Sherlock and Molly's relationship in s3

 (Sherlock meta by fuckyeahsherlolly)

Q: [...] Is there meta in which every line of [the TEH Sherlock/Molly hallway] scene is dissected? I'd forgotten about "you can't do this anymore." What does her engagement change, on HIS end? I get it from hers. Does he understand her that well by now? On another note, how "I don't count" affected him. Those three words got a far more significant reaction than three slaps to the face. That scene is in my top three because of his reaction to that and to "I know you don't." He's like, "tha fuck just happened?"

A: There probably is a meta out there, but I’m frightfully lazy when it comes to scrolling through the tag, though I hope someone will point out their own fleshed out version of it (hint, hint, I’m a lazy bugger).

A part of me, despite myself, because I am just easily one who submerses in pain – thinks that Sherlock knows that Molly is still in possession of feelings for him at this point.

Waiting for the very last minute to breach the topic of her engagement, and then she goes ahead explaining her and Tom’s relationship, like a reminder to herself – that that’s what she wants, except nobody who is truly happy needs to remind themselves in such a way really.

Possibly the ‘you can’t do this anymore’, if one puts emphasize on the fact that he says ‘you’, and the fact that he’s talking about chips right before means that he’s alright with the arrangement, but…the way she pauses, asks what the whole day is about – means that she can’t do this without old feelings resurrecting.

Perhaps Sherlock understands this, it seems he does, since he understands that she has feelings – look at how he reacts when she suggests dinner, and when he catches her looking at him, phasing out from the moment entirely.

He knows and he does her a favour by stepping back, even avoiding later on to point out Tom’s – appearance – shutting up for once.

A great leap for him really, wonderful even, and the interaction between the pair of them in The Sign of Three is certainly different. The thing is I’m not saying that Sherlock doesn’t feel something for Molly, since he does, but not in the way that we perhaps want – right now. But the man does indeed care for her – “you do count, you’ve always counted and I’ve always trusted you.” She is a friend, and he has few friends, but she is one, and he can count on her and trust her.

He dares be honest with her, showing his emotions, as he knows that she won’t judge, she just cares.

When she said, “I don’t count,” he’s shocked, because he thought she knew, that she knew they were friends, but it’s apparent she doesn’t. And he corrects her, he lets her see his heart on his sleeve, like he constantly by now sees hers. Since from A Scandal of Belgravia he knows about her feelings, properly the extent of them, and then he tells her of his feelings. It doesn’t need to be romantic, for him it probably isn’t anything but the plain truth.

She is important and she does matter.

He couldn’t have done anything without her so he thanks her in his special way.

But it’s from the easy conversation in The Sign of Three where she’s more or less leading, joking with him, and making him certainly uneasy by the way she talks (with all intention of doing so) – to the complete – and utter tension that is filled in the last episode of series three. It’s such a curious development, because we saw her jealousy in the second episode, staring at him and Janine, and then her being the only one who notices that he left.

But she didn’t follow.

That in my eyes is fantastic. I know you’re probably going but “whyyy? how can this be good?” For her development it is stunning and I’m so happy about her being absolutely angry with him in the last episode, telling him off. He is anxious going to see her, because he knows she’ll be disappointed, and she is obviously one he doesn’t want to disappoint. John will swallow up “it’s for a case,” but not her, she won’t believe that. And then he comes back with the “sorry for your engagement ending” (paraphrasing like hell), which there is no proper point for him to come with in fact, except to obviously make her upset, which he hasn’t been trying to do of late. But she’s still angry, vaguely interested when he mentions the case, but still won’t be deflected to her own self for once.

He doesn’t see her after this point, since we don’t exactly see her popping up again with him, until UNTIL she does in his head. There she is, telling him to focus, slapping him to his senses in his own head, which was obviously something he needed.

Now – that – is huge. Who does he go to first in his head? Her. 

Mycroft interrupts so does Anderson, but it’s mainly her running the show, telling him to focus.

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