Page 81 - SHERLOCK transcripts

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After a taxi journey during which they go right past the end of the road where your humble
transcriber works [why didn’t they drop in for coffee??], Sherlock and John are once again on
an escalator, this time inside West Kensington Library. Sherlock finds his way to the aisle where
Lukis’ book came from.
SHERLOCK: Date stamped on the book is the same day that he died.
(Checking the reference number stuck to the bottom of the book’s spine, he goes to the correct
place along the shelves and starts pulling out books and examining them. John, probably just
for something to do, pulls out some books on a nearby shelf on the other side of the aisle and
immediately gets lucky.)
JOHN: Sherlock.
(Sherlock turns and sees John staring into the gap left by the books he removed. Stepping over
to him, he kisses John’s ear [he does, if you freeze-frame it just right!] and then reaches to the
shelf and pulls out so many books with one hand that your transcriber faints at the very thought
of how wide that man’s hand span is. Pulling out another huge handful of books with his other
hand, he reveals that spray painted on the back of the shelf are the same two symbols that
were sprayed across Sir William Shad’s office.)

221B. Photographs of the shelf have been added to the earlier photos stuck around the mirror
in the living room. The boys are standing at the fireplace looking at the pictures.
SHERLOCK: So, the killer goes to the bank, leaves a threatening cipher for Van Coon; Van Coon
panics, returns to his apartment, locks himself in.
(Flashback of a terrified Eddie Van Coon turning the key in the inside lock of his front door and
fastening the safety chain before hurrying towards his bedroom.)
SHERLOCK: Hours later, he dies.
JOHN: The killer finds Lukis at the library; he writes the cipher on the shelf where he knows it’ll
be seen; Lukis goes home.
SHERLOCK: Late that night, he dies too.
JOHN (softly): Why did they die, Sherlock?
(Sherlock runs his fingers over the line painted across Sir William’s face.)
SHERLOCK: Only the cipher can tell us.
(He thoughtfully taps his finger against the photo as his expression sharpens. Apparently he has
had an idea.)

TRAFALGAR SQUARE. The boys are walking through the centre of the square, heading towards
the National Gallery.
SHERLOCK: The world’s run on codes and ciphers, John. From the million-pound security
system at the bank, to the PIN machine you took exception to, cryptography inhabits our every
waking moment.
JOHN: Yes, okay, but ...
SHERLOCK: ... but it’s all computer-generated: electronic codes, electronic ciphering methods.
This is different. It’s an ancient device. Modern code-breaking methods won’t unravel it.
JOHN: Where are we headed?
SHERLOCK: I need to ask some advice.
JOHN: What?! Sorry?!
(Sherlock throws him a black look as John smiles in disbelief.)
SHERLOCK: You heard me perfectly. I’m not saying it again.
JOHN: You need advice?
SHERLOCK: On painting, yes. I need to talk to an expert.
(He leads John towards the entrance to the National Gallery ...

... and straight around it to the rear of the building where a young man has spray-stencilled
onto a solid grey metal door the image of a policeman holding a rifle in his hands. The image
has a pig’s snout in place of a human nose. A large canvas bag is at the man’s feet and he is
holding spray cans in both hands. With one of the cans he has sprayed his tag, “RAZ”, below
the image and he is now adding the finishing touches to his ‘artwork.’ He continues spraying,
unperturbed, as Sherlock and John approach.)
RAZ: Part of a new exhibition.
SHERLOCK (disinterestedly): Interesting.
RAZ: I call it Urban Bloodlust Frenzy.
(He chuckles.)
JOHN: Catchy(!)

Transcripts by Ariane DeVere (arianedevere@livejournal.com)