swissmissing: bluebellofbakerstreet: Transcript for Mark’s Tab preview: Good evening.Hope you...

bluebellofbakerstreet:

Transcript for Mark’s Tab preview:

Good evening.
Hope you enjoyed The Abominable Bride as much as I did - or as much as we enjoyed making it.

John: Excuse me, I do hope we’re not interrupting.

But now, for series four of Sherlock, we are returning to contemporary London where we all belong. And I have got four minutes, apparently, to tell you absolutely nothing about the new series. What can I tell you in the next three minutes and thirty seconds? Well, Sherlock Holmes and Dr. Watson are back in Baker Street, as is Mrs. Mary Watson. There is a new arrival in the form of a baby.

(Music only)

Three minute to go. Ah, so we have a new team in Baker Street, maybe we could call this The Adventure of the Three Watsons, but we haven’t; we’ve called it The Adventure of the Six Thatchers. There’s a clue there if you you know your Arthur Conan Doyle. Go back to the original story and find out precisely as much or as little as you want to.

(Music Only)

Two minutes and thirty seconds to go. Uh, and there are certain things which come to fruition in this episode which have been building for an awful long time - hundred and twenty-five year old spoiler - see what you can make of that.

(Music)

Two minutes to go. Well, Sherlock and John and Mary are tested as never before. They are put through an emotional wringer, leading into episode two which is based on Arthur Conan Doyle’s Adventure of the Dying Detective, now called The Adventure of the Lying Detective. (Two minutes and fifteen seconds) starring the great Toby Jones as Culverton Smith, one of the scariest baddies we’ve ever had, and probably one of the scariest baddies ever committed to the television screen.

(Music)

Umm, Episode two is an extraordinary emotional punch in the guts. I think it’s quite unlike anything we’ve done before, and I’m very, very proud of it. Leading into episode three which we don’t have a title for yet - yes we do, but we’re not telling you because it’s something of a giveaway. Uhh, it’s a culmination of everything we’ve been building up for for the last six years of Sherlock, all kinds of clues and red herrings (One minute to go) are finally paid off in episode three, which features lots of extraordinary things I can’t tell you anything about. Umm, and but possibly things will never be the same again. But in the next thirty seconds, perhaps I can speculate on how they might alter. Sherlock will come to a shattering climax, like a great piece of music, I hope. Whether there will be another concert to enjoy, who knows. we’d certainly like to. Perhaps if you come to the cinema more often and watch it, there might be a fifth series. Who can say? (Fifteen seconds - I’m enjoying this!) Uh, I hope you have a lovely time; I think series four of Sherlock is the best one we’ve done; I’m very proud of it. I think everyone’s at the top of their form, and I think it’s going to be quite something, God Bless.

@deaflock

Thank you so much, this is fantastic! For those who can’t view the preview or want another opinion on some of the details, here is what I see going on in those “music” segments above:

1. “… as much as we enjoyed making it.” - Scene from TAB. John walks into the morgue with Stamford to the sound of something being whipped. As he moves out of the way, we see that it is Sherlock flogging a corpse.

2. “… in the form of a baby.” - Long shot of a soundstage with a set being constructed. There are bright lights set up causing glare that makes it difficult to say what the set is.
- Switch to shot of Rachel Talalay, Mark Gatiss, Sue Vertue, and several crew members watching a monitor. Rachel and Mark have headphones on.
- Quick shot of several crew members crowded at the side of the Baker Street set, someone is moving a door (?).
- Shot of Amanda Abbington and Martin Freeman, in costume as Mary and John, standing in the living room of the Watsons’ house. There are white and yellow balloons behind them. Amanda is holding a real baby. Amanda/Mary smiles broadly at someone off-screen. Martin/John looks fondly at the baby. (Hard to tell whether they are actually filming or if this is a moment in between takes.) Several crew members pass briefly in front of the camera.
- Shot of Benedict Cumberbatch and Una Stubbs standing in the Watsons’ living room with several crew members around them. Benedict is wearing a dark blue suit and Una is wearing a purple blouse (or dress?) with a jacket over it. A female crew member (Claire Pritchard?) stands in front of Benedict, rubs her hands together, and reaches up as if to do something to his hair. Una holds a lipstick in her hands and is consulting with another female crew member (makeup artist?).
- [NB I’ve edited this since my original post since I misidentified Molly as a crew member.] Shot from filming in the Watsons’ living room. John and Mary sit on the couch, Mary holding the baby. There are white and yellow balloons behind them. In front of them is a table with several wrapped gifts and what looks like a white teddy bear. Mrs Hudson stands on the other side of the table with Molly who is adjusting something on the table. Mrs Hudson is fiddling with something, possibly a digital camera. Molly helps her with it. John takes a sip from a wine glass and Mary looks at him.
- Shot of Benedict/Sherlock standing by himself by the stairs in the Watsons’ living room, texting.
- Shot of Mary and John sitting on the couch looking adoringly at the baby in her arms. John holds his pinky in the baby’s mouth for it to suck. Both look up at someone offscreen at the same moment, as if someone has spoken to them.

3. “…as little as you want to.” - Outside shot of a yellow manor house with lights set up outside, pointing in through a side window. Several crew members are milling around.
- Closer shot of the lights, two male crew members watch a third one adjust a screen.
- Shot of Benedict sitting down somewhere outside, wearing Sherlock’s scarf and suit (no Belstaff) while a female crew member checks something on her phone.
- Shot of Martin sitting near Benedict, talking to a bald man wearing sunglasses. Not sure if he’s another actor or crew member. In the background, two female crew members are gesturing around Benedict’s head as if discussing his hair.
- Shot of the outside entry of the manor house. Sue stands leaning against a column, wearing blue plastic covers over her boots. Several crew members walk in and out. One is carrying a large piece of plywood.

4. “…see what you can make of that.” - A male crew member adjusts a fan blowing a white mist on an indoor set that I don’t recognize. It’s the corner of a room with yellow walls, a small table, and a multi-colored rug. I guess it’s the inside of the manor house.
- Another shot from the same set of a camera man in a blue puffy coat sitting behind a camera. A woman in a similar coat walks away from him.
- An overhead shot of the same cameraman, this time in action. He sits on a dolly aiming the camera at the hallway just outside the room as another male crew member pulls him backward. Sherlock, Greg, and John walk in, led by an unfamiliar male actor in a grey suit. He looks like a lackey. John is wearing his black jacket with the leather shoulder patches and looking at something on his phone. Greg has on a suit and long grey overcoat and is carrying a briefcase. Sherlock has on his suit, scarf, and Belstaff. It looks like John says, “Sherlock”, and the three of them stop just inside the room. Sherlock turns to Greg and John.
- Same scene from the perspective of blue-coated camera guy filming John, Greg, and Sherlock talking in the yellow room.

5. “…committed to the television screen.” - Nighttime shot of filming in what looks like a glass-enclosed office overlooking a city. The clapperboard tells us this is Sherlock IV, Slate 443, Take 2. Scene 2/1521 (not sure about that last number). Roll 166 (?). Director is Nick Hurran and DOP is Neville Kidd. Date looks like 15/06/2016. Behind the glass, we can see Culverton Smith talking to a man in a suit. The other man goes away. Then Culverton looks out the window at the nighttime cityscape, his reflection in the glass prominent. He is smiling smugly.