Original subtitles

(EN GI N E ROARI N G)

Mu m my?

Mu m my.

Wa ke u p! Wa ke u p!

Mu m my!

(DI N GI N G)

- (G LASS CLATTERI N G) - (GAS PS)

(METAL CREAKI N G)

(GI RL WHIMP ERI N G)

-Wa ke u p. - (MO BI LE P H O N E CHIMI N G)

(CHIMI N G CO NTI N UI N G)

H elp me, please.

I' m on a pla ne. Everyone's asleep.

H elp me.

MO RIARTT: Hello. My name sjim Moriarty.

(SO B BI N G)

Welcome to the final Problem.

(TH EME MUSIC P LAYI N G)

You know I could arrest you.

-What for? -Wearing a dress Iike that.

Wouldyou Iike me to take it off?

Then Id really have to Press charges.

Press away.

- (REEL WHI RRI N G) -Isn t that how they got started?

MAN : Who? WOMAN : Adam and Eve.

MAN : Dh, them. WOMAN : And that turned out okay.

MAN : You think so?

I thought it was suPPosed to be the beginning ofall human misery.

Now, what was all that about arresting me?

MAN : Well, maybe not arresting you.

-WOMAN : No? -I couldJust keeP you

under close watch.

- (P ROJ ECTO R CLICKS) - Very close?

MAN : Uh-huh.

WOMAN : Shame, I was Iooking forward to Putting myself

into the hands of the authorities.

- You were? -FingerPrinting.

Being searched.

Thoroughly.

(GAS PS SO FTLY)

(GI RL WHIS P ERI N G) Mycroft.

(RU N NI N G FOOTSTEPS)

(REEL WHI RRI N G)

(DOO R O P ENS)

(DOO R CREAKI N G)

(CLOCK STRI KI N G)

(GI RL WHIS P ERI N G) Mycroft.

MYCRO FT: Why don 't you come out a nd show you rself?

I don 't have ti me for th is.

GI RL: We have ti me, brother dea r.

All the ti me i n the world .

(SCREECH ES)

(SI N G-SO N G) Mycroft.

MYCRO FT: Who a re you?

GI RL: (SI N G-SO N G) You know who.

Im possi ble.

-GI RL: N oth i ng 's i m possi ble. - (ELECTRICITT CRACKLI N G)

You of a ll people know that.

Com i ng to get you .

- (CLAN GI N G) -There's a n east wi nd com i ng, Mycroft.

Com i ng to get you .

You ca n 't have got out! You ca n 't!

(CLI N KS)

(SWO RD CLATTERI N G)

- (CLICKS) -GI RL: N o use, Mycroft.

There's no defense a nd nowhere to h ide.

(SCREAMS)

MYCRO FT: Sherlock.

H elp me.

(S H ERLOCK WHISTLES)

S H ERLOCK: Experi ment com plete.

Conclusion,

I have a sister.

Th is was you? All of th is was you?

S H ERLOCK: Conclusion two.

My sister, Eu rus, a ppa rently, has been i nca rcerated from a n ea rly age

i n a secu re i nstitution controlled by my brother.

H ey, bro.

Why wou ld you do th is. . . Th is pa ntom i me? Why?

Conclusion th ree. You a re terrified of her.

You have no idea what you ' re dea li ng with . N one at a ll.

N ew i nformation, she's out.

That's not possi ble.

It's more tha n possi ble, she was Joh n 's thera pist.

Shot me d u ri ng a session .

- (SIG HI N G) On ly with a tra nq u i lizer. -Mm m .

Sti ll had 1 0 m i n utes to go.

S H ERLOCK: Well, we' ll see a bout a refu nd .

Rig ht, you two, Wigg i ns has got you r money by the gate,

-don 't spend it a ll i n one crack den . - (N OS E SQU EAKI N G)

Oh, I hope we d id n 't spoi l you r enjoyment of the movie.

You ' re j ust leavi ng?

Oh, we' re not stayi ng here, Eu rus is com i ng a nd, u h,

someone's d isa bled a ll you r secu rity.

Sleep well!

Dr. Watson, why wou ld he do that to me?

-That was i nsa ne. -U h, yes.

Well, someone convi nced h i m that you wou ld n 't tell the truth

u n less you were actua lly wetti ng you rself.

"Someone"?

Proba bly me.

So that's it, is it? You ' re j ust goi ng .

Well, don 't worry.

There's a place for people li ke you, the desperate, the terrified,

the ones with nowhere else to ru n .

What place?

2 21 B Ba ker Street.

See you i n the morn i ng .

If there's a q ueue, joi n it.

For God 's sa ke, th is is not one of you r id iot cases.

You m ig ht wa n na close that wi ndow.

There is a n east wi nd com i ng .

You have to sit i n the cha i r.

They won 't ta lk to you u n less you sit i n the cha i r,

it's the ru les.

-I' m not a client. -Then get out.

She's not gon na stay there, is she?

-Wou ld you li ke a cu p of tea? -Tha n k you .

The kettle's over there.

So what ha ppens now? Are you goi ng to ma ke ded uctions?

You ' re gon na tell the truth, Mycroft, pu re a nd si m ple.

Who was it sa id, "Truth is ra rely pu re a nd never si m ple"?

I don 't know a nd I don 't ca re.

So there were th ree of us.

I know that now.

You, me...

And Eu rus.

A sister I ca n 't remem ber.

Interesti ng na me, Eu rus.

It's Greek, isn 't it?

Mm m, yea h, u h, litera lly, the god of the east wi nd .

Yes.

"The east wi nd is com i ng, Sherlock. "

-You used that to sca re me. - N o.

You tu rned my sister i nto a g host story.

Of cou rse I d id n 't.

-I mon itored you . -You what?

Memories ca n resu rface. Wou nds ca n reopen .

The roads we wa lk have demons beneath .

And you rs have been wa iti ng for a very long ti me.

I never bu llied you .

I used, at d iscrete i nterva ls, potentia l trigger words to u pdate myself

as to you r menta l cond ition . I was looki ng after you .

Why ca n 't I remem ber her?

-Th is is a private matter. -S H ERLOCK: Joh n stays.

Th is is fa m i ly.

That's why he stays!

(CLEARS TH ROAT) So there were th ree H olmes kids.

What was the age ga p?

Seven yea rs between myself a nd Sherlock, one yea r between Sherlock a nd Eu rus.

Midd le ch i ld . Expla i ns a lot.

So, d id she have it too?

- Have what? -The ded uction th i ng .

"The ded uction th i ng "?

(SCO FFI N G)

-Yes. -More tha n you ca n know.

En lig hten me.

-You rea lize I' m the sma rt one. -As you never cease to a n nou nce.

But Eu rus, she was i nca ndescent, even then .

Ou r a bi lities were professiona lly assessed more tha n once.

I was rema rka ble.

But Eu rus was descri bed as a n era-defi n i ng gen i us beyond N ewton .

Then why don 't I remem ber her?

You do remem ber her, i n a way.

Every choice you 've ever made, every path you 've ever ta ken,

the ma n you a re today,

is you r memory of Eu rus.

(DOG BARKS)

She was different from the beginning.

She knew th i ngs she shou ld never have known,

as if she were somehow awa re of truths beyond the norma l scope.

You look fu n ny g rown u p.

-What's wrong? -Sorry.

The memories a re d istu rbi ng .

What do you mea n? Exa m ples.

MYCRO FT: They fou nd her with a kn ife once.

She seemed to be cutti ng herself.

Mother a nd Father were terrified . They thoug ht it was a su icide attem pt.

But when I asked Eu rus what she was doi ng, she sa id ...

I wa nted to see how my m uscles worked .

Jesus!

MYCRO FT: So I asked her if she felt pa i n .

And she sa id ...

Wh ich one's pa i n?

Then what ha ppened?

Musg rave.

The ancestral home where there was always honey for tea.

And Sherlock PIayed among the funny gravestones.

JO H N : Fu n ny how?

MRS. H O LMES: Come on, you lot.

MYCRO FT: They weren t real. The dates were all wrong,

an architecturalJoke which fascinated Sherlock.

EU RUS: # Who will find me?

# DeeP down below the old beech tree

-# HelP... - H elp, succor me now,

-the east wi nds blow. - East wi nds blow.

EU RUS: # ... east winds blow #

-Sixteen by six. -# Brother

And u nder we go.

-You ' re sta rti ng to remem ber. - Frag ments.

YOU N G S H ERLOCK: Red bea rd !

Red bea rd !

JO H N : Redbeard?

S H ERLOCK: He was my dog.

MYCRO FT: Eurus took Redbeard and Iocked him uP

somewhere no one could find him.

Red bea rd !

MYCRO FT: And she refused to say where he was.

Red bea rd !

She'd on ly repeat that song .

H er little ritua l.

- Red bea rd ! -MYCRO FT: We begged a nd begged her

to tell us where he was.

She said...

YOU N G EU RUS: (WHIS P ERI N G) The song is the answer.

MYCRO FT: But the song made no sense.

# Brother, And under we go #

What ha ppened to Red bea rd?

We never fou nd h i m .

But she sta rted ca lli ng h i m "d rowned Red bea rd, "

so we made ou r assu m ptions.

Sherlock was tra u matized .

Natu ra l, I su ppose. H e was, i n the ea rly days, a n emotiona l ch i ld .

But after that he was d ifferent, as thoug h he'd cha nged .

N ever spoke of it aga i n .

In ti me, he seemed to forget that Eu rus had ever even existed .

H ow cou ld he forget? She was livi ng i n the sa me house.

N o.

They took her away.

Why?

You don 't lock u p a ch i ld beca use a dog goes m issi ng .

Qu ite so.

It was what ha ppened i m med iately afterwa rds.

MR. H O LMES: She knows where he is.

MRS. H O LMES: We ca n 't ma ke her tell us. We ca n 't ma ke her do a nyth i ng !

(ROO F CO LLAPSI N G)

After that, ou r sister had to be ta ken away.

Where?

Oh, some su ita ble place, or so everyone thoug ht.

N ot su ita ble enoug h, however.

-She d ied there. - H ow?

She sta rted a nother fi re, one wh ich she d id not su rvive.

Th is is a lie.

Yes.

It is a lso a ki nd ness.

Th is is the story I told ou r pa rents to spa re them fu rther pa i n

a nd to accou nt for the a bsence of a n identifia ble body.

And no dou bt to prevent thei r fu rther i nterference.

MYCRO FT: That too, of cou rse.

The depth of Eu rus's psychosis a nd the extent of her a bi lities

cou ld n 't hope to be conta i ned i n a ny ord i na ry i nstitution .

U ncle Rud i took ca re of th i ngs.

Where is she, Mycroft? Where is ou r sister?

There's a place ca lled Sherri nford, a n isla nd .

It's a secu re a nd very secret i nsta llation

whose sole pu rpose is to conta i n what we ca ll "The U nconta i na bles. "

- (TH U N D ER RUMB LI N G) -The demons beneath the road,

this is where we traP them.

Sherrinford is more than a Prison, or an asylum.

It is a fortress bu i lt to keep the rest of the world safe

from what is i nside it.

H eaven may be a fa ntasy for the cred u lous a nd the afra id .

But I ca n g ive you a ma p reference for hell.

That's where ou r sister has been si nce ea rly ch i ld hood .

She hasn 't left, not for a si ng le day.

Whoever you both met, it ca n 't have been her.

(G LASS S HATTERI N G)

(FOOTSTEPS AP P ROACHI N G)

EU RUS: # I that am Iost Dh, who will find me?

# DeeP down below the old beech tree

# HelP, succor me now The east winds blow

# Sixteen by six, brother And under we go #

- (SI N GI N G CO NTI N U ES I N DISTI N CTLY) -MYCRO FT: Keep back.

- Keep as sti ll as you ca n . -What is it?

It's a d rone.

Yea h, I ca n see that. What's it ca rryi ng?

Whats that silver thing on toP ofit, Mycroft?

It's a DX-707 .

I've a uthorized the pu rchase of q u ite a n u m ber of these.

Colloq u ia lly it is known as the " patience g renade. "

" Patience"?

- (B EEPI N G) -The motion sensor is activated .

If a ny of us move, the g renade wi ll detonate.

- H ow powerfu l? -MYCRO FT: It' ll certa i n ly destroy

th is flat a nd ki ll a nyone i n it.

Assu m i ng wa lls of reasona ble strength, you r neig h bors shou ld be safe,

but as it's la nded on the floor,

I a m moved to wonder if the cafe below is open .

It's Su nday morn i ng,

-so it's closed . -What a bout Mrs. H udson?

- (H EAVY METAL MUSIC P LAYI N G) - (VACU UM WHI RRI N G)

Goi ng by her usua l routi ne,

I esti mate she has a nother two m i n utes left.

She keeps her vacu u m clea ner at the back of the flat.

So?

So, safer there, when she's putti ng it away.

But we have to move eventua lly. We shou ld do it when she's safest.

When the vacu u m stops, we g ive her eig ht seconds

to get to the back of the flat. She's fast when she's clea n i ng .

Then we move.

What's the trigger response ti me?

Once we' re mobi le, how long before detonation?

We have a maxi m u m of th ree seconds to vacate the blast rad i us.

Joh n a nd I wi ll ta ke the wi ndows, you ta ke the sta i rs.

H elp get Mrs. H udson out, too.

-Me? -You ' re closer.

You ' re faster.

Speed d ifferentia l won 't be as critica l as the d ista nce.

Yes. Ag reed .

She's fu rther away.

She's movi ng to the back.

I esti mate we have a m i n ute left.

Is a phone ca ll possi ble?

Phone ca ll?

Joh n has a da ug hter. H e may wish to say good bye.

I' m sorry, Dr. Watson,

a ny movement wi ll set off the g renade. I hope you u ndersta nd .

Osca r Wi lde.

-What? - H e sa id, "The truth is ra rely pu re

"a nd never si m ple. "

It's from The ImPortance ofBeing Earnest. We d id it i n school.

So d id we, now I reca ll.

I was Lady Bracknell.

Yea h . You were g reat.

You rea lly th i n k so?

Yes, I rea lly do.

Well, it's good to know.

I've a lways wondered .

- (VACU UM CLEAN ER STO PS WHI RRI N G) - (B EEPI N G CO NTI N U ES)

(SO FTLY) Good luck, boys.

Th ree, two, one.

Go !

(B EEPI N G ACCELERATI N G)

AN N OU N CER: And now the ShiPPing Forecast, issued by the Met Dffice...

(MAN COUG HI N G)

...on behalf of the Maritime and CoastguardAgency at Ø5Ø5...

(PANTI N G)

MAN 1 : Go on, son, get it u p.

Better out tha n i n .

MAN 2 : Is it a lways li ke th is? MAN 1 : Na h !

MAN 2 : Tha n k God !

MAN 1 : Usua lly it's m uch worse.

I m ig ht go a nd work i n a ba n k.

-Is that a helicopter? - (H ELICO PTER AP P ROACHI N G)

MAN 1 : Na h . N ot i n th is weather.

AN N OU N CER: (OVER RADIO) Malin, Sherrinford.

-Sherrinford. -MAN 2 : You hea r that?

AN N OU N CER: Sherrinford.

I never hea rd that one before.

"Sherri nford . "

Forget you ever hea rd it.

What?

Someti mes when we' re out i n these waters we get that message.

J ust forget a bout it.

-Yea h, but we've never. . . It's never. . . -Sh h .

(BAN GI N G)

(H EAVY FOOTSTEPS)

Who the hell a re you?

-My na me's Sherlock H olmes. -The detective.

The pi rate.

RADIO O P ERATO R: Golf, wh isky, x-ray,

th is is a restricted a rea . Repeat, restricted a rea .

You a re off cou rse. Are you receivi ng?

Golf, wh isky, x-ray, you a re off cou rse. Are you receivi ng?

JO H N : Yeah, receiving you.

This is a distress call. RePeat, distress call, we re in trouble here.

Golf, wh isky, x-ray, what is you r situation?

Golf, wh isky, x-ray? Where a re you now?

JO H N : We re headed for the rocks. We re going to hitl

(ALARM B LARI N G)

-Governor to the control room . -AUTOMATED VOICE: Lockdown in Progress.

Lockdown in Progress.

PIease Proceed to designated red stations.

PIease Proceed to designated red stations.

(ALARM WAI LI N G)

H old it! Wa it, wa it, wa it!

GUARD: In the sa nd !

In the sa nd !

I need to spea k to Mycroft.

H e's i n hospita l, there was a n explosion .

Put me th roug h to the hospita l.

H e's not conscious. H e's severely i nj u red .

N o one is even confident he's goi ng to pu ll th roug h .

Where is h is brother? Where's Sherlock H olmes?

(SIG HS) Missi ng .

N o, he's not. H e's here.

Si r, we fou nd two more from the boat.

He stole our boatl Him and another fella, with gunsl

Where d id you fi nd 'em?

GUARD: North side of the island, sir.

H old i ng cell, now!

GUARD: Right, sir.

AUTOMATED VOICE: Lockdown in Progress.

(DOO R BUZZI N G O P EN )

Th is is a m ista ke ! I' m the victi m here !

Th is ma n stole my boat. H e's a pi rate.

-Yea h, I rea lly a m . - Please, sit down .

I don 't even know who he is!

H e's Dr. Joh n Watson, formerly of the 5th N orth u m berla nd Fusi liers.

What a re you doi ng here?

It's a hospita l. Any work?

It's not a hospita l.

I wa nt eyes on Eu rus H olmes. Go stra ig ht to the specia l u n it,

deploy g reen a nd yellow sh ift on my a uthority.

-GUARD: Si r. - (DOO R BUZZES O P EN )

I' m spa ri ng you r blushes beca use we' re su pposed to be on the sa me side,

a nd fra n kly, th is is em ba rrassi ng .

Oh . Doi ng a cavity sea rch?

The true a rt of d isg u ise, accord i ng to you r fa mous friend,

is not bei ng looked at.

But I a m looki ng at you, a ren 't I, Mr. H olmes?

-Yes, you a re. - (CH UCKLES)

But that is sort of the poi nt, isn 't it?

See, you shou ld 've been looki ng at the g uy you j ust gave you r pass to.

(SIG HS)

That's the trou ble with u n iforms a nd na me badges,

people stop looki ng at faces.

You 'd be better off with clown outfits.

At least they'd be sati rica lly i rreleva nt.

JO H N : Oh, you ' ll fi nd the rea l la nders on the north shore,

tied u p with two others.

-Two others? -Mm m .

Well, it was tria l-a nd-error. We had to fi nd the rig ht wa istba nd .

Th is is i nsa ne.

-Th is is u n necessa ry. - N o, you r secu rity is com prom ised,

a nd we don 't know who to trust.

And that j ustifies d ressi ng u p?

Yes, it does!

It j ustifies d ressi ng u p or a ny da m n th i ng I say it does.

N ow, listen to me.

For you r own physica l safety, do not spea k.

Do not i nd u lge i n a ny non-verba l sig na l suggestive of i nterna l thoug ht.

If the safety of my sister is com prom ised,

if the secu rity of my sister is com prom ised,

if the i nca rceration of my sister is com prom ised,

i n short, if I fi nd a ny i nd ication my sister has left th is isla nd

at a ny ti me, I swea r to you, you wi ll not!

-Say tha n k you to Dr. Watson . -Why?

H e ta lked me out of Lady Bracknell. Th is cou ld have been very d ifferent.

Are you i n?

J ust a rrivi ng at the secu re u n it. Expla i n .

AUTOMATED VOICE: Door oPening.

MYCRO FT: Prison within a Prison.

Eu rus m ust be a llowed the strict m i n i m u m of h u ma n i nteraction .

-Why? -Si nce you ' re determ i ned to meet her,

you ' re a bout to fi nd out.

(I N SCOTTIS H ACCENT) Eyes on Eu rus H olmes. Governor's orders.

MYCRO FT: Answer yes or no.

Has there ever been, aga i nst my express i nstructions,

a ny attem pt at a psych iatric eva luation of Eu rus H olmes?

-Yes. -I presu me the ta pes a re i n my office.

-You r office? -Cast you r m i nd back.

It used to be you rs.

- (VIO LI N P LAYI N G) -You haven 't been down here before,

have you? Silence of the Lambs, basica lly.

-You what? - Keep you r d ista nce.

Stay at least th ree feet away from the g lass a nd a ll that.

-Why the head phones? -She doesn 't stop playi ng .

Someti mes for weeks.

S H ERLOCK: Bea utifu l.

-It ki lls you i n the end . -Aye.

Sti ll bea utifu l, thoug h .

- (SIG HS) -AUTOMATED VOICE: Door closing.

(VIO LI N P LAYI N G)

(VIO LI N P LAYI N G STO PS)

(B EGI NS P LAYI N G RED B EARD SO N G)

Why am I here?

MAN : Why do you think youre here?

EU RUS: No one ever tells me.

(P LAYS DISCO RDANTLY)

(RESUMES RED B EARD SO N G)

-Am I being Punished? -MAN : Were you bad?

There s no such thing as bad.

-MAN : Well, not good. -Good and bad are fairy tales.

We have evolved to attach an emotional significance

to what is nothing more than the survival strategy

of the Pack animal.

We are conditioned to invest divinity in utility.

Good isn t really good, evil isn t really wrong,

and bottoms aren t reallyPretty.

You are a Prisoner ofyour own meat.

MAN : Why aren t you?

-Im too clever. - (CO NTI N U ES P LAYI N G RED B EARD SO N G)

EU RUS: Didyou bring it?

Sorry?

My hair band. Didyou bring it Iike I asked?

I' m not one of the...

I. . . I don 't work here.

My sPecial hair band.

I' m not one of you r doctors.

The one I made you steal from Mummy.

It was the Iast thing I said to you, remember?

The day they took me away.

N o.

No?

We've spoken si nce then .

You ca me a rou nd to my flat a few weeks back.

You pretended to be a woma n ca lled Fa ith Sm ith .

We had ch i ps.

Does this mean you didn t bring my hair band?

H ow d id you ma nage to get out of th is place?

H ow d id you do that?

Easy. Look at me.

I a m looki ng at you .

You can t see it, can you?

You try and try, but youJust can t see,

-you can t Iook. -See what?

(GAS PS) What do you think?

Bea utifu l.

- Youre not Iooking at it. -I mea nt you r playi ng .

Dh, the music. I never know ifits beautiful or not.

Dnly ifits right.

Often they' re the sa me th i ng .

If theyre not always the same thing, whats the Point in beauty?

Look at the violin.

I need to know how you esca ped .

Look at the violin.

It's a Strad iva ri us.

Its a gift.

-Who from? -Me.

(WHI RRI N G)

Why?

You PIay, don t you?

H ow d id you know?

How didl know?

I taught you, don t you remember? How can you not remember that?

Eu rus, I don 't remem ber you at a ll.

Interesting.

Mycroft told me youd rewritten your memories.

He didn t tell me youd written me out comPIetely.

What do you mea n, " rewritten "?

You still don t know about Redbeard, do you?

Dh.

This is going to be such a good day.

EU ROS: (O N VI D EO) She smiles at you when you come home.

GOVERN O R: Everyone we sent i n there...

-Like a reflex. -. . . it's ha rd to descri be,

-it's li ke she. . . - Recru ited them .

Smiling is advertising.

Enslaved them .

She's been ca pa ble of that si nce she was five.

She's a n ad u lt now.

-I wa rned you . I ordered you . - (SCO FFS)

She's cli n ica lly u n iq ue. We had to try.

At what cost?

HaPPiness is a PoP song.

Sadness is a Poem.

What cost?

Tell me the worst th i ng that has ha ppened .

She kept suggesti ng to Dr. Taylor that he shou ld ki ll h is fa m i ly.

And?

H e sa id it was li ke a n ea r worm,

-cou ld n 't get her out of h is head . -And?

- H e left. -And?

Ki lled h i mself.

And?

H is fa m i ly.

EU RUS: Youre going to cry.

Its okay ifyou cry.

MAN : I don t need to cry.

I can helP you cry.

PIay for me.

I need to know how you got out of here.

You know already. Look at me. Look andPIay.

No, not Bach. You clearly don t understand it. PIayyou.

Me?

You.

Dh, have you had sex?

-Why do you ask? -The music. Ive had sex.

H ow?

Dne of the nurses got careless. I Iiked it. Messy, though.

PeoPIe are so breakable.

I ta ke it he d id n 't consent.

-He? -She?

Afraidl didn t notice in the heat of the moment.

And afterwards... Welll

You couldn t really tell.

Is that vibrato or is your hand shaking?

I wa rned you explicitly.

N o one was to ta lk to her a lone.

-You spoke to her. -I know what I' m doi ng .

You even broug ht her a visitor on Ch ristmas Day.

-I took a ca lcu lated risk. -You gave her a Ch ristmas present.

Remem ber her Ch ristmas present?

I a m awa re of the da ngers Eu rus poses a nd eq u i pped to dea l with them .

What da ngers?

Eu rus doesn 't j ust ta lk to people.

She reprog ra ms them .

Anyone who spends ti me with her is a utomatica lly com prom ised .

EU RUS: Im only trying to helP you. We can helP each other.

HelPing someone is the best way you can helP yourselL

MAN : I don t trust you.

So clea rly, you remem ber me.

I remember everything, every single thing.

YouJust need a big enough hard drive.

-JO H N : Sherlock. - N ot now.

- Vatican cameos. -In a m i n ute.

Lets continue. Did they tellyou to keeP three feet from the glass?

-Yes. -Be naughty, steP closer.

-Why? -Do it.

SteP closer.

Tell me what you remem ber.

You, me and Mycroft.

Mycroft was quite clever.

He could understand things ifyou went a bit slow, but you...

You were my favorite.

Why was I you r favorite?

Because I could make you Iaugh. I Ioved it when you Iaughed.

Dnce I made you Iaugh all night. I thought you were going to burst.

I was so haPPy.

Then Mummy and Daddy had to stoP me, of course.

-Why? -Well...

Turns out Idgot it wrong. APParently, you were screaming.

Why was I screa m i ng?

(DOG WHIMP ERI N G)

Red bea rd .

-I remem ber Red bea rd . -Do you, now?

Tell me what I don 't know.

Touch the glass.

I put my trust i n you .

My i m plicit trust, as governor of th is i nstitute.

(GU LLS SQUAWKI N G)

(EXHALES)

GOVERN O R: It's obvious when it a ll sta rted .

Well, she was never the sa me after that Ch ristmas.

It's as if you woke her u p.

That is enti rely beside the poi nt. You had you r orders a nd fa i led to act...

- Listen to the ta pe. -Sorry?

Do it now. Listen .

-My sister's methods. . . -J ust listen .

EU RUS: You have no idea how I could helP.

Bring me your wife. I want to meet her.

MAN : I don t needyour helP.

Red bea rd was my dog .

I know what ha ppened to Red bea rd .

Dh, Sherlock.

You know nothing.

Touch the glass andlll tellyou the truth.

III touch it too ifyoure scared.

I can fix her foryou and then III give you her straight back.

Good as new, IPromise.

MAN : Thats all?

What youre ProPosing is not... Its not right.

Yea h, everyone who went i n there got affected .

- Enslaved, you sa id? -Yes.

-One after the other? -Yes.

-MYCRO FT: Dr. Watson, I th i n k. . . -Sh ut u p.

EU RUS: Do you trust your wife?

One q uestion . That's you r voice, isn 't it?

Do you trust her?

MAN : Youve got to stoP saying these things.

JO H N : If Eu rus has enslaved you,

then who exactly is i n cha rge of th is prisoner?

MAN : Its comPIetely inaPProPriate.

I' m sorry.

- N o. -Very, very sorry.

-JO H N : N o. - (ALARM B LARI N G)

EU RUS: You think its a trick.

You Iook so...

Unsure. Youre not used to being unsure, are you?

-It's more com mon tha n you 'd th i n k. -Look at you.

A man who sees through everything

is exactly the man who doesn t notice...

(GAS PS) ... when there s nothing to see through.

(S H ERLOCK S H U D D ERI N G)

Do you see how it was done? I knowyou Iike exPIanations.

Sig ns, you suspended the sig ns.

And my voice? Throat mic.

-Puts me through the sPeakers. - (CLICKS)

(N O RMAL) Don 't you th i n k it's clever?

-Si m ple, but clever. -Tra nspa rent.

Well, you do keep aski ng me how I got out of here.

Li ke th is.

(G ROANS)

(SCREAMI N G)

Get i n here, a ll of you ! Stop me ki lli ng h i m .

N o, no, stop me i n a m i n ute.

(SCREAMI N G)

(G RU NTI N G)

MAN : (OVER PA) Red alertl RedAIertl Big red bouncy RedAIertl

- Dr. Watson . -KIingons attacking Iower decks.

AIso, cowboys in black hats.

Darth Vader. Don t be alarmed.

Im here now, Im here now.

Didyou miss me? Didyou miss me?

Miss me? Miss me? Miss me? Miss me?

Miss me? Miss me? Miss me? Miss me?

Miss me? Miss me? Miss me? Miss me...

(I WANT TD BREAK FREE P LAYI N G)

# I want to break free

# I want to break free

# I want to break free from your Iies

# Youre so self-satisfied I don t needyou

# Ive got to break free

# God knows

# God knows I want to break free

# Ive fallen in... #

(H ELICO PTER WHI RRI N G)

-Mr. Moria rty. - Big G.

Big G mea ns governor. Street spea k.

I' m a bit down with the kids, you know.

I' m relata ble that way.

Do you li ke my boys?

Th is one's got more sta m i na, but he's less ca ri ng i n the afterg low.

Th is way, please.

Smell a ll that i nsa ne cri m i na lity. (S NI FFI N G)

- Do you have ca n n i ba ls here? -Yes.

- H ow ma ny? -Th ree.

That's good .

People leave thei r bod ies to science.

I th i n k ca n n i ba ls wou ld be so m uch more g ratefu l.

(WHISTLI N G)

(DISTANT S H OUTI N G)

(CH UCKLES SO FTLY)

MO RIARTT: Oh, isn 't that sweet?

Maybe you shou ld sit down .

I wrote my own version of the Nativity when I was a ch i ld .

The Hungry Donkey.

It was a bit gory.

But if you ' re gon na put a ba by i n a ma nger,

you ' re aski ng for trou ble.

-You know what th is place is, of cou rse. -Of cou rse.

So, a m I u nder a rrest aga i n?

You rema i n a person of i nterest,

but u nti l you com m it a verifia ble cri me, you a re,

I reg ret, at li berty.

-Then why a m I here? -You a re a Ch ristmas present.

Ah ! H ow do you wa nt me?

There is, i n th is faci lity, a prisoner whose i ntellectua l a bi lities

a re of occasiona l use to the British govern ment.

What, for, li ke, rea lly d ifficu lt su ms, long d ivision, that sort of th i ng?

She pred icted the exact dates of the last th ree terrorist attacks

on the British ma i n la nd after a n hou r on Twitter.

That sort of th i ng .

In retu rn, however, she req u i res treats.

- Last yea r it was a violi n . -MO RIARTT: Th is yea r?

Five m i n utes u nsu pervised conversation ...

with you .

Me?

With me?

She has noted you r i nterest i n the activities of my little brother.

So...

What's she got to do with Sherlock H olmes?

Whatever you ' re a bout to tell me,

I a lready know it's gon na be awesome !

(DOO R HISSI N G O P EN )

Im your Christmas Present.

So whats mine?

Redbeard.

N o. . . (G ROANS)

H ow a re you?

(SIG HS) Bit of a lu m p.

True that, but you have you r uses.

You see you r sister?

-Yes. - H ow was that?

Fa m i ly is a lways d ifficu lt.

Is th is a n occasion for ba nter?

- H m m . Case i n poi nt. - (LI N E RI N GI N G)

Are we phon i ng someone?

Appa rently.

-What's he doi ng here? -S H ERLOCK: As he is told .

Eu rus is i n control.

GI RL: (SO B BI N G) HelP me, PIease.

I' m on a pla ne. Everyone's asleep.

H elp me.

MO RIARTT: Hello. My name sjim Moriarty.

Welcome to the final Problem.

-It's okay, he's dead . - H e doesn 't sou nd dead .

MO RIARTT: This is a recorded announcement.

PIease say hello to some very old friends ofmine.

H ello? I ca n hea r you ta lki ng . Please help me.

Im on a PIane and its going to crash.

-What is th is? We ca n 't do th is. - Do sh ut u p, dea r.

-GI RL: Is someone there? -Is th is su pposed to be a ga me?

- Be q u iet. -GI RL: PIease helP me.

Oh, hello, erm ...

Try. . . Try to stay ca lm, j ust...

Tell me what you r na me is.

I' m not su pposed to tell my na me to stra ngers.

Of cou rse not, very good, but. . . I' ll tell you m i ne, my na me is...

(LI N E DISCO N N ECTS)

H ello?

Dh, dear. We seem to have Iost the connection.

H ow have you done th is? H ow is a ny of th is possi ble?

You put me i n here, Mycroft. You broug ht me my treats.

What treats?

CIever Eurusl You go, girll

H ow ca n that be Moria rty?

Oh, he recorded lots of little messages for me before he d ied .

Loved it.

Didyou know his brother was a station master?

I think he was alwaysJealous.

The g i rl. Where is she?

Ca n I ta lk to her aga i n?

Poor little th i ng .

AIone in the sky on a great, big PIane with nowhere to Iand.

But where in the world is she?

Its a clever Iittle Puzzle.

Ifyou want to aPPIyyourself to it, I can re-connect you, but first...

That's my wife.

That's my wife !

Oh, God, that's my wife.

EU RUS: Im going to shoot the governors wife.

Please, no.

Please, help her.

In a bout a m i n ute...

Ba ng ! Dead .

Please don 't do that.

EU RUS: Well, you can stoP me.

- H ow? -There's a g u n i n the hatch . Ta ke it.

You wa nt to save the governor's wife?

Choose either Dr. Watson or Mycroft to ki ll the governor.

Oh . . . Oh, God .

You can t do it, Sherlock. Ifyou do it, it won t count. III kill her anyway.

It has to be you r brother or you r friend .

You have to do th is.

Eu rus wi ll ki ll her.

(SIG HS) Doesn 't a ppea r we have a choice.

Rig ht, then .

Countdown starting...

- H ow long? - N o, no, no.

The cou ntdown is for me.

Withholding the Precise deadline, Im gonna aPPIy the emotional Pressure

more evenly where Possible.

Please g ive me a n explicit verba l i nd ication of you r a nxiety levels.

I can t always read them from your behavior.

I ca n 't do th is.

Ca n 't, it's m u rder.

Th is is not m u rder.

Th is is savi ng my wife.

EU RUS: Im Particularly focused on internal conflicts

where strategising round a Iargely intuitive moral code

aPPears to create a counter-intuitive result.

I wi ll not ki ll. I wi ll not have blood on my ha nds.

Yes, very good, tha n k you .

Ki lli ng my wife is what you ' re doi ng .

N o.

Okay, fi ne.

Joh n .

Dr. Watson, a re you ma rried?

-I was. -What ha ppened?

She d ied .

What wou ld you g ive to get her back?

I mea n, if you cou ld, if it was possi ble.

What wou ld you do to save her?

Eu rus wi ll ki ll me.

Please save my wife.

There wi ll, I' m afra id, be reg u la r prom pts

to create a n atmosphere of u rgency.

MO RIARTT: Tick-tock...

Tick, tick, tick. Tick, tick, tick...

Tick-tock, tick-tock, tick-tock.

What's you r na me?

- David . -Are you su re a bout th is, David?

Of cou rse I' m bloody su re.

N ea rly there.

Rig ht, do you wa nt to pray or a nyth i ng?

With Eu rus H olmes i n the world, who the hell wou ld I pray to?

You a re a good ma n, a nd you a re doi ng a good th i ng .

So a re you .

I' ll spend the rest of my life telli ng myself that.

(GAS PS)

GOVERN O R: Please...

(SO BS)

(S NI FFLES)

- (GU N CLICKI N G) -Oh, God .

I know that you a re sca red, but you shou ld a lso be very proud .

(SO B BI N G) J ust do it.

Be q u ick.

Tick, tick, tick. Tick, tick, tick.

Th is is very good, Dr. Watson .

I should have fittedyou with a cardiograPh.

-Good bye, David . - (WHIMP ERI N G)

Tock, tock, tock, tock. Tick, tick, tick...

Please...

I ca n 't. Sorry, I ca n 't do it.

Fi ne, it's a ll rig ht.

JO H N : Stop! N o, no, stop.

I' m sorry.

-It's a ll rig ht. -I' m so sorry.

Remem ber me.

- N o ! - (GU NS H OT)

(SIG HS)

(MYCRO FT RETCHI N G)

(COUG HI N G)

You a ll rig ht?

Interesting.

All rig ht, there you go. You got what you wa nted .

-And he's dead . -Dead or alive,

it really wasn t very interesting, but you three, you three,

were wonderful.

Thank you.

(I N HALES) You see, what you d id,

Dr. Watson, specifica lly, beca use of you r mora l code,

beca use you don 't wa nt blood on you r ha nds,

-two people a re dead i nstead of one. - N ot two people.

Yes. Sorry. Hang on.

- (GU NS H OT) -Oh !

(SIG HS)

EU RUS: What advantage didyour moral code grant you?

Is it not, i n the end, selfish

to keep one's ha nds clea n at the expense of a nother's life?

You d id n 't have to ki ll her!

(CH UCKLES)

The cond ition of her su rviva l was that you or Mycroft had to ki ll her h usba nd .

This is an exPeriment.

There will be rigor.

Sherlock, Pick uP the gun.

It's you r tu rn next. When I tell you to use it, a nd I wi ll,

remem ber what ha ppened th is ti me.

What if I don 't wa nt a g u n?

Oh, the g u n is i ntended as a mercy.

- For whom? -You .

-How so? -If someone else had to d ie,

wou ld you rea lly wa nt to do it with you r ba re ha nds?

Would waste valuable time.

(SIG HS) Proba bly j ust ta ke it.

There's on ly one bu llet left.

You wi ll on ly need one.

But you wi ll need it.

PIease... Go through.

There s a few tasks foryou

and a girl on a PIane who s getting very, very scared.

-Treats? -Yes.

You know, a violi n .

In excha nge for?

She's very clever.

I' m beg i n n i ng to th i n k you ' re not.

MO RIARTT: Come on, nowl AII aboard.

(MIMICKI N G TRAI N WHISTLE B LOWI N G)

She m ust be redecorati ng .

Is that a llowed?

She's litera lly ta ken over the asylu m .

We have more to worry a bout tha n her choice of colou r scheme.

Ba rely d ry. Recent.

S H ERLOCK: That's for ou r benefit.

EU RUS: As a motivator to you r conti n ued cooperation,

I' m now recon necti ng you .

Fasten your seat belts. Its gonna be a bumPy night.

-GI RL: Are you still there? -Yes. H ello.

H ello, we' re sti ll here.

-Ca n you hea r us? -Yes.

S H ERLOCK: Everythings gonna be all right.

IJust needyou to tell me where you are.

Dutside, is it day or night?

N ig ht.

That certa i n ly na rrows it down to ha lf the pla net.

What ki nd of a pla ne a re you on?

GI RL: I don t know.

-Is it big or sma ll? -Big.

Lots of people on it?

Lots a nd lots, but they' re a ll asleep. I ca n 't wa ke them u p.

Where d id you ta ke off from?

GI RL: And the drivers asleeP.

N o, I u ndersta nd, but...

Where didyou come from? Where did the PIane take off?

My na n 's.

And where a re you goi ng?

-Home. - N o. I mea n, what a i rport?

Enoug h for now! Ti me to play a new ga me.

Look on the ta ble i n front of you .

DPen the enveloPe ifyou want to sPeak to the girl again.

Earn yourselfsome Phone timel

-Th is is i n h u ma n . Th is is i nsa ne. -Mycroft, we know.

Six months ago, a ma n ca lled Eva ns was m u rdered, u nsolved, except by me.

He was shot from a distance of3ØØ meters with this rifle.

Now, if the Police had any brains, theyd realize there are three susPects,

all brothers. Nathan Garrideb, AIex Garrideb and Howard Garrideb.

All these photos a re u p-to-date, but wh ich one

pu lled the trigger, Sherlock? Wh ich one?

What's th is? We' re su pposed to solve th is,

-based on what? -Th is, th is is a ll we get.

Please ma ke use of you r friend, Sherlock.

I want to see you interact with PeoPIe that youre close to.

AIso, you may have to choose which one to keeP.

What do you ma ke of it?

Am I bei ng asked to prove my usefu lness?

Yes, I shou ld th i n k you a re.

I wi ll not be ma n i pu lated li ke th is.

Fi ne. Joh n .

Joh n !

Yea h, I th i n k I've seen one of these. It's a . . . Buffa lo g u n .

I'd say 1 940s. Old-fash ioned sig ht. N o crossha i rs.

Glasses, g lasses.

Natha n wea rs g lasses.

Eva ns was shot from 300 metres.

Kickback from a g u n with th is ca li ber...

(GU NS H OT)

...wou ld be massive.

N o cuts, no sca rri ng .

N ot Natha n then . Who's next?

Well done, Dr. Watson ! H ow usefu l you a re.

Do you have a suspicion we' re bei ng made to com pete?

N o, we' re not com peti ng . There's a pla ne i n the a i r that's gon na crash .

So what we' re doi ng is actua lly tryi ng to save a little g i rl.

Today we have to be sold iers, Mycroft.

Sold iers. And that mea ns to hell with what ha ppens to us.

You r priorities do you cred it.

N o, my priorities j ust got a woma n ki lled .

Now, as I understand it, Sherlock, you try to rePress your emotions

to refine your reasoning. Id Iike to see how that works.

So ifyou don t mind,

Im going to aPPIy some context to your deductions.

(WHI RRI N G)

MYCRO FT: Oh, dea r God !

EU RUS: Two of the Garridebs work here as orderlies,

so getting the third along really wasn t too difficult.

Dnce you bring in your verdict, Iet me know,

-andJustice will be done. -J ustice.

-What wi ll you do with them? - EU RUS: Early release.

You ' ll d rop them i nto the sea .

Si n k or swi m .

-They' re tied u p. - Exactly! N ow there is context.

PIease continue with your deductions.

I' m now focussi ng on the d ifference to you r menta l ca pacity

a specified conseq uence ca n ma ke.

Why shou ld we bother?

What if we' re d isi ncli ned to play you r ga mes, little sister?

(CH UCKLI N G)

I have, ifyou remember, Providedyou with some motivation.

GI RL: We re getting through the clouds. Like cotton wool.

Oh, that's n ice.

Try to tell me more a bout the pla ne.

Why won 't my m u m my wa ke u p?

(RADIO STATIC)

(SIG HS) So it's got to be one of the other two.

N ow, H owa rd ...

H owa rd is a lifelong d ru n k. Pa llor of h is ski n,

terri ble g i n blossoms on h is red nose.

And terror notwithsta nd i ng, a bad case of the DTs.

There's no way he cou ld have ta ken that shot from 300 meters away.

So that leaves us with Alex.

Indentations on the tem ple suggests he ha bitua lly wea rs g lasses.

Frown li ne suggests a lifeti me of peeri ng .

H e's short-sig hted, or he was.

H is recent laser su rgery has done the trick.

- Laser su rgery? - Look at h is clothes.

H e's made a n effort.

That's very good .

Excellent. Sudden ly he sees h i mself i n q u ite a d ifferent lig ht,

now that he's d u m ped the specs.

Even has a spray ta n .

But he's clea rly not used to h is new persona l g room i ng ritua l.

That cou ld be told by the state of h is fi ngerna i ls

a nd the fact that there's ha i r g rowi ng i n h is ea rs.

So it is a su perficia l job, then .

But he got h is eyes fixed, h is ha nds were steady.

H e pu lled the trigger, he ki lled Eva ns.

Are you ready to condemn the Prisoner?

-Sherlock, we ca n 't do th is. - Pla ne, remem ber?

Sherlock, a re you ready?

-Alex. - EU RUS: Say it.

Condemn him.

Condemn him in the knowledge of what will haPPen to the man you name.

I condem n Alex Ga rrideb.

MO RIARTT: Mind the gaP.

EU RUS: Congratulations, you got the right one.

Now, go through the door.

You d ropped the other two, why?

-Interesti ng . -Why?

Does it rea lly ma ke a d ifference, ki lli ng the i n nocent

i nstead of the g u i lty? Let's see.

The train has Ieft the station.

N o.

That felt Pretty much the same.

Joh n, don 't let her d istract you .

- Distract me. . . -Sold iers today.

(CLAN GI N G)

- EU RUS: Dne more minute on the Phone. - (B EEPS)

GI RL: Frightened, Im really frightened.

It's okay, don 't worry, I don 't have very long with you .

So IJust needyou to tell me what you can see outside the PIane.

GI RL: J ust the sea . I ca n see the sea .

-Are there sh i ps on it? -No shiPs.

I can see Iights in the distance.

-Is it a city? -I think so.

She's a bout to fly over a city i n a pi lotless pla ne.

-We' ll have to ta lk her th roug h it. -Th roug h what?

-GI RL: Hello, are you still there? -Sti ll here, j ust g ive us a m i n ute.

Getti ng the pla ne away from a ny ma i n la nd, a ny popu lated a reas.

-It has to crash i n the sea . -What a bout the g i rl?

Well, obviously, Dr. Watson, she's the one who is goi ng to crash it.

N o. We ca n help her la nd it.

And if we fa i l, she crashes i nto a city.

H ow ma ny wi ll d ie then?

H ow a re we gon na get her to do that?

I' m afra id we' re goi ng to have to g ive her hope.

Is there rea lly no one there that ca n help you?

Have you rea lly, rea lly checked?

GI RL: Everyone s asleeP.

Won 't you help me?

We' re goi ng to do everyth i ng that we ca n .

GI RL: Im scared. Im really scared.

-It's a ll rig ht, I. . . - (LI N E DISCO N N ECTS)

EU RUS: Now, back to the matter in hand.

Coffi n .

Problem, someone is a bout to d ie.

It will be, as I understand it, a tragedy. So many days not Iived.

So ma ny words u nsa id .

Etcetera, etcetera . Etcetera, etcetera .

Yes, yes, yes. And th is, I presu me, wi ll be thei r coffi n .

Whose coffi n, Sherlock?

Please, sta rt you r ded uctions.

I will aPPIy some context in a moment.

(SIG HS) Well, a llowi ng for the enti rely poi ntless cou rtesy of head room,

I'd say th is coffi n is i ntended for someone of a bout 5 '4" .

-Ma kes it more li kely to be a woma n . - N ot a ch i ld .

A ch i ld 's coffi n wou ld be more expensive.

Th is is i n the lower price ra nge, a lthoug h sti ll,

best ava i la ble i n that bracket.

That was a lonely n ig ht on Goog le.

Th is is a practica l a nd i nformed choice.

Ba la nce of proba bi lity suggests that th is is for a n u n ma rried woma n

d ista nt from her close relatives.

That m uch is suggested by the economy of choice.

Acq ua i nted with the process of death,

but u nsenti menta l a bout the necessity of d isposa l.

-Also the li n i ng of the coffi n . . . -Yes, very good, Sherlock,

or we cou ld j ust look at the na me on the lid .

(SIG HS) On ly it isn 't a na me.

JO H N : So, it's for somebody who loves somebody.

MYCRO FT: It's for somebody who loves Sherlock.

Th is is a ll a bout you . Everyth i ng here.

So, who loves you?

I' m assu m i ng it's not a long list.

-Irene Ad ler. - Don 't be rid icu lous.

Look at the coffi n .

U n ma rried, practica l a bout death .

Alone.

-Molly. -Molly H ooper.

She's perfectly safe for the moment.

Her flat is rigged to exPIode in aPProximately three minutes,

unless I hear the release code from her IiPs.

Im calling her on yourPhone, Sherlock.

-Make her say it. -Say what?

EU RUS: Dbvious, Sherly.

- N o. -Yes.

EU RUS: Dh, one imPortant restriction.

Youre not allowed to mention in any way at all that her Iife is in danger.

You may not, at a ny poi nt, suggest that there is a ny form of crisis.

If you do, I wi ll end th is session a nd her life. Are we clea r?

(DIALLI N G)

MO RIARTT: Tick-tock, tick-tock. Tick-tock, tick-tock...

(MO BI LE P H O N E VI B RATI N G)

(MO BI LE P H O N E RI N GS)

(LI N E RI N GI N G)

What's she doi ng?

MYCRO FT: She's ma ki ng tea .

S H ERLOCK: Yes, but why isn 't she a nsweri ng her phone?

You never a nswer you r phone.

Yes, but it's me ca lli ng .

(MO BI LE P H O N E CO NTI N U ES RI N GI N G)

(B EEPS)

Hi, this is Molly at the dead center of town.

(MO LLY CH UCKLES)

Leave a message.

EU RUS: Dkay, okay.

Just one more time.

- (DIALI N G) - (MO BI LE P H O N E RI N GI N G)

Come on, Molly, pick u p.

J ust bloody pick u p.

(MO BI LE P H O N E RI N GI N G)

(S NI FFS)

MO LLY: Hello, Sherlock.

Is this urgent, because Im not having a good day.

Molly, I j ust wa nt you to do someth i ng very easy for me

a nd not ask why.

Oh, God, is th is one of you r stu pid ga mes?

N o, it's not a ga me. I need you to help me.

- But I' m not at the la b. -It's not a bout that.

Well, q u ickly then .

(SIG HS) Sherlock...

What is it? What do you want?

Tick-tock, tick-tock...

Molly, please, without aski ng why, j ust say these words.

What words?

"I love you . "

- (S NI FFLES) Leave me a lone. -Molly, no,

please, no, don 't ha ng u p. Do not ha ng u p.

Ca lm ly, Sherlock, or I wi ll fi n ish her rig ht now.

Why you doi ng th is to me? Why a re you ma ki ng fu n of me?

PIease, I swear, youJust have to Iisten to me.

EU RUS: Softer, Sherlock.

Molly, th is is for a case. It's a sort of experi ment.

I' m not a n experi ment, Sherlock.

N o, I know you ' re not a n experi ment. You ' re my friend .

We' re friends. But...

Please, j ust say those words for me.

Please don 't do th is. J ust. . . J ust don 't do it.

It's very i m porta nt. I ca n 't say why.

But I prom ise you, it is.

I ca n 't say that. I ca n 't. . . I ca n 't say that to you .

Of cou rse you ca n . Why ca n 't you?

-MO LLY: You know why. - N o, I don 't know why.

(S NI FFLES) Of cou rse you do.

Tick-tock, tick-tock, tick-tock...

(CLICKS)

Please, j ust say it.

MO LLY: I can t.

- N ot to you . -Why?

Beca use. . . Beca use it's true.

Beca use it's true, Sherlock.

It's a lways been true.

If it's true, j ust say it a nyway.

(CH UCKLES)

(SIG HS)

-You basta rd . -S H ERLOCK: Say it anyway.

MO LLY: You say it. Go on. You say it first.

-What? -Say it.

Say it Iike you mean it.

Fi na l 30 seconds.

I...

I love you .

(SIG HS)

I love you .

Molly.

Molly, please.

I love you .

- (B EEPI N G STO PS) - (GAS PS)

(SIG HS D EEP LY)

-Sherlock, however ha rd that was. . . - Eu rus, I won . I won .

Come on, play fa i r. The g i rl on the pla ne. I need to ta lk to her.

I won . I saved Molly H ooper.

(SCO FFS) Saved her?

From what? Dh, do be sensible.

There were no exPIosives in her Iittle house.

Why wou ld I be so clu msy?

You d id n 't wi n . You lost.

Look what you did to her.

Look what you did to yourselL

AII those comPIicated Iittle emotions. I Iost count.

Emotiona l context, Sherlock. It destroys you every ti me.

N ow please, pu ll you rself together.

I need you at pea k efficiency. The next one isn 't goi ng to be so easy.

In your own time.

Sherlock.

N o. N o !

(G RU NTI N G)

(SCREAMI N G)

(TH U N D ER RUMB LI N G)

(CLEARS TH ROAT)

JO H N : Look, I know th is is d ifficu lt a nd I know you ' re bei ng tortu red .

But you have got to keep it together.

Th is isn 't tortu re. Th is is vivisection .

We' re experienci ng science from the perspective of la b rats.

(B REATHI N G H EAVI LY)

-Sold iers. -Sold iers.

MO RIARTT: Tick-tock. Tickets, PIease.

H ey, sis, don 't mea n to com pla i n, but th is one's em pty.

What ha ppened? Did you ru n out of ideas?

Its not emPty, Sherlock. Youve still got the gun, haven t you?

I toldyou youd need it, because only two can PIay the next game.

Just two ofyou go on from here. Your choice.

It's ma ke-you r-m i nd-u p ti me. Whose help do you need the most?

John or Mycroft? Its an elimination round.

You choose one and kill the other.

You have to choose family or friend. Mycroft orjohn Watson.

Tick, tick, tick...

- Eu rus, enoug h ! - N ot yet, I th i n k, but nea rly.

Remember, there s a PIane in the sky and its not going to Iand.

-Well. . . -Well what?

We' re not actua lly goi ng to d iscuss th is, a re we?

I' m sorry, Dr. Watson . You a re a fi ne ma n i n ma ny respects.

Ma ke you r good byes a nd shoot h i m .

-Shoot h i m . -What?

Shoot Dr. Watson .

There's no q uestion i ng who has to conti n ue from here. It's us.

You a nd me.

Whatever lies a head req u i res bra i n power, Sherlock.

N ot senti ment. Don 't prolong h is agony. Shoot h i m .

Do I get a say i n th is?

Today we a re sold iers. Sold iers d ie for thei r cou ntry.

I reg ret, Dr. Watson, that privi lege is now you rs.

Sh it. H e's rig ht.

H e is, i n fact, rig ht.

Ma ke it swift. N o need to prolong h is agony.

Get it over with, a nd we ca n get to work.

(SCO FFI N G) God !

I shou ld have expected th is.

Pathetic. You a lways were the slow one.

The id iot. That's why I've a lways despised you .

You sha me us a ll. You sha me the fa m i ly na me.

N ow, for once i n you r life, do the rig ht th i ng .

Put th is stu pid little ma n out of a ll ou r m isery.

-Shoot h i m . -Stop it.

Look at h i m . What is he?

N oth i ng more tha n a d istraction,

a little scra p of ord i na ri ness for you to i m press,

to dazzle with you r cleverness.

-You ' ll fi nd a nother. - Please, for God 's sa ke, j ust stop it.

-Why? - Beca use on ba la nce,

even you r Lady Bracknell was more convi nci ng .

Ig nore everyth i ng he j ust sa id, he's bei ng ki nd .

H e's tryi ng to ma ke it easy for me to ki ll h i m .

Wh ich is why th is is goi ng to be so m uch ha rder.

You sa id you li ked my Lady Bracknell.

-Sherlock, don 't. -It isn 't you r decision, Dr. Watson .

N ot i n the face, thoug h . Please.

I prom ised my bra i n to the Roya l Society.

Where wou ld you suggest?

Well, I su ppose there is a hea rt somewhere i nside me.

I don 't i mag i ne it's m uch of a ta rget,

but why don 't we try for that?

I won 't a llow th is.

Th is is my fa u lt.

-Moria rty. -Moria rty.

H er Ch ristmas treat.

Five m i n utes' conversation with J i m Moria rty five yea rs ago.

What d id they d iscuss?

Five m i n utes' conversation,

u nsu pervised .

(SIG HS)

Good bye, brother m i ne.

N o flowers.

By req uest.

EU RUS: jim Moriarty thought youd make this choice.

H e was so excited .

And here we are, the end of the Iine.

Holmes killing Holmes.

This is where Iget ofL

Five m i n utes.

It took her j ust five m i n utes to do a ll of th is to us.

Well, not on my watch .

EU RUS: What are you doing?

A moment ago, a brave ma n asked to be remem bered .

I' m remem beri ng the governor.

Ten ...

N o, no, Sherlock.

S H ERLOCK: N i ne...

- Eig ht. - EU RUS: You can t.

-Seven . -You don 't know a bout Red bea rd yet.

-Six. -Sherlockl

- Five. -Sherlock, stoP that at oncel

Fou r.

Th ree.

Two...

(BARKS)

GI RL: Hello?

Hello, are you still there?

Yes. Yea h, no, I' m sti ll here. I' m here.

You went away. You sa id you 'd help me a nd you went away.

Yes, I know. Well, I' m sorry a bout that. We m ust have got cut off.

(B REATHI N G H EAVI LY)

(STAMMERI N G) H ow long was I away?

H ou rs. H ou rs a nd hou rs.

-Why don 't g rown-u ps tell the truth? - N o, I. . . I a m telli ng the truth .

You ca n trust me.

-GI RL: Where didyou go? -I' m not com pletely su re.

U m, now, I' ll tell you what.

You 've got to be rea lly, rea lly brave for me.

Ca n you go to the front of the pla ne? Ca n you do that?

-GI RL: The front? -Yes. That's rig ht. The front.

- You mean where the driver is? -Yes, that's it.

Okay, I' m goi ng .

-Are you there yet? -Yea h, I' m here.

-Joh n? - Yeah.

Where a re you?

I don 't know. I've j ust woken u p. Where a re you?

I' m i n a nother cell. I j ust spoke to the g i rl on the pla ne aga i n .

-We've been out for hou rs. -JO H N : What, she still uP there?

Yes. The pla ne wi ll keep flyi ng u nti l it ru ns out of fuel.

-Is Mycroft with you? -I have no idea .

I ca n ha rd ly see a nyth i ng . Mycroft? Mycroft?

-Are you okay? - Yeah.

All rig ht. Well, j ust keep explori ng .

Tell me a nyth i ng you ca n a bout where you a re.

The wa lls a re roug h . They' re rock, I g uess.

-What a re you sta nd i ng on? -U h, stone, I th i n k.

But listen, there's a bout two feet of water.

Cha i ns.

Yea h, my feet a re cha i ned u p. I ca n feel someth i ng .

(G RU NTI N G)

Bones, Sherlock.

-There are bones in here. -What ki nd of bones?

U h, I don 't know, sma ll.

S H ERLOCK: Red bea rd . GI RL: Who s Redbeard?

Oh, hello. Are you at the front of the pla ne now?

Yea h, I sti ll ca n 't wa ke the d river u p.

That's a ll rig ht. What ca n you see now?

(STAMMERI N G) I ca n see a river. There's a big wheel.

All rig ht. Well, you a nd I a re gon na have to d rive th is pla ne together.

J ust you a nd me.

-We a re? -Yea h, there's noth i ng to it.

We j ust need to get i n touch with some people on the g rou nd .

N ow, u m, ca n you see a nyth i ng that looks li ke a rad io?

N o.

That's a ll rig ht. Keep looki ng . We've got plenty of ti me.

(B EEPI N G)

- (SCREAMS) -What's wrong?

-The whole PIane s shaking. -It's j ust tu rbu lence.

There s nothing to worry about.

My ea rs h u rt.

Does the river look li ke it's getti ng closer?

-A little bit. -All rig ht, then .

That mea ns you ' re nea rly home.

JO H N : Sherlock?

I' m i n a well.

That's where I a m . I' m i n the bottom of a well.

Why wou ld there be a well i n Sherri nford?

Why is there a d raft?

Wa lls don 't contract after you 've pa i nted them .

N ot rea l ones.

I' m home. Musg rave Ha ll.

EU RUS: Me andjim Moriarty, we got on Iike a house on fire,

which reminded me ofhome.

Yea h, it's j ust a n old bu i ld i ng . I don 't ca re.

The pla ne. Tell me a bout the pla ne, now!

EU RUS: Sweetjim. He was never very interested in being alive.

EsPecially ifhe could make more trouble being dead.

Yep. Sti ll not i nterested . The pla ne !

EU RUS: You knew he d take his revenge. His revenge, aPParently, is me.

Eu rus, let me spea k to the little g i rl on the pla ne

a nd I' ll play a ny ga me you li ke.

EU RUS: First, find Redbeard.

Im Ietting the water in now.

You don 't wa nt me to d rown a nother one of you r pets, do you?

At long last, Sherlock H olmes, it's ti me to solve the Musg rave Ritua l.

You r very fi rst case, a nd the fi na l problem .

(SIG HS MOCKI N G LY)

-Bye-bye. -JO H N : Sherlock!

EU RUS: # I that am Iost Dh, who will find me?

JO H N : Sherlock!

EU RUS: # DeeP down below the old beech tree

# HelP, succor me now The east winds blow

Joh n . Joh n?

Ca n you hea r me? Joh n !

(SCREAMS) H elp me. H elp me, please.

JO H N : Sherlockl

-Joh n? -JO H N : Yea h, it's flood i ng .

- (EU RUS CO NTI N U ES SI N GI N G) -The well is flood i ng .

Try as long as possi ble not to d rown .

What?

I' m goi ng to fi nd you . I a m fi nd i ng you .

Well, h u rry u p, please, beca use I don 't have long .

GI RL: (SCREAMI N G) It's lea n i ng over.

The whole PIanel

EU RUS: # Dh, who will find me?

# DeeP down below the old beech tree

(G RU NTS)

MALE VOICE: Three...

Eu rus, you sa id the a nswer is i n the song,

but I went th roug h the song, li ne by li ne, a ll those yea rs ago,

a nd I fou nd noth i ng .

I cou ld n 't fi nd a nyth i ng .

There. . . There was a beech tree i n the g rou nds

a nd I d ug, I d ug, a nd d ug, a nd d ug, a nd d ug .

(I N HALES S HARP LY) Sixteen feet by 6, 1 6 ya rds, 1 6 metres,

a nd I fou nd noth i ng .

N o one !

JO H N : Sherlock?

Dh, it was a clever Iittle Puzzle.

Wasn t it?

So why couldn t you work it out, Sherlock?

JO H N : Sherlock?

There s something you need to know.

Emotional context.

And here it comes.

Sherlock? The bones I fou nd ...

Yes? They' re dog 's bones, that's Red bea rd .

Mycroft's been lyi ng to you, to both of us.

They' re not dog 's bones.

Remem ber Daddy's a llergy? What was he a llerg ic to?

What would he never Iet you have all those times you begged?

Well, he'd never let you have a dog .

YOU N G S H ERLOCK: Come on, Red bea rd !

EU RUS: Your funny Iittle memory, Sherlock.

You were uPset, so you toldyourselfa better story.

But we never had a dog.

(SO FTLY) Victor.

N ow it's com i ng .

Victor Trevor.

We PIayedPirates.

I was Yellowbea rd a nd he was...

H e was Red bea rd .

EU RUS: You were inseParable.

But I wa nted to play, too.

(GAS PS)

Oh, God .

(SO BS)

What. . . (B REATHI N G H EAVI LY)

What d id you do?

# I that am Iost

# Dh, who will find me?

# DeeP down below

-# The old beech tree # - Please, let me out.

Please, someone, help me. Please !

YOU N G S H ERLOCK: Come on, Redbeardl

Victor.

EU RUS: DeeP water, Sherlock, allyour Iife, in allyour dreams.

DeeP waters.

You ki lled h i m .

You ki lled my best friend .

I never had a best friend .

I had no one.

YOU N G EU RUS: PIay with me, Sherlock.

PIay with me.

N o one.

No one.

No one.

Okay.

Okay, let's play.

GI RL: Hello, are you there?

I need you r help. I' m tryi ng to solve a puzzle.

GI RL: But what about the PIane?

The puzzle wi ll save the pla ne.

The wrong dates.

She used the wrong dates from the g ravestones

as the key to the ci pher, a nd the ci pher was the song .

Is th is strictly releva nt?

Yes, it is. I' ll be with you i n a m i n ute.

The lig hts a re getti ng closer.

H ush, now. Worki ng .

Let's n u m ber the words of the song .

(SIG HS)

Then rearrange the numbered words

to match the sequence on the gravestones...

(GAS PS)

"I a m lost.

" H elp me, brother.

"Save my life

" before my doom .

"I a m lost

"without you r love. Save my sou l.

"Seek my room . "

Oh, God !

We' re goi ng to crash ! We' re goi ng to d ie !

(SCREAMS)

(G RU NTS)

I th i n k it's ti me you told me you r rea l na me.

I' m not a llowed to tell my na me to stra ngers.

But I' m not a stra nger, a m I?

I' m you r brother.

I' m here, Eu rus.

You ' re playi ng with me, Sherlock.

We' re playi ng the ga me.

The ga me. Yes, I get it now.

The song was never a set of d i rections.

I' m i n the pla ne. I' m goi ng to crash .

And you ' re goi ng to save me.

Look how bri llia nt you a re.

You r m i nd has created the perfect meta phor.

You ' re h ig h a bove us, a ll a lone i n the sky,

a nd you u ndersta nd everyth i ng except how to la nd .

N ow, I' m j ust a n id iot.

But I' m on the g rou nd .

-I ca n bri ng you home. - N o.

N o, no.

-It's too late. - N o, it's not.

It's not too late.

(SO B BI N G) Every ti me I close my eyes, I' m on the pla ne.

I' m lost.

Lost i n the sky, a nd ...

N o one ca n hea r me.

(WHIS P ERI N G) Open you r eyes.

I' m here.

You ' re not lost a ny more.

(SO B BI N G)

N ow...

You . . . You j ust...

You j ust went the wrong way last ti me, that's a ll.

Th is ti me, get it rig ht.

Tell me how to save my friend .

(G ROANS)

Eu rus.

H elp me save Joh n Watson .

(G RU NTI N G)

- (TH U D) - H elp.

LESTRAD E: We j ust spoke to you r brother.

-S H ERLOCK: H ow is he? - H e's a bit sha ken u p, that's a ll.

She d id n 't h u rt h i m . She j ust locked h i m i n her old cell.

What goes a rou nd, comes a rou nd .

LESTRAD E: Give me a moment, boys.

U m . . . Mycroft, ma ke su re he's looked after.

H e's not as strong as he th i n ks he is.

Yea h, I' ll ta ke ca re of it.

Tha n ks, Greg .

LESTRAD E: Pete, the helicopter ready?

Let's move her, then .

Is that h i m, si r?

-Sherlock H olmes? - LESTRAD E: A fa n, a re you?

PO LICEMAN : Well, he's a g reat ma n, si r.

N o, he's better tha n that.

H e's a good one.

-You okay? -I sa id I'd bri ng her home.

I ca n 't, ca n I?

Well, you gave her what she was looki ng for.

Context.

Is that good?

It's not good, it's not bad . It's...

It is what it is.

MRS. H O LMES: Alive ! For a ll these yea rs?

H ow is that even possi ble?

What U ncle Rud i bega n,

I thoug ht it best to conti n ue.

I' m not aski ng how you d id it, id iot boy!

I' m aski ng, how cou ld you?

I was tryi ng to be ki nd .

(SCO FFI N G) Ki nd?

Ki nd?

You 've told us that ou r da ug hter was dead .

Better that

tha n tell you what she had become.

I' m sorry.

Whatever she beca me,

whatever she is now, Mycroft,

she rema i ns ou r da ug hter.

And my sister.

Then you shou ld have done better.

H e d id h is best.

MRS. H O LMES: Then he's very li m ited .

MR. H O LMES: Where is she?

MYCRO FT: Back in Sherrinford, secure this time.

People have d ied .

Without doubt, she will kill again ifshe has the oPPortunity.

There's no possi bi lity she' ll ever be a ble to leave.

When ca n we see her?

MYCRO FT: There s no Point.

MRS. H O LMES: H ow da re you say that!

She won 't ta lk.

She won 't com m u n icate with a nyone i n a ny way.

She has passed beyond ou r view.

There a re no words that ca n reach her now.

MRS. H O LMES: Sherlock?

Well?

You were always the grownuP.

What do we do now?

(DOO R HISSI N G O P EN )

(TU NI N G VIO LI N )

(P LAYI N G MOU RN FU L TU N E)

(STO PS P LAYI N G)

(RESUMES P LAYI N G VIO LI N )

(CO NTI N U ES MELO DY)

U h, yea h . I th i n k you better get rou nd here.

- P.S. - (VIO LI NS CO NTI N U ES P LAYI N G)

I knowyou two.

And if I' m gone, I know what you cou ld become.

Because I know who you really are.

A Junkie who solves crimes to get high.

And the doctor who never came home from the war.

Wi ll you listen to me? Who you rea lly a re, it doesn 't matter.

Its all about the Iegend,

the stories,

the adventures.

There is a Iast refuge for the desPerate,

the unloved,

the Persecuted.

There is a final court ofaPPeal for everyone.

When Iife gets too strange,

too imPossible,

too frightening,

there is always one Iast hoPe.

When all else fails, there are two men sitting, arguing in a scruffy flat,

Iike theyve always been there and they always will.

The best and wisest men I have ever known,

my Baker Street boys,

Sherlock Holmes and Dr. Watson.