A Natural Aptitude for Craft, Cunning + Guile

CLARA: Doctor, what happened? 

DOCTOR: Do you see? 

CLARA: Do I see what? 

DOCTOR: Daleks don't turn good. It was just radiation affecting its brain chemistry, nothing more than that. No miracle. 

JOURNEY: Let me get this straight. We had a good Dalek, and we made it bad again? That's all we've done? 

DOCTOR: There was never a good Dalek. There was a broken Dalek and we repaired it. 

JOURNEY: You were supposed to be helping us. 

DOCTOR: 

I gave it a shot. MIt didn't work out. It was a Dalek, what did you expect? 

JOURNEY: 

No more talking. You are done! Okay, new objective. We are taking this Dalek down. 

RUSTY [OC]: 

Exterminate. Exterminate.

DOCTOR: What's that look for? 

CLARA: 

It's the look you get when I'm about to slap you. 

(And she does. Hard.) 

DOCTOR: 

Ow. Clara. 

CLARA: Are we going to die in here? I mean, there's a little bit of you that's pleased. The Daleks are evil after all. Everything makes sense. The Doctor is right. 

DOCTOR: Daleks are evil. Irreversibly so. That's what we just learned. 

CLARA: No, Doctor, that is not what we just learned. 

One question. 

JOURNEY, 

The Blue Soldier : 

No time. 

(Journey and Gretchen place grenades on handy surfaces.)

CLARA: 

Why did we come here today? What was the point? 

You. You thought there was a good Dalek. What difference would one good Dalek make? 

DOCTOR: All the difference in the universe, but it's impossible. 

CLARA: Is that a fact? Is that really what we've learned today? Think about it. Is that what we've learned? 

MORGAN: 

Journey, You're the Aristotle's Only  Hope. 

DOCTOR: 

Clara Oswald, do I really not pay you? 

CLARA: 

You couldn't afford me. 

DOCTOR: 

Whatever you're going to do, don't do it 

This Dalek must not be destroyed. 

We can do better. 

JOURNEY: 

Are you out of your mind? 

DOCTOR: 

No, I'm inside a Dalek. 

I'm standing where I've never been. We cannot waste this chance. 

It won't come again. 

JOURNEY: What chance? I have my orders. 

DOCTOR: Soldiers take orders. 

JOURNEY: And I'm a soldier. 

DOCTOR: A Dalek is a better soldier than you will ever be. You can't win this way. 

(Journey holds up a grenade to pull the pin, then puts it down again.)

JOURNEY: Bah! So what do we do? 

DOCTOR: Something better. 

(They climb up to a recess.)

DOCTOR: The Dalek isn't just some angry blob in a Dalekanium tank. If it was, the radiation would have turned it into a raging lunatic. 

JOURNEY: It is a raging lunatic, it's a Dalek. 

DOCTOR: But for a moment, it wasn't. The radiation allowed it to expand its consciousness, to consider things beyond its natural terms of reference. It became good. That means a good Dalek is possible. That's what we learned today. Am I right, teach? 

CLARA: Top of the class. 

Attack Eyebrows : 

There's no such thing. 

CLARA: 

That's a bit inflexible. 

Not like you. 

I'd almost say prejudiced. 

Attack Eyebrows : (sigh) 

Do I pay you? 

I should give you a raise. 

CLARA: 

You're not My Boss,

you're one of my hobbies. 

Attack Eyebrows : 

Come on. 

JOURNEY,

The Blue Soldier : 

That was quick. 

DOCTOR: 

This is Gun Girl. 

She's got a gun, and she's a girl.

This is a sort of Boss-one. 

Are you the same one as before? 

MORGAN: 

Yes. 

DOCTOR: 

I think he's probably her uncle, but I may have made that up to pass the time while they were talking. 

This is Clara, not my assistant. 

She's, er, some other word. 

CLARA: 

I'm his Carer. 

DOCTOR: 

Yeah, my Carer. 

She Cares, So I Don't Have to. 

THE CONQUEST OF NATURE 

WILL BE ACHIEVED THROUGH 

NUMBER 

AND 

MEASURE 

- The Angel Who Manifested In The Corner of René Descartes’ Bedroom Billet in Ulm, 1613

 [TARDIS]

(The Doctor and K-9 are playing chess, with Leela helping K-9.)
 

K9: 

Queen to knight six.

(Leela moves the black Queen.)
 

LEELA: 

There?

K9: 

Affirmative.

(The Doctor takes one of her bishops with one of his.)
 

DOCTOR: 

Even simple one-dimensional chess exposes the limitations of The Machine Mind.

K9: 

Bishop to Queen six. 

Mistress!
 

LEELA: 

There?

K-9 : 

Affirmative. 

Check, Master.

DOCTOR: 

What?

K-9: 

Machine mind computes mate in six moves.
 

DOCTOR: 

Rubbish!
 

LEELA: 

Doctor!
 

DOCTOR:

 Leela, keep still.

LEELA: 

But Doctor, the -

DOCTOR: 

And shut up. 

I'm trying to concentrate.

K9: 

Your move, master.

DOCTOR: 

I know it's my move. 

Don't flash your eyes at me.
 

(The Doctor moves his King.)
 

K9: 

Wrong square.
 

DOCTOR: 

What?
 

K9: 

Your King, master. 

Wrong square.

DOCTOR: 

Really? 

Are you sure?

 
K9: 

Affirmative.

LEELA: 

Doctor, can I speak now?

DOCTOR: 

What? 

All right, if you must. What is it?
 

LEELA: 

Well, the column's stopped moving.
 

DOCTOR: 

So?
 

LEELA: 

It is not important?
 

DOCTOR: 

What?!
(The Doctor leaps to the console.)
 

DOCTOR: 

We might have gone right through the time spiral! 

Why didn't you tell me?
 

LEELA: 

I tried to but you wouldn't let me.
 

DOCTOR: 

You didn't.
 

LEELA: 

I did.

DOCTOR: 

You didn't.
 

LEELA: 

I did!

DOCTOR: 

You didn't.
 

LEELA:

 I did!

DOCTOR: 

It's that confounded paint. 

It's always jamming things up. 

Stay calm. 

I'm going to materialise and take a reading.
 

LEELA: 

Where are we?

DOCTOR: 

We're still in the Solar System. 

Pluto?
 

LEELA: 

Pluto?
 

DOCTOR: 

Yes, Pluto.
 

K9: 

Ninth planet. 

Was until the discovery of Cassius believed to be the outermost body in the system. 

It has a diameter of three thousand -
 

DOCTOR: 

Leela, tell your tin friend to shut up.
 

LEELA: 

K9, you can tell me later.
 

K9: 

Affirmative. 

It's distance from the Sun is -
 

LEELA: 

Shush.
 

DOCTOR: 

Breathable atmosphere. 

That's wrong.
 

LEELA: 

There are buildings.
 

DOCTOR: 

Pluto's a lifeless rock.

 Leela? I think you and I should take a W A L K. 

LEELA: 

W A L K?
 

DOCTOR: 

W-a-l-k. 

K9: 

Walk, mistress.

LEELA: 

I know.
 

K9: 

Ready, master.
 

DOCTOR: 

No, no, no. You're not coming. You stay here.
 

K9: 

Entreat, master.
 

DOCTOR: 

No.
 

K9: 

I'll be good.
 

DOCTOR: 

No! Pluto's no place for a -
 

LEELA: 

I'm sorry, K9. 

We won't be long.

(As the time rotor goes gently up and down, the Doctor is lying on the floor playing chess with K9.)

DOCTOR: 

Rook to bishop's four.

(He stops his clock and starts K9's.)

DOCTOR: 

I saw Capablanca make that move against Alekhine in 1927.

K9: 

He lost, master.

DOCTOR: 

 Who?

K9: 

Capablanca.

DOCTOR: 

Are you sure?

K9: 

Master, I have been programmed with all the Championship games since 1866. 

Capablanca lost.

DOCTOR: 

I must have been called away. 

Are you really sure?

K9: 

King to knight's two.

(The Doctor moves the white King for him.)

DOCTOR: 

King to knight's two. King? 

That's a terrible move. 

You've weakened the king's side.

K9: 

Clock, master.

DOCTOR: 

I know, I know. I'll check your programming sometime. We're not supposed to be playing draughts, you know.

K9: 

Master.

(Romana enters, wearing her original long white gown.)

ROMANA: 

What are you doing, Doctor?

DOCTOR: 

Shush. We're playing chess.

ROMANA: 

Yes, I can see that, but aren't you forgetting something?

DOCTOR: 

I don't think so.

ROMANA: What about our task? The Key to Time, remember?

DOCTOR: Oh, that old thing.

ROMANA: Yes, that old thing. The Guardian did stress the need for urgency, didn't he?

DOCTOR: Shush.

ROMANA: I'll do it.

DOCTOR: If you must.

(Romana puts the tracer into the hole in the console.)

DOCTOR: I just feel I deserve a little break. After all, we've got half the segments. I prefer to play chess.

ROMANA: 

Really. Materialisation in fifteen seconds. Mate in twelve.

K9: 

Correction, mistress. Eleven.

ROMANA: 

Eleven? Oh yes. Sorry, K9.

K9: 

Apologies are unnecessary, mistress.

DOCTOR: 

Mate in eleven? 

Oh yes, oh yes. 

Well, that's the trouble with chess, isn't it. It's all so predictable.

Women are More Concerned w. People, 

Men are More Interested in Things.

Or Lady Dinosaurs.

(The balloon and its gondola float over Saint Pauls Cathedral, the Masonic Edifice to Male Power and Rule by Straight-Lines, Right-Angles, Counting and Measuring, built over The Temple of Diana)

Attack Eyebrows : 

What do you think of the view?

HALF-FACE MAN: 

I do not think of it. 

Attack Eyebrows :

‘I don't think of it.’ 

‘I don't.’ 

Droids and apostrophes, I could write a book. 

Except you are barely a droid any more. 

There's more human in you than machine. 

So tell me, what do you think of the view?

(The Half-Face Man gets up and draws back the net curtain. They are heading towards Westminster.)

HALF-FACE MAN: 

It is beautiful.

Attack Eyebrows: 

No, it isn't. 

It's just far away. 

Everything looks too small. 

I prefer it down there. 

Everything is huge. 

Everything is so important. 

Every detail, every moment, every life clung to.

HALF-FACE MAN: How could you kill me? 

DOCTOR: For the same reason that you're asking me that question, because you don't really want to carry on. What'll happen to the other droids when you die? You're the control node, aren't you? Presumably they'll deactivate.

HALF-FACE MAN: 

I will not die. I will reach the promised land.

DOCTOR: 

There isn't any promised land. This is just. 

It's a superstition that you have picked up from all the humanity you've stuffed inside yourself.

HALF-FACE MAN: I am not dead.

DOCTOR: You are a broom. Question. You take a broom, you replace the handle, and then later you replace the brush, and you do that over and over again. Is it still the same broom? Answer? No, of course it isn't. But you can still sweep the floor. Which is not strictly relevant, skip that last part. You have replaced every piece of yourself, mechanical and organic, time and time again. There's not a trace of the original you left. You probably can't even remember where you got that face from.

(The Doctor holds up a silver plate between himself and the Half-Face Man. The droid takes it, looks carefully, then drops it.)

HALF-FACE MAN: It cannot end.

DOCTOR: It has to. You know it does. And there's only one way out.

(The Doctor opens the doors.)

HALF-FACE MAN: Self-destruction is against my basic programme.

DOCTOR: And murder is against mine. 

(They struggle in the doorway.)

[Spaceship]

(The women's arms are held firmly by the droids, and Vastra's sword is forced from her hands.)

VASTRA: Jenny!

(Sword points are at everyone's throats.)

CLARA: Hold your breath. They're stupid. Everybody hold their breath.

(They do. The droids pause then lower their weapons. Clara picks up the sonic screwdriver and crawls through the droid's legs on her hands and knees.)

VASTRA [OC]: Be brave, my love. I can store oxygen in my lungs. Share with me.

(Vastra and Jenny lock lips. Clara sonicks the door.)

[Mancini's]

HALF-FACE MAN: You are stronger than you look. 

DOCTOR: And I'm hoping you are too. This is over. Are you capable of admitting that?

HALF-FACE MAN: Do you have it in you to murder me? 

DOCTOR: Those people down there. They're never small to me. Don't make assumptions about how far I will go to protect them, because I've already come a very long way. And unlike you, I don't expect to reach the promised land.

(The Half-Face Man turns off his flame thrower. They release each other.)

DOCTOR: You realise, of course, one of us is lying about our basic programming.

HALF-FACE MAN: Yes. 

DOCTOR: And I think we both know who that is.

[Spaceship]

(Strax is about to fire his weapon before he passes out.)

VASTRA: Stop.

(They all breath. Clara can't get the screwdriver to work for her. As the sword tips are about to pierce their skin, the droids suddenly bend forward at the waist, deactivated. Clara and Jenny faint. A top hat falls past a giant clock face at twenty five past one. A droid is impaled on the cross at the top of the tower. The Doctor looks straight at us.)

[Courtyard]

(Strax drives the women home in the carriage.)

STRAX: Whoa.

JENNY: You're sure he'd come back here?

VASTRA: There's no trace of him in the wreckage. They searched all Parliament Hill. Where else would he go?

(There is a square space in the straw where the Tardis had been stood.)

VASTRA: I fear we have missed him.

[Vastra's chamber]

VASTRA: Please come in.

(Clara is back in her mini-kilt.)

CLARA: I'm not interrupting? 

VASTRA: I should be glad of your company. What can I do for you?

CLARA: Ah, well, that's exactly what I was going to ask you. Seems like I'm stuck here now. Got a vacancy?

VASTRA: You would be very welcome to join our little household, but I have it on the highest authority that the Doctor will be returning for you very soon.

CLARA: Whose authority?

VASTRA: Well, the person who knows him best in all the universe.

CLARA: And who's that?

VASTRA: Miss Clara Oswald. Who perhaps has, by instinct, already dressed to leave.

CLARA: I just wanted a change of clothes. I don't think I know who the Doctor is any more.

(They hear the sound of an ancient set of time rotors outside.)

VASTRA: It would seem, my dear, you are very wrong about that. Clara? Give him hell. He'll always need it.

[Tardis]

(The dinosaur sputum has gone from the outside.)

CLARA: You've redecorated. 

DOCTOR: Yes. 

CLARA: I don't like it.

(The spirit of Patrick Troughton lives on. I like it. Nice straight-forward console, a frieze of roundels on the wall and a high-backed chair for the Doctor. There is even a bookcase.)

DOCTOR: Not completely entirely convinced myself. I think there should be more round things on the walls. I used to have lots of round things. I wonder where I put them? I'm the Doctor. I've lived for over two thousand years, and not all of them were good. I've made many mistakes, and it's about time that I did something about that. Clara, I'm not your boyfriend.

CLARA: I never thought you were.

DOCTOR: I never said it was your mistake.

(He sets the Tardis flying then shows off the red silk lining of his dark blue Crombie coat. Those trousers are a tad too skinny for my taste, especially with the chunky Doc Marten shoes.)

DOCTOR: What do you think? 

CLARA: Who put that advert in the paper? 

DOCTOR: Who gave you my number? A long time ago, remember? You were given the number of a computer helpline, and you ended up phoning the Tardis. Who gave you that number?

CLARA: The woman. The woman in the shop.

DOCTOR: Then there's a woman out there who's very keen that we stay together. 

(The Tardis lands. Sadly, the time rotor does not go up and down.)

DOCTOR: How do you feel on the subject?

CLARA: Am I home?

DOCTOR: If you want to be.

CLARA: I'm sorry. I'm, I'm so, so sorry. But I don't think I know who you are any more.

(Her mobile phone rings.)

DOCTOR: You'd better get that. It might be your boyfriend.

CLARA: Shut up. I don't have a boyfriend.

(Clara goes outside to answer the call.)

[City street]

CLARA: Hello? Hello?

DOCTOR 11 [OC]: It's me. 

CLARA: Yes, it's you. Who's this?

DOCTOR 11 [OC]: It's me, Clara. The Doctor.

CLARA: What do you mean, the Doctor?

[Trenzalore / City street]

DOCTOR 11: I'm phoning you from Trenzalore.

CLARA: I don't

DOCTOR 11: From before I changed. I mean it's all still to happen for me. It's coming. Oh, it's a-coming.

(Back then, Clara replaced the Tardis police phone back on its hook.)

DOCTOR 11: Not long now. I can feel it.

CLARA: Why? Why would you do this?

DOCTOR 11: Because I think it's going to be a whopper, and I think you might be scared. And however scared you are, Clara, the man you are with right now, the man I hope you are with, believe me, he is more scared than anything you can imagine right now and he, he needs you.

DOCTOR: So who is it? 

DOCTOR 11: Is that the Doctor?

DOCTOR: Is that the Doctor?

CLARA: Yes.

DOCTOR 11: He sounds old. Please tell me I didn't get old. Anything but old. I was young. Oh, is he grey?

CLARA: Yes.

DOCTOR 11: Clara, please, hey, for me, help him. Go on. And don't be afraid. Goodbye, Clara. Miss ya.

[City street]

(Clara is sniffling.)

DOCTOR: Well?

CLARA: Well what?

DOCTOR: He asked you a question. Will you help me?

CLARA: You shouldn't have been listening.

DOCTOR: I wasn't. I didn't need to. That was me talking. You can't see me, can you? You look at me, and you can't see me. Have you any idea what that's like? I'm not on the phone, I'm right here, standing in front of you. Please, just, just see me.

(Clara walks forward and studies his face carefully. Then she smiles a little.)

CLARA: Thank you.

DOCTOR: For what?

CLARA: Phoning.

(She throws her arms around his neck.)

DOCTOR: I, I don't think that I'm a hugging person now.

CLARA: I'm not sure you get a vote.

DOCTOR: Whatever you say.

CLARA: This isn't my home, by the way.

(She lets go.)

DOCTOR: Sorry. I'm sorry about that. I missed.

CLARA: Where are we?

DOCTOR: Glasgow, I think.

CLARA: Ah. You'll fit right in. (Scots) Scottish.

DOCTOR: Right. Shall we, er. Do you want to go and get some coffee, or chips, or something? Or chips and coffee?

CLARA: Coffee. Coffee would be great. You're buying.

DOCTOR: I don't have any money. 

CLARA: You're fetching, then.

DOCTOR: I'm not sure that I'm the fetching sort. 

CLARA: Yeah, still not sure you get a vote.

[Garden]

(The Half-Face man wakes in a place looking very like the Pompeian Garden at Dyffren House, also used in the Sarah Jane Adventure, The Eternity Trap. The wisteria is in full bloom. He puts on his top hat. A woman in Edwardian costume is sitting on the edge of the fountain. She is the Gatekeeper of the Nethersphere, according to the BBC's own Doctor Who Blog.)

MISSY: Hello. I'm Missy. You made it. I hope my boyfriend wasn't too mean to you.

HALF-FACE MAN: Boy friend?

MISSY: Now, did he push you out of that thing, or did you fall? Couldn't really tell. He can be very mean sometimes. Except to me, of course, because he loves me so much. I do like his new accent, though. Think I might keep it.

HALF-FACE MAN: Where am I?

MISSY: Where do you think you are? Look around you. You made it. The promised land. Paradise. Welcome to heaven.

(She snaps her teeth together and dances around the water feature.)

“He was a 

How Rick Grimes Became Darth Vader

You Have to let go of both The Fear of Failure AND The Desire for Succeess
(Which, not-coincidentally, also involves letting go of The Desire for Failure AND The Fear of Success)

Darth Vader is Not a Person;

 —

Darth Vader is a Spirit

"Well, look at that. 

Dawn is breakin'. 

It's a Brand-New Day, Rick! 

[Chuckles] 

I want you to think about 
What Could Have Happened... 

Think about What Happened -

And think about 
What Can Still Happen.

"Lonely, Solitary."

Carl Grimes is Wiser Than His Father — 
Because He Only Has One Eye

He locks his girlfriend Enid in a closet to keep her safe from an Evil neither could yet know or comprehend, and save her life while he and his Father and the warriors of The Tribe ride our and sally forth to face 

The Worst Thing in The World.

But immediately afterward, he lets her out, explains the reason for his actions, which she acknowledges and accepts.

And then, 
He lets her go Her Own Way, 

and thereafter 

Contends with her as an Equal.

Carl :

(Speaking Directly to his Unconscious Dad's Unconscious)

I killed three walkers. 

(exhales) 

 They were at The Door. 

They were gonna get in, but I lured them away. 

I killed them. 

I saved you. 

I saved you.

I didn't forget while you had us playing farmer. 

I still know How to Survive.

 Lucky for us. 

I don't need you anymore. 

I don't need you to protect me anymore. 

I can take care of myself. 

You probably can't even protect me anyways. 

You couldn't protect Judith. 

You couldn't protect -

(sighs) 

Hershel or Glenn or Maggie. 

Michonne, Daryl, or Mom. 

You just wanted to plant vegetables. 

You just wanted to hide. 

He knew where we were and you didn't care! 

You just hid behind those fences and waited for... 

(sighs) 

They're all gone now. 

Because of You! 

They counted on you! 

You were their Leader! 

(sniffles) 

But now 

You're Nothing. 

(sniffles) 

(sighs) 

(food bags rustle)

I'd be fine if you died. 

(grunts) 

Damn it.

Rick:

You shouldn't have risked it, going out there like that.

It's dangerous.

Carl:

I was careful.

(scoffs)

Rick:

It's good that you found more food.

Carl:

I found even more.

But I ate it.

Rick:

What was it?

Carl:

112 ounces of pudding.

(chuckles)

Rick: 

I know we'll never get things back to the way they used to be.

What? I only clung to that for you.

For Judith.

Now She's gone.

And you, you're a Man, Carl.

You're a Man.

I'm sorry.

Carl:

You don't need to be.

Today We Have To Be Soldiers

Listen to your Gut - 
Even though your gut has shit for brains.


Listen to your Heart - 
You will find there's nothing left to Sacrifice. 
You can't tell me it's not worth fighting for; 
You can't tell me, it's not worth dying for.



Listen to your Head - 
It notices EVERYTHING.

And never fall out of Grace with your Self.

When I Find My Self in Times of Trouble,

Mother-Mary Comes to Me


P.S.

I know You Two

And if I’m gone, I know what you could 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.

Well, you listen to me: 

Who You Really Are,

It Doesn’t Matter.

It’s all about 

The Legend 

The Stories 

The Adventures.

There is a Last Refuge for 

The Desperate 

The Unloved

The Persecuted

There is a Final Court of Appeal for everyone.

When life gets 

Too Strange

Too Impossible

Too Frightening, 

There is always One Last Hope.

When all else fails ...

... there are two men sitting arguing in a scruffy flat ...
 ... like they’ve always been there ...

 ... and they always will.

The Best and Wisest Men I have ever known.

My Baker Street boys.

 Sherlock Holmes 

and 

Doctor Watson.

SHERLOCK (reassuringly): I’m here, Eurus.
(Still wearing the clothes she wore in Sherrinford, Eurus is sitting on the floor with her knees drawn up in front of her and her hands wrapped around them. Her eyes are closed.
The footage of the girl on the plane goes into fast reverse back through all the scenes we’ve seen of her until she’s back in her seat, looking uneasily out of the window. The footage rapidly reverses even further and slows down to the very first moment where, in reverse of what we first saw, we see a close-up of her eye closing.
Flashback of young Eurus running around the beach with her toy aeroplane.
In her bedroom, adult Eurus keeps her eyes closed and speaks with a child-like voice.)
EURUS: You’re playing with me, Sherlock. We’re playing the game.
SHERLOCK: The game, yes. I get it now. (He steps closer to her.) The song was never a set of directions.
EURUS (her eyes still closed and her voice child-like and frightened): I’m in the plane, and I’m going to crash.
(Sherlock crouches down in front of her.)
EURUS (child-like): And you’re going to save me.
SHERLOCK: Look how brilliant you are. Your mind has created the perfect metaphor. You’re high above us, all alone in the sky, and you understand everything except how to land. (He shifts round and sits down in front of her, breathless and anxious.) Now, I’m just an idiot, but I’m on the ground. (He reaches out and puts his fingers onto her hands.) I can bring you home.
EURUS (her eyes still closed, plaintively): No.
(Her voice reverts to its adult tone.)
EURUS: No, no. (She shivers.) It’s too late now.
SHERLOCK (shifting closer to her and lowering his hand): No it’s not. It’s not too late.
(She cries, her eyes screwed tight and her face twisted with fear.)
EURUS: Every time I close my eyes, I’m on the plane. I’m lost, lost in the sky and ... no-one can hear me.
(She pulls her knees closer to herself, crying silently. Sherlock reaches out and gently puts his hand onto hers again.)
SHERLOCK (in a whisper): Open your eyes. I’m here.
(She opens her eyes and slowly raises her head.)
SHERLOCK (in a whisper): You’re not lost any more.
(He shifts even closer and reaches out to embrace her. She shuffles forward and wraps her arms around him and they hug each other tightly while she cries.)
SHERLOCK (softly, stroking her hair): Now, you ... you just ... you just went the wrong way last time, that’s all. (His voice becomes tearful.) This time, get it right. (Still softly but more clearly) Tell me how to save my friend.
(In the well, John groans with the effort of trying to keep his head above the water.
In the bedroom Sherlock pulls back a little.)
SHERLOCK: Eurus ...
(He cradles his sister’s head with one hand and gazes pleadingly into her eyes.)
SHERLOCK: Help me save John Watson.
(She stares at him, trembling and tearful as he gently strokes her hair.
In the well, John grimaces and then groans, tilting his chin up out of the water as he strains with the effort of trying to pull the chains free. Then a light shines down onto him from the top of the well and a rope is thrown down to him. Gasping with relief, he takes hold of it.)
[Your transcriber butts in here – sorry for the interruption – to frown sternly at the many people online who bitched about what possible use the rope could be and asked snidely whether John was about to rip off his feet and climb up the rope. Even on first viewing it seemed obvious to me that (1) someone was then going to climb down the rope with a bloody great set of bolt cutters and (2) John grabbed the rope because he now had some support to pull himself up just a little – i.e. to the full extent of the chains – and keep above the water until his rescuer arrived. Anyway, moving on ...]

Later, Eurus is being led away from the house by two police officers. She still looks tearful. Police cars and vans are parked all around and a helicopter’s rotors can be heard nearby. Some distance away, Sherlock watches her. John is beside him, wrapped in a grey blanket. Greg walks over to them.
LESTRADE: I just spoke to your brother.
SHERLOCK (as he and John turn to him): How is he?
LESTRADE: He’s a bit shaken up, that’s all. She didn’t hurt him; she just locked him in her old cell.
JOHN: What goes around comes around.
LESTRADE: Yeah. Give me a moment, boys.
(He starts to walk past them but turns back when Sherlock speaks quietly.)
SHERLOCK: Oh, um. Mycroft – make sure he’s looked after. He’s not as strong as he thinks he is.
LESTRADE (nodding): Yeah, I’ll take care of it.
(He turns to walk away again, while Mystrade fans squee so loudly that nearby dogs cower and cover their ears with their paws.)
SHERLOCK: Thanks, Greg.
(John, who has been huddling into his blanket, lifts his head and Greg turns back again and looks at him in surprise before walking away.
Eurus has been loaded into a reinforced cell inside one of the police vans. She sits on a side bench as a police officer closes the door.)
LESTRADE (to a nearby male police officer): The helicopter ready?
POLICE OFFICER: Mm-hm.
LESTRADE: Let’s move her, then.
(The officer nods in the direction of Sherlock.)
POLICE OFFICER: Is that him, sir? Sherlock Holmes?
(Greg looks back to where Sherlock has turned to face John, who looks round at him.)
LESTRADE: Fan, are you?
POLICE OFFICER: Well, he’s a great man, sir.
LESTRADE: No, he’s better than that. (He looks towards Sherlock for a moment.) He’s a good one.
[Your transcriber bursts into tears.]
(The two officers look towards our boys for a little longer, then turn and walk away.)
JOHN (quietly to Sherlock): You okay?
SHERLOCK (quietly, thoughtfully): I said I’d bring her home. I can’t, can I?
JOHN: Well, you gave her what she was looking for: context.
SHERLOCK (looking round at him): Is that good?
JOHN: It’s not good, it’s not bad. It’s ...
(He looks away and screws up his face, searching for the right words, then turns back to his friend.)
JOHN: It is what it is.

MRS HOLMES (offscreen, sounding shocked): Alive?! For all these years?
(She and her husband are in Mycroft’s Diogenes office. Mycroft sits behind his desk and his father is sitting on a chair on the other side while Mrs Holmes stands at the other end of the desk staring in shock at her oldest son. Her younger son is standing at the far end of the room leaning against the closed office door with his arms folded and his head lowered.)
MRS HOLMES (to Mycroft): How is that even possible?!
MYCROFT: What Uncle Rudy began ... (he hesitates slightly, his eyes lowered) ... I thought it best to continue.
MRS HOLMES (angrily): I’m not asking how you did it, idiot boy, I’m asking how could you?
MYCROFT: I was trying to be kind.
(He raises his eyes to hers at the end of his sentence.)
MRS HOLMES: Kind?! (She gasps in a pained breath.) Kind? (She becomes tearful as she continues.) You told us that our daughter was dead.
MYCROFT: Better that than tell you what she had become.
(She stares at him wide-eyed.)
MYCROFT: I’m sorry.
(His father stands up and leans his hands on the table.)
MR HOLMES: Whatever she became, whatever she is now, Mycroft ...
(Cut-away of a helicopter flying towards Sherrinford Island.)
MR HOLMES (offscreen): ... she remains our daughter.
MYCROFT: And my sister.
MRS HOLMES: Then you should have done better.
SHERLOCK (quietly): He did his best.
MRS HOLMES: Then he’s very limited.
(Mycroft looks towards his brother, unable to meet his parents’ eyes.)
MR HOLMES: Where is she?
(Cut-away of the helicopter coming in to land on the beach of the island.)
MYCROFT: Back in Sherrinford; secure, this time. (He looks at his father.) People have died.
(Sherlock gets out of the helicopter, carrying a holdall, and walks away across the beach.)
MYCROFT (offscreen): Without doubt she will kill again if she has the opportunity. There’s no possibility she’ll ever be able to leave.
(Mr Holmes has straightened up a little but now leans down again and speaks firmly.)
MR HOLMES: When can we see her?
(Mycroft looks at him.
At Sherrinford, Sherlock comes out of the lift on the upper level of the Control Room and trots down the stairs.)
MYCROFT (offscreen): There’s no point.
MRS HOLMES (upset): How dare you say that?
MYCROFT (closing his eyes and speaking more firmly): She won’t talk. She won’t communicate with anyone in any way.
(At Sherrinford, Sherlock swipes a card through a card reader and the door in front of him opens. He walks through.)
MYCROFT: She has passed beyond our view.
(Still leaning against Mycroft’s office door, Sherlock gazes down at the floor in front of him.)
MYCROFT (looking at his mother): There are no words that can reach her now.
(She turns to look at her other son.
At Sherrinford, Sherlock walks out of another lift.)
MRS HOLMES (offscreen): Sherlock.
(In Mycroft’s office, Sherlock raises his head.
At Sherrinford, he walks along the long corridor towards the Secure Unit.
In the office, Mrs Holmes shrugs questioningly at Sherlock.)
MRS HOLMES: Well?
(At Sherrinford, Sherlock stops at the end of the corridor and the lights on the scanner above his head begin to oscillate back and forth.)
MRS HOLMES (offscreen): You were always the grown-up.
(Mycroft raises his head a little and looks towards his brother.)
MRS HOLMES (offscreen): What do we do now?
(Sherlock turns his head away slightly, looking thoughtful.
At Sherrinford, the lift door at the front of Eurus’ cell slides open and Sherlock, having presumably left his coat upstairs, walks out. He walks a few paces forward, looking at his sister inside the glass-walled cell. Her face is turned away from him and she doesn’t react to the sound of his footsteps. He bends down and puts the holdall on the floor. Behind him the lift door closes and the green lights in the room turn white. Sitting on the seat at the side of the room, she still doesn’t react. Sherlock unzips the bag and then stands up holding his violin and bow. He plucks at the strings and Eurus blinks. Once he’s sure the violin is tuned properly, he lifts his bow and plays a simple tune. He stops at the end of the first phrase and lifts his bow a little, looking towards Eurus. She doesn’t respond or move in any way.
In the burnt-out living room of 221B Baker Street, Sherlock – in shirt and trousers – walks across the floor, stepping over the ruined books and debris. The sound of him playing the same tune in Eurus’ cell can be heard offscreen as he starts it again and this time continues the tune. In 221B he picks up a random item from the floor, then walks across to where the skull which is usually on the wall between the windows is lying on the burnt rug. John turns around from where he’s standing near the fireplace and holds up what he’s just found – the earphones which usually adorn the skull’s head. Sherlock lifts the skull so that John can put the earphones back onto it and then loop the cable over the top. Sherlock turns away with it and looks for somewhere to put it.
In the cell Sherlock continues playing. After a while, Eurus stands up and turns to face him. Sherlock stops playing, and the two of them look at each other for a long while.
In 221B Sherlock, still holding the skull and headphones, lifts his overturned chair with the other hand and sets it upright. As he gazes upwards, the violin starts up again offscreen.
A helicopter heads towards Sherrinford Island again and, in the cell, Sherlock plays on. Eurus stands silently, watching him with a trace of interest on her face.
In 221B Sherlock picks up one of the dining chairs and sets it on its feet. John is over near the right-hand window.
Sherlock gets out of the helicopter again on the beach at Sherrinford with his holdall in one hand. We start to realise that he is making repeated visits to play to his sister.
In the cell, while he continues to play, Eurus picks up her own violin and bow and walks towards the glass wall. Sherlock stops in mid-phrase. She puts the violin to her chin. Sherlock watches her, and she begins to play the same piece from the beginning. The sound from her violin is richer – either she’s a better player or she has her Strad back. Or possibly it’s a bit of both because she plays the first phrase with more flair than her brother, running the notes together differently at one point. Sherlock blinks rapidly as she ends the phrase and stops, lowering her bow. He lifts his own bow and plays the phrase again, still using his own interpretation of the notes.
While the music continues offscreen, John is standing in his own living room sorting through his mail. He stops when he gets to a white padded envelope sent by Special Delivery.
Shortly afterwards he walks aimlessly around the room while he speaks into his phone.)
JOHN: Uh, yeah, I-I think you’d better get round here.
(In his other hand he is holding what he found in the envelope. Inside a clear plastic wallet is a white DVD. Handwritten on the disc are the words “MISS YOU”.
In the cell, Eurus closes her eyes and begins to play the tune again but this time Sherlock joins in with a counterpart. They stand either side of the glass, harmonising with each other.
At John’s home, the disc slides into the DVD player. Sherlock has now arrived and stands near the sofa, still wearing his coat, while John sits down. They look at each other for a moment, then Sherlock turns away to look towards the TV while John lifts the remote control and starts the playback. Mary’s face smiles at them from the screen. Sherlock blinks and John stares at the TV in surprise, his mouth falling open a little.)
MARY: P.S.
(As the music from the violin duet continues, Sherlock again walks along the corridor towards the Special Unit.)
MARY (voiceover initially, then on the screen): I know you two; and if I’m gone, I know what you could become.
(Sherlock turns to look down at John. John smiles briefly at the screen, his eyes full of tears, and Sherlock turns back to the TV as Mary continues.)
MARY (voiceover): ... because I know who you really are.
(Flashback to our very first sight of Sherlock all those years ago, his face upside down on the screen as he unzips a body bag and looks inside.)
MARY (voiceover): A junkie who solves crimes to get high ...
(In the flashback Sherlock looks down at the body and wrinkles his nose a little as he sniffs.
Flashback to our very first sight of John, jolting up in bed in his lonely bedsit after his latest nightmare.)
MARY (voiceover): ... and the doctor who never came home from the war.
(Sherlock walks to the door of the Secure Unit and swipes his card through the reader.
In the cell, the siblings’ duet becomes more complicated and intricate.)
MARY (on the TV screen): Well, you listen to me: who you really are, it doesn’t matter.
(In the dark burnt ruin of 221B, a workman is sweeping up while another one stuffs rubbish into a black plastic bag. Standing in front of the fireplace, John looks around the room and tiredly rubs the back of his neck as if despairing of ever getting the place back to normal. Oblivious to what’s going on around him, Sherlock is sitting in his chair texting.)
MARY (voiceover): It’s all about the legend, the stories, the adventures.
(At Sherrinford, Sherlock comes out of the lift and walks across the green-lit room towards where his sister is sitting on the seat with her back to the room.
The Holmes siblings face each other through the glass, playing together beautifully.
In 221B, Mrs Hudson comes through the door and looks across the room. While the workmen tidy up and John stands at the fireplace, Sherlock types onto his phone “You know where to find me.” and adds underneath “SH”.)
MARY (voiceover): There is a last refuge for the desperate, the unloved, the persecuted.
(Again Sherlock walks along the corridor towards the Secure Unit.
In the cell, Eurus and Sherlock play on.)
MARY (voiceover): There is a final court of appeal for everyone.
(In 221B, most of the burnt debris has been removed and workmen are now redecorating. Our boys have decided to restore the flat exactly as it was, and the wallpaper on the fireplace wall is the same as it was before. Sherlock, wearing his camel dressing gown, is standing facing the fireplace. At the sofa wall, John sprays a circle of yellow paint onto the wallpaper and then adds two dots inside near the top of the circle. He turns round and we see that the wallpaper on that wall is also the same as it was before and John has now added the smiley face to it. He looks across expectantly towards Sherlock and then walks out of the way. Sherlock, now facing into the room, raises his long-muzzled pistol, spins the chamber and then flicks it into place, then aims towards the spray-painted face and fires twice. He smiles, then lifts the muzzle and blows across the top.
The siblings’ tune resolves into the familiar “Pursuit” music, now played offscreen by an ensemble of stringed instruments.
Sherlock, now wearing his blue dressing gown, stabs his knife down into an open letter on the mantelpiece as John stands beside him holding the piece of paper in position. They turn as Mrs Hudson comes into the room and looks at them in exasperation. The room is now fully restored to its former glory and all the familiar items have either been repaired or replaced with identical copies.
Sherlock and Eurus play on. Without stopping, he raises his eyes to hers and she looks back at him. For the first time, there is emotion in her eyes as she gazes at her brother. She smiles just a little and they continue their duet.
In 221B a montage of scenes rolls out. Even though there is no segue between them, they clearly take place over a period of time. Sherlock, in his camel dressing gown, walks around behind the client chair. Sitting in the chair is an old-fashioned ventriloquist’s dummy dressed in a black and red jacket with a white shirt and black bowtie. Its operator seems to be crouched behind the chair, as evidenced by a black-sleeved arm poking round from the back of the chair and disappearing into the dummy’s back. John walks through the living room door wearing his jacket and carrying his briefcase. He frowns briefly at the scene as he goes across the room. Sitting down in his chair he looks up at a blackboard set up on an easel in front of the fireplace and frowns at the ‘dancing men’ figures chalked on it [see here for the translation].)
 
MARY (voiceover): When life gets too strange, too impossible ...
(At the other side of the blackboard, sitting in his chair wearing his suit jacket, Sherlock frowns across the room and gets up to walk over and stand at the feet of a man lying on his back in the middle of the floor in front of the door. The man is dressed in Viking costume. His eyes are closed. John, wearing a brown cardigan, is on his knees beside the man, patting his face with one hand and peeling one eyelid open with his other thumb. [For anyone who missed the end credits, the man is played by musician Paul Weller.])
MARY (voiceover): ... too frightening, there is always one last hope.
(Mrs Hudson comes to the living room door holding a can of air freshener. Pulling a face, she sprays the can into the air and then turns to spray another blast towards John’s chair.)
MARY (voiceover): When all else fails ...
(Sitting in his chair and looking down in disgust at something grubby and possibly vomit-soaked in his hands, John – still in his brown cardigan – raises his head as Sherlock picks up Rosie and straightens up. She now has a full head of hair and is dressed in a pink top with denim short-legged dungarees over the top. Her mouth is grubby, so presumably she has just thrown up into whatever John is holding.)
MARY (voiceover): ... there are two men sitting arguing in a scruffy flat ...
(Tucking his goddaughter closely into his body with one hand while she makes a valiant attempt to stick her finger up her nose, Sherlock smiles and points across the room with the other.)
SHERLOCK: Oh, there’s Daddy!
(The music resolves into a fuller, slower and even more orchestral version of “Pursuit”.
Sherlock waves across the room and then walks forward to hand Rosie down to John, who is kneeling on the floor and wearing a pale grey shirt. John smiles in delight as he takes hold of his daughter and kisses her cheek.)
MARY (voiceover): ... like they’ve always been there ...
(Nearby, Greg stands looking towards Sherlock with one hand raised to his head and a harassed look on his face. He gestures beckoningly towards him as he turns to the door.)
MARY (voiceover): ... and they always will.
(In the doorway as Greg leaves, Molly comes in smiling happily and walks across the room.)
MARY (voiceover): The best and wisest men I have ever known.
(In the cell, Sherlock smiles at his sister as he continues to duet with her. Their parents and big brother are sitting on chairs to one side of Sherlock. With her eyes lowered while she listens to her children play, their mother reaches across to take Mycroft’s hand. He looks down at their hands and then turns to look at her.)
MARY (voiceover): My Baker Street boys.
(She smiles from the TV screen.)
MARY: Sherlock Holmes and Doctor Watson.
(And in slow motion Sherlock and John – our Baker Street boys – run side-by-side out of the entrance of a large stone building, identified by plaques either side of the porch as “Rathbone Place,” and race off towards their next adventure.)

Transcript and Detailedcommentary courtesy of https://arianedevere.livejournal.com/92287.html

-Many Thanks and Maximum Love