((Ok, let me re-write John- some things may be repeats))
((Oh, also, Long post is practically an essay on Johnlock fluff))
John had originally planned to burst into the flat and call out to Sherlock, but he stops at the front door. He hears violin music drifting out. Now, this in itself is not a strange thing, but John doesn't recognize the tune. He leans his ear against the door and listens, and he is struck by the amount of emotion in the piece. He knows that playing violin is one of the few ways Sherlock expresses his emotions, and it never fails to take John's breath away- anyone who had heard Sherlock play could never again claim he was a sociopath.
The song feels worried, panicky, and makes John want to go in and calm Sherlock- it brings to mind moments like their stand-off with Moriarty at the pool, that second where they met eyes and admitted that they might have bitten off more than they could chew.
Then it shifts, and now it's restless- John can just imagine Sherlock pacing manically back and forth, curls a wild mess, eyes almost feverish. It was a sight he had seen hundreds of times, normally on the first few days after a case, often followed by the terrifying black days when Sherlock wouldn't move at all from the couch. There had not been any black days since they started dating, and John was hoping that this would be a permanent thing, that his presence could at least somewhat help Sherlock from being overwhelmed by the darker part of his mind.
It shifts again, and John is beginning to suspect that this is a series of pieces, related and interwoven, but separate entities. There is certainly a common theme underneath the variations, and it almost seems familiar, but he hasn't yet been able to place it. the new theme is thinking- John can recognize that right away. Sherlock had more than one 'thinking pieces', but they all had a very similar sound to them that John had come to recognize.
At this point John wants to be able to watch Sherlock play, so he carefully opens the door and slips inside, silently standing just inside the flat and watching Sherlock.
The next piece was very calm, which was relieving to John. The recurring theme was faint here, barely noticeable, overpowered by themes of thinking and puzzling, some of Sherlock's typical 'case music'.
John jumps in shock when the next transition comes- the piece is clearly angry, and Sherlock is almost torturing his beloved instrument. John had heard Sherlock play angry pieces before- on cases where he was stuck on what he felt should be an 'obvious detail', where there were no good cases around, after Mycroft had visited- angry pieces were not new. This was different though, this was not about a case or lack thereof, there was something deeper here, more personal. The recurring theme came out a bit more, but was warped, and somehow John felt that whatever that theme represented, it was the target of the anger and frustration.
Then the music softened and became incredibly sad. John had to stop himself from going over and wrapping his arms around Sherlock to comfort him. It was heartbreaking to listen to, and that theme, the one John had been puzzling over, suddenly swelled up- more prominent than it has been for the entire time yet.
It then hits John, and he feels like an idiot for taking so long to figure it out- he does know this theme, Sherlock had started playing it a few days after the nightclub fiasco. He was constantly playing it, weaving it in to other pieces, like the tune was always in the back of his mind, even if he wasn't directly thinking of it. It changed, shifted every time he played it, but it was always recognizable. John had often wondered if it was supposed to be him, if Sherlock had composed a piece that was John, for when he was thinking of John. The thought made John happy, in a way he couldn't really express. Hearing it wrapped into this sorrowful melody was torture for John. Then another epiphany hit him- these were Sherlock's emotions about his trip. It had to be, it would be the only way Sherlock could deal with them and express them- sadness, anger, worry, thinking- it all made sense. John instantly felt twice as guilty about leaving after this.
It then changes again, and it is clear that Sherlock was impatient when writing this. John can now deduce that this was the piece for a time when Sherlock was tired of waiting for him to come home- perhaps after their phonesex call? So far there have been seven separate pieces- one for each day? That would make sense with where the 'work music' cut in, and the chronology of the other emotions. John grows warm at the thought, and starts to walk forward to where Sherlock is standing by the window.
Then he stops walking, because the piece shifts again. This one is shakier than the others, clearly a work-in-progress, one that Sherlock has just started. Still though, it lifts John's heart, because it is somewhat happier than any others so far, hopeful, but still longing. It had a jazzy sound to it, and made John think of long nights they had spent together, wrapped up in each other, trading slow kisses because they knew they had all the time they wanted. God, he wanted to do that with Sherlock now, more than anything.
John then finally takes the last few steps forward. Sherlock is clearly so lost in his music he's blocked out the rest of the world, so John lightly touches his shoulder to get his attention. For a moment, he worries- he's clearly shocked Sherlock, and may be thrown to the ground, mistaken for a threat. John takes a step back, giving Sherlock space, and a chance to recognize him. He sees the moment the information that he's home hits Sherlock.
John is suddenly jumped on and wrapped up in a crushing hug that sends hims stumbling backwards a few steps. He can't stop smiling and pressing Sherlock impossibly closer. It was so, so indescribably wonderful to be able to wrap his arms around Sherlock again, to feel the tall, lanky body against his, smell Sherlock's shampoo and chemical smell. It was so, so wonderful to be home.
"Hey, wonderful to see you too. I found a way to get things wrapped up a few days early, decided I would give you a nice surprise and just show up unexpected. I'm glad you were actually here instead of at a crime scene," John laughs out joyfully, words a bit mumbled because his face was squashed against Sherlock's chest.
John pulls back and drinks in the sight of Sherlock's face, staring at him and running his fingers along Sherlock's cheekbones.
Sherlock pulls him in for a kiss, which John is only to happy to share. He knew he had missed the taste of Sherlock's lips, missed it like crazy. It was only now that he realized just how much more he had missed them than he had even been aware. How the hell had he survived this past week?
John then finds himself being spun around by Sherlock as they kiss, and he pulls his mouth away to let out a half-laugh, half-yell at the surprise. He knows he should be annoyed- that is really embarrassing and terrifying, but he's far too happy and instead just laughs along with Sherlock.
"God I missed you, I'm so happy to be home."
They simultaneously pull each other in for another kiss, and now they are making up for the last week, and all the time spent apart, all the kisses missed. They fall onto the couch, and the small part of John's brain that is still capable of rational thought is amazed at Sherlock's talent for moving his violin, while still holding onto him and dragging them both onto the couch. It happens quite frequently, and John almost suspects that Sherlock can magically grow a third arm, just for cases like this, because he swears he does not feel either Sherlock's hands leave him.
They end up shifting from sitting to laying- arms and legs wrapped around each other, chests touching. Sherlock is propped up on his elbows, and they have stopped kissing, and instead are just looking, because they haven't seen each other's faces for over a week, and now they can look again. John trails one hand over Sherlock's cheeks, and through his hair. Sherlock leans down and presses a kiss so sweet and tender to John's lips- it says everything, encompasses all of the feelings going through John, and he returns it, telling Sherlock he feels exactly the same.
He then decides that they've made up for a decent amount of the innocent kisses missed over the past week, and it was time to move on to the other kisses- the ones that followed after chasing a criminal when they were flying with adrenaline, or late at night when Sherlock (who had been lost in his mind palace) realizes that John has gone to bed without him and decides that this is an unacceptable development, or when Sherlock forgets that John doesn't work Wednesday mornings and is pleasantly surprised to be reminded he has John all to himself until late that evening. John laughs at this last thought- he's come to suspect that Sherlock purposely 'forgets' about John taking shorter hours on Wednesdays, just so he can then be surprised every week, giving him an excuse (as if he needs one) to keep John in bed for hours.
"Is Mrs. Hudson out?" John asks, pitching his voice low so Sherlock understands exactly why he's asking.
Sherlock answers affirmatively.
"Good. I hope you realize, Lock, that since I'm home early it means that I have two days with no plans. I took off work for the trip, so I don't have to go in. No one else knows I'm back yet, and I'm more than happy to keep things that way. You can have me all to yourself for two days, no interruptions. You can have me any way you want me for those two days, as much as you want me. I'm entirely yours."
John presses himself up to Sherlock for a searing kiss, then leans back down again and folds his arms behind his head, a picture of casual charm.
"So, my dear, dear Sherlock, what do you want to do with me? The game is on."