THE DEVIL BAT

US, 1940, 68 minutes, Black and white.
Bella Lugosi, Suzanne Kaaren, Dave O' Brien, Guy Asher, Yolande Donlan, Donald Kerr, Edward Mortimer, Alan Baldwin, Hal Price.
Directed by Jean Yarborough.

Almost a decade after appearing as Dracula, Bella Lugosi appears as a sinister doctor in an American city cultivating bats, killer bats.

Lugosi has his Dracula look about him though, most implausibly, his character’s name is Paul Carruthers though he has no physical resemblance or accent to any Paul Carruthers. He is a respected doctor in the city, everybody praising him, the company he works for even offering him a gift of $5000 for his research. His work for the company for years on a whole lot of health products – but explained he is currently working on a men’s scent.

On the side, his doing experiments with bats, enlarging them. However, his secret is that he resents the company managers for taking his inventions and not rewarding him financially. Is rather cynical about the donation.

With success in the bats, and finding ways of two of the sons of the founders of the company to put the sent on their faces – they become victims of the bats.

In the meantime, the pleasant journalist (Dave O’ Brien from the Pete Smith Specialties and a prolific screen writer, especially for the Red Skelton Show) and his photographer sidekick persuade their editor that they will report the stories. These go down well until they decide to get local Artisan to create a giant size bat which they photograph as the real thing).

There is the daughter of one of the owners who is an attractive leading lady, also attracted to the journalist. Eventually, the bat is tracked back to the laboratory and the mad scientist exposed.

Familiar enough material, with Jean Yarborough, a prolific director of this kind of film, entertaining in its way, even with Bella Lugosi being Paul Carruthers!

TONIGHT WE RAID CALAIS

US, 1943, 71 minutes, Black and white.
Annabella, John Sutton, Lee J Cobb, Beulah Bondi, Blanche Yurka, Howard Da Silva, Marcel Dalio, Anne Codee, Nigel de Brulier, Robert Lewis, Richard Derr.
Directed by John Brahm.

This is one of the more interesting war propaganda films coming from America in 1943 but focusing on the British, occupied France, the Resistance, Nazi munitions building in occupied France.

John Sutton has the opportunity for a leading role, a soldier who is sent into occupied France to organise the bombardment of the factory. He is accepted by a French family (with Lee J.Cobb and Beulah Bondi as the parents) but the daughter of the house, Annabella, hostile because of British abandoning of France and the death of her brother in action. (Annabella was French, her brother had died because of the Nazis, she had made efforts to get her parents out of France, had married Tyrone Power and supported the war effort and entertained the troops.)

French actor Marcel Dalio has a small role. Howard Da Silva, with a rather American accent, is the main one who seems out of place in the film, an officer who is romantically involved with the daughter of the house.

The film is directed by German-born John Brahm who made a number of strong thrillers during the 1940s, The Lodger, Hangover Square, The Brasher Doubloon, The Locket.

1. An interesting war propaganda film? In retrospect? The British? Occupied friends? The role of the Nazis? Nazi industrial activity in France? The Resistance?

2. The British opening, the commissioning of Carter, his credentials, a single commando raid, going undercover? The preparation for his mission, the explanation, his landing, making his way to the town, accepted by the family, posing as their son? The hostility of the daughter?

3. Audience familiarity by 1943 of the Resistance, the occupation, action like this?

4. Carter as a personality, his skills, being able to speak French, stay undercover, interact with the family, the discussions and hostility of Odette? Getting the information about the factory? Preparing a raid? Interactions with the Germans? The officer and his relationship with Odette? The commanding officer, his being betrayed by Odette, the questioning? The interaction with the resistance, the women? Maurice Bonnard and his rivalry with his brother, hostility? Betrayal? The plan for the fire, lighting the ground for the British planes and the bombardment?

5. Odette, her resentment against the British because of the war, her resentment because of her dead brother, looking after the baby? The attentions of the German officer? Her disagreement with her family, Carter posing as her brother? Her put in compromising situations with the Germans? The decision to betray Carter? The drama of the raid, the Resistance, the German treatment, a change of heart – and the end, and the possibility for her going to England?

6. Odette and her parents, landowning, the oppression of the Nazis, the attentions of the officer, the dead son? The Resistance? The father and his strength of character? His weaker brother and betrayal? The mother and her confusion and grief? The decision for Carter to pose as to their son, checking with the people on the town, their not knowing the son was dead? His being able to do his observations on the plans for the raid?

7. The French colleague and his mother? The visit, the discussion – and the later being arrested and executed? The roundup of the citizens, including the parents, their being executed?

8. The women, strength of mind, prepared to help with the burning of the crops, the sacrifice of the crops as a move towards greater freedom, the arguments for and against, the showing the spirit of the Resistance?

9. The plan itself, thwarted, Carter and his ingenuity, Odette and her contribution? The women and the lighting the fire? The planes of the bombardment? The destruction of the plant, the Germans, going to the plant, the tunnel, deaths?

10. The film released in the uncertainties of what would happen by the end of the war? A tribute to the British and the Resistance in retrospect of later decades?

THE UNSEEN

US, 1945, 80 minutes, Black and white.
Joel Mc Crea, Gail Russell, Herbert Marshall, Phyllis Brooks, Isabella Elsom, Norman Lloyd, Elizabeth Risdon, Tom Tully, Richard Lyon.
Directed by Lewis Allen.

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The Unseen is an atmospheric thriller of the mid 1940s from Paramount Studios.

Atmosphere is important, the black-and-white photography, the home and the contrast with the empty house next door and its mysteries. Joel Mc Crea is rather severe as the widower who is mourning the death of his wife, is under suspicion from the police, does not deal well with his children. Gail Russell is the young and ingenuous governess who becomes involved in the mysteries of the house as well as the local murders. Herbert Marshall, in a role similar to many he has played, is a sympathetic doctor – but it turns out to be the murderer.

There is a good supporting cast, the creation of an eerie atmosphere within the house, the odd behaviour of the little boy and his phoning and devotion to the previous governess. A mysterious man appears in the kitchen but is a caretaker. The widow of the owner of the house next door also reappears and has a story of her own.

The film was brief in its running time but will keep the interest of those who enjoy this kind of blend of thriller with family story.

1. The blend of family drama and eerie murder mystery?

2. The New England setting, the city, the streets, the family home, the empty building next door, the doctor’s home, the cinema…? Authentic feel? The musical score?

3. The title? The murders, the bodies in the street, the empty house, the history of the house? The threats, to the governess, to the children?

4. David, widower, suspicions about his wife’s death? His stern demeanour? His friendship with Dr Evans and relying on him? His attitude towards the children, considering them troublesome? His manner in dealing with them? Maxine, the governess, the dismissal? His attitude towards Elizabeth, her age, her inexperience? The children and their suspicions of Elizabeth? The little girl bonding with her, play, toys? The contrast with Barnaby and his hostility, his mysterious phone calls, his talking about the previous governess, Maxine?

5. The murder, the suspicions, the police and investigations? Further killings?

6. The sinister atmosphere, black-and-white photography, the empty house? Marian arriving and her story about the empty house, her marriage? The mystery of the caretaker, his sudden appearance in the kitchen, frightening Elizabeth?

7. Elizabeth, her character, inexperience, responding to the demands, trying to bond with the children? The mystery of Maxine? The outing, going to the movies? Barnaby going out and phoning? The long way home and the anxieties? David and his demands? His appearing and disappearing, his rules about opening the door, the key, disbelieving Elizabeth?

8. Marian, her visit, her explanations, her absence?

9. Maxine, her appearance, the truth about her, coaching Barnaby, blackmail? Her death?

10. Dr Evans, his visits, genial, his help?

11. Elizabeth, a realisation of the truth, Marian and her death, the revelations, the role of the doctor, previous killings, his being unmasked?

12. David, his relating, appreciation of Elizabeth, the children bonding?

SLANDER HOUSE

US, 1938, 65 minutes, Black-and-white.
Adrienne Ames, Craig Reynolds, Esther Ralston, George Meeker.
Directed by Charles Lamont.

A slight film of its time, one of the many directed by Charles Lamont who in later decades went on to direct comedies, especially Ma and Pa Kettle films.

The synopsis in the IMDb is useful in introducing the film, style and content.

Madame Helene Smith operates a swanky salon for renovations of women's faces and bodies, with her partner Mazie Mason who grew up with Helene on New York's not-so-swank Tenth Avenue. Mazie is in love with newspaper columnist Terry Kent, who frequents the place for juicy items as the salon is a gathering place for the town's rich and near-rich ladies. Terry calls it a "scandal house" and, if he had known the title would be changed to "Slander House" before release, would have deemed it as such. Upper-crust Doctor Herbert Stallings, with mandatory pencil mustache, is in love with Helene, who isn't all that taken with him. Enter Ruth DeMilo?, statuesque showgirl and gold-digger de luxe, quickly followed by Pat Fenton, dashing young man-about-town, who sees and quickly falls in love with Helene, despite the fact she uses Madame as a title. He takes her to a cabaret where she is insulted by Fenton's attorney, George Horton, who tells her that Fenton, the cad, has hired him to check her ... Written by Les Adams <This email address is being protected from spambots. You need JavaScript enabled to view it.>

FLY-BY-NIGHT

US, 1942, 74 minutes, Black-and-white.
Richard Carlson, Nancy Kelly, Albert Bassermann, Miles Mander, Edward Gargan, Adrian Morris, Martin Kosleck, Walter Kingsford, Cy Kendall, Nestor Pivar, Oscar O' Shea, Mary Gordon.
Directed by Robert Siodmak

This film was released during the first year of America’s involvement in World War II. However, it shows the influence of the war in Europe, especially with Nazi spies, secret weapons, fifth column, double agents… Were many small features to come along a similar line, including several Charlie Chan films.

The film is directed by German Robert Siodmak who built up a reputation for an ability to make films with tension. He had a mixed Hollywood career, one of his last films being the Cinerama Custer of the West.

The film opens in an asylum, a sinister escapee, eventually sinister managers of the asylum itself. An innocent young doctor is hijacked by the escapee, telling him a story about an invention, scientists, abductions, spies. The young doctor does his best and takes two a hotel where, while the doctor is on the phone, the escapee is murdered. The police suspect him.

The doctors played genially by Richard Carlson. His leading lady is Nancy Kelly, an unwilling collaborator with him in his escapes, pursuits by the police – turning the film from an espionage murder story into a variation of the American screwball comedy, the unwilling couple, their clashes, having to cover for each other, having to go through a pretend marriage service (certainly a staple of screwball comedies).

However, the spy story then becomes further involved, scientists, formulas, double agents, the asylum and its management, police who could be descendants from the Keystone cops (including the inevitable Edward Gargan), dangers, confrontations, the doctor using his wits, everything solved – except the wedding, but, inevitably, the bride has second thoughts and gives her real consent.

MURER – ANATOMY OF A TRIAL/ ANATOMIE EINES PROZESSES

Austria, 2018, 137 minutes, Colour.
Karl Fischer, Alexander E.Fenton, Melita Jurisic, Karl Markovics, Roland Jaeger.
Directed by Christian Frosch.

This film is based on a true story. It takes place in Vienna, 1963, in the aftermath of the trials of Adolf Eichmann. The focus of this trial is on Franz Murer, “the Butcher of Vilnius�. Much of the screenplay is based on the actual texts of the trial. Most of the action takes place in the court.

Karl Fischer portrays Franz Murer, seen at the opening of the film with his wife, about to go to court. For those who know the case and its outcome, the material will be familiar and lead to feelings of outrage. For those not familiar with the case, it is intriguing, and also eliciting deep feelings of outrage at the end.

Audiences will take a dislike to the defence lawyer, using all kinds of tactics, insinuations, quibbling with words, with memories, with colours of uniform to upset the witnesses. The prosecutor does not seem to be a strong as he might be. There are quite a number of witnesses, Jews from Lithuania, recounting terrible stories of their experience. Simon Wiesenthal is present in the background, organising the witnesses.

For those who don’t know the story, it is one full of suspense, full of emotions in listening to the witnesses, in their being hounded by the defence lawyer, in Murer’s complacency, his denials, and so many of those in the court, politicians, even the judge having had Nazi connections. His wife vigorously defends him as does his sister.

There is some satisfaction in the defence lawyer and his subsequent denunciation of the wife and sister. There can only be shock in the judgement and the consequences.

1. The title? The case? The process?

2. The impact of the film depending on whether the audience knows the result or not? Suspense or not? Dismay if the ending is known?

3. A film of 2018, reflecting Nazi atrocities in Lithuania in 1941-3, a trial in 1963? Austria, public opinion, the remnant of the fascists and the Nazis, political influence?

4. The screenplay based on transcripts, the conducting of the court scenes, the judges, interrogations, the witness statements? The screenplay going beyond the court scenes, yet the interiors, the streets, the facade of the court? The finale with its sunny happy ending at the farm?

5. The introduction to Murer, his wife and their kissing, the defence lawyer, the issue of the coat, the impression for the jury, coaching the defendant, preparing his wife, the children present and impressing the jury?

6. German occupation of Lithuania, of Vilnius, the history, the Jerusalem of the North, the German officials, the killings, the massacres, the treatment? The defence using the uprisings in Vilnius and Jewish gangs as reasons for official behaviour?

7. The defence lawyer, his appearance, manner, his treatment of the witnesses, issues of mistaken identity, pressing on the colour of the uniform, the effectiveness of his interrogations, his final impassioned speech to the jury? The final sequence with the prosecutor, discovering that the government had influenced the case rather than his defence of Murer?

8. Prosecutor, his tensions, the presence of his wife, his not wanting her to go there? His cross examinations, the touches of hesitancy? His ideology? Impact of the witnesses, his speech from his chair? The revelation of the official threats? And his wife giving him the Nazi notices?

9. The judges, the background of their political affiliations, issues of bias? The conduct of the case?

10. The presentation of the jury, eight, the two women, the woman in church, praying, the other pro Murer? The group who were pro-Nazi, the pressure on the others? The fat man and the quiet man, at meals, their talk? The juror feeling his guilt about his killings with the youth forces? In church, talking to the woman? The sacristan from the jury overhearing him, spying? With his mother? The pressure at home by the visitors? The meeting, excusing himself, the substitute going in? The vote? The later sympathy of the old woman on the street?

11. The people in the courtroom, nationalist, in favour of Murer, laughter, applause, anti-Somatic?

12. The range of Jews, their witness, the harshness of their experience, the telling of their stories, upset, being confused by the defence lawyer, the range of men and women, their sufferings? The young man and the witness to the death of his father? Leon, the disappearance of his wife, seeing the death of his son? The value of their testimony? Condemnations of Murer?

13. Leon, having the gun, wanting to shoot Murer?

14. The journalist, American, her presence, writing, listening, the discussion with the local journalist, his discussions with the editor?

15. Simon Wiesenthal and his Nazi-hunting, getting the witnesses, not wanting to be named, his coaching of Leon? His appeal? His reputation in Austria in 1963? Later reputation? The scene of Ibsen listening to the radio for the verdict?

16. The cinema audience and believing the witnesses? Reaction to the verdict? The role of the prosecutor in eliminating some of the charges?

17. The impact of the final speeches, the two lawyers talking?

18. The revelations about Murer, what he had done, sadistic, cruel, shootings, his white coach, his uniform, the information about his affair? His wife defending him in the court, the gift to the defence lawyer from herself and Murer’s sister, the son and the cake? The defence lawyer indicating that he just did his job and knew that Murer was guilty? The wife questioning her husband about the affair?

19. The final information, Murer and his life, the staunch Catholic background, politics, his long life after the trial dying comfortably at home with his family?

CONDEMNED TO LIVE

US, 1935, 69 minutes, Black and white.
Ralph Morgan, Pedro de Córdoba, Maxine Doyle, Russell Gleason, Nisha hour.
Directed by Frank R.Strayer.

This is one of many films directed by Frank R.Strayer during the 1930s, most of them thrillers. He had begun directing films in the 1920s and continued until the late 1940s, filming a number of the Blondie series and, in his last years, directing a number of religious films.

This is a vampire film – and Strayer had made his mark in 1933 with Vampire Bat. This time the setting is European town, the prologue with a woman infected by a bat and giving birth in a cave. Years later, there is the menace of a mysterious bat, infecting people, killing some of the women in the town. The people rely on a learned man, The Professor (a genial and sympathetic performance from Ralph Morgan) who is about to marry an attractive young woman, Marguerite (Maxine Doyle).

The audience soon realises that it is The Professor who is the vampire. He suffers from headaches, conscience lapses, is not aware of what he has done, eventually coming to realise it, wanting to protect Marguerite. He is helped by his old friend, Anders (Pedro de Córdoba) who assisted at his mother’s death and his birth and has kept an eye on him for the consequences. He is also served by Zan (Mischa Auer) and the townspeople blame him as the monster.

Marguerite has a suitor who is suspicious but is able to save her at the end – The Professor realising what had happened, the townspeople confronting him, his decision to throw himself off a cliff and, unexpectedly, Zan also throws himself down.

A variation on the vampire story – and vampire stories, after Dracula with Ben Lugosi, proliferated during the 1930s.

MURDER AT MIDNIGHT

All US, 1931, 69 minutes, Black and white.
Aileen Pringle, Alice White, Hale Hamilton, Leslie Fenton, Brendan Hurst, Kenneth Thompson, Robert Elliott, Clara Blandick, Tyrell Davis.
Directed by Frank R.Strayer.

This is one of many films directed by Frank R.Strayer during the 1930s, most of them thrillers. He had begun directing films in the 1920s and continued until the late 1940s, filming a number of the Blondie series and, in his last years, directing a number of religious films.

This is an early sound film, rather stagily presented, rather formally acted. However, it begins with something of a shock and then an immediate twist, followed by another twist: there is a scene of marital infidelity at midnight, which is revealed as a play in a charade, then the victim in the charade is actually killed.

The setting is a rather large party so there are plenty of characters present and a range of people under suspicion. First of all, there is the husband, with live bullets substituted for the blanks he had inserted for the charade – and, later, he is murdered with the same gun. There is his glamorous wife, there is her brother, something of a tortured soul, who is in love with the maid who also acts suspiciously. But, she is murdered. Then there is the butler, always present, looking sinister – and eventually murdered. Then there is the aunt who owns the house, busily looking into things and being continually put down by the rather deadpan detective. She is almost murdered.

While the police investigate, and there are police guards throughout the house (relieved for midnight stacks snacks when necessary), there are also legal connections with the family, the revelation that the husband had changed his will disinheriting his wife and appointing a new executor, the aunt. There is the former executor of the will. Then there is an expert on detection who has solved previous cases.

The wife acts suspiciously, the mysterious hand that kills the husband looks feminine – and, it is the crime expert who has collaborated with the wife and who, in poetic justice, is killed by a shock from a phone that he has dismantled, just as he has killed the butler!

Creaky but always interesting.

MIDNIGHT INTRUDER

US, 1938, 68 minutes, Black-and-white.
Louis Hayward, J.C.Nugent, Eric Linden, Barbara Read, Irving Bacon, Robert Greig, Pierre Watkin, Sheila Bromley, Nana Bryant, Joseph Crehan.
Directed by Arthur Lubin.

This is a supporting feature from Universal Studios in the late 1930s. The first part of the film reflects the kind of screwball comedy that was popular in the decade. The screenplay is based on a short story by Channing Pollock with the better title, Welcome Impostor.

Louis Hayward and J. C. Nugent are inveterate gamblers who lose of the races, get drenched in the rain, find a mansion that seems to be deserted, break a window and get in and settle down. The mansion is owned by a newspaper proprietor who is away on travels. His alienated son is expected back at any time but the servants are ready. So, there is the humour in the very exuberant Louis Hayward taking control of the situation, pretending to be the son, his associate being rather anxious. There are cables to the concerned mother, letters from the son, cash at hand, the chauffeur – and he is being welcomed with all his family to stay in the house – and a very proper butler, Robert Greig.

The two interlopers do a lot of socialising, meet a judge and his rather patronising daughter (Barbara Read is not entirely persuasive as the romantic lead nor in her falling in love with Hayward and he with her). There is a scene at a nightclub where a gangster type attacks one of the dancers whom he accuses of pickpocketing him – and the second part of the film is a murder investigation, the gangster being murdered, the husband of the woman accused of pickpocketing declared the murderer. The complication is that the judge is on the phone with the gangster and had gone to his house, witnessed by taxi driver.

And, the irony is that the woman from the club goes to get the help of Hayward and reveals that she is married to the real son. Lots of complications with cables to the mother, getting money, hiring a sympathetic lawyer, Hayward being persuaded to go to work, his being offered a job on the local paper, his doing a gossip column, trying to track down the murderer.

In the meantime, Hayward’s associate has attracted a dowager and they get married!

All sorted out, Hayward has the job, remains with the judge’s daughter – and a pleasant blend of 30s themes of comedy as well as murders and investigations.

SHERLOCK: THE FINAL PROBLEM

UK, 2017, 89 minutes, Colour.
Benedict Cumberbatch, Martin Freeman, Mark Gatiss, Sian Brooke, Una Stubbs, Rupert Graves, Louise Brearley, Amanda Abington, Andrew Scott, Art Malik.
Directed by Benjamin Caron.

This is the last of the television films featuring Sherlock Holmes in a contemporary 21st-century setting, created and written by Mark Gatiss and Steven Moffat, sometimes writing separate episodes but collaborating in this final exercise in imagination, taking the Holmes family background beyond Arthur Conan Doyle.

This is the third film in a trilogy which goes beyond the familiar cases created by Conan Doyle. Moriarty is dead. Holmes has been cleared by Mycroft of accusations of murder.

The first film focuses on John Watson and his marriage to Mary, flashbacks to her life as an agent, dangers and difficulties, the threat to Holmes’s life and her taking, literally, the bullet for him. She continues to appear, a ghostly consciousness and conscience, for Watson in his bitterness towards Sherlock because of Mary’s death. However, the second episode introduces another arch-villain, played by Toby Jones, a serial killer who likes publicity (working on television publicity as well) who chooses to call “Anyone�. In this episode, the killer’s daughter visits Sherlock to discuss the case.

In this final film, the revelation is that this woman is really the younger sister, Euros, of Mycroft and Sherlock. She has been in severe custody for many years, an institution on a very isolated island. However, there is an attempt by an explosive drone on the life of Mycroft, Sherlock and Watson – with Sherlock demanding a visit to the island to confront his sister whose memory has completely vanished from his life.

Not only are there the confrontations, there are various problems, deadly problems that the sister raises for Sherlock, even playing clips of Moriarty filmed five years earlier, to taunt him. There are life-and-death situations for the three men but, ultimately, Sherlock rediscovering his memories, a victory over his sister, and her further lifelong commitment.

Directed by Benjamin Caron who directed another film in the series but is best known for extensive television work in such series as The Crown, Wallander, Hollyoaks.

1. This film as the third part of a trilogy, the finale to the series? Further revelations about Sherlock and Mycroft, their sister, the family’s past history? The threats to Sherlock and Mycroft, to John Watson?

2. The title, the number of problems facing Sherlock, solutions?

3. The introduction of Moriarty, though dead? The device of having him visit the sister, his being a treat for her at Christmas, five minutes unsupervised conversation, the audience surmising what this was about? The sister recording him and later using the clips to taunt Sherlock?

4. Baker Street, Mrs Hudson vacuuming downstairs, the three men in the room, the drone – and the explosion and escape?

5. Mycroft, watching the film, the insertion of footage about the sister? Sherlock and Watson invading his house, the challenge? Mycroft and his admissions?

6. The Holmes family history, Mycroft and his being older, Sherlock and the one-year between him and his sister? Sherlock having no memories? Mycroft and the narration, Sherlock gradually recovering some memory? The flashbacks for the audience to see the sister as a little girl, with the boys as little boys, the importance of the dog, the drowning of the dog? The sister and her being very clever? The re-creation of her death and burial? Mycroft guarding the secrets? The final revelation to the parents and their shock, wanting to see the grave? The burning down of the family mansion? The visit to the graveyard and the variety of stones and dates and names? Calculating their inner significance?

7. The revelation about the institution, the high security, the island? Mycroft and the regulations, the governor of the island? Watson and Sherlock hijacking the boat, getting onto the island, arrested by the governor, interrogated, and finding Mycroft disguised rather than Sherlock? Sherlock in uniform and his having access to his sister?

8. The background of the sister escaping from the prison, visiting Sherlock and pretending to be Culverton Smith’s daughter? In her cell, the music, people standing back three feet? Her being seen on the television screens?

9. The interaction between Sherlock and his sister, his wanting to know how she escaped? Her taunting, her being able to put her hand through the glass, the way of escape? The flashbacks to the gift of the violin? Sherlock and his playing the violin, the accompaniment? The story of Moriarty’s a visit? The use of the clips of Moriarty?

10. The governor, his explanations, Watson and Mycroft watching the screen? The governor saying that the sister was able to control anybody in her presence, getting her own way? The revelation about the governor, her threats to his wife, urging the others to kill Dr Watson? Mycroft and his denouncing Watson, as a means for Sherlock to kill him? The governor, his dilemma, Watson and his attempts to kill the governor, the condition to the wife being saved, the governor killing himself, the sister shooting the wife?

11. The room with the coffins, the three men, to kill each other? Mycroft and his shooting himself?

12. Watson, the dart in his neck, waking up, in the well?

13. Sherlock, the dart, his waking up, the final confrontation with his sister, the nature of the flashbacks, the truth about the dog, the truth about his best friend, his sister killing the friend, the well? Sherlock and his bursting out of the cell, to the family estate, to the well, to the room?

14. The film opening with the little girl in the plane, the masks down, everybody unconscious, her phone communication, Sherlock talking with her, reassuring her, the little girl and the sister being one, the solution? Saving Watson? Mycroft recovering?

15. The scene with Inspector Lestrade, the solution of the case, his praise of Sherlock?

16. The discussion with the parents?

17. The return to Baker Street, to Mrs Hudson – the ending of the series? Audiences anticipating Sherlock’s future?