SHERLOCK 2 A Scandal in Belgravia Written by Steven Moffat Shooting Script 19/07/2011 These are to be disposed of in either a secure bin, shredder or handed in to the production office INT. SWIMMING POOL - NIGHT ... recap ... ... into the scene now. ... JOHN, noticing the red dots suddenly buzzing on his shirt, SHERLOCK, the same ... NOW JIM MORIARTY striding back into the room. JIM Sorry, boy
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  SHERLOCK 2A Scandal in Belgravia Written by Steven MoffatShooting Script19/07/2011These are to be disposed of in either a secure bin, shredderor handed in to the production office  INT. SWIMMING POOL - NIGHT... recap ...... into the scene now.... JOHN, noticing the red dots suddenly buzzing on hisshirt, SHERLOCK, the same ...NOW JIM MORIARTY striding back into the room.JIMSorry, boys, I'm so changeable. It isa weakness with me, but to be fair to myself, it is my only weakness. Youcan't be allowed to continue. Youjust can't. I would try to convinceyou, but everything I have to say hasalready to say has already crossedyour mind.Sherlock and John - a glance. A nod from John. And Sherlockturns, levels his gun at Jim.SHERLOCKThen possibly my answer has crossedyours.And now lowers the gun -- to point at the piles of explosives.And we build to the cliffhanger, just as before, the musicbuilding and building, and then ...The BeeGees! From somewhere, Staying Alive is playing.John and Sherlock: a world of what?? But Jim just smirks.He pats his jacket pocket - his phone, we're hearing theringtone.JIMMind if I get that?SHERLOCKYou have the rest of your life.Jim grins, pulls out the phone.JIMHello?(Listens, impatient)Yes, of course it is, what do you want?  He rolls his eyes at Sherlock - honestly, some people! Butnow his face is changing at what he's hearing. Now, he'sinterested - alert and cold and fierce.JIMSay that again. Say it again, andunderstand that if you are lying to me, I will find you and I will skin you! John and Sherlock exchanging a look - what the hell ... ?Jim, listening, deciding.JIMYes. Yes, of course I am. Wait!He looks up at his unseen gunmen above, makes a motion - getout! On John and Sherlock -- and all the little red dots are disappearing. From off wecan hear feet footfalls, doors banging, people leaving.On John, looking up, listening. Are they actually going tosurvive.On Sherlock: doesn't take his eyes off Jim, doesn't lower hisgun.Now Jim is stepping forward to Sherlock.JIMSorry, my dear. Wrong day to die.SHERLOCK(Looking to the phone)Did somebody make you a better offer.JIMOh, don't you worry, we'll find theright moment. Because we've got aproblem to solve together, you and I.Do you know what it is?SHERLOCKI'm fascinated.JIMThe big one. The best one. The  final problem. And the funny thing is, I'vealready told you all about it. You'llbe hearing from me, Sherlock - butnot for a while.2.  And he turns on his heel and just walks away. Talking on hisphone.JIMIf you have what you say you have, I will make you rich. If you don't, I will make you into shoes ...He's gone. A moment on Sherlock and John. Sherlock finallylowers the gun.They look at each other.JOHN What was that?SHERLOCK Who  was that?INT. HOTEL SUITE - NIGHTA woman's hand, red-fingernailed, is hanging up a phone -- then reaches for a riding crop lying next to it. As sheheads away, we pan up -- to see a woman dressed in tight fitting leather. She'sheading away from us, through an opulent hotel suite. Shecarries the riding crop lightly in one hand.And now she disappears through the open door of what is aclearly a bedroom.From off, we hear her voice.IRENE ADLER(From off) Well now. Have you been wicked, yourhighness?And then, in reply, another female voice.FEMALE VOICE(From off)Yes, Miss Adler.Swish, crack , and on this weTHE OPENING TITLESEXT. BAKER STREET - MORNINGEstablisher of the flat, closing in on ...3.
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