Elementary - The Secret in the Stars
INT. BROWNSTONE - DAY
Sherlock is researching at his desk, while Joan is in the kitchen preparing some tea.
SHERLOCK
(without looking up)
Have you heard about the platinum-iridium meteors, Watson?
JOAN
You mean the space rocks worth millions?
SHERLOCK
(smiling)
Precisely. They're making headlines recently.
The phone rings. Sherlock swiftly answers it.
SHERLOCK (CONT'D)
Holmes. Yes, Captain. We'll be right there.
(phone beeps)
A murder scene, Watson. Time to get moving.
INT. MANHATTAN APARTMENT - DAY
A dead man lies by the telescope, his face in horror. Captain Gregson, Detective Bell, Sherlock, and Joan are overlooking the scene.
CAPTAIN GREGSON
Meet Victor Neville, stargazer and part-time professor. Neighbors heard a commotion and called the police.
JOAN
Looks like he was attacked from behind.
SHERLOCK
(intrigued)
Quite right, Watson. But there's something off about this.
Bell holds up a meteorite in a plastic evidence bag.
DETECTIVE BELL
We found this in his hand.
SHERLOCK
(encouraged)
The platinum-iridium meteorite. This case just got a lot more interesting.
Captain Gregson narrows his eyes at Neville's open laptop.
CAPTAIN GREGSON
It seems our victim was researching the platinum-iridium meteors.
SHERLOCK
The murder wasn't random, then. What did you find on his research, Captain?
CAPTAIN GREGSON
Still deciphering it. Seems like there's a secret group involved in trading these meteors.
Sherlock starts examining the apartment.
SHERLOCK
(off-screen)
Watson, take a look at this!
Joan walks over to Sherlock, who has found a hidden wall safe.
JOAN
Did you find something?
SHERLOCK
I'm staking my reputation on it being a clue. It's locked, but...
Sherlock uses his lock-picking tools to open the safe, revealing a small velvet pouch filled with platinum-iridium meteor fragments.
SHERLOCK (CONT'D)
Our killer was after these, obviously.
As Sherlock investigates further, the screen fades to black.
TO BE CONTINUED
Elementary: The Sound of Silence
INT. BROWNSTONE - LIVING ROOM - DAY
JOAN WATSON is seated at the table, looking through OLD CASE FILES, while SHERLOCK HOLMES is practicing playing the VIOLIN.
WATSON:
You know, Sherlock, it would be much easier to focus on this if you'd practice some other time.
SHERLOCK: (smirking)
But where's the fun in that, Watson? It's said that some of the best minds in history thrived in chaos.
WATSON: (sarcastically)
Oh, pardon me for wanting some peace and quiet.
As they continue their banter, the DOORBELL RINGS.
INT. BROWNSTONE - ENTRYWAY - DAY
Sherlock opens the door to find CAPTAIN THOMAS GREGSON and DETECTIVE MARCUS BELL.
SHERLOCK:
Captain, Detective... do we have a case?
GREGSON:
We might. We've got a murder, but we're not sure if it's a single event or the beginning of something bigger.
INT. BROWNSTONE - LIVING ROOM - DAY
The four gather around the table, and Detective Bell places a CRIME SCENE PHOTO in front of the group showing a DEAD BODY with his HANDS COVERING HIS EARS.
BELL:
Found this guy in an abandoned warehouse. No prints, no witnesses. The odd part is, the cause of death appears to be an intense soundwave.
WATSON: (confused)
Death by sound? How is that even possible?
SHERLOCK: (thinking)
It's not entirely impossible. It's said that sounds at certain frequencies can cause physical damage. Quite fascinating, actually.
GREGSON:
Well, it's now your fascination. We're officially at a standstill, so it's all yours.
INT. ABANDONED WAREHOUSE - DAY
Sherlock, Watson, Gregson, and Bell arrive at the warehouse. DEAD BODY STILL LAYS in place, the room is filled with SOUND EQUIPMENT.
SHERLOCK: (looking at the equipment)
All this equipment - it appears our victim might've been using the soundwaves as a weapon of some kind.
WATSON: (looking at the victim)
But why would he kill himself with his own weapon?
SHERLOCK: (smirking)
Ah, Watson... that's what we're here to find out.
Sherlock starts examining the SOUND EQUIPMENT, studying how it's wired, and following their path around the warehouse. Watson examine the area surrounding the DEAD BODY.
As Sherlock continues to follow the trail, he notices a SMALL, ALMOST INVISIBLE SCRATCH on one of the SOUND PANELS.
SHERLOCK: (calling out)
Watson! Found something interesting over here.
Watson, Gregson, and Bell join Sherlock.
WATSON: (looking at the scratch)
That's it? That could've been made by anything.
SHERLOCK: (smirking)
Indeed, but I'd wager this was made deliberately. I believe this scratch represents a Morse code...
BELL: (in disbelief)
Morse code? Really?
SHERLOCK: (nodding)
Really. And if I'm correct, it's only the beginning of a message... and we need to find the rest of it.
TO BE CONTINUED
Elementary: The Art of Deception
INT. BROWNSTONE LIVING ROOM – DAY
Sherlock Holmes is seated in one corner of the room, meticulously sorting through stacks of papers on a table. Dr. Joan Watson enters the room, yawning.
WATSON: Morning, Sherlock. What are you working on?
SHERLOCK: Good morning, Watson. I've been examining some fraud cases in New York City that have gone unsolved for the past six months.
WATSON: Anything interesting?
SHERLOCK: Indeed. They all involve high-value art forgeries, and exhibit several patterns suggesting they may be the work of the same forger.
WATSON: So, we have a new case?
SHERLOCK: If history is any indicator, yes. Prepare for a stimulating day!
EXT. NYPD 11TH PRECINCT – DAY
Sherlock and Watson meet with Captain Gregson and Detective Bell at the precinct.
CAPTAIN GREGSON: Holmes, Watson, we got a case for you. A man named Nathan Hirsch was found dead at his gallery early this morning.
DETECTIVE BELL: The initial evidence suggests it was a robbery gone wrong.
SHERLOCK: But what if it was art forgery related?
CAPTAIN GREGSON: We'll certainly consider that. You two investigate the crime scene and report back with any findings.
EXT. GALLERY – DAY
Sherlock, Watson, Bell, and Gregson are at the crime scene, examining Hirsch's body and evidence.
SHERLOCK: The victim appears to have been struck in the back of the head by a blunt weapon, likely a marble sculpture we found resting against the wall.
WATSON: There's significant bruising on the victim's hands, likely due to a struggle.
DETECTIVE BELL: You think this was personal, Sherlock?
SHERLOCK: It doesn't align with the previous art forgery cases I've been examining. Still, notice the shattered glass display and empty space among the artworks.
WATSON: So, someone might have indeed stolen a piece of art during the crime.
CAPTAIN GREGSON: You two look further into that angle. We'll keep working the robbery angle.
INT. HIRSCH'S STUDIO – DAY
Sherlock and Watson search Hirsch's workspace, examining his artwork and tools.
WATSON: The studio is filled with paintings, but there's a gap on this workbench. Perhaps something was removed recently?
SHERLOCK: (inspecting the brushes) The victim used high-quality materials to create his genuine artwork, but these low-grade materials show that something sinister was afoot.
WATSON: A forgery?
SHERLOCK: Quite possibly. Furthermore, I found this list of clients among the victim's possessions. He had a number of esteemed clients, who would pay handsomely for his artwork... genuine or not.
WATSON: We should look into these clients and see if there's a connection to the stolen art.
SHERLOCK: Agreed. And there's still one more thing that bothers me. I have a hunch this may be more than just forgery and theft.
TO BE CONTINUED
Elementary - The Sound of Silence
INT. BROWNSTONE - DAY
Sherlock HOLMES and Dr. Joan WATSON sit at the breakfast table, deep in thought, attempting to solve a crossword puzzle together.
WATSON
A ten-letter word for 'quiet and uncommunicative'.
HOLMES
Reticent.
Watson fills in the blank spaces in the puzzle.
WATSON
That fits perfectly. This one is—
Holmes' phone rings, interrupting Watson. He answers.
HOLMES
Detective. What do you have for us today?
DETECTIVE BELL (V.O.)
I've got a double homicide in Midtown. Need your expertise.
HOLMES
We'll be there shortly.
Holmes hangs up and faces Watson.
HOLMES (CONT'D)
A case, Watson. I hope you're ready to dive into the intricacies of the human psyche once more.
WATSON
Always.
EXT. MIDTOWN CRIME SCENE - DAY
A crime scene has been set up in an alley. DETECTIVE BELL, CAPTAIN GREGSON, Holmes and Watson stand around the two victims. Both appear to be males in their early 30s.
GREGSON
We've got two victims, both shot at close range. No bullet casings in the area.
Holmes brushes past Gregson, kneeling by the bodies. He examines them carefully.
HOLMES
The proximity of the bullet holes suggest a silenced weapon. Look at the gunshot wounds.
Watson nods, observing the bodies.
WATSON
But why would the killer need a silencer in an area like this?
Holmes stands up and examines the surrounding area.
HOLMES
Indeed. There's something deeper. I suggest we split up and search for witnesses or security footage.
DETECTIVE BELL
Sounds good. I'll head that way.
Bell, Gregson, and Watson split up to search for clues. Holmes, however, stares at the bodies intently.
HOLMES
(to himself) The sound of silence. Clever.
INT. BROWNSTONE - DAY
Sherlock and Watson pour over security footage they found in a nearby shop.
WATSON
Can you freeze it there?
Holmes pauses the footage at a figure in a hood and gloves, grabbing the arm of one of the victims.
HOLMES
Look at the way the perpetrator grips the victim's arm. Familiar, isn't it?
WATSON
It's a specific joint lock technique. Are you suggesting our shooter is proficient in martial arts?
HOLMES
I dare say it narrows our suspect pool substantially.
As they continue to study the footage, they're interrupted by a knock at the door.
WATSON
Who could that be?
As Holmes opens the door, they're confronted by a visibly distraught woman in her early 40s.
WOMAN
I've got a situation... and you might be the only ones who can help me.
Sherlock and Watson exchange a curious glance.
TO BE CONTINUED.
Elementary: The Mysterious Chamber
INT. BROWNSTONE - LIVING ROOM - DAY
Sherlock, sitting at a cluttered table, browses through an old manuscript. Watson enters, holding a steaming cup of coffee.
WATSON
Morning, Sherlock. What do you have there?
SHERLOCK
A curious case from 1886. A man was found dead in a sealed chamber. All the evidence suggests foul play, but there were no visible signs of forced entry.
WATSON
Interesting. Any connection to a current case?
SHERLOCK
No, but I enjoy the riddles history presents. Fetch my microscope, would you?
Watson hands Sherlock his microscope.
INT. NYPD - CAPTAIN GREGSON'S OFFICE - DAY
Captain Gregson is on the phone.
GREGSON
(On the phone)
Yes, we need Holmes and Watson on this case. The victim was found in a locked chamber. Sound familiar?
INT. BROWNSTONE - LIVING ROOM - DAY
Sherlock and Watson enter, just back from the crime scene.
WATSON
So, it's another locked-room mystery.
SHERLOCK
Indeed. A thought-provoking challenge. The similarities to the 1886 case are uncanny.
WATSON
But it can't be a coincidence, can it?
SHERLOCK
I'm not one for superstition, but we shall see. First, let's examine the evidence.
INT. BROWNSTONE - KITCHEN - DAY
Sherlock and Watson analyze the evidence gathered from the crime scene.
SHERLOCK
The murder weapon was of the same make and model as the one used in 1886. The victim discovered something about that case, and the killer wanted it silenced.
WATSON
So, we're looking for a motive that spans over a century?
SHERLOCK
Precisely. Begin researching descendants of those involved in that case.
WATSON
You think the motive is connected to the family?
SHERLOCK
It's a possibility we cannot ignore.
INT. BROWNSTONE - LAB - NIGHT
Sherlock suddenly stands up.
SHERLOCK
The technique! It's the same one used in 1886. The killer has an encyclopedic knowledge of both the case and the methods used.
WATSON
So, the killer is someone who's been studying the old case as well?
SHERLOCK
Seems so. What did your research turn up?
WATSON
Three main suspects. All of them descendants of those involved in 1886.
SHERLOCK
Good work, Watson. Let's arrange a meeting with them tomorrow.
TO BE CONTINUED
The Art of Deception
EXT. NEW YORK CITY STREET - DAY
Establishing shot of New York City. Busy street filled with people and cars.
INT. BROWNSTONE - DAY
Sherlock Holmes (SHERLOCK) enters the living room, holding an enlarged photograph of a VAN GOGH PAINTING. Joan Watson (JOAN) sits at the table, drinking coffee and looking through the morning newspaper.
SHERLOCK
You've noticed the news about the theft at the Whitley Museum, I presume?
JOAN
(Taking a glance at the photograph)
Another Van Gogh? This is the third time in six months.
SHERLOCK
Yes. But this time, our thief has made a mistake. Observe the painting carefully.
JOAN
The brushstrokes seem a little off to me. But I'm no expert.
SHERLOCK
Exactly. I suspect this photograph captures an elaborate forgery, just waiting to be sold in the underground market. The original, meanwhile, remains hidden.
INT. WHITLEY MUSEUM - DAY
Sherlock and Joan meet with the CURATOR of the museum, a middle-aged woman with glasses. They examine the empty frame where the painting was once displayed.
CURATOR
We've never had an issue like this before. Three valuable paintings, stolen right under our noses. I don't understand how they're doing it.
SHERLOCK
Rest assured, it's not a ghost. Whoever's stealing these masterpieces has perfected the art of deception.
INT. BROWNSTONE - DAY
Sherlock and Joan return to their living room, examining the photos of the three stolen paintings on a table.
JOAN
So you think there is a connection between these forgeries and the real thefts?
SHERLOCK
The forgeries are mere distractions. Our real thief is hiding in plain sight, posing as an art conservator.
JOAN
You mean someone from the museum?
SHERLOCK
It's too soon to tell, but we must consider every possibility.
INT. ART RESTORATION STUDIO - DAY
Sherlock and Joan arrive at the studio, where they meet the MASTER FORGER, an old man with a gray beard and a magnifying glass over one eye.
SHERLOCK
We appreciate your cooperation, sir. We need your expertise to examine these forgeries.
MASTER FORGER
Anything to help catch the imitator. Van Gogh is a delicate artist to replicate. A single mistake can reveal the façade.
The Master Forger closely examines the photos.
MASTER FORGER
These are indeed forgeries. I can trace the errors in brushstrokes and colors. But I must say, they are some of the finest reproductions I've ever seen.
He hands Sherlock the photos as they leave.
INT. BROWNSTONE - NIGHT
Sherlock and Joan are at the table, reviewing photographs of the museum's staff and information about their backgrounds.
JOAN
I've done background checks on all the conservators at the museum. Nothing suspicious found.
SHERLOCK
We must dig deeper. The thief would have left a trail, no matter how elusive.
As the night progresses, they find a surprising piece of information.
INT. BROWNSTONE - DAY
Joan finds an article on the curator's past.
JOAN
Sherlock, I think I found something. It says here that the curator previously worked at an auction house of disputed reputation. She was accused of selling forged paintings twice.
SHERLOCK
An excellent catch, Watson. One couldn't say it's too coincidental. We must confront her at once.
INT. WHITLEY MUSEUM - DAY
Sherlock and Joan meet with the Curator in her office.
CURATOR
I admit that I had a controversial past. But that's all behind me now. My work at the Whitley is legitimate and reputable.
SHERLOCK
The evidence suggests otherwise. You would have the perfect access to the stolen masterpieces.
JOAN
And the motive to profit under the cover of forgeries. We would ask that you give us complete access to the museum.
The Curator hesitates, then finally agrees.
INT. WHITLEY MUSEUM - NIGHT
Sherlock and Joan scour the museum.
SHERLOCK
The original paintings must be concealed somewhere within these walls...
As they search, they discover a hidden door in the conservation department. They open the door to reveal a small room filled with conservators' tools, as well as the stolen paintings.
JOAN
We found them! What now?
SHERLOCK
Now, we lay a trap for our thief.
CUT TO BLACK.
TO BE CONTINUED.
Elementary: The Cryptic Collector
EXT. NEW YORK CITY STREET - DAY
A bustling New York City street. People are walking, some talking on their phones, others enjoying their morning coffee. The camera sweeps to the entrance of a large gallery which has a GRAND OPENING sign.
INT. ART GALLERY - DAY
Sherlock leads Watson through the gallery, admiring the artwork on display. They are discussing their latest case.
SHERLOCK: The victim was strangled using an uncommonly found rope. This narrows down our list of suspects significantly.
WATSON: Right, but we still have to connect one of them to the murder weapon.
SHERLOCK: Indeed, Watson. That is exactly what we shall do.
They approach the gallery owner MARGARET, who is in her late 50s, well-dressed, and standing next to a peculiar painting.
MARGARET: Ah, Mr. Holmes, Dr. Watson. Welcome to my gallery's grand opening.
SHERLOCK: Thank you, Margaret. I see you have a new acquisition.
MARGARET: Yes, that is true. This peculiar piece was sold to us by an anonymous collector. It has sparked quite the curiosity among art enthusiasts.
Watson looks at the painting - a still life with a hidden message within the brush strokes.
WATSON: What's the hidden message?
Margaret smiles and turns to Sherlock.
MARGARET: It's said that whoever decodes the message will unlock the whereabouts of the Collector's hidden vault, rumored to be filled with priceless treasures.
Sherlock's eyes narrow as he examines the painting.
SHERLOCK: Interesting. Shall we find out?
As Sherlock examines the painting, a DISTRESSED WOMAN rushes into the gallery.
DISTRESSED WOMAN: Help! Please, someone help me! My brother is missing!
Margaret rushes to her side.
MARGARET: Calm down, dear. We are here to help. Mr. Holmes, Dr. Watson, can you assist her?
WATSON: Of course. What's the matter?
The woman, GINA, in her late 20s, takes a breath before speaking.
GINA: My brother Michael works for an auction house. He was supposed to deliver a rare artifact to the Met last night, but he never made it. His car was found abandoned nearby.
Sherlock shares a concerned look with Watson.
SHERLOCK: That doesn't sound like a happy coincidence now, does it?
He turns to Gina.
SHERLOCK (CONT'D): Miss, we will find your brother. Watson, let's investigate.
As they leave, Sherlock takes one last look at the mysterious painting.
EXT. ABANDONED CAR - DAY
Sherlock and Watson approach the car, studying the scene.
WATSON: This is Michael's car. There's no sign of a struggle or forced entry.
SHERLOCK: Let's not overlook the obvious. His belongings are strewn everywhere. This was not an accident.
WATSON: So, you think Michael was taken forcibly?
SHERLOCK: It would appear so. But by whom? And perhaps, more importantly, why?
They continue to investigate. Sherlock finds a business card under the car.
SHERLOCK (CONT'D): Watson, look at this. It belongs to a private collector. I believe this is our link between Michael, the missing relic, and the mysterious painting.
WATSON: So, you think the Collector may be responsible for Michael's disappearance?
SHERLOCK: We may be dealing with an obsessed and dangerous criminal. This may be the key to unraveling the mystery of the hidden vault and retrieving the priceless art.
Close up on Sherlock's face as he speaks.
SHERLOCK (CONT'D): We must stay one step ahead at all times. We have much work to do.
TO BE CONTINUED.
