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The “Watson Family” Portrait

Okay, so I talked about this in this post here, but I’m going to expand upon it because why not.

So this pic:

(x)

Legit has all the No-No’s of Family portrait photography.

I used to work at Sears Portrait Studio during the Christmas season, and our biggest clients were family portraits, especially baby and newborn photos.

THIS IS NOT HOW YOU TAKE A NEWBORN / BABY PORTRAIT.

THIS IS, HOWEVER:

(x)

(x)

(x)

Noticing a trend?

Parents are happy and beautiful.

Colours are light and airy.

AND THE BIGGEST THING: THE BABY IS THE FOCUS OF THE IMAGE AND NOT COVERED OR HIDDEN.

When you’re taking a baby photo, you want the baby to be the prominent character in the photo. You want to make the family attractive and soft and loving. And you always try to maintain a triangle formation:

This keeps the image balanced and attractive.

Here are the huge flaws I see on this pic from a photography standpoint:

The triangle does exist barely on this promo pic, but traditionally, you try to keep the baby’s face close to the family or the central point, not so face away from the parents that it looks like they will be poisoned from it. Plus, the parents aren’t supposed to look so distant from the baby, like, AT ALL. One or the other usually should be looking at the baby to “include it” into the photo. Neither John nor Mary are doing this.

While I won’t argue that Mary and John aren’t attractive, they also look like they’re assassins (oh wait…). For a family photo portrait this is UNATTRACTIVE. Send this to your family in Christmas cards and people will question your family life.

IT’S DARK AS FUCK. In portrait photography, we always tried to choose backgrounds that complemented the clothing the couple / family has chosen to wear. YOU DO NOT WANT TO WASH OUT THE FAMILY. Putting a couple wearing black on a black background, with lighting that makes them look like their going to a funeral, well, that’s a big no no. If the family DID want a background that possibly would wash them out, we always added accenting things to the set to help bring out the family, like flowers, sheer linens, and blankets. 

The parents should never look this uncomfortable; we always told the parents to relax and look natural. John looks like he has a gun on him and that he’s going to drop the baby the second the photo is done.

ALSO: YOU NEVER MAKE THE MOTHER LOOK THIS BAD. Your goal is to make the mother look like the mother of the year – soft, loving, BEAUTIFUL. Not like a deadly assassin (*coughs*).

And here’s the biggest thing: YOU NEVER HIDE THE BABY’S FACE. NEVER EVER EVER EVER EVER!!!!!!!!!!111 Regardless of how many people are in the photo, the baby is ALWAYS the central character – the family is in for photoshoots BECAUSE the baby is the new addition, and they want to show it to the world. Ergo, you make sure the baby’s face is seen, and out of blankets and carriers and carseats – we had ways to make babies sit up if they couldn’t. And if the parents wanted to hold the baby, we had them hold the baby like the above family photos. You don’t fucking hide the baby in unattractive blankets and have the parent holding the baby look stiff as hell. 

So yeah, from a professional standpoint, this is a TERRIBLE family photo, and the fact that people are already calling it “beautiful” and “so lovely” worries the fuck out of me. If these people got a photo like this in their Christmas cards from their friends, suddenly questions would be raised, that I don’t doubt.

So. They are not happy. This is the biggest red herring photo. It’s fake. And the fact that they’re not showing the baby’s face is SCREAMING FAKE to me.

Alright, now that I got that out of the way, here’s some meta on the photo:

As I pointed out above, John and Mary are excluding the baby completely from this photo – they don’t look at it, they don’t appear to love it, and they absolutely look like they don’t want anything to do with it. 

Both Mary and John look DECEPTIVE AS FUCK. John has a sly look on him, and Mary looks like she’ll gut John the second he turns away. This is far from a “happy” family.

Mary looks shockingly like Sherlock to the point where she’s wearing her hair longer like his, wearing an outfit like his, AND has her cheekbones accentuated AND her neck looking more elongated is what caught my eye right away. She is absolutely trying to replace Sherlock in John’s life. This has me thinking that she will try to kill Sherlock once and for all. She’s in a similar pose to one Sherlock would make. SHE KNOWS WHAT JOHN LIKES, and she’s desperately trying to keep John tied to her while also trying to delete Sherlock out of the picture. In fact, I daresay that they are trying to subconsciously make people unsettled by her wearing Sherlock’s clothes. Like it’s WRONG that she’s standing there and not Sherlock. ALSO an alternative: they’re showing that people will accept them as a “happy couple” if it’s John and Mary, but cry out “bromance” if it’s John and Sherlock. They’re literally doing that fandom meme where “replace Sherlock with a woman and it’s romantic”, those trolls.

ALSO: Mary is so desperate to tie herself to John that she adds “Mary” to the baby’s name, a name that already has ties to a Victorian poet who wrote about not good things. Don’t get me started on the baby’s initials.

John looks AWKWARD AS FUCK. Honestly, he looks like Mary has a gun to him or something. John isn’t leaning into Mary much, and his face looks SO FAKE. Like everything about this pic.

I am still not over that they are NOT showing the baby’s face. Everything surrounding this baby is screaming fake.

Anyway, I am not worried at ALL about this photo. This is a red herring. They are using this ridiculous promotional scam to draw people into the series so that EVERYONE will WATCH the first episode. They want more than the 12.7 million viewers they had for TEH. 

Why, oh why, would they do this? Why do they want everyone to watch their show?

Guys, I really do think canon Johnlock is happening in episode one. As I always suspected, I think episode one will contain a confession.

The fact that the Daily Mail was shunned from the T6T’s screening.

The baby never showing its face and all the main promotional things never showing or mentioning the baby.

THE TITLE OF THE EPISODE and the implications of “Thatcher”.

The fact that they actually put “I love you” in the trailer (it’s not a spoiler if it’s shown – what is a bigger spoiler than this? A kiss and confession one on one with John and Sherlock).

These are all clues to it.

The other two episodes are going to focus on the consequences of their decisions. The audience will keep watching to see if it will fail or succeed. This will be the hook. And it will be ground breaking because it DOES SUCCEED. They survive. Just the two of them against the rest of the world.

Just had a thought...

What if this…

ISN’T Sherlock reacting with GRIEF at someone’s death…but reacting with RELIEF because someone is ALIVE.  I think that someone is John.

What if John had to fake his death to save Sherlock, and this is the scene where Sherlock THINKS he is coming to see John’s body, but instead John reveals himself to be alive.  

But Sherlock is so high or sick that he thinks he is hallucinating and panics, and John slams him against the wall to snap him out of it.  

Just an idea…could still be a death.  But it seems possible that Sherlock’s lip tremble might be disbelief followed by relief.  

NOTICE THE BACKGROUND OF THE PROMO PICTURES:

SAME AS THE WALLS IN THIS GODFORSAKEN ROOM!

Which I think further indicates that’s gonna be where a major plot development will take place. But we already knew that. Anyway, interesting they chose the same… happy place for ‘The Three Watsons’ family photoshoot, right?

NOTICE THE BACKGROUND OF THE PROMO PICTURES:

SAME AS THE WALLS IN THIS GODFORSAKEN ROOM!

Which I think further indicates that’s gonna be where a major plot development will take place. But we already knew that. Anyway, interesting they chose the same… happy place for ‘The Three Watsons’ family photoshoot, right?

I know yall hate the blind theory and the post is way too long at this point, but I just have to add this stuff from setlock: 

At the Cardiff University Students’ Union shooting location, which was made up to look like Gedgrave Hospital, Ben was seen walking between indoor scenes, (and to the indoor dressing/makeup area) wearing sunglasses more than once: [x] [x] [x] [x] [x]

Additionally, one of the set design pieces set up at the location was this signage: [x]

“Vitreo Retinal Emergency” – would be an eye surgery facility like this one: [x]

“Orthoptics”

I've stared at that first gif for like an hour now, and it is genuinely scary. They're not trying to hide that something is wrong here, and yet no one but us is questioning it. I really don't understand why. I am constantly astounded by the casual viewers' acceptance of everything at face value. It's been said a thousand times, but I'm saying it again. It isn't true simply because Moftiss says it is! Allow me to paraphrase, "The Abominable Bride is a stand alone episode, completely separate from anything happening in the major plotline." Remember that? Remember how much they insisted on it? How'd that work out again? "Mary" literally killed Sherlock, and no one is worried about this creepy look? This awkward dialogue? This over the top acting? The legitimate fear in John's voice as he sees his psychopathic wife casually carrying his infant daughter into what could definitely turn into a very dangerous situation? This is not a happy family excited to hang out with Uncle Sherlock. WTF is wrong with people? Seriously. What's happening here isn't cute or funny or normal. It's heartbreaking, and you don't even see it.

I’m sorry (not sorry) but Mary’s facial expressions in this little clip freaked me out

She’s hardly even pretending anymore. I can see the assassin clearly, she’s hardly holding up the act, she doesn’t care anymore. That first gif is like ‘come on now, Sherlock, say what you’re supposed to say.’ There’s NO reason for her face to change like that. When she was first introduced, she beamed whenever she smiled. Now, she does…that. The ‘I’m taking something away from you and I’m happy about it’ smile. The ‘I’m planning and I’m always 5 steps ahead of you, you should be terrified’ smile. Whatever that is.

And the way she patronizes John, it’s like she’s talking to the freaking baby.

…..oh god.

I have a Theory.

…..oh god.

I have a Theory.

ITS RIGHT THERE!! Dead girl AGRA FUCK ME @slow-burn-bromance @shag-me-senseless-watson @shawleyleres

ITS RIGHT THERE!! Dead girl AGRA FUCK ME @slow-burn-bromance @shag-me-senseless-watson @shawleyleres

A Study in Pink sets the stage for all of our future expectations. Nothing in this show is done by accident, and the way it is all handled is masterful. Seeds are sewn in this first episode that will never cease to matter throughout the duration of the show.

Take the first meal Sherlock and John share together at Angelo’s, where Angelo insists that the pair must have a candle for their table:

It seems like sort of a “joke” in a way–something that could easily be brushed off if we didn’t all know that TJLC is real. And the candle thing continues to be a theme. Illumination itself is a subtle theme throughout the show, with all the color-coded lights and the fact that Sherlock dubs John his “conductor of light” in “The Hounds of Baskerville.”

I noticed something recently when watching what is surely one of the favorite scenes of all Johnlockers: the reunion of Sherlock and John at The Landmark in the episode “The Empty Hearse.” This is the night Sherlock returns, supposedly from the dead, and interrupts John’s (rather lackluster) attempt to propose to his girlfriend Mary in a rather half-hearted effort to, in his own words, “move on” from Sherlock.

Notice anything missing from John and Mary’s table?

There’s a lamp, sure, but no candle. Maybe that isn’t terribly unusual. But look at the other tables in the restaurant:

Most have candles.

It doesn’t stop there. When Sherlock catches his first (heart-stopping; you can clearly see that in his face, just as it has been pointed out that if you isolate certain audio tracks in this part here you can hear Sherlock’s thudding pulse) glimpse of John after two years away…

how does he see him?

There is a candle placed strategically between them, clearly visible from Sherlock’s vantage point.

This isn’t the only throwback to Angelo’s on this night. If more is needed, I’m including this little bonus below. The writers have done this *so many times,* where certain words and phrases come back again. It isn’t an accident and it isn’t lazy writing. We’re talking about the combined efforts of two very good writers here, and though John’s nerves on this night aren’t exactly hard to pick up on, we get this cherry strategically placed on top:

I SUGGEST YOU DON’T MARRY MARY. 

How could you do that? Hmm? ;)

A Study in Pink sets the stage for all of our future expectations. Nothing in this show is done by accident, and the way it is all handled is masterful. Seeds are sewn in this first episode that will never cease to matter throughout the duration of the show.

Take the first meal Sherlock and John share together at Angelo’s, where Angelo insists that the pair must have a candle for their table:

It seems like sort of a “joke” in a way–something that could easily be brushed off if we didn’t all know that TJLC is real. And the candle thing continues to be a theme. Illumination itself is a subtle theme throughout the show, with all the color-coded lights and the fact that Sherlock dubs John his “conductor of light” in “The Hounds of Baskerville.”

I noticed something recently when watching what is surely one of the favorite scenes of all Johnlockers: the reunion of Sherlock and John at The Landmark in the episode “The Empty Hearse.” This is the night Sherlock returns, supposedly from the dead, and interrupts John’s (rather lackluster) attempt to propose to his girlfriend Mary in a rather half-hearted effort to, in his own words, “move on” from Sherlock.

Notice anything missing from John and Mary’s table?

There’s a lamp, sure, but no candle. Maybe that isn’t terribly unusual. But look at the other tables in the restaurant:

Most have candles.

It doesn’t stop there. When Sherlock catches his first (heart-stopping; you can clearly see that in his face, just as it has been pointed out that if you isolate certain audio tracks in this part here you can hear Sherlock’s thudding pulse) glimpse of John after two years away…

how does he see him?

There is a candle placed strategically between them, clearly visible from Sherlock’s vantage point.

This isn’t the only throwback to Angelo’s on this night. If more is needed, I’m including this little bonus below. The writers have done this *so many times,* where certain words and phrases come back again. It isn’t an accident and it isn’t lazy writing. We’re talking about the combined efforts of two very good writers here, and though John’s nerves on this night aren’t exactly hard to pick up on, we get this cherry strategically placed on top:

I SUGGEST YOU DON’T MARRY MARY. 

How could you do that? Hmm? ;)

Fuck

I was just putting on my makeup for work and thought of the scene in the promo with Sherlock with his face in his hands and gun present and… suddenly my mind threw back to THoB with Henry and trying to kill himself because he thought he was going crazy, and the drug illusions and manipulation versus the truth, and. Yeah.

Just a thought.

Fuck

I was just putting on my makeup for work and thought of the scene in the promo with Sherlock with his face in his hands and gun present and… suddenly my mind threw back to THoB with Henry and trying to kill himself because he thought he was going crazy, and the drug illusions and manipulation versus the truth, and. Yeah.

Just a thought.

One of the ways that Sherlock deduces that David still has romantic feelings for Mary is that in all his Facebook pictures of John and Mary, John is, ‘always partly or entirely excluded’.  This shows that he wants John, ‘out of the picture’, so to speak.

Then we see director Colm McCarthy’s approach to framing his shots during the best man speech.  During Sherlock’s speech, Mary is, ‘always partly or entirely excluded’, in any shot that also includes Sherlock.  Janine, a character we’ve only just met, and of much less importance to the proceedings, seems to have plenty of room to fit in shots that exclude Mary.

If excluding half of a couple is a sign that someone wants them to not be a couple, then, here, the show is explicitly telling us that John and Mary are not the right couple.  The compositions escalate from merely cutting Mary out to having Sherlock actually physically block her from the audience’s view.  We are meant to not see John in relation to Mary but Sherlock.  It’s always Sherlock.

(Thank you to obliquely-related for their comment that reminded me to write about this.)

Sherlock is being DRUGGED

Thesis: One of Moriarty’s players has drugged Sherlock with a “dangerous new drug” that doesn’t come up on any current testing. Sherlock is not consciously aware of this and it’s being done without his consent.

Mycroft’s body language in this scene suggests he thinks Sherlock may actually be high. He knows what a case-high looks like for his baby brother and this is not it. It feels wrong.

I was on board with “it’s a case high” until the rest of TST ended up being fucking crazyballs.

We get lots of weird water effects (slosh, slosh) at times when we know there’s no water in the room. We know water represents emotion, but the effects are meant to feel unsettling, out-of-place. It happens in the Welsborough family’s study:

(lol I didn’t tamper with these subtitles)

We get distortion effects in other stuff, too, like pretty much everything is fucking nuts?! I’m not even convinced John actually moo’d at this point. But mostly the skull portrait being ten kinds of wrong at all times is a big giveaway. You don’t need a picture of that from me, it’s everywhere.

Right after this distortion moment, Sherlock is looking at the creepy tory Thatcher shrine explaining to John that he’s giving it special attention due to his intuition (which is that smashed Thatcher busts smell like Moriarty’s work):

“They represent data processed too fast for the conscious mind to comprehend.”

^ This is really fucking important. Sherlock is explicitly saying that his intuitions are vital in figuring out what Moriarty’s going to do next. IF ONLY he’d listen to the solid intuitions he had in his gay Victorian fever dream… ::eyeroll::

So later, when Sherlock says this:

^ Hey, bud. You should really listen to yourself. First off, your “joke” deduction is clearly everything-you-believe-about-Mary and if you’d take that intuition seriously, you might feel better-equipped to protect John and Rosie. But maybe you also remember someone drugging you out of your mind? I don’t know how it’s administered or who did it, just that it’s Moriarty who ultimately pulls the strings at the top of the terrible puppet show pyramid. For our purposes, let’s say his Belstaff is laced with “a dangerous new drug” like the totally-made-up-and-utterly-bonkers poisoned dress France sent to Elizabeth I in that Cate Blanchett movie. So whatever, it’s either long-lasting or they’re administering it to him repeatedly.

(The Moriarty stuff is based on M-theory basics, go read it if you haven’t– @loudest-subtext-in-tv does not claim to be omniscient but I think the core of it is so thoroughly laid out that I find it difficult to argue with. Moriarty is controlling peeps and it helps me understand the show because I know it doesn’t matter what pieces he moves in what ways as long as some means get him to his end.)

Sherlock is super-duper drugged and not by choice. Remember this from HLV?:

He doesn’t like to have his mind impaired when he’s working. Stopping Moriarty is our boy’s top priority so he’s not trying to fuck around. Someone else is drugging him, Scarecrow fear toxin-style.

Back to the Thatcher busts. The Thatcher-smashing scene transitions look cool but they’re meant to be fucking weird, too. Thatcher’s face superimposed on Sherlock’s?! NO. That’s the definition of this feels wrong. And then there’s the original TST write-up with Pietro and Beppo on John’s blog.

The blog is meant to be canon. We’ve seen word-for-word text on screen match up with the blog content in past series. TheImprobableOne’s comments are important clues into Moriarty’s mentality. The main argument that the blogs no longer have to be considered canon is that “John Watson is no longer updating this blog.” per the notice at the top of every page. I would take that idea more seriously were it not for the fact that…

Papa Lestrade’s over here begging the audience to go check out John’s blog write-ups repeatedly. So they want the audience to see the original TST post and question Sherlock’s perception in S04E01 TST. Perhaps he’s in a waking dream state due to being drugged by Culverton. A state which will persist into TLD and result in the trippy long walk through London. Regardless, right now, Sherlock is a bit obsessed with Thatcher-smashing. John calls it:

Ella, and presumably Sherlock before her, call it:

There’s a good chance bustin’ Thatchers has nothing to do with his recurring dream–we’ll find out next week. ;) Maybe it has to do with kissing John! xxxxx

Onto mirror imagery–the three Sherlocks:

Follow the link above to read a little more detail into what I think each Sherlock represents. Basically? I think foreground Sherlock is our logical detective (with a great heart). Level One Distortion Sherlock is his brain running on fear, when he suppresses important intuitions like the knowledge of how Moriarty could have faked his death or the danger “Mary” poses to John. Level Two Distortion Sherlock represents Sherlock’s mind when he’s drugged and afraid. Shit goes crazy, as we’ve seen all throughout TST. And it’s gonna get worse before it gets better.

Case meta that could be clues about Sherlock being drugged:

The Cardiac Arrest: Sherlock may end up physically attacking Mycroft while he’s perceiving something completely different/doesn’t know he’s doing that.

Fresh paint to disguise another smell could = some fragrance (or anything, really) being used to cover up the smell or some other property of the drug that would make Sherlock suspicious enough to detect it. Moriarty’s burn-Sherlock plans are meant to demoralize Sherlock as much as inhumanly possible, so they don’t want him to discover the drug and get sober until after he’s adequately mindfucked.

Oh, and Moriarty’s player may have done a test run of the “dangerous new drug” on Charlie.

Sherlock is being DRUGGED

Thesis: One of Moriarty’s players has drugged Sherlock with a “dangerous new drug” that doesn’t come up on any current testing. Sherlock is not consciously aware of this and it’s being done without his consent.

Mycroft’s body language in this scene suggests he thinks Sherlock may actually be high. He knows what a case-high looks like for his baby brother and this is not it. It feels wrong.

I was on board with “it’s a case high” until the rest of TST ended up being fucking crazyballs.

We get lots of weird water effects (slosh, slosh) at times when we know there’s no water in the room. We know water represents emotion, but the effects are meant to feel unsettling, out-of-place. It happens in the Welsborough family’s study:

(lol I didn’t tamper with these subtitles)

We get distortion effects in other stuff, too, like pretty much everything is fucking nuts?! I’m not even convinced John actually moo’d at this point. But mostly the skull portrait being ten kinds of wrong at all times is a big giveaway. You don’t need a picture of that from me, it’s everywhere.

Right after this distortion moment, Sherlock is looking at the creepy tory Thatcher shrine explaining to John that he’s giving it special attention due to his intuition (which is that smashed Thatcher busts smell like Moriarty’s work):

“They represent data processed too fast for the conscious mind to comprehend.”

^ This is really fucking important. Sherlock is explicitly saying that his intuitions are vital in figuring out what Moriarty’s going to do next. IF ONLY he’d listen to the solid intuitions he had in his gay Victorian fever dream… ::eyeroll::

So later, when Sherlock says this:

^ Hey, bud. You should really listen to yourself. First off, your “joke” deduction is clearly everything-you-believe-about-Mary and if you’d take that intuition seriously, you might feel better-equipped to protect John and Rosie. But maybe you also remember someone drugging you out of your mind? I don’t know how it’s administered or who did it, just that it’s Moriarty who ultimately pulls the strings at the top of the terrible puppet show pyramid. For our purposes, let’s say his Belstaff is laced with “a dangerous new drug” like the totally-made-up-and-utterly-bonkers poisoned dress France sent to Elizabeth I in that Cate Blanchett movie. So whatever, it’s either long-lasting or they’re administering it to him repeatedly.

(The Moriarty stuff is based on M-theory basics, go read it if you haven’t– @loudest-subtext-in-tv does not claim to be omniscient but I think the core of it is so thoroughly laid out that I find it difficult to argue with. Moriarty is controlling peeps and it helps me understand the show because I know it doesn’t matter what pieces he moves in what ways as long as some means get him to his end.)

Sherlock is super-duper drugged and not by choice. Remember this from HLV?:

He doesn’t like to have his mind impaired when he’s working. Stopping Moriarty is our boy’s top priority so he’s not trying to fuck around. Someone else is drugging him, Scarecrow fear toxin-style.

Back to the Thatcher busts. The Thatcher-smashing scene transitions look cool but they’re meant to be fucking weird, too. Thatcher’s face superimposed on Sherlock’s?! NO. That’s the definition of this feels wrong. And then there’s the original TST write-up with Pietro and Beppo on John’s blog.

The blog is meant to be canon. We’ve seen word-for-word text on screen match up with the blog content in past series. TheImprobableOne’s comments are important clues into Moriarty’s mentality. The main argument that the blogs no longer have to be considered canon is that “John Watson is no longer updating this blog.” per the notice at the top of every page. I would take that idea more seriously were it not for the fact that…

Papa Lestrade’s over here begging the audience to go check out John’s blog write-ups repeatedly. So they want the audience to see the original TST post and question Sherlock’s perception in S04E01 TST. Perhaps he’s in a waking dream state due to being drugged by Culverton. A state which will persist into TLD and result in the trippy long walk through London. Regardless, right now, Sherlock is a bit obsessed with Thatcher-smashing. John calls it:

Ella, and presumably Sherlock before her, call it:

There’s a good chance bustin’ Thatchers has nothing to do with his recurring dream–we’ll find out next week. ;) Maybe it has to do with kissing John! xxxxx

Onto mirror imagery–the three Sherlocks:

Follow the link above to read a little more detail into what I think each Sherlock represents. Basically? I think foreground Sherlock is our logical detective (with a great heart). Level One Distortion Sherlock is his brain running on fear, when he suppresses important intuitions like the knowledge of how Moriarty could have faked his death or the danger “Mary” poses to John. Level Two Distortion Sherlock represents Sherlock’s mind when he’s drugged and afraid. Shit goes crazy, as we’ve seen all throughout TST. And it’s gonna get worse before it gets better.

Case meta that could be clues about Sherlock being drugged:

The Cardiac Arrest: Sherlock may end up physically attacking Mycroft while he’s perceiving something completely different/doesn’t know he’s doing that.

Fresh paint to disguise another smell could = some fragrance (or anything, really) being used to cover up the smell or some other property of the drug that would make Sherlock suspicious enough to detect it. Moriarty’s burn-Sherlock plans are meant to demoralize Sherlock as much as inhumanly possible, so they don’t want him to discover the drug and get sober until after he’s adequately mindfucked.

Oh, and Moriarty’s player may have done a test run of the “dangerous new drug” on Charlie.

“What was directly behind you when you were murdered?”

“The bullet itself is blocking most of the blood flow. Any pressure or impact on the entrance wound could dislodge it. You need to fall on your back. That way gravity is working for us.”

“She was dying. The bride. So she made her death count.”

“You were my whole world.”

“Just tell him. Tell him. It’s all over now. Tell him.” 

“I’m the Storyteller. It’s on DVD.”

“I’ll burn you. I’ll burn the heart out of you.” 

“John said he’d have anyone but you.”

“Anyone.”

“What was directly behind you when you were murdered?”

“The bullet itself is blocking most of the blood flow. Any pressure or impact on the entrance wound could dislodge it. You need to fall on your back. That way gravity is working for us.”

“She was dying. The bride. So she made her death count.”

“You were my whole world.”

“Just tell him. Tell him. It’s all over now. Tell him.” 

“I’m the Storyteller. It’s on DVD.”

“I’ll burn you. I’ll burn the heart out of you.” 

“John said he’d have anyone but you.”

“Anyone.”

the most amusing part of being a johnlock/tjlc fan is that for the majority of the time it hurts SO DAMN MUCH you quite literally want to throw yourself off a building and then when you actually reach the rooftop you discover you have company: “hey isn't that sherlock”