He'll be talking to a guy named Mr. Samuels, played by Prez from The Wire. He recognizes the picture of the victim, a Miss Tully. Holmes says she was a secretary where Samuels was a custodial engineer. Holmes's theory is that the murderer must have studied the platform ahead of time because he clearly knew where the security cameras were. So he checked the earlier security recordings. And ten days before the pushing, Miss Tully was followed around by Mr. Samuels. He was discreetly recording her with a camera. Samuels denies having a record, but Gregson says he was arrested for stalking. Why would you lie about having a police record in the middle of a police station? They have computers now! Gregson says that Samuels is about the right height and weight to be the pusher. He says he'd never hurt her. He admits that he was there and in disguise, but it was a hat and scarf, not a hood and sunglasses. Plus, he can prove that he didn't push her because he's got video of it! This is exactly like the blackmailer who was able to prove his alibi because he was recording his neighbors having sex. I'd like to see a little more variety in getting from one plot point to the next.
Holmes studies the video from Samuels's phone. He says that Samuels could have hired a crazy associate, but it seems unlikely. The new camera angle isn't helping identify the pusher. It also doesn't let them get a good look at the patch on his jacket, which Gregson never even noticed. Watson calls. She's just watching Drew not do anything. He hasn't left the gallery all day. Yeah, surveillance is boring. Holmes says it's important to track footsteps. Also, Watson has once more forgotten about her date with Emily, which even Holmes knew was important to her. So Alfredo is standing by, ready to relieve her.
Holmes returns to the video. Holmes notes that the violinist in the background (from the very beginning of the episode!) is playing Paganini, which he can tell from the fingering. And he stops in the middle of the movement to leave. Why? Holmes explains, "He sees our pusher. He knows him. He might even have known what he was about to do." So there's a new lead!
Watson gets to the bar. Emily is there! I was hoping she was planning to ditch Watson to teach her a lesson. Hope and Ken are also there. They're the married couple who were at the restaurant scene six months ago. I didn't mention them by name back then. Emily has been talking to Watson's mother and wants to cause trouble about her being a detective. It's not an official intervention, but it's some friends expressing concern about Watson making apparently crazy career decisions. Is it not normal for a sober companion to become the apprentice of the crazy addict she's trying to help? Emily thinks Watson has seemed lost ever since she stopped practicing medicine. She uses words like "gumshoe" and "private eye," which is fun. Watson goes to leave. Alfredo texts her "White dude on the move," and I like the idea that he has no interest in learning the name of the target. Emily says, "I know you. And I know you're not a detective." Watson's confidence is shaken.