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 The music of their battle..













The battle of wits or how music is all we got


“Sherlock—Not now—He's back.”


                                                                        Come and play.

                                                                        Tower Hill.

                                                                        Jim Moriarty x.


Scene no. 1. A small smile creeps onto Moriarty's face as he's being put in a police car. 20 seconds later Daily Express headlined: “Crime of the Century?”.

“Sinnerman” starts to play.

New front pages headlines one after the other lock onto the song's rhythm, while Simone's voice masters the scenes. Master criminal and amateur detective? Such an injustice at the Judgement Day! But who's hiding from divine justice? “Oh, sinnerman, where you gonna run to? / Sinnerman where you gonna run to? / Where you gonna run to? / All on that day / We got to run to the rock / Please hide me, I run to the rock”, and the voice breaks, pleads, begs, survives the fuss outside 221B, following Sherlock and Watson's dressing up. Sherlock leads the way downstairs and goes to the front door, then stops and turns. “Ready?--Yes”. And it is the tall, elegant, mysterious figure of Sherlock and Watson's worry that gets us out of Sherlock's home. Into the police car. Around Trafalgar Square.

Scene no. 2. Jim Moriarty in a gray costume. In shadows. Full-size. Marching up towards the courtroom. Zoom on his steps. One (BUT)-two (THE)-three (LORD)-four (SAID)-five. Zoom on his face while walking, while changing from empty to sarcastic. Andrew Scott giving a slight smile at the end of this scene. And a life performance. Nina curses: “Go to the Devil, the Lord said / Go to the Devil / He said go to the Devil”.

Scene no. 3. The music lowers. Sherlock's visage. Always thinking, diving into his own world. Light reflections on the car's window, as it goes by slowly. Nina strives to push the car, John strives for logic. And Cumberbatch is unearthly, captivating, charismatic, beyond the standards. The B minor rises. Again. To meet them.

Scene no. 4. Jim walks into the dock. He turns his head, murmurs, pokes out his tongue, smiles creepily. He is corrupt, unprincipled, shameless, perfectly mad and perfectly bad. “Oh yeah / Oh yeah / Oh yeah / Well, I run to the river / It was boilin', I run to the sea / It was boilin', I run to the sea / It was boilin', all on that day”.

Kingdom. Power. “Ha-ha-ha-ha / Ha-ha-ha-ha, oh Lord”.

Slow moves, long zooms on the spot, clicks and flashes, a sing song sociopath, a super-geek-arrogant-enchanting detective, an always caring-sensitive-real friend, and all these orchestrated by a thrilling rendition of a legendary song by “the priestess of the soul”. A battle of wits. It's fascinating how directors manipulate their media to trigger viewers' emotions. And how music speaks directly to the soul. Nina knows. Toby Haynes knows better. Music is all we got! That's elementary, dear.

Once upon a time, “every fairy tale has a good old-fashioned villain”, who runs to the Devil. And the promise of happily ever after. And an F sharp to finish.

inspired by SHERLOCK (TV Series, BBC), Season 2 ,Episode 3





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