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This programme contains some scenes which some viewers may find upsetting. | 0:00:02 | 0:00:09 | |
Tell me about your morning. | 0:00:14 | 0:00:16 | |
Start from the beginning. | 0:00:20 | 0:00:21 | |
I woke up. | 0:00:25 | 0:00:27 | |
How did you sleep? | 0:00:27 | 0:00:28 | |
I didn't. I don't. | 0:00:30 | 0:00:32 | |
You just said you woke up. | 0:00:33 | 0:00:35 | |
I stopped lying down. | 0:00:36 | 0:00:37 | |
Alone? | 0:00:40 | 0:00:41 | |
Of course alone. | 0:00:46 | 0:00:48 | |
I meant Rosie. Your daughter. | 0:00:48 | 0:00:52 | |
-Er, she's with friends. -Why? | 0:00:52 | 0:00:54 | |
Can't always cope. | 0:00:56 | 0:00:57 | |
And, er, last night wasn't good. | 0:00:59 | 0:01:02 | |
That's understandable. | 0:01:04 | 0:01:06 | |
Is it? Why? Why is it understandable? | 0:01:06 | 0:01:09 | |
Why does everything have to be understandable? | 0:01:09 | 0:01:12 | |
Why can't some things be unacceptable and we just say that? | 0:01:12 | 0:01:16 | |
I only mean it's OK. | 0:01:18 | 0:01:20 | |
I'm letting my daughter down, how the hell is that OK? | 0:01:20 | 0:01:24 | |
You just lost your wife. | 0:01:24 | 0:01:25 | |
And Rosie just lost her mother. | 0:01:25 | 0:01:27 | |
You are holding yourself to an unreasonable standard. | 0:01:32 | 0:01:37 | |
No, I'm failing to. | 0:01:37 | 0:01:39 | |
So there is no-one you talk to? Confide in? | 0:01:40 | 0:01:45 | |
No-one. | 0:01:45 | 0:01:47 | |
Oh, I'm picking up Rosie this afternoon, | 0:01:47 | 0:01:49 | |
after I've seen my therapist. | 0:01:49 | 0:01:51 | |
Got a new one, seeing her today. | 0:01:51 | 0:01:54 | |
Are you going to tell her about me? | 0:01:54 | 0:01:56 | |
No. | 0:01:56 | 0:01:57 | |
Why not? | 0:01:59 | 0:02:00 | |
-Because I can't. -Why not? | 0:02:00 | 0:02:02 | |
Because I can't. You know I can't. She thinks you're dead. | 0:02:02 | 0:02:04 | |
John, you've got to remember, it's important. | 0:02:04 | 0:02:07 | |
I am dead. | 0:02:08 | 0:02:09 | |
Please, for your own sake and for Rosie's, this isn't real. | 0:02:11 | 0:02:16 | |
-I'm dead. John, look at me. -Hmm. | 0:02:16 | 0:02:19 | |
I'm not here. | 0:02:19 | 0:02:21 | |
You know that, don't you? | 0:02:21 | 0:02:24 | |
OK, I'll see you later. | 0:02:26 | 0:02:27 | |
Is there anything you're not telling me? | 0:02:29 | 0:02:32 | |
No. | 0:02:35 | 0:02:36 | |
What are you looking at? | 0:02:39 | 0:02:41 | |
Nothing. | 0:02:41 | 0:02:43 | |
You keep glancing to my left. | 0:02:43 | 0:02:46 | |
Oh, I suppose I was just looking away. | 0:02:46 | 0:02:49 | |
There is a difference between looking away and looking to. | 0:02:49 | 0:02:53 | |
-I tend to notice these things. -I'm sure. | 0:02:53 | 0:02:57 | |
Now, I am reminding you of your friend, I think. | 0:02:57 | 0:03:01 | |
That's not necessarily a good thing. | 0:03:01 | 0:03:03 | |
Do you talk to Sherlock Holmes? | 0:03:04 | 0:03:06 | |
I haven't seen him. No-one's seen him. | 0:03:06 | 0:03:08 | |
He's locked himself away in his flat. God knows what he's up to. | 0:03:08 | 0:03:11 | |
Do you blame him? | 0:03:11 | 0:03:13 | |
I don't blame... I don't think about him. | 0:03:13 | 0:03:15 | |
-Has he attempted to make contact with you? -No. | 0:03:15 | 0:03:18 | |
How can you be sure? He might have tried. | 0:03:18 | 0:03:20 | |
No, if Sherlock Holmes wants to get in touch, | 0:03:20 | 0:03:22 | |
that's not something you can fail to notice. | 0:03:22 | 0:03:24 | |
CAR ENGINE ACCELERATES | 0:03:24 | 0:03:26 | |
TYRES SQUEAL | 0:03:26 | 0:03:28 | |
CLATTERING | 0:03:28 | 0:03:29 | |
SIREN WAILS | 0:03:29 | 0:03:31 | |
Well, now, won't you introduce me? | 0:03:45 | 0:03:48 | |
-REPORTER: -Mr Smith, will you say something about your property... | 0:04:38 | 0:04:41 | |
Hello. | 0:04:45 | 0:04:46 | |
Mr Smith? Whenever you are ready. | 0:04:49 | 0:04:52 | |
The charity fund... | 0:04:53 | 0:04:55 | |
Now, please. | 0:04:55 | 0:04:56 | |
Bring them through. | 0:04:56 | 0:04:58 | |
It's difficult, having such good friends. | 0:05:06 | 0:05:11 | |
Friends are people you want to share with. | 0:05:11 | 0:05:14 | |
Friends and family. | 0:05:15 | 0:05:19 | |
What's the very worst thing you can do to your very best friends? | 0:05:21 | 0:05:27 | |
Something on your mind? | 0:05:30 | 0:05:31 | |
Yes, Ivan. | 0:05:33 | 0:05:35 | |
Oh, yes. | 0:05:35 | 0:05:36 | |
Whatever you tell us stays in this room. | 0:05:38 | 0:05:40 | |
I think I speak for everyone. | 0:05:40 | 0:05:42 | |
MURMURS OF ASSENT | 0:05:42 | 0:05:44 | |
Well, what is the worst thing you could do? | 0:05:45 | 0:05:48 | |
Tell them your darkest secret. | 0:05:50 | 0:05:52 | |
Because if you tell them and they decide they'd rather not know, | 0:05:53 | 0:06:00 | |
you can't take it back. | 0:06:00 | 0:06:02 | |
You can't unsay it. | 0:06:02 | 0:06:05 | |
Once you've opened your heart, you can't close it again. | 0:06:06 | 0:06:11 | |
CULVERTON ROARS WITH LAUGHTER | 0:06:15 | 0:06:17 | |
I'm kidding! | 0:06:18 | 0:06:20 | |
Of course you can. | 0:06:21 | 0:06:23 | |
Well, everyone, please roll up your right sleeves. | 0:06:25 | 0:06:28 | |
Roll up your right sleeves. Come on. | 0:06:28 | 0:06:32 | |
Oh, it's, er... | 0:06:32 | 0:06:33 | |
It's a bit of insurance. | 0:06:33 | 0:06:36 | |
I don't understand. What is that? | 0:06:36 | 0:06:37 | |
TD 12. | 0:06:39 | 0:06:40 | |
One of ours. | 0:06:41 | 0:06:42 | |
One of yours? | 0:06:42 | 0:06:44 | |
We make it. My company, TD 12. | 0:06:44 | 0:06:46 | |
Sells mainly to dentists and hospitals, | 0:06:46 | 0:06:49 | |
for minor surgical procedures. | 0:06:49 | 0:06:51 | |
Interferes with... | 0:06:52 | 0:06:53 | |
..with the memory. | 0:06:55 | 0:06:56 | |
The memory. Yes. | 0:06:56 | 0:06:58 | |
I want to thank you, Ivan, for allowing me to use it. | 0:07:00 | 0:07:04 | |
I didn't exactly know who you were going to be using it on. | 0:07:04 | 0:07:07 | |
You mean you didn't ask? | 0:07:07 | 0:07:10 | |
Is everyone ready? | 0:07:10 | 0:07:11 | |
-No. -Please, roll up your sleeves. Come on, roll up. | 0:07:11 | 0:07:15 | |
This is obscene. | 0:07:21 | 0:07:24 | |
All I'm doing, Faith, dear... | 0:07:24 | 0:07:25 | |
..is getting something off my chest, without getting it on yours. | 0:07:27 | 0:07:32 | |
What you're about to hear me say may horrify you, but... | 0:07:33 | 0:07:36 | |
..you will forget it. | 0:07:37 | 0:07:39 | |
If you think about it, | 0:07:39 | 0:07:40 | |
civilisation has always depended on a measure of elective ignorance. | 0:07:40 | 0:07:45 | |
HE CHUCKLES | 0:07:46 | 0:07:47 | |
These drip feeds will keep the drug in your bloodstreams | 0:07:51 | 0:07:55 | |
at exactly the right levels. | 0:07:55 | 0:07:57 | |
Nothing that is happening to you now will stay with you | 0:07:57 | 0:08:00 | |
for more than a few minutes. | 0:08:00 | 0:08:03 | |
I'm afraid that some of the memories you've had up to this point | 0:08:03 | 0:08:07 | |
might also be... | 0:08:07 | 0:08:09 | |
..corrupted. | 0:08:12 | 0:08:14 | |
I'm going to share something with you now, | 0:08:15 | 0:08:18 | |
something personal and of importance to me. | 0:08:18 | 0:08:23 | |
I have a need to confess, but you, I think, might have a need to forget. | 0:08:24 | 0:08:31 | |
By the end of this, you'll be free to go, and don't worry, | 0:08:32 | 0:08:35 | |
by the time you're back in the outside world, | 0:08:35 | 0:08:39 | |
you will not remember any of what you've heard. | 0:08:39 | 0:08:42 | |
Ignorance is bliss. | 0:08:42 | 0:08:44 | |
Well, what's wrong with bliss? | 0:08:44 | 0:08:45 | |
DISTORTED TONE | 0:08:45 | 0:08:47 | |
Some of you know each other and some of you don't. | 0:08:47 | 0:08:50 | |
Please, be aware that one of you is a high-ranking police officer. | 0:08:52 | 0:08:58 | |
One of you is a member of the judiciary. | 0:09:00 | 0:09:02 | |
One of you sits on the board of a prominent broadcaster. | 0:09:05 | 0:09:11 | |
Two of you work for me. | 0:09:12 | 0:09:13 | |
And one of you, of course, is my lovely daughter, Faith. | 0:09:13 | 0:09:18 | |
You are the people I need to hear me. | 0:09:20 | 0:09:23 | |
I have made millions. | 0:09:24 | 0:09:27 | |
For myself, for the people round this table, | 0:09:27 | 0:09:30 | |
for millions of people I've never even met. | 0:09:30 | 0:09:33 | |
REPORTERS CLAMOUR | 0:09:33 | 0:09:34 | |
There are charities that I support who wouldn't exist without me. | 0:09:34 | 0:09:38 | |
If life is a balance sheet, and I think it is, | 0:09:40 | 0:09:43 | |
why, I believe I'm in credit! | 0:09:43 | 0:09:45 | |
But I have a situation that needs to be...managed. | 0:09:49 | 0:09:55 | |
I have a problem and there is only one way that I can solve it. | 0:09:56 | 0:10:01 | |
And what's that? | 0:10:04 | 0:10:05 | |
I'm terribly sorry. | 0:10:09 | 0:10:11 | |
I need to kill someone. | 0:10:17 | 0:10:19 | |
Who? | 0:10:23 | 0:10:24 | |
Were we in a meeting? Was there a meeting? | 0:10:32 | 0:10:35 | |
Need to kill someone. | 0:10:40 | 0:10:41 | |
Faith... | 0:10:41 | 0:10:42 | |
-My dear, dear girl. -I can't remember. | 0:10:45 | 0:10:47 | |
Can't remember who you were going to kill. | 0:10:48 | 0:10:50 | |
Dear, in five minutes, you won't even remember why you were crying. | 0:10:51 | 0:10:57 | |
The others are all fine. | 0:10:58 | 0:11:00 | |
You know they've gone down the pub. | 0:11:00 | 0:11:02 | |
It's all on me! | 0:11:02 | 0:11:04 | |
FAITH CRIES | 0:11:05 | 0:11:06 | |
Oh, Faith, don't you think I should take that? | 0:11:08 | 0:11:11 | |
It's only going to upset you. Hmm? | 0:11:11 | 0:11:14 | |
Three years ago, my father told me he wanted to kill someone. | 0:11:18 | 0:11:21 | |
One word, Mr Holmes, and it changed my world forever. | 0:11:22 | 0:11:26 | |
Just one word. | 0:11:28 | 0:11:29 | |
What word? | 0:11:29 | 0:11:30 | |
A name. | 0:11:32 | 0:11:33 | |
What name? | 0:11:33 | 0:11:35 | |
I can't remember. | 0:11:38 | 0:11:39 | |
I can't remember who my father wanted to kill. | 0:11:41 | 0:11:43 | |
-And I don't know if he ever did it. -Well, you've changed, | 0:11:44 | 0:11:47 | |
you no longer top up your tan and your roots are showing. | 0:11:47 | 0:11:50 | |
Letting yourself go? | 0:11:50 | 0:11:52 | |
Do you ever look in the mirror and want to see someone else? | 0:11:52 | 0:11:55 | |
-No, do you own an American car? -I'm sorry? | 0:11:55 | 0:11:57 | |
No, not American, left-hand drive, that's what I mean. | 0:11:57 | 0:11:59 | |
No. Why do you ask? | 0:11:59 | 0:12:01 | |
Not sure, actually, probably just noticed something. | 0:12:02 | 0:12:05 | |
Are you OK? | 0:12:13 | 0:12:15 | |
Oh, of course you don't own a car, you don't need one, do you, | 0:12:15 | 0:12:17 | |
living in isolation, no human contact, no visitors. | 0:12:17 | 0:12:20 | |
-OK, how do you know that? -Well, it's all here, isn't it? Look. | 0:12:20 | 0:12:22 | |
Cost-cutting is clearly a priority for you, | 0:12:22 | 0:12:24 | |
look at the size of your kitchen, teeny tiny. | 0:12:24 | 0:12:26 | |
Must be a bit annoying when you're such a keen cook. | 0:12:26 | 0:12:28 | |
-I don't understand... -Hang on a minute, | 0:12:28 | 0:12:29 | |
I was looking out of the window, why was I doing that? | 0:12:29 | 0:12:32 | |
-I don't know. -Me neither. Must have had a reason. | 0:12:32 | 0:12:33 | |
It'll come back to me. | 0:12:33 | 0:12:35 | |
Presumably you downsized when you... when you left your job | 0:12:36 | 0:12:39 | |
and maybe when you ended your relationship. | 0:12:39 | 0:12:41 | |
-You can't know that. -Course I can. | 0:12:42 | 0:12:44 | |
There wasn't anything physical going on, was there? | 0:12:44 | 0:12:47 | |
For quite some time, in fact. | 0:12:47 | 0:12:50 | |
There, see? It's obvious. | 0:12:50 | 0:12:51 | |
You can't tell things like that from a piece of paper. | 0:12:51 | 0:12:53 | |
I think I just did, didn't I? | 0:12:53 | 0:12:55 | |
I'm sure that was me. | 0:12:55 | 0:12:56 | |
How? | 0:12:56 | 0:12:57 | |
Don't know. Just sort of happens really. | 0:12:57 | 0:13:00 | |
It's like a reflex, I can't stop it. | 0:13:00 | 0:13:03 | |
Coat. | 0:13:12 | 0:13:14 | |
I don't have a coat. | 0:13:14 | 0:13:15 | |
Yes, what I just noticed. I wonder why. | 0:13:15 | 0:13:18 | |
Who are you talking to? | 0:13:18 | 0:13:20 | |
Piss off! | 0:13:20 | 0:13:21 | |
So what do you think? | 0:13:23 | 0:13:24 | |
-Of what? -My case. | 0:13:24 | 0:13:26 | |
Oh, it's way too weird for me. Go to the police, | 0:13:26 | 0:13:28 | |
they're really excellent at dealing with this complicated sort of stuff. | 0:13:28 | 0:13:31 | |
Tell them I sent you - that ought to get a reaction. Night-night. | 0:13:31 | 0:13:34 | |
SLOWED-DOWN WHOOSH | 0:13:34 | 0:13:35 | |
Please... I have no-one else to turn to. | 0:13:51 | 0:13:54 | |
Yes, well, I'm very busy at the moment, | 0:13:54 | 0:13:56 | |
I have to drink a cup of tea. | 0:13:56 | 0:13:58 | |
Is "cup of tea"...code? | 0:14:01 | 0:14:04 | |
It's a cup of tea. | 0:14:04 | 0:14:05 | |
Because you might prefer some "coffee". | 0:14:05 | 0:14:08 | |
You're my last hope. | 0:14:10 | 0:14:12 | |
Really? That's bad luck, isn't it? Goodnight, go away. | 0:14:12 | 0:14:15 | |
What's bad luck? | 0:14:16 | 0:14:18 | |
Stop talking, it makes me aware of your existence. | 0:14:18 | 0:14:21 | |
I've always had bad luck. It's congenital. | 0:14:21 | 0:14:24 | |
Handbag! | 0:14:24 | 0:14:25 | |
That's not rude. Congenital. It just means... | 0:14:25 | 0:14:27 | |
Handbag! | 0:14:27 | 0:14:29 | |
Stop! Wait! Your life is not your own! | 0:14:30 | 0:14:33 | |
Keep your hands off it, do you hear me? | 0:14:33 | 0:14:34 | |
Off it. Off it. | 0:14:34 | 0:14:37 | |
Sorry? What? What are you talking about? | 0:14:37 | 0:14:41 | |
-Your skirt. -My skirt? | 0:14:41 | 0:14:43 | |
Look at the hem of it, that's what I noticed. | 0:14:43 | 0:14:45 | |
Sorry, I'm still catching up with my brain. It's terribly fast. | 0:14:45 | 0:14:48 | |
Those markings, you see them? | 0:14:48 | 0:14:50 | |
You only get marks like that by trapping the hem of your skirt | 0:14:50 | 0:14:52 | |
in a car door, but they're on the left-hand side, | 0:14:52 | 0:14:54 | |
so you weren't driving, you were in the passenger seat. | 0:14:54 | 0:14:56 | |
I came in a taxi. | 0:14:56 | 0:14:58 | |
There is no taxi waiting in the street outside, | 0:14:58 | 0:14:59 | |
that's what I checked when I went to the window. | 0:14:59 | 0:15:02 | |
And you've got all the way to the door | 0:15:02 | 0:15:03 | |
and not made any move to phone for one. | 0:15:03 | 0:15:05 | |
And look at you. | 0:15:05 | 0:15:06 | |
You didn't even bring a coat, in this rain? | 0:15:06 | 0:15:08 | |
Now, all that might mean nothing, | 0:15:08 | 0:15:10 | |
except with the angle of the scars on your left forearm, | 0:15:10 | 0:15:14 | |
you know, under that sleeve you keep pulling down. | 0:15:14 | 0:15:16 | |
You never saw them. | 0:15:16 | 0:15:17 | |
No, I didn't, so thank you for confirming my hypothesis. | 0:15:17 | 0:15:20 | |
I don't really need to check | 0:15:20 | 0:15:22 | |
-that the angle is consistent with self-harm, do I? -No. | 0:15:22 | 0:15:24 | |
Then you can keep your scars. | 0:15:24 | 0:15:26 | |
I want to see your handbag. | 0:15:26 | 0:15:28 | |
Why? | 0:15:28 | 0:15:30 | |
It's too heavy. | 0:15:30 | 0:15:31 | |
You said I was your last hope and now you are going out into the night | 0:15:31 | 0:15:34 | |
with no plan on how you're getting home... | 0:15:34 | 0:15:36 | |
..and a gun. | 0:15:37 | 0:15:39 | |
-Chips. -Chips? | 0:15:45 | 0:15:47 | |
You're suicidal, you're allowed chips. | 0:15:47 | 0:15:49 | |
Trust me, it's about the only perk. | 0:15:49 | 0:15:51 | |
Sherlock? Are you going out? | 0:15:57 | 0:16:00 | |
I think I remember the way, it's through there, isn't it? | 0:16:00 | 0:16:03 | |
But you're in no state, look at you! | 0:16:03 | 0:16:06 | |
Yeah, well, I've got a friend with me, so... | 0:16:06 | 0:16:08 | |
What friend? | 0:16:08 | 0:16:09 | |
Bye. | 0:16:09 | 0:16:10 | |
Oh! | 0:16:12 | 0:16:13 | |
Come on. | 0:16:17 | 0:16:18 | |
I'm Culverton Smith, and this election year, I'll be voting... | 0:16:18 | 0:16:23 | |
For God's sake! I was talking to the Prime Minister. | 0:16:24 | 0:16:27 | |
I'm sorry, Mr Holmes, it's your brother. He's left his flat. | 0:16:27 | 0:16:31 | |
Was it on fire? | 0:16:31 | 0:16:34 | |
SIZZLING | 0:16:34 | 0:16:35 | |
'Even when I'm on the road, I still like quality food.' | 0:16:35 | 0:16:39 | |
You see the fold in the middle? | 0:16:43 | 0:16:45 | |
For the first few months you kept this hidden, folded inside a book. | 0:16:45 | 0:16:48 | |
It must have been a tightly packed shelf, | 0:16:48 | 0:16:50 | |
going by the severity of the crease. | 0:16:50 | 0:16:52 | |
So obviously you were keeping it hidden | 0:16:52 | 0:16:54 | |
from someone living in the same house at a level of intimacy | 0:16:54 | 0:16:56 | |
where privacy could not be assumed. Conclusion - relationship. | 0:16:56 | 0:17:00 | |
Not any more, though. | 0:17:00 | 0:17:01 | |
There's a pinprick at the top of the paper. | 0:17:01 | 0:17:04 | |
For the past few months it's been on open display on a wall. | 0:17:04 | 0:17:06 | |
Conclusion? Relationship is over. | 0:17:06 | 0:17:09 | |
The paper's been exposed to steam in a variety of cooking smells, | 0:17:09 | 0:17:11 | |
so it must have been on display in the kitchen. | 0:17:11 | 0:17:13 | |
A lot of different spices, you're suicidal, | 0:17:15 | 0:17:18 | |
alone and strapped for cash, yet you're still cooking to impress. | 0:17:18 | 0:17:22 | |
You're keen, then. | 0:17:22 | 0:17:24 | |
The kitchen is the most public room in any house. | 0:17:24 | 0:17:27 | |
And since any visitor could be expected to ask about | 0:17:27 | 0:17:30 | |
a note like this, I have to assume you don't have any. | 0:17:30 | 0:17:33 | |
You've isolated yourself. | 0:17:34 | 0:17:35 | |
Amazing. | 0:17:37 | 0:17:38 | |
I know. | 0:17:38 | 0:17:39 | |
I meant the chips. | 0:17:41 | 0:17:42 | |
Hmm. | 0:17:47 | 0:17:49 | |
HELICOPTER WHIRS | 0:17:49 | 0:17:50 | |
Let's go for a walk. | 0:17:54 | 0:17:56 | |
PHONE BUZZES | 0:18:02 | 0:18:03 | |
-You should answer it. -It's Mycroft. -Might be about Sherlock. | 0:18:04 | 0:18:09 | |
Of course it's about Sherlock. Everything's about Sherlock. | 0:18:09 | 0:18:11 | |
'How did you know my kitchen was tiny?' | 0:18:11 | 0:18:13 | |
Well, look, the fading pattern on the paper, it's not much, | 0:18:13 | 0:18:16 | |
but it's enough to know your kitchen window faces east. | 0:18:16 | 0:18:18 | |
Now, kitchen noticeboards. | 0:18:18 | 0:18:20 | |
By instinct, you place them at eye level, where there's natural light. | 0:18:21 | 0:18:26 | |
Now look, the sun's only struck the bottom two thirds, | 0:18:26 | 0:18:30 | |
but the line is straight, | 0:18:30 | 0:18:32 | |
so that means we know the paper is facing the window. | 0:18:32 | 0:18:35 | |
But, because the top section is unaffected, | 0:18:38 | 0:18:41 | |
we know the sunlight can only be entering the room at a steep angle. | 0:18:41 | 0:18:45 | |
If the sunlight was able to penetrate the room | 0:18:45 | 0:18:49 | |
when the sun was lower in the sky, | 0:18:49 | 0:18:51 | |
then the paper would be equally faded, top to bottom. | 0:18:51 | 0:18:54 | |
But no - it only makes it when the sun is at its zenith, | 0:18:54 | 0:18:57 | |
so I'm betting that you live in a narrow street on the ground floor. | 0:18:57 | 0:19:02 | |
Now, if steeply angled sunlight manages to hit eye level | 0:19:04 | 0:19:08 | |
on the wall opposite the window, then what do we know about the room? | 0:19:08 | 0:19:11 | |
The room's small. | 0:19:18 | 0:19:19 | |
HELICOPTER WHIRS | 0:19:19 | 0:19:21 | |
Oh, Big Brother is watching you! | 0:19:21 | 0:19:22 | |
Literally. | 0:19:22 | 0:19:23 | |
We can keep tabs. You didn't have to come in. | 0:19:24 | 0:19:28 | |
I was talking to the Prime Minister. | 0:19:28 | 0:19:30 | |
Oh, I see. | 0:19:30 | 0:19:32 | |
What's he doing? | 0:19:32 | 0:19:34 | |
Why is he just wandering about like a fool? | 0:19:34 | 0:19:36 | |
She died, Mycroft. He's probably still in shock. | 0:19:36 | 0:19:40 | |
Everybody dies. | 0:19:40 | 0:19:42 | |
It's the one thing human beings can be relied upon to do. | 0:19:42 | 0:19:45 | |
How can it still come as a surprise to people? | 0:19:45 | 0:19:47 | |
You sound cross. | 0:19:47 | 0:19:49 | |
Am I going to be taken away by security again? | 0:19:49 | 0:19:52 | |
I have, I think, apologised extensively. | 0:19:52 | 0:19:55 | |
You haven't made it up to me. | 0:19:55 | 0:19:57 | |
And how am I supposed to do that? | 0:19:57 | 0:19:58 | |
-Sex. -I'm sorry? | 0:19:58 | 0:20:00 | |
Sex. How did you know I wasn't getting any? | 0:20:00 | 0:20:06 | |
It's all about the blood. | 0:20:06 | 0:20:07 | |
This one comes from the very first night. | 0:20:07 | 0:20:09 | |
You can see the pen marks over it. | 0:20:09 | 0:20:11 | |
I think you discovered that pain stimulated your memory, | 0:20:11 | 0:20:13 | |
so you tried it again later. | 0:20:13 | 0:20:15 | |
I'm no expert, but I assume that since your lover failed to notice | 0:20:15 | 0:20:18 | |
an increasing number of scars over a period of months, | 0:20:18 | 0:20:21 | |
that the relationship was no longer intimate. | 0:20:21 | 0:20:23 | |
How do you know he didn't notice? | 0:20:23 | 0:20:25 | |
-Oh, well, cos he would have done something about it. -Would he? | 0:20:25 | 0:20:28 | |
Wouldn't he? Isn't that what you people do? | 0:20:28 | 0:20:30 | |
-Well, that's interesting. -What is? | 0:20:30 | 0:20:32 | |
-The way you think. -Superbly? -Sweetly. | 0:20:32 | 0:20:35 | |
I'm not sweet, I'm just high. This way. | 0:20:35 | 0:20:38 | |
-Well, we just came that way. -I know, it's a plan. | 0:20:38 | 0:20:41 | |
What plan? | 0:20:41 | 0:20:43 | |
What is it? What... What now? | 0:20:43 | 0:20:45 | |
Sorry, um, traced his route on the map. | 0:20:45 | 0:20:48 | |
HE SIGHS | 0:20:52 | 0:20:53 | |
Is he with someone? | 0:20:55 | 0:20:56 | |
Not sure. We keep losing visual. | 0:20:56 | 0:20:58 | |
Mostly we're tracking his phone. | 0:20:58 | 0:21:00 | |
Don't call us, we'll call... | 0:21:00 | 0:21:03 | |
I'm trying to sleep, can you stop ringing my damn phone? | 0:21:03 | 0:21:05 | |
'Sherlock has left his flat, first time in a week.' | 0:21:05 | 0:21:08 | |
-So I'm having him tracked. -'Nice.' | 0:21:08 | 0:21:10 | |
It's very touching how you can hijack the machinery | 0:21:10 | 0:21:12 | |
of the state to look after your own family. | 0:21:12 | 0:21:14 | |
Can I go to sleep now? | 0:21:14 | 0:21:16 | |
Sherlock gone rogue is a legitimate security concern. | 0:21:16 | 0:21:18 | |
The fact that I'm his brother changes absolutely nothing. | 0:21:18 | 0:21:21 | |
It didn't the last time, and I assure you, it won't with... | 0:21:21 | 0:21:24 | |
..with Sherlock. | 0:21:28 | 0:21:29 | |
Sorry, what? | 0:21:30 | 0:21:31 | |
'Please phone me if he gets in contact, thank you.' | 0:21:31 | 0:21:34 | |
Do you still speak to Sherrinford? | 0:21:36 | 0:21:39 | |
I get regular updates. | 0:21:39 | 0:21:41 | |
And? | 0:21:41 | 0:21:43 | |
Sherrinford is secure. | 0:21:43 | 0:21:45 | |
Are we going to walk all night? | 0:21:45 | 0:21:47 | |
Possibly. It's a long word. | 0:21:47 | 0:21:50 | |
What is? | 0:21:50 | 0:21:51 | |
"Bollocks". | 0:21:51 | 0:21:53 | |
Culverton Smith, all this charity work, | 0:21:56 | 0:21:59 | |
what's in it for you? | 0:21:59 | 0:22:01 | |
We must be careful not to burn our bridges. | 0:22:01 | 0:22:05 | |
Do you know why I'm going to take your case? | 0:22:06 | 0:22:09 | |
Because of the one impossible thing you said. | 0:22:09 | 0:22:12 | |
What impossible thing? | 0:22:12 | 0:22:13 | |
You said your life turned on one word. | 0:22:13 | 0:22:16 | |
Yes. The name of the person my father wanted to kill. | 0:22:16 | 0:22:20 | |
That's the impossible thing. Just that, right there. | 0:22:20 | 0:22:22 | |
What's impossible? | 0:22:22 | 0:22:23 | |
Names are not one word. They're always at least two. | 0:22:23 | 0:22:26 | |
Sherlock Holmes. Faith Smith. Santa Claus. Winston Churchill. | 0:22:26 | 0:22:30 | |
Napoleon Bonaparte... Actually, just Napoleon would do. | 0:22:30 | 0:22:33 | |
Or Elvis. | 0:22:33 | 0:22:35 | |
Well, I think we can rule both of them out as targets. | 0:22:35 | 0:22:37 | |
OK, I got it wrong, then. | 0:22:37 | 0:22:39 | |
It wasn't on one word, it can't have been. | 0:22:39 | 0:22:41 | |
And you remember quite distinctly | 0:22:41 | 0:22:43 | |
that your whole life turned on one word. | 0:22:43 | 0:22:45 | |
So that happened, I don't doubt it, but how can that word be a name? | 0:22:45 | 0:22:48 | |
A name you instantly recognised that tore your world apart? | 0:22:48 | 0:22:51 | |
-OK, well, how? -No idea...yet. | 0:22:51 | 0:22:54 | |
But I don't work for free. | 0:22:55 | 0:22:57 | |
-You take cash? -Not cash, no. | 0:23:00 | 0:23:03 | |
Taking your own life. Interesting expression - taking it from who? | 0:23:21 | 0:23:26 | |
Once it's over, it's not you who'll miss it. | 0:23:26 | 0:23:31 | |
GUNSHOT | 0:23:31 | 0:23:32 | |
Your own death is something that happens to everybody else. | 0:23:35 | 0:23:38 | |
Your life is not your own. Keep your hands off it. | 0:23:38 | 0:23:42 | |
You're not what I expected, you... | 0:23:46 | 0:23:48 | |
HE GROANS | 0:23:49 | 0:23:50 | |
-What? What am I? -Nicer. | 0:23:51 | 0:23:54 | |
Than who? | 0:23:54 | 0:23:57 | |
-Anyone. -HE WAILS | 0:23:57 | 0:23:59 | |
-CHILD SINGS: -# My little master | 0:24:01 | 0:24:03 | |
# Who will find me... # | 0:24:03 | 0:24:06 | |
Sorry, I... | 0:24:08 | 0:24:09 | |
Faith? | 0:24:12 | 0:24:13 | |
Faith? | 0:24:14 | 0:24:15 | |
ECHOING: 'You said your life turned on one word. | 0:24:26 | 0:24:29 | |
'A name can't be one word. | 0:24:29 | 0:24:31 | |
'If you were to come round asking after him | 0:24:31 | 0:24:33 | |
'that he'd rather have anyone but you. Anyone. | 0:24:33 | 0:24:36 | |
'You're not what I expected. | 0:24:36 | 0:24:39 | |
-'What? What am I? -Nicer. | 0:24:39 | 0:24:42 | |
-'Than who? -Anyone. | 0:24:42 | 0:24:44 | |
'Don't think anyone else is going to save him, | 0:24:44 | 0:24:46 | |
'because there isn't anyone.' | 0:24:46 | 0:24:48 | |
-'Anyone. -Anyone. -Anyone. -Anyone. -Anyone. -Anyone.' | 0:24:48 | 0:24:50 | |
I have a situation that needs to be managed. | 0:24:53 | 0:24:56 | |
There's only one way that I can solve it. | 0:25:00 | 0:25:03 | |
And what's that? | 0:25:03 | 0:25:06 | |
-I need to kill someone. -Who? -Who? | 0:25:09 | 0:25:14 | |
Anyone! | 0:25:16 | 0:25:17 | |
Of course! He doesn't want to kill one person, he wants to kill anyone. | 0:25:19 | 0:25:24 | |
He's a serial killer. | 0:25:24 | 0:25:27 | |
Anyone. | 0:25:27 | 0:25:28 | |
-He could be! -Anyone! | 0:25:28 | 0:25:31 | |
Why not? Why shouldn't he be? | 0:25:31 | 0:25:34 | |
-HORNS BEEP -Oi, you! | 0:25:38 | 0:25:39 | |
What's the matter with you?! | 0:25:39 | 0:25:42 | |
'Anyone!' | 0:25:42 | 0:25:44 | |
-Do you know where you are? -Are you drunk? | 0:25:44 | 0:25:47 | |
Shezzer. | 0:25:47 | 0:25:48 | |
What are you doing here? | 0:25:49 | 0:25:50 | |
What were you doing in the middle of a bloody street? | 0:25:50 | 0:25:52 | |
You should be at Baker Street. | 0:25:52 | 0:25:54 | |
I am. So are you. | 0:25:54 | 0:25:56 | |
They found your address, they brought you here. | 0:26:00 | 0:26:02 | |
You've had too much. And that's me saying that! | 0:26:02 | 0:26:07 | |
Kill. | 0:26:09 | 0:26:10 | |
Kill. | 0:26:13 | 0:26:15 | |
-Anyone. -Anyone. | 0:26:22 | 0:26:23 | |
They're always poor and lonely and strange. | 0:26:23 | 0:26:27 | |
But those are only the ones we catch. | 0:26:28 | 0:26:30 | |
Who do we catch? | 0:26:30 | 0:26:32 | |
Serial killers. | 0:26:32 | 0:26:33 | |
What if you were rich and... | 0:26:35 | 0:26:36 | |
powerful and necessary? | 0:26:36 | 0:26:38 | |
Anyone. | 0:26:38 | 0:26:40 | |
What if you had the compulsion to kill and money? What then?! | 0:26:41 | 0:26:46 | |
MUSIC: Symphony No.9 (Ode To Joy) by Beethoven | 0:26:56 | 0:26:59 | |
SIREN WAILS | 0:26:59 | 0:27:01 | |
MUSIC INTENSIFIES | 0:27:12 | 0:27:14 | |
Well, now, won't you introduce me? | 0:27:33 | 0:27:37 | |
SHE SIGHS | 0:27:42 | 0:27:43 | |
Right, you there! Stop right where you are! | 0:27:43 | 0:27:46 | |
-What? Oh, John... -Mrs Hudson... | 0:27:46 | 0:27:49 | |
Do you have any idea what speed you were going at? | 0:27:49 | 0:27:51 | |
No, of course not! I was on the phone. | 0:27:51 | 0:27:53 | |
-Oh, it's for you, by the way. -For me? | 0:27:53 | 0:27:55 | |
-It's the Government. -The what? | 0:27:55 | 0:27:57 | |
-What's going on? What's wrong? -Hello? | 0:27:57 | 0:27:59 | |
-Look at the state of you... -'My name is Mycroft Holmes. | 0:27:59 | 0:28:01 | |
'I am speaking to you from the Cabinet Office.' | 0:28:01 | 0:28:03 | |
What's happened? | 0:28:03 | 0:28:04 | |
It's Sherlock! | 0:28:04 | 0:28:06 | |
You've no idea what I've been through! | 0:28:06 | 0:28:09 | |
Argh! Right! Argh! | 0:28:09 | 0:28:12 | |
Away! CLATTERING | 0:28:12 | 0:28:15 | |
-I'm out of here! He's lost it. -Where is it?! | 0:28:15 | 0:28:17 | |
-He's totally gone! -Aah! | 0:28:17 | 0:28:20 | |
Once more unto the breach, dear friends! Once more! | 0:28:20 | 0:28:23 | |
Or close the wall up with our English dead! | 0:28:24 | 0:28:27 | |
Set the teeth and stretch the nostril wide! | 0:28:27 | 0:28:30 | |
Hold hard the breath and build up every spirit to his full height! On! | 0:28:30 | 0:28:35 | |
On, you noblest English | 0:28:35 | 0:28:36 | |
Whose blood is fet from fathers of war-proof! | 0:28:36 | 0:28:39 | |
And you, good yeoman, | 0:28:39 | 0:28:40 | |
Whose limbs were made in England, | 0:28:40 | 0:28:42 | |
Show us here | 0:28:42 | 0:28:43 | |
The mettle of your pasture | 0:28:43 | 0:28:45 | |
Which I doubt not | 0:28:45 | 0:28:46 | |
For there is none of you here so mean and base | 0:28:46 | 0:28:48 | |
That hath not noble lustre in your eyes! | 0:28:48 | 0:28:50 | |
I see you standing like greyhounds in the slips, | 0:28:50 | 0:28:54 | |
Straining upon the start! | 0:28:54 | 0:28:55 | |
The game's afoot. | 0:29:01 | 0:29:02 | |
Oh, hello. | 0:29:05 | 0:29:07 | |
Can I have a cup of tea? | 0:29:07 | 0:29:09 | |
Did you call the police? | 0:29:09 | 0:29:11 | |
Of course I didn't call the police, I'm not a civilian! | 0:29:11 | 0:29:14 | |
These pictures, they're that man on the telly, aren't they? | 0:29:14 | 0:29:19 | |
-What pictures? -They're everywhere. | 0:29:19 | 0:29:21 | |
Oh, these pictures?! Oh, you can see them too? That's good. | 0:29:21 | 0:29:24 | |
Culverton Smith. This, I think, is relevant, from this morning. | 0:29:32 | 0:29:35 | |
He's publicly accused Mr Smith of being a serial killer. | 0:29:35 | 0:29:39 | |
Christ! Sherlock on Twitter, he really has lost it. | 0:29:39 | 0:29:42 | |
Don't you dare make jokes! Don't you dare! | 0:29:42 | 0:29:44 | |
I was terrified! | 0:29:44 | 0:29:46 | |
Cup of tea! Oh, for goodness' sakes! | 0:29:46 | 0:29:49 | |
What's the matter with you?! | 0:29:49 | 0:29:50 | |
Are you having an earthquake?! | 0:29:50 | 0:29:52 | |
-You need to see him, John, you need to help him! -No. -He needs you! | 0:29:59 | 0:30:03 | |
Somebody else! Not me, not now. | 0:30:03 | 0:30:06 | |
Now, you just listen to me, for once in your stupid life! | 0:30:06 | 0:30:08 | |
I know Mary's dead and I know your heart is broken, | 0:30:08 | 0:30:11 | |
but if Sherlock Holmes dies too, who will you have then? | 0:30:11 | 0:30:14 | |
Because I'll tell you something, John Watson, you will not have me! | 0:30:14 | 0:30:18 | |
MRS HUDSON CRIES | 0:30:26 | 0:30:29 | |
Have you spoken to Mycroft? Molly? Anyone? | 0:30:37 | 0:30:40 | |
They don't matter, you do. Would you just see him? Please, John. | 0:30:40 | 0:30:45 | |
Or just take a look at him as a doctor. | 0:30:45 | 0:30:48 | |
I know you'd change your mind if you did. | 0:30:48 | 0:30:50 | |
Yeah, look, OK, maybe, if I get a chance. | 0:30:50 | 0:30:53 | |
Do you promise? | 0:30:53 | 0:30:54 | |
I'll try, if I'm in the area. | 0:30:54 | 0:30:56 | |
Promise me? | 0:30:56 | 0:30:58 | |
-I promise. -Thank you. | 0:30:58 | 0:31:00 | |
Well, on you go. Examine him. | 0:31:08 | 0:31:13 | |
Right then, mister! Now, I need your handcuffs. | 0:31:39 | 0:31:43 | |
I happen to know there's a pair in the salad drawer. | 0:31:43 | 0:31:46 | |
I've borrowed them before. | 0:31:46 | 0:31:48 | |
Oh, get over yourself! You're not my first smackhead, Sherlock Holmes! | 0:31:48 | 0:31:52 | |
Woman's out of control! I asked for a cup of tea! | 0:31:54 | 0:31:57 | |
-How did you get him in the boot? -The boys from the cafe. | 0:31:57 | 0:31:59 | |
They dropped me! Twice! | 0:31:59 | 0:32:01 | |
And do you know why they dropped you, dear? | 0:32:01 | 0:32:03 | |
Because they know you. | 0:32:03 | 0:32:04 | |
Who's this one? Is this a new person? | 0:32:05 | 0:32:07 | |
-I'm against new people. -Excuse me for a moment. | 0:32:07 | 0:32:10 | |
She's my therapist. | 0:32:10 | 0:32:12 | |
Awesome! Do you do block bookings? | 0:32:12 | 0:32:14 | |
-Whose car is that? -That's my car. | 0:32:14 | 0:32:16 | |
How can that be your car?! | 0:32:16 | 0:32:17 | |
Oh, for God's sake! | 0:32:17 | 0:32:18 | |
I'm the widow of a drug dealer, I own property in central London, | 0:32:18 | 0:32:21 | |
and for the last bloody time, John, I'm not your housekeeper! | 0:32:21 | 0:32:26 | |
I'm so sorry, I answered your phone, you were busy. | 0:32:26 | 0:32:29 | |
I think you'll want to take it. | 0:32:29 | 0:32:30 | |
Yes, hello? | 0:32:30 | 0:32:32 | |
Is this Dr John Watson? | 0:32:32 | 0:32:33 | |
Yeah, who's this? | 0:32:33 | 0:32:34 | |
Culverton Smith. You've probably heard of me. | 0:32:36 | 0:32:39 | |
Um, well, yes. | 0:32:39 | 0:32:40 | |
Get me a fresh glass of water, please, this one's filthy. | 0:32:40 | 0:32:43 | |
'I mean, I'm aware of this morning's developments.' | 0:32:43 | 0:32:47 | |
Yes, I'm sure he was being hilarious. | 0:32:48 | 0:32:50 | |
Sorry, did you say "all still meeting"? | 0:32:50 | 0:32:52 | |
'You, me and Mr Holmes.' | 0:32:52 | 0:32:54 | |
I've sent a car, should be outside. | 0:32:54 | 0:32:56 | |
Mr Holmes gave me an address. | 0:32:56 | 0:32:58 | |
Well, he couldn't have given you this one... | 0:32:58 | 0:33:00 | |
DOORBELL RINGS | 0:33:00 | 0:33:01 | |
When you're ready. | 0:33:04 | 0:33:06 | |
-When did Sherlock give you this address? -Two weeks ago. -Two weeks? | 0:33:11 | 0:33:15 | |
'Yes, two weeks.' | 0:33:15 | 0:33:17 | |
PHONE CALL ENDS | 0:33:17 | 0:33:19 | |
How did you know where to find me? | 0:33:19 | 0:33:21 | |
Oh, Sherlock told me. | 0:33:21 | 0:33:22 | |
He's not so difficult when you've got a gun on him. | 0:33:22 | 0:33:25 | |
How did you know?! How? On Monday, I decided to get a new therapist. | 0:33:28 | 0:33:32 | |
Tuesday afternoon, I chose her. | 0:33:32 | 0:33:34 | |
Wednesday morning, I booked today's session. | 0:33:34 | 0:33:36 | |
Now, today is Friday. So two weeks ago, | 0:33:36 | 0:33:38 | |
two weeks before you were abducted at gunpoint | 0:33:38 | 0:33:41 | |
and brought here against your will, | 0:33:41 | 0:33:42 | |
over a week before I even thought of coming here, | 0:33:42 | 0:33:45 | |
you knew exactly where you'd need to be picked up for lunch?! | 0:33:45 | 0:33:47 | |
Really? I correctly anticipated | 0:33:49 | 0:33:51 | |
the responses of people I know well to scenarios I devised. | 0:33:51 | 0:33:54 | |
-Can't everyone do that? -How? | 0:33:54 | 0:33:56 | |
Except the boot. The boot was mean! | 0:33:56 | 0:33:58 | |
Never mind how, he's dying to tell us that. | 0:33:58 | 0:34:00 | |
I want to know why? | 0:34:00 | 0:34:01 | |
Because Mrs Hudson's right. I'm burning up. | 0:34:01 | 0:34:05 | |
I'm at the bottom of a pit and I'm still falling, | 0:34:05 | 0:34:08 | |
and I'm never climbing out. | 0:34:08 | 0:34:10 | |
I need you to know, John. | 0:34:12 | 0:34:14 | |
I need you to see that up here, I've still got it. | 0:34:14 | 0:34:17 | |
So, when I tell you that this is the most dangerous, | 0:34:17 | 0:34:19 | |
the most despicable human being that I have ever encountered, | 0:34:19 | 0:34:23 | |
when I tell you that this, this monster must be ended, | 0:34:23 | 0:34:26 | |
please remember where you are standing, because you're standing | 0:34:26 | 0:34:29 | |
exactly where I said you would be two weeks ago. | 0:34:29 | 0:34:32 | |
I'm a mess, I'm in hell, but I am not wrong, not about him. | 0:34:33 | 0:34:39 | |
So, what has all this got to do with me? | 0:34:39 | 0:34:41 | |
That creature, that rotting thing | 0:34:41 | 0:34:44 | |
is a living, breathing coagulation of human evil. | 0:34:44 | 0:34:47 | |
And if the only thing I ever do in this world is drive him out of it, | 0:34:47 | 0:34:50 | |
then my life will not have been wasted. | 0:34:50 | 0:34:51 | |
Look at me! | 0:34:54 | 0:34:57 | |
Can't do it, not now. | 0:34:57 | 0:34:58 | |
Not alone. | 0:34:59 | 0:35:00 | |
All right. | 0:35:02 | 0:35:04 | |
Yeah, well, they're real enough, I suppose. | 0:35:11 | 0:35:13 | |
-Why would I be faking? -Because you're a liar! | 0:35:13 | 0:35:15 | |
You lie all the time, it's like your mission! | 0:35:15 | 0:35:17 | |
I have been many things, John, but when have I ever been a malingerer?! | 0:35:17 | 0:35:20 | |
You pretended to be dead for two years! | 0:35:20 | 0:35:22 | |
-Apart from that! -Listen, before I do anything, | 0:35:22 | 0:35:24 | |
I need to know what state you're in. | 0:35:24 | 0:35:26 | |
Well, you're a doctor, examine me. | 0:35:26 | 0:35:27 | |
No, I need a second opinion. | 0:35:27 | 0:35:29 | |
Oh, John, calm down. When have you ever managed two opinions? | 0:35:29 | 0:35:32 | |
You'd fall over. | 0:35:32 | 0:35:34 | |
I need the one person who, | 0:35:34 | 0:35:35 | |
unlike me, learned to see through your bullshit long ago. | 0:35:35 | 0:35:38 | |
Who's that, then? I'm sure I would have noticed. | 0:35:38 | 0:35:40 | |
The last person you'd think of. | 0:35:40 | 0:35:42 | |
I want you to be examined by Molly Hooper. | 0:35:42 | 0:35:45 | |
Do you hear me? I said Molly Hooper. | 0:35:45 | 0:35:47 | |
You're really not going to like this. | 0:35:47 | 0:35:50 | |
-Like what? -DOORBELL RINGS | 0:35:50 | 0:35:52 | |
Um, hello. Is, er... I'm sorry, Sherlock asked me to come. | 0:35:56 | 0:36:01 | |
-What, two weeks ago? -Yeah, about two weeks. | 0:36:01 | 0:36:03 | |
If you'd like to know how I predict the future... | 0:36:03 | 0:36:05 | |
-No, I don't care how! -OK, a fully equipped ambulance, | 0:36:05 | 0:36:08 | |
Molly can examine me on the way, it'll save time. | 0:36:08 | 0:36:10 | |
-Ready to go, Molly? -Um, well... | 0:36:10 | 0:36:11 | |
Just tell me when to cough. | 0:36:11 | 0:36:12 | |
I hope you remembered my coat. | 0:36:12 | 0:36:14 | |
I'm sorry, I didn't know that you were going to be here. | 0:36:14 | 0:36:17 | |
Absolutely no idea what's going on. | 0:36:17 | 0:36:19 | |
Sherlock's using again. | 0:36:19 | 0:36:21 | |
Oh, God! Um, are...are you sure? | 0:36:21 | 0:36:24 | |
No, it's Sherlock, of course I'm not sure! Check him out. | 0:36:24 | 0:36:27 | |
Is Molly the right person to be doing medicals? | 0:36:31 | 0:36:34 | |
She's more used to dead people. | 0:36:34 | 0:36:36 | |
It's bound to lower your standards. | 0:36:36 | 0:36:39 | |
I don't know. Yeah, I don't know anything any more. | 0:36:39 | 0:36:42 | |
-Mrs Hudson, as ever, you are amazing. -No. | 0:36:42 | 0:36:45 | |
You're going to have to buck up a bit, John, you know that, don't you? | 0:36:45 | 0:36:48 | |
The game is on. | 0:36:48 | 0:36:50 | |
I'll do my best. | 0:36:50 | 0:36:51 | |
Anything you need, any time, just ask, anything at all. | 0:36:51 | 0:36:55 | |
Thank you. | 0:36:55 | 0:36:56 | |
Er, sometimes, can I borrow your car? | 0:37:02 | 0:37:05 | |
-No. -OK. | 0:37:05 | 0:37:07 | |
He knew you'd get a new therapist after I died, | 0:37:12 | 0:37:15 | |
because you'd need to change everything. | 0:37:15 | 0:37:17 | |
That's just what you're like. | 0:37:17 | 0:37:19 | |
Thanks. | 0:37:23 | 0:37:25 | |
You keep your weekends for Rosie, | 0:37:25 | 0:37:26 | |
so you needed to see someone during working hours. | 0:37:26 | 0:37:28 | |
Because you're an idiot, | 0:37:28 | 0:37:29 | |
you don't want anyone at the surgery knowing you're in therapy, | 0:37:29 | 0:37:32 | |
so that restricts you to lunchtime sessions, | 0:37:32 | 0:37:33 | |
with someone reasonably close. | 0:37:33 | 0:37:36 | |
You found four men and one woman. | 0:37:36 | 0:37:38 | |
And you are done with the world being explained to you by a man. | 0:37:38 | 0:37:42 | |
Well, who isn't? So all he needed to do | 0:37:42 | 0:37:45 | |
was find the first available lunchtime appointment | 0:37:45 | 0:37:48 | |
with a female therapist within cycling distance of your surgery. | 0:37:48 | 0:37:50 | |
My God, he knows you! | 0:37:50 | 0:37:52 | |
No, he doesn't. | 0:37:52 | 0:37:53 | |
I'm in your head, John. You're disagreeing with yourself. | 0:37:53 | 0:37:56 | |
Are you ready, sir? | 0:37:56 | 0:37:57 | |
Yes, I am. | 0:37:57 | 0:37:58 | |
He is the cleverest man in the world, but he's not a monster. | 0:37:58 | 0:38:02 | |
-Yeah, he is. -Yeah, OK, all right, he is. Agh! But he's our monster. | 0:38:02 | 0:38:07 | |
I'm a killer. | 0:38:08 | 0:38:10 | |
You know I'm a killer. | 0:38:14 | 0:38:15 | |
But did you know I'm a s... | 0:38:17 | 0:38:20 | |
-LIGHT BULB EXPLODES -Cut there! What was that? | 0:38:20 | 0:38:22 | |
Was that a light? | 0:38:22 | 0:38:23 | |
Er, was that me? Was I too good? | 0:38:23 | 0:38:27 | |
-Huh? -He's here. | 0:38:27 | 0:38:29 | |
Well, how is he? | 0:38:40 | 0:38:42 | |
Basically fine. | 0:38:42 | 0:38:43 | |
I've seen healthier people on the slab. | 0:38:43 | 0:38:45 | |
Yeah, but to be fair, you work with murder victims. | 0:38:45 | 0:38:47 | |
They tend to be quite young. | 0:38:47 | 0:38:49 | |
-Not funny. -A little bit funny. -If you keep taking | 0:38:49 | 0:38:51 | |
what you're taking at the rate you're taking it, you've got weeks. | 0:38:51 | 0:38:54 | |
Exactly, weeks! Let's not get ahead of ourselves. | 0:38:54 | 0:38:57 | |
For Christ's sake, Sherlock, it's not a game! | 0:38:57 | 0:39:00 | |
I'm worried about you, Molly, you seem very stressed. | 0:39:00 | 0:39:02 | |
-I'm stressed, you're dying! -Yeah, well, I'm ahead, then. | 0:39:02 | 0:39:04 | |
Stress can ruin every day of your life. Dying can only ruin one. | 0:39:04 | 0:39:06 | |
So this is real? You've really lost it? | 0:39:06 | 0:39:08 | |
-You're actually out of control? -When have I ever been that? | 0:39:08 | 0:39:11 | |
-Since the day I met you. -Oh, clever boy. | 0:39:11 | 0:39:13 | |
I've missed you bumbling round the place. | 0:39:13 | 0:39:15 | |
-I thought this was some kind of... -What? -Trick. | 0:39:15 | 0:39:16 | |
This is not a trick, it's a plan. | 0:39:16 | 0:39:18 | |
Mr Holmes! | 0:39:18 | 0:39:19 | |
30 feet and closing, the most significant undetected serial killer | 0:39:21 | 0:39:24 | |
-in British criminal history. Help me bring him down. -What? What plan? | 0:39:24 | 0:39:28 | |
-I'm not telling you. -Why not? -Because you won't like it. | 0:39:28 | 0:39:31 | |
Mr Holmes. | 0:39:31 | 0:39:32 | |
I don't do handshakes. It'll have to be a hug. | 0:39:34 | 0:39:39 | |
I know. | 0:39:39 | 0:39:40 | |
Oh, Sherlock. | 0:39:41 | 0:39:43 | |
Oh, Sherlock, what can I say? | 0:39:45 | 0:39:48 | |
Thanks to you, we're, er... we're everywhere! | 0:39:48 | 0:39:50 | |
Mr Holmes, how did Culverton talk you into this? | 0:39:50 | 0:39:53 | |
Well, he's a detective. Maybe I just confessed. | 0:39:53 | 0:39:57 | |
THEY LAUGH | 0:39:57 | 0:39:58 | |
Come on. | 0:39:59 | 0:40:01 | |
Now, it's a... it's a new kind of breakfast cereal. | 0:40:01 | 0:40:05 | |
Mr Holmes, could you put on the hat? | 0:40:05 | 0:40:07 | |
Yeah, he doesn't really wear the hat. | 0:40:07 | 0:40:08 | |
Kids will be getting two of their five-a-day | 0:40:08 | 0:40:10 | |
before they've even left home. | 0:40:10 | 0:40:12 | |
Sherlock's been amazing for us. | 0:40:14 | 0:40:16 | |
Breakfast has got to be cool. | 0:40:16 | 0:40:18 | |
We're beyond viral. | 0:40:18 | 0:40:19 | |
And you know what makes it cool when you're a kid? | 0:40:19 | 0:40:21 | |
What, sorry, beyond what? | 0:40:21 | 0:40:23 | |
Dangerous! | 0:40:23 | 0:40:24 | |
And action! | 0:40:25 | 0:40:26 | |
I'm a killer. You know I'm a killer. | 0:40:26 | 0:40:29 | |
But did you know | 0:40:33 | 0:40:35 | |
I'm a cereal killer? | 0:40:35 | 0:40:37 | |
Mmm! | 0:40:40 | 0:40:41 | |
And cut there, thank you. | 0:40:43 | 0:40:45 | |
We should bag that up, sell it. Make money for that on eBay. | 0:40:51 | 0:40:55 | |
You can make more if you want, any time you like. | 0:40:55 | 0:40:59 | |
Has it occurred to you, anywhere in your drug-addled brain, | 0:41:01 | 0:41:05 | |
-that you've just been played? -Oh, yes. | 0:41:05 | 0:41:07 | |
-For an ad campaign. -Brilliant, isn't it? -Brilliant? | 0:41:07 | 0:41:11 | |
The safest place to hide. | 0:41:11 | 0:41:13 | |
Plain sight. | 0:41:15 | 0:41:16 | |
Mr Holmes? | 0:41:16 | 0:41:18 | |
Culverton wants to know if you're OK going straight to the hospital? | 0:41:18 | 0:41:21 | |
Hospital? | 0:41:21 | 0:41:22 | |
Culverton's doing a visit. The kids would love to meet you both. | 0:41:22 | 0:41:27 | |
I think he sort of promised. | 0:41:27 | 0:41:29 | |
Oh, OK. | 0:41:29 | 0:41:30 | |
If you'd just like to come this way. | 0:41:32 | 0:41:34 | |
So, what are we doing here? What's the point? | 0:41:38 | 0:41:42 | |
I needed a hug. | 0:41:42 | 0:41:44 | |
What do you think, Mr Holmes? Cereal killer? | 0:41:49 | 0:41:52 | |
It's funny cos it's true! | 0:41:52 | 0:41:54 | |
See you at the hospital. | 0:41:55 | 0:41:57 | |
Oh, you can have this back now. | 0:41:57 | 0:42:00 | |
-Have what back? -Thanks for the hug. | 0:42:03 | 0:42:05 | |
Oh, I sent and deleted a text. | 0:42:06 | 0:42:08 | |
You might get a reply, but I doubt it. | 0:42:08 | 0:42:09 | |
-It's password protected. -Oh, please! | 0:42:11 | 0:42:13 | |
CULVERTON CHUCKLES | 0:42:13 | 0:42:14 | |
We're going to have endless fun, Mr Holmes, aren't we? | 0:42:14 | 0:42:18 | |
Oh, no. No, not endless. | 0:42:18 | 0:42:21 | |
Need another hit, do you? | 0:42:28 | 0:42:30 | |
I can wait until the hospital. | 0:42:30 | 0:42:31 | |
Are you involved much? | 0:42:40 | 0:42:41 | |
Sorry? | 0:42:42 | 0:42:44 | |
Um, with Mr Holmes, Sherlock, in all his cases? | 0:42:44 | 0:42:47 | |
Er, yeah, I'm John Watson. | 0:42:47 | 0:42:49 | |
OK. | 0:42:49 | 0:42:50 | |
Dr Watson. | 0:42:50 | 0:42:51 | |
I love his blog, don't you? | 0:42:51 | 0:42:53 | |
His blog? | 0:42:53 | 0:42:54 | |
-Why, don't you read it? -You mean my blog. | 0:42:54 | 0:42:56 | |
Say what you like about addiction, the day is full of highlights! | 0:42:56 | 0:42:59 | |
-Oh, Mr Holmes, you're feeling better? -Psychedelic! | 0:42:59 | 0:43:02 | |
-I was just saying, I love your blog. -Great, thanks. -It's my blog. | 0:43:02 | 0:43:05 | |
-It is, he writes the blog. -It's yours? -Yes. | 0:43:05 | 0:43:08 | |
You write Sherlock's blog? | 0:43:08 | 0:43:10 | |
Yes. | 0:43:10 | 0:43:11 | |
It's gone downhill a bit, hasn't it? | 0:43:12 | 0:43:15 | |
It's this way, then. | 0:43:15 | 0:43:17 | |
-Oh, my God, I love your blog. -You're welcome. | 0:43:24 | 0:43:27 | |
Right, here he comes, the internet tec. | 0:43:27 | 0:43:30 | |
You all know Sherlock Holmes. | 0:43:30 | 0:43:32 | |
Oh, and Dr Watson, of course. | 0:43:37 | 0:43:40 | |
Mr Holmes, I was wondering, well, we all were, weren't we, | 0:43:43 | 0:43:47 | |
maybe you could tell us about some of your cases? | 0:43:47 | 0:43:51 | |
-No. -Yes. -Yes. Absolutely, yes. | 0:43:51 | 0:43:54 | |
The main feature of interest in the field of criminal investigation | 0:43:54 | 0:43:57 | |
is not the sensational aspects of the crime itself, | 0:43:57 | 0:44:00 | |
but rather the iron chain of reasoning, | 0:44:00 | 0:44:03 | |
from cause to effect, that reveals, step by step, the solution. | 0:44:03 | 0:44:08 | |
That's the only truly remarkable aspect of the entire affair. | 0:44:08 | 0:44:11 | |
Now, I will share with you the facts and evidence as they were | 0:44:11 | 0:44:14 | |
available to me, and in this very room, | 0:44:14 | 0:44:17 | |
you will all attempt to solve the case of Blessington The Poisoner. | 0:44:17 | 0:44:21 | |
I think you slightly gave away the ending. | 0:44:21 | 0:44:23 | |
-There were five main suspects. -One of them called Blessington. | 0:44:23 | 0:44:25 | |
-But it's more about how he did it. -Poison? -OK. | 0:44:25 | 0:44:28 | |
CHILDREN LAUGH | 0:44:28 | 0:44:29 | |
Drearcliff House, remember that one, John? One murder, ten suspects. | 0:44:29 | 0:44:34 | |
-Ten, yeah. -All of them guilty. -Sherlock. | 0:44:34 | 0:44:36 | |
Now, what did you call that one, John? | 0:44:36 | 0:44:39 | |
Um, something to do with murder at the zoo. | 0:44:39 | 0:44:41 | |
Yeah, I called it Murder At The Zoo. | 0:44:41 | 0:44:43 | |
Or was it the case of The Killer Orang-utan? | 0:44:43 | 0:44:46 | |
You should be wearing the hat. The kids would love the hat. | 0:44:48 | 0:44:52 | |
So, any more questions? | 0:44:53 | 0:44:55 | |
-No. -I don't think so. -No? | 0:44:55 | 0:44:57 | |
Mr Holmes? | 0:44:57 | 0:44:58 | |
Good, then I'll... | 0:44:58 | 0:45:00 | |
How do you catch a serial killer? | 0:45:00 | 0:45:02 | |
Same way you catch any other killer. | 0:45:05 | 0:45:07 | |
No. Most killers kill someone they know. | 0:45:07 | 0:45:11 | |
You're looking for a murderer in a tiny social grouping. | 0:45:11 | 0:45:14 | |
Um, Mr Smith, I'm just wondering, | 0:45:14 | 0:45:17 | |
maybe this isn't a suitable subject for the children. | 0:45:17 | 0:45:19 | |
Nurse Cornish, how long have you been with us now? | 0:45:19 | 0:45:23 | |
Seven years. | 0:45:23 | 0:45:24 | |
Seven years. | 0:45:27 | 0:45:28 | |
OK. | 0:45:30 | 0:45:31 | |
Serial killers choose their victims at random. | 0:45:35 | 0:45:38 | |
Surely that must make it more difficult. | 0:45:38 | 0:45:40 | |
Some of them advertise. | 0:45:41 | 0:45:43 | |
Do they really? | 0:45:44 | 0:45:45 | |
Serial killing is an expression of power, ego - | 0:45:45 | 0:45:48 | |
a signature in human destruction. | 0:45:48 | 0:45:52 | |
Ultimately, for full satisfaction, it requires plain sight. | 0:45:53 | 0:45:58 | |
Additionally, serial killers are easily profiled. | 0:45:58 | 0:46:02 | |
They tend to be social outcasts, educationally subnormal. | 0:46:02 | 0:46:05 | |
No, no, no, no, no, no. | 0:46:05 | 0:46:07 | |
You're just talking about the ones you know. The ones you've caught. | 0:46:07 | 0:46:10 | |
But hello, dummy, you only catch the dumb ones. | 0:46:10 | 0:46:13 | |
Now, imagine if the Queen wanted to kill some people, | 0:46:13 | 0:46:19 | |
what would happen then? | 0:46:19 | 0:46:20 | |
All that power, all that money, | 0:46:20 | 0:46:22 | |
sweet little government, dancing attendants. | 0:46:22 | 0:46:25 | |
A whole country just to keep her warm and fat. | 0:46:25 | 0:46:30 | |
Hmm. We all love the Queen, don't we? | 0:46:32 | 0:46:36 | |
And I bet she'd love you lot. | 0:46:36 | 0:46:37 | |
It's all right, everyone, I can personally assure you | 0:46:37 | 0:46:40 | |
that Sherlock Holmes is not about to arrest the Queen. | 0:46:40 | 0:46:42 | |
Well, of course not. Not Her Majesty. | 0:46:42 | 0:46:45 | |
Money, power, fame - some things make you untouchable. | 0:46:45 | 0:46:52 | |
God save the Queen! | 0:46:52 | 0:46:54 | |
She could open a slaughterhouse | 0:46:54 | 0:46:56 | |
and we'd all probably pay the entrance fee. | 0:46:56 | 0:46:57 | |
-No-one's untouchable. -No-one? | 0:46:57 | 0:47:01 | |
Look at you all, so gloomy. Can't you take a joke? | 0:47:04 | 0:47:09 | |
The Queen! | 0:47:10 | 0:47:12 | |
If the Queen was a serial killer, I'd be the first person she'd tell. | 0:47:12 | 0:47:16 | |
We have that kind of friendship. | 0:47:16 | 0:47:18 | |
A big round of applause for Sherlock Holmes and Dr Watson. | 0:47:18 | 0:47:24 | |
Come on. Wonderful. | 0:47:24 | 0:47:26 | |
Thank you so much for coming. Thank you. | 0:47:28 | 0:47:31 | |
Where are we going now? | 0:47:32 | 0:47:33 | |
I want to show you my favourite room. | 0:47:33 | 0:47:36 | |
No, let's go in here. | 0:47:36 | 0:47:38 | |
So you've had another one of your little meetings? | 0:47:41 | 0:47:44 | |
Oh, it's just a monthly top-up. | 0:47:44 | 0:47:46 | |
Confession is good for the soul, providing you can delete it. | 0:47:46 | 0:47:50 | |
What's TD 12? | 0:47:50 | 0:47:51 | |
It's a memory inhibitor. | 0:47:51 | 0:47:53 | |
Bliss. | 0:47:53 | 0:47:55 | |
Bliss? | 0:47:55 | 0:47:56 | |
Opt-in ignorance. It makes the world go round. | 0:47:56 | 0:48:00 | |
Anyone ever opt to remember? | 0:48:00 | 0:48:02 | |
Some people take the drip out, yes. | 0:48:02 | 0:48:04 | |
Some people have the same urges. | 0:48:04 | 0:48:06 | |
Now, come on, wasting time. | 0:48:06 | 0:48:08 | |
Indeed, you have, I estimate, 20 minutes left. | 0:48:08 | 0:48:11 | |
-Sorry? -I sent a text from your phone, remember? | 0:48:12 | 0:48:15 | |
It was read almost immediately. | 0:48:15 | 0:48:16 | |
Factoring in a degree of shock and emotional decision, | 0:48:16 | 0:48:19 | |
and a journey time based on the associated address, | 0:48:19 | 0:48:21 | |
I'd say that your life, as you know it, has 20 minutes left to run. | 0:48:21 | 0:48:24 | |
Well, no, 17½ to be precise, | 0:48:24 | 0:48:27 | |
but I rounded up for dramatic effect. | 0:48:27 | 0:48:28 | |
So, please do show us your favourite room. | 0:48:28 | 0:48:31 | |
It'll give you a chance to say goodbye. | 0:48:31 | 0:48:35 | |
CULVERTON CHUCKLES | 0:48:35 | 0:48:37 | |
Come along. | 0:48:37 | 0:48:38 | |
The game is on. Do you still miss me? | 0:48:43 | 0:48:47 | |
Speaking of serial killers, you know who's my favourite? | 0:48:51 | 0:48:54 | |
Other than yourself? | 0:48:54 | 0:48:56 | |
HH Holmes. Relative of yours? | 0:48:57 | 0:49:00 | |
Not as far as I know. | 0:49:00 | 0:49:01 | |
You should check. What an idiot. | 0:49:03 | 0:49:06 | |
Everyone out. | 0:49:08 | 0:49:09 | |
Mr Smith, we're actually in the middle of something. | 0:49:11 | 0:49:14 | |
Saheed, isn't it? | 0:49:16 | 0:49:17 | |
Saheed, yes. | 0:49:18 | 0:49:20 | |
How long have you been working here now? | 0:49:20 | 0:49:22 | |
-Four years. -Four years. Well, that's a long time, isn't it? | 0:49:22 | 0:49:27 | |
Four years! | 0:49:29 | 0:49:30 | |
OK, everyone. | 0:49:33 | 0:49:34 | |
Five minutes? | 0:49:37 | 0:49:38 | |
Come back in ten. | 0:49:38 | 0:49:40 | |
Saheed... | 0:49:46 | 0:49:49 | |
this time, knock. | 0:49:49 | 0:49:51 | |
How can you do that? | 0:49:56 | 0:49:58 | |
I mean, how are you even allowed in here? | 0:49:58 | 0:50:00 | |
Oh, I can go anywhere I like. | 0:50:00 | 0:50:02 | |
Anywhere at all. | 0:50:03 | 0:50:04 | |
They gave you keys? | 0:50:04 | 0:50:06 | |
They presented them to me. There was a ceremony. | 0:50:06 | 0:50:09 | |
You can watch that on YouTube. Home Secretary was there. | 0:50:09 | 0:50:13 | |
So, your favourite room - the mortuary? | 0:50:13 | 0:50:15 | |
What do you think? | 0:50:15 | 0:50:17 | |
Tough crowd. | 0:50:17 | 0:50:18 | |
Oh, I don't know. | 0:50:19 | 0:50:21 | |
Hmm. I've always found them quite pliable. | 0:50:21 | 0:50:25 | |
-Don't do that! -She's fine. She's dead. | 0:50:25 | 0:50:29 | |
HH Holmes loved the dead. | 0:50:31 | 0:50:33 | |
He mass-produced them. | 0:50:33 | 0:50:35 | |
Serial killer, active during the Chicago Fair. | 0:50:35 | 0:50:37 | |
Do you know what he did? | 0:50:37 | 0:50:38 | |
He built a hotel, a special hotel just to kill people. | 0:50:38 | 0:50:42 | |
You know, with a hanging room, gas chamber, specially adapted furnace. | 0:50:42 | 0:50:48 | |
You know, like Sweeney Todd... | 0:50:48 | 0:50:51 | |
"Without the pies!" | 0:50:51 | 0:50:52 | |
Stupid. So stupid. | 0:50:54 | 0:50:57 | |
Why stupid? | 0:50:59 | 0:51:01 | |
Well, all that effort. | 0:51:01 | 0:51:03 | |
You don't build a beach if you want to hide a pebble. | 0:51:03 | 0:51:06 | |
You just find a beach. | 0:51:06 | 0:51:08 | |
And if you want to hide a murder, | 0:51:08 | 0:51:10 | |
if you want to hide lots and lots of murders, just find a... | 0:51:10 | 0:51:15 | |
..hospital. | 0:51:16 | 0:51:17 | |
Can we be clear? Are you confessing? | 0:51:18 | 0:51:21 | |
To what? | 0:51:21 | 0:51:23 | |
The way you're talking... | 0:51:23 | 0:51:24 | |
Oh, sorry, yes. | 0:51:26 | 0:51:29 | |
You mean, am I a serial killer? | 0:51:29 | 0:51:32 | |
Or am I just trying to mess with your funny little head? | 0:51:32 | 0:51:36 | |
Well, it's true. | 0:51:36 | 0:51:37 | |
I do like to mess with people, and, yes, I am a bit creepy. | 0:51:37 | 0:51:41 | |
But that's just my USP. | 0:51:41 | 0:51:43 | |
I use it to sell breakfast cereal. | 0:51:43 | 0:51:45 | |
But am I what he says I am? | 0:51:45 | 0:51:48 | |
Is that what you're asking? | 0:51:48 | 0:51:50 | |
Yes. | 0:51:50 | 0:51:51 | |
Hmm. Well, let me ask you this... are you really a doctor? | 0:51:51 | 0:51:58 | |
Yeah, of course I am. | 0:51:58 | 0:51:59 | |
Oh, no, a medical doctor? | 0:51:59 | 0:52:02 | |
You know, not just feet or media studies or something? | 0:52:02 | 0:52:06 | |
I'm a doctor. | 0:52:06 | 0:52:07 | |
Are you serious? | 0:52:09 | 0:52:10 | |
No, really, are you? | 0:52:10 | 0:52:14 | |
Are you... | 0:52:16 | 0:52:17 | |
are you actually serious? | 0:52:17 | 0:52:20 | |
I've played along with this joke, it's not funny any more. | 0:52:21 | 0:52:24 | |
Look at him! | 0:52:24 | 0:52:27 | |
Go ahead, look at him, Dr Watson! | 0:52:27 | 0:52:30 | |
Hmm. Oh, no, I'll lay it out for you. | 0:52:30 | 0:52:32 | |
There are two possible explanations for what's going on here. | 0:52:32 | 0:52:35 | |
Either I'm a serial killer, | 0:52:35 | 0:52:38 | |
or Sherlock Holmes is off his tits on drugs! | 0:52:38 | 0:52:42 | |
Hmm? Delusional paranoia about a public personality. | 0:52:42 | 0:52:46 | |
That's not so special, it's not even new. | 0:52:46 | 0:52:49 | |
I think you need to tell your faithful little friend | 0:52:49 | 0:52:52 | |
how you're wasting his time, | 0:52:52 | 0:52:54 | |
because you're too high to know what's real any more. | 0:52:54 | 0:52:58 | |
I apologise. | 0:53:04 | 0:53:05 | |
I...I've miscalculated. | 0:53:06 | 0:53:08 | |
I forgot to factor in the traffic. | 0:53:10 | 0:53:13 | |
19½ minutes. | 0:53:13 | 0:53:16 | |
LIFT STOPS | 0:53:16 | 0:53:18 | |
Ah, the footsteps you're about to hear will be very familiar to you, | 0:53:18 | 0:53:21 | |
not least because there'll be three impacts rather than two. | 0:53:21 | 0:53:24 | |
The third, of course, will be the end of a walking cane. | 0:53:24 | 0:53:26 | |
LIFT PINGS | 0:53:26 | 0:53:28 | |
Your daughter Faith's walking cane. | 0:53:28 | 0:53:30 | |
And why would she be here? | 0:53:30 | 0:53:32 | |
You invited her. You sent her a text. | 0:53:32 | 0:53:36 | |
-Or technically, -I -sent her a text, but she's not to know. | 0:53:36 | 0:53:39 | |
Now, let's see if I can recall. | 0:53:41 | 0:53:44 | |
"Faith, I can stand it no longer, I've confessed to my crimes. | 0:53:44 | 0:53:49 | |
"Please forgive me." | 0:53:49 | 0:53:52 | |
Why would that have any effect? You don't know her. | 0:53:52 | 0:53:55 | |
Oh, but I do. I spent a whole evening with her. | 0:53:55 | 0:53:59 | |
We had chips. I think she liked me. | 0:54:00 | 0:54:03 | |
You don't know Faith. You simply do not. | 0:54:03 | 0:54:07 | |
I know you care about her deeply. | 0:54:07 | 0:54:09 | |
I know you invited her to one of your special board meetings. | 0:54:09 | 0:54:12 | |
You care what she thinks. | 0:54:12 | 0:54:14 | |
You maintain an impressive facade. | 0:54:18 | 0:54:20 | |
I think it's about to break. | 0:54:22 | 0:54:25 | |
Did you know? | 0:54:25 | 0:54:26 | |
She came to Baker Street. | 0:54:26 | 0:54:27 | |
No, she didn't. | 0:54:27 | 0:54:29 | |
Of course I didn't. | 0:54:29 | 0:54:30 | |
She came to see me, because she was scared of her daddy. | 0:54:30 | 0:54:34 | |
Never happened. Is this another one of your drug-fuelled fantasies? | 0:54:34 | 0:54:40 | |
-You didn't see him take the scalpel? -Nobody saw him. | 0:54:40 | 0:54:42 | |
So you didn't know what was about to happen? | 0:54:42 | 0:54:44 | |
Of course I didn't know. | 0:54:44 | 0:54:45 | |
Well, let's see, shall we? | 0:54:45 | 0:54:47 | |
Faith, stop loitering at the door and come in. | 0:54:47 | 0:54:49 | |
This is your father's favourite room! | 0:54:49 | 0:54:51 | |
Come and meet his best friends. | 0:54:53 | 0:54:55 | |
Dad? What's happening? | 0:54:55 | 0:55:00 | |
What was that text? Are you having one of your jokes? | 0:55:00 | 0:55:03 | |
Who are you? | 0:55:05 | 0:55:07 | |
Who the hell are you?! | 0:55:25 | 0:55:27 | |
It's Sherlock Holmes, surely you recognise him? | 0:55:28 | 0:55:31 | |
Oh, my God! Sherlock Holmes! | 0:55:31 | 0:55:34 | |
I love your blog. | 0:55:35 | 0:55:38 | |
You're not her, you're not the woman who came to Baker Street. | 0:55:38 | 0:55:40 | |
Um, well, no. Never been there. | 0:55:40 | 0:55:42 | |
Well, there must have been some build-up, | 0:55:42 | 0:55:44 | |
he didn't just suddenly do it. | 0:55:44 | 0:55:46 | |
Look, I didn't know he had the bloody scalpel! | 0:55:46 | 0:55:48 | |
Sorry, I'm not sure I completely understand. | 0:55:48 | 0:55:51 | |
Understand what? | 0:55:51 | 0:55:52 | |
Well, I thought you two were... were old friends? | 0:55:52 | 0:55:55 | |
No. We've never met. | 0:55:55 | 0:55:57 | |
Oh, dear. Oh! | 0:55:57 | 0:56:00 | |
Have we? | 0:56:00 | 0:56:01 | |
Sherlock? | 0:56:01 | 0:56:03 | |
So, who came to my flat? | 0:56:04 | 0:56:06 | |
Well, it wasn't me. | 0:56:06 | 0:56:08 | |
No! | 0:56:08 | 0:56:09 | |
HE LAUGHS | 0:56:09 | 0:56:11 | |
You look different. | 0:56:11 | 0:56:13 | |
I wasn't there. | 0:56:13 | 0:56:15 | |
'Who came to my flat?' | 0:56:15 | 0:56:17 | |
I'm sorry, Mr Holmes, | 0:56:17 | 0:56:19 | |
but I don't think I've ever been anywhere near your flat. | 0:56:19 | 0:56:23 | |
Oh, dear. Oh, no! | 0:56:23 | 0:56:27 | |
Who are you talking to? | 0:56:27 | 0:56:29 | |
What friend? | 0:56:29 | 0:56:31 | |
Anyone. | 0:56:31 | 0:56:32 | |
Oh, no. Oh, no! | 0:56:32 | 0:56:35 | |
HE LAUGHS | 0:56:35 | 0:56:37 | |
'Faith? | 0:56:38 | 0:56:40 | |
'Oh, God!' | 0:56:40 | 0:56:42 | |
Oh, no. Oh, no! | 0:56:46 | 0:56:49 | |
HE LAUGHS | 0:56:49 | 0:56:52 | |
Sherlock? | 0:56:54 | 0:56:55 | |
Sherlock, are you all right? Sherlock, are you OK? | 0:56:56 | 0:56:58 | |
-Watch him, he's got a knife. -I've got a what? | 0:56:58 | 0:57:00 | |
You've got a scalpel, you picked it up from that table! I saw you take it. | 0:57:00 | 0:57:03 | |
I certainly did not! | 0:57:03 | 0:57:05 | |
Look behind his back! | 0:57:05 | 0:57:06 | |
No... | 0:57:06 | 0:57:07 | |
I saw you take it! I saw you! | 0:57:07 | 0:57:09 | |
Whoa, whoa, whoa, whoa, whoa! | 0:57:09 | 0:57:11 | |
Sherlock, do you want to put that down? | 0:57:11 | 0:57:13 | |
Oh, my God! | 0:57:13 | 0:57:15 | |
Stop laughing at me. | 0:57:16 | 0:57:17 | |
-I'm not laughing. -He's not laughing, Sherlock. | 0:57:17 | 0:57:19 | |
-Stop laughing at me! -Sherlock! | 0:57:19 | 0:57:21 | |
Oh, Christ! I keep wondering if we should have seen it coming. | 0:57:23 | 0:57:30 | |
Not long ago he shot Charles Magnussen in the face, | 0:57:30 | 0:57:32 | |
we did see it coming. | 0:57:32 | 0:57:33 | |
We always saw it coming. But it was fun. | 0:57:33 | 0:57:36 | |
KNOCK ON DOOR | 0:57:36 | 0:57:37 | |
Come in. | 0:57:37 | 0:57:38 | |
Sir, you probably want to see this. | 0:57:38 | 0:57:41 | |
-ON LAPTOP: -'Harold Chorley reporting earlier today. | 0:57:44 | 0:57:47 | |
'Mr Smith stated he had no interest in bringing charges.' | 0:57:47 | 0:57:51 | |
'I'm a fan of Sherlock Holmes, I'm a big fan. | 0:57:51 | 0:57:54 | |
'I don't really know what happened today. To be honest, | 0:57:54 | 0:57:57 | |
'I don't think I'd be standing here now if it wasn't for Dr Watson.' | 0:57:57 | 0:58:02 | |
Stop laughing at me! | 0:58:02 | 0:58:04 | |
Sherlock! | 0:58:04 | 0:58:05 | |
CLATTER | 0:58:05 | 0:58:07 | |
Stop it! Stop it now! | 0:58:07 | 0:58:10 | |
-NEWSREADER: -'Is it true he's being treated in your hospital?' | 0:58:10 | 0:58:12 | |
'It's not actually my hospital.' | 0:58:12 | 0:58:14 | |
Well, it is a little bit my hospital. | 0:58:14 | 0:58:16 | |
But I can promise you this, he is going to get the best of care. | 0:58:16 | 0:58:20 | |
I might even move him to my favourite room. | 0:58:20 | 0:58:23 | |
-NEWSREADER: -'Culverton Smith, earlier today. In Nottingham...' | 0:58:23 | 0:58:26 | |
He's right, you know, you probably saved his life. | 0:58:32 | 0:58:34 | |
What are you doing?! Wake up! | 0:58:34 | 0:58:37 | |
I really hit him, Greg. Hit him hard. | 0:58:37 | 0:58:40 | |
Is this a game? Is it just a bloody game? | 0:58:43 | 0:58:47 | |
HOLMES GROANS | 0:58:49 | 0:58:51 | |
Please! Please, please, please, no violence. Thank you, Dr Watson. | 0:58:55 | 0:59:00 | |
But I don't think he's a danger any more. | 0:59:00 | 0:59:04 | |
Leave him be. | 0:59:04 | 0:59:06 | |
No, it's OK. | 0:59:06 | 0:59:08 | |
Let him do what he wants. He's entitled. | 0:59:11 | 0:59:15 | |
I killed his wife. | 0:59:18 | 0:59:19 | |
Yes, you did. | 0:59:22 | 0:59:23 | |
Oh, hi. | 1:00:00 | 1:00:02 | |
HE MOUTHS | 1:00:04 | 1:00:05 | |
Just in to say hello? | 1:00:05 | 1:00:06 | |
No. I'm just in to say goodbye. | 1:00:06 | 1:00:08 | |
I'm sure he'll pull through. | 1:00:08 | 1:00:10 | |
And yeah, he's made a terrible mess of himself, but he's awfully strong. | 1:00:10 | 1:00:14 | |
So, must look on the bright side. | 1:00:14 | 1:00:16 | |
Hm. | 1:00:19 | 1:00:21 | |
Well... | 1:00:24 | 1:00:26 | |
-Parting gift. -Ah, that's nice. | 1:00:28 | 1:00:30 | |
A walking stick. | 1:00:30 | 1:00:32 | |
Yeah, it was mine, from a long time ago. | 1:00:32 | 1:00:34 | |
PHONE RINGS | 1:00:35 | 1:00:37 | |
Hello? Ward 73. | 1:00:37 | 1:00:39 | |
Oh, er, Dr Watson? | 1:00:39 | 1:00:41 | |
Hm? | 1:00:41 | 1:00:43 | |
It's for you. | 1:00:43 | 1:00:44 | |
Oh. | 1:00:45 | 1:00:46 | |
Hello, Mycroft. | 1:00:49 | 1:00:50 | |
'There's a car downstairs.' | 1:00:50 | 1:00:52 | |
You know, he should definitely have worn the hat. | 1:00:56 | 1:00:59 | |
Still thinking about Sherlock? | 1:00:59 | 1:01:00 | |
No. You are. | 1:01:00 | 1:01:02 | |
You've got your disapproving face on. | 1:01:02 | 1:01:04 | |
Well, seeing as I'm inside your head, | 1:01:04 | 1:01:06 | |
I think we can call that self-loathing. | 1:01:06 | 1:01:07 | |
-Where is she? Where's Mrs Hudson? -She'll be up in a moment. | 1:01:58 | 1:02:01 | |
What are you doing? | 1:02:01 | 1:02:02 | |
Have you noticed the kitchen? It's practically a meth lab. | 1:02:02 | 1:02:05 | |
I'm trying to establish exactly what drove Sherlock off the rails. | 1:02:05 | 1:02:08 | |
-Any ideas? -Are these spooks? | 1:02:08 | 1:02:10 | |
Are you using spooks now to look after your family? | 1:02:11 | 1:02:14 | |
-Hang on, are they tidying? -Sherlock is a security concern. | 1:02:14 | 1:02:17 | |
The fact that I'm his brother changes nothing. | 1:02:17 | 1:02:19 | |
-Yeah, you've said that before. -Ask him. | 1:02:19 | 1:02:21 | |
Why fixate on Culverton Smith? | 1:02:21 | 1:02:24 | |
He's had his obsessions before, of course, but | 1:02:24 | 1:02:26 | |
this goes a bit further than setting a man-trap for Father Christmas. | 1:02:26 | 1:02:29 | |
Do it. Ask him. | 1:02:29 | 1:02:31 | |
Spending all night talking to a woman who wasn't even there. | 1:02:31 | 1:02:33 | |
Oh, shut up, you! | 1:02:33 | 1:02:34 | |
-Mycroft, last time, when we were on the phone... -No, no, no, no, stop. | 1:02:34 | 1:02:37 | |
I detest conversation in the past tense. | 1:02:37 | 1:02:39 | |
You said the fact that you were his brother made no difference. | 1:02:39 | 1:02:42 | |
It doesn't. | 1:02:42 | 1:02:43 | |
You said it didn't the last time, and it wouldn't with Sherlock. | 1:02:43 | 1:02:46 | |
So who was it the last time? Who were you talking about? | 1:02:46 | 1:02:48 | |
Attaboy! | 1:02:48 | 1:02:49 | |
Nobody. I...misspoke. | 1:02:49 | 1:02:53 | |
-He's lying. -You're lying. | 1:02:53 | 1:02:54 | |
-I assure you, I'm not. -He really is lying. | 1:02:54 | 1:02:57 | |
Sherlock's not your only brother. | 1:02:58 | 1:03:00 | |
There's another one, isn't there? | 1:03:01 | 1:03:03 | |
-No... -Jesus! A secret brother. | 1:03:03 | 1:03:06 | |
What is he, locked up in a tower, or something? | 1:03:06 | 1:03:10 | |
Mycroft Holmes! | 1:03:10 | 1:03:11 | |
What are all these dreadful people doing in my house?! | 1:03:11 | 1:03:14 | |
Mrs Hudson, I apologise for the interruption. | 1:03:14 | 1:03:16 | |
As you know, my brother has embarked on | 1:03:16 | 1:03:18 | |
a programme of self-destruction remarkable even by his standards, | 1:03:18 | 1:03:21 | |
and I am endeavouring to find out what triggered it. | 1:03:21 | 1:03:24 | |
-And that's what you're all looking for? -Quite so. | 1:03:24 | 1:03:26 | |
-What's on his mind? -So to speak. | 1:03:26 | 1:03:28 | |
And you've had all this time? | 1:03:28 | 1:03:30 | |
Time being something of which we don't have an infinite supply, | 1:03:30 | 1:03:33 | |
so if we could be about our business. | 1:03:33 | 1:03:35 | |
SHE GIGGLES | 1:03:35 | 1:03:37 | |
You...you're so funny, you are! | 1:03:37 | 1:03:40 | |
Mrs Hudson? | 1:03:40 | 1:03:41 | |
He thinks you're clever, poor old Sherlock. Always going on about you. | 1:03:41 | 1:03:45 | |
I mean, he knows you're an idiot, | 1:03:45 | 1:03:47 | |
but that's OK, cos you're a lovely doctor. | 1:03:47 | 1:03:49 | |
But he has no idea what an idiot you are! | 1:03:49 | 1:03:52 | |
Is this merely stream-of-consciousness abuse, | 1:03:52 | 1:03:54 | |
or are you attempting to make a point? | 1:03:54 | 1:03:56 | |
You want to know what's bothering Sherlock? | 1:03:56 | 1:03:58 | |
Easiest thing in the world, anyone can do it. | 1:03:58 | 1:04:01 | |
I know his thought processes better than any other human being, | 1:04:01 | 1:04:04 | |
so, please, try to understand. | 1:04:04 | 1:04:05 | |
He's not about thinking. Not Sherlock. | 1:04:05 | 1:04:08 | |
-Of course he is. -No, no. | 1:04:08 | 1:04:10 | |
He's more emotional, isn't he? | 1:04:10 | 1:04:12 | |
Unsolved case, shoot the wall! Boom, boom! | 1:04:12 | 1:04:15 | |
Unmade breakfast, karate the fridge. | 1:04:15 | 1:04:18 | |
Unanswered question... | 1:04:18 | 1:04:19 | |
Well, what does he do with anything he can't answer, John? Every time? | 1:04:19 | 1:04:23 | |
He stabs it. | 1:04:23 | 1:04:25 | |
Anything he can't find the answer for, bang! It's up there. | 1:04:25 | 1:04:30 | |
I keep telling him, if he was any good as a detective, | 1:04:30 | 1:04:33 | |
I wouldn't need a new mantel! | 1:04:33 | 1:04:35 | |
-MARY: -'If you're watching this, I'm...probably dead.' | 1:04:38 | 1:04:43 | |
OK, no. Stop that now, please. | 1:04:43 | 1:04:46 | |
Everybody out, now! | 1:04:46 | 1:04:48 | |
All of you! | 1:04:48 | 1:04:50 | |
This is my house, this is my friend, and that's his departed wife. | 1:04:50 | 1:04:54 | |
Anyone who stays here a minute longer is admitting to me personally | 1:04:54 | 1:04:57 | |
they do not have a single spark of human decency. | 1:04:57 | 1:05:00 | |
Get out of my house, you reptile! | 1:05:10 | 1:05:13 | |
You've been ages waking up. | 1:05:23 | 1:05:25 | |
I watched you. | 1:05:25 | 1:05:26 | |
It was quite lovely, in its way. | 1:05:28 | 1:05:30 | |
Take it easy, it's OK. | 1:05:31 | 1:05:34 | |
Don't want to rush this. | 1:05:34 | 1:05:36 | |
You're Sherlock Holmes. | 1:05:38 | 1:05:40 | |
'I'm giving you a case, Sherlock. | 1:05:40 | 1:05:43 | |
'Might be the hardest case of your career. | 1:05:43 | 1:05:45 | |
'When I'm...gone, | 1:05:45 | 1:05:49 | |
'if I'm gone, | 1:05:49 | 1:05:51 | |
'I need you to do something for me. | 1:05:51 | 1:05:53 | |
'Save John Watson. | 1:05:55 | 1:05:56 | |
'Save him, Sherlock.' | 1:05:57 | 1:06:00 | |
John, if you want to watch this later... | 1:06:00 | 1:06:02 | |
'Save him. | 1:06:02 | 1:06:04 | |
'Don't think anyone else is going to save him, | 1:06:04 | 1:06:06 | |
'because there isn't anyone. | 1:06:06 | 1:06:07 | |
'It's up to you. | 1:06:07 | 1:06:09 | |
'Save him. | 1:06:09 | 1:06:11 | |
'But I do think you're going to need a little bit of help with that, | 1:06:11 | 1:06:13 | |
'because you're not exactly good with people, | 1:06:13 | 1:06:15 | |
'so here's a few things you need to know about the man we both love. | 1:06:15 | 1:06:19 | |
'And more importantly, what you're going to need to do to save him.' | 1:06:19 | 1:06:22 | |
How did you...get in? | 1:06:27 | 1:06:29 | |
Policeman outside, you mean? | 1:06:31 | 1:06:32 | |
Come on, can't you guess? | 1:06:33 | 1:06:36 | |
Secret door. | 1:06:38 | 1:06:39 | |
I built this whole wing. | 1:06:40 | 1:06:42 | |
I kept firing the architects and builders, | 1:06:43 | 1:06:46 | |
so no-one knew quite how it all fitted together. | 1:06:46 | 1:06:50 | |
I can slip in and out, anywhere I like, you know. | 1:06:50 | 1:06:54 | |
When I get the urge. | 1:06:56 | 1:06:57 | |
HH Holmes. | 1:06:57 | 1:06:59 | |
Murder Castle. But done right. | 1:06:59 | 1:07:02 | |
I have a question for you. Why are you here? | 1:07:04 | 1:07:07 | |
It's like you walked into my den and laid down in front of me. | 1:07:07 | 1:07:10 | |
Why? | 1:07:11 | 1:07:12 | |
You know why I'm here. | 1:07:14 | 1:07:16 | |
I'd like to hear you say it. | 1:07:16 | 1:07:18 | |
Say it for me, please. | 1:07:19 | 1:07:21 | |
I want you to kill me. | 1:07:23 | 1:07:25 | |
HIGH-TEMPO MUSIC | 1:07:28 | 1:07:30 | |
-MRS HUDSON: -John? | 1:07:30 | 1:07:32 | |
My car. | 1:07:34 | 1:07:35 | |
If you increased the dosage four or five times, | 1:07:40 | 1:07:43 | |
toxic shock should shut me down within about an hour. | 1:07:43 | 1:07:47 | |
Then I restore the settings. | 1:07:47 | 1:07:49 | |
Everyone assumes it was a fault, or... | 1:07:49 | 1:07:52 | |
-..you just gave up the ghost. -Yes. | 1:07:53 | 1:07:56 | |
You're rather good at this. | 1:07:58 | 1:07:59 | |
Before we start, tell me how you feel. | 1:08:02 | 1:08:05 | |
I...I feel scared. | 1:08:07 | 1:08:10 | |
Be more specific. | 1:08:12 | 1:08:14 | |
You only get to do this the once. | 1:08:14 | 1:08:16 | |
I'm scared of dying. | 1:08:17 | 1:08:18 | |
You wanted this, though. | 1:08:19 | 1:08:21 | |
I have reasons. | 1:08:24 | 1:08:25 | |
But you don't actually WANT to die. | 1:08:25 | 1:08:28 | |
No. | 1:08:28 | 1:08:30 | |
Good. | 1:08:30 | 1:08:31 | |
Say that for me. | 1:08:34 | 1:08:35 | |
-Say it. -I don't want to die. | 1:08:36 | 1:08:38 | |
And again. | 1:08:40 | 1:08:41 | |
I don't...want to die. | 1:08:41 | 1:08:44 | |
-WHISPERS: -Once more, for luck. | 1:08:48 | 1:08:49 | |
VOICE BREAKS: I don't want to die. | 1:08:50 | 1:08:52 | |
I don't. | 1:08:53 | 1:08:55 | |
I don't want to die. | 1:08:55 | 1:08:57 | |
Lovely. | 1:08:58 | 1:09:00 | |
Here it comes. | 1:09:03 | 1:09:04 | |
Please, I don't think he's safe. | 1:09:12 | 1:09:14 | |
-LESTRADE: -'No, he's fine, I've got a man on the door.' | 1:09:14 | 1:09:16 | |
-'What do you think's happened?' -I don't know, something! | 1:09:16 | 1:09:18 | |
-Mary left a message. -What message? | 1:09:18 | 1:09:20 | |
'John Watson never accepts help. | 1:09:20 | 1:09:24 | |
'Not from anyone, not ever. | 1:09:24 | 1:09:26 | |
'But here's the thing - he never refuses it. | 1:09:26 | 1:09:29 | |
'So, here's what you are going to do.' | 1:09:29 | 1:09:31 | |
So, tell me, why are we doing this? | 1:09:33 | 1:09:35 | |
To what do I owe the pleasure? | 1:09:35 | 1:09:37 | |
I wanted to hear your confession, | 1:09:38 | 1:09:40 | |
needed to know I was right. | 1:09:40 | 1:09:42 | |
But why do you need to die? | 1:09:42 | 1:09:45 | |
The mortuary, your favourite room. | 1:09:45 | 1:09:48 | |
You talk to the dead. | 1:09:50 | 1:09:52 | |
You make your confession to them. | 1:09:52 | 1:09:55 | |
Sorry, sir, what? What do you mean? | 1:09:58 | 1:10:01 | |
I think the door's jammed. | 1:10:02 | 1:10:04 | |
Oh, has that door locked itself again? | 1:10:04 | 1:10:06 | |
Yeah, it's always doing that. | 1:10:06 | 1:10:08 | |
'You can't save John, because he won't let you. | 1:10:08 | 1:10:11 | |
'He won't allow himself to be saved. | 1:10:11 | 1:10:13 | |
'The only way to save John is to make him save you.' | 1:10:15 | 1:10:19 | |
Why do you do it? | 1:10:19 | 1:10:20 | |
Why do I kill? | 1:10:23 | 1:10:24 | |
It's not about hatred, or...or revenge. | 1:10:25 | 1:10:28 | |
I'm not a dark person. | 1:10:29 | 1:10:31 | |
Killing human beings... | 1:10:32 | 1:10:34 | |
HE CHUCKLES | 1:10:34 | 1:10:37 | |
..it just makes me... oh, incredibly happy. | 1:10:40 | 1:10:45 | |
You know, in films, when you see dead people - pretending to be dead, | 1:10:51 | 1:10:56 | |
and it's just living people lying down? | 1:10:56 | 1:10:59 | |
Well, that's not what dead people look like. | 1:11:01 | 1:11:03 | |
Dead people...look like things. | 1:11:03 | 1:11:07 | |
I like to make people into things, | 1:11:09 | 1:11:12 | |
then you can own them. | 1:11:12 | 1:11:15 | |
You know what? I'm getting a little impatient. | 1:11:15 | 1:11:18 | |
Take a big breath if you want. | 1:11:33 | 1:11:35 | |
'Go to hell, Sherlock. | 1:11:36 | 1:11:38 | |
'Go right into hell and make it look like you mean it.' | 1:11:41 | 1:11:44 | |
Murder is a very difficult addiction to manage. | 1:11:44 | 1:11:47 | |
People don't realise how much work goes into it. | 1:11:47 | 1:11:50 | |
You have to be careful. | 1:11:50 | 1:11:52 | |
But if you're rich or famous and...loved, | 1:11:52 | 1:11:56 | |
it's amazing what people are prepared to ignore. | 1:11:56 | 1:11:59 | |
But there's always someone desperate about to go missing, | 1:12:00 | 1:12:04 | |
and no-one wants to suspect murder | 1:12:04 | 1:12:07 | |
if it's easier to suspect something else. | 1:12:07 | 1:12:10 | |
I just have to ration myself, choose the right heart to stop. | 1:12:10 | 1:12:14 | |
'Go and pick a fight with a bad guy, put yourself in harm's way.' | 1:12:14 | 1:12:20 | |
(Please! Maintain eye contact. | 1:12:20 | 1:12:23 | |
(Maintain eye contact. | 1:12:23 | 1:12:25 | |
(Maintain eye contact! | 1:12:25 | 1:12:27 | |
(I like to watch it happen.) | 1:12:27 | 1:12:31 | |
'If he thinks you need him, I swear...' | 1:12:31 | 1:12:33 | |
(And off we...pop.) | 1:12:39 | 1:12:43 | |
'..he will be there.' | 1:12:44 | 1:12:46 | |
MONITORS BEEP RAPIDLY | 1:12:46 | 1:12:48 | |
-SHERLOCK GASPS FOR AIR -Mr Holmes, are you OK? | 1:12:48 | 1:12:51 | |
What were you doing to him?! What were you doing?! | 1:12:51 | 1:12:54 | |
-He's in distress, I'm helping him. -Restrain him now. Do it. | 1:12:54 | 1:12:57 | |
I was trying to help him! | 1:12:57 | 1:12:58 | |
-Sherlock, what was he doing to you? -Suffocating me, overdosing me. | 1:12:58 | 1:13:02 | |
-On what? -Saline. -Saline? -Yes, saline. | 1:13:02 | 1:13:04 | |
-What do you mean, saline? -SHERLOCK GROANS | 1:13:04 | 1:13:06 | |
Well, obviously, I got Nurse Cornish to switch the bags. | 1:13:06 | 1:13:10 | |
She's a big fan, you know? Loves my blog. | 1:13:10 | 1:13:13 | |
-You're OK? -No, no, of course I'm not OK. | 1:13:13 | 1:13:15 | |
Malnourished, double kidney failure, | 1:13:15 | 1:13:17 | |
and frankly, I've been off my tits for weeks. | 1:13:17 | 1:13:19 | |
What kind of a doctor are you? | 1:13:19 | 1:13:21 | |
SHERLOCK GROANS | 1:13:21 | 1:13:23 | |
I got my confession, though, didn't I? | 1:13:23 | 1:13:24 | |
Well, I don't recall making any confession. | 1:13:24 | 1:13:27 | |
-What would I be confessing to? -You can listen to it later. | 1:13:27 | 1:13:30 | |
Well, there is no confession to listen to. | 1:13:30 | 1:13:32 | |
Oh, Mr Holmes, I don't know if this is relevant, but... | 1:13:32 | 1:13:36 | |
we found three potential recording devices in the pockets of your coat. | 1:13:36 | 1:13:40 | |
All your possessions were searched. | 1:13:40 | 1:13:42 | |
Sorry! | 1:13:42 | 1:13:43 | |
Must be something comforting about the number three, | 1:13:46 | 1:13:49 | |
people always give up after three. | 1:13:49 | 1:13:52 | |
What? What is it? What? | 1:13:55 | 1:13:57 | |
JOHN SIGHS | 1:14:00 | 1:14:02 | |
-You cock! -Yeah. | 1:14:02 | 1:14:05 | |
-Utter, utter cock. -Heard you the first time. | 1:14:05 | 1:14:07 | |
-So, how does it open? -Screw the top. | 1:14:13 | 1:14:15 | |
-Two weeks ago? -Three. | 1:14:23 | 1:14:25 | |
-I'm that predictable? -No. | 1:14:25 | 1:14:27 | |
I'm just a cock. | 1:14:29 | 1:14:31 | |
It's funny. | 1:14:42 | 1:14:44 | |
I never realised confessing would be so enjoyable. | 1:14:44 | 1:14:48 | |
I should have done it sooner. | 1:14:48 | 1:14:49 | |
We'll carry on tomorrow. | 1:14:51 | 1:14:53 | |
Well, we could carry on now, I'm not tired. | 1:14:53 | 1:14:56 | |
There's loads more. | 1:14:56 | 1:14:58 | |
Tomorrow. | 1:14:58 | 1:15:00 | |
You know, I am going to be so famous now. | 1:15:00 | 1:15:03 | |
You're already famous. | 1:15:03 | 1:15:05 | |
Yeah, but with this... | 1:15:05 | 1:15:07 | |
..I can break America. | 1:15:09 | 1:15:10 | |
I had, of course, several other backup plans. | 1:15:14 | 1:15:17 | |
Trouble is, I couldn't remember what they were. | 1:15:17 | 1:15:20 | |
And, of course, I hadn't really anticipated | 1:15:20 | 1:15:23 | |
that I'd hallucinated meeting his daughter. | 1:15:23 | 1:15:26 | |
Basically, he trashed himself on drugs so that you'd help him, | 1:15:26 | 1:15:28 | |
so that you'd have something to do, something doctory. | 1:15:28 | 1:15:30 | |
You get that now? | 1:15:30 | 1:15:32 | |
Still a bit troubled by the daughter. | 1:15:32 | 1:15:34 | |
It did seem very real. | 1:15:34 | 1:15:36 | |
She gave me information I couldn't have acquired elsewhere. | 1:15:36 | 1:15:39 | |
But she wasn't ever here? | 1:15:39 | 1:15:41 | |
Interesting, isn't it? | 1:15:41 | 1:15:42 | |
I have theorised before that if one could attenuate to | 1:15:42 | 1:15:44 | |
every available data stream in the world simultaneously, | 1:15:44 | 1:15:47 | |
it would be possible to anticipate and deduce almost anything. | 1:15:47 | 1:15:50 | |
Hmm. | 1:15:51 | 1:15:53 | |
So, you dreamed up a magic woman who told you things you didn't know? | 1:15:53 | 1:15:56 | |
Well, sounds about right to me. Possibly, I'm biased. | 1:15:56 | 1:16:00 | |
Perhaps the drugs opened certain doors in my mind. | 1:16:00 | 1:16:03 | |
-I'm intrigued. -I know you are. | 1:16:06 | 1:16:08 | |
Which is why we're all taking it in turns to keep you off the sweeties. | 1:16:09 | 1:16:12 | |
I thought we were just hanging out. | 1:16:12 | 1:16:14 | |
Molly will be here in 20 minutes. | 1:16:17 | 1:16:19 | |
Oh, I do think I can last 20 minutes without supervision. | 1:16:19 | 1:16:22 | |
Well, if you're sure. | 1:16:24 | 1:16:26 | |
Christ, John, stay, talk! | 1:16:26 | 1:16:28 | |
Uh, sorry, it's just, um, you know, Rosie. | 1:16:29 | 1:16:32 | |
Yes, of course, Rosie. | 1:16:32 | 1:16:34 | |
Go and solve a crime together, make him wear the hat. | 1:16:34 | 1:16:37 | |
-You'll be OK for 20 minutes? -Yes, yes. | 1:16:37 | 1:16:40 | |
-Sorry, I...I wasn't thinking of Rosie. -No problem. | 1:16:40 | 1:16:42 | |
I should, er, come and see her soon. | 1:16:42 | 1:16:45 | |
-Yes. -Actually, he should wear the hat as a special tribute to me. | 1:16:46 | 1:16:49 | |
I'm dead, I would really appreciate it. | 1:16:49 | 1:16:52 | |
Oh, by the way, the recordings will probably be inadmissible. | 1:16:52 | 1:16:55 | |
-Sorry, what? -Well, technically, it's entrapment, | 1:16:55 | 1:16:57 | |
so it might get thrown out as evidence. | 1:16:57 | 1:16:59 | |
Not that that matters. Apparently he can't stop confessing. | 1:16:59 | 1:17:02 | |
-That's good. -Yeah. | 1:17:02 | 1:17:03 | |
Are you OK? JOHN LAUGHS | 1:17:10 | 1:17:12 | |
What, am I...? No, no, I'm not OK. | 1:17:12 | 1:17:14 | |
I'm never going to be OK. | 1:17:14 | 1:17:16 | |
And we'll just have to accept that. | 1:17:16 | 1:17:18 | |
It is what it is, | 1:17:18 | 1:17:19 | |
and what it is is...shit. | 1:17:19 | 1:17:22 | |
John, do better. | 1:17:22 | 1:17:23 | |
You didn't kill Mary. Mary died saving your life. | 1:17:26 | 1:17:30 | |
It was her choice, no-one made her do it. | 1:17:30 | 1:17:32 | |
No-one could ever make her do anything. | 1:17:32 | 1:17:33 | |
The point is, you did not kill her. | 1:17:33 | 1:17:35 | |
In saving my life, she conferred a value on it. | 1:17:38 | 1:17:41 | |
It is a currency I do not know how to spend. | 1:17:43 | 1:17:45 | |
It is what it is. | 1:17:50 | 1:17:51 | |
I'm tomorrow, six till ten. I'll see you then. | 1:17:55 | 1:17:57 | |
-Looking forward to it. -Yeah. | 1:17:57 | 1:18:01 | |
WOMAN GROANS | 1:18:01 | 1:18:03 | |
That noise, that's a text alert noise? | 1:18:04 | 1:18:07 | |
What was that? | 1:18:07 | 1:18:08 | |
Hmm? What was what? | 1:18:09 | 1:18:11 | |
That's the text alert of Irene Adler. | 1:18:11 | 1:18:13 | |
She's the scary mad one, right? | 1:18:13 | 1:18:14 | |
-That noise? -What noise? | 1:18:14 | 1:18:17 | |
But she's dead. | 1:18:17 | 1:18:18 | |
-SHE GASPS -Ooh, I bet she isn't dead! | 1:18:18 | 1:18:21 | |
I bet he saved her. | 1:18:21 | 1:18:23 | |
Oh, my God! | 1:18:23 | 1:18:25 | |
Oh, the posh boy loves the dominatrix. | 1:18:25 | 1:18:27 | |
He's never knowingly under-cliched, is he? | 1:18:27 | 1:18:30 | |
John? | 1:18:30 | 1:18:32 | |
-I'm going to make a deduction. -Oh, OK, that's good. | 1:18:32 | 1:18:35 | |
And if my deduction is right, | 1:18:35 | 1:18:36 | |
-you're going to be honest and tell me, OK? -OK. | 1:18:36 | 1:18:39 | |
Though I should mention that it is possible for any given text alert | 1:18:39 | 1:18:42 | |
-to become randomly attached to... -Happy birthday. | 1:18:42 | 1:18:45 | |
Thank you, John, that's...very kind of you. | 1:18:48 | 1:18:51 | |
Never knew when your birthday was. | 1:18:51 | 1:18:53 | |
Well, now you do. | 1:18:53 | 1:18:55 | |
-Seriously, we're not going to talk about this? -Talk about what? | 1:18:55 | 1:18:58 | |
-I mean, how does it work? -How does what work? | 1:18:58 | 1:19:00 | |
You and The Woman. | 1:19:00 | 1:19:02 | |
Do you go to a discreet Harvester sometimes? | 1:19:02 | 1:19:04 | |
Is there nights of passion in High Wycombe? | 1:19:04 | 1:19:06 | |
Oh, for God's sakes, I don't text her back! | 1:19:06 | 1:19:09 | |
-LAUGHS: -Why not? | 1:19:09 | 1:19:11 | |
You bloody moron! | 1:19:11 | 1:19:13 | |
She's out there, she likes you and she's alive! | 1:19:13 | 1:19:17 | |
And do you have the first idea | 1:19:17 | 1:19:19 | |
how lucky you are?! | 1:19:19 | 1:19:20 | |
Yes, she's a lunatic, she's a criminal, she's insanely dangerous. | 1:19:20 | 1:19:25 | |
-Trust you to fall for a sociopath! -Oh, married an assassin! | 1:19:25 | 1:19:27 | |
But she's, you know... | 1:19:27 | 1:19:29 | |
-What? -Just text her back. -Why? | 1:19:30 | 1:19:33 | |
Because High Wycombe is better than | 1:19:33 | 1:19:34 | |
you are currently equipped to understand! | 1:19:34 | 1:19:37 | |
I once caught a triple poisoner in High Wycombe. | 1:19:37 | 1:19:39 | |
That's only the beginning, mate. | 1:19:39 | 1:19:41 | |
As I think I have explained to you many times before, | 1:19:41 | 1:19:44 | |
romantic entanglement, while fulfilling for other people... | 1:19:44 | 1:19:47 | |
-Would complete you as a human being. -That doesn't even mean anything. | 1:19:47 | 1:19:49 | |
Just text her, phone her, | 1:19:49 | 1:19:50 | |
do something while there's still a chance, | 1:19:50 | 1:19:52 | |
because that chance doesn't last forever. | 1:19:52 | 1:19:54 | |
Trust me, Sherlock, it's gone before you know it. | 1:19:54 | 1:19:56 | |
Before you know it! | 1:19:56 | 1:19:58 | |
She was wrong about me. | 1:20:05 | 1:20:07 | |
Mary? How so? | 1:20:07 | 1:20:08 | |
She thought that if you put yourself in harm's way, | 1:20:10 | 1:20:12 | |
I'd...I'd rescue you, or something. | 1:20:12 | 1:20:15 | |
But I didn't, not till she told me to. | 1:20:15 | 1:20:17 | |
And that's how this works, that's what you're missing. | 1:20:18 | 1:20:21 | |
She taught me to be the man she already thought I was. | 1:20:21 | 1:20:23 | |
Get yourself a piece of that. | 1:20:23 | 1:20:25 | |
Forgive me, but you are doing yourself a disservice. | 1:20:25 | 1:20:27 | |
I have known many people in this world, but made few friends, | 1:20:27 | 1:20:29 | |
-and I can safely say... -I cheated on her. | 1:20:29 | 1:20:31 | |
No clever comeback? | 1:20:35 | 1:20:36 | |
I cheated on you, Mary. | 1:20:36 | 1:20:38 | |
There was a woman on the bus, | 1:20:40 | 1:20:42 | |
and I had a plastic daisy in my hair, | 1:20:42 | 1:20:44 | |
I'd been playing with Rosie. | 1:20:44 | 1:20:45 | |
And this girl just smiled at me. | 1:20:48 | 1:20:50 | |
That's all it was, it was a smile. | 1:20:51 | 1:20:53 | |
We texted, constantly. | 1:20:54 | 1:20:56 | |
You want to know when? | 1:20:56 | 1:20:57 | |
Every time you left the room - that's when. | 1:20:57 | 1:20:59 | |
When you were feeding our daughter. | 1:20:59 | 1:21:01 | |
When you were stopping her from crying - that's when. | 1:21:01 | 1:21:04 | |
And that's all it was. | 1:21:08 | 1:21:10 | |
Just texting. | 1:21:11 | 1:21:12 | |
But I wanted more. | 1:21:13 | 1:21:15 | |
And do you know something? I still do. | 1:21:16 | 1:21:19 | |
I'm not the man you thought I was, I'm not that guy. | 1:21:20 | 1:21:23 | |
I never could be. | 1:21:23 | 1:21:24 | |
But that's the point. | 1:21:24 | 1:21:26 | |
-VOICE BREAKS: -That's the whole point. | 1:21:29 | 1:21:31 | |
Who you thought I was... | 1:21:35 | 1:21:37 | |
..is the man who I want to be. | 1:21:39 | 1:21:41 | |
Well, then... | 1:21:44 | 1:21:45 | |
..John Watson... | 1:21:47 | 1:21:49 | |
..get the hell on with it. | 1:21:55 | 1:21:56 | |
JOHN SOBS | 1:22:06 | 1:22:09 | |
-It's OK. -It's not OK. | 1:22:15 | 1:22:17 | |
No... | 1:22:20 | 1:22:21 | |
..but it is what it is. | 1:22:23 | 1:22:24 | |
So, Molly's going to meet us at this cake place. | 1:22:32 | 1:22:35 | |
Well, it's your birthday. Cake is obligatory. | 1:22:35 | 1:22:38 | |
Oh, well, I suppose a sugar high is some sort of substitute. | 1:22:38 | 1:22:41 | |
Behave. | 1:22:41 | 1:22:43 | |
Right then. You know, it's not my place to say, | 1:22:43 | 1:22:45 | |
but...it was just texting. | 1:22:45 | 1:22:48 | |
-People text. Even -I -text. Her, I mean. Woman. Bad idea. | 1:22:50 | 1:22:55 | |
Try not to, but, you know, sometimes... | 1:22:55 | 1:22:57 | |
It's not a pleasant thought, John, | 1:22:58 | 1:23:00 | |
but I have this terrible feeling from time to time | 1:23:00 | 1:23:02 | |
that we might all just be human. | 1:23:02 | 1:23:05 | |
-Even you? -No. | 1:23:05 | 1:23:07 | |
Even you. | 1:23:08 | 1:23:09 | |
-Cake? -Cake! Oh, um... | 1:23:13 | 1:23:16 | |
What? What is it? | 1:23:16 | 1:23:18 | |
What's wrong? | 1:23:18 | 1:23:20 | |
-JOHN LAUGHS -Seriously? | 1:23:22 | 1:23:24 | |
I'm Sherlock Holmes - I wear the damn hat! | 1:23:24 | 1:23:25 | |
Isn't that right, Mary? | 1:23:28 | 1:23:30 | |
You seem so much better, John. | 1:23:40 | 1:23:43 | |
Yeah, I...I am. I think I am. | 1:23:43 | 1:23:46 | |
Not all day, not every day, but, you know. | 1:23:46 | 1:23:50 | |
-It is what it is? -Yeah. | 1:23:50 | 1:23:52 | |
And Rosie? | 1:23:53 | 1:23:55 | |
Beautiful, perfect. | 1:23:55 | 1:23:56 | |
Unprecedented in the history of children. | 1:23:56 | 1:24:00 | |
That's not my bias - that's scientific fact. | 1:24:00 | 1:24:02 | |
-Good. And Sherlock Holmes? -Back to normal. | 1:24:02 | 1:24:05 | |
'Get out!' | 1:24:05 | 1:24:06 | |
She's possessed by the devil! | 1:24:06 | 1:24:08 | |
I swear, my wife is channelling Satan! | 1:24:08 | 1:24:10 | |
Yes, boring, go away! | 1:24:10 | 1:24:12 | |
I'm not channelling Satan! | 1:24:12 | 1:24:13 | |
Why not, given your immediately alternative? | 1:24:13 | 1:24:15 | |
-What about his brother? -Mycroft? He's fine. | 1:24:24 | 1:24:27 | |
So, you're off now. I won't see you for a week? | 1:24:27 | 1:24:31 | |
-Just spending it at home. Unless she calls. -The PM. | 1:24:31 | 1:24:35 | |
-Here. -What's this? | 1:24:37 | 1:24:39 | |
-My number. -I already have your number. | 1:24:39 | 1:24:42 | |
-My private number. -Why would I need that? | 1:24:42 | 1:24:45 | |
I don't know. Maybe you'd like a drink sometime. | 1:24:45 | 1:24:48 | |
-Of...what? -Up to you. | 1:24:48 | 1:24:52 | |
Call me. | 1:24:52 | 1:24:54 | |
HE CHUCKLES | 1:24:57 | 1:25:00 | |
I mean, obviously, "normal" and "fine" | 1:25:05 | 1:25:08 | |
are both relative terms when it comes to Sherlock and Mycroft. | 1:25:08 | 1:25:11 | |
Obviously. | 1:25:11 | 1:25:12 | |
She was real. | 1:25:21 | 1:25:23 | |
'But I didn't mean Mycroft.' | 1:25:30 | 1:25:32 | |
I meant the other one. | 1:25:32 | 1:25:34 | |
-Which other one? -You know, the secret one. | 1:25:34 | 1:25:37 | |
Oh, that was just something I said. | 1:25:37 | 1:25:39 | |
I'm sure there's... | 1:25:39 | 1:25:41 | |
How did you know about that? I didn't tell you that. | 1:25:45 | 1:25:47 | |
-You must have done. -I really didn't. | 1:25:47 | 1:25:49 | |
Well, maybe Sherlock told me. | 1:25:49 | 1:25:52 | |
But you've met Sherlock exactly once, in this room, | 1:25:52 | 1:25:56 | |
he was off his head. | 1:25:56 | 1:25:57 | |
Oh, no, no, I met him before that. | 1:25:57 | 1:26:00 | |
When? | 1:26:00 | 1:26:01 | |
We spent a night together. It was lovely. | 1:26:01 | 1:26:05 | |
We had chips. | 1:26:05 | 1:26:07 | |
-IN NORTHERN ACCENT: -"You're not what I expected, Mr Holmes." | 1:26:13 | 1:26:16 | |
"You're...nicer." | 1:26:17 | 1:26:20 | |
Culverton gave me Faith's original note. | 1:26:32 | 1:26:35 | |
A mutual friend put us in touch. | 1:26:35 | 1:26:38 | |
Did Sherlock ever tell you about the note? | 1:26:39 | 1:26:42 | |
I added some deductions for Sherlock. | 1:26:42 | 1:26:45 | |
He was quite good. | 1:26:45 | 1:26:47 | |
But...he didn't get the big one. | 1:26:49 | 1:26:52 | |
In fairness, though, he does have excellent taste in chips. | 1:27:04 | 1:27:09 | |
-What's that? -What's what? | 1:27:09 | 1:27:10 | |
The flower in your hair, it's like I had on the bus. | 1:27:10 | 1:27:12 | |
You looked very sweet. | 1:27:12 | 1:27:15 | |
But then... | 1:27:15 | 1:27:16 | |
.."You have such nice eyes." | 1:27:19 | 1:27:21 | |
Amazing the times a man doesn't really look at your face. | 1:27:21 | 1:27:25 | |
Oh, you can hide behind a sexy smile or a walking cane, | 1:27:25 | 1:27:29 | |
or just be a therapist, | 1:27:29 | 1:27:31 | |
talking about you...ALL the time. | 1:27:31 | 1:27:36 | |
Oh, please don't go anywhere, | 1:27:36 | 1:27:37 | |
I'm sure the therapist who actually lives here | 1:27:37 | 1:27:39 | |
wouldn't want blood on the carpet. | 1:27:39 | 1:27:41 | |
Oh, hang on, it's fine. | 1:27:41 | 1:27:43 | |
She's in a sack in the airing cupboard. | 1:27:43 | 1:27:45 | |
-Who are you? -Isn't it obvious? | 1:27:45 | 1:27:47 | |
Haven't you guessed? | 1:27:49 | 1:27:51 | |
I'm Eurus. | 1:27:51 | 1:27:52 | |
Eurus? | 1:27:52 | 1:27:54 | |
Silly name, isn't it? Greek. Means "the east wind". | 1:27:54 | 1:27:58 | |
My parents loved silly names, | 1:27:58 | 1:28:01 | |
like Eurus... | 1:28:01 | 1:28:03 | |
or Mycroft... | 1:28:03 | 1:28:05 | |
or Sherlock. | 1:28:05 | 1:28:08 | |
Oh, look at him. | 1:28:08 | 1:28:09 | |
Didn't it ever occur to you, not even once, | 1:28:09 | 1:28:11 | |
that Sherlock's secret brother might just be Sherlock's secret sister? | 1:28:11 | 1:28:16 | |
Huh? | 1:28:17 | 1:28:18 | |
He's making a funny face. | 1:28:20 | 1:28:21 | |
I think I'll put a hole in it. | 1:28:23 | 1:28:25 |