Aaron

Aaron is the name of The Patriarch, 

who gets everything wrong.

God made him 

A Priest

Pharaoh :

It's True, The Hittite Army has 16,000 troops camped outside Kadesh. 

What's less clear is why. 

Prince Rameses :

The Hittites are trying 

to cross The Border. 

Obviously. What else would They be doing? 

Anticipating an invasion by us, according to our information. 

They think we are... 

preparing an attack, 

which we are not. 

What I don't want to do, 

and won't do, is sit here... 

And wait until we're 

fighting Hittite armies 

outside the palace walls. 

Come.

What do the entrails say? 

They don't "say" anything. 

They imply. 

And that's open to interpretation. 

So, interpret them —

We'll Win or We Won't, 

in a preemptive attack? 

It's a Yes or a No. 

And it's not clear. 

But Something Else is —

In The Battle, 

A Leader will be Saved, 

and His Saviour 

will someday lead. 

Then the entrails should also say that we will abandon reason, 

and be guided by omens. 

Great Sekhmet, 

Pharaoh Drinks in Your Name, 

and Prays for Victory 

over The Hittites at Kadesh. 

Your first order of business when the time comes, you retire her. 

I will. I don't know why my father hasn't. 

But, just in case - 

If you see me in any real danger out there, ride the other way. 

I'm serious. 

When I look at you, I still see the two boys who grew up together, close as brothers. 

If, for any reason you ever forget that... 

Let these remind you. 

Long enough to be effective from horseback, 

not so long that you trip over them.

This is his. 

You've got mine. 

That's right. That's how I want it. 

You have each other's, to keep each other safe. 

Promise me you'll do that... always. 

 

Treat me like a fool...

Elvis' Dead Twin Brother was Aaron Presley.

Vernon and Gladys named their surviving son Elvis Aron Presley, so that their son would always remember the duties and responsibility placed upon him to live TWO Lives for the Second Soul he was born into This World.

The King has TWO SOULS - See Richard II

The King took up residence in Memphis, building his Palace upon a Land of Grace.

[The Palace of GRACE] 

The Elder:

Whoops.
 

The Elder: 

You've landed on my chair!
 

Our Lady: 

Sorry.
 

The Elder :

You've broke my chair!
 

Our Lady : 

Well, if you will leave chairs around the place.
 

The Elder : 

This is my front room!

 

Our Lady : 

Where's your kitchen? 

I just need to get some eggs 
to check the protein alignments in the goo.
 

(Graham points, and the doorbell rings.)

Our Lady : 

Oh! Is that your intruder alert or mine?
 

Orion : 

It's the doorbell.

Our Lady : 

Oh yeah. Sorry.

(Graham opens the front door.)

The Elder : 

No.

(And shuts it again.)

Orion : 

Who was it?

GRAHAM: 

Wrong number.

(Doorbell.)

Our Lady:

 Intruder alert again?

The Elder: 

It's a doorbell.

Orion : 

I'll go tell 'em to go away.

The Elder : 

No, Ryan. Oh.

The Damesel: 

Is everything all right?

The Elder : 

Not really, Yaz, no.

(Ryan opens the front door, then comes into the front room, followed by an older man.)

The Damsel : 

Ryan, you okay?
 

Orion: 

This is Yaz and The Doctor.
 

AARON,
The Patriarch Who Gets Everything Wrong : 

Hi.

Orion: 

This is me Dad.

Our Lady + The Damsel : 

Oh.
 

AARON: 

Graham.
 

Our Lady : 

Hi, Ryan's Dad.
 

AARON,
The Patriarch Who Gets Everything Wrong : 

Aaron.

(He holds out his hand.)

Our Lady : 

You weren't at Grace's funeral.

AARON,

The Patriarch Who Gets Everything Wrong :

No.

Our Lady : 

Ryan waited for you. 

You let him down.
(Long pause.)

AARON,

The Patriarch Who Gets Everything Wrong :
I was thinking maybe we could grab a coffee.

Orion: 
Er, yeah, right. Er, sure. 
Er, is it all right if we er...? 
We're just gonna go... 
(to Graham) Is that okay if er...?

The Damsel: 
If you're needing somewhere to go, 
café around the corner's open.

Orion : 
Yeah. Yeah, good shout, good shout. 
I'll just get me coat.

The Elder:
Aaron, can I have a word?

(Graham and Aaron follow Ryan out of the room.)
 
Our Lady : 
Ryan's Dad.

The Damsel: 
It's complicated.

Our Lady : 
Yeah. Dads are, so I've heard.
(In the hallway.)

The Elder : 

So, why are you here?

AARON : 

New Year's Day. 

Turning over a new leaf.

The Elder : 

Right, well, er, be gentle. 

He's been through a lot.
 

AARON : 

I know.

The Elder : 

No, You Don't.

 You have no idea.

AARON: 

I just want me and him to be family again.

The Elder : 

Family isn't just about DNA, Aaron, or a name. 

It's about what you do. 

And you haven't done enough.

Orion : 

We off, then? 

See you later, Gramps.

AARON: 

Gramps?

GRAHAM: 

See you later, Son.



[Café]

(Aaron is trying to sell a Matsoki microwave to the owner, and Ryan is fed up.)

AARON: 

But this one's a combination. 

Microwave and full oven. 

Both functions are the best quality you can get. 

I swear, this is the best you can have.

MAN: 
Sorry, not for me, mate.

(Aaron and his box return to the table.)

Orion: 
This is a new thing you're doing?

AARON: 
Only so long a man can work offshore.

RYAN: Given up being on the rigs?

AARON: 
Let's just say I've been examining my life choices lately. I'm not sure if this is the answer.

Orion: 
Get them online, can't you?

AARON: 
Yeah. Yes. Yes, except for this one. It's actually really good. 
A mate of mine makes it. 
I helped him with some of the specs. It's the best working oven you can get. 
But I make it sound like a con, so maybe I'm not cut out for that. 
Maybe it's back to engineering. 

We'll see. 

So, how you been doing?
 

RYAN: 

Seriously? 

That's where you start?
 

AARON: 

What?
 

Orion : 

That's all you got? 

How do you think I'm doing?
 

AARON: 

I know it's been hard for both of us.
 

Orion: 

Okay, stop. I don't care how it's been for you. This ain't about us commiserating with each other. This is about you making things right.
 

AARON: 

This how you talk to your dad?
 

Orion : 

I don't know cos he ain't been around. 

So don't come walking back in demanding respect, cos that ain't where we are.
 

AARON: 

What do you need me to say, hmm? Because I want to say it.
 

RYAN: 

Okay. You say, 

Ryan,  I'm sorry. 

I've messed up. 

I haven't been good enough. 

I've let you down a lot. 

And I know that's made life hard for you. 

And if it meant that over the years, you ever felt lonely or abandoned or didn't know where to turn or who to talk to or how to be. 

Then I'm sorry. Cos... 

'Cos you mustn't ever think that you didn't deserve my love.
 

AARON: 

You didn't ever think that..? 

Yeah. Why wouldn't you? 

Okay, listen. Here's what you find out when you get older. 

There are things you've done in your life to others, the decisions you've made maybe when things were difficult, and you get it wrong. 

But by the time you realise you got it wrong, it's too late. 

You can't fix it because the damage is done. 

And so you run cos you're too ashamed to make it right. 

That's what I did.
 

RYAN: 

No. You hid when I needed you. First Mum, then Nan.
 

AARON: 

I'm not hiding any more.



[Graham's home]

(Ryan and Aaron are back, with the microwave.)
RYAN: Hello? It's us.
AARON: I need to use the... you know.
RYAN: Dad, you know you can say toilet, you know.



[Graham's home]

(Graham returns with a jar of Sainsbury' peanut butter.)
 

GRAHAM: 

Where'd they go?
 

AARON: 

Did they take the cabinet?
 

GRAHAM: 

They've gone without me.




[Graham's home]

(Graham carries in a plastic storage box, not a Really Useful one, I have to say.)

GRAHAM: 

Since you're here.
 

AARON: 

What's this?

GRAHAM: 

Have a look.
 

(Child's paintings, toys.)
 

GRAHAM: 

When my mum died, my dad got rid of all her things super quick. 

He couldn't bear to have it in the house. 

She's gone now and that's the end of it, that's what he said. 

Funny old bloke, my dad. 

Course, now I realise that was his way of dealing with it. 

When your mum died, I had to go through all her stuff.
 

AARON: 

But this is all mine.

GRAHAM: 

Yeah, I know. She kept it all. 

She once said to me, if anyone ever asks about me after I'm gone, you tell them I was lucky. 

Tell them 

I gave someone life, 

and I watched 'em grow, and I was proud.

Why didn't you come, Aaron? 

Not for your mum or for Ryan, but for yourself.

AARON: 

I don't know. Maybe I thought if I wasn't there, she wasn't gone. I wish I was better at life, Graham.

GRAHAM: 

Well, there's still time.


[TARDIS]

Our Lady : 

Oh, huge heat signal, and a non-terrestrial form moving away from it fast. 

I'm on its tail. 

Sorry, The TARDIS isn't designed for these short hops.

(A jolt makes a certain cardboard box slide across the floor.)

Our Lady : 

A microwave? 

Who brought a microwave with them?
 

AARON: 

It's actually an oven and a microwave.

Our Lady : 

Nice.

AARON: 

What is this place?

RYAN: 

This is where I've been since Nan died. 

Travelling the universe with these guys.

YASMIN: 

Even if we track this Dalek thing, how do we stop it?

Our Lady :

 I'm still working on that.

MITCH: The Custodians managed it. If we take the same approach as those drawings.

LIN: 

Those documents aren't reliable, Mitch.

MITCH: 

Except all the rumours have proved to be true. It's shown here.

RYAN: 

Short version. 

Alien psychopath, in its own tank, trying to bring loads more to Earth. 

I guess this is how they attacked it last time.
 

AARON: 

What's it made of?

Our Lady : 

Remnants of its original shell, patched up with all sorts of spare parts. Mainly metal.

AARON: 

We can use my oven.
 

RYAN:

 It's not going to fit in there.

AARON: 

That's not what I meant. Help me break it up.

(An alarm sounds.)

Our Lady : 

That Dalek's moving fast but where's it going?

AARON: 

Ryan, help me get the element out.

RYAN: 

Why?

AARON: 

It's metal.

Our Lady : 

Oh, you're good, Ryan's Dad. 

You're almost making up for your parenting deficit. 

Rock n' Roll

Hello? 911? This is The Devil!

I'm Being Driven Back to Hell by Loud Music!!

Can You..? Hello..?? Hello..?!?

Hey, hey, my, my

Rock and roll can never die

There's more to The Picture than meets The Eye

Hey, hey, my, my

Out of The blue and into The Black

You pay for this and they give you that

Once you're gone 

you can't come back

When you're out of the blue and into the black

The King is gone but he's not forgotten

Is this the tale of Johnny Rotten?

It's better to burn out than to fade away

The King is gone but he's not forgotten

Hey, hey, my, my

Rock and roll can never die

There's more to the picture than meets the eye

Hey-hey, my-my —

Rock n'Roll 

will never Die

Out of The Blue (And Into The Black)

You're the first one, yeah? 

Like, The Original Version of The Doctor.

Old Grandfather : 

 My dear, you should get back to the ship. 

This place isn't safe.

BILL: 
You're 

The One Who Stole The TARDIS and Ran Away.

Old Grandfather :  

 The Captain might be needing you.
 

BILL: 

Nah, the Captain's fine. 

Why did you do it?
 

Old Grandfather :  

Oh, I'm sure your Doctor has explained.
 

BILL: 

I'm not even sure he remembers.

Old Grandfather :  

 There were many pressing reasons.
 

BILL: 

I don't mean what you ran away from. 

What were you running to?
 

Old Grandfather :   

...that's rather a Good Question...!

BILL: 

Questions are kind of my thing. 

How are you with answers?

Old Grandfather

The Cosmic Hobo

The Established Dandy

 
Teeth+Curls
The Exception (That is The Rule)

The Chorister

 
The Motley Fool

Time’s Champion

Life’s Champion

 *

The Designated Survivor

Perfect-10
(The Life So Nice, I Lived it Twice)


The Chin

Attack Eyebrows  
Dr. Disco


Our Lady


Old Grandfather :   

There is Good and there is Evil. 
I left Gallifrey to answer a question of my own. 

By any analysis, Evil should always win. 

Good is not a practical survival strategy. 
It requires loyalty, self-sacrifice and er, love. 

So, why does Good prevail? 
What keeps the balance between good and evil in this appalling universe? 
Is there some kind of logic? 

Some mysterious force?


BILL: 
Perhaps there's just a bloke.

Old Grandfather :  A bloke?

BILL: 

Yeah. Perhaps there's just some bloke, 
wandering around, putting everything right when it goes wrong.

Old Grandfather :  

 Well, that would be a nice story, wouldn't it?
 

BILL: 

That would be The Best.

Old Grandfather :   

But the real world is not a fairy tale.
 

BILL: 

You dash around the universe trying to figure out what's holding it all together, and you really, really don't know?
 

Old Grandfather :   

You know me in The Future. 

Do I ever understand?

BILL: 

No. I really don't think you do. 

Everyone who's ever met you does. 

You're amazing, Doctor. 

(hugs him) 

Never forget that. 

Never, ever.

Old Grandfather :   

Well, that's very kind of you.









*

The Warrior

TheRed+TheBlack

It was beautiful. 

They used to call it the Shining World of the Seven Systems. 

And on the Continent of Wild Endeavour, in the Mountains of Solace and Solitude, there stood the Citadel of the Time Lords, the oldest and most mighty race in the universe, looking down on the galaxies below. 

Sworn never to interfere, only to watch. 

Children of Gallifrey, are taken from their families age of 8 to enter The Academy.

And some say that's when it all began. When he was a child. 

That's when The Master saw eternity.

The Spanish Ambassador

The Razed Fantome

The Sinister Uncle

The Poisonous Old Queen

The Absent-Minded (Wicked) Professor

Burning Man

Miss Demeaner

As a novice, he was taken for initiation. 

He stood in front of the Untempered Schism. 

It's a gap in the fabric of reality through which could be seen the whole of the vortex. 

You stand there, 8 years old, staring at the raw power of Time and Space, just a child. 

Some would be inspired, some would run away -

And some would go mad....

She was my first friend, always so brilliant, from the first day at the Academy. 

So fast, so funny. 

She was my man crush.

We had a pact, me and him. 

Every star in the universe, 

we were going to see them all.

But he was too busy burning them.

I don't think she ever saw anything...

Yes.

A Cheap Move

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