BBC Sherlock's Season 4 DVD extra with behind the scenes and cast and creators interviews. Narrated by Rupert Graves.
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00:01At the end of episode two, we finally found out exactly who she is.
00:05It never occurred to you, not even once,
00:07that Sherlock's secret brother might just be Sherlock's secret sister.
00:12And in episode three, we find out exactly what and who she knows.
00:16Moriarty is back.
00:17How do I think?
00:19I think the greatest of all villains is Eurus.
00:21And discover just how dangerous Eurus Holmes may be.
00:24Her incarceration has resulted in the fact
00:27that she's actually taken over the asylum.
00:31It's one of the most traumatic episodes,
00:33maybe the most traumatic episode, actually, that we've ever done.
00:36The east wind has arrived and is destroying everything in her path.
00:41I think she's there to definitely shake their foundations.
00:55Isn't that how they got strong?
00:56I thought it was supposed to be the beginning of all human misery.
00:59Now, what was all that about arresting me?
01:02You join me in Mycroft's private cinema in his palatial house,
01:07the third Mycroft house we've had.
01:09All of them have panels and suits of armor, so you can never tell the difference.
01:14This one is extremely fine.
01:17It has a big window, and it's probably haunted.
01:20It's about half past two in the morning on a grueling night shoot,
01:24in which I'm being menaced by a tiny girl,
01:29and later on soon, a terrifying clown.
01:35And because I've started to tell you this,
01:38they are now calling for me to do the shot,
01:40because that's the way it goes.
01:42Mark is a lifelong fan of horror,
01:50so I felt a certain responsibility to get this right.
01:54It turns out to actually be a set-up by Sherlock,
01:58to scare the pants off him.
02:00Action.
02:01From the beginning, Steve and I conceived this script
02:04as being full of transgressions,
02:06so you sort of think,
02:08oh, heavens, they're showing that, they're revealing that,
02:10they're doing that, oh, my God, there's no way back.
02:13So one of the things people have asked me over the years,
02:17of course, they assume there must be something in Mycroft's umbrella,
02:20I have always got one,
02:22but it has, in fact, got a sword in it, as people have often speculated.
02:25However, there is a two-stage joke,
02:28and then when I'm menaced by the clown upstairs,
02:31I take the blade out, revealing it to be a very cool gun
02:35with a bamboo handle.
02:37Unfortunately, Sherlock's taken the bullets out,
02:40so that's the end of my game.
02:43Sherlock, help me.
02:50Experiment complete.
02:52Conclusion.
02:53I have a sister.
02:56This was you?
02:57All of this was you?
02:58Conclusion two.
02:59My sister, Eurus, apparently,
03:01has been incarcerated from an early age
03:03in a secure institution controlled by my brother.
03:05Hey, bro, why would you do this?
03:08This pantomime, why?
03:10Conclusion three.
03:11You are terrified of her.
03:14The massive missing piece in Sherlock's mind
03:17that's been there all the time,
03:18that's driven so much of who he is,
03:20is his sister and the death of his friend caused by his sister,
03:24the first case he didn't solve.
03:26That, to me, has motivated everything that he's become since then.
03:29Eurus is a monumental genius.
03:35And so, I suppose, having spent that many years in an institution
03:39where you are on your own, there's no motherly love,
03:43no parental guidance, no nothing, no human contact.
03:46I think it would probably send somebody a little loopy.
03:51Her objective to be able to get somebody to bring her home,
03:56to reach out to Sherlock,
03:58has sort of overridden any rationale, really.
04:01She's just that sort of superseded any sort of normal way of thinking,
04:06and so she behaves a little crazy.
04:09Yeah, a little extreme, one might say.
04:12Oh, who will find me deep down below the old beige tree?
04:24This is where this episode goes even more crazy,
04:27and Mycroft has explained about Eurus,
04:30but then sort of, just at that moment,
04:32the window smashes and in comes a drone with a grenade on it.
04:36What's that silver thing on top of it, Mycroft?
04:38It's a DX707.
04:40I've authorised the purchase of quite a number of these.
04:42All we're using here is just a modified race squad.
04:45It's good for getting through the windows and the doors.
04:48I'm quite comfortable with these things,
04:50but obviously, like you say, the pressure's on
04:52when you've got Hollywood stars right there
04:54and, you know, you want to try and...
04:56Name them. Name them.
04:58No, it's fine. It's all very controlled, it's all very safe,
05:02and what we've been asked to do is quite straightforward.
05:04Yeah, it's quite cool.
05:06Here we go, and action!
05:08We're all just coping with the drone.
05:09It's actually behaving very well.
05:10It hasn't sliced anyone's eye out.
05:15And now it moves into the total destruction of 221B Baker Street.
05:25Which is strange and awful and exciting,
05:27and this amazing stunt as John and Sherlock
05:30pitch themselves through the window onto the awning of speedies,
05:33boop, and they're fine.
05:36Blowing up the iconic bachelor pad requires hours of planning
05:39and preparation to ensure that Benedict and Martin
05:42can dive safely out of the first-floor window of 221B Baker Street.
05:47By the time we've got our launch off whatever it is here,
05:50we're kind of blown out of the hallway.
05:52We have the scene where Martin and Benedict
05:56are trying to avoid an explosion in the apartment
06:00and the only way they're getting out
06:02is to dive through the windows and into the street below.
06:05So what we got for them today is a box rig,
06:09which is basically a very simple deceleration system.
06:13People look at it and think,
06:14what the hell are we doing with that?
06:16But it's such a simple and effective thing to use.
06:19My thing for the day is just to make sure
06:24that they're both happy to dive from the rostrum
06:28onto this box rig,
06:30and they're both, you know, it's nice and comfortable
06:33and we don't get them hurt.
06:34One, go.
06:40Today's green screen element
06:41is just the two actors leaping through.
06:44We sat down with Ben, the director,
06:46planned out two shots to contain this sequencing.
06:50One is a front-on shot,
06:52and then there's an aerial shot looking down,
06:54which is where it's more about the smoke billowing out of the room,
06:57and it goes and engulfs the camera.
07:04The main shot of this,
07:05you won't see that it's the two actors because of the angle.
07:07So we're using the two stunt guys
07:09and we're doing the fireball at the same time
07:11because the flames will engulf them.
07:13With the stunt performers in place,
07:15the flames are turned up full.
07:20And when the smoke is cleared,
07:22the sequence leaves everybody blown away.
07:34It's going awfully well.
07:36So far.
07:37Moriarty is back,
07:41and this time he's escaped from the mine palace
07:44and we have a flashback to five years ago
07:47where he's been brought in as a sort of bait for Eurus.
07:52Smell all that insane criminality.
07:57Well, it's July the 5th.
07:58You wouldn't know it.
07:59We're on the beach.
08:02Whereabouts are we?
08:03We are.
08:04We are in...
08:05It's a cold.
08:06It's Ogmore.
08:07We're in Ogmore.
08:08Ogmore beach.
08:10We're doing the arrival of the helicopter,
08:12which will carry Sherlock to Sherinfield Island,
08:16and also Moriarty in the flashback.
08:18Tenby Island is the actual location,
08:21but we're substituting this.
08:23That's a future reference for anyone trying to find the location.
08:26It's not in Tenby.
08:28Mark's quite excited, aren't you, about the potentials of fossils.
08:33Very excited.
08:34Fossil potential of this beach is apparently renowned.
08:37That's where I'll be all afternoon.
08:42Mark directed this little section where I said,
08:45did you miss me?
08:46Did you miss me?
08:47Did you miss me?
08:48That had such a huge impact, you know,
08:50even though it was only a little tiny section of filming one day,
08:53and I'm so grateful that the screen time that I've had
08:56has had such effect, and it's really down to Mark and Stephen
09:01really treating the character with such respect,
09:04and that's, as an actor, you're in total need of that,
09:07because you can spoil the power of a character by overuse, you know.
09:14The real chief pleasure of it is that I feel like I've played
09:16lots of different parts.
09:18He came in as a little geeky guy in series one.
09:21I mean, it just seems like so long ago,
09:23and, yeah, I've shot myself twice,
09:26and I've been in a straight jacket,
09:27and I've been worn a wedding dress,
09:29and just so many things.
09:32No rush.
09:33With a back catalogue of this scale,
09:35when the consulting criminal returned,
09:37he was always bound to make an impressive entrance.
09:40I've just landed, um,
09:42uh, from a helicopter, like a rock star.
09:46I love Angie Scott. I saw him, um, in lots of theatre,
09:50where he plays this sort of rock star,
09:52and so when you see him come out of the helicopter,
09:54I think there's a little bit of that going on there.
09:58He brings a kind of deadly charisma to that role.
10:01Euross received one year of Ireland,
10:08and another year she asked for Moriarty,
10:11and she asked for five minutes unsupervised
10:14with him in her cell as a Christmas present.
10:17And then it all happens.
10:22Is anybody as dangerous as Moriarty?
10:25I'm gonna say no.
10:27Bye.
10:29Moriarty is, without a doubt, I think the most iconic.
10:33Clearly the one that haunts and matches Sherlock,
10:36but I think the greatest of all villains is Euross.
10:39She's very dangerous, um, and, you know,
10:41she's kind of like, there's a literal scene
10:44that we do where they mirror each other.
10:46It's good, I like the fact that those little themes
10:49and those little vignettes can be sort of mirrored
10:52in a sort of visual way.
10:54Because I think it does a lot of the work for us.
10:57You see a sister?
10:59Yes.
11:00How is that?
11:01Family's always difficult.
11:03She wants to reach out to her family,
11:06to reach out to Sherlock,
11:07but yet also she wants revenge for the years and years
11:10that she's been held captive on her own.
11:13And also the scientific side of her,
11:16and the scientific side of the home's children.
11:19They're lab rats, and it's an experiment.
11:21So this island, she's sort of flipping everything.
11:26They are now the patients.
11:29They are now the rats in this asylum.
11:32There's a place called Sherenford, an island.
11:39It's a secure and very secret installation
11:42whose sole purpose is to contain what we call
11:45the uncontainables.
11:47Heaven may be a fantasy for the credulous and the afraid,
11:51but I can give you a map reference for hell.
11:56So we're using some Catherine's Island here,
12:01which is going to be, by the time the tide comes in,
12:03an isolated island, which we'll see tomorrow
12:06with a helicopter flying over.
12:08But at the moment, we are just rehearsing a scene
12:13where the two fishermen have been tied up
12:15and the guards will come round
12:17and they see the message on the sand.
12:25Yeah, I mean, it's quite hard to get down here, obviously,
12:27because it's sand everywhere.
12:28So we've got a sort of fleet of Land Rovers,
12:31some of which have already got stuck.
12:33So we're putting all the equipment into the horse boxes
12:35and then bringing those down,
12:36and everything has to be manhandled up there.
12:40And then tomorrow, there'll be certain bits
12:43where they're going to get off with a boat
12:45because we want to get some shots over there,
12:47a helicopter there, the weather's going to be awful,
12:50so we may get none of that,
12:52in which case you'll never see this bit in the film.
13:03Well, the helicopter's out there,
13:13and our guards are out there,
13:15in the rain, in the wind.
13:17We're fine, because we're in here,
13:19but, yes, obviously, because the helicopter's there
13:21and they're filming the island,
13:23we can't be out there,
13:24so we're all just staying in the hall
13:26while they're filming all the background action in the cold.
13:32So I think we've got... I think we've won.
13:40The name Sherinford,
13:41a two-glimpse in Michael's little book,
13:44that's Doyle's original name for Sherlock Holmes,
13:47Sherinford Holmes.
13:48So somewhere along the line in Sherlock Holmes' scholarship,
13:51someone decided there was another brother,
13:53and now there's just become one of those things
13:55that we've drawn, and we've drawn...
13:57Stephen and I have drawn on,
13:59and we've just been pushing this idea for ages.
14:02But now, you see, if you just look at that scene
14:06in his last final,
14:08and like that says...
14:10I'm not given to outbursts of brotherly compassion.
14:14You know what happened to the other one.
14:16And happily, everyone has fallen for the trick
14:18of assuming that means another brother.
14:21Of course you can have brotherly affection towards a sister.
14:26Stand by then, please, for rehearsal.
14:28We are now underneath the show in Finland,
14:31so when we were in Tenby, we were at the top,
14:33we're now underneath and we're in studios.
14:36167, take one A camera mark.
14:38Well, she was never the same after that Christmas.
14:41It was as if you woke her up.
14:43The governor's somebody who's trying to sort of hide the fact
14:47that actually she's in control and she has taken over.
14:51I can fix her for you
14:52and then I'll give you her straight back, good as new.
14:55I've done something which I shouldn't have done.
14:57I was told not to sort of interview her,
14:59not to talk to her, to have no connection with her at all,
15:02because she's very manipulative.
15:04One question, that's your voice, isn't it?
15:06Really? Do you trust her?
15:08You've got to stop saying these things.
15:10He is in cahoots with Eurus.
15:12He's actually started to believe her and everything she stands for.
15:16And action!
15:25Dr. Watson, there is no point.
15:28There is no way you can go.
15:30He then facilitates the point at which Sherlock, Mycroft, John and myself
15:36are all inside the cell,
15:38which is the cell that she used to be in.
15:40She has now taken over.
15:42If you want to save the governor's wife,
15:44choose either Dr. Watson or Mycroft to kill the governor.
15:47Oh, God.
15:49We're doing the progression of scenes through the cells in Sherinford
15:53very unusually for shooting anything.
15:56We're actually doing them in chronological order,
15:58which is brilliant for taking the energy of each scene
16:02from room to room.
16:04They're tied up!
16:05We'd be as good as killing them.
16:06It's not picking a brick,
16:07but it's genuinely very grueling for everybody concerned,
16:10the actual slog of the shooting,
16:13but also the actual, you know,
16:15the emotional impact of what Eurus is doing to us all.
16:18It is really quite difficult stuff and big stuff.
16:21It's, you know, having to be so eternally tense and quite emotional.
16:27Why the girl?
16:31One of the trials that Sherlock goes through
16:34is that he has to get Molly to say I love you on the phone
16:38in order to save her life.
16:39Hello, Sherlock. Is this urgent? Because I'm not having a good day.
16:43When I read it, I was really happy because there's a point in the scene
16:46where she turns the tables on him and says,
16:48no, I'm not going to say that unless you do.
16:50Say it, Sherlock.
16:52Say it like you mean it.
16:55But we have to be left uncertain as to when he says,
16:58I love you, does he actually mean it?
17:00I love you.
17:02Well, is he just saying the right thing to save her life?
17:06He'll never quite know.
17:08I've become out of control over Molly Hooper now.
17:11Does that mean I love Molly Hooper?
17:13I don't think I've made that decision yet.
17:15I don't think we've ever seen his emotions as out of control,
17:19as in that moment.
17:20But I think that's because he's brought to boiling point by situation
17:23rather than it being some kind of cathartic turning point
17:26because he's still got a lot further to go
17:28before he discovers the ultimate truth of Eurus's existence
17:31and why she's in the mental institution.
17:34Yeah, the smashing of the coffin is interesting.
17:36When Stephen and I were writing this,
17:38I was very aware that it was sort of relentless.
17:41It really is quite gut-wrenching
17:43and you often need a kind of moment of breath.
17:47It's like that moment in a vampire film
17:49when the sun comes up and you can sort of settle down for a bit.
17:52However briefly, and I think we needed that,
17:55and I wanted sort of Sherlock to have a kind of release
17:58of the fury he's feeling of being manipulated like this.
18:01You know, Eurus knows what she's doing.
18:03She knows the buttons to push to make Sherlock emotional.
18:08You know, Eurus's arrival and the horrific TV game show of death
18:14that we kind of get entered into,
18:16the three of us, Watson, Mycroft and Sherlock.
18:18It re-exposes Sherlock as somebody
18:20who we've seen be humanised by Watson
18:22but who is actually underneath it all
18:24always suppressing a human nature which has been his vulnerability.
18:27Soldiers. Soldiers.
18:29And that's all being utterly buried and monitored by Mycroft all this time.
18:35And it rises to the surface in terrifying form.
18:39Today we are soldiers. Soldiers die for their country.
18:43As Eurus forces Sherlock to make the most difficult choice of his life,
18:47John demonstrates a soldier's bravery.
18:50Yeah, he's prepared to give up his life in this episode, you know.
18:54And he's prepared to do it in a premeditated way
18:58and to save Sherlock's brother.
19:00It's one of the things I really like about John
19:02is that he's a thoroughly decent man.
19:05He's a very, very brave, decent, loyal man.
19:09Yeah, I like that about him.
19:11When the games are up,
19:13a more compassionate Sherlock begins to emerge
19:16and the family's extreme history
19:18begins to be put to rest.
19:20If I endure a speck in her cell again,
19:22all she wanted was for him to listen to her
19:26and to bring her out of her head, out of her thoughts.
19:30She's very damaged
19:32but there's some form of communication and salvation
19:36and I think it's his music.
19:37A lot of people testify to that being something
19:39that does work to heal
19:41and bring some kind of understanding
19:43and can literally cross the boundary
19:45between sanity and insanity,
19:46between freedom and incarceration
19:48and is a way of acknowledging
19:50what was missing in that child's life
19:52from the very beginning,
19:53which was a brother
19:54that she wanted to be her friend.
19:59They're just playing together
20:01because that's what she wanted from the beginning.
20:03She wanted him to play with her.
20:05So I think, yeah, the change is there
20:09and there's some form of forgiveness, I suppose.
20:18We had a sort of story idea for the whole series
20:21which is how do Sherlock Holmes and Doctor Watson
20:24get to be the heroes that we've always known?
20:27Up until this point,
20:28they've still been sort of half-formed,
20:30not quite there yet.
20:31So this kind of is the story that ends the process
20:36of them kind of living up to the legend.
20:38Sherlock Holmes figures out that's who he is.
20:40He's just going to be that now.
20:43What's going on, Sue?
20:44This is the last shot of episode three.
20:48The last shot of series four.
20:50And the last shot of series four.
20:52It's a sort of Butch and Sundance moment.
20:54They should come out running.
20:55They shouldn't fall over.
20:57I think, by the end of this series,
20:59you have a complete misunderstanding of Sherlock
21:02as you could ever have.
21:04It's like a new beginning for them, you know.
21:06They're going to be back on adventures solving crimes
21:08as friends, which is, you know, a lovely thing.
21:12Ladies and gentlemen,
21:13that is the last shot of Sherlock series four
21:15for Mr. Mennonite. Come on!
21:22.
21:43Surprise.
21:46You didn't think I'd just disappear, did you?
21:48.