#one LAST commission to work on...... sketches will fill the void until then

[auroblaze]

I Love *clenches fists* Sonic Team's varied creechures designs

[waitedforgarridebs]

Radio (1994): Merrison & Williams

The 3GAR adaptation that’ll shatter your heart into a million pieces

Clive Merrison and Michael Williams were the first pair of actors to play Sherlock Holmes and Dr Watson who got to dramatise every single story of the entire canon – all four novels and 56 short stories.

In 1987, Bert Coules pitched a screenplay of HOUN to the BBC, which was greenlit and produced for radio with Roger Rees and Crawford Logan as the two lead actors. As this show ended up being a great success, Coules suggested to keep the series going, and the BBC agreed – however, they insisted on recasting. Eventually, the popularity of the show led to the decision to adapt literally every single canon story, and for the first time they actually managed to successfully achieve this feat over the course of the next 9 years. The Merrison-Williams-series ran on BBC Radio 4 from 1989 until 1998.

As Williams unfortunately died way too young in 2001, he could not continue his part as Dr Watson for the series of original stories written by Coules, “The Further Adventures of Sherlock Holmes”. This sequel still got commissioned during his lifetime, and while the production team set everything on hold to wait until Williams got better, sadly this never happened. He eventually was replaced by Andrew Sachs for the last 15 stories of this series.

While Coules remained as lead writer of the show, he was supported by various other writers for this quite massive project. The adaptations of the stories are in their core quite true to the books: The characters’ lines were updated to a more modern sounding language, and filler scenes were written to expand especially the shorter, less dense cases to the runtime of 45 minutes per episode.

For Coules and his team, the Holmes stories are not primarily detective stories. They are stories about a detective – and, more than that: They are stories about a detective and his only friend. Watson isn’t considered to be a bumbling sidekick, but an actual co-lead.

(And yes, I am basically quoting Coules himself from an interview done for the “I Hear of Sherlock Everywhere” podcast, so I do not know if Moftiss nicked that pitch from him or vice versa.)

In order to stay true to every story’s essence, the writers were “imaginatively faithful” to the original cases. They would, for example, sketch out the backstory and all the inciting incidents leading up to a client’s inquiry at 221b, and dramatise a bit of the story Doyle only mentioned in passing, but never actually wrote down. Or they would invent new scenes, sometimes even new endings, whenever they thought the original version wasn’t as effective as it could have been.

The reason I am putting all of this over the cut is to make you aware of the fact that the changes in the story were all done with a purpose – in this case, to amplify its emotional impact.

Because, without this background knowledge, their changes to 3GAR appear to be absolutely devastating. Cruel, even.

Can I just start by saying that I love Merrison’s Holmes and Williams’ Watson?

Their chemistry is incredible. They breathe so much life into these two characters! They banter, they laugh, they at times even mock a particularly annoying client when said client can’t hear them – and sometimes even when they can *coughs* Killer Evans – and I regret not having listened to their entire work as of yet. 

(But that’s a good resolution for the new year if there ever was one!)

And, one thing I can say for certain: This Holmes is 100% in love with his Watson.

It is the “desperately unspoken” dynamic of TPLoSH all over again, but maybe a little less repressed. Also, Watson – again – has his three-continent-reputation to defend. They are stupid idiot boys, they don’t fucking TALK to each other, and it’s driving me up the wall, but at least they do very much consider each other family, and that is a really great step into the right direction.

That being said, do not listen to this version of 3GAR if you don’t have the time to be emotionally compromised after finishing it.

This adaptation first aired on October 26, 1994.

As mentioned earlier, the writers – in this case David Ashton – did add a bit of backstory as well as some filler scenes to stretch the episode over the entire runtime: the introduction shows how Evans shot Prescott, featuring seemingly indifferent, almost John-Mulaney-esque barkeepers, who are so very chill about the entire murder-thing happening in front of their eyes. “Oh, what is it about Friday nights, ey?”

Ashton not only gives characters like Saunders lines, but writes whole scenes just for them, and even paces longer exposition bits quite nicely by, for example, having the American John Garrideb start the explanation about the search for the third Garrideb in Baker Street, and Nathan Garrideb finish it by excitedly rambling about his impending fortune at the exasperated Saunders.

Not only pleasant filler scenes like these were added, however.

You see, there is a running theme throughout this episode: At the beginning, Holmes is quite his usual self, and mocks the concept of love, human connection, and relationships. He and Watson see a young couple in the park, the bloke teasing the girl and playfully stealing ... her ... hat ... *muffled screaching noises* ... and Holmes compares the couple to pidgeons: “The male puffs out his chest and the female runs around in circles.” Watson, as ever, doesn’t seem too opposed to the idea of having a woman in his life, and Holmes simply ends up pointing out that the couple is having their date quite close to where the gallows used to be. Charming as ever.

Throughout the episode, Holmes is confronted with the idea of love and companionship again and again, in very different scenarios, and gradually warms up to it. Which, looking at where the episode is headed – Watson realising that there is a heart behind the cold mask – is actually a beautiful thing to do, and certainly does make sense.

However, one morning Watson has business of his own to attend to. And that’s where the heartbreak sets in: In an added scene, they show Watson ring-shopping. 

(Not for Holmes, obviously. He seems to have met someone and plans on getting engaged, again. Very rude.)

So, while Holmes keeps realising that being alone all the time is not good for him, that he actually wants someone in his life, the only person who could fill this void runs around with a little box hidden in his coat pocket.

But, it gets worse.

Remember when I teased in the post about the Hobbs-Shelley-adaptation (x) that there is yet another way to include Watson’s internal realisation after getting shot? As in, neither putting it as a summary at the beginning nor at the end of the episode?

I was talking about this one.

Merrison’s Holmes, in my opinion, has the most emotional reaction to Watson getting shot. He literally panics. 

(And the fact that there are a couple of seconds of complete and utter silence after he rushes to Watson’s side really does not help!)

HOLMES: Watson, you’re not hurt! For god’s sake, say you’re not hurt! WATSON, in pain: Ugh... oh... almost worth it.  HOLMES: ... what!? WATSON: The pain. To see that look on your face. A great heart... as well as a great mind. HOLMES: Nonsense... I was merely worried about the surgeon’s bills. WATSON, bellows out a single laugh. HOLMES, tenderly: Here. L-l-let me look. WATSON: Oh no, it’s nothing Holmes. I should know it. It’s just a scratch. EVANS, groans in the background. WATSON: Did you shoot the fellow? HOLMES: No. The second shot was his also. But I laid my revolver along the side of his head. Wild West, indeed. – Watson, you are certain? WATSON: It’s just a scratch, Holmes. Honestly.

Then, Holmes first turns into the Hulk and then towards Evans, and if I ever heard a man speak through gritted teeth, then this is it.

And that following exchange features, honestly, the best non-canonical line of dialogue in Holmesian history:

EVANS: Say, what did you hit me with? HOLMES, not missing a single beat: JUSTICE!

But... it gets worse.

Evans gets arrested, and we get to see Watson and Holmes in Baker Street after the incident, where Holmes dresses Watson’s wounds – or at least he tries to, until Watson insists on doing it on his own, because Holmes is rubbish at it. Holmes then starts pacing around in the living room like an expectant father, “But is there nothing I can do??”

Watson tells him that he’d very much like to smoke a cigar, which leads to Holmes rummaging in the pockets of Watson’s coat.

And you’ve guessed it: Of course he finds The Box.

Cue: awkward moment where Watson tells him, for the first time, about his plans to get re-married.

And Holmes starts sulking, because Watson is about to leave him alone. Again.

But, it gets worse!

Suddenly, Lestrade calls. Holmes at first thinks this is about a case mentioned in passing earlier in the episode, but it is actually news about Nathan Garrideb: As you know, he didn’t take it too well that he never found a third Garrideb in Birmingham, and Lestrade now informs Holmes that Nathan got sent to a mental asylum. 

And... Holmes and Watson visit him there!

They happen to meet Saunders in Nathan’s room, who sadly ponders about the fact that Nathan was always so lonely during his lifetime, and that this isn’t healthy, and that this certainly contributed to the fact that his mind now snapped. 

Nathan eventually has a moment of clarity and recognises Holmes. After gifting his collection of bees to Holmes (...), he hopefully asks if Holmes came to tell him that he found the third Garrideb after all. Holmes, of course, has to decline, but he promises Nathan to find the man, if he exists.

But how, Nathan then exclaims in despair, can Holmes not know this! Holmes must know! He must know everything!!

So, the episode where Watson realises that Holmes does, in fact, love him, ends with an emotionally crushed and forsaken Holmes pondering about his retirement and keeping bees.

And that, my friends, is the most heart-breaking adaptation of 3GAR I have ever listened to.