickly. | 0:32:34 | 0:32:37 | |
Miss Mackenzie will need to breath into a bag now. | 0:32:37 | 0:32:39 | |
SHE SOBS | 0:32:39 | 0:32:42 | |
Six grand a term, you'd expect them to keep the kids safe for you. | 0:32:46 | 0:32:50 | |
You said the other kids had all left on their holidays. | 0:32:50 | 0:32:52 | |
They were the only two sleeping on this floor. | 0:32:52 | 0:32:55 | |
There's absolutely no sign of a break-in. | 0:32:55 | 0:32:57 | |
The intruder must have been hidden inside some place. | 0:32:57 | 0:33:01 | |
Show me where the brother slept. | 0:33:14 | 0:33:16 | |
The boy sleeps there every night. | 0:33:29 | 0:33:31 | |
Gazing at the only light source outside in the corridor. | 0:33:32 | 0:33:35 | |
He'd recognise every shape, every outline, | 0:33:35 | 0:33:37 | |
the silhouette of everyone who came to the door. | 0:33:37 | 0:33:40 | |
-OK, so? -So if someone approaches the door who he doesn't recognise, | 0:33:40 | 0:33:44 | |
an intruder, maybe he can even see the outline of a weapon. | 0:33:44 | 0:33:47 | |
What would he do? | 0:33:51 | 0:33:53 | |
In the precious few seconds before they came into the room, | 0:33:53 | 0:33:56 | |
how would he use them if not to cry out? | 0:33:56 | 0:33:58 | |
This little boy, this particular little boy, | 0:33:58 | 0:34:01 | |
who reads all of those spy books, what would he do? | 0:34:01 | 0:34:05 | |
He'd leave a sign? | 0:34:05 | 0:34:06 | |
HE SNIFFS | 0:34:06 | 0:34:08 | |
Get Anderson! | 0:34:19 | 0:34:20 | |
Linseed oil. | 0:34:22 | 0:34:23 | |
-Not much use, it doesn't lead us to the kidnapper. -Brilliant, Anderson. | 0:34:24 | 0:34:28 | |
-Really? -Yes, brilliant impression of an idiot. | 0:34:28 | 0:34:31 | |
Floor. | 0:34:32 | 0:34:33 | |
-He...made a trail for us. -The boy was made to walk ahead of them. | 0:34:34 | 0:34:38 | |
-On what, tiptoe? -Indicates anxiety. | 0:34:38 | 0:34:41 | |
Gun held to his head. | 0:34:41 | 0:34:43 | |
The girl was pulled beside him, dragged sideways. | 0:34:44 | 0:34:47 | |
He had his left arm cradled about her neck. | 0:34:47 | 0:34:50 | |
That's the end of it, we don't know where they went from here. | 0:34:51 | 0:34:54 | |
Tells us nothing after all. | 0:34:54 | 0:34:56 | |
You're right, Anderson, nothing. | 0:34:56 | 0:34:59 | |
Except his shoe size, his height, his gait, his walking pace. | 0:35:00 | 0:35:03 | |
SHERLOCK LAUGHS | 0:35:11 | 0:35:12 | |
-Having fun? -Starting to. | 0:35:13 | 0:35:15 | |
Maybe don't do the smiling. Kidnapped children? | 0:35:17 | 0:35:19 | |
How could he get past the CCTV? If all the doors were locked. | 0:35:28 | 0:35:31 | |
He walked in when they weren't locked. | 0:35:31 | 0:35:33 | |
But a stranger can't just walk into a school like that. | 0:35:33 | 0:35:36 | |
Anyone can walk in anywhere if they pick the right moment. | 0:35:36 | 0:35:40 | |
Yesterday, end of term, parents milling around, chauffeurs, staff. | 0:35:40 | 0:35:43 | |
What's one more stranger among that lot? | 0:35:43 | 0:35:45 | |
He was waiting for them. | 0:35:48 | 0:35:49 | |
All he had to do was find a place to hide. | 0:35:51 | 0:35:53 | |
Molly! | 0:36:02 | 0:36:03 | |
-Hello, I'm just going out. -No, you're not. -I've got a lunch date. | 0:36:03 | 0:36:06 | |
-Cancel it, have lunch with me. -What? -I need your help. | 0:36:06 | 0:36:09 | |
One of your old boyfriends, we're tracking him down. | 0:36:09 | 0:36:11 | |
-He's been naughty. -Moriarty? -Of course it's Moriarty! | 0:36:11 | 0:36:14 | |
Jim wasn't my boyfriend, we went out three times. I ended it. | 0:36:14 | 0:36:17 | |
Then he stole the Crown Jewels, broke into the Bank of England and organised a prison break. | 0:36:17 | 0:36:22 | |
For the sake of law and order, I suggest you avoid all future attempts at a relationship, Molly. | 0:36:22 | 0:36:27 | |
Oil, John. The oil in the kidnapper's footprint. | 0:36:30 | 0:36:34 | |
It'll lead us to Moriarty. | 0:36:34 | 0:36:36 | |
All the chemical traces on his shoe have been preserved. | 0:36:36 | 0:36:39 | |
The sole of the shoe is like a passport. If we're lucky, we'll see everything he's been up to. | 0:36:39 | 0:36:44 | |
I need that analysis. | 0:36:48 | 0:36:49 | |
Alkaline. | 0:36:52 | 0:36:53 | |
-Thank you, John. -Molly. -Yes. | 0:36:53 | 0:36:56 | |
I...O...U. | 0:37:19 | 0:37:22 | |
Glycerol molecule. | 0:37:24 | 0:37:26 | |
-HE SIGHS -What are you? | 0:37:27 | 0:37:29 | |
What did you mean, IOU? | 0:37:34 | 0:37:36 | |
You said IOU. | 0:37:37 | 0:37:39 | |
-You were muttering it while you were working. -Nothing, mental note. | 0:37:40 | 0:37:43 | |
You're a bit like my dad. He's dead. No, sorry. | 0:37:45 | 0:37:49 | |
Molly, please don't feel the need to make conversation, it's really not your area. | 0:37:49 | 0:37:53 | |
When he was dying, he was always cheerful, he was lovely, | 0:37:53 | 0:37:56 | |
except when he thought no-one could see. | 0:37:56 | 0:37:59 | |
-I saw him once, he looked sad. -Molly. | 0:38:00 | 0:38:04 | |
You look sad, when you think he can't see you. | 0:38:05 | 0:38:09 | |
Are you OK? And don't just say you are, because I know what that means, | 0:38:13 | 0:38:17 | |
looking sad when you think no-one can see you. | 0:38:17 | 0:38:19 | |
-You can see me. -I don't count. | 0:38:21 | 0:38:23 | |
What I'm trying to say is, that if there's anything I can do, | 0:38:24 | 0:38:28 | |
anything you need, anything at all, you can have me. | 0:38:28 | 0:38:31 | |
No, I just mean, I mean, if there's anything you need, it's fine. | 0:38:31 | 0:38:37 | |
But what can I need from you? | 0:38:40 | 0:38:41 | |
Nothing. I don't know. | 0:38:42 | 0:38:45 | |
You could probably say thank you, actually. | 0:38:45 | 0:38:48 | |
Thank you? | 0:38:50 | 0:38:51 | |
I'm just going to go and get some crisps. Do you want anything? | 0:38:51 | 0:38:55 | |
It's OK, I know you don't. | 0:38:55 | 0:38:58 | |
-Well, actually, maybe I'll... -I know you don't. | 0:38:58 | 0:39:01 | |
-Sherlock? -Hmm? | 0:39:11 | 0:39:13 | |
-This envelope that was in her trunk, there's another one. -What? | 0:39:13 | 0:39:18 | |
On our doorstep. Found it today. Yes, and look at that. | 0:39:18 | 0:39:23 | |
Look at that, exactly the same seal. | 0:39:25 | 0:39:28 | |
-Breadcrumbs. -Uh-huh. It was there when I got back. | 0:39:33 | 0:39:36 | |
A little trace of breadcrumbs. | 0:39:36 | 0:39:39 | |
Hardback copy of Fairy Tales. | 0:39:39 | 0:39:41 | |
Two children led into the forest by a wicked father, follow a little trail of breadcrumbs. | 0:39:42 | 0:39:46 | |
That's Hansel and Gretel. What sort of kidnapper leaves clues? | 0:39:46 | 0:39:50 | |
The sort that likes to boast, that thinks it's a game. | 0:39:50 | 0:39:53 | |
He sat in our flat and he said these exact words to me... | 0:39:53 | 0:39:56 | |
"All fairy tales need a good old-fashioned villain." | 0:39:56 | 0:39:59 | |
-The fifth substance, it's part of the tale. The witch's house. -What? | 0:40:00 | 0:40:05 | |
The glycerol molecule. | 0:40:07 | 0:40:08 | |
-PGPR! -What's that? -It's used in making chocolate. | 0:40:12 | 0:40:15 | |
This fax arrived an hour ago. | 0:40:24 | 0:40:25 | |
PHONE RINGS | 0:40:25 | 0:40:27 | |
What have you got for us? | 0:40:28 | 0:40:30 | |
We need to find a place in the city where all five of these things intersect. | 0:40:30 | 0:40:34 | |
Chalk, asphalt, brick dust, vegetation. | 0:40:34 | 0:40:36 | |
-What - chocolate?! -I think we're looking for a disused sweet factory. | 0:40:36 | 0:40:40 | |
We need to narrow that down. A sweet factory with asphalt? | 0:40:40 | 0:40:43 | |
No, too general. Something more specific. | 0:40:43 | 0:40:45 | |
Chalk, chalky clay. That's a far thinner band of geology. | 0:40:45 | 0:40:48 | |
Brick dust? | 0:40:51 | 0:40:52 | |
Building site. Bricks from the 1950s. | 0:40:53 | 0:40:56 | |
There's thousands of building sites in London. | 0:40:56 | 0:40:58 | |
-I've got people out looking. -So have I! | 0:40:58 | 0:41:01 | |
Homeless network, faster than the police, | 0:41:01 | 0:41:03 | |
far more relaxed about taking bribes. | 0:41:03 | 0:41:06 | |
PHONES RING | 0:41:06 | 0:41:08 | |
John. | 0:41:19 | 0:41:20 | |
Rhododendron ponticum. Matches. | 0:41:20 | 0:41:24 | |
-Addlestone. -What? | 0:41:29 | 0:41:30 | |
A mile of disused factories between the river and the park, matches everything. | 0:41:30 | 0:41:34 | |
Right, come on. Come on! | 0:41:34 | 0:41:36 | |
SIRENS BLARE | 0:41:40 | 0:41:43 | |
OK, you look over there. | 0:41:48 | 0:41:49 | |
Look everywhere. | 0:41:49 | 0:41:51 | |
OK, spread out, please, spread out. | 0:41:51 | 0:41:54 | |
(Quietly, quietly!) | 0:41:56 | 0:41:58 | |
This was alight moments ago. They're still here! Sweet wrappers? | 0:42:03 | 0:42:07 | |
What's he been feeding you? Hansel and Gretel. | 0:42:07 | 0:42:12 | |
HE SNIFFS | 0:42:17 | 0:42:18 | |
Ugh! | 0:42:19 | 0:42:20 | |
-Mercury. -What? | 0:42:20 | 0:42:22 | |
The papers, they're painted with mercury, lethal. | 0:42:22 | 0:42:24 | |
The more they ate... | 0:42:24 | 0:42:25 | |
-It was killing them. -But it's not enough to kill them on its own. | 0:42:25 | 0:42:29 | |
Taken in large enough quantities, eventually it would kill them. | 0:42:29 | 0:42:33 | |
He didn't need to be there for the execution. | 0:42:33 | 0:42:36 | |
Murder by remote control, he could be 1,000 miles away. | 0:42:36 | 0:42:40 | |
The hungrier they got, the more they ate, the faster they died. Neat. | 0:42:43 | 0:42:47 | |
-Sherlock. -Over here! | 0:42:47 | 0:42:49 | |
I've got him, don't worry. | 0:42:52 | 0:42:53 | |
Right then, the professionals are finished. | 0:43:02 | 0:43:04 | |
If the amateurs want to go in and have their turn. | 0:43:04 | 0:43:07 | |
Now remember, she's in shock and she's just seven years old, | 0:43:07 | 0:43:10 | |
so, anything you can do to... | 0:43:10 | 0:43:12 | |
-Not be myself? -Yeah, might be helpful. | 0:43:12 | 0:43:14 | |
Claudette, I... | 0:43:24 | 0:43:25 | |
-SHE SCREAMS -No, no, I know it's been hard for you. | 0:43:25 | 0:43:28 | |
-Claudette, listen to me. -Out. Get out! | 0:43:28 | 0:43:31 | |
-Makes no sense. -Kid's traumatised. | 0:43:34 | 0:43:37 | |
-Something about Sherlock reminds her of the kidnapper. -What's she said? | 0:43:37 | 0:43:41 | |
-Hasn't uttered another syllable. -And the boy? -No, he's unconscious. | 0:43:41 | 0:43:44 | |
He's still in intensive care. | 0:43:44 | 0:43:46 | |
Don't let it get to you, | 0:44:00 | 0:44:01 | |
I always feel like screaming when you walk into a room. | 0:44:01 | 0:44:04 | |
In fact, so do most people. | 0:44:04 | 0:44:06 | |
Come on. | 0:44:07 | 0:44:08 | |
SIREN BLARES OUTSIDE | 0:44:10 | 0:44:13 | |
Brilliant work you did finding those kids from just a footprint, | 0:44:13 | 0:44:16 | |
it's really amazing. | 0:44:16 | 0:44:17 | |
Thank you. | 0:44:17 | 0:44:18 | |
Unbelievable. | 0:44:18 | 0:44:19 | |
Ah. | 0:44:30 | 0:44:31 | |
-You OK? -Thinking. | 0:44:34 | 0:44:35 | |
-This is my cab, you get the next one. -Why? -You might talk. | 0:44:38 | 0:44:41 | |
-'Is this chocolate?' -'We're looking for a disused sweet factory.' | 0:44:53 | 0:44:57 | |
'Get out!' | 0:44:57 | 0:44:58 | |
'Aaaargh!' | 0:44:58 | 0:45:00 | |
Problem? | 0:45:02 | 0:45:03 | |
-TV BLARES -'..this stunning evening wear set from us at London Taxi Shopping. | 0:45:13 | 0:45:18 | |
-Can you turn this off, please? -'The set comprises of a beautiful...' | 0:45:18 | 0:45:23 | |
Can you turn this off?! | 0:45:23 | 0:45:25 | |
'Accompanied by four spangly diamond bracelets...' | 0:45:25 | 0:45:28 | |
Hello. | 0:45:29 | 0:45:30 | |
Are you ready for the story? | 0:45:30 | 0:45:33 | |
This is the story of Sir Boast-a-lot. | 0:45:33 | 0:45:36 | |
A footprint, it's all he had. | 0:45:37 | 0:45:40 | |
A footprint. | 0:45:40 | 0:45:42 | |
Yeah, well, you know what he's like. CSI Baker Street. | 0:45:42 | 0:45:46 | |
Well, our boys couldn't have done it. | 0:45:46 | 0:45:48 | |
-Well, that's why we need him, he's better. -That's one explanation. | 0:45:48 | 0:45:52 | |
And what's the other? | 0:45:52 | 0:45:54 | |
Sir Boast-a-lot was the bravest and cleverest knight at the round table. | 0:45:54 | 0:45:58 | |
But soon the other knights began to grow tired of his stories | 0:45:58 | 0:46:02 | |
about how brave he was and how many dragons he'd slain. | 0:46:02 | 0:46:05 | |
And soon they began to wonder, "Are Sir Boast-a-lot's stories even true?" | 0:46:07 | 0:46:12 | |
Only he could have found that evidence. | 0:46:12 | 0:46:15 | |
Oh, no. | 0:46:16 | 0:46:17 | |
The girl screams her head off when she sees him - a man she has never seen before, | 0:46:17 | 0:46:21 | |
-unless she had seen him before. -What's your point? | 0:46:21 | 0:46:24 | |
You know what it is, you just don't want to think about it. | 0:46:24 | 0:46:26 | |
So, all of the knights went to King Arthur and said, | 0:46:26 | 0:46:30 | |
"I don't believe Sir Boast-a-lot's stories. | 0:46:30 | 0:46:34 | |
"He's just a big old liar who makes things up to make himself look good." | 0:46:34 | 0:46:39 | |
SHE MOUTHS | 0:46:39 | 0:46:41 | |
You're not seriously suggesting he's involved, are you? | 0:46:43 | 0:46:46 | |
We have to entertain the possibility. | 0:46:46 | 0:46:48 | |
And then, even the King began to wonder. | 0:46:49 | 0:46:53 | |
But that wasn't the end of Sir Boast-a-lot's problem. | 0:46:57 | 0:47:00 | |
No. | 0:47:01 | 0:47:03 | |
That wasn't the final problem. | 0:47:05 | 0:47:08 | |
The end. | 0:47:09 | 0:47:11 | |
Stop the cab. | 0:47:13 | 0:47:15 | |
Stop the cab! | 0:47:15 | 0:47:16 | |
What was that?! | 0:47:16 | 0:47:17 | |
What was that? | 0:47:19 | 0:47:21 | |
No charge. | 0:47:21 | 0:47:23 | |
Watch out! | 0:47:29 | 0:47:30 | |
TYRES SQUEAL | 0:47:30 | 0:47:32 | |
Thank you. | 0:47:36 | 0:47:38 | |
GUNFIRE | 0:47:39 | 0:47:40 | |
Sherlock! | 0:47:51 | 0:47:52 | |
That is him. It's him. | 0:47:58 | 0:48:00 | |
Sulejmani or something, Mycroft showed me his file. | 0:48:00 | 0:48:03 | |
He's a big Albanian gangster, lives two doors down from us. | 0:48:03 | 0:48:06 | |
-He died because I shook his hand. -What? | 0:48:06 | 0:48:08 | |
He saved my life, but he couldn't touch me. Why? | 0:48:08 | 0:48:10 | |
Four assassins living right on our doorstep. | 0:48:12 | 0:48:15 | |
They haven't come here to kill me. | 0:48:15 | 0:48:16 | |
They have to keep me alive. | 0:48:16 | 0:48:18 | |
I've got something that all of them want. | 0:48:18 | 0:48:21 | |
But if one of them approaches me... | 0:48:21 | 0:48:23 | |
The others kill them before they can get it. | 0:48:23 | 0:48:25 | |
All of the attention is focused on me. | 0:48:28 | 0:48:31 | |
There's a surveillance web closing in on us right now. | 0:48:33 | 0:48:36 | |
So what have you got that's so important? | 0:48:36 | 0:48:38 | |
I need to ask about the dusting. | 0:48:40 | 0:48:42 | |
Precise details, in the last week, what's been cleaned? | 0:48:42 | 0:48:45 | |
-Tuesday, I did your lino. -No, this room, this is where we'll find it. | 0:48:45 | 0:48:49 | |
Any break in the dust line. You can put back anything but dust. Dust is eloquent. | 0:48:49 | 0:48:53 | |
(What's he on about?) | 0:48:53 | 0:48:54 | |
Cameras, we're being watched. | 0:48:56 | 0:48:58 | |
What?! Cameras? Here? | 0:48:58 | 0:49:00 | |
-DOORBELL RINGS -I'm in my nightie! | 0:49:00 | 0:49:03 | |
FOOTSTEPS ON STAIRS | 0:49:04 | 0:49:06 | |
-No, Inspector. -Why? | 0:49:20 | 0:49:22 | |
-The answer's no. -You've not heard the question! | 0:49:22 | 0:49:24 | |
You want to take me to the station. Saving you the trouble of asking. | 0:49:24 | 0:49:28 | |
Sherlock. | 0:49:28 | 0:49:30 | |
-The scream? -Yeah. | 0:49:30 | 0:49:32 | |
Who was it? Donovan? I bet it was Donovan. | 0:49:32 | 0:49:34 | |
"Am I somehow responsible for the kidnapping?" | 0:49:34 | 0:49:36 | |
Ha ha, Moriarty is smart. | 0:49:36 | 0:49:38 | |
He planted that doubt in her head. That little nagging sensation. | 0:49:38 | 0:49:42 | |
You're going to have to be strong to resist. | 0:49:42 | 0:49:44 | |
You can't kill an idea, can you? | 0:49:44 | 0:49:47 | |
Not once it's made a home...there. | 0:49:47 | 0:49:50 | |
-Will you come? -One photograph, that's his next move. | 0:49:52 | 0:49:55 | |
Moriarty's game. | 0:49:55 | 0:49:57 | |
First the scream, then a photograph of me being taken in for questioning. | 0:49:57 | 0:50:01 | |
He wants to destroy me inch by inch. | 0:50:01 | 0:50:03 | |
It is a game, Lestrade, and not one I'm willing to play. | 0:50:03 | 0:50:07 | |
Give my regards to Sergeant Donovan. | 0:50:08 | 0:50:10 | |
COMPUTER BLEEPS | 0:50:19 | 0:50:20 | |
-They'll be deciding. -Deciding? | 0:50:43 | 0:50:45 | |
-Whether to come back with a warrant and arrest me. -You think? | 0:50:45 | 0:50:48 | |
-Standard procedure. -You should have gone with him. People'll think... | 0:50:48 | 0:50:52 | |
I don't care what people think. | 0:50:52 | 0:50:54 | |
You'd care if they thought you were stupid or wrong. | 0:50:54 | 0:50:57 | |
No, that would just make them stupid or wrong. | 0:50:57 | 0:51:00 | |
Sherlock, I don't want the world believing you're... | 0:51:00 | 0:51:02 | |
That I am what? | 0:51:05 | 0:51:07 | |
A fraud. | 0:51:09 | 0:51:10 | |
-You're worried they're right. -What? -That they're right about me. -No. -That's why you're upset. | 0:51:12 | 0:51:17 | |
You can't entertain the possibility they may be right. | 0:51:17 | 0:51:20 | |
-You're afraid you've been taken in. -I'm not. | 0:51:20 | 0:51:22 | |
Moriarty is playing with your mind, too. Can't you SEE what's going on?! | 0:51:22 | 0:51:26 | |
-No, I know you for real. -100 percent? | 0:51:29 | 0:51:32 | |
Well, nobody could fake being such an annoying dick all the time. | 0:51:32 | 0:51:35 | |
-Sherlock Holmes? -Yes, sir. | 0:51:41 | 0:51:43 | |
That bloke that's been in the press? | 0:51:43 | 0:51:46 | |
Mm-hm. | 0:51:46 | 0:51:47 | |
I thought he was some sort of private eye. | 0:51:48 | 0:51:50 | |
-He is. -We've been consulting with him, that's what you're telling me? | 0:51:50 | 0:51:54 | |
Not used him on any proper cases though, have we? | 0:51:54 | 0:51:57 | |
Well, one or two. | 0:51:57 | 0:51:58 | |
Or 20 or 30. | 0:51:58 | 0:52:00 | |
What?! | 0:52:00 | 0:52:01 | |
-I'm not the only senior officer who did this. Gregson... -Shut up! | 0:52:01 | 0:52:05 | |
An amateur detective given access to all sorts of classified information. | 0:52:05 | 0:52:09 | |
And now he's a suspect in a case. | 0:52:09 | 0:52:12 | |
-With all due respect... -You're a bloody idiot, Lestrade! | 0:52:12 | 0:52:15 | |
Now go and fetch him in, right now. | 0:52:15 | 0:52:17 | |
Do it! | 0:52:17 | 0:52:19 | |
-Proud of yourselves? -Well, what if it's not just this case? | 0:52:24 | 0:52:28 | |
What if he's done this to us every single time? | 0:52:28 | 0:52:30 | |
PHONE BLEEPS | 0:52:30 | 0:52:32 | |
So, still got some friends on the force. It's Lestrade. | 0:52:42 | 0:52:46 | |
Says they're all coming over here now. | 0:52:46 | 0:52:48 | |
Queuing up to slap on the handcuffs. | 0:52:48 | 0:52:49 | |
Every officer you've ever made feel like a tit, | 0:52:49 | 0:52:52 | |
which is a lot of people. | 0:52:52 | 0:52:53 | |
Yoo-hoo. | 0:52:53 | 0:52:55 | |
Oh, sorry, am I interrupting? | 0:52:55 | 0:52:57 | |
Some chap delivered a parcel, I forgot, marked perishable. | 0:52:57 | 0:53:01 | |
I had to sign for it. | 0:53:01 | 0:53:03 | |
Funny name, German, like the fairy tales. | 0:53:03 | 0:53:07 | |
SIRENS BLARE | 0:53:12 | 0:53:15 | |
Burnt to a crisp. | 0:53:16 | 0:53:18 | |
What does it mean? DOORBELL RINGS | 0:53:20 | 0:53:21 | |
-KNOCKING AT DOOR -'Police!' -I'll go. | 0:53:21 | 0:53:23 | |
'Sherlock. | 0:53:23 | 0:53:25 | |
-'Excuse me, Mrs Hudson. -We need to talk to you. | 0:53:25 | 0:53:27 | |
'You can't just barge in like that!' | 0:53:27 | 0:53:30 | |
JOHN: 'Have you got a warrant? Have you?' | 0:53:31 | 0:53:33 | |
-LESTRADE: -'Leave it, John. | 0:53:33 | 0:53:34 | |
'Eh? Manners!' | 0:53:34 | 0:53:37 | |
Sherlock Holmes, I'm arresting you on suspicion of abduction and kidnapping. | 0:53:37 | 0:53:41 | |
-It's OK, John. -He's not resisting. | 0:53:41 | 0:53:43 | |
No, it's not all right, this is ridiculous. | 0:53:43 | 0:53:45 | |
Get him downstairs now. | 0:53:45 | 0:53:47 | |
You don't have to do this. | 0:53:47 | 0:53:48 | |
Don't try to interfere or I shall arrest you too. | 0:53:48 | 0:53:51 | |
You done? | 0:53:55 | 0:53:56 | |
-I said it. -Hmm? | 0:53:56 | 0:53:57 | |
-First time we met. -Don't bother. | 0:53:57 | 0:53:59 | |
Solving crimes won't be enough. One day he'll cross the line. | 0:53:59 | 0:54:03 | |
Now ask yourself, what sort of man would kidnap those kids | 0:54:03 | 0:54:07 | |
just so he can impress us all by finding them? | 0:54:07 | 0:54:09 | |
-Donovan? -Sir? -Got our man? -Er, yes, sir. | 0:54:09 | 0:54:14 | |
Looked a bit of a weirdo, if you ask me. | 0:54:14 | 0:54:16 | |
Often are, these vigilante types. | 0:54:16 | 0:54:19 | |
What are you looking at? | 0:54:21 | 0:54:23 | |
Are you all right, sir? | 0:54:25 | 0:54:26 | |
-Joining me? -Yeah. | 0:54:28 | 0:54:30 | |
Well, apparently it's against the law to chin the Chief Superintendent. | 0:54:30 | 0:54:35 | |
Hmm. Bit awkward this. | 0:54:35 | 0:54:37 | |
There's no-one to bail us. | 0:54:37 | 0:54:39 | |
I was thinking more about our imminent and daring escape. | 0:54:39 | 0:54:42 | |
-'All units to 27.' -What? | 0:54:42 | 0:54:46 | |
'All units to 2...' | 0:54:46 | 0:54:47 | |
-ALARM SOUNDS -Aah! | 0:54:47 | 0:54:51 | |
Ladies and gentlemen, will you all please get on your knees? | 0:54:51 | 0:54:54 | |
-GUNFIRE -NOW would be good! -Do as he says! | 0:54:55 | 0:54:58 | |
Just so you're aware, the gun is his idea, I'm just a...you know. | 0:55:00 | 0:55:04 | |
-My hostage. -Hostage, yes, that works. That works. | 0:55:04 | 0:55:08 | |
So what now? | 0:55:08 | 0:55:10 | |
Doing what Moriarty wants, becoming a fugitive. Run! | 0:55:10 | 0:55:14 | |
Get after him, Lestrade! | 0:55:18 | 0:55:20 | |
Take my hand. | 0:55:21 | 0:55:23 | |
SIRENS BLARE | 0:55:23 | 0:55:25 | |
-Now people will definitely talk. The gun! -Leave it! | 0:55:25 | 0:55:28 | |
Sherlock, wait! | 0:55:35 | 0:55:37 | |
We're going to need to coordinate. | 0:55:38 | 0:55:41 | |
-Go to your right. -Huh? -Go to your right. | 0:55:42 | 0:55:45 | |
SIREN BLARES | 0:55:45 | 0:55:47 | |
Everybody wants to believe it, that's what makes it so clever. | 0:55:48 | 0:55:52 | |
A lie that's preferable to the truth. | 0:55:52 | 0:55:54 | |
My deductions were a sham. No-one feels inadequate, Sherlock's an ordinary man. | 0:55:54 | 0:55:58 | |
Mycroft, he could help us. | 0:55:58 | 0:56:00 | |
Big family reconciliation, now's not really the moment. | 0:56:00 | 0:56:04 | |
Sherlock...we're being followed. I knew we couldn't outrun the police. | 0:56:06 | 0:56:10 | |
That's not the police, it's one of my new neighbours from Baker Street. | 0:56:10 | 0:56:13 | |
Let's see if he can give us some answers. | 0:56:13 | 0:56:16 | |
(Where are we going?) | 0:56:21 | 0:56:22 | |
We're going to jump in front of that bus. | 0:56:22 | 0:56:26 | |
-BOTH: -Oof! | 0:56:31 | 0:56:32 | |
BUS BLASTS HORN | 0:56:32 | 0:56:34 | |
Oh... | 0:56:34 | 0:56:35 | |
Tell me what you want from me. | 0:56:36 | 0:56:39 | |
Tell me! | 0:56:39 | 0:56:41 | |
He left it at your flat. | 0:56:41 | 0:56:42 | |
-Who? -Moriarty. | 0:56:42 | 0:56:45 | |
What? | 0:56:45 | 0:56:46 | |
-The computer key code. -Of course. | 0:56:46 | 0:56:48 | |
He's selling it. The programme he used to break into the Tower. | 0:56:48 | 0:56:52 | |
He planted it when he came around. | 0:56:54 | 0:56:56 | |
GUNFIRE | 0:56:56 | 0:56:58 | |
SIREN BLARES | 0:57:06 | 0:57:09 | |
THEY PANT | 0:57:09 | 0:57:11 | |
It's a game-changer. | 0:57:12 | 0:57:14 | |
It's a key, it can break into any system | 0:57:14 | 0:57:16 | |
and it's sitting in our flat right now. | 0:57:16 | 0:57:19 | |
That's why he left that message, telling everyone where to come, "Get Sherlock!" | 0:57:19 | 0:57:23 | |
-We need to get back into the flat and search. -CID will be camped out. | 0:57:23 | 0:57:27 | |
Why plant it on you? | 0:57:27 | 0:57:28 | |
It's another subtle way of smearing my name, | 0:57:28 | 0:57:30 | |
now I'm best pals with all those criminals. | 0:57:30 | 0:57:33 | |
Yeah, well, have you seen this? | 0:57:35 | 0:57:37 | |
A kiss-and-tell. | 0:57:37 | 0:57:39 | |
Some bloke called Rich Brook. | 0:57:39 | 0:57:41 | |
Who is he? | 0:57:43 | 0:57:44 | |
ALARM BLEEPS | 0:57:53 | 0:57:55 | |
Too late to go on the record? | 0:58:10 | 0:58:12 | |
Congratulations, "The Truth About Sherlock Holmes." | 0:58:13 | 0:58:16 | |
The scoop that everybody wanted and you got it. Bravo! | 0:58:16 | 0:58:19 | |
I gave you your opportunity. | 0:58:19 | 0:58:21 | |
I wanted to be on your side, remember? | 0:58:21 | 0:58:24 | |
You turned me down, so... | 0:58:24 | 0:58:25 | |
Then lo and behold, someone spills all the beans. | 0:58:25 | 0:58:28 | |
How utterly convenient. Who is Brook? | 0:58:28 | 0:58:31 | |
Oh, come on, Kitty, no-one trusts the voice at the end of a phone. | 0:58:31 | 0:58:34 | |
All those little meetings in cafes, | 0:58:34 | 0:58:36 | |
those sessions in the hotel room when he gabbled into your Dictaphone. | 0:58:36 | 0:58:40 | |
How do you know that you can trust him? | 0:58:40 | 0:58:42 | |
A man turns up with the Holy Grail in his pockets. | 0:58:42 | 0:58:45 | |
What were his credentials? | 0:58:45 | 0:58:47 | |
Darling, they didn't have any ground coffee, so I just got normal. | 0:58:50 | 0:58:53 | |
You said that they wouldn't find me here, you said that I'd be safe here. | 0:59:00 | 0:59:04 | |
You are safe. | 0:59:04 | 0:59:05 | |
Richard, I'm a witness, they wouldn't harm you in front of witnesses. | 0:59:05 | 0:59:09 | |
So that's your source? Moriarty is Richard Brook? | 0:59:09 | 0:59:12 | |
Of course he's Richard Brook, there is no Moriarty. | 0:59:12 | 0:59:15 | |
-There never has been. -What are you talking about? -Look him up. | 0:59:15 | 0:59:19 | |
Rich Brook, an actor Sherlock Holmes hired to be Moriarty. | 0:59:19 | 0:59:23 | |
Dr Watson, I know you're a good man, | 0:59:29 | 0:59:31 | |
don't, don't, don't hurt me. | 0:59:31 | 0:59:34 | |
No, you are Moriarty! He's Moriarty! | 0:59:34 | 0:59:37 | |
We've met, remember? You were going to blow me up! | 0:59:37 | 0:59:40 | |
I'm sorry. I'm sorry. | 0:59:40 | 0:59:43 | |
He paid me, I needed the work. I'm an actor, I was out of work. | 0:59:43 | 0:59:46 | |
Sherlock, you'd better explain, because I am not getting this. | 0:59:46 | 0:59:50 | |
I'll be doing the explaining, in print. | 0:59:50 | 0:59:52 | |
It's all here, conclusive proof. | 0:59:52 | 0:59:55 | |
You invented James Moriarty, your nemesis. | 0:59:57 | 0:59:59 | |
-Invented him?! -Mm-hm. | 0:59:59 | 1:00:01 | |
He invented all the crimes, actually. | 1:00:01 | 1:00:03 | |
And to cap it all, he made up a master villain. | 1:00:03 | 1:00:06 | |
-Don't be ridiculous! -Ask him. He's right here. Just ask him. | 1:00:06 | 1:00:10 | |
-Tell him, Richard. -For God's sake, this man was on trial! | 1:00:10 | 1:00:13 | |
Yes, and you paid him to take the rap. Promised you'd rig the jury. | 1:00:13 | 1:00:17 | |
Not exactly a West End role, but I'll bet the money was good. | 1:00:17 | 1:00:20 | |
But not so good he didn't want to sell his story. | 1:00:20 | 1:00:23 | |
I am sorry. I am. I am sorry. | 1:00:23 | 1:00:26 | |
So this is the story you're going to publish? | 1:00:26 | 1:00:28 | |
-The big conclusion of it all, Moriarty's an actor? -He knows I am. | 1:00:28 | 1:00:32 | |
I have proof. Show them... Kitty, show them something. | 1:00:32 | 1:00:35 | |
Yeah, show me something. | 1:00:35 | 1:00:37 | |
I'm on TV. I'm on kids' TV. I'm the story-teller. | 1:00:42 | 1:00:46 | |
I'm the story-teller. It's on DVD. | 1:00:49 | 1:00:52 | |
Just tell him. It's all coming out. It's all over. | 1:01:00 | 1:01:03 | |
Just tell them. Just tell them. Tell them! It's all over now! | 1:01:03 | 1:01:06 | |
No! Don't you touch me! Don't you lay a finger on me! | 1:01:06 | 1:01:09 | |
Stop it now! | 1:01:09 | 1:01:11 | |
-Don't hurt me! -Don't let him get away! | 1:01:11 | 1:01:14 | |
Leave him alone! | 1:01:14 | 1:01:16 | |
No, no, no. He'll have back-up. | 1:01:19 | 1:01:21 | |
Do you know what, Sherlock Holmes? | 1:01:21 | 1:01:23 | |
I look at you know and I can read you...and you repel me. | 1:01:23 | 1:01:29 | |
Can he do that? | 1:01:33 | 1:01:35 | |
Completely change his identity, make you the criminal? | 1:01:35 | 1:01:38 | |
He's got my whole life story. | 1:01:38 | 1:01:40 | |
That's what you do when you sell a big lie, | 1:01:40 | 1:01:42 | |
you wrap it up in the truth to make it more palatable. | 1:01:42 | 1:01:45 | |
It'll be your word against his. | 1:01:45 | 1:01:46 | |
He's been sowing doubt into people's minds for 24 hours. | 1:01:46 | 1:01:50 | |
There's only one thing he needs to do to complete his game and that... | 1:01:50 | 1:01:54 | |
Sherlock? | 1:01:55 | 1:01:56 | |
-There's something I need to do. -What? Can I help? -No, on my own. | 1:01:57 | 1:02:01 | |
You're wrong, you know? | 1:02:18 | 1:02:20 | |
You do count. | 1:02:21 | 1:02:23 | |
You've always counted and I've always trusted you. | 1:02:24 | 1:02:28 | |
But you were right. | 1:02:29 | 1:02:31 | |
I'm not OK. | 1:02:33 | 1:02:35 | |
Tell me what's wrong. | 1:02:35 | 1:02:37 | |
Molly, I think I'm going to die. | 1:02:39 | 1:02:42 | |
-What do you need? -If I wasn't everything that you think I am, | 1:02:44 | 1:02:48 | |
everything that I think I am... | 1:02:48 | 1:02:50 | |
..would you still want to help me? | 1:02:51 | 1:02:53 | |
What do you need? | 1:02:55 | 1:02:57 | |
You. | 1:03:04 | 1:03:06 | |
She has really done her homework, Miss Riley, | 1:03:19 | 1:03:24 | |
and it's things that only someone close to Sherlock could know. | 1:03:24 | 1:03:28 | |
-Ah. -Have you seen your brother's address book lately? | 1:03:29 | 1:03:32 | |
Two names - yours and mine... | 1:03:32 | 1:03:36 | |
and Moriarty didn't get this stuff from me. | 1:03:36 | 1:03:39 | |
-John... -So how does it work, your relationship? | 1:03:39 | 1:03:42 | |
Do you go out for a coffee now and then, you and Jim? | 1:03:42 | 1:03:46 | |
Your own brother | 1:03:46 | 1:03:48 | |
and you blabbed about his entire life to this maniac. | 1:03:48 | 1:03:54 | |
I never intend...I never dreamt... | 1:03:56 | 1:03:59 | |
This...this is what you were trying to tell me, isn't it? | 1:03:59 | 1:04:03 | |
"Watch his back because I've made a mistake." | 1:04:03 | 1:04:06 | |
How did you meet him? | 1:04:09 | 1:04:11 | |
People like him, we know about them, we watch them. | 1:04:13 | 1:04:19 | |
But James Moriarty... | 1:04:21 | 1:04:23 | |
..the most dangerous criminal mind the world has ever seen, | 1:04:25 | 1:04:29 | |
and, in his pocket, the ultimate weapon. | 1:04:29 | 1:04:32 | |
The key code. | 1:04:32 | 1:04:34 | |
A few lines of computer code that can unlock any door. | 1:04:34 | 1:04:38 | |
And you abducted him to try and find the key code? | 1:04:39 | 1:04:44 | |
Interrogated him for weeks. | 1:04:45 | 1:04:47 | |
-And? -He wouldn't play along. | 1:04:47 | 1:04:50 | |
He just sat there | 1:04:51 | 1:04:54 | |
staring into the darkness. | 1:04:54 | 1:04:57 | |
The only thing that made him open up... | 1:05:00 | 1:05:03 | |
I could get him to talk, just a little. | 1:05:07 | 1:05:11 | |
But... | 1:05:12 | 1:05:14 | |
In return you had to offer him Sherlock's life story. | 1:05:14 | 1:05:17 | |
So, one big lie... | 1:05:18 | 1:05:21 | |
..Sherlock's a fraud, | 1:05:22 | 1:05:24 | |
and people will swallow it because the rest of it's true. | 1:05:24 | 1:05:28 | |
Moriarty wanted Sherlock destroyed, right, | 1:05:29 | 1:05:32 | |
and you have given him the perfect ammunition. | 1:05:32 | 1:05:38 | |
John. | 1:05:44 | 1:05:46 | |
I'm sorry. | 1:05:49 | 1:05:50 | |
Oh, please! | 1:05:50 | 1:05:52 | |
Tell him, would you? | 1:05:54 | 1:05:56 | |
I got your message. | 1:06:08 | 1:06:09 | |
The computer code is the key to this. We find it, we can use it. | 1:06:09 | 1:06:13 | |
-Use it? -He used it to create a false identity | 1:06:13 | 1:06:16 | |
so we can break into the records and destroy Richard Brook. | 1:06:16 | 1:06:19 | |
Bring back Jim Moriarty again. | 1:06:19 | 1:06:20 | |
Somewhere in 221b, | 1:06:20 | 1:06:21 | |
somewhere on the day of the verdict he left it hidden. | 1:06:21 | 1:06:24 | |
Uh-huh. | 1:06:24 | 1:06:26 | |
-What did he touch? -An apple, nothing else. | 1:06:27 | 1:06:29 | |
-Did he write anything down? -No. | 1:06:29 | 1:06:32 | |
MOBILE RINGS | 1:07:16 | 1:07:18 | |
Oh. | 1:07:20 | 1:07:22 | |
Yeah, speaking. | 1:07:24 | 1:07:26 | |
What? | 1:07:26 | 1:07:27 | |
What happened? Is she OK? | 1:07:27 | 1:07:30 | |
Oh, my God! Right, yes, I'm coming. | 1:07:30 | 1:07:33 | |
-What is it? -Paramedics. Mrs Hudson's been shot. | 1:07:33 | 1:07:36 | |
-How? -Probably one of the killers you managed to attract. Jesus! | 1:07:36 | 1:07:39 | |
-She's dying, Sherlock. Let's go. -You go. I'm busy. | 1:07:39 | 1:07:42 | |
-Busy?! -Thinking. I need to think. | 1:07:42 | 1:07:45 | |
You need to...? Doesn't she mean anything to you? | 1:07:45 | 1:07:47 | |
You once half-killed a man because he laid a finger on her. | 1:07:47 | 1:07:50 | |
-She's my landlady. -She's dying...you machine! | 1:07:50 | 1:07:54 | |
Sod this. Sod this! You stay here if you want, on your own. | 1:07:54 | 1:07:58 | |
Alone is what I have. Alone protects me. | 1:07:58 | 1:08:00 | |
No, friends protect people. | 1:08:00 | 1:08:02 | |
TEXT ALERT | 1:08:05 | 1:08:07 | |
# I've been kicked around since I was born | 1:08:22 | 1:08:24 | |
# But now it's all right, it's OK | 1:08:24 | 1:08:27 | |
# You can look the other way | 1:08:27 | 1:08:29 | |
# We can try to understand | 1:08:29 | 1:08:31 | |
# The New York Times' effect on man | 1:08:31 | 1:08:34 | |
# Whether you're a brother or whether you're a mother | 1:08:34 | 1:08:36 | |
# You're stayin' alive... # | 1:08:36 | 1:08:39 | |
Well...here we are at last. | 1:08:39 | 1:08:43 | |
You and me, Sherlock. | 1:08:43 | 1:08:46 | |
And our problem - the final problem. | 1:08:46 | 1:08:49 | |
Staying alive! | 1:08:49 | 1:08:52 | |
It's so boring, isn't it? | 1:08:54 | 1:08:57 | |
It's just staying. | 1:08:58 | 1:09:01 | |
All my life I've been searching for distractions | 1:09:02 | 1:09:05 | |
and you were the best distraction and now I don't even have you | 1:09:05 | 1:09:08 | |
because I've beaten you. | 1:09:08 | 1:09:10 | |
And you know what? In the end, it was easy. | 1:09:10 | 1:09:14 | |
It was easy. | 1:09:15 | 1:09:17 | |
Now I've got to go back to playing with the ordinary people, | 1:09:17 | 1:09:20 | |
and it turns out you're ordinary, just like all of them. | 1:09:20 | 1:09:23 | |
Ah, well. | 1:09:24 | 1:09:27 | |
Did you almost start to wonder if I was real? | 1:09:28 | 1:09:32 | |
Did I nearly get you? | 1:09:32 | 1:09:35 | |
Richard Brook. | 1:09:35 | 1:09:37 | |
Nobody seems to get the joke, but you do. | 1:09:37 | 1:09:41 | |
-Of course. -Attaboy. | 1:09:41 | 1:09:43 | |
Richard Brook in German is Reichenbach. | 1:09:43 | 1:09:46 | |
-The case that made my name. -Just trying to have some fun. | 1:09:46 | 1:09:50 | |
Good. You got that too. | 1:09:55 | 1:09:58 | |
Beats like digits. | 1:09:59 | 1:10:02 | |
Every beat is a one, every rest is a zero. | 1:10:02 | 1:10:06 | |
Binary code. | 1:10:06 | 1:10:07 | |
That's why all those assassins tried to save my life. | 1:10:07 | 1:10:10 | |
It was hidden on me, hidden inside my head. | 1:10:10 | 1:10:13 | |
A few simple lines of computer code that can break into any system. | 1:10:13 | 1:10:16 | |
Told all my clients, last one to Sherlock is a sissy. | 1:10:16 | 1:10:21 | |
But now that it's up here, I can use it to alter all the records. | 1:10:21 | 1:10:26 | |
I can kill Rich Brook and bring back Jim Moriarty. | 1:10:27 | 1:10:31 | |
No, no, no, no, no. This is too easy. | 1:10:33 | 1:10:36 | |
This is too easy. | 1:10:36 | 1:10:38 | |
There is no key, doofus! | 1:10:38 | 1:10:41 | |
Those digits are meaningless. They're utterly meaningless. | 1:10:44 | 1:10:48 | |
You don't really think a couple of lines of computer code | 1:10:48 | 1:10:51 | |
are going to crash the world around our ears? | 1:10:51 | 1:10:54 | |
I'm disappointed in you, ordinary Sherlock. | 1:10:54 | 1:10:57 | |
-But the rhythm... -Partita no 1! Thank you, Johann Sebastian Bach. | 1:10:57 | 1:11:02 | |
-But then how did you...? -How did I break into the bank, to the Tower, to the prison? | 1:11:02 | 1:11:06 | |
Daylight robbery! All it takes is some willing participants. | 1:11:06 | 1:11:11 | |
I knew you'd fall for it. That's your weakness. | 1:11:16 | 1:11:19 | |
You always want everything to be clever. | 1:11:19 | 1:11:22 | |
Shall we finish the game? One final act. | 1:11:22 | 1:11:24 | |
Glad you chose a tall building. Nice way to do it. | 1:11:24 | 1:11:28 | |
Do it? Do what? | 1:11:28 | 1:11:30 | |
Yes, of course. | 1:11:33 | 1:11:35 | |
My suicide. | 1:11:37 | 1:11:38 | |
Genius detective proved to be a fraud. | 1:11:38 | 1:11:41 | |
I read it in the paper so it must be true. | 1:11:41 | 1:11:43 | |
I love newspapers. | 1:11:43 | 1:11:46 | |
Fairy tales. | 1:11:46 | 1:11:48 | |
And pretty grim ones too. | 1:11:51 | 1:11:54 | |
Oh, God, John, you made me jump. Is everything OK with the police? | 1:12:02 | 1:12:06 | |
Has Sherlock sorted it all out? | 1:12:06 | 1:12:08 | |
Oh, my God. | 1:12:10 | 1:12:13 | |
Taxi! | 1:12:16 | 1:12:17 | |
Taxi! No, no, no. Police...sort of! | 1:12:19 | 1:12:22 | |
Thanks, mate. Thanks a lot! | 1:12:22 | 1:12:24 | |
I can prove that you created an entirely false identity. | 1:12:24 | 1:12:27 | |
Oh, just kill yourself. It's a lot less effort. | 1:12:27 | 1:12:30 | |
Go on. | 1:12:32 | 1:12:33 | |
For me. | 1:12:33 | 1:12:35 | |
Please! | 1:12:35 | 1:12:38 | |
You're insane. | 1:12:42 | 1:12:43 | |
You're just getting that now? Wo-wo-wo! | 1:12:44 | 1:12:47 | |
OK. | 1:12:47 | 1:12:49 | |
Let me give you a little extra incentive. | 1:12:50 | 1:12:53 | |
Your friends will die if you don't. | 1:12:53 | 1:12:56 | |
John? | 1:12:57 | 1:12:58 | |
Not just John. Everyone. | 1:12:58 | 1:13:00 | |
-Mrs Hudson? -Everyone. | 1:13:01 | 1:13:04 | |
-Lestrade? -Three bullets, three gunmen, three victims. | 1:13:04 | 1:13:10 | |
There's no stopping them now... | 1:13:10 | 1:13:12 | |
..unless my people see you jump. | 1:13:14 | 1:13:17 | |
You can have me arrested, you can torture me, | 1:13:25 | 1:13:28 | |
you can do anything you like with me, | 1:13:28 | 1:13:31 | |
but nothing's going to prevent them from pulling the trigger. | 1:13:31 | 1:13:34 | |
Your only three friends in the world will die unless... | 1:13:34 | 1:13:37 | |
Unless I kill myself and complete your story. | 1:13:37 | 1:13:41 | |
You've got to admit, that's sexier. | 1:13:42 | 1:13:44 | |
-And I die in disgrace. -Of course. That's the point of this. | 1:13:44 | 1:13:49 | |
Oh. You've got an audience now. | 1:13:49 | 1:13:52 | |
Off you pop. | 1:13:54 | 1:13:56 | |
Go on. | 1:13:57 | 1:13:58 | |
I told you how this ends. | 1:14:00 | 1:14:02 | |
Your death is the only thing that's going to call off the killers. | 1:14:06 | 1:14:09 | |
I'm certainly not going to do it. | 1:14:09 | 1:14:12 | |
Would you give me one moment, please? | 1:14:13 | 1:14:16 | |
One moment of privacy. | 1:14:17 | 1:14:19 | |
Please. | 1:14:20 | 1:14:22 | |
Of course. | 1:14:24 | 1:14:26 | |
HE LAUGHS | 1:14:41 | 1:14:43 | |
What?! | 1:14:49 | 1:14:51 | |
What is it? | 1:14:51 | 1:14:53 | |
What did I miss? | 1:14:55 | 1:14:58 | |
You're not going to do it. | 1:15:01 | 1:15:03 | |
So the killers can be called off, | 1:15:03 | 1:15:05 | |
then there's a recall code or a word or a number. | 1:15:05 | 1:15:08 | |
I don't have to die | 1:15:10 | 1:15:13 | |
if I've got you. | 1:15:13 | 1:15:15 | |
Oh! | 1:15:15 | 1:15:17 | |
You think you can make me stop the order? | 1:15:18 | 1:15:20 | |
-You think you can make me do that? -Yes. | 1:15:20 | 1:15:24 | |
-So do you. -Sherlock, your big brother and all the King's horses | 1:15:24 | 1:15:27 | |
couldn't make me do a thing I didn't want to. | 1:15:27 | 1:15:30 | |
Yes, but I'm not my brother, remember? | 1:15:30 | 1:15:32 | |
I am you. | 1:15:34 | 1:15:36 | |
Prepared to do anything. | 1:15:36 | 1:15:38 | |
Prepared to burn. | 1:15:38 | 1:15:40 | |
Prepared to do what ordinary people won't do. | 1:15:40 | 1:15:44 | |
You want me to shake hands with you in hell? I shall not disappoint you. | 1:15:44 | 1:15:48 | |
Nah. | 1:15:49 | 1:15:51 | |
You talk big. | 1:15:52 | 1:15:55 | |
Nah. | 1:15:55 | 1:15:57 | |
You're ordinary. | 1:15:57 | 1:15:59 | |
You're ordinary. You're on the side of the angels. | 1:15:59 | 1:16:02 | |
Oh, I may be on the side of the angels, | 1:16:02 | 1:16:05 | |
but don't think for one second that I am one of them. | 1:16:05 | 1:16:11 | |
No... | 1:16:19 | 1:16:20 | |
..you're not. | 1:16:22 | 1:16:24 | |
I see. | 1:16:30 | 1:16:32 | |
You're not ordinary. | 1:16:33 | 1:16:35 | |
No. | 1:16:35 | 1:16:37 | |
You're me. | 1:16:38 | 1:16:40 | |
You're me. | 1:16:42 | 1:16:44 | |
Thank you... | 1:16:46 | 1:16:48 | |
..Sherlock Holmes. | 1:16:49 | 1:16:51 | |
Thank you. | 1:17:00 | 1:17:02 | |
Bless you. | 1:17:03 | 1:17:05 | |
As long as I'm alive, you can save your friends, you've got a way out. | 1:17:08 | 1:17:13 | |
Well, good luck with that. | 1:17:14 | 1:17:16 | |
No. | 1:17:27 | 1:17:30 | |
Yes, sir. Thank you. Bye. | 1:17:53 | 1:17:54 | |
MOBILE DIAL TONE | 1:18:33 | 1:18:35 | |
MOBILE RINGS Hello? | 1:18:37 | 1:18:40 | |
-John. -Hey, Sherlock. Are you OK? | 1:18:40 | 1:18:42 | |
-Turn around and walk back the way you came. -I'm coming in. | 1:18:42 | 1:18:46 | |
Just do as I ask! | 1:18:46 | 1:18:48 | |
Please. | 1:18:48 | 1:18:49 | |
Where? | 1:18:49 | 1:18:51 | |
Stop there. | 1:18:52 | 1:18:54 | |
-Sherlock? -OK, look up. I'm on the rooftop. | 1:18:54 | 1:18:57 | |
Oh, God. | 1:18:58 | 1:19:01 | |
I...I can't come down, so we'll just have to do it like this. | 1:19:01 | 1:19:05 | |
What's going on? | 1:19:05 | 1:19:08 | |
An apology. | 1:19:08 | 1:19:09 | |
It's all true. | 1:19:12 | 1:19:14 | |
What? | 1:19:14 | 1:19:16 | |
Everything they said about me. I invented Moriarty. | 1:19:16 | 1:19:21 | |
Why are you saying this? | 1:19:27 | 1:19:29 | |
I'm a fake. | 1:19:32 | 1:19:34 | |
-Sherlock... -The newspapers were right all along. | 1:19:34 | 1:19:38 | |
I want you to tell Lestrade, | 1:19:38 | 1:19:41 | |
I want you to tell Mrs Hudson and Molly. | 1:19:41 | 1:19:44 | |
In fact, tell anyone who will listen to you... | 1:19:44 | 1:19:47 | |
..that I created Moriarty for my own purposes. | 1:19:49 | 1:19:53 | |
OK, shut up Sherlock. Shut up. | 1:19:54 | 1:19:56 | |
The first time we met... the first time we met, | 1:19:56 | 1:19:59 | |
-you knew all about my sister, right? -Nobody could be that clever. | 1:19:59 | 1:20:02 | |
You could. | 1:20:02 | 1:20:05 | |
I researched you. | 1:20:12 | 1:20:14 | |
Before we met, I discovered everything that I could | 1:20:15 | 1:20:18 | |
to impress you. | 1:20:18 | 1:20:20 | |
It's a trick. Just a magic trick. | 1:20:21 | 1:20:24 | |
No. All right, stop it now. | 1:20:24 | 1:20:26 | |
No. Stay exactly where you are. | 1:20:26 | 1:20:29 | |
-Don't move. -All right. | 1:20:30 | 1:20:32 | |
Keep your eyes fixed on me. | 1:20:34 | 1:20:37 | |
-Please, will you do this for me? -Do what? | 1:20:37 | 1:20:40 | |
This phone call, it's... | 1:20:40 | 1:20:42 | |
..it's my note. | 1:20:43 | 1:20:45 | |
It's what people do, don't they? | 1:20:47 | 1:20:49 | |
Leave a note? | 1:20:51 | 1:20:53 | |
Leave a note when? | 1:20:55 | 1:20:57 | |
-Goodbye, John. -No. Don't... | 1:20:57 | 1:21:00 | |
Sherlock! | 1:21:11 | 1:21:12 | |
Sherlock. | 1:21:16 | 1:21:17 | |
Sherlock...Sherlock. | 1:22:04 | 1:22:07 | |
I'm a doctor, let me come through. Let me come through, please. | 1:22:08 | 1:22:12 | |
He's my friend. He's my friend... Please. | 1:22:12 | 1:22:14 | |
Please, let me just... | 1:22:30 | 1:22:32 | |
Oh, Jesus! | 1:22:39 | 1:22:41 | |
No. | 1:22:41 | 1:22:43 | |
God, no. | 1:22:43 | 1:22:44 | |
There's stuff that you wanted to say... | 1:24:23 | 1:24:26 | |
-..but didn't say it. -Yeah. | 1:24:28 | 1:24:31 | |
Say it now. | 1:24:35 | 1:24:37 | |
Sorry, I can't. | 1:24:43 | 1:24:45 | |
There's all the stuff. All the science equipment. | 1:24:53 | 1:24:58 | |
I left it all in boxes. I don't know what needs doing. | 1:24:58 | 1:25:01 | |
I thought I'd take it to a school. | 1:25:01 | 1:25:04 | |
-Would you...? -I can't go back to the flat again, not at the moment. | 1:25:05 | 1:25:10 | |
I'm angry. | 1:25:13 | 1:25:14 | |
It's OK, John. There's nothing unusual in that. | 1:25:14 | 1:25:17 | |
That's the way he made everyone feel. | 1:25:17 | 1:25:20 | |
All the marks on my table and the noise, | 1:25:20 | 1:25:23 | |
-firing guns at half past one in the morning... -Yeah. | 1:25:23 | 1:25:27 | |
..bloody specimens in my fridge. | 1:25:27 | 1:25:29 | |
-Imagine, keeping bodies where there's food. -Yes. | 1:25:29 | 1:25:32 | |
And the fighting! Drove me up the wall with all his carryings-on. | 1:25:32 | 1:25:36 | |
Listen, I'm not actually that angry, OK? | 1:25:36 | 1:25:39 | |
OK. I'll leave you alone to, you know... | 1:25:39 | 1:25:43 | |
Erm... | 1:25:54 | 1:25:55 | |
Hmm. | 1:25:56 | 1:25:58 | |
You...you told me once... | 1:25:58 | 1:26:01 | |
..that you weren't a hero. | 1:26:02 | 1:26:04 | |
Erm, there were times I didn't even think you were human, | 1:26:04 | 1:26:08 | |
but let me tell you this, you were... | 1:26:08 | 1:26:11 | |
the best man... | 1:26:11 | 1:26:13 | |
the most human...human being that I've ever known | 1:26:13 | 1:26:18 | |
and no-one will ever convince me that you told me a lie, so... | 1:26:18 | 1:26:22 | |
..there. | 1:26:23 | 1:26:25 | |
I was so alone... | 1:26:32 | 1:26:34 | |
..and I owe you so much. | 1:26:36 | 1:26:38 | |
But, please, there's just one more thing, one more thing, | 1:26:42 | 1:26:46 | |
one more miracle, Sherlock, for me, don't be... | 1:26:46 | 1:26:49 | |
..dead. | 1:26:51 | 1:26:53 | |
Would you do that just for me? | 1:26:53 | 1:26:56 | |
Just stop it. Stop this. | 1:26:56 | 1:26:58 | |
Subtitles by Red Bee Media Ltd | 1:28:10 | 1:28:13 | |
E-mail [email protected] | 1:28:13 | 1:28:16 |