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Didn't watch it, can't find a video easily, going to take a shot in the dark based on two minutes of Googling and knowledge of stereotyped irony.
It would be too obvious for the corpse to be a body double planted by Molly. Obviously, Sherlock plotted that the meeting occur at that place, at that time, and Moriarty, who wants to ruin Sherlock, knows this. Therefore, Sherlock in turn knows that whatever may happen, Moriarty will use the meeting to frame or otherwise destroy him.
What Moriarty needs to win the game is to corroborate his implication that Sherlock was involved with the girls with hard facts. Knowing that Sherlock is in a certain place, at a certain time, affords this opportunity.
Sherlock wasn't looking for his accomplice. He was looking for Moriarty's accomplice.
The same accomplice who previously impersonated him for the purpose of conditioning the girl.
And that accomplice - not Sherlock, and not a well-dressed corpse stolen from the morgue - is the dead man.
The biker wasn't aiming for Watson. He was aiming for Sherlock. He is a confederate of Moriarty. Obviously, if Sherlock had jumped, the corpse would be there, and since the deed would be done, any further actions would be irrelevant. The biker kept going because he saw something wasn't going according to plan. Sherlock, or rather the imposter, was already dead.
EDIT: I can't find a copy of that Miller Time Vs Aestu thread. Makes me sad. I really miss those days =/
EDIT2: This is actually not a true mystery. A true mystery deals in facts and evidence that require insight to fit into a coherent solution. In this case, too many pieces of the puzzle are missing for the viewer to be able to conclusively solve the "mystery". You might as well call a 500-piece puzzle with two-thirds of the pieces missing a "puzzle".
This is a soap opera. Unimaginative, stereotyped twists; a cast of shallow, psychotic characters; constant interpersonal quarrels without clear allegiances or agendas; and totally unpredictable, ludicrously dramatic events, that are outrageous to the point of being stereotyped, define that genre.
Sherlock Holmes mysteries were always about very small people and small stakes. Sherlock Holmes himself was a small, talentless, unambitious man. This smallness defined the mystery genre, because Sherlock Holmes stories were about how little we know. This story is the opposite; it's a Brave New World / F451 type drama that tries to make the viewer feel he knows way more than he does by putting small characters on an outrageously sized stage.
The fact that so much of the show revolves around "criminal undeground" and deus machinas like the magic computer code to open any door betray that this show fails as a mystery series.
All good fiction is defined by its limitations.
If the show is nothing but a bunch of deus machinas - nothing has any limitation, any problem, any event can be overcome with computer hacking or tech gadgets (e.g., do we know Sherlock fell off the side? do we know that was him? do we know whose body that was? do we even know it was a body?) then what you have isn't fiction, it's just cheap soap opera garbage.
I'll also pre-empt comparisons to Star Trek by pointing out that it was "limitations" that made TNG incomparably superior to Voyager/DS9/Enterprise. TNG Plots were rarely resolved by "magic tech device" and more by making some sort of choice (with a cost attached) or having some sort of insight into events based on the facts presented. In Voyager, EVERY plot was resolved by some sort of deus machina that vacillated the "knowns" of the drama, or the actions of overly dramatic characters with unrealistic capabilities and no apparent weaknesses.
It's just trash, but if people want to watch this garbage, that's their choice I guess.
Aestu of Bleeding Hollow... Nihilism is a copout.
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