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Mr Magnussen, please state your full name for the record. | 0:00:02 | 0:00:04 | |
Charles Augustus Magnussen. | 0:00:04 | 0:00:07 | |
Mr Magnussen, | 0:00:07 | 0:00:09 | |
how would you describe your influence over the Prime Minister? | 0:00:09 | 0:00:12 | |
The British Prime Minister? | 0:00:12 | 0:00:14 | |
Any of the British Prime Ministers you have known. | 0:00:14 | 0:00:17 | |
I never had the slightest influence over any of them. | 0:00:17 | 0:00:20 | |
Why would I? | 0:00:20 | 0:00:21 | |
I notice you've had seven meetings at Downing Street this year. | 0:00:23 | 0:00:28 | |
Why? | 0:00:28 | 0:00:30 | |
Because I was invited. | 0:00:30 | 0:00:33 | |
Can you recall the subjects under discussion? | 0:00:33 | 0:00:36 | |
Not without being more indiscreet than I believe is appropriate. | 0:00:36 | 0:00:39 | |
Do you think it right that a newspaper proprietor, | 0:00:39 | 0:00:42 | |
a private individual, and in fact a foreign national, | 0:00:42 | 0:00:46 | |
should have such regular access to our Prime Minister? | 0:00:46 | 0:00:49 | |
I don't think it's wrong that a private individual should | 0:00:51 | 0:00:55 | |
accept an invitation. | 0:00:55 | 0:00:57 | |
However, you have my sincere apologies for being foreign. | 0:00:57 | 0:01:00 | |
That's not what I meant. That is not in any way... | 0:01:00 | 0:01:03 | |
Mr Magnussen, can you recall an occasion | 0:01:03 | 0:01:05 | |
when your remarks could have influenced government policy? | 0:01:05 | 0:01:09 | |
Or the Prime Minister's thinking in any way? | 0:01:09 | 0:01:12 | |
No. | 0:01:13 | 0:01:14 | |
Are you sure? | 0:01:14 | 0:01:16 | |
I have an excellent memory. | 0:01:28 | 0:01:30 | |
PROJECTOR WHIRS | 0:02:32 | 0:02:34 | |
Your car is waiting outside... See you tomorrow. | 0:02:42 | 0:02:45 | |
May I join you? | 0:02:55 | 0:02:57 | |
I don't think it's appropriate. | 0:02:57 | 0:02:59 | |
-It isn't. -Mr Magnussen, outside the inquiry, we can have no contact, | 0:02:59 | 0:03:03 | |
no communication at all. | 0:03:03 | 0:03:04 | |
Please don't do that. | 0:03:05 | 0:03:07 | |
In 1982, your husband corresponded with Helen Catherine Driscoll. | 0:03:07 | 0:03:12 | |
That was before I knew him. | 0:03:12 | 0:03:14 | |
The letters were lively, loving... | 0:03:14 | 0:03:16 | |
some would say explicit. | 0:03:16 | 0:03:18 | |
And currently in my possession. | 0:03:18 | 0:03:20 | |
Will you please move your hand? | 0:03:20 | 0:03:22 | |
"I long, my darling, to know the touch of your...body." | 0:03:22 | 0:03:27 | |
I know what was in the letters. | 0:03:27 | 0:03:29 | |
She was 15. | 0:03:29 | 0:03:31 | |
She looked older. | 0:03:33 | 0:03:34 | |
Oh, she looked delicious. We have photographs too. | 0:03:36 | 0:03:40 | |
The ones she sent him. | 0:03:40 | 0:03:42 | |
Yum-yum. | 0:03:43 | 0:03:45 | |
He was unaware of her age. | 0:03:45 | 0:03:47 | |
He met her only once before the letters began. | 0:03:47 | 0:03:49 | |
When he discovered the truth, he stopped immediately. | 0:03:49 | 0:03:52 | |
Those are the facts. | 0:03:52 | 0:03:53 | |
Facts are for history books. I work in news. | 0:03:53 | 0:03:56 | |
Your hand is sweating. | 0:03:56 | 0:03:58 | |
Always, I'm afraid. I have a condition. | 0:03:58 | 0:04:01 | |
It's disgusting. | 0:04:01 | 0:04:02 | |
I'm used to it. | 0:04:03 | 0:04:05 | |
The whole world is wet to my touch. | 0:04:05 | 0:04:08 | |
I will call someone, I will have you removed. | 0:04:08 | 0:04:11 | |
What is that? | 0:04:11 | 0:04:12 | |
Claire de la Lune? | 0:04:17 | 0:04:19 | |
A bit young for you, isn't it? | 0:04:20 | 0:04:21 | |
You want to hit me now? Could you, still? | 0:04:23 | 0:04:27 | |
Little old lady now. | 0:04:27 | 0:04:29 | |
Perhaps you should settle for calling someone. | 0:04:29 | 0:04:33 | |
Well, go on. | 0:04:35 | 0:04:38 | |
No? | 0:04:38 | 0:04:39 | |
Because now there are consequences. | 0:04:39 | 0:04:41 | |
I have the letters and therefore I have you. | 0:04:41 | 0:04:44 | |
This is blackmail. | 0:04:44 | 0:04:45 | |
Of course it isn't blackmail. | 0:04:45 | 0:04:47 | |
This is... | 0:04:47 | 0:04:49 | |
ownership. | 0:04:49 | 0:04:50 | |
You do not own me. | 0:04:50 | 0:04:52 | |
Claire de la Lune. | 0:05:05 | 0:05:07 | |
It never tastes like it smells, does it? | 0:05:12 | 0:05:14 | |
Lady Smallwood's bill is on me. See to it. | 0:05:21 | 0:05:24 | |
Yes, Mr Magnussen. | 0:05:24 | 0:05:25 | |
SHE SHUDDERS | 0:05:27 | 0:05:28 | |
Oh, God! Oh! | 0:05:34 | 0:05:36 | |
You all right, ma'am? | 0:05:37 | 0:05:39 | |
Fine, yes. | 0:05:39 | 0:05:40 | |
Magnussen! | 0:05:41 | 0:05:43 | |
No-one stands up to him. | 0:05:44 | 0:05:46 | |
No-one dares, no-one even tries. | 0:05:46 | 0:05:48 | |
There isn't a man or woman in England capable of stopping | 0:05:48 | 0:05:51 | |
that disgusting creature... | 0:05:51 | 0:05:53 | |
Ma'am? | 0:05:56 | 0:05:57 | |
Turn the car around. We're going back into town. Turn around. | 0:05:57 | 0:06:00 | |
Where are we going, ma'am? | 0:06:02 | 0:06:04 | |
Baker Street. | 0:06:05 | 0:06:06 | |
RAPID GUNFIRE AND EXPLOSIONS | 0:06:40 | 0:06:43 | |
'You've seen a lot of injuries, then? Violent deaths?' | 0:06:46 | 0:06:48 | |
-'Enough for a lifetime.' -'Want to see some more?' | 0:06:48 | 0:06:51 | |
'Oh, God, yes.' | 0:06:51 | 0:06:52 | |
KNOCKING ON DOOR | 0:06:52 | 0:06:54 | |
'The game is on.' | 0:06:54 | 0:06:55 | |
KNOCKING CONTINUES | 0:06:57 | 0:06:58 | |
I know it's early. Really, I'm sorry. | 0:07:01 | 0:07:04 | |
WOMAN SOBS | 0:07:04 | 0:07:05 | |
-Is that Kate? -Yeah, it's Kate. | 0:07:05 | 0:07:08 | |
Invite her in? | 0:07:08 | 0:07:09 | |
Er, sorry, yes, do you want to come in, Kate? | 0:07:09 | 0:07:12 | |
Hey! | 0:07:13 | 0:07:15 | |
It's hard. | 0:07:15 | 0:07:16 | |
-There you go. -It's Isaac. -Oh, your husband? -Son. -Son, yeah. | 0:07:18 | 0:07:22 | |
He's gone missing again. Didn't come home last night. | 0:07:22 | 0:07:26 | |
The usual. | 0:07:26 | 0:07:27 | |
He's the drugs one, yeah? | 0:07:27 | 0:07:29 | |
Er, yeah, nicely put, John. | 0:07:29 | 0:07:31 | |
But is it Sherlock Holmes you want? Because I've not seen him in ages. | 0:07:31 | 0:07:34 | |
-About a month. -Who is Sherlock Holmes? | 0:07:34 | 0:07:36 | |
See, that does happen. | 0:07:36 | 0:07:38 | |
There's a place they all go to, him and his friends. | 0:07:38 | 0:07:42 | |
They all do whatever they do. | 0:07:44 | 0:07:47 | |
Shoot up, whatever you call it. | 0:07:48 | 0:07:50 | |
-Where is he? -It's a house, it's a dump. It's practically falling down. | 0:07:50 | 0:07:54 | |
No, the address? Where, exactly? | 0:07:54 | 0:07:57 | |
-Seriously? -Why not? | 0:07:57 | 0:07:59 | |
She's not going to the police, someone's got to get him. | 0:07:59 | 0:08:01 | |
-Why you? -I'm being neighbourly. -Since when? | 0:08:01 | 0:08:03 | |
Ha, since now. Since this exact minute. | 0:08:03 | 0:08:06 | |
-Why are you being so...? -What? | 0:08:06 | 0:08:08 | |
I don't know, what's the matter with you? | 0:08:08 | 0:08:10 | |
There is NOTHING the matter with me. | 0:08:10 | 0:08:12 | |
-Imagine I said that without shouting. -I'm trying. | 0:08:12 | 0:08:15 | |
No, you can't come, you're pregnant. | 0:08:15 | 0:08:17 | |
You can't go, I'm pregnant! | 0:08:17 | 0:08:19 | |
-SHE CHUCKLES -What is that?! | 0:08:28 | 0:08:30 | |
-It's a tyre lever. -Why? -Cos there were loads of smackheads in there | 0:08:30 | 0:08:33 | |
and one of them might need help with a tyre. | 0:08:33 | 0:08:35 | |
If there's any trouble, just go, I'll be fine. | 0:08:35 | 0:08:37 | |
John, John, John, John... | 0:08:37 | 0:08:39 | |
It is a tiny bit sexy. | 0:08:40 | 0:08:42 | |
Yeah, I know. | 0:08:42 | 0:08:44 | |
JOHN BANGS ON DOOR Hello? | 0:08:47 | 0:08:48 | |
-What do you want? -Excuse me. | 0:08:51 | 0:08:53 | |
DOOR CRASHES OPEN | 0:08:53 | 0:08:55 | |
Oh, no, you can't come in here! | 0:08:55 | 0:08:58 | |
I'm looking for a friend. A very specific...friend. | 0:08:58 | 0:09:02 | |
I'm not just browsing. | 0:09:02 | 0:09:04 | |
You've got to go. No-one's allowed here. | 0:09:04 | 0:09:07 | |
HE CLEARS HIS THROAT Isaac Whitney, you seen him? | 0:09:07 | 0:09:10 | |
I'm asking you if you've seen Isaac Whitney | 0:09:10 | 0:09:13 | |
and now you're showing me a knife. | 0:09:13 | 0:09:14 | |
Is it a clue? Are you doing a mime? | 0:09:14 | 0:09:18 | |
Go. Or I'll cut you. | 0:09:18 | 0:09:21 | |
Oh, not from there. Let me help. | 0:09:21 | 0:09:23 | |
Now, concentrate. Isaac...Whitney? | 0:09:27 | 0:09:30 | |
OK, you asked for it. | 0:09:30 | 0:09:32 | |
MAN GRUNTS IN PAIN | 0:09:33 | 0:09:36 | |
Agh! Ohh! | 0:09:36 | 0:09:37 | |
Right. Are you concentrating yet? | 0:09:37 | 0:09:40 | |
You broke my arm! | 0:09:40 | 0:09:42 | |
No, I sprained it. | 0:09:42 | 0:09:43 | |
It feels squishy. Is it supposed to feel squishy? | 0:09:43 | 0:09:47 | |
-Feel that! -Yeah, it's a sprain. | 0:09:47 | 0:09:49 | |
I'm a doctor, I know how to sprain people. | 0:09:49 | 0:09:51 | |
Now where is Isaac Whitney? | 0:09:51 | 0:09:53 | |
I don't know! Maybe upstairs. | 0:09:53 | 0:09:56 | |
There you go. Wasn't that easy? | 0:09:56 | 0:09:58 | |
No, it was really sore. | 0:10:00 | 0:10:02 | |
Mental, you are! | 0:10:02 | 0:10:03 | |
No, just used to a better class of criminal. | 0:10:03 | 0:10:06 | |
BIRD CAWING | 0:10:06 | 0:10:08 | |
MAN COUGHING | 0:10:08 | 0:10:10 | |
Isaac? Isaac Whitney? | 0:10:19 | 0:10:20 | |
OBJECT CLATTERS | 0:10:20 | 0:10:23 | |
Isaac? | 0:10:23 | 0:10:24 | |
MAN RESPONDS WEAKLY | 0:10:25 | 0:10:27 | |
Hello, mate. Sit up for me, sit up. | 0:10:27 | 0:10:30 | |
-Dr Watson? -Yep. | 0:10:32 | 0:10:34 | |
Where am I? | 0:10:34 | 0:10:35 | |
Arse-end of the universe with the scum of the earth. Look at me. | 0:10:35 | 0:10:38 | |
Have you come for me? | 0:10:38 | 0:10:40 | |
Do you think I know a lot of people here? | 0:10:40 | 0:10:43 | |
Hey, all right? | 0:10:43 | 0:10:45 | |
-SHERLOCK: -Oh, hello, John. Didn't expect to see you here. | 0:10:45 | 0:10:50 | |
Come for me too? | 0:10:53 | 0:10:54 | |
-Hello, Isaac. -Mrs Watson, can I, can I get in, please? | 0:10:57 | 0:11:01 | |
-Yes, of course, get in. Where's John? -They're having a fight. | 0:11:01 | 0:11:04 | |
Who is?! | 0:11:04 | 0:11:05 | |
-DOOR CLATTERS -For God sakes, John, I'm on a case! | 0:11:05 | 0:11:08 | |
A month. That's all it took. | 0:11:08 | 0:11:09 | |
-One! -I'm working. | 0:11:09 | 0:11:11 | |
"Sherlock Holmes in a drug den." How's that going to look?! | 0:11:11 | 0:11:13 | |
-I'm undercover. -No, you're not! | 0:11:13 | 0:11:15 | |
-CAR TYRES SCREECH -Well, I'm not now! | 0:11:15 | 0:11:18 | |
In, both of you, quickly! | 0:11:18 | 0:11:20 | |
Please, can I come? I think I've got a broken arm. | 0:11:25 | 0:11:29 | |
-No, go away. -No, let him. -Why? -Yeah, just get in. It's a sprain. | 0:11:29 | 0:11:32 | |
Anyone else? I mean, are we taking everybody home, are we? | 0:11:33 | 0:11:37 | |
All right, Shezza? | 0:11:38 | 0:11:39 | |
-"Shezza"? -I WAS undercover! | 0:11:39 | 0:11:42 | |
Seriously, Shezza, though? | 0:11:42 | 0:11:43 | |
-We're not going home, we're going to Bart's. I'm calling Molly. -Why? | 0:11:43 | 0:11:46 | |
Because Sherlock Holmes needs to pee in a jar. | 0:11:46 | 0:11:49 | |
Well? Is he clean? | 0:12:01 | 0:12:03 | |
Clean? | 0:12:04 | 0:12:05 | |
How dare you throw away the beautiful gifts you were born with! | 0:12:14 | 0:12:17 | |
And how dare you betray the love of your friends! | 0:12:17 | 0:12:19 | |
Say you're sorry. | 0:12:19 | 0:12:21 | |
Sorry your engagement's over. Though I'm fairly grateful for the lack of a ring. | 0:12:21 | 0:12:24 | |
Stop it. Just stop it! | 0:12:24 | 0:12:27 | |
If you were anywhere near this kind of thing again, | 0:12:27 | 0:12:30 | |
you could have called, you could have talked to me. | 0:12:30 | 0:12:32 | |
Please, do relax. This is all for a case. | 0:12:32 | 0:12:34 | |
What kind of case would need you doing this? | 0:12:34 | 0:12:36 | |
I might as well ask you why you've started cycling to work? | 0:12:36 | 0:12:39 | |
No, we're not playing this game. | 0:12:39 | 0:12:41 | |
Quite recently, I'd say, you're very determined about it. | 0:12:41 | 0:12:43 | |
-Not interested. -I am. Ow! | 0:12:43 | 0:12:46 | |
Oh, sorry, you moved, but it is just a sprain. | 0:12:46 | 0:12:48 | |
-Yeah, somebody hit me. -Huh? | 0:12:48 | 0:12:51 | |
Yeah, just some guy. | 0:12:53 | 0:12:55 | |
Yeah, it was probably just an addict in need of a fix. | 0:12:56 | 0:12:59 | |
Yes, I think in a way it was. | 0:13:00 | 0:13:01 | |
-Is it his shirt? -I'm sorry? | 0:13:02 | 0:13:06 | |
Well, it's the creases, isn't it? | 0:13:06 | 0:13:08 | |
The two creases down the front. | 0:13:10 | 0:13:12 | |
It's been recently folded, but it's not new. | 0:13:12 | 0:13:14 | |
You must have dressed in a hurry this morning. | 0:13:14 | 0:13:17 | |
So all your shirts must be kept like that. | 0:13:17 | 0:13:19 | |
But why? | 0:13:21 | 0:13:22 | |
Maybe cos you cycle to work every morning, shower | 0:13:22 | 0:13:25 | |
when you get there and then dress in the clothes you brought with you. | 0:13:25 | 0:13:29 | |
You keep your shirts folded, ready to pack. | 0:13:29 | 0:13:32 | |
Not bad. | 0:13:33 | 0:13:35 | |
And I further deduce... | 0:13:35 | 0:13:36 | |
..you've only started recently because you've got a bit of chafing. | 0:13:38 | 0:13:42 | |
No, he's always walked like that. | 0:13:42 | 0:13:44 | |
Remind me, what's your name again? | 0:13:44 | 0:13:45 | |
-They call me the Wig. -No, they don't. | 0:13:45 | 0:13:48 | |
Well, they...they call me Wiggy. | 0:13:48 | 0:13:50 | |
Nope. | 0:13:50 | 0:13:51 | |
Bill. Bill Wiggins. | 0:13:54 | 0:13:56 | |
Nice observational skills, Billy. | 0:13:56 | 0:13:59 | |
TEXT ALERT | 0:13:59 | 0:14:01 | |
Ah, finally! | 0:14:01 | 0:14:03 | |
-Finally what? -Good news? | 0:14:03 | 0:14:06 | |
Oh, excellent news, the best. | 0:14:06 | 0:14:08 | |
There's every chance that my drug habit might hit the newspapers. | 0:14:08 | 0:14:11 | |
The game is on. Excuse me...for a second. | 0:14:11 | 0:14:15 | |
You've heard of Charles Augustus Magnussen, of course? | 0:14:18 | 0:14:21 | |
Yeah. Owns some newspapers. Ones I don't read. | 0:14:21 | 0:14:25 | |
Hang on, weren't there other people? | 0:14:25 | 0:14:27 | |
Mary's taking the boys home, I'm taking you, we did discuss it. | 0:14:27 | 0:14:30 | |
People were talking, none of them were me, I must have filtered. | 0:14:30 | 0:14:34 | |
-I noticed. -I have to filter out a lot of witless babble. | 0:14:34 | 0:14:36 | |
I've got Mrs Hudson on semi-permanent mute. | 0:14:36 | 0:14:38 | |
-HE SIGHS -What is my brother doing here? | 0:14:41 | 0:14:44 | |
So I'll just pay, then, shall I? | 0:14:44 | 0:14:47 | |
He's straightened the knocker. | 0:14:47 | 0:14:48 | |
He always corrects it, it's OCD, doesn't even know he's doing it. | 0:14:48 | 0:14:52 | |
-Why do you do that? -Do what? -Nothing. | 0:14:52 | 0:14:55 | |
Well then, Sherlock, back on the sauce? | 0:14:58 | 0:15:01 | |
-What are you doing here? -I phoned him. | 0:15:01 | 0:15:03 | |
The siren call of old habits. How very like Uncle Rudy. | 0:15:03 | 0:15:07 | |
-Though in many ways, cross-dressing would have been a wiser path for you. -You phoned him. | 0:15:07 | 0:15:11 | |
-Of course I bloody phoned him. -Of course he bloody did. | 0:15:11 | 0:15:13 | |
Now save me a little time - where should we be looking? | 0:15:13 | 0:15:16 | |
-"We"? -ANDERSON: Mr Holmes? | 0:15:16 | 0:15:18 | |
For God's sake! | 0:15:19 | 0:15:21 | |
-Anderson?! -Sorry, Sherlock, it's for your own good. | 0:15:24 | 0:15:28 | |
Oh, that's him, isn't it? You said he'd be taller. | 0:15:28 | 0:15:32 | |
Some members of your little fan club. Do be polite. | 0:15:32 | 0:15:35 | |
They're entirely trustworthy and even willing to search | 0:15:35 | 0:15:38 | |
through the toxic waste dump that you are pleased to call a flat. | 0:15:38 | 0:15:41 | |
You're a celebrity these days, Sherlock. | 0:15:41 | 0:15:43 | |
You can't afford a drug habit. | 0:15:43 | 0:15:45 | |
-I do not have a drug habit. -JOHN: Hey, what happened to my chair? | 0:15:45 | 0:15:49 | |
It was blocking my view to the kitchen. | 0:15:49 | 0:15:51 | |
Well, it's good to be missed! | 0:15:51 | 0:15:52 | |
-You were gone, I saw an opportunity. -No, you saw the kitchen. | 0:15:52 | 0:15:56 | |
What have you found so far? Clearly, nothing. | 0:15:56 | 0:15:58 | |
There's nothing to find! | 0:15:58 | 0:15:59 | |
Your bedroom door is shut. You haven't been home all night. | 0:15:59 | 0:16:02 | |
So, why would a man who has never knowingly closed a door without | 0:16:02 | 0:16:05 | |
the direct orders of his mother bother to do so on this occasion? | 0:16:05 | 0:16:09 | |
OK, stop, just stop! Point made. | 0:16:09 | 0:16:12 | |
Jesus, Sherlock! | 0:16:12 | 0:16:13 | |
I shall have to phone our parents, of course. In Oklahoma. | 0:16:13 | 0:16:17 | |
It won't be the first time that your substance abuse | 0:16:17 | 0:16:20 | |
has wreaked havoc with their line dancing. | 0:16:20 | 0:16:22 | |
This is not what you think. This is for a case. | 0:16:25 | 0:16:27 | |
What case could possibly justify this? | 0:16:27 | 0:16:30 | |
Magnussen. | 0:16:30 | 0:16:31 | |
Charles Augustus Magnussen. | 0:16:31 | 0:16:34 | |
That name you think you may have just heard, you were mistaken. | 0:16:38 | 0:16:42 | |
If you ever mention hearing that name in this room, | 0:16:42 | 0:16:44 | |
in this context, I guarantee you, on behalf | 0:16:44 | 0:16:47 | |
of the British Security Services, that materials will be found on | 0:16:47 | 0:16:50 | |
your computer hard-drives, resulting in your immediate incarceration. | 0:16:50 | 0:16:54 | |
Don't reply, just look frightened and scuttle. | 0:16:54 | 0:16:57 | |
I hope I won't have to threaten you as well. | 0:16:59 | 0:17:02 | |
Well, I think we'd both find that embarrassing. | 0:17:04 | 0:17:07 | |
Magnussen is not your business. | 0:17:07 | 0:17:09 | |
-Oh, you mean he's yours? -You may consider him under my protection. | 0:17:09 | 0:17:12 | |
I consider you under his thumb. | 0:17:12 | 0:17:13 | |
If you go against Magnussen, | 0:17:13 | 0:17:15 | |
then you will find yourself going against me. | 0:17:15 | 0:17:18 | |
OK. I'll let you know if I notice. | 0:17:18 | 0:17:20 | |
Um, what was I going to say? Oh, yeah. | 0:17:20 | 0:17:23 | |
Bye-bye. | 0:17:23 | 0:17:24 | |
Unwise, brother mine. | 0:17:28 | 0:17:31 | |
Ohh! Ugh! | 0:17:31 | 0:17:33 | |
Brother mine... | 0:17:33 | 0:17:34 | |
..don't appal me when I'm high. | 0:17:35 | 0:17:39 | |
Mycroft, don't say another word, just go. | 0:17:39 | 0:17:41 | |
He could snap you in two and right now, | 0:17:41 | 0:17:43 | |
I'm slightly worried that he might. | 0:17:43 | 0:17:46 | |
Don't speak, just leave. | 0:17:48 | 0:17:50 | |
Oh. | 0:17:52 | 0:17:53 | |
HE CLEARS HIS THROAT | 0:17:57 | 0:17:58 | |
Er, Magnussen? | 0:18:02 | 0:18:04 | |
-What time is it? -About eight. | 0:18:04 | 0:18:07 | |
I'll be meeting him in three hours. I need a bath. | 0:18:07 | 0:18:10 | |
-It's for a case, you say? -Yep. -What sort of case? | 0:18:10 | 0:18:13 | |
Too big and dangerous for any sane individual to get involved in. | 0:18:13 | 0:18:16 | |
-You trying to put me off? -God, no. | 0:18:16 | 0:18:18 | |
Trying to recruit you. | 0:18:18 | 0:18:20 | |
And stay out of my bedroom. | 0:18:21 | 0:18:23 | |
Oh, John, hi. How are you? | 0:18:33 | 0:18:36 | |
Janine? | 0:18:36 | 0:18:38 | |
Sorry, not dressed. Has everybody gone? | 0:18:38 | 0:18:41 | |
-I heard shouting. -Yes, they're gone. | 0:18:41 | 0:18:43 | |
God, look at the time. I'll be late. | 0:18:43 | 0:18:45 | |
-It sounded like an argument. Was it Mike? -Mike? | 0:18:45 | 0:18:48 | |
Mike, yeah. His brother, Mike. They're always fighting. | 0:18:48 | 0:18:52 | |
Mycroft. | 0:18:52 | 0:18:53 | |
Do people actually call him that? | 0:18:53 | 0:18:54 | |
-Yeah. -Huh! | 0:18:54 | 0:18:56 | |
Oh, could you be a love and put some coffee on? | 0:18:56 | 0:18:58 | |
Sure, right, yeah. | 0:18:58 | 0:18:59 | |
Thanks. Oh, how is Mary? How's married life? | 0:18:59 | 0:19:03 | |
She's fine. We're both fine. Yeah. | 0:19:03 | 0:19:05 | |
Oh, it's over there now. Where's Sherl? | 0:19:05 | 0:19:08 | |
(Sherl!) | 0:19:08 | 0:19:10 | |
Er, he's just having a bath. I'm sure he'll be out in a minute. | 0:19:10 | 0:19:13 | |
-Oh, like he ever is! -Yeah. | 0:19:13 | 0:19:15 | |
-SHE KNOCKS ON DOOR -Morning. Room for a little one? | 0:19:18 | 0:19:21 | |
SHERLOCK AND JANINE GIGGLE | 0:19:21 | 0:19:23 | |
Morning. | 0:19:25 | 0:19:26 | |
SHERLOCK LAUGHS | 0:19:26 | 0:19:28 | |
Ooh! | 0:19:28 | 0:19:29 | |
So, it's just a guess, but you've probably got some questions? | 0:19:29 | 0:19:33 | |
Yeah, one or two. Pretty much. | 0:19:33 | 0:19:36 | |
Naturally. | 0:19:36 | 0:19:37 | |
-You have a girlfriend? -Yes, I have. | 0:19:43 | 0:19:45 | |
Now, Magnussen. Magnussen is like a shark. | 0:19:47 | 0:19:49 | |
It's the only way I can describe him. | 0:19:49 | 0:19:51 | |
Have you ever been to the shark tank at the London Aquarium, John? Stood up close to the glass? | 0:19:51 | 0:19:55 | |
Those floating, flat faces, those dead eyes. That's what he is. | 0:19:55 | 0:20:00 | |
I've dealt with murderers, psychopaths, | 0:20:02 | 0:20:05 | |
terrorists, serial killers. | 0:20:05 | 0:20:07 | |
None of them can turn my stomach like Charles Augustus Magnussen. | 0:20:07 | 0:20:12 | |
Yes, you have? | 0:20:13 | 0:20:15 | |
Sorry, what? | 0:20:15 | 0:20:16 | |
-You have a girlfriend? -What? Yes, yes, I'm going out with Janine. | 0:20:16 | 0:20:20 | |
-I thought that was fairly obvious. -Yes. Well, yes. | 0:20:20 | 0:20:22 | |
HE CLEARS HIS THROAT | 0:20:22 | 0:20:24 | |
You... You... You are in a relationship? | 0:20:24 | 0:20:27 | |
Yes, I am. | 0:20:27 | 0:20:29 | |
-You and Janine? -Hmm. Yes, me and Janine. | 0:20:29 | 0:20:32 | |
Care to elaborate? | 0:20:32 | 0:20:33 | |
Well, we're in a good place. It's, um... | 0:20:34 | 0:20:38 | |
-very affirming. -You got that from a book. | 0:20:38 | 0:20:40 | |
Everyone got that from a book. | 0:20:40 | 0:20:42 | |
OK, you two bad boys. Behave yourselves. | 0:20:42 | 0:20:46 | |
You, Sherl, you're going to have to tell me where you were last night. | 0:20:46 | 0:20:49 | |
-Working. -Working? Of course. | 0:20:49 | 0:20:52 | |
I'm the only one who really knows what you're like, remember? | 0:20:52 | 0:20:55 | |
Well, don't you go letting on. | 0:20:55 | 0:20:57 | |
I might just, actually. | 0:20:58 | 0:21:00 | |
I haven't told Mary about this. | 0:21:02 | 0:21:04 | |
-I kind of wanted to surprise her. -Yeah, I think you probably will. | 0:21:04 | 0:21:07 | |
But we should have you two over for dinner, really soon. | 0:21:07 | 0:21:10 | |
-Yeah. -My place though, not the scuzz-dump. | 0:21:10 | 0:21:13 | |
Great, yeah. | 0:21:13 | 0:21:15 | |
Dinner, yeah. | 0:21:15 | 0:21:17 | |
-I'd better dash. It was brilliant to see you. -You too. | 0:21:17 | 0:21:20 | |
Have a lovely day. Call me later. | 0:21:23 | 0:21:26 | |
I might do. I might call you. | 0:21:26 | 0:21:29 | |
Unless I meet someone prettier. | 0:21:29 | 0:21:31 | |
Solve me a crime, Sherlock Holmes. | 0:21:39 | 0:21:41 | |
You know Magnussen as a newspaper owner, | 0:21:46 | 0:21:48 | |
but he is so much more than that. | 0:21:48 | 0:21:50 | |
He uses his power and wealth to gain information. | 0:21:50 | 0:21:53 | |
The more he acquires, the greater his wealth and power. | 0:21:53 | 0:21:56 | |
And I'm not exaggerating when I say that he knows the critical pressure point on every person of note | 0:21:56 | 0:22:00 | |
or influence in the whole of the Western World and probably beyond. | 0:22:00 | 0:22:04 | |
He is the Napoleon of blackmail. | 0:22:04 | 0:22:06 | |
And he has created an unassailable architecture of forbidden knowledge. | 0:22:06 | 0:22:11 | |
Its name... | 0:22:11 | 0:22:13 | |
is Appledore. | 0:22:13 | 0:22:15 | |
-Dinner? -Sorry, what dinner? | 0:22:16 | 0:22:19 | |
Me and Mary coming for dinner with... | 0:22:19 | 0:22:22 | |
wine and... | 0:22:22 | 0:22:23 | |
sitting. | 0:22:23 | 0:22:25 | |
Seriously? I have just told you that the Western World is run | 0:22:25 | 0:22:28 | |
-from this house and you want to talk about dinner? -Fine. Talk about the house. | 0:22:28 | 0:22:32 | |
It is the greatest repository of sensitive and dangerous | 0:22:34 | 0:22:37 | |
information anywhere in the world, | 0:22:37 | 0:22:39 | |
the Alexandrian Library of secrets and scandals | 0:22:39 | 0:22:42 | |
and none of it is on a computer. | 0:22:42 | 0:22:44 | |
He's smart. Computers can be hacked. | 0:22:44 | 0:22:46 | |
It's all on hard copy, in vaults, underneath that house. | 0:22:46 | 0:22:48 | |
And as long as it is, the personal freedom of anyone | 0:22:48 | 0:22:51 | |
you've ever met is a fantasy. | 0:22:51 | 0:22:53 | |
KNOCKING ON DOOR | 0:22:53 | 0:22:55 | |
That was the doorbell. Couldn't you hear it? | 0:22:55 | 0:22:57 | |
-It's in the fridge. It kept ringing. -Oh, that's not a fault, Sherlock! | 0:22:57 | 0:23:00 | |
Who is it? | 0:23:00 | 0:23:02 | |
Mr Holmes said you can go right up. | 0:23:06 | 0:23:09 | |
Oh. Go ahead. | 0:23:17 | 0:23:20 | |
Sir? | 0:23:21 | 0:23:23 | |
Can I have a moment? | 0:23:23 | 0:23:26 | |
He's fine. | 0:23:26 | 0:23:27 | |
Look, I... Right. I should probably tell you... | 0:23:29 | 0:23:33 | |
OK, I... | 0:23:33 | 0:23:35 | |
There. | 0:23:35 | 0:23:36 | |
Doesn't mean I'm not pleased to see you. | 0:23:42 | 0:23:44 | |
I can vouch for this man. He is a doctor. | 0:23:44 | 0:23:46 | |
If you know who I am, then you know who he is. | 0:23:46 | 0:23:49 | |
Don't you, Mr Magnussen? | 0:23:49 | 0:23:51 | |
I understood we were meeting at YOUR office. | 0:23:54 | 0:23:57 | |
This is my office. | 0:23:57 | 0:23:59 | |
Well, it is now. | 0:24:05 | 0:24:07 | |
Mr Magnussen, I have been asked to intercede with you | 0:24:11 | 0:24:14 | |
by Lady Elizabeth Smallwood | 0:24:14 | 0:24:17 | |
on the matter of her husband's letters. | 0:24:17 | 0:24:19 | |
Some time ago you put pressure on her concerning those letters. | 0:24:19 | 0:24:24 | |
She would like those letters back. | 0:24:25 | 0:24:27 | |
Obviously, the letters no longer have any practical use to you, | 0:24:29 | 0:24:33 | |
so with that in mind... | 0:24:33 | 0:24:34 | |
Something I said? | 0:24:37 | 0:24:38 | |
No, no. I was reading. | 0:24:38 | 0:24:40 | |
There's rather a lot. | 0:24:43 | 0:24:45 | |
Redbeard? | 0:24:47 | 0:24:49 | |
Sorry. Sorry, you were probably talking. | 0:24:52 | 0:24:55 | |
I... | 0:24:55 | 0:24:57 | |
I was trying to explain that I have been asked to act on behalf of... | 0:24:57 | 0:25:01 | |
-Bathroom? -Along from the kitchen, sir. | 0:25:01 | 0:25:04 | |
-OK. -I've been asked to negotiate the return of those letters. | 0:25:04 | 0:25:08 | |
I am aware you do not make copies of sensitive documents. | 0:25:08 | 0:25:11 | |
-Is it like the rest of the flat? -Sir? -The bathroom? | 0:25:11 | 0:25:15 | |
-Yes, sir. -Maybe not then. | 0:25:15 | 0:25:18 | |
Am I acceptable to you as an intermediary? | 0:25:18 | 0:25:21 | |
Lady Elizabeth Smallwood... | 0:25:24 | 0:25:27 | |
I like her. | 0:25:27 | 0:25:28 | |
Mr Magnussen, am I acceptable to you | 0:25:30 | 0:25:34 | |
as an intermediary? | 0:25:34 | 0:25:35 | |
She's English with a spine. | 0:25:35 | 0:25:37 | |
Best thing about the English... | 0:25:41 | 0:25:44 | |
..you're so domesticated. | 0:25:47 | 0:25:49 | |
All standing around, apologising... | 0:25:49 | 0:25:52 | |
..keeping your little heads down. | 0:25:54 | 0:25:56 | |
You can do what you like here. No-one's ever going to stop you. | 0:25:58 | 0:26:02 | |
A nation of herbivores. | 0:26:02 | 0:26:05 | |
URINE TRICKLES | 0:26:05 | 0:26:06 | |
I have interests all over the world but... | 0:26:06 | 0:26:09 | |
everything starts in England. | 0:26:09 | 0:26:11 | |
If it works here... | 0:26:12 | 0:26:15 | |
ZIPS UP TROUSERS | 0:26:15 | 0:26:16 | |
..I try it in a real country. | 0:26:16 | 0:26:18 | |
The United Kingdom, | 0:26:22 | 0:26:25 | |
Petri dish to the Western World. | 0:26:25 | 0:26:27 | |
Tell Lady Elizabeth I might need those letters so... | 0:26:28 | 0:26:33 | |
I'm keeping them. | 0:26:33 | 0:26:35 | |
Goodbye. | 0:26:37 | 0:26:39 | |
Anyway... | 0:26:39 | 0:26:41 | |
..they're funny. | 0:26:43 | 0:26:45 | |
Jesus! | 0:26:51 | 0:26:52 | |
Did you notice the one extraordinary thing he did? | 0:26:52 | 0:26:55 | |
There was a moment that kind of stuck in the mind, yeah. | 0:26:57 | 0:26:59 | |
Exactly. When he showed us the letters. | 0:26:59 | 0:27:02 | |
-OK. -So, he's brought the letters to London, | 0:27:03 | 0:27:05 | |
so no matter what he says, he's ready to make a deal. | 0:27:05 | 0:27:07 | |
Now, Magnussen only makes a deal once he's established a person's weaknesses, | 0:27:07 | 0:27:11 | |
the pressure point, he calls it. So, clearly he believes | 0:27:11 | 0:27:14 | |
I'm a drug addict and no serious threat. | 0:27:14 | 0:27:18 | |
And of course, because he's in town tonight, the letters will be in his safe in his London office | 0:27:18 | 0:27:22 | |
while he's out to dinner with the Marketing Group of GB from seven till ten. | 0:27:22 | 0:27:25 | |
-How do you know his schedule? -Because I do. I'll see you tonight. | 0:27:25 | 0:27:28 | |
-I've got some shopping to do. -What's tonight? | 0:27:28 | 0:27:30 | |
I'll text instructions. | 0:27:30 | 0:27:31 | |
-Yeah, I'll text YOU if I'm available. -You are, I checked. | 0:27:31 | 0:27:35 | |
-Don't bring a gun. -Why would I bring a gun? | 0:27:35 | 0:27:38 | |
Or a knife or a tyre lever. Probably best not to do any arm-spraining, | 0:27:38 | 0:27:41 | |
-but we'll see how the night goes. -Are you just assuming I'm coming along? | 0:27:41 | 0:27:44 | |
Time you got out of the house, John. You've put on 7lbs since you married and the cycling isn't doing it. | 0:27:44 | 0:27:49 | |
-It's actually 4lbs. -Mary and I think seven. See you later. | 0:27:50 | 0:27:54 | |
-TV REPORTER: -And breaking news now. | 0:28:09 | 0:28:11 | |
John Garvie MP has been arrested today on charges of corruption. | 0:28:11 | 0:28:14 | |
This follows an investigation... | 0:28:14 | 0:28:16 | |
Magnussen's office is on the top floor, just below his private flat. | 0:28:20 | 0:28:24 | |
There are 14 layers of security between us and him, | 0:28:24 | 0:28:26 | |
two of which aren't even legal in this country. | 0:28:26 | 0:28:29 | |
-Want to know how we're going to break in? -Is that what we're doing? -Of course it's what we're doing. | 0:28:29 | 0:28:33 | |
Magnussen's private lift. | 0:28:35 | 0:28:36 | |
Goes straight to his penthouse and office. Only he uses it | 0:28:36 | 0:28:40 | |
and only his keycard calls the lift. | 0:28:40 | 0:28:42 | |
If anyone else even tries, security is automatically informed. | 0:28:42 | 0:28:46 | |
Standard keycard for the building. | 0:28:46 | 0:28:48 | |
Nicked it yesterday. Only gets us as far as the canteen. | 0:28:48 | 0:28:51 | |
Here we go then. If I was to use this card on that lift now, | 0:28:53 | 0:28:56 | |
-what happens? -Well, the alarms would go off | 0:28:56 | 0:28:59 | |
-and you'd be dragged away by security. -Exactly. | 0:28:59 | 0:29:01 | |
Get taken to a small room somewhere and your head kicked in. | 0:29:01 | 0:29:05 | |
-Do we really need so much colour? -It passes the time. | 0:29:05 | 0:29:08 | |
But if I do this... | 0:29:10 | 0:29:11 | |
If you press a keycard against your mobile phone for long enough, | 0:29:11 | 0:29:14 | |
it corrupts the magnetic strip. The card stops working. | 0:29:14 | 0:29:16 | |
It's a common problem. Never put your keycard with your phone. | 0:29:16 | 0:29:19 | |
What happens if I use the card now? | 0:29:19 | 0:29:22 | |
It still doesn't work. | 0:29:22 | 0:29:23 | |
But it doesn't read as the wrong card now. | 0:29:23 | 0:29:26 | |
It registers as corrupted. | 0:29:26 | 0:29:28 | |
But if it's corrupted, how do they know it's not Magnussen? | 0:29:28 | 0:29:32 | |
-Would they risk dragging him off? -Probably not. | 0:29:32 | 0:29:35 | |
So, what do they do? What do they have to do? | 0:29:35 | 0:29:37 | |
Check if it's him or not. | 0:29:37 | 0:29:40 | |
There's a camera at eye height to the right of the door. | 0:29:40 | 0:29:43 | |
A live picture of the card user is relayed directly | 0:29:47 | 0:29:50 | |
to Magnussen's personal staff in his office, | 0:29:50 | 0:29:52 | |
the only people trusted to make a positive ID. | 0:29:52 | 0:29:55 | |
At this hour, almost certainly his PA. | 0:29:55 | 0:29:59 | |
So, how does that help us? | 0:29:59 | 0:30:01 | |
Human error. | 0:30:02 | 0:30:04 | |
I've been shopping. | 0:30:04 | 0:30:05 | |
Here we go then. | 0:30:08 | 0:30:10 | |
You realise you don't exactly look like Magnussen? | 0:30:10 | 0:30:13 | |
Which in this case is a considerable advantage. | 0:30:13 | 0:30:16 | |
BEEPING | 0:30:16 | 0:30:18 | |
-Sherlock, you complete loon. What are you doing?! -Hang on, was that...? | 0:30:25 | 0:30:29 | |
Hi, Janine. | 0:30:29 | 0:30:30 | |
Go on, let me in. | 0:30:30 | 0:30:33 | |
I can't. You know I can't. Don't be silly. | 0:30:33 | 0:30:36 | |
Don't make me do it out here. | 0:30:36 | 0:30:38 | |
Not in front of everyone. | 0:30:39 | 0:30:41 | |
Do what in front of everyone? | 0:30:41 | 0:30:43 | |
-You see, as long as there's people, there's always a weak spot. -That was Janine. | 0:30:59 | 0:31:02 | |
Yes, of course it was. She's Magnussen's PA. | 0:31:02 | 0:31:04 | |
-That's the whole point. -Did you just get engaged to break into an office? -Yeah. Stroke of luck meeting her | 0:31:04 | 0:31:08 | |
-at your wedding. You can take some of the credit. -Jesus! | 0:31:08 | 0:31:12 | |
-Sherlock, she loves you. -Yes. Like I said, human error. | 0:31:12 | 0:31:17 | |
-What are you going to do? -Well, not actually marry her, obviously. | 0:31:19 | 0:31:22 | |
-There's only so far you can go. -So, what will you tell her? | 0:31:22 | 0:31:25 | |
Well, I'll tell her that our entire relationship was a ruse | 0:31:25 | 0:31:29 | |
to break into her boss's office. I imagine she'll want to stop | 0:31:29 | 0:31:31 | |
seeing me at that point, but you're the expert on women. | 0:31:31 | 0:31:34 | |
So, where did she go? | 0:31:43 | 0:31:44 | |
That's a bit rude. I just proposed to her. | 0:31:44 | 0:31:47 | |
Sherlock. | 0:31:47 | 0:31:48 | |
Did she faint? | 0:31:48 | 0:31:50 | |
Do they really do that?! | 0:31:50 | 0:31:52 | |
It's a blow to the head. | 0:31:52 | 0:31:54 | |
She's breathing. | 0:31:54 | 0:31:56 | |
Janine? | 0:31:56 | 0:31:57 | |
-SHE MURMURS -Another in here. | 0:31:57 | 0:32:00 | |
Security. | 0:32:00 | 0:32:02 | |
Does he need help? | 0:32:02 | 0:32:03 | |
Ex-con. White supremacist by the tattoos, so who cares? | 0:32:07 | 0:32:11 | |
Stick with Janine. | 0:32:11 | 0:32:12 | |
Janine, focus on my voice. Can you hear me? | 0:32:14 | 0:32:17 | |
Hey, they must still be here. | 0:32:26 | 0:32:28 | |
So is Magnussen. His seat's still warm. | 0:32:28 | 0:32:30 | |
He should be at dinner, but he's still in the building. | 0:32:30 | 0:32:33 | |
-Upstairs. -We should call the police. -During our own burglary? | 0:32:33 | 0:32:36 | |
You're really not a natural at this, are you? | 0:32:36 | 0:32:39 | |
No, wait. Sssh. | 0:32:39 | 0:32:40 | |
Perfume and not Janine's. | 0:32:43 | 0:32:45 | |
Claire de la Lune. Why do I know it? | 0:32:47 | 0:32:50 | |
-Mary wears it. -No, not Mary. Somebody else. | 0:32:50 | 0:32:53 | |
CLANGING | 0:32:53 | 0:32:55 | |
Sherlock! | 0:32:55 | 0:32:57 | |
What would your husband think? | 0:33:06 | 0:33:08 | |
Your lovely husband, upright and honourable, | 0:33:08 | 0:33:11 | |
so English. What would he say to you now? | 0:33:11 | 0:33:15 | |
No, no! | 0:33:15 | 0:33:16 | |
You're doing this to protect him from the truth? | 0:33:18 | 0:33:21 | |
Well, is this the protection he would want? | 0:33:21 | 0:33:23 | |
Additionally, if you're going to commit murder, | 0:33:23 | 0:33:25 | |
you might consider changing your perfume, Lady Smallwood. | 0:33:25 | 0:33:29 | |
Sorry. Who? | 0:33:31 | 0:33:33 | |
That's...not Lady Smallwood, Mr Holmes. | 0:33:38 | 0:33:42 | |
-Is John with you? -He's, um... | 0:33:55 | 0:33:57 | |
Is John here? | 0:33:57 | 0:33:58 | |
He's downstairs. | 0:34:00 | 0:34:01 | |
So, what do you do now? | 0:34:02 | 0:34:06 | |
Kill us both? | 0:34:06 | 0:34:08 | |
Mary, whatever he's got on you, let me help. | 0:34:08 | 0:34:12 | |
Oh, Sherlock, if you take one more step, I swear I will kill you. | 0:34:12 | 0:34:16 | |
No, Mrs Watson... | 0:34:16 | 0:34:18 | |
you won't. | 0:34:18 | 0:34:20 | |
I'm sorry, Sherlock. | 0:34:27 | 0:34:29 | |
I truly am. | 0:34:29 | 0:34:31 | |
Mary? | 0:34:32 | 0:34:35 | |
ALARM RINGS | 0:34:35 | 0:34:38 | |
It's not like it is in the movies. | 0:34:42 | 0:34:44 | |
There's not a great big spurt of blood and you go flying backwards. | 0:34:44 | 0:34:48 | |
The impact isn't spread over a wide area. | 0:34:48 | 0:34:51 | |
It's tightly focused so there's little or no energy transfer. | 0:34:51 | 0:34:54 | |
You stay still and the bullet pushes through. | 0:34:54 | 0:34:57 | |
You're almost certainly going to die, so we need to focus. | 0:34:57 | 0:35:00 | |
I said, "Focus!" | 0:35:03 | 0:35:05 | |
It's all well and clever having a mind palace, | 0:35:07 | 0:35:09 | |
but you've only three seconds of consciousness left to use it. | 0:35:09 | 0:35:12 | |
So, come on. What's going to kill you? | 0:35:12 | 0:35:14 | |
-Blood loss. -Exactly. So, it's all about one thing now - | 0:35:14 | 0:35:18 | |
forwards or backwards? | 0:35:18 | 0:35:21 | |
We need to decide which way you're going to fall. | 0:35:21 | 0:35:23 | |
-One hole or two? -Sorry? -Is the bullet still inside you? | 0:35:23 | 0:35:27 | |
Or is there an exit wound? It'll depend on the gun. | 0:35:27 | 0:35:30 | |
That one, I think. | 0:35:30 | 0:35:32 | |
Or that one. | 0:35:32 | 0:35:33 | |
Oh, for God's sake, Sherlock. It doesn't matter about the gun. | 0:35:35 | 0:35:38 | |
Don't be stupid. | 0:35:38 | 0:35:40 | |
You always were so stupid. | 0:35:40 | 0:35:42 | |
Such a disappointment. | 0:35:42 | 0:35:44 | |
I'm not stupid. | 0:35:44 | 0:35:46 | |
You're a very stupid little boy. | 0:35:46 | 0:35:49 | |
Mummy and Daddy are very cross | 0:35:49 | 0:35:51 | |
because it doesn't matter about the gun. | 0:35:51 | 0:35:54 | |
Why not? | 0:35:54 | 0:35:55 | |
You saw the whole room when you entered it. | 0:35:55 | 0:35:58 | |
What was directly behind you when you were murdered? | 0:35:58 | 0:36:00 | |
I've not been murdered YET. | 0:36:00 | 0:36:03 | |
Balance of probability, little brother. | 0:36:03 | 0:36:05 | |
If the bullet had passed through you, what would you have heard? | 0:36:08 | 0:36:11 | |
The mirror shattering. | 0:36:11 | 0:36:13 | |
You didn't. Therefore...? | 0:36:13 | 0:36:14 | |
The bullet's still inside me. | 0:36:15 | 0:36:18 | |
So we need to take him down backwards. | 0:36:18 | 0:36:20 | |
I agree. Sherlock, you need to fall on your back. | 0:36:20 | 0:36:23 | |
Right now the bullet is the cork in a bottle. | 0:36:23 | 0:36:25 | |
The bullet itself is blocking most of the blood flow. | 0:36:25 | 0:36:28 | |
But any pressure or impact on the entrance wound could dislodge it. | 0:36:28 | 0:36:31 | |
Plus, on your back, gravity's working for us. | 0:36:31 | 0:36:35 | |
Fall... | 0:36:35 | 0:36:36 | |
now. | 0:36:36 | 0:36:37 | |
ALARM RINGS | 0:36:50 | 0:36:52 | |
What the hell is that?! What's happening?! | 0:36:52 | 0:36:55 | |
You're going into shock. It's the next thing that's going to kill you. | 0:36:56 | 0:36:59 | |
-What do I do? -Don't go into shock, obviously. | 0:36:59 | 0:37:02 | |
Must be something in this ridiculous memory palace of yours | 0:37:02 | 0:37:05 | |
that can calm you down. | 0:37:05 | 0:37:07 | |
Find it. | 0:37:08 | 0:37:09 | |
The East Wind is coming, Sherlock. | 0:37:11 | 0:37:14 | |
It's coming to get you. | 0:37:14 | 0:37:16 | |
SCREAMS ECHO | 0:37:18 | 0:37:21 | |
Find it. | 0:37:21 | 0:37:22 | |
Hello, Redbeard. Here, boy. | 0:37:25 | 0:37:27 | |
Come on. Come to me. | 0:37:27 | 0:37:30 | |
It's OK. It's all right. | 0:37:30 | 0:37:31 | |
-YOUNG SHERLOCK: -Come on. It's me. It's me. | 0:37:31 | 0:37:34 | |
Come on. | 0:37:34 | 0:37:35 | |
Good boy. Clever boy. | 0:37:35 | 0:37:37 | |
Good boy. | 0:37:37 | 0:37:38 | |
Hello, Redbeard. They're putting me down too now. | 0:37:38 | 0:37:41 | |
It's no fun, is it? | 0:37:42 | 0:37:45 | |
Redbeard. | 0:37:45 | 0:37:46 | |
That was shock. You're going to feel the pain. | 0:37:53 | 0:37:55 | |
There's a hole ripped through you. | 0:37:55 | 0:37:59 | |
Massive internal bleeding. | 0:37:59 | 0:38:01 | |
You have to control the pain. | 0:38:01 | 0:38:03 | |
Control. Control. Control. | 0:38:07 | 0:38:09 | |
You... | 0:38:12 | 0:38:13 | |
You never felt pain, did you? | 0:38:15 | 0:38:17 | |
Why did you never feel pain? | 0:38:19 | 0:38:21 | |
You always feel it, Sherlock. | 0:38:21 | 0:38:24 | |
But you don't have to fear it! | 0:38:30 | 0:38:33 | |
SHERLOCK GROANS | 0:38:33 | 0:38:35 | |
Pain... | 0:38:40 | 0:38:41 | |
..heartbreak... | 0:38:43 | 0:38:45 | |
..loss... | 0:38:46 | 0:38:47 | |
..death... | 0:38:49 | 0:38:52 | |
..it's all good. | 0:38:52 | 0:38:53 | |
It's all good. | 0:38:56 | 0:38:57 | |
Sherlock! Sherlock. Can you hear me? | 0:38:57 | 0:39:00 | |
What happened? | 0:39:00 | 0:39:01 | |
He got shot. | 0:39:01 | 0:39:03 | |
Jesus! | 0:39:03 | 0:39:04 | |
Sherlock. | 0:39:04 | 0:39:05 | |
Oh, my! | 0:39:05 | 0:39:07 | |
Who shot him?! | 0:39:07 | 0:39:08 | |
'Emergency. Which service do you require?' | 0:39:08 | 0:39:10 | |
# It's raining | 0:39:10 | 0:39:12 | |
# It's pouring | 0:39:12 | 0:39:15 | |
# Sherlock is boring | 0:39:15 | 0:39:20 | |
# I'm laughing | 0:39:22 | 0:39:24 | |
# I'm crying | 0:39:24 | 0:39:26 | |
# Sherlock is dying. # | 0:39:26 | 0:39:30 | |
Sherlock! | 0:39:30 | 0:39:32 | |
We're losing you. Sherlock! | 0:39:33 | 0:39:35 | |
Come on, Sherlock. Just die, why can't you? | 0:39:37 | 0:39:41 | |
One little push | 0:39:42 | 0:39:44 | |
and off you pop. | 0:39:44 | 0:39:46 | |
You're going to love being dead, Sherlock. No-one ever bothers you. | 0:39:55 | 0:39:59 | |
Mrs Hudson will cry... | 0:40:01 | 0:40:04 | |
and Mummy and Daddy will cry... | 0:40:04 | 0:40:06 | |
and the woman will cry and John will cry buckets and buckets. | 0:40:06 | 0:40:10 | |
It's him that I worry about the most. That wife! | 0:40:10 | 0:40:14 | |
You're letting him down, Sherlock. | 0:40:14 | 0:40:16 | |
John Watson is definitely in danger. | 0:40:16 | 0:40:19 | |
Oh, you're not getting better, are you? | 0:40:34 | 0:40:36 | |
Was it something I said, huh? | 0:40:36 | 0:40:38 | |
Sherlock! | 0:40:42 | 0:40:45 | |
SHERLOCK GROANS | 0:40:57 | 0:41:00 | |
-Mary. -Hey. | 0:41:35 | 0:41:37 | |
He's only bloody woken up. | 0:41:37 | 0:41:39 | |
-He's pulled through. -Really? -Yeah. -Seriously? -You... | 0:41:39 | 0:41:43 | |
Mrs Watson, you're in big trouble. | 0:41:43 | 0:41:45 | |
Really? Why? | 0:41:45 | 0:41:47 | |
His first word when he woke up... | 0:41:47 | 0:41:49 | |
"Mary." | 0:41:49 | 0:41:50 | |
HE CHUCKLES | 0:41:50 | 0:41:52 | |
You don't tell him. | 0:42:09 | 0:42:11 | |
Sherlock? | 0:42:12 | 0:42:14 | |
You don't tell John. | 0:42:16 | 0:42:18 | |
Bad girl. | 0:42:23 | 0:42:25 | |
Bad, bad girl. | 0:42:26 | 0:42:29 | |
Look at me... | 0:42:31 | 0:42:32 | |
..and tell me you're not going to tell him. | 0:42:33 | 0:42:36 | |
I'm buying a cottage. | 0:42:44 | 0:42:46 | |
I've made a lot of money out of you, mister. | 0:42:47 | 0:42:49 | |
Nothing hits the spot like revenge with profits. | 0:42:49 | 0:42:52 | |
You didn't give those stories to Magnussen, did you? | 0:42:52 | 0:42:54 | |
God, no. One of his rivals. He was spitting. | 0:42:54 | 0:42:57 | |
Hmm. | 0:42:57 | 0:42:59 | |
Sherlock Holmes, you are a back-stabbing, heartless, | 0:42:59 | 0:43:02 | |
manipulative bastard. | 0:43:02 | 0:43:03 | |
And you, as it turns out, are a grasping, opportunistic, | 0:43:03 | 0:43:06 | |
publicity-hungry, tabloid whore. | 0:43:06 | 0:43:09 | |
So, we're good then? | 0:43:09 | 0:43:10 | |
Yeah, of course. | 0:43:10 | 0:43:12 | |
-Where's the cottage? -Sussex Downs. | 0:43:12 | 0:43:15 | |
-Nice. -It's gorgeous. | 0:43:15 | 0:43:17 | |
There's beehives, but I'm getting rid of those. | 0:43:17 | 0:43:20 | |
-HE GASPS -Oh, it hurts, does it? | 0:43:20 | 0:43:23 | |
Probably want to restart your morphine. | 0:43:23 | 0:43:25 | |
I might have fiddled with the taps. | 0:43:25 | 0:43:27 | |
-How much more revenge are you going to need? -Just the occasional top-up. | 0:43:27 | 0:43:30 | |
Dream come true for you, this place. | 0:43:30 | 0:43:32 | |
They actually attach the drugs to you. | 0:43:32 | 0:43:34 | |
Not good for working. | 0:43:34 | 0:43:36 | |
You won't be working for a while, Sherl. | 0:43:36 | 0:43:39 | |
You lied to me. | 0:43:39 | 0:43:41 | |
You lied and lied. | 0:43:41 | 0:43:43 | |
I exploited the fact of our connection. | 0:43:43 | 0:43:46 | |
When? | 0:43:46 | 0:43:47 | |
Just once would have been nice. | 0:43:49 | 0:43:51 | |
Oh. | 0:43:51 | 0:43:52 | |
I was waiting till we got married. | 0:43:52 | 0:43:54 | |
That was never going to happen. | 0:43:54 | 0:43:57 | |
Got to go. | 0:44:00 | 0:44:01 | |
I'm not supposed to keep you talking. | 0:44:03 | 0:44:05 | |
And also, I have an interview with The One Show | 0:44:05 | 0:44:08 | |
and I haven't made it up yet. | 0:44:08 | 0:44:11 | |
Just one thing... | 0:44:12 | 0:44:14 | |
you shouldn't have lied to me. | 0:44:14 | 0:44:17 | |
I know what kind of man you are, | 0:44:17 | 0:44:19 | |
but we could have been friends. | 0:44:19 | 0:44:22 | |
I'll give your love to John and Mary. | 0:44:22 | 0:44:24 | |
You don't tell him. | 0:44:43 | 0:44:45 | |
You don't tell John. | 0:44:45 | 0:44:48 | |
So... | 0:44:48 | 0:44:49 | |
..Mary Watson... | 0:44:51 | 0:44:53 | |
..who are you? | 0:44:56 | 0:44:58 | |
Mary Watson. | 0:45:03 | 0:45:06 | |
I don't know how much sense you'll get out of him. | 0:45:14 | 0:45:17 | |
He's drugged up, so he's pretty much babbling. | 0:45:17 | 0:45:19 | |
Oh, they won't let you use that in here, you know? | 0:45:19 | 0:45:21 | |
No, I'm not going to use the phone. I just want to take a video. | 0:45:21 | 0:45:24 | |
Oh, Jesus! | 0:45:30 | 0:45:32 | |
So, where would he go? | 0:45:34 | 0:45:36 | |
Oh, Christ knows! | 0:45:36 | 0:45:37 | |
Try finding Sherlock in London. | 0:45:37 | 0:45:40 | |
He's got three known bolt-holes. | 0:45:42 | 0:45:44 | |
Parliament Hill, Camden Lock and Dagmar Court. | 0:45:44 | 0:45:47 | |
Five known bolt holes. | 0:45:47 | 0:45:49 | |
There's the blind greenhouse in Kew Gardens | 0:45:49 | 0:45:51 | |
and the leaning tomb in Hampstead Cemetery. | 0:45:51 | 0:45:53 | |
Just the spare bedroom. | 0:45:53 | 0:45:55 | |
Well, my bedroom. | 0:45:55 | 0:45:57 | |
We agreed he needs the space. | 0:45:57 | 0:45:59 | |
Behind the clock face of Big Ben. | 0:46:02 | 0:46:04 | |
I think he was probably joking. | 0:46:04 | 0:46:06 | |
No, I don't think so. | 0:46:06 | 0:46:07 | |
Leinster Gardens. It's his number one bolt hole. Top, top secret. | 0:46:07 | 0:46:12 | |
He only knows about it cos he stalked him one night. | 0:46:12 | 0:46:14 | |
-Followed! -Followed, yeah. | 0:46:14 | 0:46:17 | |
He knew who shot him. | 0:46:17 | 0:46:19 | |
The bullet wound was here, so he was facing whoever it was. | 0:46:19 | 0:46:22 | |
So, why not tell us? Because he's tracking them down himself. | 0:46:22 | 0:46:25 | |
-Or protecting them. -Protecting the shooter, why? | 0:46:25 | 0:46:28 | |
Well, protecting someone then. But why would he care? | 0:46:28 | 0:46:30 | |
He's Sherlock. Who would he bother protecting? | 0:46:30 | 0:46:33 | |
Call me if you hear anything. Don't hold out on me, John. | 0:46:34 | 0:46:37 | |
-Call me, OK? -Yeah. Yeah, right. | 0:46:37 | 0:46:39 | |
-Good night then. -Bye then. | 0:46:39 | 0:46:42 | |
John, need a cuppa? | 0:46:45 | 0:46:47 | |
Mrs Hudson, why does Sherlock think that I'll be moving back in here? | 0:46:47 | 0:46:51 | |
Oh, yes, he's put your chair back again, hasn't he? | 0:46:51 | 0:46:53 | |
That's nice. It looks much better. | 0:46:53 | 0:46:56 | |
John, what's wrong? Tell me. John? | 0:46:59 | 0:47:02 | |
-MOBILE BUZZES -That's your phone, isn't it? | 0:47:02 | 0:47:06 | |
It's Sherlock, John. Sherlock. | 0:47:06 | 0:47:08 | |
John, you have to answer it! | 0:47:08 | 0:47:12 | |
-Spare any change, love? -No. -Oh, come on, love. | 0:47:17 | 0:47:19 | |
Don't be like all the rest. | 0:47:19 | 0:47:21 | |
Rule one of looking for Sherlock Holmes, he finds you. | 0:47:25 | 0:47:28 | |
You're working for Sherlock now? | 0:47:29 | 0:47:31 | |
-Keeps me off the streets, doesn't it? -Well...no. | 0:47:31 | 0:47:35 | |
MOBILE RINGS | 0:47:37 | 0:47:40 | |
-Where are you? -'Can't you see me?' | 0:47:40 | 0:47:42 | |
Well, what am I looking for? | 0:47:42 | 0:47:44 | |
'The lie, the lie of Leinster Gardens, hidden in plain sight. | 0:47:44 | 0:47:48 | |
'Hardly anyone notices. People live here for years and never see it. | 0:47:50 | 0:47:53 | |
'But if you are what I think you are, it will take you less than a minute. | 0:47:53 | 0:47:57 | |
'The houses, Mary. Look at the houses.' | 0:47:57 | 0:48:00 | |
How did you know I'd come here? | 0:48:00 | 0:48:02 | |
'I knew you'd talk to the people no-one else would bother with.' | 0:48:02 | 0:48:06 | |
Huh, I thought I was being clever. | 0:48:06 | 0:48:08 | |
'You're always clever, Mary, I was relying on that. | 0:48:08 | 0:48:11 | |
'I planted the information for you to find.' | 0:48:11 | 0:48:14 | |
Ohh! | 0:48:14 | 0:48:16 | |
'30 seconds.' | 0:48:16 | 0:48:17 | |
But what am I looking at? | 0:48:17 | 0:48:19 | |
'No door knobs, no letterbox. Painted windows. | 0:48:19 | 0:48:23 | |
'23 and 24 Leinster Gardens. | 0:48:23 | 0:48:26 | |
'The empty houses. | 0:48:26 | 0:48:28 | |
'They were demolished years ago to make way for the London Underground, | 0:48:28 | 0:48:32 | |
'a vent for the old steam trains. | 0:48:32 | 0:48:35 | |
'Only the very front section of the house remains.' | 0:48:35 | 0:48:38 | |
'It's just a facade. | 0:48:38 | 0:48:40 | |
'Remind you of anyone, Mary? | 0:48:40 | 0:48:43 | |
'A facade? | 0:48:43 | 0:48:44 | |
'Sorry, I never could resist a touch of drama. | 0:48:44 | 0:48:48 | |
'Do come in. It's a little cramped.' | 0:48:52 | 0:48:54 | |
Do you own this place? | 0:48:54 | 0:48:56 | |
'Hmm, I won it in a card game with the Clarence House Cannibal. | 0:48:56 | 0:48:59 | |
'Nearly cost me my kidneys, but fortunately I had a straight flush. | 0:48:59 | 0:49:04 | |
'Quite a gambler, that woman.' | 0:49:05 | 0:49:07 | |
What do you want, Sherlock? | 0:49:12 | 0:49:13 | |
'Mary Morstan was stillborn in October 1972. | 0:49:13 | 0:49:18 | |
'Her gravestone is in Chiswick cemetery, where five years ago | 0:49:19 | 0:49:23 | |
'you acquired her name and date of birth, and thereafter her identity. | 0:49:23 | 0:49:27 | |
'That's why you don't have friends from before that date.' | 0:49:27 | 0:49:31 | |
Need to work on your half of the church, Mary. Looking a bit thin. | 0:49:31 | 0:49:36 | |
Oh, orphan's lot. Friends, that's all I have. | 0:49:36 | 0:49:38 | |
'It's an old enough technique, known to the kinds of people | 0:49:38 | 0:49:41 | |
'who could recognise a skip code on sight...' | 0:49:41 | 0:49:44 | |
At first I thought it was just a Bible thing, spam, but it's not. | 0:49:44 | 0:49:48 | |
It's a skip code. | 0:49:48 | 0:49:49 | |
'..have extraordinarily retentive memories.' | 0:49:49 | 0:49:52 | |
How can you not remember which room? You remember everything! | 0:49:52 | 0:49:54 | |
-I have to delete something! -207. | 0:49:54 | 0:49:57 | |
You were very slow. | 0:49:57 | 0:49:59 | |
'How good a shot are you?' | 0:49:59 | 0:50:02 | |
How badly do you want to find out? | 0:50:03 | 0:50:06 | |
'If I die here, my body would be found in a building | 0:50:06 | 0:50:08 | |
'with your face projected on the front of it. | 0:50:08 | 0:50:11 | |
'Even Scotland Yard could get somewhere with that. | 0:50:11 | 0:50:15 | |
'I want to know how good you are. | 0:50:15 | 0:50:17 | |
'Go on, show me. | 0:50:17 | 0:50:18 | |
'The doctor's wife must be a little bit bored by now.' | 0:50:18 | 0:50:21 | |
GUNSHOT | 0:50:26 | 0:50:28 | |
May I see? | 0:50:36 | 0:50:37 | |
Huh, it's a dummy. | 0:50:42 | 0:50:43 | |
Well, I suppose that was a fairly obvious trick. | 0:50:43 | 0:50:45 | |
And yet, over a distance of six feet, | 0:50:54 | 0:50:58 | |
you failed to make a kill shot. | 0:50:58 | 0:51:00 | |
Enough to hospitalise me, not enough to kill me. | 0:51:03 | 0:51:05 | |
That wasn't a miss, that was surgery. | 0:51:07 | 0:51:11 | |
-I'll take the case. -What case? | 0:51:15 | 0:51:17 | |
Yours. Why didn't you come to me in the first place? | 0:51:17 | 0:51:22 | |
Because John can't ever know that I lied to him. | 0:51:22 | 0:51:26 | |
It would break him and I would lose him forever. | 0:51:26 | 0:51:28 | |
And Sherlock, I will never let that happen. | 0:51:28 | 0:51:31 | |
Please, understand, | 0:51:32 | 0:51:35 | |
there is nothing in this world I would not do to stop that happening. | 0:51:35 | 0:51:40 | |
Sorry. | 0:51:40 | 0:51:41 | |
Not that obvious a trick. | 0:51:44 | 0:51:46 | |
Now talk and sort it out and do it quickly. | 0:52:01 | 0:52:04 | |
MUSIC: "Hark! The Herald Angels Sing" | 0:52:17 | 0:52:20 | |
Oh, dear God, it's only two o'clock. | 0:52:20 | 0:52:23 | |
It's been Christmas Day for at least a week now. | 0:52:23 | 0:52:25 | |
How can it only be two o'clock? I'm in agony. | 0:52:25 | 0:52:29 | |
Mikey, is this your laptop? | 0:52:29 | 0:52:31 | |
Upon which depends the security of the free world, yes, | 0:52:31 | 0:52:34 | |
and you've got potatoes on it! | 0:52:34 | 0:52:35 | |
You shouldn't leave it lying around if it's so important. | 0:52:35 | 0:52:38 | |
Why are we doing this? We never do this. | 0:52:38 | 0:52:40 | |
We are here because Sherlock is home from hospital | 0:52:40 | 0:52:43 | |
and we are all very happy. | 0:52:43 | 0:52:45 | |
Am I happy too? I haven't checked. | 0:52:45 | 0:52:47 | |
Behave, Mike! | 0:52:47 | 0:52:48 | |
Mycroft is the name you gave me, | 0:52:48 | 0:52:50 | |
-if you could possibly struggle all the way to the end. -Mrs Holmes. | 0:52:50 | 0:52:53 | |
Oh, thank you, dear. I'm not absolutely sure why you're here. | 0:52:53 | 0:52:58 | |
I invited him. | 0:52:58 | 0:52:59 | |
I'm his protege, Mrs Holmes. | 0:52:59 | 0:53:01 | |
When he dies, I get all his stuff and his job. | 0:53:01 | 0:53:04 | |
-No. -Oh, well, I help out a bit. | 0:53:04 | 0:53:07 | |
Closer. | 0:53:07 | 0:53:09 | |
If he does get murdered or something... | 0:53:09 | 0:53:11 | |
-Probably stop talking now. -OK. | 0:53:11 | 0:53:13 | |
Lovely when you bring your friends round(!) | 0:53:13 | 0:53:15 | |
Stop it, you. Somebody's put a bullet in my boy. | 0:53:15 | 0:53:18 | |
If I ever find out who, I shall turn absolutely monstrous. | 0:53:18 | 0:53:23 | |
This was for Mary. I'll be back in a minute. | 0:53:23 | 0:53:26 | |
Ah. Mary. There you are. | 0:53:30 | 0:53:33 | |
Cup of tea. If Father starts making little humming noises, | 0:53:33 | 0:53:36 | |
just give him a little poke. That usually does it. | 0:53:36 | 0:53:39 | |
Did you write this? | 0:53:39 | 0:53:41 | |
Oh, that silly old thing, you mustn't read that. | 0:53:41 | 0:53:43 | |
Mathematics must seem terribly fatuous now. | 0:53:43 | 0:53:47 | |
No humming, you. | 0:53:47 | 0:53:49 | |
Complete flake, my wife, but happens to be a genius. | 0:53:51 | 0:53:54 | |
She was a mathematician? | 0:53:54 | 0:53:56 | |
Gave it all up for children. I could never bear to argue with her. | 0:53:56 | 0:54:02 | |
I'm something of a moron myself. | 0:54:02 | 0:54:04 | |
But she's... unbelievably hot. | 0:54:04 | 0:54:08 | |
Oh my God, you're the sane one, aren't you? | 0:54:08 | 0:54:12 | |
Aren't you? | 0:54:13 | 0:54:14 | |
Oh. Sorry, I just, er... | 0:54:18 | 0:54:21 | |
Oh, you two need a moment? | 0:54:23 | 0:54:25 | |
If you don't mind? | 0:54:25 | 0:54:27 | |
No, course not. I'll go and see if I can help with... | 0:54:27 | 0:54:31 | |
something or another. | 0:54:31 | 0:54:33 | |
Those two. They all right? | 0:54:41 | 0:54:44 | |
Well, you know, they've had their ups and downs. | 0:54:44 | 0:54:47 | |
Baker Street, now. | 0:54:52 | 0:54:53 | |
John, Mary... | 0:55:05 | 0:55:08 | |
Oh, Sherlock, oh, good gracious, you look terrible! | 0:55:11 | 0:55:14 | |
Get me some morphine from your kitchen, I've run out. | 0:55:14 | 0:55:16 | |
-I don't have any morphine. -Then what exactly is the point of you?! | 0:55:16 | 0:55:20 | |
What is going on? | 0:55:20 | 0:55:22 | |
Bloody good question. | 0:55:22 | 0:55:23 | |
The Watsons are about to have a domestic and fairly quickly I hope, because we've got work to do. | 0:55:23 | 0:55:27 | |
No, I have a better question - | 0:55:27 | 0:55:28 | |
is everyone I have ever met a psychopath? | 0:55:28 | 0:55:32 | |
Yes. | 0:55:33 | 0:55:35 | |
-Good that we've settled that. Now we... -SHUT UP! | 0:55:35 | 0:55:38 | |
And stay shut up, because this is not funny. | 0:55:39 | 0:55:43 | |
Not this time. | 0:55:43 | 0:55:44 | |
-I didn't say it was funny. -You. | 0:55:44 | 0:55:46 | |
What have I ever done? Hmm? | 0:55:46 | 0:55:49 | |
My whole life, to deserve you? | 0:55:50 | 0:55:53 | |
Everything. | 0:55:53 | 0:55:55 | |
Sherlock, I've told you, shut up. | 0:55:55 | 0:55:57 | |
No, I mean it - seriously, everything. | 0:55:57 | 0:55:59 | |
Everything you've ever done, is what you did. | 0:55:59 | 0:56:02 | |
Sherlock, one more word and you will not need morphine. | 0:56:02 | 0:56:04 | |
You were a doctor who went to war. | 0:56:04 | 0:56:06 | |
You're a man who couldn't stay in the suburbs for more than a month | 0:56:06 | 0:56:09 | |
without storming a crack den, beating up a junkie. | 0:56:09 | 0:56:11 | |
Your best friend is a sociopath, who solves crimes | 0:56:11 | 0:56:14 | |
as an alternative to getting high. That's me, by the way, hello. | 0:56:14 | 0:56:17 | |
Even the landlady used to run a drug cartel. | 0:56:17 | 0:56:19 | |
It was my husband's cartel. I was just typing. | 0:56:19 | 0:56:22 | |
And exotic dancing. | 0:56:22 | 0:56:24 | |
Sherlock Holmes, if you've been YouTubing... | 0:56:24 | 0:56:26 | |
John, you are addicted to a certain lifestyle. | 0:56:26 | 0:56:30 | |
You are abnormally attracted to dangerous situations and people, | 0:56:30 | 0:56:34 | |
so is it truly such a surprise that the woman you fall in love with | 0:56:34 | 0:56:39 | |
conforms to that pattern? | 0:56:39 | 0:56:41 | |
But she wasn't supposed to be like that! | 0:56:41 | 0:56:43 | |
Why is SHE like that? | 0:56:47 | 0:56:49 | |
Because you chose her. | 0:56:52 | 0:56:54 | |
Why is everything always | 0:56:59 | 0:57:02 | |
MY FAULT?! | 0:57:02 | 0:57:04 | |
Oh, neighbours! | 0:57:04 | 0:57:06 | |
John, listen. Be calm and answer me. | 0:57:06 | 0:57:08 | |
What is she? | 0:57:08 | 0:57:10 | |
-My lying wife? -No, what is she? | 0:57:10 | 0:57:13 | |
And the woman who is carrying my child, who has lied to me since the day I met her. | 0:57:13 | 0:57:16 | |
No. Not in this flat, not in this room. | 0:57:16 | 0:57:20 | |
Right here, right now, what is she? | 0:57:20 | 0:57:23 | |
OK. | 0:57:26 | 0:57:27 | |
Your way. | 0:57:31 | 0:57:33 | |
Always your way. | 0:57:35 | 0:57:36 | |
HE CLEARS THROAT | 0:57:38 | 0:57:39 | |
Sit. | 0:57:43 | 0:57:44 | |
Why? | 0:57:44 | 0:57:45 | |
Because that's where they sit. | 0:57:45 | 0:57:47 | |
The people who come in here with their stories. | 0:57:49 | 0:57:52 | |
They're the clients, that's all you are now, Mary. | 0:57:52 | 0:57:54 | |
You're a client. | 0:57:54 | 0:57:55 | |
This is where you sit and talk and this is where we sit and listen. | 0:57:56 | 0:58:00 | |
Then we decide if we want you or not. | 0:58:00 | 0:58:02 | |
So, are you OK? | 0:58:32 | 0:58:34 | |
Oh, are we doing conversation today? It really is Christmas(!) | 0:58:34 | 0:58:39 | |
Now? | 0:58:43 | 0:58:46 | |
Seriously, months of silence and we're going to do this now? | 0:58:46 | 0:58:50 | |
A.G.R.A., what's that? | 0:58:58 | 0:59:00 | |
Er... my initials. | 0:59:01 | 0:59:04 | |
Everything about who I was is on there. | 0:59:07 | 0:59:10 | |
If you love me, don't read it in front of me. | 0:59:10 | 0:59:13 | |
Why? | 0:59:13 | 0:59:15 | |
Because you won't love me when you've finished | 0:59:15 | 0:59:18 | |
and I don't want to see that happen. | 0:59:18 | 0:59:21 | |
WATSON SIGHS | 0:59:24 | 0:59:26 | |
How much do you know already? | 0:59:28 | 0:59:30 | |
By your skill set, you are, or were, an intelligence agent. | 0:59:30 | 0:59:34 | |
Your accent is currently English, but I suspect you are not. | 0:59:34 | 0:59:37 | |
You're on the run from something. | 0:59:37 | 0:59:39 | |
You've used your skills to disappear. | 0:59:39 | 0:59:41 | |
Magnussen knows your secret, which is why you were going to kill him. | 0:59:41 | 0:59:44 | |
And I assume you befriended Janine in order to get close to him. | 0:59:44 | 0:59:47 | |
Oh, you can talk! | 0:59:47 | 0:59:49 | |
Oh, look at you two, you should have got married. | 0:59:49 | 0:59:52 | |
The stuff Magnussen has on me, | 0:59:52 | 0:59:54 | |
I would go to prison for the rest of my life. | 0:59:54 | 0:59:56 | |
-So you were going to kill him? -People like Magnussen should be killed, | 0:59:56 | 0:59:59 | |
-that's why there are people like me. -Perfect! | 0:59:59 | 1:00:01 | |
So that's what you were, an assassin? How could I not see that? | 1:00:01 | 1:00:04 | |
You did see that. | 1:00:04 | 1:00:05 | |
And you married me. | 1:00:08 | 1:00:10 | |
Because he's right. | 1:00:12 | 1:00:13 | |
It's what you like. | 1:00:15 | 1:00:17 | |
So, Mary, any documents that Magnussen has | 1:00:22 | 1:00:26 | |
concerning yourself, you want extracted and returned. | 1:00:26 | 1:00:30 | |
Why would you help me? | 1:00:31 | 1:00:33 | |
Because you saved my life. | 1:00:33 | 1:00:35 | |
Sorry-sorry, what? | 1:00:35 | 1:00:37 | |
When I happened on you and Magnussen... | 1:00:37 | 1:00:39 | |
..you had a problem. | 1:00:41 | 1:00:42 | |
More specifically, you had a witness. | 1:00:44 | 1:00:46 | |
What do you do now? | 1:00:49 | 1:00:51 | |
Kill both of us? | 1:00:54 | 1:00:56 | |
GUNSHOT | 1:00:56 | 1:00:57 | |
'The solution, of course, was simple. Kill us both and leave.' | 1:00:58 | 1:01:02 | |
However, sentiment got the better of you. | 1:01:13 | 1:01:16 | |
'One precisely calculated shot to incapacitate me, | 1:01:19 | 1:01:22 | |
'in the hope that it would buy you more time to negotiate my silence.' | 1:01:22 | 1:01:26 | |
Of course, you couldn't shoot Magnussen. | 1:01:26 | 1:01:28 | |
On the night both of us broke into the building, | 1:01:28 | 1:01:31 | |
your own husband would become a suspect. So... | 1:01:31 | 1:01:33 | |
'You calculated that Magnussen would use the fact of your involvement...' | 1:01:37 | 1:01:43 | |
rather than sharing the information with the police, as is his MO. | 1:01:43 | 1:01:47 | |
And then you left the way you came. | 1:01:50 | 1:01:55 | |
Have I missed anything? | 1:01:55 | 1:01:56 | |
How did she save your life? | 1:01:56 | 1:01:58 | |
-She phoned the ambulance. -I phoned the ambulance. | 1:01:58 | 1:02:00 | |
She phoned first. | 1:02:00 | 1:02:01 | |
'Emergency, which service do you require?' | 1:02:05 | 1:02:07 | |
You didn't find me for another five minutes. | 1:02:07 | 1:02:09 | |
Left to you, I would have died. | 1:02:09 | 1:02:10 | |
The average arrival time for a London ambulance is... | 1:02:10 | 1:02:14 | |
Did somebody call an ambulance? | 1:02:14 | 1:02:16 | |
Eight minutes. Did you bring any morphine? I asked on the phone. | 1:02:16 | 1:02:19 | |
We were told there was a shooting. | 1:02:19 | 1:02:20 | |
There was, last week. | 1:02:20 | 1:02:22 | |
But I believe I'm bleeding internally, | 1:02:22 | 1:02:24 | |
my pulse is very erratic, you may need to restart my heart on the way... | 1:02:24 | 1:02:27 | |
-Jesus, Sherlock. Come on, Sherlock. -Argh! | 1:02:27 | 1:02:30 | |
John, John, Magnussen is all that matters now. | 1:02:30 | 1:02:34 | |
You can trust Mary - she saved my life. | 1:02:34 | 1:02:38 | |
She shot you. | 1:02:38 | 1:02:39 | |
Mixed messages, I grant you that... Argh! | 1:02:39 | 1:02:43 | |
Sherlock! Sherlock! Take him. | 1:02:43 | 1:02:45 | |
-Got him? -Yeah. | 1:02:45 | 1:02:46 | |
SHERLOCK GRUNTS IN PAIN | 1:02:46 | 1:02:49 | |
So, have you read it? | 1:03:00 | 1:03:01 | |
-Would you come here a moment? -No, tell me, have you? | 1:03:07 | 1:03:09 | |
Just... Come here. | 1:03:09 | 1:03:11 | |
No, I'm fine. | 1:03:15 | 1:03:16 | |
I've thought long and hard about what I want to say to you. | 1:03:22 | 1:03:25 | |
These are prepared words, Mary. | 1:03:27 | 1:03:29 | |
-I've chosen these words with care. -OK. | 1:03:29 | 1:03:32 | |
HE CLEARS HIS THROAT | 1:03:32 | 1:03:33 | |
The problems of your past are your business. | 1:03:33 | 1:03:37 | |
The problems of your future... | 1:03:39 | 1:03:43 | |
are my privilege. | 1:03:43 | 1:03:44 | |
It's all I have to say, it's all I need to know. | 1:03:45 | 1:03:47 | |
No, I didn't read it. | 1:03:56 | 1:03:58 | |
You don't even know my name. | 1:04:01 | 1:04:03 | |
Is "Mary Watson" good enough for you? | 1:04:05 | 1:04:07 | |
Yes. Oh my God, yes. | 1:04:07 | 1:04:09 | |
Then it's good enough for me, too. | 1:04:09 | 1:04:11 | |
SHE SOBS | 1:04:11 | 1:04:13 | |
All this does not mean that I'm not still basically pissed off with you. | 1:04:16 | 1:04:20 | |
Hmm, I know, I know. | 1:04:20 | 1:04:21 | |
I am very pissed off, and it will come out now and then. | 1:04:21 | 1:04:24 | |
I know, I know, I know. | 1:04:24 | 1:04:25 | |
You can mow the sodding lawn from now on. | 1:04:27 | 1:04:30 | |
-I do mow the lawn. -I do it loads. | 1:04:30 | 1:04:31 | |
You really don't. | 1:04:31 | 1:04:33 | |
-I choose the baby's name. -Not a chance. -OK. | 1:04:33 | 1:04:35 | |
-I'm glad you've given up on the Magnussen business. -Are you? | 1:04:37 | 1:04:40 | |
I'm still curious, though. He's hardly your usual kind of puzzle. | 1:04:40 | 1:04:44 | |
Why do you hate him? | 1:04:44 | 1:04:45 | |
Because he attacks people who are different | 1:04:45 | 1:04:47 | |
and preys on their secrets. Why don't you? | 1:04:47 | 1:04:50 | |
He never causes too much damage to anyone important. | 1:04:50 | 1:04:52 | |
He's far too intelligent for that. | 1:04:52 | 1:04:54 | |
He's a businessman, that's all. And occasionally useful to us. | 1:04:54 | 1:04:59 | |
A necessary evil, not a dragon for you to slay. | 1:04:59 | 1:05:02 | |
A dragon-slayer. Is that what you think of me? | 1:05:04 | 1:05:06 | |
No. It's what you think of yourself. | 1:05:06 | 1:05:10 | |
Are you two smoking?! | 1:05:10 | 1:05:11 | |
-No. -It was Mycroft. | 1:05:11 | 1:05:12 | |
I have, by the way, a job offer I should like you to decline. | 1:05:18 | 1:05:22 | |
I decline your kind offer. | 1:05:22 | 1:05:24 | |
I shall pass on your regrets. | 1:05:24 | 1:05:26 | |
-What was it? -MI6. They want to place you back into Eastern Europe. | 1:05:26 | 1:05:30 | |
An undercover assignment that would prove fatal to you in, | 1:05:30 | 1:05:34 | |
I think, about six months. | 1:05:34 | 1:05:36 | |
Then why don't you want me to take it? | 1:05:36 | 1:05:39 | |
It's tempting, but on balance, you have more utility closer to home. | 1:05:39 | 1:05:43 | |
Utility! How do I have utility? | 1:05:43 | 1:05:45 | |
Here be dragons. | 1:05:48 | 1:05:49 | |
-HE COUGHS -This isn't agreeing with me. | 1:05:51 | 1:05:54 | |
I'm going in. | 1:05:54 | 1:05:55 | |
You need low tar. You still smoke like a beginner. | 1:05:55 | 1:05:58 | |
Also... | 1:06:01 | 1:06:02 | |
..your loss would break my heart. | 1:06:03 | 1:06:05 | |
HE COUGHS | 1:06:05 | 1:06:07 | |
What the hell am I supposed to say to that?! | 1:06:07 | 1:06:09 | |
-Merry Christmas? -You hate Christmas. | 1:06:12 | 1:06:14 | |
Yes. Perhaps there was something in the punch. | 1:06:14 | 1:06:18 | |
Clearly. Go and have some more. | 1:06:18 | 1:06:20 | |
So you realise that Sherlock got us out here to see his mum and dad for a reason? | 1:06:24 | 1:06:27 | |
His lovely mum and dad, a fine example of married life, I get that. | 1:06:27 | 1:06:32 | |
That is the thing with Sherlock, it's always the unexpected. | 1:06:32 | 1:06:35 | |
Oi. Oi? Mary? | 1:06:35 | 1:06:38 | |
Jesus Christ! Mary? Sit down. | 1:06:38 | 1:06:42 | |
Mary, can you hear me? | 1:06:42 | 1:06:43 | |
Don't drink Mary's tea. | 1:06:44 | 1:06:45 | |
Or the punch. | 1:06:49 | 1:06:50 | |
Sherlock... | 1:06:56 | 1:06:57 | |
Did you just drug my pregnant wife?! | 1:06:58 | 1:07:00 | |
Don't worry, Wiggins is an excellent chemist. | 1:07:00 | 1:07:02 | |
I calculated your wife's dose myself. Won't affect the little one. | 1:07:02 | 1:07:05 | |
I'll keep an eye on her. | 1:07:05 | 1:07:07 | |
He'll monitor their recovery. It's more or less his day job. | 1:07:07 | 1:07:10 | |
What the hell have you done?! | 1:07:10 | 1:07:11 | |
A deal with the devil. | 1:07:12 | 1:07:14 | |
Shouldn't you be in hospital? | 1:07:22 | 1:07:24 | |
I am in hospital. This is the canteen. | 1:07:24 | 1:07:28 | |
-Is it? -In my opinion, yes. Have a seat. | 1:07:28 | 1:07:31 | |
Thank you. | 1:07:31 | 1:07:32 | |
I've been thinking about you. | 1:07:34 | 1:07:36 | |
I've been thinking about you. | 1:07:36 | 1:07:38 | |
Really? | 1:07:38 | 1:07:40 | |
I want to see Appledore. | 1:07:44 | 1:07:46 | |
Where you keep all the secrets, all the files, | 1:07:47 | 1:07:50 | |
everything you've got on everyone. | 1:07:50 | 1:07:52 | |
I want you to invite me. | 1:07:52 | 1:07:55 | |
What makes you think I'd be so careless? | 1:07:57 | 1:08:00 | |
Oh, I think you're a lot more careless than you let on. | 1:08:01 | 1:08:05 | |
Am I? | 1:08:07 | 1:08:08 | |
It's the dead-eyed stare that gives it away. | 1:08:13 | 1:08:16 | |
Except it's not dead-eyed, is it? | 1:08:17 | 1:08:21 | |
You're reading. | 1:08:26 | 1:08:27 | |
Portable Appledore. How does it work? | 1:08:31 | 1:08:35 | |
Built-in flash drive? 4G wireless? | 1:08:36 | 1:08:41 | |
They're just ordinary spectacles. | 1:08:55 | 1:08:58 | |
Yes, they are. | 1:08:58 | 1:09:01 | |
You underestimate me, Mr Holmes. | 1:09:12 | 1:09:14 | |
Impress me, then. Show me Appledore. | 1:09:24 | 1:09:27 | |
Everything is available for a price. | 1:09:28 | 1:09:30 | |
Are you making me an offer? | 1:09:30 | 1:09:32 | |
A Christmas present. | 1:09:32 | 1:09:33 | |
And what are you giving me for Christmas, Mr Holmes? | 1:09:35 | 1:09:38 | |
My brother. | 1:09:38 | 1:09:40 | |
Oh, Jesus! | 1:09:44 | 1:09:45 | |
Sherlock, please tell me you haven't just gone out of your mind. | 1:09:49 | 1:09:54 | |
I'd rather keep you guessing. | 1:09:54 | 1:09:55 | |
HELICOPTER WHIRS | 1:09:55 | 1:09:57 | |
Ah, there's our lift. | 1:09:57 | 1:10:00 | |
Coming? | 1:10:06 | 1:10:07 | |
Where? | 1:10:07 | 1:10:08 | |
-You want your wife to be safe? -Of course I do. | 1:10:08 | 1:10:10 | |
Good, because this is going to be incredibly dangerous. | 1:10:10 | 1:10:13 | |
One false move and we'll have betrayed the security of the United Kingdom and be in prison | 1:10:13 | 1:10:16 | |
for high treason. Magnussen is the most dangerous man we've ever encountered | 1:10:16 | 1:10:20 | |
and the odds are comprehensively stacked against us. | 1:10:20 | 1:10:22 | |
-But it's Christmas! -I feel the same. | 1:10:22 | 1:10:25 | |
Oh, you mean it's actually Christmas. Did you bring your gun, as I suggested? | 1:10:25 | 1:10:28 | |
-Why would I bring my gun to your parents' house for Christmas dinner?! -Is it in your coat? -Yes. | 1:10:28 | 1:10:32 | |
-Off we go, then. -Where are we going? -Appledore. | 1:10:32 | 1:10:34 | |
I would offer you a drink, but it's very rare and expensive. | 1:11:31 | 1:11:34 | |
Oh, it WAS you. | 1:11:40 | 1:11:43 | |
Yes, of course. | 1:11:43 | 1:11:44 | |
Very hard to find a pressure point on you, Mr Holmes. | 1:11:44 | 1:11:48 | |
The drugs thing I never believed for a moment. | 1:11:48 | 1:11:51 | |
Anyway, you wouldn't care if it was exposed, would you? | 1:11:51 | 1:11:55 | |
But look how you care about John Watson. | 1:11:55 | 1:11:58 | |
Your damsel in distress. | 1:12:00 | 1:12:02 | |
You put me in a fire, for leverage?! | 1:12:03 | 1:12:08 | |
Oh, I would never let you burn, Dr Watson. | 1:12:08 | 1:12:11 | |
I had people standing by. I'm not a murderer. | 1:12:11 | 1:12:15 | |
Unlike your wife. | 1:12:17 | 1:12:19 | |
Let me explain how leverage works, Dr Watson. | 1:12:24 | 1:12:29 | |
For those who understand these things, | 1:12:30 | 1:12:32 | |
Mycroft Holmes is the most powerful man in the country. | 1:12:32 | 1:12:36 | |
Well, apart from me. | 1:12:36 | 1:12:39 | |
Mycroft's pressure point is his junkie detective brother, Sherlock. | 1:12:40 | 1:12:45 | |
Sherlock's pressure point is his best friend, John Watson. | 1:12:45 | 1:12:48 | |
John Watson's pressure point is his wife. | 1:12:48 | 1:12:51 | |
I own John Watson's wife, I own Mycroft. | 1:12:51 | 1:12:54 | |
He's what I'm getting for Christmas. | 1:12:56 | 1:12:58 | |
It's an exchange, not a gift. | 1:12:59 | 1:13:01 | |
Forgive me, but... | 1:13:05 | 1:13:06 | |
I already seem to have it. | 1:13:09 | 1:13:11 | |
It's password protected. | 1:13:11 | 1:13:12 | |
In return for the password, you will give me any material | 1:13:15 | 1:13:18 | |
in your possession pertaining to the woman I know as Mary Watson. | 1:13:18 | 1:13:22 | |
Oh, she's bad, that one. So many dead people. | 1:13:22 | 1:13:27 | |
-You should see what I've seen. -I don't need to see it. | 1:13:27 | 1:13:29 | |
You might enjoy it, though. I enjoy it. | 1:13:29 | 1:13:33 | |
Then why don't you show us? | 1:13:35 | 1:13:37 | |
Show you Appledore? The secret vaults. | 1:13:37 | 1:13:40 | |
Is that what you want? | 1:13:41 | 1:13:42 | |
I want everything you've got on Mary. | 1:13:42 | 1:13:47 | |
HE CHUCKLES | 1:13:50 | 1:13:52 | |
You know, I honestly expected something good. | 1:13:55 | 1:13:59 | |
-Oh, I think you'll find the contents of that laptop... -Include a GPS locator. | 1:13:59 | 1:14:04 | |
By now your brother will have noticed the theft | 1:14:04 | 1:14:07 | |
and the security services will be converging on this house. | 1:14:07 | 1:14:10 | |
Having arrived, they'll find top-secret information in my hands | 1:14:10 | 1:14:14 | |
and they have every justification to search my vaults. | 1:14:14 | 1:14:18 | |
They will discover further information of this kind | 1:14:18 | 1:14:21 | |
and I will be imprisoned. | 1:14:21 | 1:14:23 | |
You would be exonerated and restored to your smelly little apartment | 1:14:23 | 1:14:27 | |
to solve crimes with Mr and Mrs Psychopath. | 1:14:27 | 1:14:30 | |
Mycroft has been looking for this opportunity for a long time. | 1:14:32 | 1:14:35 | |
He'll be a very, very proud big brother. | 1:14:38 | 1:14:40 | |
The fact that you know it's going to happen isn't going to stop it. | 1:14:42 | 1:14:45 | |
Then why am I smiling? Ask me. | 1:14:45 | 1:14:50 | |
Why are you smiling? | 1:14:51 | 1:14:52 | |
Because Sherlock Holmes has made one enormous mistake, | 1:14:54 | 1:14:57 | |
which will destroy the lives of everyone he loves. | 1:14:57 | 1:15:01 | |
And everything he holds dear. | 1:15:03 | 1:15:04 | |
Let me show you the Appledore vaults. | 1:15:08 | 1:15:12 | |
The entrance to my vaults. | 1:15:24 | 1:15:26 | |
This is where I keep you all. | 1:15:27 | 1:15:29 | |
OK, so where are the vaults, then? | 1:15:43 | 1:15:45 | |
Vaults? What vaults? There are no vaults beneath this building. | 1:15:45 | 1:15:50 | |
They're all in here. | 1:15:53 | 1:15:54 | |
The Appledore vaults are my mind palace. | 1:15:56 | 1:16:00 | |
You know about mind palaces, don't you, Sherlock? | 1:16:01 | 1:16:03 | |
How to store information so you never forget it, by picturing it. | 1:16:03 | 1:16:09 | |
I just sit here, I close my eyes and down I go to my vaults. | 1:16:09 | 1:16:15 | |
I can go anywhere inside my vaults. | 1:16:20 | 1:16:22 | |
My memories. | 1:16:24 | 1:16:25 | |
I'll look at the files on Mrs Watson. | 1:16:31 | 1:16:34 | |
HE CLEARS HIS THROAT | 1:16:41 | 1:16:43 | |
Hmm. | 1:16:43 | 1:16:44 | |
Oh, this is one of my favourites. | 1:16:45 | 1:16:48 | |
Oh, it's so exciting. | 1:16:48 | 1:16:50 | |
All those wet jobs for the CIA. | 1:16:54 | 1:16:56 | |
Ooh, she's gone a bit freelance now, bad girl. | 1:16:56 | 1:17:02 | |
HE CHUCKLES | 1:17:05 | 1:17:10 | |
Oh, she's so wicked. | 1:17:10 | 1:17:13 | |
I can really see why you like her. | 1:17:13 | 1:17:16 | |
You see? | 1:17:21 | 1:17:23 | |
So there are no documents, you don't actually have anything here? | 1:17:23 | 1:17:27 | |
Oh, sometimes I send out for something, | 1:17:27 | 1:17:29 | |
if I really need it, but mostly I just remember it all. | 1:17:29 | 1:17:33 | |
I don't understand. | 1:17:33 | 1:17:34 | |
-You should have that on a T-shirt. -You just remember it all? | 1:17:34 | 1:17:36 | |
It's all about knowledge, everything is. Knowing is owning. | 1:17:36 | 1:17:41 | |
But if you just know it, then you don't have proof. | 1:17:41 | 1:17:43 | |
Proof? What would I need proof for? | 1:17:43 | 1:17:46 | |
I'm in news, you moron. | 1:17:46 | 1:17:48 | |
I don't have to prove it, I just have to print it. | 1:17:48 | 1:17:51 | |
Speaking of news... | 1:17:51 | 1:17:53 | |
You'll both be heavily featured tomorrow. | 1:17:53 | 1:17:56 | |
Trying to sell state secrets to me. | 1:17:56 | 1:17:59 | |
Tut tut. | 1:18:00 | 1:18:01 | |
Let's go outside. They'll be here shortly. | 1:18:02 | 1:18:06 | |
Can't wait to see you arrested. | 1:18:06 | 1:18:08 | |
Sherlock, do we have a plan? | 1:18:09 | 1:18:12 | |
Sherlock? | 1:18:13 | 1:18:14 | |
They're taking their time, aren't they? | 1:18:27 | 1:18:30 | |
I still don't understand. | 1:18:30 | 1:18:31 | |
And there's the back of the T-shirt. | 1:18:31 | 1:18:33 | |
You just know things - how does that work? | 1:18:33 | 1:18:37 | |
I just love your little soldier face. I'd like to punch it. | 1:18:37 | 1:18:40 | |
Bring it over here a minute. | 1:18:40 | 1:18:43 | |
Come on. For Mary. Bring me your face. | 1:18:43 | 1:18:46 | |
HE CLEARS THROAT | 1:18:49 | 1:18:50 | |
Lean forward a bit and stick your face out. | 1:18:53 | 1:18:56 | |
Please. | 1:18:58 | 1:19:01 | |
Now, can I flick it? | 1:19:01 | 1:19:04 | |
Look at me. Can I flick your face? | 1:19:04 | 1:19:09 | |
I just love doing this. I could do it all day. | 1:19:16 | 1:19:21 | |
Well, it works like this, John. | 1:19:21 | 1:19:23 | |
I know who Mary hurt and killed. | 1:19:23 | 1:19:25 | |
I know where to find people who hate her. | 1:19:27 | 1:19:29 | |
I know where they live, I know their phone numbers. | 1:19:32 | 1:19:35 | |
All in my mind palace, all of it. | 1:19:38 | 1:19:41 | |
I could phone them right now and tear your whole life down... | 1:19:41 | 1:19:46 | |
..and I will, | 1:19:48 | 1:19:50 | |
unless you let me flick your face. | 1:19:50 | 1:19:53 | |
This is what I do to people. | 1:20:01 | 1:20:02 | |
This is what I do to whole countries. | 1:20:03 | 1:20:05 | |
Just because I know. | 1:20:07 | 1:20:09 | |
Can I do your eye now? | 1:20:11 | 1:20:12 | |
See if you can keep it open, hmm? | 1:20:13 | 1:20:15 | |
Come on, for Mary. Keep it open. | 1:20:16 | 1:20:18 | |
Sherlock? | 1:20:18 | 1:20:20 | |
Let him. I'm sorry, just...let him. | 1:20:20 | 1:20:23 | |
Hmm? Come on, eye open. | 1:20:24 | 1:20:26 | |
MAGNUSSEN CHUCKLES | 1:20:27 | 1:20:31 | |
It's difficult, isn't it? | 1:20:31 | 1:20:33 | |
Janine managed to once. She makes the funniest noises. | 1:20:33 | 1:20:38 | |
Sherlock Holmes and John Watson, stand away from that man. | 1:20:47 | 1:20:51 | |
Here we go, Mr Holmes. | 1:20:51 | 1:20:53 | |
To clarify, Appledore's vaults only exist in your mind, | 1:20:53 | 1:20:57 | |
nowhere else, just there? | 1:20:57 | 1:20:59 | |
They're not real, they never have been. | 1:20:59 | 1:21:02 | |
Sherlock Holmes and John Watson, step away! | 1:21:02 | 1:21:06 | |
It's fine, they're harmless. | 1:21:06 | 1:21:09 | |
'Target is not armed, I repeat target is not armed.' | 1:21:09 | 1:21:12 | |
Sherlock, what do we do? | 1:21:12 | 1:21:13 | |
Nothing. There is nothing to be done. | 1:21:13 | 1:21:16 | |
Oh, I'm not a villain, I have no evil plan. | 1:21:16 | 1:21:20 | |
I'm a businessman, acquiring assets. You happen to be one of them. | 1:21:20 | 1:21:24 | |
Sorry, no chance for you to be a hero this time, Mr Holmes. | 1:21:24 | 1:21:28 | |
Sherlock Holmes and John Watson, stand away from that man. Do it now! | 1:21:28 | 1:21:34 | |
Oh, do your research. | 1:21:34 | 1:21:36 | |
I'm not a hero, I'm a high-functioning sociopath. | 1:21:37 | 1:21:41 | |
Merry Christmas! | 1:21:41 | 1:21:43 | |
GUNSHOT | 1:21:43 | 1:21:44 | |
'Man down, man down.' | 1:21:44 | 1:21:46 | |
Get away from me, John! Stay well back! | 1:21:46 | 1:21:48 | |
Christ, Sherlock! | 1:21:48 | 1:21:50 | |
Don't fire! Do not fire on Sherlock Holmes! | 1:21:50 | 1:21:54 | |
Do not fire! | 1:21:54 | 1:21:56 | |
Oh Christ, Sherlock! | 1:21:57 | 1:21:59 | |
Give my love to Mary. Tell her she's safe now. | 1:22:02 | 1:22:08 | |
Oh, Sherlock. | 1:22:37 | 1:22:38 | |
What have you done? | 1:22:41 | 1:22:42 | |
As my colleague is fond of remarking, | 1:22:52 | 1:22:54 | |
this country sometimes needs a blunt instrument. | 1:22:54 | 1:22:57 | |
Equally, it sometimes needs a dagger, | 1:22:57 | 1:23:00 | |
a scalpel wielded with precision and without remorse. | 1:23:00 | 1:23:04 | |
There will always come a time when we need Sherlock Holmes. | 1:23:07 | 1:23:11 | |
If this is some expression of familial sentiment... | 1:23:11 | 1:23:15 | |
Don't be absurd. | 1:23:15 | 1:23:16 | |
I am not given to outbursts of brotherly compassion. | 1:23:16 | 1:23:19 | |
You know what happened to the other one. | 1:23:21 | 1:23:24 | |
In any event, there is no prison in which we could incarcerate Sherlock | 1:23:24 | 1:23:28 | |
without causing a riot on a daily basis. | 1:23:28 | 1:23:31 | |
The alternative, however, would require your approval. | 1:23:31 | 1:23:37 | |
Hardly merciful, Mr Holmes. | 1:23:37 | 1:23:39 | |
Regrettably, Lady Smallwood, my brother is a murderer. | 1:23:39 | 1:23:44 | |
You will look after him for me, won't you? | 1:23:57 | 1:24:00 | |
Hmm. Don't worry. I'll keep him in trouble. | 1:24:00 | 1:24:03 | |
That's my girl. | 1:24:04 | 1:24:05 | |
Since this is likely to be the last conversation I'll have with John Watson, | 1:24:10 | 1:24:13 | |
would you mind if we took a moment? | 1:24:13 | 1:24:15 | |
So here we are. | 1:24:24 | 1:24:26 | |
William Sherlock Scott Holmes. | 1:24:28 | 1:24:30 | |
Sorry? | 1:24:30 | 1:24:31 | |
That's the whole of it. If you're looking for baby names. | 1:24:31 | 1:24:34 | |
WATSON CHUCKLES | 1:24:34 | 1:24:35 | |
No, we've had a scan, we're pretty sure it's a girl. | 1:24:35 | 1:24:38 | |
Oh. OK. | 1:24:38 | 1:24:39 | |
Yeah. | 1:24:44 | 1:24:46 | |
You know, actually, I can't think of a single thing to say. | 1:24:46 | 1:24:49 | |
No, neither can I. | 1:24:49 | 1:24:50 | |
The game is over. | 1:24:52 | 1:24:53 | |
The game is never over, John. | 1:24:53 | 1:24:56 | |
But there may be some new players now. | 1:24:56 | 1:24:58 | |
-That's OK, the East Wind takes us all in the end. -What's that? | 1:24:58 | 1:25:02 | |
It's a story my brother told me when we were kids. | 1:25:03 | 1:25:06 | |
The East Wind is a terrifying force that lays waste to all in its path. | 1:25:06 | 1:25:11 | |
It seeks out the unworthy and plucks them from the earth. | 1:25:11 | 1:25:14 | |
That was generally me. | 1:25:14 | 1:25:15 | |
-Nice(!) -He's a rubbish big brother. | 1:25:15 | 1:25:18 | |
So what about you, then? Where are you actually going now? | 1:25:19 | 1:25:24 | |
Oh, some undercover work in Eastern Europe. | 1:25:24 | 1:25:27 | |
For how long? | 1:25:27 | 1:25:28 | |
Six months, my brother estimates. He's never wrong. | 1:25:28 | 1:25:33 | |
And then what? | 1:25:33 | 1:25:34 | |
Who knows? | 1:25:38 | 1:25:39 | |
John, there's something I should say, I've meant to say always | 1:25:45 | 1:25:51 | |
and I never have. | 1:25:51 | 1:25:53 | |
Since it's unlikely we'll ever meet again, I might as well say it now. | 1:25:53 | 1:25:56 | |
Sherlock is actually a girl's name. | 1:26:00 | 1:26:02 | |
It's not. | 1:26:06 | 1:26:07 | |
It was worth a try. | 1:26:07 | 1:26:08 | |
We're not naming our daughter after you. | 1:26:08 | 1:26:10 | |
Oh, I think it could work. | 1:26:10 | 1:26:12 | |
To the very best of times, John. | 1:26:19 | 1:26:20 | |
-TV: -'Smith brings it inside. This looks good. | 1:27:08 | 1:27:10 | |
'Cassandra comes in for a shot. Ooh, he missed it!' | 1:27:10 | 1:27:13 | |
-Oi, there's something wrong with the telly. -There's something wrong with the telly, mate. | 1:27:15 | 1:27:19 | |
Who's that? | 1:27:21 | 1:27:22 | |
-DISTORTED VOICE: -Did you miss me? | 1:27:22 | 1:27:24 | |
Did you miss me? Did you miss me? Did you miss me? Did you miss me? | 1:27:24 | 1:27:27 | |
How is this possible? | 1:27:27 | 1:27:29 | |
We don't know, but it's on every screen in the country. | 1:27:29 | 1:27:32 | |
Every screen simultaneously. | 1:27:32 | 1:27:33 | |
Has the Prime Minister been told? | 1:27:33 | 1:27:35 | |
And Mycroft? | 1:27:37 | 1:27:38 | |
But that's not possible. That is simply not possible. | 1:27:38 | 1:27:41 | |
-What's happened? -Sir? It's your brother. | 1:27:44 | 1:27:48 | |
Mycroft? | 1:27:51 | 1:27:52 | |
'Hello, little brother. How's the exile going?' | 1:27:52 | 1:27:54 | |
I've only been gone four minutes. | 1:27:54 | 1:27:56 | |
Well, I certainly hope you've learnt your lesson. | 1:27:56 | 1:27:58 | |
'As it turns out, you're needed.' | 1:27:58 | 1:28:01 | |
Oh, for God's sake, make up your mind! | 1:28:01 | 1:28:03 | |
Who needs me this time? | 1:28:04 | 1:28:05 | |
'Did you miss me? Did you miss me? Did you miss me? Did you miss me? | 1:28:05 | 1:28:09 | |
'Did you miss me? Did you miss me? Did you miss me? Did you miss me?' | 1:28:09 | 1:28:12 | |
England. | 1:28:12 | 1:28:14 | |
But he's dead. I mean, you told me he was dead, Moriarty? | 1:28:14 | 1:28:16 | |
Absolutely. Blew his own brains out. | 1:28:16 | 1:28:18 | |
So how can he be back? | 1:28:18 | 1:28:20 | |
Well if he is, he'd better wrap up warm. | 1:28:20 | 1:28:25 | |
There's an East Wind coming. | 1:28:26 | 1:28:28 | |
Miss me? | 1:29:05 | 1:29:06 |