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Teaser Act 1 Act 2 Act 3 Act 4 Act 5
Episode #VS712


Long Way Down

Crossing Jordan Virtual Season 7

“Long Way Down”

“Crossing Jordan Virtual Season 7” is a fan-based effort not intended to infringe on the rights of Tailwind Productions, NBC/Universal or any of the other copyright holders of “Crossing Jordan.” No money was made from the writing or posting of any content.

DRAMATIS PERSONAE


Jordan Cavanaugh
Woody Hoyt
Garret Macy
Nigel Townsend
Kate Switzer
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Lily Lebowski

Lois Carver
Matt Seeley
Uniformed Cop
Officer Steve Verdi
Derek “D-Con” Conrad
Lawyer
Little Girl
Jazzercizing Granny
Maid
Mrs. Poodle
Mr. Poodle
Meg Carley
David Antonelli

SET LIST


INTERIORS
THE MORGUE
   AUTOPSY ONE
   TRACE
   JORDAN’S OFFICE
   BREAK ROOM

WOODY’S APARTMENT
   BEDROOM
   BATHROOM

PRECINCT
   HALLWAY
   INTERROGATION ROOM

LORNA CARLEY’S APARTMENT BUILDING
   LORNA’S APARTMENT
   ELEVATOR
   LOBBY

HIGHRISE APARTMENT BUILDING
   VARIOUS APARTMENT DOORWAYS
   POODLE APARTMENT

EXTERIORS
ALLEY

HIGHRISE APARTMENT BUILDING
   ROOFTOP

MORGUE
   ROOFTOP

CEMETERY
   GRAVESIDE
   A SEPARATE AREA


TEASER

1. INT. MORGUE, AUTOPSY ONE - EVENING

We begin with an extreme close-up of GARRET. His face reveals a mixture of revulsion and curiosity. We pull back slowly to see that he is in scrubs, in autopsy. We can’t really see the body on the table in front of him, but what we can see is bloody and battered. As we continue to pull back we see one arm has fallen limply over the side of the table. GARRET silently moves it back into place and based on the way he handles the body we understand the arm was broken in numerous places. Obviously the cadaver didn’t leave a good-looking corpse. We continue to pull back and the camera reveals LOIS CARTER standing to GARRET’S left. Her face shows the same mixture of revulsion as we saw on GARRET’S, but with less curiosity.

LOIS
I don’t suppose determining cause of death will be much trouble.

GARRET
(shoots her a look)
Probably took longer to scrape him off the pavement than I’ll need for the autopsy.

LOIS
I gotta tell you, Doc, I’m glad it’s you and not… anyone else.

GARRET raises an eyebrow.

LOIS (cont’d)
Don’t get me wrong. Your people are about as thorough as they come….

GARRET
(smiling)
A little too thorough?

LOIS
Let’s say more like a little too prone to… theories.

GARRET
That are usually right.

LOIS
If it’s all the same to you, Doc, I don’t think any… theories are called for here.

Before GARRET can respond, KATE and NIGEL enter. NIGEL is nattering on about some arcane subject. KATE looks like she could use an aspirin – or possibly the whole bottle. They come to a halt when they see GARRET and LOIS.

NIGEL
Oh. Dr. M… we – uh – heard there was… you’re not on call, are you?

GARRET
(another one of his tired smiles)
No, Nigel. I’m not.

KATE
Then you shouldn’t –

GARRET
It’s fine.


He shrugs off their dubious looks and is aware that LOIS is hoping he’ll be able to get rid of NIGEL at least.

GARRET (cont’d)
Really. I’ve got this one.

KATE
Look, I’m the one on call.

She approaches the body and looks at it and then at GARRET. Her eyes are wide and she goes a shade or two paler than normal. She opens and closes her mouth a few times before she can make words come out.

KATE (cont’d)
But… if you’re… sure?

Nigel’s clearly intrigued – what would put KATE off? – and saunters over to take his own look. He does a double take and slowly mouths the phrase Sweet Nancy!

NIGEL
Right, then. I – uh – that is… yeah. Well… as long as you’ve got it.

He glances at KATE, somewhat desperately.

KATE
Since you’re sure… uh… yeah. Binky does need some – er – quality time.

NIGEL and KATE exit in a rush. NIGEL almost forgets to let her through the door first until she glares at him. And quite possibly steps on his foot, if the grimace, wince and subsequent minor limp are any indication.

LOIS
That’s a first around here.

GARRET
You’d be surprised.

LOIS
(snorts)
With Jordan Cavanaugh on staff? (beat) Where is Jordan?

GARRET
Jordan is… surprising us all.

 

\2. INT. WOODY’S APARTMENT, BEDROOM – EVENING

We hear the sound of keys in the door. The door opens, closes. WOODY is heard talking animatedly and a bit nervously.

WOODY
(v/o)
This is the living room. Well, okay, you knew that. In here’s the bedroom. Knew that, too.

WOODY and JORDAN enter the bedroom. She is carrying a box and has a duffle bag over one shoulder. WOODY opens the bedroom closet. All of his clothes have been pushed to one side, the other half is empty. WOODY chatters on while JORDAN watches him with amusement. He speaks in a nervous rush.

WOODY
Bedroom. Closet…you can hang stuff. Over here…

He crosses to the dresser.

WOODY (cont’d)
I cleared these two drawers for you. You should be able to fit a bunch of stuff in there. Okay, in here we got the bathroom…

He crosses into the bathroom and JORDAN follows. He opens the medicine cabinet. The bottom two shelves are empty.

WOODY
Bottom two can be yours. You can keep your toothbrush and your…

WOODY, slightly embarrassed, waves his hands around, searching for a word.

WOODY (cont’d)
…womanly things.

He exits back into the bedroom.

WOODY
Bed…this side is yours…of course…bedside table is all yours. And…I guess that’s about it!

JORDAN smiles at him with amused affection.

JORDAN
Woody, I’m not moving in, it’s just some things for when I spend the night.

He gives her a look that is equal parts leer and boyish blush.

WOODY
(grinning)
I know. I just want you to be comfortable. Mi casa es su casa and all that. (softly, sincerely) I’m really glad you’re here.

He reaches out for her and pulls her into his arms.

WOODY (cont’d)
You don’t really want to go out tonight, do you? We could stay in, order some take-out, open some champagne. Make a celebration of it.

JORDAN
Mmm. You read my mind.

WOODY smiles and they share a kiss. After they break, he starts to exit into the other room.

WOODY
I’ll get the phone book.

He exits, and we hear his voice as JORDAN begins to unpack.

WOODY
(V/O)
Oh, hey…I cleared out a section of the refrigerator for your weird organic stuff so we don’t get them mixed up, okay? What are you in the mood for? Chinese or Italian? Or how about Greek? We haven’t had Greek in a while. I don’t know how souvlaki works with champagne. Hey, Jordan? Is Greek okay?...Jordan?

During the speech, JORDAN has taken a few personal items – travel clock, paperback, journal, iPod, etc., from the box she was carrying. She crosses to the bedside table on her side of the bed and opens the drawer. She freezes. Her face registers surprise, then sadness. She reaches in and pulls something out. It is a photograph. WOODY re-enters, and she looks up at him, her eyes dark. He crosses quickly to her and takes the photo. From his POV we see it is a photograph of WOODY and LU, taken on some spring day outing. In the photo, they are laughing and hugging. A happy couple. His face drops.

JORDAN
I’m sorry…

He stares at the photo but says nothing.

WOODY
(quietly)
It’s all right. It’s just a picture.

He holds the picture for a moment, and then smiles reassuringly at Jordan. She smiles back and crosses to put some things in the dresser. His face drops again as his eyes fall back to the picture. The silence is broken as WOODY’S cell phone rings. WOODY answers

WOODY
This is Hoyt…

His face darkens. A look of sadness spreads across his face.

WOODY (cont’d)
Where? ... All right…I’ll notify the M.E. I’m on my way.

He folds the phone and pauses a minute, the picture in one hand, saying nothing.

JORDAN
What is it?

WOODY
Shooting…female officer down…she didn’t make it.

JORDAN’S face falls and they look at each other in silent understanding.



END OF TEASER

CUT TO OPENING CREDITS

Crossing Jordan Theme

 

 

ACT 1


3. EXT. ALLEY – NIGHT

An alley between two buildings. We see from a longshot. There are squad cars with lights flashing. Crime scene personnel milling around. We see MATT SEELY. JORDAN is kneeling beside the body doing some preliminary stuff. Everything is moving, except for WOODY, noticeable for his stillness.

Scene of the crime

We move in and see that amid the activity, he is staring down at a body on the ground. We see from his POV, the dead body is LORNA CARLEY, 30, a pretty blonde, haircut into a shoulder-length bob. She is wearing a navy blue pantsuit and a white blouse. The blouse is covered with her blood. The suit jacket is opened, and we can see her police badge clipped to her belt. We cut back up to WOODY, who looks down at her with sadness.

SEELY
(rattling off facts)
Officer Lorna Carley. BPD Homicide Division. Lives in the apartment building next door. GSW to the chest. Pronounced at the scene. Assailant unknown. Neighbors heard a single gunshot at approximately 9PM. Hoyt? Hey, Hoyt, you listening?

WOODY
(numbly)
I don’t recognize her.

SEELY
Just transferred into homicide. Got a promotion for some big gangland arrest she made. Get this. Today was her first day on the job. Man, I bet right about now she’s wishing it was still 1974, and she was stuck in the typing pool with all the other female cops. Otherwise known as "the good old days."

SEELY snickers.

JORDAN
Charming as ever.

SEELY
Too bad. We haven’t had a blonde hottie in homicide for awhile.

WOODY snaps. He turns and grabs SEELY by the collar of his coat and shoves him against the wall.

WOODY
She’s a cop! You show her some respect!

SEELY
Jeez! All right, all right!

WOODY’S face is dark, and SEELY looks a little scared. Woody holds him there, and we’re not sure what he might do. JORDAN tries to pull him off.

JORDAN
Woody! What are you doing? Let him go! Come on! Woody!

After a tense moment, WOODY releases SEELY and walks a few feet away.

SEELY
Jeez, Hoyt. I was hoping you might be a little more pleasant now that you’re finally getting some.

JORDAN
Explains a lot about your personality, Seely.

SEELY makes a “Ha ha, very funny” face. JORDAN crosses to WOODY.

JORDAN
What the hell was that about?

WOODY
You heard what he said.

JORDAN
Seely’s a pig. Not exactly news. (beat) Look…

She glances over at the body, choosing her words carefully.

JORDAN
I know this brings back memories, but you can’t let it get to you…

WOODY
Don’t. Don’t tell me how to do my job, Jordan. This is just a case. Like any other. You do your job and let me do mine.

He stalks off and starts to confer with one of the uniformed cops. JORDAN watches him in confusion. They are both hurting. Her attention turns as two morgue flunkeys start to load OFFICER CARLEY’S body into a bag.

JORDAN
(snapping)
Hey! Easy! (softening) Just…be careful with her, okay?


The flunkeys lift the body onto a gurney. She turns back to WOODY, but he will not look at her. She shrugs sadly and turns to head out of the alley with the gurney. As she goes, we see behind her that WOODY is watching her leave.

 

4. INT. MORGUE, AUTOPSY – NIGHT

We see GARRET, in scrubs. He has ear piece and mini microphone on his head and is dictating his autopsy findings. He holds scalpel aloft and stares down at the body.


GARRET
Beginning the “Y” incision at….

He stops, cocks head to the left

GARRET (cont’d)
Making a midline incision….

He stops again, cocks head to the right this time

GARRET (cont’d)
Oh, hell. (puts down scalpel) What’s the point?

BUG enters.

BUG
Oh. Dr. Macy. I didn’t know… is this the jumper?

GARRET
Yeah. (looks up) I told Kate I’d handle it.

BUG approaches the body and gives it a quick appraisal. His eyes narrow at first. He peers a little bit closer and then almost jumps a step back. Calm unflappable BUG is definitely “flapped.” Dumbfounded, he looks at GARRET, then again at the body and then once more at GARRET. If we didn’t know what a trooper BUG is, we might even believe that he’s a little “green around the gills.”

GARRET
But, you know, if you’d like, I could –

BUG
Oh, gee, thanks, but… um… Lily! And the baby.

GARRET raises an eyebrow.

BUG
We’re – uh – that is – Maddy needs – she really needs some shoes.

GARRET
I thought Lily wasn’t going to do any of that until Maddy was walking.

BUG
(chuckles nervously)
You know how women are.

GARRET
Un huh…?

BUG
About… the… shoes. Starts young. Maybe genetic. (backing away) Probably a fascinating study in there somewhere. (looks down to his belt) There she is now! Calling to ask what’s keeping me.

GARRET
(hint of a grin)
I don’t hear anything.

BUG
Vibrate. Great option, huh?

GARRET
Bug?

BUG
Yes?

GARRET
You’re not wearing your cell phone.

BUG looks down again then back up with a sheepish look and then he dashes out the door.

GARRET (cont’d)
(looking back at the corpse)
Looks like it’s just you and me again.

He gives another study of the body and then a grimace.

GARRET (cont’d)
his isn’t exactly textbook, but then again….

He lets his gaze travel around the autopsy suite and sighs

GARRET (cont’d)
When was the last time anyone around here bothered with a textbook?

The camera pulls back and we see the source of GARRET’S dilemma: this man sustained so much body trauma in the fall that there isn’t really anywhere to make an incision – nor any need. With a grimace, GARRET slides his hands into the man’s chest cavity and spreads the ribs. He begins to manipulate the man’s internal body structure as part of the autopsy.

GARRET (cont’d)
(returning to his dictation now)
Gross manual examination indicates breaks in the first through twelfth ribs on the left side and… breaks in the first through fourteenth ribs on the right.

He removes his hands and palpates the clavicle

GARRET (cont’d)
Clavicle appears broken in at least four places. Will confirm with x-ray.

We watch him extract the lungs and place them in the weighing pan. He gives their weight.

GARRET (cont’d)
Lungs appear normal in size with healthy tissue except for the three puncture wounds, likely sustained when he hit the pavement. Almost no blood in the lungs suggests he died almost instantly.

GARRET removes the lungs from the pan and sets them aside should further analysis be required. He repeats the previous procedure with the heart. As he lays it in the pan we hear a clearly audible clink. GARRET looks at the chains supporting the pan in annoyance, assuming one of them has twisted slightly. This means he will have to re-weigh the lungs in case the kink affected the measurement.

GARRET (cont’d)
(muttering)
Great. At least it wasn’t the large intestine.

He lifts the heart from the pan and holds it in one hand while making sure the pan is hanging correctly with the other – he starts his dictation again.

GARRET (cont’d)
Heart weighs-

GARRET breaks off as we hear the clink again.

GARRET (cont’d)
Goddammit! Next time I think I’m tired of paperwork….

He gives the weighing pan and its support chains the evil eye.

GARRET (cont’d)
What the…?


We see the weighing pan and the chains. They are in perfect order.

GARRET picks up the heart again and turns it over. He closes his eyes briefly.

GARRET (cont’d)
I don’t believe this.


We push in slowly on the heart in his hand until we can see it – the glint of metal.

5. INT. MORGUE, AUTOPSY – NIGHT

GARRET is still in autopsy. He’s looking tired. His eyes are red rimmed and he’s got good stubble going. He glances at the clock and we see why – it’s almost dawn. LOIS CARVER enters and GARRET looks up. She shakes her head at him.

LOIS
Gee, Doc. I thought this one was pretty obvious. You need the overtime that bad?

GARRET
Take a look at this.

GARRET puts up an x-ray. Of a heart. On the x-ray the bullet is large-as-life.

LOIS
Okay, so you got a shooting vic in. Where’s my guy?

GARRET
Take another look, Detective. At the name on the x-ray.

LOIS reads the name on the x-ray and then turns to stare at the body. She looks back to GARRET, who just nods. They go stand on either side of the body, same positions as the teaser. After a moment, LOIS looks up.

LOIS
So, our guy was shot and the force of the impact …er… pushed him over the ledge.

GARRET
No.

LOIS
No?

GARRET
Based on how and where he landed, this guy jumped.

LOIS
Wait a minute… are you saying he jumped and took a bullet to the heart?

GARRET
That’s what the evidence is saying.

LOIS (cont’d)
What’re the odds?

GARRET
Around here?

LOIS groans and rolls her eyes.

LOIS
What is it with this place? Every time I think I have an easy one… (shakes her head) It’s like you sit around thinking up ways to make my job harder.

 

6. INT. WOODY’S APARTMENT, BATHROOM – NIGHT

WOODY is taking a shower. He is standing motionless under the stream, letting the water pour over him. His face is dark.

7. INT. WOODY’S APARTMENT, BEDROOM – NIGHT

WOODY enters from the bathroom, a towel around his waist.

CUT TO:

JORDAN is reclining in bed, two champagne stems in her hand. She’s wearing one of his “Boston PD” t-shirts and not much else. We see an open bottle of champagne chilling on the nightstand. She is smiling, looking hopeful.

Back to WOODY, who smiles gently. The tension at the crime scene seems to be forgotten.

JORDAN
I know it’s late, but there’s no reason we still can’t do a little celebrating, right? Even without the souvlaki.

He crosses to the bed and crawls in next to her.

JORDAN
(playing innocent, indicating his shirt)
Can you believe I brought all those clothes over, and I forgot something to sleep in?

WOODY
(with a leer)
That’s government property. I could have you arrested, you know.

JORDAN
I don’t plan on wearing it that long.

They clink glasses, sip and put their glasses on the nightstand. There’s a nice little moment gazing into each other’s eyes; he tucks a strand of hair behind her ear. Then they go in for a long kiss. His towel hits the floor; the t-shirt gets pulled over her head. He lowers her onto her back. Things grow more heated and intense. He’s kissing her neck and shoulders, and then…he stops. JORDAN is kind of lost in the moment, but quickly notices.

JORDAN
Woody? What’s wrong?

He says nothing but rolls over onto his side and away from her.

WOODY
Nothing…

JORDAN
(sitting up)
You okay?

WOODY
Yeah…It’s late…I guess I’m more tired than I thought I was. Good night, Jordan.

She looks at him with concern, and then lies down, curling up next to him.

8. INT. WOODY’S APARTMENT, BEDROOM – NIGHT

JORDAN jerks awake. It is dark. The apartment is perfectly still. She blinks, tries to get her bearings. She rolls over, and we see that WOODY’S side of the bed is empty. She looks over at the clock: 3:23 AM. She looks around. Everything is dark and quiet. WOODY is gone. She sits up, pulls her knees to her chest, a troubled look on her face.

 

END OF ACT ONE

 

 


ACT TWO

9. INT. MORGUE, BREAKROOM – EARLY MORNING

We see a coffee cup from the top – a black pool of liquid with a slight film on it. Slowly the cup is lifted by a hand we cannot see. We watch the cup travel to lips and watch the mouth drink some of the coffee. Slowly the mug makes its way back down to the table. We begin to pull back and see it’s GARRET, too engrossed in a report to notice his coffee has gone cold and scummy. The clock behind him shows more time has passed since his last scene. He’s not in scrubs, but his clothes are rumpled, his eyes red and bleary and his facial stubble passed five o’clock shadow quite a while ago. He looks up as the door to the break room opens. It’s LOIS CARVER.

LOIS
Anything, Doc?

GARRET
Sure.

LOIS gives him an expectant look.

GARRET (cont’d)
Just nothing about this case.

LOIS
(sighs)
Give me something here.

GARRET
(raises an eyebrow)
Like a theory?

LOIS rolls her eyes at him.

GARRET (cont’d)
I’d love to. I can’t. Nothing about this case makes sense.

LOIS gives him another disbelieving look.

GARRET (cont’d)
C’mon. Let me show you something.

10. INT. MORGUE, TRACE - CONTINUING

We cut to GARRET and LOIS in Trace. GARRET is trying to explain why the facts aren’t adding up. NIGEL enters, listening to GARRET’S explanation. NIGEL walks over to the light box and looks at the x-ray.


NIGEL
Sweet Nancy! Who shot this bloke?

GARRET
If we knew that…. Why? Do you have a (look to LOIS) theory?

NIGEL
Not as such, no. It’s just that I’ve never seen an angle of entry like this one.

GARRET
I figure the shooter was lying on the rooftop.

NIGEL
(shrugs)
Maybe.

LOIS
(knowing she’s going to regret this)
You have another idea?

NIGEL
(looks at GARRET and LOIS)
It’s just – this shot… it’s…

He grins in spite of himself.

NIGEL (cont’d)
. . . amazing.

GARRET
I’m glad you’re impressed, Nigel.

NIGEL
No… see, the thing is… this guy was standing, right?

He waits for GARRET’S nod

NIGEL (cont’d)
Well then…this is the sort of shot a marksman would envy. You’d get that sort of shot lying down maybe one time in a… million.

LOIS
So our shooter is a sniper with the luck o’ the Irish?

NIGEL
(another shrug)
Actually with this trajectory, I think your shooter’s a Chihuahua.

GARRET and LOIS both roll their eyes.

LOIS
Gee, thanks. I’ll keep that in mind when I make an arrest.

NIGEL
(eyes twinkling)
I dunno… not sure his little paws’ll stay in the cuffs.

GARRET gives him a withering look.

NIGEL
(sheepish)
Well, I should just… that test I was…. Right.

NIGEL scurries from the room, leaving GARRET and LOIS to look contemplatively at the x-ray. LOIS finally turns away.

LOIS
I’d better head back to the scene.

GARRET
I’ll meet you there.

 

11. INT. LORNA CARLEY’S APARTMENT – DAY

There are CSU personnel and uniformed cops milling around LORNA’S apartment, dusting for fingerprints, collecting evidence, etc. WOODY is standing among the activity. He looks grim, unshaven, bleary-eyed.

He looks over to the end-table next to LORNA’S sofa. There are several family photos. There is one of her, smiling, happy. He picks it up and looks at it with sadness.

A UNIFORMED COP enters from another room.


UNIFORMED COP
It’s clean, sir. Nothing significant.

WOODY nods sadly.

12. INT. LORNA’S APARTMENT BUILDING, ELEVATOR - DAY

WOODY is riding down the elevator in LORNA’S apartment building. He closes his eyes slowly. And we see:

13. EXT. ALLEY – DAY

It is the alley where OFFICER CARLEY was shot. The scene from the previous night replays itself. We see LORNA CARLEY’S body on the ground. Then the camera cuts to WOODY standing in the alley over her body. Then the camera cuts back down to the body. Only this time, it is Lu Simmons, in the same position, looking as she did the night she died.

CUT TO:

14. INT. LORNA’S APARTMENT BUILDING, ELEVATOR – DAY WOODY’S eyes snap open, just as the elevator doors begin to part, and he steps out into the lobby of the building.

15. INT. LORNA’S APARTMENT BUILDING, LOBBY - CONTINUING

There are some uniformed cops in the lobby. Crime scene tape is up, and we can just see the glare of flashing squad car lights outside. WOODY nearly collides with OFFICER STEVE VERDI, 35ish, tall, nice-looking. He looks in much the same condition as WOODY. Haggard. He has a file folder in his hand.

STEVE
Detective Hoyt?

WOODY
Yeah…?

STEVE
I’m Steve Verdi…I’m…I was Officer Carley’s partner.

WOODY
I’m…sorry…

STEVE
You need to see this. I know who killed her.

WOODY raises an eyebrow. STEVE hands him a file folder. He opens it. We see a mugshot of a particularly nasty gang banger, DEREK CONRAD.

STEVE
Derek "D-Con" Conrad. Runs a crew of gangbangers up in Roxbury. Drugs, prostitution, extortion, you name it. Stirred up a lot of trouble during the riots last year.

WOODY’S head snaps up at the mention of the riots. STEVE continues speaking, but we see it in WOODY’S eyes: he has gone somewhere else, and it is not a pleasant place.

STEVE (cont’d)
(with bitter sarcasm)
He and a couple of his homeboys robbed a Korean grocery store and beat the owner within an inch of his life. Who knows what else they got up to that night?

He stops when he notices that WOODY’S not there.

STEVE (cont’d)
Detective?

WOODY
(snapping to)
I’m…sorry. Go ahead.

STEVE
Son of bitch is made of Teflon. Couldn’t pin anything on him until Lorna – Officer Carley – cracked it open. But he’s got some slick lawyer on retainer. Got him out on bail. At the hearing…he threatened her. Told her to watch her back. He did it. It was him.

WOODY picks up the picture of D-CON. His jaw tightens. He looks over at STEVE and nods.

 

16. EXT. HIGHRISE APARTMENT BUILDING ROOFTOP - DAY

GARRET and LOIS arrive at the rooftop. It is flat and covered in gravel. Two sides are clear to the edges, the other two sides have a collection of vents and ductwork before you get to the edges – good hiding or ambush places.


GARRET
Wanna tell me again what we’re looking for?

LOIS
Anything that puts another person up here with our jumper. (beat) Shell casings, clear footprints, that sort of thing would be nice. (shrug) I’ll settle for signs of a scuffle, maybe a few blood drops here and there.

They stand in the doorway for a moment, studying the scene before doing anything that might contaminate it no matter how much care they take.

GARRET
So… our guy comes out this door and… (looks around) why here?

LOIS
Whaddya mean ‘why here?’

GARRET
Why this building? Did he live here?

LOIS
(checks her notes)
No. Mr. Antonelli lived in Camby, actually.

GARRET
Long way to come to end it all.

LOIS
So he… came to see someone he knew.

GARRET
And what…? Decided it looked like a nice day to take a header off a twenty-six story building?

LOIS
Maybe he and the someone had an argument… Antonelli walked out… came up here to cool down.

GARRET
The operative word being down. (makes a face) But… why? Why not just leave?

LOIS
Maybe he wanted to finish… whatever it was. So he comes up here to cool down and his… friend or whatever follows him. (beat) Maybe he owes the guy money.

GARRET
Pitching Antonelli off the roof isn’t the best way to collect.

LOIS
No, but threatening him with a gun might encourage him to pay up.

GARRET
Okay. Let’s play this out. I’m Antonelli.

LOIS
And I’m the shooter.

GARRET
We had a fight. I came up here to get away.

LOIS
But I followed you.

GARRET
I see the gun. I back away from you. Toward the edge of the roof.

LOIS
I keep coming toward you.

GARRET
I beg you to stop, promise you whatever it is I owe you.

LOIS
That’s not good enough. I shoot. You go flying over the-

GARRET
No. Like I said, this guy jumped. The impact of the shot did not fling him over the edge. Let’s start over.

They go back to the game.

LOIS
I follow you up here. We argue some more. I take out my gun.

GARRET
And I reach toward it. I’m going to grab it away from you.

LOIS
That’s not gonna be easy. There’s a struggle-

GARRET
No, that doesn’t work either.

He sweeps his hand in a gesture that encompasses the roof.

GARRET (cont’d)
Look at this. There’s no sign of a fight or anything up here.

LOIS
Okay, so it’s not much of a fight. I push you back, right to the edge.

GARRET is trying to imagine that, the victim grappling with the killer.

GARRET
You trip, go sprawling… I think maybe there’s a way out now. I start to move along the edge, watching you.

LOIS
I’m not thinking about whatever you owe me now. I’m angry. I fire.

GARRET
The bullet gets me in the heart. The impact spins me around and…. (sighs)

LOIS
What now?

GARRET
The trajectory would be wrong. On the bullet. Nigel said-

LOIS
No offense, Doc, but I think that was another of his wild speculations. Come on, what about height, weight, all those factors?

GARRET
(shakes his head)
Nigel may have some unusual ideas, but he’s usually right about this stuff.

LOIS
So what now? You’re Antonelli and I’m a Chihuahua with an anger management issue?

GARRET gives her a funny look.

LOIS (cont’d)
Look, Doc, the answer has to be up here.

GARRET
(smiling slowly)
I don’t think so. (beat) I think it’s down there.


17. INT. MORGUE, TRACE – DAY

JORDAN is in trace. All is still. LORNA’S body is on a gurney covered by a drape. Jordan is looking down at her face. The stillness is broken as JORDAN’S cell phone rings. She answers.

JORDAN
Cavanaugh…

18. INT. PRECINCT, HALLWAY – DAY

WOODY is on the other end of the phone, walking down the precinct hallway.


WOODY
I got the bastard, Jordan, and I’m bringing him down.

19. INT. MORGUE, TRACE – CONTINUING

Jordan blinks in incomprehension.


JORDAN
(a bit thrown)
Wha – Woody? What are you talking about?

WOODY
(talking a mile a minute)
Derek Conrad, a/k/a "D-Con." All around altar boy and Eagle Scout. Arrested last week for the attempted murder of a Korean grocery store owner. The investigating officer? You guessed it. Lorna Carley.

JORDAN
So, you think this guy killed Lorna?

WOODY
Had a little chat with Steve Verdi, Officer Carley’s partner, this morning. A roomful of witnesses heard D-Con tell her that she’d better “watch her back.” That sound like a threat to you?

JORDAN
We’ll run ballistics and see what comes up.

WOODY
I’m telling you, Jordan, it’s him. Derek Conrad. He’s got the proverbial rap sheet as long as my arm. And I’m gonna nail his cop-killing ass to the wall.

JORDAN
You’re probably right. This guy sounds…

WOODY
Probably? It’s him, Jordan.

JORDAN
Woody, she’s still in trace. We don’t even know for sure what killed her.

WOODY
I’m not an expert or anything, but I’d think the gaping hole in her chest makes that pretty obvious.

JORDAN
I’m just saying…

20. INT. PRECINCT, HALLWAY – CONTINUING

WOODY
Look, I can’t talk. I’ve got the scumbag in Interrogation 1. Just tell me what I need to know, and let me get this guy.

He flips his phone shut sharply and pauses. We’re outside Interrogation room 1. We can see from the window in the door that there is someone sitting at the table inside the room. It is DEREK “D-CON” CONRAD. WOODY pushes the door open.

21. INT. PRECINCT, INTERROGATION ROOM – DAY

Inside the room are WOODY and SEELY. SEELY is standing, arms folded across his chest. WOODY is seated at the table. Across from him are DEREK “D-CON” CONRAD and his slimy but elegantly attired LAWYER. WOODY slams down crime scene photos of LORNA. D-CON is unmoved.

D-CON


WOODY
Officer Lorna Carley. But you already knew that.

D-CON picks up one of the photos, looks at it, then flings it back onto the table with disinterest.

D-CON
(with a smirk)
Yeah, we’ve met.

WOODY
Shot to death in the alley next to her apartment building last night. But you already knew that, too.

D-CON
(still smirking)
Damn. That’s too bad.

WOODY
What, you think this is funny? You think this is a joke? You’re lucky they don’t have the death penalty here anymore, ’cause that’s what they do to cop killers. But hey, I hear they’re thinking of bringing it back. Maybe just in time to pump your ass full of potassium chloride.

D-CON
I didn’t have nothin’ to do with it.

WOODY
You threatened her. Told her to “watch her back.”

WOODY
’Cause you’re such a friendly guy.

LAWYER
My client will gladly answer questions as to his whereabouts last night, but if the badgering continues, this interview is over.

SEELY
(trying to smooth things over)
And we appreciate your cooperation, Mr. Conrad. Could you tell us where you were last night?

D-CON
I was at my daughter’s dance recital.

WOODY
Well, aren’t you Father of the Year? Does she know Daddy kills cops?

LAWYER
May I remind you again that we’re here as a courtesy, Det. Hoyt?

WOODY
(ignoring him, to D-CON)
People like you make me sick. You’re nothing but a bottom-feeder, you know that? That night was hell on earth, and you took advantage of it.

D-CON
(confused)
What?! What night?

CUT TO:

SEELY, frowning, and wondering the same thing.


WOODY
She never had a chance. We couldn’t even get her to the hospital on time. You and your crew made sure of that. Turning over cars. Starting fires. Blocking the streets. You’re not protesters, you’re common street thugs. You’re nothing but a fucking parasite.

D-CON
What the hell you talkin’ about? Blocking the streets. You crazy?

WOODY
Did you think about how long it would take for her to die with a bullet in the gut like that? Did you even care?

CUT TO:

SEELY, who cuts a look to WOODY. He knows full well that LORNA was shot in the chest, not the gut. He opens his mouth to say something, but WOODY is on a tear.


WOODY
She was just doing her job. Trying to keep the streets safe from scumbags and predators like you until you blew her away. She was doing her job and you left her there to die in some filthy alley, you bottom-feeding son-of-a-bitch…

LAWYER rises and snaps his briefcase shut.

LAWYER
We’re through here. I’m advising my client not to cooperate any further with this investigation without a warrant.

D-CON rises with a smirk, and he and the LAWYER head out.

D-CON
Bitch shouldn’ta been sticking her nose where it didn’t belong.

WOODY
(erupting)
I got you, you son-of-a-bitch! I got you! You hear me? You better watch your back, you bastard! I got you!

SEELY has stepped in to restrain WOODY. D-CON and his LAWYER go out quickly, but not before D-CON gives one final smirk. After they’re gone, WOODY pulls himself out of SEELY’S grasp and stands huffing with anger. SEELY waits a beat.

SEELY
You need to meditate. Get a chai or something. When we’re doing good cop/bad cop, and I’m the good cop…?

SEELY shakes his head, and WOODY glowers. Beat.

SEELY (cont’d)
(quietly)
This is isn’t the riots, and Lorna isn’t her.

WOODY kicks over a chair in frustration and stalks out.

 

END OF ACT TWO

 

 


ACT THREE

22. INT. MORGUE, AUTOPSY – DAY

JORDAN has finished her autopsy. She is finishing the sutures. She pauses for a moment, a curious look on her face. NIGEL is in the background, preparing some slides, etc. He notices and casts a concerned eye to her.

NIGEL
(gently)
I’m almost done here, Jordan. You want me to close?

JORDAN
No…thanks, Nigel. I’ll do it.

NIGEL crosses to the body as JORDAN sutures.

NIGEL
The likeness…it’s startling.

JORDAN
(heavily)
…Yeah…

She has finished now, steps away from the body and snaps off her rubber gloves and finishes her dictation.

JORDAN (cont’d)
(in a cool, detached voice)
Y-incision sutured. Autopsy completed at…2:35 PM. Attested by Jordan Cavanaugh, M.D., Assistant Medical Examiner, Commonwealth of Massachusetts.

JORDAN steps away and looks at the body.

NIGEL
How’s Woody taking it?

JORDAN
I wouldn’t know.

NIGEL
This must be hard for him.

JORDAN
As opposed to the real picnic it’s been for me? (beat) Sorry, Nige…

NIGEL gives her a weak smile of understanding

NIGEL
Lu…she died in your arms, didn’t she?

JORDAN
(nods)
I felt like we were just getting to a place where we could be friends, you know? It seems like there was all this…tension with her and me and Woody. They had some bizarre idea that I was upset about the two of them being together.

NIGEL gives her a look.

JORDAN
Hey, it was none of my business. He was free as a bird. There was nothing between Woody and me.

NIGEL
(gently)
Come on now, love. You don’t really believe that, do you?

Suddenly, WOODY bursts through the door.

WOODY
Tell me you got something. Anything. Ballistics, fingerprints, DNA…

JORDAN
COD? Almost instantaneous. Bullet ruptured her aorta. Nigel’s running a tox screen, blood culture, chem panel. We should have ballistics soon.

WOODY
This guy did it. I know it. And he’s mine. You got to help me nail him, Jordan.

JORDAN
(choosing her words carefully)
I’ll…help you find whoever killed her.

WOODY
You know damn well who killed her and why. Derek Conrad. It was revenge. A drive-by shooting. Plain and simple.

JORDAN
(firmly)
It wasn’t a drive-by.

WOODY
The hell it wasn’t.

JORDAN
Woody, she was shot from within 15 feet, and she was found thirty feet inside the alley. It wasn’t a drive-by.

WOODY
I don’t know…maybe he got out of the car. Maybe the scumbag wanted to see the look on her face when he pulled the trigger.

JORDAN
Come on, Woody. You’re a cop. You know that’s not the way these things go down.

WOODY
So, now you’re telling me how to do my job?

JORDAN
Somebody’s got to!

WOODY
What the hell is that supposed to mean?

JORDAN
I talked to Matt Seely…

WOODY
Jesus Christ! Are you checking on me? You don’t know when to leave it alone, do you?

JORDAN
(overlapping)
You’re not thinking straight, and you can’t even see it!

WOODY
(overlapping)
I’m doing my job!

NIGEL
Enough! Stop it! Both of you!

WOODY and JORDAN stop and look at him, stunned. NIGEL is a bit stunned at himself, too. He swallows hard and continues.

NIGEL (cont’d)
There’s a dead police woman, and you two are bickering like a couple of children!

JORDAN
We’re just having a professional disagreement.

NIGEL
There was nothing professional about it. Look. I don’t know what’s going on between you two, but fix it. Now.


JORDAN and WOODY glare at each other. There’s a standoff. Finally, JORDAN whips off her scrubs, dumps them in the bin, and storms out. WOODY looks at NIGEL, and then strolls out of autopsy, clearly having no intention of chasing JORDAN. Not yet, anyway.

 

23. INT. HIGHRISE APARTMENT BUILDING, FIRST APARTMENT - DAY

We see a door, opened just as much as the security chain will allow. The space is empty. We pan down to a child standing in the doorway, peering up at GARRET and LOIS CARVER.

Kids say the darnest things...


LOIS
Hi. Is your mother home?

The LITTLE GIRL nods shyly.

LOIS
Could you tell her I need to talk to her?

LITTLE GIRL
(bellows)
Mommmm-eeeeeee! There’s an old lady and a guy with a shiny head here!

GARRET and LOIS exchange looks.

Jazzercise24. INT. HIGHRISE APARTMENT BUILDING, SECOND APARTMENT - CONTINUING

We see another door. This time it is open, showing us the smiling face of an older woman – about ninety, if she’s a day - her hair done in a tidy bun. She is wearing exercise wear. LOIS shows her badge and begins the introductions again.

JAZZERCIZING GRANNY
(speaks very rapidly)
Oh, dear, this is about that poor man, isn’t it?

She pauses as she pokes her head out to look the corridor up and down. Then she lowers her voice.

JAZZERCIZING GRANNY (cont’d)
He knew about the Cubans.

GARRET and LOIS both roll their eyes.

JAZZERCIZING GRANNY (cont’d)
They killed JFK.

The scene slides to another apartment door, then another, then another. Each transition is faster until the doors are something of a blur.

25. INT. HIGHRISE APARTMENT BUILDING, THIRD APARTMENT - CONTINUING

GARRET
(tired and cranky)
Remind me again why you didn’t call for some uniforms to do this.

LOIS
I’m not sure.

GARRET raises his hand to knock on yet another door. It is quickly opened by a woman in her mid-thirties. LOIS checks her roster of apartment residents.

LOIS
Are you Ms. Tapping?

MAID
No. She’s not here.

LOIS
Do you know when she’ll be back?

MAID
I’m sorry, no. I’m just the – the housecleaner.

GARRET looks over her shoulder. We follow his gaze and see a welter of dirty cups, balled up napkins and other detritus.

GARRET
Looks like she keeps you busy.

MAID
Oh, usually I only come once a week. She had a party last night. I offered to switch days so she wouldn’t have to pay extra but….

GARRET
You were here yesterday?

The MAID nods.

LOIS shows the woman the photo of the vic.

LOIS
Have you ever seen this man in the building?

The MAID takes the photo and studies it.

MAID
I think so. Hey… this isn’t the guy that… oh, God, it is, isn’t it? He’s the one that jumped off the roof!

GARRET
I’m afraid so. (beat) Did you see him yesterday?

MAID
(very pale now)
Yes. After the argument.

GARRET
Argument?

MAID
(nods)
Yeah.

LOIS gestures for her to continue.

MAID
Downstairs. I don’t know their names.

GARRET
(gently)
Do you know which apartment downstairs?

MAID
Right below this one.

 

26. EXT. MORGUE, ROOFTOP – SUNSET

JORDAN is on the rooftop, shivering a bit in the late December afternoon. She has her arms wrapped around herself; she’s lost in thought. There’s a noise from behind her. It is WOODY, who crosses to her. They are silent for a moment.

Rooftop talks

WOODY
(a bit brusquely)
I’m sorry. I get crazy when good cops get killed.

JORDAN
We’ve lost cops before. You’ve never gotten this crazy before. You’re too emotional…

WOODY
And maybe you’re not emotional enough.

JORDAN
Hey, I was there. I watched her die. But I’m trying…I’m trying to be professional about this.

WOODY
You think I’m not being professional? What…you think I’m not over her?

JORDAN
…I don’t know.

WOODY
I was never in love with her. I never would have started seeing her, but you were the one who couldn’t commit. You were the one who couldn’t be honest. Not me.

JORDAN
What was I supposed to do? Come back from Littleton and tell the world, “What a weekend. We got snowed in, solved a murder, and, oh yeah…I slept with Woody”?

WOODY
I didn’t want you to tell the world, I wanted you to tell one person. One. You couldn’t even do that. The poor bastard had to figure it out for himself.

JORDAN
Yeah? Well, at least he didn’t find out by walking in on us.

WOODY
That’s what this is all about, isn’t it? You never got over being upset about finding me and Lu together in my office that day.

JORDAN
No, I wasn’t half as upset as you apparently needed me to be.

WOODY
(more intense)
What does that mean? You know, you’re the one making a big deal of this, Jordan, not me. This is just a case. All right? It’s just a case!

JORDAN blinks, startled at his sudden burst of anger.

JORDAN
(calmly)
It’s not just a case, Woody.

They stand back, breathing heavy, both hurt by the accusations. The rooftop door swings open. It is NIGEL. He clears his throat.

NIGEL
If you two have had quite enough, I have something I think you should see.

27. INT. MORGUE, AUTOPSY - CONTINUING

NIGEL is retrieving a lab printout. WOODY and JORDAN stand on opposite sides of the room, licking their wounds. NIGEL crosses and hands JORDAN the printout. She looks at it, and surprise registers. She looks up at NIGEL, and they share a meaningful look.


WOODY
What? What is it?

JORDAN
She had elevated hCG levels.

WOODY
What does that mean?

JORDAN
She was about five weeks pregnant.


Surprised looks all around.

 

END OF ACT THREE

 

 

ACT FOUR


28. INT. MORGUE, AUTOPSY - CONTINUING

NIGEL, WOODY, and JORDAN are in the same positions as the last time we saw them.

WOODY
So she was pregnant. This doesn’t change anything.

JORDAN
The leading cause of death for pregnant women in this country is homicide, and more often than not, they’re killed by their partners. We need to find out who she was seeing.

WOODY
This is nothing but a false lead. I’m telling you. It was Derek Conrad.

NIGEL
I…wouldn’t be too sure. We’ve just got ballistics back, too. The weapon of choice with the local gangs is a .22 calibre. Lorna was killed by a 9 mm. That’s not necessarily significant in and of itself. But…there’s something about the chambering of the bullet. Very unusual striation. It was made by a German manufacturer specifically for the Walther PPK 9 mil. Very rare ordnance. Favored by collectors, suburbanites, military types. But it’s never been used in a gangland killing in the Greater Boston area.

WOODY looks over at JORDAN, expecting an “I told you so” look. Instead, she is looking at him sympathetically. He drops his gaze to the floor.

NIGEL
Don’t do this. Not again. You two have been through too much for this not to work.

WOODY and JORDAN look at the floor like scolded children.

NIGEL
Well…I…have things…

He crosses to the door to the hallway and almost runs into KATE. He gives her a “You don’t want to go in there” look and hurries off. KATE raises her eyebrows and pokes her head in the door.

KATE
Jordan, there’s someone in your office I think you should see. It’s Meg Carley. She says she knows who killed her sister.

KATE exits.

JORDAN
We need to find the truth. They both deserve that.

WOODY nods, and the two of them head out to her office.

 

Mrs. Poodle29. INT. HIGHRISE APARTMENT BUILDING, POODLE APARTMENT - CONTINUING

We are at another door. This time a woman in her early sixties opens the door; her arm is in a sling and she has a bruise on one cheek, plus a swollen lip. LOIS flashes her badge yet again. The woman immediately stiffens. For a moment, it seems like she might close the door, but then her shoulder sag and she opens it, inviting LOIS and GARRET in. We can see a workman in the background, setting a new window. LOIS begins to introduce herself and GARRET but is interrupted.


MRS. POODLE
You’re here because of David, aren’t you?

LOIS
David?

MRS. POODLE
My son. David Antonelli. I suppose his gambling caught up with him.

Another look passes between GARRET and LOIS.

LOIS
Gambling?

MRS. POODLE
Yes. His gamb- You’re not here because of…

A look of horrified realization passes over her face.

MRS. POODLE (cont’d)
No…nonononono. I thought… he’d gone home… after… not up….

She takes a deep breath and struggles to regain her composure.

MRS. POODLE
(through silent tears)
You’d better come in.


She stands aside and lets LOIS and GARRET pass. The camera pans the room and we see a framed picture of the vic, in happier times, hanging on the wall.

 

 

Long Way Down - Laura Powers

30. INT. MORGUE, JORDAN’S OFFICE - EVENING

JORDAN and MEG CARLEY are seated in her office on the sofa. WOODY is perched on the edge of the desk. MEG is red-nosed and tearful.


MEG
I went by her apartment this morning after we got the news…I just wanted to be there, with her things. Like she was still alive. But they wouldn’t let me in.

WOODY
(explaining gently)
CSU had to dust for fingerprints, gather any evidence that might be relevant in your sister’s murder.

MEG
(nodding in understanding)
It’s okay. I guess I knew that. They finally let me in this afternoon to get a few things…something for her to wear. For…her funeral. That’s when I noticed it.

JORDAN
Noticed what?

MEG
She had pictures, family pictures, on the table. One was missing. A picture of her with her boyfriend. It was her favorite, and I knew the only way Lorna would have moved it was if they had fought, ended it.

WOODY
What was the boyfriend’s name?

MEG
I don’t know. He was…married. Lorna was in love…or thought she was. She kept telling me that he was going to leave his wife. I told her they never leave their wives.

JORDAN
(gently)
Meg…did Lorna tell you she was pregnant?

MEG looks at them with wide eyes.

MEG
How far along?

JORDAN
A few weeks. She probably just found out.

MEG begins to cry.

MEG
That’s why…oh, God, I should have known. I went to her apartment the morning she was killed. She seemed so happy. Said her life was about to change and everything was going to work out. I thought she meant the new job, but now I know…

WOODY
Can you describe him at all? The boyfriend?

MEG
I never met him. She never even told me his name, always referred to him as "Mister Green." From the photo, he looked tall, early thirties maybe, dark hair, blue eyes.

WOODY and JORDAN trade disappointed looks.

WOODY
You just described me.

JORDAN
And a quarter of the male population of Boston.

MEG
I know. I’m sorry.

WOODY
It’s not your fault. Can you of anything, anything, that might help us find this guy?

MEG
I wish I could give you something else. God, I wish. She’d never tell me much about him. She knew I didn’t approve. Here I thought the worst he would do was break her heart.

MEG begins to really cry now. JORDAN slips a comforting arm around her shoulder while WOODY looks on.

 

31. INT. MORGUE, BREAKROOM - EVENING

We are in the break room at the morgue. GARRET is washing out a coffee mug. He then picks up the coffee pot and realizes the coffee in it is at least a day old. He starts a new pot. NIGEL, KATE and BUG walk in.

BUG
Oh, come on, you have to admit that was a strange case.

NIGEL
No stranger, mate, than that one Jordan and I had-

KATE
You two’ve never seen anything. In New York-

GARRET
I can top all of you.

The three of them are startled. They see GARRET leaning against the corner, watching them, an enigmatic look on his face.

NIGEL
I don’t know, Dr. M.

GARRET
(chuckling)
Trust me. The jumper? Even you, Nigel, couldn’t have figured out that one.

BUG
You solved it then?

GARRET nods.

KATE
So? Did he kill himself or was he murdered.

NIGEL
(under his breath)
Murder, murder.

The others look at him.

NIGEL (cont’d)
(looking shamefaced –sort of)
What? I’ve got a fiver in the pool.

NIGEL ignores their shocked faces.

NIGEL (cont’d)
(to GARRET)
Well? Don’t keep us in suspense, Dr. M.

The coffee is ready. GARRET pours himself a cup and begins to tell them. We see the events and hear GARRET as a voice over.

GARRET
(v/o)
Antonelli was in a lot of trouble-

NIGEL
(hissing)
I knew it!

GARRET
He owed some dangerous people a lot of money. He knew his mother would give him what he owed. (beat) Well, he thought she would.

CUT TO:

32. INT. HIGHRISE APARTMENT BUILDING, POODLE APARTMENT

The break room scene dissolves into the interior of the POODLE apartment.


ANTONELLI
Aw, Ma. Come on. If I don’t get this dough, there’s some guys that are gonna come after me.

MRS. POODLE has tears in her eyes, but her voice is resolute voice

MRS. POODLE (cont’d)
David, I told you the last time… your stepfather and I wouldn’t help you again. Not like this.

ANTONELLI grumbles something we can’t really catch, but it probably isn’t nice.

MRS. POODLE (cont’d)
Don’t talk like that.

ANTONELLI
If Dad were still alive-

MRS. POODLE
(sharply)
Well, he isn’t. (beat) And he’d say the same thing.

She reaches out to touch his arm.

MRS. POODLE
You have a problem.

ANTONELLI
Damn right, I do, Ma. He’s sittin’ in there on his fat ass telling me I can’t have the money my own father earned.

MRS. POODLE
That’s enough, David! I already told you-

ANTONELLI grabs her and shakes her. She shrieks. He shoves her, as his stepfather, MR. POODLE, comes in. MRS. POODLE goes sprawling.

MR. POODLE
(roaring)
Get out! Now! (he points for emphasis) You good-for-nothing, lazy-

ANTONELLI
Look who’s talking!

MR. POODLE
(helping his wife up)
You heard me. Get out before I do something I’ll regret.

ANTONELLI
Like what?

MR. POODLE advances toward ANTONELLI. MRS. POODLE tries to get between them. ANTONELLI backhands her, bruising her cheek and splitting her lip. ANTONELLI looks in horror.

ANTONELLI (cont’d)
Oh… God… Ma. I – I never meant… oh… God…..

ANTONELLI turns and sprints toward the door. MRS. POODLE is crying softly while wetting a rag to staunch her bleeding lip. MR. POODLE exits. We hear a drawer open, hear it slam shut and MR. POODLE returns, holding a gun. MRS. POODLE grabs MR. POODLE’S hand and shakes her head.

We dissolve back to the break room.

33. INT. MORGUE, BREAKROOM – CONTINUING


NIGEL
(triumphant)
Aha! His stepfather shot him and then dumped him… oh… no, that wouldn’t fit with the bullet’s trajectory.

GARRET smirks.

We lighten to white and then fade back to normal colors.

Jumper34. EXT. HIGHRISE APARTMENT BUILDING, ROOFTOP - CONTINUING

As we fade back we see ANTONELLI from behind. He is standing on the ledge of the roof of the apartment building.

ANTONELLI is muttering, but we can’t make out the words. The camera pans around and we push in on him slowly until we are close in on his face. His mouth is moving; he is still muttering.


ANTONELLI

HailMaryFullofgraceTheLordiswiththeeBlessedartthou
amongwomenandblessedisthefruitofthywombJesusHoly
MaryMotherofGodprayforussinnersnowandatthehourofourdeath


His words hang in the air as he jumps forward.

As he falls we descend back to the break room.

35. INT. MORGUE, BREAKROOM – CONTINUING


BUG
(snorts)
There goes your ‘fiver,’ Nigel. Suicide.

KATE
(eyebrows raised)
And what? He’d been walking around with a bullet lodged in his heart?

Another smirk from GARRET.

GARRET
Not exactly.

36. INT. HIGHRISE APARTMENT BUILDING, POODLE APARTMENT - CONTINUING

We pull back with dizzying speed and push back in quickly as well. We arrive in the POODLE apartment. MR. and MRS. POODLE are arguing. MR. POODLE is still holding the gun. He is waving it around and yelling.

MR. POODLE
He’s out of his mind, Brenda!

MRS. POODLE
(clutching the washcloth)
He didn’t mean it! He’d never hurt me-

MR. POODLE
He just did! It’s the final straw. Until he gets some help-

MRS. POODLE
Please, Christopher. Please. He said some – some men will hurt him.

MR. POODLE
(calming a bit)
Then the boy’s going to have a ways to fall isn’t he?

Something outside startles MRS. POODLE. She shrieks. MR. POODLE is startled. His fingers clench reflexively around the gun’s trigger and it goes off. The bullet goes through the window.

We follow the bullet’s path as it breaks through the glass and penetrates ANTONELLI’S chest, lodging in his heart. Hard cut to black

37. INT. MORGUE, BREAKROOM – CONTINUING

We come back to the break room. NIGEL, KATE and BUG are all staring, mouths open, at GARRET. GARRET lifts his coffee mug, almost in a toast, and shrugs.

NIGEL
(in awe)
So… it wasn’t a Chihuahua….

GARRET
(can’t resist)
Nope. A Poodle.

KATE
And you all say I’m insensitive.

 

END OF ACT FOUR

 

 

ACT FIVE

 

38. INT. MORGUE, JORDAN’S OFFICE – NIGHT

WOODY and JORDAN are pacing her office. Brainstorming, playing “the game.”

JORDAN
She must have told him about the baby.

WOODY
He wasn’t as thrilled as she hoped he’d be.

JORDAN
She ended things. Moved the picture, tore it up maybe. They fought.

WOODY
(grimly)
And he shot her.

He waits a beat.

WOODY (cont’d)
Two problems. She didn’t just throw the picture in the trashcan. It was gone. We didn’t find it during the search. Where is it?

JORDAN
And she wasn’t shot in the apartment. She was shot outside. How do they get from her apartment to the alley?

There’s a silence while they think a moment.

JORDAN
It was over. Completely finished. She takes the picture, says she doesn’t even want it in the apartment, she’s throwing it in the dumpster in the alley.

WOODY
He follows her down; they take the argument with them. He shoots her there. (with hope) I can get a search on the dumpster. Maybe we’ll get some prints from the picture.

JORDAN
No. It doesn’t work. She was shot at 9PM. But her shift at the precinct ended at 5PM. She was still in her work clothes, hadn’t even made it home yet. Where was she for four hours?

WOODY
It was her first day on the job. He takes her to dinner. To celebrate.

JORDAN
Yeah…stomach contents showed she’d eaten within two hours of her death. They’re at dinner. She tells him the news. She’s pregnant.

WOODY
It doesn’t go well. He’s not going to leave his wife. He drives her home; they’re in the alley...

JORDAN
The argument starts up again. She threatens to tell his wife and…

WOODY
And…he kills her.

WOODY
And…he kills her.

Things are starting to roll now. They’re putting it together, talking with excitement.

JORDAN
The picture…

WOODY
He got rid of it. Not her. He knew it would implicate him.

JORDAN
He went up to her apartment and took anything that could put him there.

WOODY
The apartment was sealed right after her body was found, but the search wasn’t until the next morning.

JORDAN
He came back for it. Before the search.

WOODY
Which means he had to have been able to cross the tape without attracting too much attention.

JORDAN
(a big “a-ha” moment)
Mr. Green…

WOODY
(getting it)
Officer Verdi.

She nods. That’s it. Verdi…green in Italian.

WOODY (cont’d)
I’m calling Seely. Let’s go…

Better Be Home Soon - Crowded House
WOODY opens his cell phone. They both grab their coats and hurry out of the office.

39. INT. PRECINCT, HALLWAY - NIGHT

SONG: "Better Be Home Soon" by Crowded House

WOODY and JORDAN stand expectantly in the hallway outside one of the interrogation rooms. The door opens. STEVE VERDI comes out in handcuffs, being led by a uniformed cop. He’s followed by SEELY. He nods at them, shakes WOODY’S hand. He turns and heads down the hall after VERDI and the cop.

WOODY and JORDAN watch them go for a moment. Finally, WOODY simply backs up a few steps and walks away. JORDAN turns and watches him go, her face a mixture of sadness and understanding.

FADE TO:

Cemetery40. EXT. CEMETERY, GRAVESIDE – DAY

It is a wintry December day. We see in a longshot, it is LORNA’S funeral. We see her family, including MRS. CARLEY and MEG seated in chairs, lost in their grief. There are uniformed cops in their dress uniforms standing at attention. The priest reads from the prayer book as steam escapes from his mouth. The camera cuts in to WOODY, in his uniform, jaw clenched, eyes heavy.

The images fade in and out gently. A contingent of honor guard marksmen fires off a salute. A bagpiper stands at some distance away as we see the BPD honor guard folding an American flag and handing it to LORNA’S mother.

Finally, the images fade out, the mourners fade, and WOODY is left standing alone at the graveside. He raises his head…something has caught his eye. And we cut to:

41. EXT. CEMETERY, A SEPARATE AREA – DAY

JORDAN standing some distance away. She smiles at him tentatively. He slowly walks away from the grave. We get the impression they haven’t really spoken in the last few days. He stops when he reaches her. She looks up at him with anxious eyes. He stands for a moment, and then we see a close-up of him offering her his hand. She reaches out and slips her hand into his. They walk off together.

FADE TO:

42. INT. WOODY’S APARTMENT – NIGHT

WOODY is seated on the couch in his apartment. He is still in his uniform but has loosened his tie and collar. JORDAN crosses to him with a drink. She sits next to him, saying nothing, but waiting for him to speak.

WOODY
When Devan died, I didn’t think I had the right to be upset. We’d only gone out a couple of times. She was still hung up on her boyfriend, and I think I just saw her to make you jealous, if you want to know the truth. I didn’t want to admit it, but I felt like I’d been punched in the gut when she died. I kept telling myself if I ignored it, it would stop hurting so much. And it did. Finally. Then Lu died. She was standing next to me in that alley one minute, and the next… (his voice trails off) It was true what I said before. It’s always been you, Jordan. I didn’t love Lu. But I think…maybe I could have. I thought you and I were over. I thought you’d made your choice.

He stops and covers his hands with his face for a moment.

WOODY (cont’d)
God, what a mess. I think I blamed myself on some level when she got killed. Then you got sick, and I could see it all happening again, and I just…shut down.

JORDAN
Hey. I’m gonna be fine.

She snuggles up next to him with her head on his chest. He wraps his arms around her.

WOODY
(hesitantly)
It’s getting late. I guess you’re going to want to head back to your place.

It’s a question, not a statement. There is hope in his voice, but he wonders if he has the right to ask after all that has happened.

JORDAN
I think I’d like to stay here tonight. If that’s okay.

She snuggles up a little closer. They sit quietly together as the camera pans out the window and into the Boston sky as snow begins to softly fall.

 


FADE TO BLACK

 

Next time on Crossing Jordan:

"For Whom the Bell Tolls"



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