A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
Screen snows and -- A blizzard of cuts round various news reports, fast , just snatched words and phrases -- NEWSEADER -- Afghanistan -- ITN NEWSREADER -- British troops involved in a -- SKY NEWSREADER -- four dead, two injured -- Video phone: chaotic, accidental footage, just the camera still running - a dirt road, a crashed jeep belching smoke, gunfire, soldiers running. We hear a voice yelling -- MAN Watson!! News reports -- BBC NEWSREADER -- increased hostilities over the last few weeks -- SKY NEWSREADER -- until relatives have been informed -- Video phone -- MAN Watson!! News reports -- ITN NEWSREADER -- two more have died in the worst outbreak of violence -- SKY NEWSREADER -- said his thoughts were with the victims families -- Video phone -- MAN Watson!! And on that we cut to:
1
INT. JOHN’S BEDSIT - NIGHT
1
Close on a pair of eyes snapping open. Wider:
1.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
A man, startling awake, sweating in his bed. A single bed in the dullest, plainest room. He sits up, calming himself, letting his breathing return to normal. Dr. John Watson. Early thirties, thickset, weathered. Something slightly dazed and pained in his eyes. He’s been through hard times, seen bad things. Looks around the room. A bare minimum of personal possessions, neatly folded clothes. The opposite wall. Leaning by the door, a walking cane. Close on John, looking at it - frowns. Fierce, resentful. INT. JOHN’S BEDSIT - DAY 2 Later - first light. Close on a coffee cup as it is set down on the desk. Panning down the desk drawer as John pulls it open, removes a laptop computer -- -- revealing something else in the drawer. A hand gun (whatever gun John would’ve had in Afghanistan.) John’s look holds on the gun for a moment, like it’s a curious temptation to him -- -- then he firmly closes the drawer. The lap top computer open at: A blog page. Closer on the Page Title: The Personal Blog Of Dr. John H. Watson -- -- panning down the screen to an empty page. The cursor winking away, expectant. We roll focus to see John’s face, reflected. Frowning. An effort of concentration. ELLA (V.O.) How’s your blog going?
2
3
INT. THERAPIST’S CONSULTING ROOM - DAY (11.00 AM)
3
Ella - a therapist - sitting opposite John Watson, her notepad out. John sits stiffly in his chair. Out of place. A little embarrassed. JOHN Oh, fine. Good. Very good. Ella looks at him, knowingly.
2.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
ELLA You haven’t written a word, have you?
As she says this she makes a note. JOHN
You just wrote “still has trust issues”. ELLA And you read my writing upside down. See what I mean?
John’s face: touche!
ELLA John, you’re a soldier. It’s going to take you a while to adjust to
civilian life - writing a blog about everything that happens to you, will honestly help you. Trust me. Closer on John. He looks bleakly at her - a proud soldier, stoic, but somehow broken and lost. JOHN Nothing happens to me. CUT TO: OPENING TITLES CUT TO: 4 A bustling London railway station, thronged with commuters. Words marching across the screen: MARCH 12th. EXT. RAILWAY STATION - DAY Homing in on SIR JEFFREY PATTERSON. Mid-forties, in a very good suit, middle-aged, handsome - looks a little out of place. He’s near the entrance, on a mobile phone. JEFFREY Car! There’s no ruddy car! CUT TO: 5 Big, glamourous office, good views over London. Several suited people milling about, in the foreground is HELEN - a very beautiful PA, early twenties. She’s on her mobile, talking to Jeffrey. (We intercut as we required.) INT. OFFICE - DAY
4
5
3.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
HELEN He went to Waterloo, sorry. Just get a cab. JEFFREY I never get cabs! Helen smiles, glances round - the others are far enough away for her to say: HELEN I love you. Jeffrey smirks. JEFFREY When? HELEN Get a cab. On Jeffrey: now THAT’s good news. Looks around for the TAXI sign, starts heading away... We fade quickly to black and up on: 6 A much less glamourous office. Empty, maybe even abandoned. Sitting at an old conference table is ... INT. DESERTED OFFICE - DAY Jeffrey Patterson. He is staring down at something. A little pill bottle sitting on the table before him. He seems to brace himself. Ready himself. He reaches for the pill bottle. His hands are shaking violently he can barely undo the top. Now he’s staring at the pill in his hand. Disbelieving. Can’t quite grasp that he’s really going to do this - - and he slams the pill into his mouth, bites down on it. For a moment, nothing. And under this a voice - tremulous, tearful. MARGARET (V.O.) Sir Jeffrey Patterson, my husband, was a happy man who lived life to the full. As she speaks, a troubled look in his eyes. Then real fear. On his hand as it slams down on the table, like he’s convulsing in pain. And on slam , we cut to: CUT TO:
6
4.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
7
INT. PRESS ROOM - DAY 7 A television news report. We’re close on the telly, all lines and blurs. Margaret Patterson is reading a prepared statement to a press conference. (This all in a press room.) MARGARET He loved his family, and his work, and that he should have taken his own life in this way, is a mystery and a shock to all who knew him... She’s breaking up now. A man who could be her brother is hugging and comforting her. We cut closer on the screen. Helen, the PA, is standing in the background. Silently containing her grief, a single tear... CUT TO:
8
INT. SUBURBAN LONDON STREET - DAY Terrible rain thrashing down. Words type across the screen. APRIL 26th.
8
Two young guys, in their late teens, coming towards us through the streaming rain. Gary and Jimmy. Gary has an umbrella, but Jimmy just has his coat pulled over his head. A taxi heads past them. Jimmy tries to hail it, but it doesn’t even slow down. Jimmy now hesitating to a halt, looking around the downpour. JIMMY I’ll be two minutes. GARY What? JIMMY Just going back - my Mum’s got an umbrella. GARY You can share mine. JIMMY (Already heading back) Two minutes! GARY (Yelling after him) It’s not gay, sharing. CUT TO:
5.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
Few minutes later. Gary, miserable under his umbrella. Checks his watch. Where is he? On the sound of a doorbell. CUT TO: 9 A middle-aged woman - Jimmy’s Mum - is pulling open the door, to reveal Gary, still under his umbrella, the rain still pouring. GARY Where’s Jimmy? JIMMY’S MUM I thought he was with you. GARY Came back for an umbrella. JIMMY’S MUM No, he didn’t. CUT TO: INT. JIMMY’S HOUSE - DAY
9
10
INT. SPORTS CENTRE - DAY
10
A series of empty, indoor tennis courts. On Jimmy, sitting crouched on the floor against a wall. He’s still wet, but now terrified, shivering. There’s something gripped in his shaking hand. He raises it to look at it. A pill bottle. Identical to the one we saw with Jeffrey Patterson. He readies himself, starts to undo the cap ... CUT TO: Pulling out from a newspaper story (NOT front page.) A photograph of Jimmy, the headline: BOY, 18, KILLS HIMSELF IN SPORTS CENTRE. CUT TO:
11
INT. TOWN HALL - NIGHT
11
Chatter, loud music. A birthday party in a town hall. We start on big photograph - a local MP portrait photograph, big sincere smile. “Your Local MP, Beth Davenport.
6.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
Junior Minister For Transport.” A big banner is draped around it “Happy Birthday Beth.” Words typing along the screen. JUNE 8th We’re panning down from the picture to two young men - Beth’s assistants - watching the party with barely concealed disdain. AIDE 1 She still dancing? AIDE 2 If you call it that. AIDE 1 Did you get her car keys off her? AIDE 2 (Holds up a set of keys) Took ‘em out her bag. But the other Aide is frowning, looking into the throng. AIDE 1 Where is she? CUT TO:
12
INT. WORKMAN’S PORTACABIN - NIGHT
12
Close on the face we saw in the photograph. Now tear- streaked, breathing hard. Beth Davenport, seated at a desk in torch lit workman’s portacabin. Beyond her, through the window, we can see a building site. Traffic passing by. She’s terrified, almost sobbing. BETH Oh God. Oh God. Oh God. We pan down from her ... ... to the little pill bottle sitting in front of her. A car sweeps by outside, the headlamps momentarily dazzle into the room, becoming - INT. SCOTLAND YARD - PRESS ROOM (?) - NIGHT 13 Cameras flashing. a crush of journalists, all jostling in front of - DI LESTRADE and SERGEANT SALLY DONOVAN, seated at the table at the end.
13
7.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SALLY The body of Beth Davenport, Junior Minister for Transport, was found late last night on a building site in Greater London. Preliminary investigations suggest that this was suicide. We can confirm this apparent suicide closely resembles those of Sir Jeffrey Patterson and James Phillimore. In the light of this, these incidents are now being treated as linked. The investigation is on-going, but Detective Inspector Lestrade will take questions now. A blizzard of questions, but one Reporter, louder than the others. REPORTER Detective Inspector, how can suicides be linked? LESTRADE They all took the same poison.
They were all found in places they had no reason to be, none of them had shown any prior indication of -- REPORTER But you can’t have serial suicides. LESTRADE Apparently you can. SECOND REPORTER These three people - there’s nothing that links them? LESTRADE There’s no link we’ve found yet , but we’re looking for it - there has to be one.
There’s a flurry of writing in notebooks - and then there’s a whole chorus of chirps and beeps - not quite in sync, but almost. It’s like every mobile in the room received a text at once. Everyone - even Sally - is checking their phones. Not Lestrade - he just rolls his eyes. Been here before. The Reporter has pulled his phone out, REPORTER Sorry, I - SALLY If you’ve all got texts, please ignore them.
8.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
REPORTER It just says “Wrong” SALLY Yeah, well just ignore that. If there are no more questions for Detective Inspector Lestrade, I’m going to bring this session to an end. SECOND REPORTER If they’re suicides, what are you investigating? LESTRADE As I say, these suicides are
clearly linked, this is an unusual situation, and we have our best people investigating. Almost immediately, another chorus of chirps and bleeps. They’re all looking at their phones again. REPORTER Says “Wrong” again. Lestrade and Sally exchange furious glance. SALLY One more question. FEMALE REPORTER Is there any chance these are murders, and if they are, is this the work of a serial killer? LESTRADE I know you like writing about Yes, but if they are murders, how do people keep themselves safe? LESTRADE Don’t commit suicide. Close on Sally, reading the signs - Lestrade is clearly getting cross. SALLY (A warning whisper) Daily Mail! those, but these do appear to be suicides. We know the difference - the poison was clearly self- administered. FEMALE REPORTER
9.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
LESTRADE (Quick course correction) Obviously this is a frightening time for people, but all anyone has to do is exercise reasonable precautions. We are all as safe as we want to be. A moment of frantic scribbling - good quote! - and then a chorus of chirps and beeps. Cutting fast round various phones. WRONG! WRONG! WRONG! On Lestrade, as he glances down at his own phone. WRONG! CUT TO:
14
INT. SCOTLAND YARD - OPEN PLAN OFFICE - NIGHT
14
Lestrade and Sally come pounding into the room. Sally furious, Lestrade a bit resigned. SALLY You’ve got to stop him doing that. He’s making us look like idiots. LESTRADE You tell me how he does it, I’ll stop him. Lestrade has slammed into his office, heading straight to his own desk. Closer on Lestrade, about to sit down. Lying on his desk, centrally placed, is a single cigarette. His face, as he picks: grim. He’s been here before. CUT TO:
10.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
15
EXT. ROOF OF SCOTLAND YARD - DAY 15 Lestrade is stepping through a service door, on the flat roof. He starts to light the cigarette. He speaks lightly and casually, knowing there’s someone there to hear. LESTRADE
Trying to give these up actually. I was thinking of a pipe. What do pipes do for you cigarettes don’t?
A beat - and a cultured voice from off. SHERLOCK (From off) Cancer of the jaw.
Lestrade laughs, looks round. A tall, thin man is standing with his back to us right at the edge of the roof, looking out over London. A silhouette. LESTRADE Okay. What am I getting wrong this time? SHERLOCK No notes. No prior sign. Each of them in a strange location that means nothing to them where they’ve never gone before... That’s not how I’d kill myself. On Lestrade. Glances uneasily at the edge of the roof, where Sherlock is standing. LESTRADE ... So. How are you doing these days? CUT TO:
16
EXT. PARK - DAY
16
On John’s stick and limping leg, as he hobbles along. Wider: people are strolling by, walking their dogs, jogging. John keeps grimly, determinedly on. We hear a voice is shouting. MIKE John! Watson ignores the voice, limping doggedly on. MIKE John Watson!
11.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
He turns. A plump, suited man of about Watson’s age grabbing John’s hand, pumping it. MIKE Stamford - Mike Stamford, we were at Barts together. JOHN Yes. Sorry, yes, Mike, hello! MIKE
Yes, I know, I got fat. I heard you were abroad somewhere getting shot at. What happened? JOHN I got shot.
CUT TO:
17
EXT. PARK - DAY 17 Mike and John turning from a Cappuccino stand, with their coffees. (The Criterion Cappuccino Stand.) Mike can’t help glancing at John’s stick. MIKE You okay? JOHN Just my leg. MIKE Bad, is it? JOHN My therapist thinks it’s psychosomatic. MIKE What do you think? JOHN I think I got shot. As they settle at a table... JOHN You’re still at Barts then? MIKE
Teaching now - bright young things, like we used to be. God, I hate them. What about you? Staying in town till you get yourself sorted? JOHN (Shakes head) Can’t afford London on an army pension.
12.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
MIKE And you couldn’t bear to be anywhere else. Not the John Watson I know! JOHN I’m not the John Watson you --
He bites that answer off. Doesn’t want to get into all that. He raises his Cappuccino for a sip, but as he lifts it (in his left hand) his hand is shaking badly. He’s aware that Mike is staring at it. Just sets it down again. Does NOT want to get into this. MIKE Couldn’t Harry help? John just gives him a look. JOHN Yeah, that’s going to happen. MIKE Well I don’t know - get a flatshare or something? JOHN Who’d want me for a flatmate? Mike gives a little laugh. JOHN What? MIKE You’re the second person to say that to me today. John looks at him, intrigued in spite of himself. JOHN Who was the first? CUT TO:
18
INT. ST BARTHOLEMEW’S/DISSECTING ROOMS - DAY
18
For a moment blackness, the zzzziiiippp. A drip is drawn down the centre of the screen, splitting the darkness on a thin face staring down at us - clinical, fascinated, and from our POV upside down. This is Sherlock Holmes. SHERLOCK How fresh? Wider. Sherlock stands over a body bag lying on dissection table. He has just unzipped it to inspect the contents.
13.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
Sherlock: early thirties, tall, lean, imperious. He is plainly but neatly dressed. Next to him, Miss. Hooper: lab-coated, clearly works here. MISS. HOOPER
Just in. 67, natural causes. Used to work here, donated his body. I knew him. He was nice.
Sherlock turns into a hero close-up. SHERLOCK
Fine. We’ll start with the riding crop.
CUT TO:
19
INT. ST BARTHOLEMEW’S/DISSECTING ROOMS - DAY 19 Few minutes later: on Miss. Hooper, watching from the side of the room. Sherlock’s shadows flap over the wall, huge and terrifying. He’s slashing at the dissecting table with the riding crop. Whack!! Whack!! Whack!! On Miss. Hooper watching. Perhaps a girlish flutter. Sherlock appears in shot, tossing the riding crop aside. MISS. HOOPER So. Bad day, was it? Sherlock ignores her little joke, is making notes on a pad. SHERLOCK
I need to know what bruises form in the next twenty minutes. Text me. MISS. HOOPER Listen, I was wondering, maybe later, when you’re finished -- SHERLOCK Are you wearing lipstick? You weren’t wearing lipstick before. MISS. HOOPER I just ... refreshed it a bit. SHERLOCK Sorry, you were saying? MISS. HOOPER I was wondering if you’d like to have coffee? SHERLOCK Black, two sugars, please I’ll be upstairs.
14.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
He heads away.
14A.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
MISS. HOOPER
... okay.
20
INT. ST. BARTHOLEMEW’S/LAB - DAY 20 Sherlock at his laptop, tapping away. On his fingers - typing so fast, like a machine. From the other end of the room: The door opening, voices. Beyond Sherlock we see John and Mike coming into the room. JOHN Bit different from my day. MIKE You’ve no idea. Without glancing up from his computer: SHERLOCK Mike, can I borrow your phone? No signal on mine. MIKE What’s wrong with the landline? SHERLOCK I’d rather text. Mike has reached inside his jacket -- MIKE Sorry. Other coat. JOHN Here. Use mine Sherlock has swivelled round in his chair -- -- to see John Watson, who has already reached into his jacket and is proffering his phone (a rather swish smart phone - but NOT an iPhone.) SHERLOCK (Taking it) Oh, thank you. MIKE This is an old friend of mine - John Watson. Sherlock has barely glanced at John, is now texting away on his phone.
15.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK Afghanistan or Iraq? JOHN ... I’m sorry? SHERLOCK Which was it? Afghanistan or Iraq? JOHN ... Afghanistan. I’m sorry, how did you -- He’s interrupted as Molly Hooper comes through the door, bearing coffee. SHERLOCK Coffee! Thank you, Molly! What happened to the lipstick? Setting down the coffee, Molly colours again. MISS. HOOPER It ... wasn’t working for me. SHERLOCK Really? I thought it was a big improvement - mouth’s too small now. She stares at him. He’s still completely oblivious to the effect he’s having, texting away. MISS. HOOPER ... okay. With a shy little nod at the other two men, she goes. Sherlock tosses the phone back to John. SHERLOCK How do you feel about the violin? JOHN I’m sorry, what? SHERLOCK I play the violin when I’m
thinking, and sometimes I don’t talk for days on end - would that bother you? Potential flatmates should know the worst about each other.
John, flummoxed - looks to Mike. JOHN
Oh! You told him about me? Mike has been watching this with a knowing air. Enjoying the routine.
16.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
MIKE
Not a word.
JOHN ... then who said anything about flatmates? SHERLOCK I did. I said to Mike this morning, that I was a difficult man
to find a flatmate for. Now he turns up after lunch with an old friend clearly just home from military service in Afghanistan. Wasn’t a difficult leap. JOHN ... how did you know about Afghanistan? But Sherlock isn’t really listening. He’s logging out of the computer, pulling on his jacket. SHERLOCK
I’ve got my eye on a nice little place in central London - together we could afford it. We’ll meet there, tomorrow evening, 7 o’clock. (Heading for the door) Sorry, got to dash - I think I left my riding crop in the mortuary. JOHN Is that it? SHERLOCK Is that what? JOHN We’ve just met and we’re going to go and look at a flat?? SHERLOCK Problem? JOHN
We don’t know a thing about each other. I don’t know your name . I don’t even know where we’re meeting! Sherlock looks at him, a tiny smile - he loves this part. SHERLOCK
I know you’re an army doctor and you’ve been invalided home from Afghanistan.
(MORE)
17.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK (cont'd)
I know you’ve got a brother with a bit of money who’s worried about you, but you won’t go to him for help because you don’t approve of him - possibly because he’s an alcoholic, more likely because he recently walked out on his wife. And I know that your therapist thinks your limp is psychosomatic - quite correctly, I’m afraid. That’s enough to be going on with, don’t you think?
John is staring at him. Utter astonishment. What? What?? Sherlock has turned on his heel, and is walking out the door. He turns SHERLOCK The name’s Sherlock Holmes and the address is 221b Baker Street. Afternoon. He goes. On John, slack-jawed. He turns to Mike. MIKE Yeah. He’s always like that. CUT TO: 21 John, sitting on the edge of the bed, thinking. Still a bit dazed. What kind of man has he just met?? New thought! He reaches inside his jacket pulls out his phone. On the phone screen, we see that he is checking his texts. Under SENT, the following: IF BROTHER HAS GREEN LADDER ARREST BROTHER. SH. John: stares at this. What? CUT TO: John, now at his laptop, typing... A search engine, and into the box he is typing... Sherlock Holmes. DISSOLVE TO: INT. JOHN’S BEDSIT - DAY
21
18.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
22
***SCENE DELETED***
22
Scene deleted
18A.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
23
***SCENE DELETED***
23
Scene deleted
24
***SCENE DELETED***
24
Scene deleted
25
EXT. RAILWAY STATION - DAY 25 A queue at a taxi rank. In the queue, shuffling along, Jennifer Wilson. She’s dressed in entirely in pink, and is talking on a pink-covered iPhone. JENNIFER One hour, I’ll be there. Honestly, I’ll be there. You get the drinks in. As shuffles forward in the queue, out of frame, we fade down to black.
19.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
Fading up on:
CUT TO:
26
INT. LAURISTON GARDENS - DAY 26 The pill bottle. It stands on bare floorboards. We hold on it for a moment ... ... then a pink-fingernailed hand reaches into shot, takes it... CUT TO:
27
EXT. BAKER STREET - DAY
27
The street sign: Baker Street. Panning to: 221B on a door. On John Watson, about to step forward, ring the doorbell. SHERLOCK (From off) Hi. John looks round. Sherlock has just climbed out of a cab, and is now paying the cabbie. JOHN Mr. Holmes! SHERLOCK Sherlock, please. JOHN Prime spot. Got to be expensive. He’s ringing the doorbell on 221b. SHERLOCK husband got himself sentenced to death in Florida. I was able to help out. John gives him on openly skeptical look. Who is this guy? JOHN You stopped her husband being executed. SHERLOCK Oh, no. I ensured it. Mrs. Hudson, the landlady. She’s giving me a special deal. Owes me a favour - few years ago, her
20.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
The door opens - Mrs. Hudson, a jolly lady in her middle years. MRS. HUDSON Sherlock! Joyously she throws her arms rounds Sherlock. CUT TO: 28 On the door, as it is opened. John steps into the room, looking around - Sherlock behind him. INT. 221B BAKER STREET/SITTING ROOM - DAY The room is fairly large and pleasant - and a dreadful mess. Stacks of newspapers, several computers, a tumble of box files along the shelves, books everywhere, a terrifying collection of what look like weapons, a skull on the mantlepiece. An adjoining kitchen, the table crammed with testubes and jars and bunsen burners. JOHN Well! This could be very nice. Very nice indeed. SHERLOCK Yes, I think so. My thoughts exactly. JOHN Soon as we get all this rubbish cleaned out. SHERLOCK So I went ahead and moved in. They look at each other. Oh! JOHN So, this is all -- SHERLOCK Obviously I can straighten things up a bit. JOHN That’s a skull SHERLOCK Friend of mine. Well I say friend ... Mrs. Hudson comes bustling in. MRS. HUDSON
28
What do you think, Dr. Watson - there’s another bedroom upstairs. (Knowing look) If you’ll be needing two bedrooms ...
John looks at her, a little affronted.
21.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
JOHN Well of course we’ll be needing two. MRS. HUDSON Oh don’t you worry, all sorts round here. Mrs. Turner next door’s got married ones. (Looking around) Oh, Sherlock, the mess you’ve made.
She bustles into the kitchen area, tidying as she goes. Sherlock is busying himself at his desk. John eyes him thoughtfully. After a moment: JOHN Looked you up on the Internet last night. SHERLOCK Anything interesting? JOHN Found your website - The Science of Deduction. SHERLOCK What did you think? JOHN You said you could identify a Yes. And I can read your military career in your face and your leg, and the drinking habits of your brother in your mobile phone. JOHN How? Mrs. Hudson has been bustling about, straightening up. She’s picked up a newspaper from the floor. MRS. HUDSON What about these suicides, then, Sherlock? Thought that would be right up your street. Three of them, exactly the same. That’s a bit funny, isn’t it? On Sherlock, staring, like he’s sensing something in the air. SHERLOCK software designer by his tie, and an airline pilot by his left thumb. SHERLOCK
Four. There’s been a fourth. And there’s something different this time.
22.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
MRS. HUDSON A fourth? How do you know? For answer, he points to the window. They look: a blue light is flashing outside - clearly a police car is parked below. Feet thumping on the stairs, and suddenly in the doorway -- DI Lestrade. SHERLOCK Where? LESTRADE Brixton. LauristonGardens. SHERLOCK What’s different about this one. You wouldn’t have come to get me, if there wasn’t something new. LESTRADE You know how they never leave notes? SHERLOCK Yeah. LESTRADE This one did. Will you come? Sherlock just looks at him. Tempted now, interested. SHERLOCK ... Who’s on Forensics? LESTRADE Anderson. SHERLOCK Anderson won’t work with me. LESTRADE He won’t be your assistant . SHERLOCK But I need an assistant. LESTRADE Will you come? SHERLOCK Not in a police car. I’ll be right behind you. LESTRADE Thankyou! A cursory nod at Mrs. Hudson, and John, and he’s gone.
23.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
John is thunderstruck - a cat at a tennis match. Mrs. Hudson just looks faintly knowing. And Sherlock lets a whoop of excitement. SHERLOCK Brilliant! He leaps right over the sofa, dashes to his desk, starts stuffing things in his pockets - his kit. SHERLOCK
And I thought it was going to be a boring evening. Serial suicides, and now a note - oh, it’s Christmas! (Dashes for the door) Mrs. Hudson, I’ll be late - might need some food. MRS. HUDSON I’m your landlady, dear, not your housekeeper. SHERLOCK
Something cold is fine. John make yourself at home - have a cuppa! Don’t wait up! And he’s bounded out the door. John looks after him, slightly bemused. He grabs the newspaper again. MRS. HUDSON (To John, sympathetic) Oh, look at him, dashing about? My husband was just the same. John is looking at the paper. Under the headline “Third ‘Suicide’ found” there’s a photograph. Closer on the photograph - a snatched picture of the man who just left (Lestrade). Panning down to the words “Inspector Lestrade, in charge of the investigation”. MRS. HUDSON But you’re more the sitting down type, I can tell. I’ll make you that cuppa, you rest your leg. A sudden flash of anger from John - he dashes down the paper. JOHN Damn my leg! She looks startled - John is instantly in raptures of apologies. JOHN I’m sorry, I’m so sorry, it’s just sometimes ... bloody thing.
24.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
MRS. HUDSON I understand, dear. I’ve got a hip. JOHN A cup of tea would be lovely, thank you. MRS. HUDSON (Heading for the door) Just this once, dear - I’m not your housekeeper. John is settling down on the sofa - disconsolate, annoyed at himself. JOHN Couple of biscuits too, if you’ve got them. MRS. HUDSON Not your housekeeper. John, sitting there, frowning: Sherlock Holmes - who the hell is he? Pulls his phone out his jacket, turns it over in his hand, examines it. And how did he do that? SHERLOCK (From off) You’re a doctor. John startles, turn. Sherlock is back, leaning in the doorway, looking at him thoughtfully. SHERLOCK In fact, you’re an army doctor. JOHN Yes. Sherlock is moving into the room, look hard at John, speculating. SHERLOCK Any good? JOHN Very good. John has found himself standing up - doesn’t quite know why, like there’s something momentous happening. And it’s almost like he’s standing to attention. SHERLOCK Seen a lot of injuries then. Violent deaths?
25.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
JOHN
Well, yes.
SHERLOCK Bit of trouble too, I bet. JOHN Of course, yes. Enough for a lifetime. Far too much. They stand facing each other for a moment. Sherlock, considering. John, not quite knowing what he’s waiting for, but it’s coming. SHERLOCK Want to see some more? JOHN (Blurts out of him) Oh, God, yes! SHERLOCK Get your coat. And he’s dashing for the door again -- -- John hesitates for a second -- -- and for the first time ever dashes after him. CUT TO:
29
INT. 221B BAKER STREET/EXIT STAIRS - DAY
29
Sherlock and John clattering down the stairs. Mrs. Hudson pokes her head out of the door at the foot of the stairs. JOHN Sorry, Mrs. Hudson, I’ll skip the cuppa - off out. MRS. HUDSON Both of you? SHERLOCK
Impossible suicides - four of them. No point in sitting at home when there’s finally something fun going on! MRS. HUDSON Look at you, all happy. It’s not decent.
26.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK Who cares about decent. The game, Mrs. Hudson, is on!
CUT TO:
30
EXT. BAKER STREET - DAY 30 Iconic moment as - for the first time - Sherlock Holmes and Dr. Watson come bursting out of that door. Sherlock is straight out into the street, yelling: SHERLOCK Taxi! CUT TO: 31 The Taxi roars along the London street, fast and furious, streetlights flashing past the windows. Sherlock is flicking through items on his PDA. SHERLOCK Okay, you’ve got questions! JOHN Where are we going? SHERLOCK Crime scene, next. JOHN Who are you? What do you do? SHERLOCK What do you think? JOHN I’d say you were a private detective but -- SHERLOCK But? JOHN The police don’t go to private detectives. SHERLOCK INT. TAXI - NIGHT
31
I’m a consulting detective. Only one in the world, I invented the job. JOHN What does that mean?
27.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK It means when the police are out of their depth - which is always - they consult me. JOHN But the police don’t consult -- Bites off the word. Sherlock looks sharply at him. JOHN Amateurs. Just the merest flash in Sherlock’s eyes: didn’t like that. SHERLOCK And whoosh! Flashback - the computer room. Bullet time, everything suspended, a 3D freeze frame - the moment where John is offering his phone to Sherlock. (We now cut in and out of this flashback, as required.) SHERLOCK (V.O.) I didn’t know. I saw . Whoosh! Close on Frozen John’s face. SHERLOCK (V.O.) Tanned face -- Whoosh! Now zooming down to John’s extended hand, proffering the phone. SHERLOCK -- but no tan above the wrists. You’ve been abroad but not sunbathing. Whoosh! Out to a wider shot of John. SHERLOCK Your haircut and the way you hold yourself says military - but your conversation as you entered the room -- Whoosh! We zoom over frozen John’s shoulder to: Flasback: Mike and John entering the room for first time: John and Mike coming into the room? When I first met you yesterday I said, Afghanistan or Iraq? You seemed surprised. JOHN How did you know?
28.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
JOHN Bit different from my day. MIKE You’ve no idea.
Whoosh! Back to frozen John. SHERLOCK (V.O.)
-- says you trained at Barts. So - army doctor. Obvious! Whoosh! To John’s hand, gripping on to the handle of his walking stick. SHERLOCK (V.O.)
Your limp is really bad when you walk, but you don’t ask for a chair when you stand, like you’ve forgotten about it - so it’s at least partly psychosomatic. That says the circumstances of the original injury were traumatising - wounded in action then.
In the cab:
SHERLOCK Wounded in action, a suntan. Afghanistan or Iraq? JOHN You said I had a therapist. SHERLOCK You’ve got psychosomatic limp, of
course you’ve got a therapist. Then there’s your brother -- Flashback. Whoosh! On Frozen John’s hand, zooming right on his phone. SHERLOCK (V.O.) Your phone. Expensive, email enabled, mp3 player - you’re looking for a flatshare, you wouldn’t waste money on this. It’s a gift then. Whoosh! Cranked up footage, the phone is handed to Sherlock. We freeze again. Whoosh! Closer on the phone. SHERLOCK (V.O.)
Scratches - not just one, but many over time. Been in the same pocket as keys and coins.
(MORE)
29.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK (cont'd)
The man in front of me wouldn’t treat his one luxury item like this, so there’s been a previous owner. Next bit’s easy - you know it already. JOHN (V.O.) The engraving. Whoosh! Super-fast, Sherlock flips the phone over -- Whoosh! Closer on the engraving. Harry Watson From Clara xxx SHERLOCK (V.O.)
Harry Watson - clearly a family member who’s given you his old phone. Not your father - this is a young man’s gadget. Could be a cousin, but you’re a war hero who can’t find a place to live - unlikely you’ve got an extended family, certainly not one you’re close to. So - brother it is.
In the cab: Sherlock has John’s phone in his hand now ... Flashback: super closer on engraving. We whoosh down to -- From Clara XXX SHERLOCK (V.O.) Now Clara, who’s Clara - three kisses says it’s a romantic
attachment, the expense of the phone says wife not girlfriend.
In the cab:
SHERLOCK She must have given it to him recently, this model’s only six months old. It’s a marriage in trouble then - six months on he’s just given it away. If she’d left him, he’d probably have kept the phone - people do, sentiment - but no, he wanted rid of it: he left her . He gave the phone to you - that says he wants you to stay in touch.
(MORE)
30.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK (cont'd)
You’re looking for cheap accommodation, but you’re not going to your brother for help - that says you’ve got problems with him. Maybe you liked his wife, maybe you don’t like his drinking -- JOHN How can you possibly know about the drinking? SHERLOCK Shot in the dark - good one though. The power connection.
Flash. We whoosh round the phone and zoom right in on the power connection. Tiny, barely perceptible little scuff marks round it. SHERLOCK (V.O.)
Tiny little scuff marks all round it - he plugs it in every night to recharge, but his hands are shaking. Never see those marks on a sober man’s phone, never see a drunk’s without them.
In the cab: He tosses the phone back to John. SHERLOCK
There you go, you see? You were right. JOHN I was right? Right about what? SHERLOCK The police don’t consult amateurs. Sherlock having made his point, returns to tapping away at his PDA. John is staring at him, a little gobsmacked. JOHN That was ... amazing. Sherlock glances at him - a little surprised, a little pleased. Like he’s not used to that reaction - and is really rather pleased by it. SHERLOCK Do you think so? JOHN Well, of course it was. It was extraordinary. Quite extraordinary.
31.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK That’s not what people usually say. JOHN What do they usually say? SHERLOCK Piss off.
CUT TO:
32
EXT. LAURISTON GARDENS - EVENING 32 On the cab as it slows to a halt. Panning from it to: One of the houses has a little cluster of police vehicles outside of it - uniformed officers going in and out. Sherlock and John, now climbing out of the cab -- SHERLOCK Did I get anything wrong? JOHN Harry and me don’t get on, never have. Clara and Harry split up three months ago, they’re getting a divorce. Harry’s a drinker -- SHERLOCK Spot on, then! Didn’t expect to be right about everything. JOHN -- Harry is short for Harriet. SHERLOCK ... Harry’s your sister . John has faltered to a halt, staring at the cluster of police vehicles. JOHN Look, what exactly am I supposed to be doing here. SHERLOCK Your sister . JOHN No, seriously, why am I here? SHERLOCK There’s always something! They’ve been walking towards the crime scene house -- Closer now: so bleak and real. A tape cordon, and blocking their path --
32.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
-- Sally Donovan. Watching Sherlock as he approaches, bleak and cynical. He comes to a halt in front of her. They clearly know each other. SALLY Hello Freak. SHERLOCK I’m here to see Detective Inspector Lestrade. SALLY Why? SHERLOCK I was invited. SALLY Why? SHERLOCK I think he wants me to take a look. SALLY Well you know what I think, don’t you. SHERLOCK Always, Sally. I even know you didn’t make it home last night. Just looks at him, dead-eyed, used to this. She looks to John, who’s just standing there, so out of place. SALLY Who’s this? SHERLOCK
Colleague of mine, Dr. Watson. Dr. Watson - Sergeant Sally Donovan. Old friend. SALLY A colleague, how’d you get a colleague?? Did he follow you home? JOHN Look, would it be better if I just - - SHERLOCK No!
Sally has raised her walkie-talkie. SALLY
Freak’s here. Bringing him in.
33.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
She turns, starts leading them both up the garden path.
33A.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
On Sherlock: expertly scanning the front of the house. On John: clocking this, looks at the house. -- dark, abandoned. Not too rundown, but cold and empty. And then Sherlock, turns, looks up and down the street. Through the front door, Anderson. He glowers at Sherlock. SHERLOCK Anderson! Here we are again. ANDERSON It’s a crime scene. I don’t want it contaminated. We clear on that? SHERLOCK And is your wife away for long? ANDERSON ... Don’t pretend you worked that out. Someone told you that! SHERLOCK Your deoderant told me that. ANDERSON My deoderant?? SHERLOCK It’s for men -- ANDERSON Of course it’s for men, I’m wearing it! SHERLOCK So’s Seargent Donovan. A quick panicked look between Sally and Anderson. SHERLOCK
Oh! And I think it just vapourised! May I go in? ANDERSON (Red-faced blustering) You listen to me, okay. Whatever you’re trying to imply -- SHERLOCK I’m not implying anything - I’m sure Sally just came round for a lovely little chat, and happened to stay over. (Glances at her) And I assume scrubbed your floors, going by the state of her knees --
34.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
ANDERSON Right, just go in, just go! Anderson glowers at him. Then stands aside. Sherlock sweeps in. John, bemused, follows. Into -- CUT TO: 33 A dark, narrow hallway, peeling wallpaper. The corridor leads to an open door at the end, where DI Lestrade stands, waiting for them. He’s now in full crime scene gear. LESTRADE I can give you two minutes. SHERLOCK I may need longer. Sherlock is already confidently striding past Lestrade, into the kitchen. CUT TO: INT. LAURISTON GARDENS/HALLWAY - NIGHT INT. LAURISTON GARDENS/KITCHEN - NIGHT 34 A grimy disused kitchen - there’s a couple of uniformed policemen, this room been set up as an operations base for the investigation. Sherlock tosses a crime scene coverall to John. SHERLOCK You’ll need to put this on. Lestrade is looking at John - bemused, pissed off. LESTRADE Who is this? SHERLOCK He’s with me. John starts pulling on the coverall - a beat as he registers that Sherlock is making no move to do the same. LESTRADE But who is he? SHERLOCK I told you - he’s with me. JOHN (Indicating his coverall) Aren’t you going to - ? Sherlock chills him with a look.
33
34
35.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK
So where are we?
35A.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
LESTRADE
Upstairs.
CUT TO:
35
INT. LAURISTON GARDENS/STAIRCASE - NIGHT 35 Lestrade, Sherlock, John, climbing the stairs. (Sherlock is the only one not wearing coveralls - no one ever refers to this or questions him on it.) LESTRADE
Jennifer Wilson, according to her credit cards - we’re running them now for contact details. Hasn’t been here long - some kids found her.
CUT TO:
36
INT. LAURISTON GARDENS/UPSTAIRS ROOM - NIGHT
36
They enter. The room around them, dark, sombre, peeling wallpaper. And in the centre, a slash of pink. A woman in a a bright pink coat, and pink shoes, lies dead, sprawled face down. On John - the sight brings him up short, shocks him. On Sherlock - in his element now, eager, like a bloodhound, almost quivering. SHERLOCK Shut up! LESTRADE Didn’t say anything. SHERLOCK You were thinking . It’s annoying. An exchange of glances between Lestrade and John. Lestrade rolls his eyes, used to this. But John is fascinated - what the hell is Sherlock doing? On Sherlock. Stepping to the body, eyes flicking, absorbing every detail. Sherlock’s POV. A blizzard of details - fast, close. Close on outflung hand. The wedding and engagement ring. The word MARRIED pulses across the screen - just appears, floats, fades.
36.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
Panning along the outflung hand. She has scratched a word with with her fingernail into the wood of the floorboards...
36A.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
RACHE. The words LEFT-HANDED pulse, float, fade - very fast, a glancing thought. Now close on the scratched word RACHE. Floating on the screen: Rache: German (n.) revenge. (This set out like dictionary entry, like he’s remembering it.) Close on Sherlock’s eyes - narrow slightly, not happy with that. The words scatter and vanish - now just the word RACHE - but different letters are being added to the end of it, spinning past, fruit machine style. Settling on: RACHEL. Now he’s kneeling by the body. Runs a hand over the coat, looks at his gloved fingers. The word WET pulses across the screen ... Pulls a fold-away umbrella from her pocket (this is white) ... DRY pulses across the screen. These words appear and fade, different parts of the screen, different fonts, different colours (pink for the coat, white for the umbrella.) Now he slides a hand under her collar, checks his fingers. WET. (Pink) He’s now quickly going through her jewellery - necklace, earrings, bracelet. CLEAN, CLEAN, CLEAN, in gold, pulsing and fading in different parts of the screen. Now her wedding and engagement ring, DIRTY. A mottled gold. The word MARRIED reappears, then the word UNHAPPILY blips in front of it. He’s using his magnifying lens on the rings now. After the words UNHAPPILY MARRIED the word YEARS appears, and in he space between, fruit machine numbers are now spinning past, settling on 10+. Through the lens, so close on the rings. He’s pulling them from the flesh of the finger, examining the interior curve of the ring - it is slightly brighter than the exterior. Turns the ring again to the exterior. Over this the word
DIRTY appears, again in mottled gold. Turns the ring back to the interior.
37.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
The word CLEAN appears, in brighter gold, next to the word DIRTY. Then the word CLEAN, in brighter gold, appears next to it. Then the word CLEAN spins fruit machine style to become REGULARLY and the word DIRTY spins to become REMOVED (the extra letters just appear at the sides.) As the words vanish, Sherlock looks at the dead woman’s face. Smirks. On the woman’s face. The words SERIAL ADULTERER appear below
it, like an accusation. Sherlock straightens up.
LESTRADE
Got anything.
SHERLOCK
Not much.
ANDERSON
(From off) She’s German. They glance round. Anderson is observing, sardonically, from the doorway. ANDERSON Rache is German for Revenge. She could be trying to tell us something. Sherlock is tapping away at his PDA, doesn’t even glance at him. SHERLOCK Yes, thank you for your input. Without looking up, he reaches over and closes the door neatly in Anderson’s face. LESTRADE She’s German. SHERLOCK
Of course, she’s not German. She’s from out of town though. Planned to spend a single night in London, before returning home to Cardiff. So far, so obvious. JOHN Sorry, obvious? LESTRADE What about the message though?
38.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK Dr. Watson, what do you think? JOHN Of the message? SHERLOCK Of the body, you’re a medical man. LESTRADE We have a whole team right outside - - SHERLOCK They won’t work with me. LESTRADE I’m breaking every rule letting you in here. SHERLOCK Yeah. Cos you need me. Lestrade glowers for a moment. But it’s true, damn it! LESTRADE Yes, I do. God help me. He turns, strides across the room, leans his back against the wall. He glowers at Sherlock: do your worst. John: cat at a tennis match, looking between the two antagonists. SHERLOCK Dr. Watson! He gestures John towards the body. On John: what? On Sherlock: a quick, imperious nod - do it! John, uncertain, looks to Lestrade. LESTRADE Oh, do as he says, help yourself. And John finds himself, stepping forward, kneeling by the body. Across from him, also kneeling, Sherlock is watching him intently. SHERLOCK Well? JOHN (A whisper - so Lestrade can’t hear) What am I doing here?
39.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK (Also a whisper) Helping me make a point.
He flicks his eyes at Lestrade. JOHN
I’m supposed to be helping you pay the rent ! SHERLOCK Yeah, this is more fun. JOHN Fun?? There is a woman lying dead ! SHERLOCK Perfectly sound analysis, but I was hoping you’d go deeper. On John: stung! Then he gets to work. Bends over her, sniffs her mouth. JOHN
Asphyxiation probably. Passed out, and choked on her own vomit. Can’t smell any alcohol on her - could’ve been a seizure, possibly drugs. SHERLOCK You know what it was, you’ve read the papers. JOHN She’s one of the suicides. The fourth one. LESTRADE Sherlock, two minutes I said. Need anything you’ve got. SHERLOCK Victim is in her late forties. Professional person going by her clothes - I’d guess something in the media, going by the frankly alarming shade of pink. She’s travelled from Cardiff today, intending to stay for one night - that’s obvious from the size of her suitcase -- LESTRADE Suitcase? SHERLOCK Suitcase, yes. She’s been married for at least ten years, but not happily. She’s had a string of lovers, but none of them have known she was married --
40.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
LESTRADE For God’s sake. If you’re just making this up ... SHERLOCK The wedding ring, ten years old at least. The rest of her jewellery has been regularly cleaned, but not her wedding rings - state of her marriage, right there. The inside of the rings are shinier than the outside - that means they’re regularly removed; the only polishing they get is when she works them off her finger. It’s not for work - look at her nails, she doesn’t work with her hands - so what, or rather who , does she remove her rings for? Clearly not one lover - she’d never sustain the fiction of being single over time - so more likely a string of them. Simple! JOHN (Scribbling away) Brilliant!
Sherlock and Lestrade look at John. JOHN Sorry! LESTRADE Cardiff? SHERLOCK Obvious, isn’t it? JOHN Not obvious to me. SHERLOCK
Dear God, what’s it like in your funny little brains, it must be so boring . Her coat! They look to her coat, clearly seeing nothing. SHERLOCK It’s slightly damp - she’s been in heavy rain within the last few hours. No rain anywhere in London in that time. (Feeling at her coat)
Under her coat collar is damp too. She turned it up against the wind! She’s got an umbrella in her left pocket but it’s unused and dry. Not just wind, strong wind - too strong to use her umbrella.
(MORE)
41.
A STUDY IN PINK SHOOTING SCRIPT - GREEN AMENDED 18/04/10
SHERLOCK (cont'd)
We know from her suitcase that she’s staying over night so she must have a come a decent distance. But she can’t have travelled more than two or three hours, cos her coat hasn’t dried. So where has there been heavy rain and strong wind within the radius of that travel time? (Holds up PDA) Cardiff. JOHN Fantastic!
Again, Lestrade and Sherlock look at him. SHERLOCK Do you know you do that out loud? JOHN ... sorry, I’ll shut up. SHERLOCK No, it’s fine. LESTRADE Why do you keep saying suitcase? SHERLOCK
Yeah, where is it? She must have a phone or an organiser - we can find out who Rachel is. LESTRADE She was writing Rachel? SHERLOCK No, she was leaving an angry note in German - of course she was writing Rachel. No other word it can be. Question is, why did she wait till she was dying to write it... LESTRADE How do you know she had a case? SHERLOCK Back of her right leg. Tiny splashes on the heel and calf, not present on the left. She was dragging a wheeled suitcase behind her, with her right hand - you don’t get that splash pattern any other way. Smallish case, going by the spread. Case that size, woman this clothes-conscious - could only be an overnight bag. So we know she was staying one night. Now where is it - what have you done with it?
42.
Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108 Page 109 Page 110 Page 111 Page 112 Page 113 Page 114 Page 115 Page 116 Page 117 Page 118 Page 119 Page 120 Page 121 Page 122 Page 123 Page 124 Page 125 Page 126 Page 127 Page 128 Page 129Made with FlippingBook flipbook maker