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impossibleleaf · 7 years

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The Final Problem Giga Meta 4/4: from Musgrave to the end

Part 3

From Sherlock falling into black goo, we now have a Sherlock lying as if he’s just fallen and crashed.

There’s something quite strange in the pictures on the wall too: we see little Sherlock and little Mycroft, but we never see pictures of Eurus.

But now that Sherlock has won Eurus’ tests, he can now freely talk to Little Eurus. His puzzles made the plane advance, each time closer to the ground and the fall or landing of the plane.

Now, Eurus reaches the front of the plane and she can see where exactly she is going and can give us actual relevant informations.

Finally, we know and Sherlock says as much: this city is definitively her home.

YOUNG EURUS: I can see a river. And there’s a big wheel. (…) SHERLOCK: Does the river look like it’s getting closer? (…) That means you’re nearly home.

A city with lot of lights, it is night which means that while she stays in the dark during the whole episode, she is now roughly in the same timezone than where Sherlock is. A big city near the sea but with a river leading to it. And a big wheel, don’t forget the big wheel she can see.

That was totally London.

This is the capital of England, it is a monument in itself. But to Eurus who spent her whole life in Sherrinford? That means absolutely nothing and was never home.

And when Sherlock finally faces Musgrave, right after Sherlock told Little Eurus she was nearly home, we get the beginning of an answer.

SHERLOCK: I’m home. Musgrave Hall. EURUS : Me and Jim Moriarty, we got on like a house on fire, which reminded me of home. SHERLOCK: Yeah, it’s just an old building. I don’t care.

Musgrave was home for Eurus, not London. If we think Eurus actually is real, that doesn’t make any sense. It was also home for Sherlock, but not anymore, it’s just stones, an old building and he doesn’t care anymore.

SHERLOCK: Just put me back in London. I need to get to know the place again. Breathe it in, feel every quiver of its beating heart.

SHERLOCK: I will keep you safe. But it has to be in London. It’s my city; I know the turf.

But London? London is his turf. This is the city that Mycroft has sworn to protect even if there is bound to be collateral damage. This is where Baker Street is, where he does The Work and more importantly where all the people he loves are.

To Sherlock, London is everything because that’s where his heart and everyone he loves are.

It’s only normal that Eurus, his emotions, was going to land there. That’s home, where his heart is.

And finally the metaphor is complete. Sherlock is dying, everything seems hopeless, he is lost and can’t see where he is supposed to go to survive. Eurus is torturing him to let him actually use his sentiments, his heart, and integrate them in his deductions. Add emotional context, it’s all about emotions.

But no matter how painful that was for him to do so, there is now light at the end of the road, and that light leads him to the one place where his heart, where the people he loves are.

SHERLOCK We just need to get in touch with some people on the ground. Now, um, can you see anything that looks like a radio?

And what is a radio except one big complicated phone? What is a phone in Sherlock if not a heart? Sherlock doesn’t know how to land the plane, but someone on the ground does. All they have to do is use the radio and phone London to get contact with the people in it. All he has to do is to open his heart and to ask for their help. Even, if right now, she can’t find the radio.

SHERLOCK: Are you there yet?

JOHN: Yeah I’m here!

Now John is chained at the bottom of a well and we’ve got a three-way conversation. John is answering questions aimed to Little Eurus. It’s not that John is Eurus, it’s that Little Eurus and John are connected. Emotions and the Heart.

LITTLE EURUS: The whole plane’s shaking. SHERLOCK: It’s just turbulence. It’s nothing to worry about. LITTLE EURUS: My ears hurt. SHERLOCK: Does the river look like it’s getting closer? LITTLE EURUS: A-a little bit. SHERLOCK: All right, then. That means you’re nearly home. JOHN: Sherlock? I’m in a well. That’s where I am; I’m in the bottom of a well.

John survival depends on Eurus and Sherlock managing to land the plane and Sherlock solving the puzzle, and vice versa. Because water represents dying in EMP and John is chained and about to drown, while Little Eurus' ears start hurting, meaning that the plane is starting to go down and crash.

Anyway, back with Big Eurus.

EURUS: Sweet Jim. He was never very interested in being alive, especially if he could make more trouble being dead. SHERLOCK: Yeah, still not interested. The plane! EURUS: You knew he’d take his revenge. His revenge apparently is me. SHERLOCK: Eurus, let me speak to the little girl on the plane and I’ll play any game you like. EURUS: First find Redbeard. (...) At long last, Sherlock Holmes, it’s time to solve the Musgrave ritual. Your very first case!

Now, he must solve the Musgrave ritual, because that’s what is ultimately going to save Sherlock, Litlle Eurus and John. Finding out the answer to this puzzle.

JOHN: Yeah, it’s flooding. The well is flooding. SHERLOCK: Try as long as possible not to drown. JOHN: What? SHERLOCK: I’m going to find you. I am finding you! JOHN: Well, hurry up, please, because I don’t have long! LITTLE EURUS: It’s leaning over, the whole plane!

Because it’s now urgent for Sherlock to solve the Musgrave ritual.

The correct answer to the Musgrave ritual isn’t the song is a cipher, it is ‘Eurus created that song in a way to explain the wrong dates’. The song isn’t a puzzle, it’s the solution needed because the graves are the puzzle that fascinated Sherlock as a child.

A fake gravestone where Nemo Holmes was ‘buried’. But really, Nemo was no one. Or nobody. There was no body.

You can’t really face your own grave, can you? Unless you have a TARDIS, all you can do is have a gravestone with your name on it and no date of death. You’re still not dead so the dates will be necessarily wrong.

Basically, if you want to survive, you need to figure out the contradiction your gravestone is telling you. Show the inconsistencies and reveal it as a fake.

Here starts the puzzle. Now that the inconsistencies are laid bare, you need to find how that can tell you how to survive.

SHERLOCK: The wrong dates, she used the wrong dates on the gravestones as the key to the cipher and the cipher was the song.

Here, Stupid Sherlock strikes again.

The reverse is what happened.

Do you know what an Ottendorf code is? Better, do you remember The Blind Banker? You have a set of numbers and they refers to a word of a page of a very specific book. This is what we’re facing.

The cipher is the graveyard, the key is the song.

The graves represent the number of the stanza and the numbers the words used in said stanza in ascending order. If you start with a number like 28 and then use 1, that just means you need to use the last stanza above (word 28).

Grave 1 (Stanza 1): 134-1719 -> 1 3 4 17 19 I AM LOST HELP ME

Here we can’t do 13 because we have 4 after, nor 34, so 1 3 4, now we are in the two digits 17 and 19

Grave 2 (Stanza 2): 28.9.1520 -> 28 9 15 20 BROTHER SAVE MY LIFE

We could have 2, 8, 9, 15 and 20 but then you get NOT SHADE SAVE MY LIFE, so 28 it is.

Grave 3 (Stanza 3): 1818 24 26 -> 1 8 18 24 26 BEFORE MY DOOM I AM

No choice is there? You can use the last like of the last stanza but that’s is so no 18. 1 8 and 18

Grave 4 (Stanza 4): Nemo Holmes: 1617-1822 32 -> 16 17 18 22 32 MY SOUL SEEK MY ROOM

If it’s 1, 6 and 17, It’s WITHOUT BEFORE SOUL, so 16 and the rest follows

You’ll notice that there is a part of the final message missing, so there is a grave missing.

GRAVE 4.0.0: LOST WITHOUT YOUR LOVE SAVE

So grave 4.0.0 should be : 28 1 2 3 8 in any combination.

What can we have then?

2/8/1238? 28/12/38? 2812 age 38? Age 28 1238? 2812-38? 28.1.238?

The grave stones aren’t real, the numbers are wrong, but at minimum they give for a second an illusion of reality. Yes, there are two centuries of difference, but you won’t have many graves stones starting in the 29th century. Also we can’t start with the age of the dead Holmes, this comes only at the end.

You can have 2/8/1238, or even something like 28/12/38 or 28/1/238 but there is another option I want to point out.

2/8/12, Age 38.

Here lies Mr. Sherlock Holmes, born on the 6th of January 1974 who died the 2nd of August 2012 at 38.

I admit, I’m not using John’s blog to estimate Sherlock’s “deathday” because, mainly, Watson was always shit at keeping track of dates.

But we need another Holmes grave, one that is the fakest fake to have ever faked the word. Also, it’s the only things that makes sense. Why wouldn’t they show the final grave needed if the numbers used were so pointless?

They gave us a solution that is missing a fifth of the answer, and not the least important because this is where we get the answer ‘LOST WITHOUT YOUR LOVE SAVE’.

So, the secret behind Sherlock’s grave, the one thing that turned his own grave into a pure architectural joke and not a genuine thing, the one thing that made sure that Sherlock is still alive is Love.

By solving these fake deaths, Sherlock found the answer to save the plane before it crashes and creates a far more genuine grave.

SHERLOCK: Help me, brother, save my life, before my doom. I am lost without your love, save my soul, seek my room.

Without Sherlock’s love, Eurus won’t be able to find her way home, back to London and the ground.

Twice already Sherlock tricked death in two finale, twice love is what gave Sherlok the means to survive. He just needs to do it again.

Now he knows what he needs to do. He needs to find Eurus and accept her. Go to the top of the tower where she’s been locked up in her room, like some faitytale priness.

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. Now, I’m just an idiot, but I’m on the ground. I can bring you home. EURUS: No. No, no. It’s too late now. SHERLOCK : No it’s not. It’s not too late.

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. SHERLOCK: Open your eyes. I’m here. You’re not lost any more. SHERLOCK: Now, you-you just went the wrong way last time, that’s all. This time, get it right. Tell me how to save my friend. Eurus, help me save John Watson.

Sherlock has created the perfect metaphor of the situation by using Little Eurus and the plane about to crash. Unconsciously, he understand everything except how to land. And he doesn’t know what to do, but he knows that there are people on the ground. And these people on the ground are probably idiots, not as clever as he is, but among them one knows what to do when someone is dying. Caring is Sherlock’s greatest advantage because he has them. Even though it seems like it’s too late, they are on the ground and they will definitely bring him home.

And if there is a reason for him to survive, it’s this: John Watson needs to be saved.

LESTRADE: I just spoke to your brother. SHERLOCK: 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. SHERLOCK: Oh, um. Mycroft. Make sure he’s looked after. He’s not as strong as he thinks he is. LESTRADE: Yeah, I’ll take care of it.

Now that everything is more or less over, it’s time to figure out what to do with Mycroft. He did go to the doghouse, but finally after years thinking he was perfect, Sherlock finally understands that he’s not as strong as he looks. He’s human too.

POLICE OFFICER: Is that him, sir? Sherlock Holmes? LESTRADE: Fan, are you? POLICE OFFICER: Well, he’s a great man, sir. LESTRADE: No, he’s better than that. He’s a good one.

At the end of the road, Sherlock has integrated sentiments and got huge character development. He’s a good man now.

SHERLOCK: I said I’d bring her home. I can’t, can I?

JOHN: Well, you gave her what she was looking for: context.

SHERLOCK: Is that good?

JOHN: It’s not good, it’s not bad. It’s... It is what it is.

But Eurus isn’t quite ready to leave, not yet. But she gained context. It’s not good it’s not bad, it just is.

MRS. HOLMES: Alive?! For all these years? How is that even possible?! MYCROFT: What Uncle Rudy began.. I thought it best to continue. MRS HOLMES: I’m not asking how you did it, idiot boy, I’m asking how could you? MYCROFT: I was trying to be kind. MRS. HOLMES: Kind?! Kind? You told us that our daughter was dead.

Remember how the Holmes were in the known when Sherlock faked his death? It’s them who are betrayed this time, because, while they could be worried Sherlock wouldn’t survive his two years mission, Eurus was never supposed to ever come back. Mycroft, we are told, didn’t lie because he didn’t want their influence, he wanted to spare them pain. He was trying in his own way to be kind.

MYCROFT: Better that than tell you what she had become. I’m sorry. MR. HOLMES: Whatever she became, whatever she is now, Mycroft, she remains our daughter. MYCROFT: And my sister. MRS HOLMES: Then you should have done better. SHERLOCK: He did his best.

It’s not that Mycroft wanted to be cruel, he wanted to shoulder the burden on his own, protect his family by lying about the horrible truth. He’s got a big heart, our Mycroft. He just doesn’t know how to use it correctly.

And Sherlock gets that now. He’s grown up now even if Mummy believes he always was this way.

MR. HOLMES: When can we see her? MYCROFT: There’s no point. (...) She won’t talk. She won’t communicate with anyone in any way. She has passed beyond our view. There are no words that can reach her now. MRS HOLMES: Sherlock. Well? You were always the grown-up. What do we do now?

Now, Eurus has decided to remove herself from the text. She has passed beying everyone’s view. She won’t talk, but that doesn’t mean she refuses to communicate. Sherlock and Eurus don’t need to use words after all. And the subtext is always more honest than the text.

Now, Sherlock and Eurus are working together again.

‘Play you’, Eurus has asked him, and he hadn’t managed before to do it, even though Eurus was already playing ‘Who You Really Are’ before his coming. But now he can.

Because, ‘Who You Really Are’ was always a duet. Sherlock Holmes is the detective and Eurus, two sides of the same coin needed to have a whole.

And even if the text via Mary is telling us that who you are doesn’t matter, their music is screaming the exact opposite.

MARY: Would you listen to me, who you are, it doesn’t matter.

DUMBLEDORE: It is our choices, that show what we truly are, far more than our abilities.

It’s not who you are inside that truly matters, it’s what you’ve decided to do with what you’ve been given.

A junkie who solves crime to get high, and the doctor who never came home from the war.

That’s where you get divided because Mary is implying that they’re fucked up (which, okay, is true) but that this is a state they can’t escape, something inheritantly bad.

Fortunately, being a good man isn’t only something you are, it is an action, a constant choice.

In other words, it could have been an incredibly positive message, hadn’t Mary slightly shifted it.

MARY: 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.

Because, apparently, Sherlock and John have decided to be the last refuge for unfortunate people, to help others. It doesn’t matter if they’re a bit broken, they’ll keep fighting the good fight. That’s why they’re good people.

Problem is, the line below destroys the positive message and shows us this isn’t what she’s selling:

MARY: It’s all about the legend, the stories, the adventures.

So, no. It’s not what’s they’re doing that matters. It is what they’re pretending to be. This line turns everything on its head. This is just the front they show to the public. And suddenly, what comes after seems to be just that.

A nice story. But it’s not something real.

And also, the reason we didn’t see this message is because Mary presents herself as the cause for this, as the alpha and omega.

MOFFAT: [Mary] changed and illuminated the path of the show.

But we know that this isn’t true. They were doing this before Mary and keep doing it after her. They’re not doing this because of her, they’re not even solving cases in her memory, it never was a question of stopping.

They’re doing it because this is 'Who they really are.’

And the music is honest.

#sherlock #meta #sherlock meta #sherlock season 4 #the final problem #the final problem giga meta #tfhc #emp

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