Teaser Act 1 Act 2 Act 3 Act 4 Act 5
Episode #VS715


Over the Rainbow

Crossing Jordan Virtual Season 7

“Over the Rainbow”

Written by
Nynaeve

Graphic Art by
Big CJFan and Nynaeve


“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


Woody Hoyt
Jordan Cavanaugh
Nigel Townsend
Garret Macy
Kate Switzer


Jim Mueller
Diana Mueller
Will Pollack
J.D. Pollack
Mr. Y
Attorney
Jason Flannigan
Rosamund Pollack
Chris Baker

 

SET LIST

INTERIORS
THE MORGUE
   HALLWAY
   JORDAN’S OFFICE
   TRACE
   AUTOSPY ONE
   NIGEL’S LAB

JORDAN’S APARTMENT
   BEDROOM

WOODY’S APARTMENT

PRECINCT
   INTERROGATION ROOM ONE

MUELLER HOME
   UPSTAIRS BATHROOM
   DOWNSTAIRS

PRISON
   VISITATION AREA

WILL POLLACK’S HOME
   LOUNGE ROOM

BOSTON LOGAN AIRPORT
   BAGGAGE CLAIM


EXTERIORS
MUELLER HOME
   BACKYARD
   PATIO

DINGHY IN SYDNEY HARBOUR
THE FIVES
DEPARTURES, KINGSFORD-SMITH AIRPORT, SYDNEY, N.S.W., AUSTRALIA

 

TEASER


1. INT. MUELLER HOME UPSTAIRS BATHROOM – EVENING

The camera comes up on a mirror, the large kind you find in an upscale master bathroom. Everything we see is from the mirror’s POV, in reflection. A man – JIM MUELLER - in his mid fifties, a bit overweight, not in good shape, stumbles into the frame. He has several cuts on his face and contusions that are fresh but already beginning to darken. He’s going to have two black eyes for sure and probably a meteorologist’s map of thunder-hued bruises elsewhere. The man is tugging off a shirt, badly torn – something office casual, like a golf shirt – and struggling with the task. The mirror shows us why. His upper body is another mass of contusions and also bleeding cuts, some deep. The man’s breathing is ragged and getting worse. He turns so we see only profile and watch him search a small cabinet opposite the mirror and vanity. His movements are rapid and shaky, while his eyes are darting back and forth over the contents of the cabinet shelves.

JIM MUELLER
Where. Are. They? Whe-

From his profile we see sweat pouring down the man’s face. He is the color of printer paper at this point. He reaches into the cabinet. We hear a number of items fall over and some go tumbling out. In the cascade we see a variety of amber-colored pill bottles and some over-the-counter remedies like Prilosec, Alka Setzer and generic aspirin. The JIM MUELLER’S left hand is clutching a pill bottle and he is trying to pry the lid open.

JIM MUELLER
Dammit-!



His words are cut off by a deep groan and he spins back toward the mirror, clutching his right arm. He stumbles into the counter and goes down. We hear a solid thud and a fine mist of blood sprays onto the mirror. We hear the pill bottle roll across a tiled floor and the camera dims.

Too little too late

Waltzing Matilda - Eric Rigler & Scarlet Rivera

2. INT. JORDAN’S OFFICE – EARLY EVENING

The scene opens on the window in Jordan’s office. We hear the sound of something rolling across the carpet. We see Jordan’s hand reach for it. It’s a pill bottle – just ibuprofen. She glances toward the corner of her desk, where she has a framed picture of Woody, lying next to it is a thank-you note half in its envelope; we see the return address: Delinda Deline. Her brow furrows slightly and she sighs, before shaking her head and resuming her previous task. The light is soft and we hear the tapping of keys. She dry swallows a couple of the tablets and rolls her shoulders. She’s been at this a while and seems focused on getting it done. She is very intent and jumps a little when we hear a knock.

JORDAN
(looking up)
Oh, geez! (breath) Yeah.


The door opens tentatively. We see a man – WILL - a little over 6’ tall, reddish hair, dressed in business casual.

Visitor

WILL
Dr. Cavanaugh?

JORDAN’S eyes widen. WILL’S accent is Australian.

JORDAN
Um… yeah. (beat) And you’re…?

WILL gives her a hesitant smile and jerks his head toward the chair opposite her, asking silent permission. JORDAN gestures and gives him a half-hearted grin, as if to say, ‘Where are my manners?” WILL enters her office and shuts the door. He crosses the room and sits down.

WILL
I’m sorry to… disturb you at work, but… (jaw tightens) Sorry. I’m Will. Will Pollack.

The only way to describe JORDAN is “gobsmacked.”


END OF TEASER

 
Crossing Jordan Theme
;

 

ACT 1


3 . INT. JORDAN’S OFFICE – CONTINUING

JORDAN
(nodding slowly, in a daze)
Pollack. Australia. (eyes focus a bit) You’re his…?

WILL
Brother. (beat) If this is a bad time, Dr. Cavanaugh-

JORDAN
Jordan.

WILL
Sorry?

JORDAN
(smiling, still a little dazed)
Call me Jordan.

WILL
(nods)
Right. Jordan. Like I said, if this is a bad time….

JORDAN
No, no. It’s – it’s fine. I just… I didn’t know… he had…you.

WILL
Yeah, we.. uh… we hadn’t been too close in – since Mum and Dad died. (long beat) Dr. Cav- Jordan, I don’t want to take up a lot of your time. We got J.D.’s will probated finally and… well… here.

WILL hands her a medium-sized rectangular box. JORDAN looks surprised again. As she opens the box, we can see her hands are trembling a bit. We follow her hands as they slide into the box and withdraw an object. She holds it up. The look of surprise has been replaced by one of puzzlement.

JORDAN
A toy boat?

WILL
Not as such, no. (beat) It’s a scale model of a boat called The Five W’s.

JORDAN shrugs helplessly.

JORDAN
Sorry, I…

WILL waves a hand, dismissing her apology as unnecessary.

WILL
The Fives is – was – my brother’s boat. But she wasn’t just a boat. Not really. (beat) Do you have a few minutes?

JORDAN nods.

WILL (cont’d)
He bought The Fives when we were both at uni. (smiles at a memory) She was this broken down, leaky, ugly tub.

JORDAN grins a bit, just the corners of her mouth turning up.

WILL (cont’d)
He saw something in that tub that no one else did. Wanted to… sharpen her up.

WILL stirs restlessly in his chair.

JORDAN is silent, the tension in the air thickening by the moment.

WILL (cont’d)
Took him almost five years, more cash than I care to imagine and a lot of himself, but she turned out to be worth it.

JORDAN
And this is what she – the boat – looks like now?

WILL
Yeah. Mum and Dad thought he’d gone round the bloody bend, but inside they were pretty proud that he stuck to it. (gestures to the model) They had that made. Gave it to ‘im the day we rechristened her. That boat… meant something – no… she meant the world to him. I think when he looked at The Fives he saw the best of himself. You know?

JORDAN nods, sadly.

JORDAN
But… why leave me the model?

WILL
(grinning)
He didn’t just leave you the model.

He jerks his head toward the replica and then reaches over and slides the deck plating varnished piece of wood. JORDAN’S eyebrows shoot up when she sees a key resting in the model’s hollow interior. She looks up.

JORDAN
I don’t… why me?

WILL
(bemused)
You don’t know? (beat) He loved you.

Tears start in JORDAN’S eyes and she swallows.

WILL (cont’d)
A couple months before he – before he died, he called me. (sad smile) Hadn’t done that in a coupla years. Said he’d – he’d met someone.

JORDAN looks down at the model in her hands.

JORDAN
I… um… it didn’t-

WILL
Work out. I know. (pause) But there was – there was something in his voice. Something I hadn’t heard since Mum and Dad’s accident. He was excited about the piece he was writing…judicial corruption?

JORDAN can only nod.

WILL (cont’d)
(shrugs)
But it wasn’t only that. He was still in love with you.

JORDAN
(very close to tears)
I’m sorry… I…

WILL
You were good for him.

JORDAN
(snorts)
He must not have told you much.

WILL
(gently)
He told me everything. Didn’t change how he felt, Jordan. He told me he’d decided if anything happened to him that he wanted you to have the boat, and I knew.

JORDAN frowns and shakes her head in that way she has when she is too emotional to say anything.

WILL
That he finally found that… something he’d been looking for.

JORDAN
We never had the chance…

She wipes away a few tears.

JORDAN (cont’d)
I’m – um – I don’t know… maybe….

She finishes with a helpless shrug.

WILL
The thing is, it didn’t matter. You gave him something that he’d been missing since our parents died. That’s why he wanted you to have her.

JORDAN
(tears slowly trickling down her face)
He’d have changed his mind.

WILL shakes his head.

WILL
Nah. Too stubborn by half. (looks at her) I’m glad he was with you when – when it happened. (blushes) Not ‘cause of what you went through…sorry. No. Just that… you know?

They are silent for a few moments.

WILL (cont’d)
Look, you don’t have to keep The Fives. I’ll buy her from you. Fair market value of course. But I thought you might want to see her. In person. (clears his throat) And we’re – um – we’re scattering … the… the – um - ashes. In a week.

JORDAN
(stunned)
I… see.

He slides an envelope across her desk to her.

WILL
If you want to come, here’s a ticket. Round trip.

JORDAN nods.

JORDAN
This is… too much. I can’t… I – I don’t know.

WILL
He’d want you there. (beat) And there’s no hurry with The Fives. The lease on the slip is paid through the year. No matter how skint he was, J.D. always found the cash for that. I’ve been keeping her up all these years. (smile) I’ll manage until you decide.

JORDAN
Thanks.

WILL stands up.

WILL
I’m sorry to drop this on you like this, but I’ve got a late flight out to San Francisco. Business. (beat) And I wanted to do this in person.

JORDAN
(stands)
Thank you. Really.

They walk across her office to the door. WILL opens it and, before leaving, offers JORDAN his hand. They shake. He steps into the hall, but stops.

WILL
Oh, damn!

He stops to get something from his laptop case.

WILL (cont’d)
Can’t believe I nearly forgot these.

He hands Jordan a manila envelope.

JORDAN
What are they?

WILL
Some of his papers. I thought you should have them.

JORDAN
Why?

WILL
They have something to do with that judge – the one in… anyway, him, a cop and a woman. (beat) I figgered with the name an’all.

JORDAN gives him a questioning look.

WILL
Someone named Emily Cavanaugh.

4. INT. JORDAN’S BEDROOM – NIGHT

JORDAN is seated cross-legged on a bed. Papers are scattered around her. On a table next to the bed, is a cup of tea, full and slightly filmy with cold. JORDAN reaches for a sheet of paper and tosses it aside. She frowns in concentration, reaching for another paper that is the one she wants. She leans back, stretches her legs out, grimacing with stiffness, and begins to read again. After a moment, she sighs and scrubs a hand over her eyes.

JORDAN
(lowly)
Dammit, Pollack! Did you always have to be such a – a goody-two-shoes about your sources? (beat) How is Mr. Y supposed to help me? Or Officer X?

She puts the paper down on her knees and rests her head in her hands for a moment. She takes a deep breath and looks up.

JORDAN (cont’d)
Not that you knew you wouldn’t be here to make sense of it.

Jordan sits up again, her face set with renewed determination. She leans forward and scoops the papers up, arranging them back into some sort of order. Then she begins to go through them, slowly. She begins to read in a VOICEOVER.

JORDAN (cont’d)
Pollack: So, tell me how you ended up here.

She makes a quick scrabble through his notes again.

JORDAN (cont’d)
You couldn’t even put down the name of the prison? (sigh) Mr. Y: My passport wasn’t exactly what you’d call “standard issue.”

As JORDAN continues to read in VOICEOVER, the image of her fades into POLLACK’S reflection.

5. INT. PRISON VISITATION AREA – DAY

POLLACK is sitting it one of those cubicles where people use a phone to talk to the prisoner on the other side of the glass. The prisoner, MR. Y, is the focus of the frame and POLLACK, because it’s his reflection, looks ghostly.

Visitation

POLLACK
A fake passport. Come on, mate. No one’d lock you up for…

He consults a notebook in front of him.

POLLACK (cont’d)
…twelve to fifteen for that.

MR. Y
They got real touchy after nine-eleven, you know?

POLLACK
No one’s that touchy.

MR. Y shrugs.

MR. Y
You probably got my sheet. You know why I’m here.

POLLACK
(grin)
Good point.

He looks down and reads his notes again before continuing.

POLLACK (cont’d)
Armed robbery, assault with a deadly weapon, possession with intent to sell. (looks up) Makes sense.

MR. Y
Told you.

POLLACK
What I don’t get are these dates.

MR. Y replies with cold silence.

POLLACK (cont’d)
I mean, they’re all from 1980 and before.

MR. Y
Took ‘em a while to catch up with me.

POLLACK
Why’s that, mate?

MR. Y looks like he’s getting impatient.

MR. Y
Because I was living … elsewhere, mate. (beat) Your neck of the woods, actually.

POLLACK’S eyebrows go up. He makes a show of reading his notes again, even though he knows the information.

POLLACK
And how did you manage that on a…let’s see… a gas station attendant’s salary?

MR. Y
I had friends. They helped out, you might say.

POLLACK
Judge Gordon?

MR. Y
Mighta been. Mighta also been a cop looked the other way a time or two back then.

POLLACK
Why would they do that? What makes you so special?

MR. Y
Everyone gets into tight spots, from time to time, yeah?

POLLACK nods.

MR. Y (cont’d)
Well, I helped this one cop – let’s call him Officer X - out. Mostly small stuff, for him and that Gordon guy, but….

MR. Y closes his mouth, suddenly realizing he’s said enough. POLLACK can smell the blood in the water though.

POLLACK
Aw, come on.

No reply.

POLLACK (cont’d)
Seems like this Officer X could have got you out of here.

MR. Y
By the time I came back? (shakes his head) He wasn’t in a position to help out, you might say.

POLLACK
So, you help out some cop, do a few not-so-good deeds for the judge and end up here? Doesn’t seem fair.

MR. Y thinks this over. We can see the wheels grinding in his head.

MR. Y
What’s in it for me? If I give you anything?

POLLACK shrugs.

POLLACK
I write my article. The truth about this cop comes out; people find out about Judge Stevens. You never know – time off for good behavior maybe.

MY. Y snorts. He knows he’s stuck where he is.

POLLACK (cont’d)
(manipulating MR. Y a bit more)
All right then. Maybe this cop and the judge end up right here with you.

Revenge? This affects MR. Y. POLLACK waits, letting Y think it over, not pressing him.

MR. Y
I ain’t a snitch. I wanna be clear about that.

POLLACK
Of course not, mate.

MR. Y
All right. Yeah. I helped the cop off some lady.

POLLACK
(hoping he heard that wrong)
“Off some lady?”

MR. Y
(as if POLLACK is stupid)
Yeah. You know. Off. Do. (still nothing) Cap. Whack.

POLLACK is getting more than he bargained for. He looks as if he has a bad taste in his mouth.

POLLACK
You’re talking about murder?

MR. Y
That’s what I said. (shakes head) Still don’t know why he wanted to do her. I mean, I heard she was a few sandwiches short of a picnic, but she was a looker. (shrugs) Whatever. I did it.

POLLACK
Why should I believe you?

MR. Y
(exasperated as only the guilty can be)
Look it up. It was in all the papers at the time. Turned out the broad came from one of those high class Boston families, used to be all uptown til she got married. I dunno.

POLLACK simply looks at the man.

MR. Y (cont’d)
They never figured it out. (another shrug) I guess they wouldn’t. A cop setting the whole thing up and all.

There is a pause as Y pulls out some cigarettes and lights one.

POLLACK
(lowly)
What was her name?

MR. Y
The broad? Gotta think about that.

He takes his time, dragging on his cigarette, watching POLLACK.

MR. Y (cont’d)
Oh, yeah. Cavanaugh. Emily Cavanaugh.

The scene shifts abruptly back to JORDAN, who has one sheet of paper in her hands, the one she’s been reading. She turns to the last page and her expression becomes distressed, a bit disbelieving as well. We go in and see that half the page is a blurred mess where something spilled on the paper, making the ink run.


6. INT. NIGEL’S LAB – MORNING, SIX DAYS LATER

NIGEL is at his computer, reading something very intently and smiling to himself, that fun, goofy Nigel smile. JORDAN comes in, looked tired and harried.

Take a Look at This!

JORDAN
Oh, man, am I glad you’re here?!

NIGEL
(grinning, cheerful)
I dunno. Are you?

JORDAN stops in her tracks and looks at him. She’s in obsession mode and doesn’t really have the patience to banter with him. She rolls her eyes.

JORDAN
I need your help.

NIGEL is still grinning, he hasn’t caught on to her mood yet.

NIGEL
Let’s see… Woody’s birthday is coming up soon and you need a masculine opinion-

JORDAN
No.

There is a beat as she comes out of her mood for a moment.

JORDAN (cont’d)
And why would I ask you?

NIGEL
(taken aback)
Well now, that’s not very-

JORDAN
Nigel, can we do this some other time? I really need your help.

NIGEL appraises her and finally clues in that she’s off kilter in some way.

NIGEL
What’s this about?

JORDAN gets that determined look on her face.

JORDAN
My mother.

NIGEL groans.

NIGEL
Jordan… luv… how many times-?

JORDAN
I have a lead.

She races on before he can interrupt her.

JORDAN (cont’d)
See, there’s this guy. In prison. He had something to do with that judge. (swallows) And Pollack – Pollack talked to him. The guy, not the judge.

She shakes her head.

JORDAN(cont’d)
Anyway, this guy… he used to do…favors for the judge and… for a cop.

She stops pacing and looks squarely at NIGEL.

JORDAN (cont’d)
He helped the cop kill my mother.

NIGEL just stares at her.

JORDAN
I have to find him. He can tell me… everything.

NIGEL
I don’t… understand.

JORDAN puts down the papers in front of him.

JORDAN
It’s an interview Pollack did before – before. This guy – Pollack must have gone to talk to him about the judge and then… this guy helped kill my mom. Somehow. I mean, maybe he wasn’t there, but he….

JORDAN continues to talk in rapid fire speech. NIGEL scans the interview transcript. He looks up when he realizes JORDAN has gone silent. She is looking at him, her eyes pleading.

NIGEL
There’s no names here. And this last sheet…? What am I supposed to do with that?

JORDAN
(nodding)
I know. That’s why I need your help. I tried… I’ve been trying for the last… week.

NIGEL
(gently)
I don’t know what I can do.

JORDAN
(almost crying)
Nige… please. This is the closest I’ve ever come. I need to find this guy.

There is a beat while she pulls herself together.

JORDAN (cont’d)
There has to be a way.

NIGEL takes a deep breath. His expression is a mixture of compassion and concern.

NIGEL
I can try. (beat) Maybe with the dates and offenses….

He gestures to the smeared paper.

NIGEL (cont’d)
And I suppose “Grah- -sum” could be part of his name.

JORDAN
(heartfelt)
Thank you.

NIGEL
I don’t want you to get your hopes up, luv. This could take… months. If ever….

JORDAN
(nodding quickly)
I’ve waited this long.

She gives him an impulsive hug and then turns to go. She looks back.

JORDAN (cont’d)
Don’t tell anyone. Okay?

NIGEL looks like he thinks that’s a bad idea.

NIGEL
Jordan-

JORDAN
(a bit forcefully)
No one. Not yet.

NIGEL nods reluctantly.


7 . INT. HALLWAY – CONTINUING

JORDAN is walking down the hall, a bag over her shoulder. WOODY steps off the elevator and hurries toward her, smiling but concerned.

WOODY
What happened last night? I thought you were coming over after you finished the Dean autopsy.

JORDAN
Oh… sorry. It – um it took longer than I thought and….

WOODY’S eyebrows attempt to mate with his hairline.

JORDAN (cont’d)
It’s – I – I was really tired.

WOODY
Jor, is everything okay?

JORDAN
(drops gaze)
Yeah. Of course. Why?

WOODY
Oh, I don’t know. Maybe because for the last week you’ve been… busy, tired, distracted…whatever. (beat) Distant.

JORDAN
No. It’s just been-

WOODY takes a deep breath, puts a hand on her arm and makes her face him.

WOODY
Is it - Is it what I said… at the airport… after Danny and Delinda left? Coz that was a jo-

JORDAN
(uncomfortable)
No…! (softer) Woody, no… I just… there are some things….

Despite her words, she has trouble meeting his eyes. Her face takes on the expression of someone looking for an excuse to be somewhere else. She is saved by GARRET striding down the hall toward them.

GARRET
Jordan! (waves some papers) What the hell is this?

WOODY’S look is alarmed now. We can read his mind: she’s going to run, no matter what she just said; Macy’s holding her resignation.

GARRET (cont’d)
A week? You need a week off now?

JORDAN
(looking from GARRET to WOODY)
It might not be that long.

GARRET
Damn right! It’s not even going to be one day. You can’t just run off-

JORDAN
(jaw set)
It’s important.

GARRET
It’s always important, Jordan!

JORDAN
Yeah, well… (shrugs)

WOODY
(finally getting a word in)
Jordan? What’s going on?

JORDAN
(walking toward the elevator now)
I’ll tell you when I get back, Woody.

WOODY
Back from where?

He looks to GARRET when she doesn’t answer and, instead, gets on the elevator as the door closes.

WOODY (cont’d)
Back from where?

GARRET
(sighs heavily)
Sydney.

WOODY
(eyes wide)
Sydney? As in… kangaroos, koalas…?

GARRET
As in J.D. Pollack.

 

 

END OF ACT ONE

 

 


ACT TWO


8. INT. HALLWAY – CONTINUING

WOODY is staring at the closed elevator doors. His expression is similar to JORDAN’S when she met WILL. His eyes cut to the stairwell door and he takes a step toward it. His cell rings. He looks down and rolls his eyes as he recognizes the number. Sighing, he unclips the phone.

WOODY
This’s Hoyt.

He listens, nodding, his eyes closing in annoyance and a bit of despair.

WOODY (cont’d)
Yeah. Give me that address again.

He pulls out his notepad and scrawls something on it, using a nearby wall for support. The dispatcher must ask some question about which M.E., if any, WOODY wants to request. His jaw tightens.

WOODY (cont’d)
No, Dr. Cavanaugh won’t be available. (beat) I’m sure. Look, I’m at the morgue. I’ll grab someone, ‘K?

WOODY flips shut his cell phone and begins walking back toward the offices and autopsies. He sees KATE coming. WOODY tries his charming grin.

WOODY
Doc-tor Swit-zer! Just the person I –

KATE
What do you want, Detective?

KATE’S voice is wry, gentler than her words would indicate but she still isn’t finding WOODY’S dimples to be deeply motivating.

WOODY’S face falls and he gets back into professional mode.

WOODY
I need an M.E.

KATE
(sly grin)
I thought you pretty much had that covered.

WOODY mutters something darkly we can’t hear and then speaks more loudly.

WOODY
Jordan’s… unavailable.

KATE smirks.

KATE
Ah, I see. Another one of those forward-backward moments in your complicated… relationship?

WOODY
(growls)
At least we have one.

KATE
(dropping subject)
What’s the case?

WOODY
(refers to his notebook)
Wife got home. Found her Eiderdale Glen (KATE whistles) house in not-quite-the-pristine condition she’d left it. Husband was upstairs. Dead.

KATE
Home invasion gone bad?

WOODY
Isn’t that what I’m supposed to figure out, Doc?

KATE
I’ll get Nigel and meet you there.

WOODY watches her exit. His face clouds and he mutters. The only thing we really catch is Jordan’s name, laced with his frustration.


9. INT. MUELLER HOME DOWNSTAIRS – AROUND 8 A.M.

A young, beautiful woman, DIANA MUELLER, sits on a couch in the middle of a spacious, open floor plan. She is wrapped in a blanket and staring straight ahead. Behind her is a broken French door – shards of glass all over the floor, the wooden frame bent and splintered. Around her is another mess: we can see an open drawer in the kitchen and several normal household objects on the floor beneath it. There is a breakfast bar; one of its chairs is overturned on the floor. Two or three scatter rugs are bunched up or sitting at odd angles. There are dried blood smears on the tiled floor. NIGEL is in the kitchen, examining the pull for the open drawer. We see him taking a sample with a Q-tip and rehydrating solution. It’s more dried blood. We come to rest on WOODY and follow his gaze, first to the woman, then to the blood trail. He sees that it goes toward the stairs. They are dark wood, so it’s hard to tell with the naked eye, from a distance, if the trail continues. WOODY wrinkles his nose, realizing suddenly there is a slight unpleasant odor in the air. He jerks his head in mute question to UNIFORM #1 who nods and points. WOODY nods. KATE comes in from behind him, clothing and shoes protected and she heads out of the frame, up the stairs, as WOODY comes back to the woman. He hunches in front of her.

Greiving Widow

WOODY
Mrs. Mueller. I’m Detective Woody Hoyt, B.P.D. (beat) I’m very sorry for your loss.

DIANA
(lost)
Who would… do this?

WOODY
(gently)
Mrs. Mueller, that’s what I’d like to find out. But I’m going to need your help.

DIANA
How…? I wasn’t… (sobs).

WOODY
Ma’am, I know this is hard, but I need to ask you a few questions. (no response; pushes on, still as gently as possible) Did your husband have any enemies?

DIANA
Enemies?

She shakes her head and gives short bark of laughter, on the verge of hysteria.

DIANA (cont’d)
That’s always what the police ask, isn’t it?

WOODY
I’m sorry….

DIANA
Maybe he should have kept a list!

WOODY
(sighs)
So… he did have… enemies?

Outside, probably next door, we hear a volley of loud, deep barks. DIANA flinches.

WOODY (cont’d)
Mrs. Mueller…?

The dog barks again.

DIANA
Damn… mutt.

WOODY
(getting a little desperate)
About your husband?

Once more, the dog barks. This volley is more sustained than the previous two. DIANA rises from the couch and, heedless of the scene, all-but runs to the shattered French door.

DIANA
Shut up! Shut up! Barking, always barking! Just stop, goddammit!

WOODY approaches her as carefully as he can and reaches to pull her back. She looks at him with wide eyes, face bloodlessly pale. Her hysteria is at a point where she is going to shut down. She begins to flail at him.

DIANA
Do something! Why can’t you do something? That fucking… dog. Always barking. Even with – Even with Jim – Even….

DIANA faints and WOODY grabs her.

END OF ACT TWO

 


ACT THREE


Pain - Four Star Mary
10. INT. AUTOPSY ONE – AFTERNOON

KATE is closing up JIM MUELLER. Music is blaring. WOODY walks in but she doesn’t notice him until he turns off the music.

KATE
What the hell do you think you’re doing?

WOODY
Making the world safe for ear drums.

KATE
Do I go around complaining about your interview technique? It’s hardly my fault if you don’t have good taste in music.

WOODY gestures in the direction of the speakers.

WOODY
That? (raises an eyebrow) That isn’t music. It’s… noise - and sometimes.

KATE
You – uh… never mind. Sometimes what?

WOODY
Sometimes you complain about my interview technique.

KATE
Don’t confuse me with Jordan, Detective.

WOODY
Jordan doesn’t complain about that.

KATE
Oh, that’s right. She just takes over and does it herself. (beat) And why aren’t you having this conversation with her again?

WOODY looks away for a moment and then approaches the body. He pales – this guy was dead nearly a full week before the wife came home from a “girls’ trip” to Florida.

WOODY
You have C.O.D.?

KATE
(slightly contrite)
Which one do you want?

WOODY
Which one?

KATE
Even with the decomp, I found several things that at least contributed to his death.

WOODY
Such as?

KATE
Well, I wouldn’t recommend the fifteen rounds he went with his attacker as healthy and the blunt force trauma to his head didn’t do him much good, but technically, he died of a heart attack.

WOODY
That fits. He had a bottle of nitroglycerin pills in his hand when he died and he’d had two heart attacks already. (beat) So was he murdered?

KATE
I don’t know. Does the D.A. have a little box to check that says “The accused scared the victim to death?”

WOODY sighs.

KATE (cont’d)
Look, he got into a fight. That probably brought on the heart attack. He couldn’t get the pill bottle open and passed out, hitting his head on the edge of the counter when he went down. So, no, no one ‘pulled the trigger,’ so to speak. But someone’s responsible, wouldn’t you say?

WOODY nods.

WOODY
But who?

KATE
That’s your job, right? (beat) I know if Jordan were here-

WOODY
Yeah. Well…as you pointed out, she’s not.

WOODY gives her a hard look and stalks from the room.


11.INT. TRACE – NEXT MORNING

NIGEL is running some test. He’s looking perplexed at the results. WOODY comes in. Honestly, that boy about lives at the morgue.

WOODY
Tell me you’ve got something, Nige.

NIGEL
The lovely widow Mueller still isn’t talking?

WOODY
Oh, she’s talking. Swears he was on the bathroom floor when she came home.

NIGEL
And you don’t believe her?

WOODY
(shrugs)
I dunno. (beat) There’s just… something off.

NIGEL
Well, she certainly seems to be grief stricken. (gives WOODY a sly look) Though I can’t think why.

WOODY
You do have something!

NIGEL smiles and does his “all in a day’s work” shrug.

NIGEL
Those nitroglycerin tablets?

He waits.

WOODY
Not nitroglycerin?

NIGEL
Not even close. (beat) Xanax.

WOODY
Well, at least he wouldn’t have let his impending death cause him any anxiety.

NIGEL chuckles.

WOODY (cont’d)
I don’t suppose you…?

NIGEL
(handing WOODY a paper)
The widow had her very own prescription for the stuff. The funny thing is, she refilled it about two months ago.

WOODY
Why’s that funny?

NIGEL
Well, you’d think if she was going to substitute the pills, she’d have done it sooner.

WOODY
Maybe the husband didn’t need the pills until that night.

NIGEL
No. His prescription was refilled about three weeks ago.

WOODY
Maybe she was waiting.

NIGEL
And got tired of waiting?

WOODY
Wouldn’t be the first time.

WOODY stares down the paper.

NIGEL
One small problem with that, mate. He was older than she is, but he still had a good half foot and sixty pound on her. No way she could’ve done that damage.

WOODY
(unconcerned)
And she was in Florida a week ago. She could’ve hired someone though. (beat) Did you get anything off of trace?

NIGEL
A few things. I’m still analyzing them.

WOODY
Call me when you get something. I’m going to go have another little chat with the bereaved Mrs. Mueller. The bereaved and wealthy Mrs. Mueller.

12. INT. PRECINCT INTERROGATION ROOM ONE – AFTERNOON

WOODY is sitting across from DIANA MUELLER and her ATTORNEY. The widow is wringing her hands while the attorney looks very stoic. WOODY has a piece of paper in front of him.

ATTORNEY
My client knows nothing about her husband’s death. She’s told you everything she can think of about his business dealings and associates.

WOODY
(nods as if sympathetic)
I’m sure she has.

ATTORNEY
Then why are we here?

WOODY
(slight smile)
I’m not really concerned about all that. (beat) Well, I am, but we’ll come back to that. No, what I’m wondering now is when she switched her husband’s nitroglycerin pills for Xanex?

DIANA gasps and then goes pale.

WOODY (cont’d)
(addressing her)
You didn’t think we’d check the pill bottle? That we’d run a tox screen?

ATTORNEY
My client has nothing to say.

WOODY
Really? Is that true, Mrs. Mueller? Because, you know, if you told me about the pills, I could put in a word with the D.A.

DIANA opens her mouth but is cut off by her attorney. He leans toward her and they whisper together. After a moment, they both nod and turn back to WOODY.

ATTORNEY
As I already told you, my client has nothing to say.

WOODY
(sighs)
Okay, how about I tell you what I think happened? (no response) I think Mrs. Mueller married Mr. Mueller for his money and then decided she’d like the money, but not the man. So, she – you, Mrs. Mueller – switched his nitro pills with her Xanex, figuring he’d have some sort of attack, take the pills and… ooops! (grins again, you know the one) How’m I doing so far?

There is still no response.

WOODY (cont’d)
All right, then. The problem was you got tired of waiting so you hired someone to break in to your house and scare your husband, knowing he’d go for those pills. You made sure it was during your “girls’ trip” so you had a good, solid alibi and figured we wouldn’t notice.

ATTORNEY
You don’t have a shred of proof.

WOODY
We’ll find it.

ATTORNEY
(shakes head)
You’re in here harassing my client when you should be out there finding out who did this. (looks at DIANA) We’re leaving.

WOODY
Last chance, Mrs. Mueller. Help me out with this and I’ll do what I can with the D.A.

DIANA looks at her attorney for a moment and takes a deep breath. He raises a hand to stop her, but she shakes her head.

DIANA
I didn’t do it, Detective Hoyt. Not what you’re saying I did.

There is a moment of tense silence. The attorney blows out a frustrated breath and looks away.

WOODY
So… what did you do then?

DIANA
I know what people think. I know how it looks. But I didn’t marry Jim for his money. I loved him.

WOODY
(sarcasm)
I’m touched. Really, I am.

DIANA
Then I met… someone. And – I don’t know… I was going to leave Jim. But… I just… I thought maybe.

WOODY
You thought you could have everything.

DIANA nods, weeping now. WOODY is not impressed.

WOODY (cont’d)
So you switched the pills and last week, your boyfriend went over there and-

DIANA
No! I told you. I switched the pills. I admit that. I didn’t have anything to do with the rest of it.

WOODY studies her for a moment.

ATTORNEY
Detective-

WOODY
What’s his name?

DIANA
He didn’t have anything to do with this. He didn’t even know about the pills. I swear.

WOODY
You’ll forgive me if that’s not quite good enough. His name.

She lowers her eyes and murmurs a name.

WOODY (cont’d)
We’ll be check-

His cell phone rings; he checks the number.

WOODY (cont’d)
I need to take this.

13. INT. TRACE – LATE AFTERNOON

WOODY comes through the door. NIGEL looks up.

NIGEL
Anything from the widow?

WOODY
(shrugs)
She admits to switching the pills. (beat) She had a boyfriend.

NIGEL
(cheesy grin)
I’m stunned.

WOODY
I let her walk. For now.

WOODY leans over NIGEL’S shoulder.

WOODY (cont’d)
Help me out here, Nige. Give me something so I can nail her and the boyfriend.

NIGEL
Well, I did get some hairs from the shirt.

WOODY
Great! I’ll pull in the boyfriend. If he won’t volunteer a hair sample, I should have enough for a warrant. (beat) Anything else? Like what cut him?

NIGEL
(perplexed and not happy about it)
Not as such.

WOODY
What does that mean?

NIGEL
It means I can tell you what didn’t cut him. (beat, a little more optimistic) I did get some skin cells from a couple of the bruises.

WOODY
Okay, okay. This’s good. It is. I can work with this.

NIGEL
Yeah, well, bring me DNA samples from the boyfriend and I’ll be able to tell you if he’s your man.

WOODY
Oh, he is, Nige. He is. People never learn. They think we won’t catch ‘em, but… yeah, it’s him.

NIGEL nods. He watches WOODY for a moment and then clears his throat.

NIGEL
Everything all right, then?

WOODY
Yeah… sure. Why wouldn’t…?

He looks away, takes a moment and then gathers himself.

WOODY (cont’d)
She’s just being who she is. That’s all.

NIGEL
Woody-

WOODY
She’s got a reason, Nigel. I know she does.

NIGEL takes the hint and drops it.

NIGEL
Yeah. All right then. I’ll start running some tests so when you get those samples….

WOODY
Thanks.

WOODY exits with NIGEL looking after him, a concerned expression on his face.

 

 

END OF ACT THREE

 

 

ACT FOUR

14. INT. WILL POLLACK’S LOUNGE ROOM – EARLY AFTERNOON (SYDNEY)

Tight focus on a framed picture of Sydney Harbour. There is a shadow on the frame. The camera slowly pulls back and we see that it is JORDAN’S shadow; she is studying the picture, which hangs on a bright, buttercup yellow wall. Behind her is a lounge room, very comfortable with a couch, a couple of chairs, a television and stereo set and a lot of people. This is a wake for POLLACK. JORDAN’S eyes move along the framed gallery of photos. One is a family photo: younger versions of WILL and J.D. POLLACK with two adults who must have been their parents. There are several other candid photos. Looking at them, JORDAN bites her lip. Toward one end, there is a photo of J.D. on The Five W’s, working. JORDAN’S jaw clenches and her eyes mist. He’s really young, smiling, beer in one hand, paintbrush in the other.

WILL rounds the corner from the kitchen.

WILL
(surprised)
Jordan?

JORDAN looks up.

WILL
We’re gonna head over…. It’s just a few of these people.

JORDAN nods.

WILL (cont’d)
Righteeo. We’ll take the ferry over to Balmain. From there, it’s a bit of a row in the dinghy, but I promise not to capsize us.

JORDAN
(smiling a little)
That’s… fine.


She takes another look at the boat picture.

The Fives

15. EXT. DINGHY IN HARBOUR– MID AFTERNOON (SYDNEY)

JORDAN, WILL, ROSAMUND (WILL’S wife) and JASON FLANNIGAN (old family friend) are in a small dinghy, heading for the Fives, which is moored to a buoy a bit farther out. As he rows, WILL and JASON are telling JORDAN stories.

JASON
No! Truly!

JORDAN
(laughing)
I don’t believe it.

WILL
I don’t know why Mum and Dad thought they could talk him out of it. J.D. quit taking their advice when he was about seven was what Gran always said.

JORDAN
(getting serious)
He really did it?

WILL
(nodding)
Miracle he and his mates (glance at JASON) didn’t get nicked. They never would say how they managed it either.

JORDAN shakes her head.

JORDAN
Climbing the Bridge and putting… garbage bins… at the top?

WILL laughs as she ponders it. She smiles at him, before turning to gaze around the harbour. They are all silent for a while, but it is a comfortable silence. WILL’S face, as he watches JORDAN, is sad, but not grief-stricken; the other two have similar expressions. They have accepted the past and are trying to honor it.

WILL gestures to JORDAN to get her attention. He points and she cranes her head around. The full-size version of the scale model Five W’s is close. WILL gives another 3-4 good pulls on the oars and they bump alongside the hull. He ties the tinny fast to the boat’s side and scrambles aboard, offering JORDAN a hand.

16. EXT THE FIVES ON DECK - CONTINUING

JORDAN walks to the stern, holding the handrail as she is a bit wobbly. WILL helps the other two aboard.

WILL
Take a look around, Jordan. She is yours now, after all.

JORDAN nods, a light breeze blowing her hair around her face. She studies the boat as she would a cadaver – taking in the details, learning what she can from a physical examination. The teak decking gleams as she walks along the starboard side of the boat toward the bow. She stops at the mast and looks up, noting the neatly furled and tied sails. As she continues, she passes the head, opening the door to peer into the tiny space WILL goes below for a moment and returns with a bottle of wine and some plastic glasses. JORDAN continues her exploration, standing, for a moment, at the wheel. She looks back over the bow, toward Balmain and then joins WILL and the others as he pours the wine and hands out the glasses. WILL sets a fifth glass on the capstan, where a small urn already stands.

WILL
If this’d’a been me, J.D. probably would have something really great to say.

JASON
Even if he had to make it up.

Smiles all around.

WILL
I don’t – I’m not good at this stuff. So… um… he was my brother. He was a pain in the arse, half the time, but I loved him. (looks down briefly) He did some stupid things, some things he wasn’t proud of, but he also did some really good things… that’s what I’ll remember.

He takes a quick look at the others and then lifts his glass up high.

WILL
To those gone before. (pause) Cheers.

JORDAN mouths the word but looks down into her wine. She takes only a small sip. We fade.


17. EXT. THE FIVES – AROUND 5 P.M.

JORDAN is standing in the bow. The boat is not at its mooring, but has been sailed into the Harbour a way. She is staring down at the water, where a thin film of pale ash rides the waves. WILL comes up behind her and hands her another glass of wine. She does not look up.

Queen of the World

JORDAN
Thanks.

WILL
For what? You haven’t heard my offer for The Fives yet.

He smiles, trying to lighten the moment,

JORDAN
(shaking her head)
For letting me be part of this. I – I thought I’d finished saying… goodbye. In Boston. When it – when he died.

WILL
You wanna know something, Jordan?

She arches an eyebrow to prompt him to continue.

WILL (cont’d)
I’m not sure we ever finish saying goodbye. Not to the people who mattered to us. (he looks down at the water) What’s more? I think that’s okay.

JORDAN shakes her head dubiously.

JORDAN
I don’t know.

WILL
(looking straight at her now)
Hold on to the good things, Jordan. Let go of all the ones you can’t change. Don’t let those “might’ve” moments mean more than what’s in the future.

A look of pain and confusion crosses JORDAN’S face. She nods slowly.

JORDAN
Do you mind… I’d like a little time… here.

WILL nods.

WILL
I can take Rose and Jase back and then come get you. Good?

JORDAN
Good.

18. EXT THE FIVES ON DECK – EARLY AFTERNOON (SYDNEY)

JORDAN is sitting on the deck, alone. She glances over to the capstan, now empty of wine glass and urn. She pulls out her cell phone. She dials.


Rewind - Paolo Nutini

19 . INT. WOODY’S APARTMENT – LATE NIGHT (BOSTON)

WOODY is sitting on his couch, dressed in sweats. He has a beer in hand and there is an open pizza box on the coffee table. The TV is on – a basketball game – but there’s no sound. WOODY’S eyes cut down to his cell phone, next to the box. It’s vibrating. He reaches for it and checks the number. His eyes close briefly and he hesitates. He flips open the phone.

WOODY
So help me, Jordan, if you say ‘G’day, mate….’

20. EXT. THE FIVES ON DECK - CONTINUING

JORDAN
I’m sorry, Woody-

21. INT. WOODY’S APARTMENT - CONTINUING

WOODY groans.
WOODY
I shoulda’ known.

22. EXT. THE FIVES ON DECK - CONTINUING

JORDAN
Geez. Let me finish, will ya? Before you start the doom and gloom.

23. INT. WOODY’S APARTMENT - CONTINUING

WOODY looks toward the ceiling, as if asking for patience.

WOODY
All right. Sorry. (beat) Go ahead.

24. EXT. THE FIVES ON DECK - CONTINUING

JORDAN
I’m sorry I didn’t… talk to you before – before I left. I – uh – I guess I – I… crap, this is… hard. I couldn’t even explain to myself why I was doing it.

25. INT. WOODY’S APARTMENT - CONTINUING

WOODY
Doing what, Jordan?

26. EXT. THE FIVES ON DECK - CONTINUING

JORDAN
(like she didn’t hear him)
It was just that… he left me this – this boat. I know it sounds… weird-

27. INT WOODY’S APARTMENT - CONTINUING

WOODY
A boat? What’re you talking about?

28. EXT. THE FIVES ON DECK - CONTINUING

JORDAN
(still as if she isn’t hearing WOODY)
And I don’t know. I felt… like I – I owed him. Something.

29. INT. WOODY’S APARTMENT - CONTINUING

WOODY
Pollack? Wait, Pollack left you a boat and you owed him something? (beat) You lost me.


30. EXT. THE FIVES ON DECK - CONTINUING

JORDAN runs a hand through her hair.

JORDAN
Look, I’m booked on the first flight out tomorrow, gets in to Logan around dinnertime. Can I explain it all then?

31. INT. WOODY’S APARTMENT - CONTUINING

WOODY sighs and his eyes close as his head falls back against the couch.

WOODY
Yeah. Fine.

32. EXT. THE FIVES ON DECK - CONTINUING

JORDAN
Woody? (long beat) Are we okay? I – I need us to be okay.

33. INT. WOODY’S APARTMENT - CONTINUING

WOODY opens his eyes. He smiles slightly, almost in spite of himself, it seems.

WOODY
You’re coming home, right?

34. EXT. THE FIVES ON DECK - CONTINUING

JORDAN
Yeah. First flight tomorrow.

1. INT. WOODY’S APARTMENT - CONTINUING

WOODY
That’s a start. (beat) Jordan?

Her reply is muffled.

WOODY (cont’d)
Just don’t bring home any koalas or – or dingoes or whatever. ‘K.

There are more muffled sounds – this time laughter.

36. INT. INTERROGATION ROOM ONE – ABOUT 11 A.M.

WOODY and CHRIS BAKER, MRS. MUELLER’S boyfriend, are sitting, facing one another, at the table. WOODY’S face is neutral; the boyfriend’s posture is slumped, his head is down. He’s drumming his fingers on the table in a fast, anxious rhythm.

WOODY
We already know you were sleeping with her. (beat) She told us.

CHRIS BAKER
Okay, yeah. We were – we were having an affair. (looks up) But I swear, I didn’t touch her husband. I’ve never even been anywhere near that house!

WOODY
(clucks his tongue)
You know we’re going to find out you’re lying, right?

CHRIS BAKER
I’m not lying! I – We always met at – at my brother’s place.

WOODY
Right. And last week, when she was out of town, you went over to her house. You knew she’d switched his heart pills and that it would be a perfect time to go and – scare him.

CHRIS BAKER
No! God, why can’t you listen? She told me about the pills this morning.

WOODY
When you and she were figuring out what you’d say.

CHRIS BAKER drops his head again and sighs deeply.

CHRIS BAKER
What can I do to convince you?

WOODY smiles.

WOODY
Well, here’s the thing….

37. INT. TRACE – AROUND NOON

NIGEL is checking something in the microscope. The room is a mess – text-type books and Nige’s famous “guide to…” books are scattered everywhere. NIGEL sits back and glares at the microscope.

WOODY enters, big grin, holding several evidence bags.

WOODY
Look what I’ve got!

He waits for a response. His face falls when he doesn’t get one.

WOODY (cont’)
It’s hair. And an oral swab. From the boyfriend.

NIGEL
(glum)
Won’t help.

WOODY
Whaddya’ mean it won’t help? It’ll prove-

NIGEL
Sorry. It won’t.

WOODY
Nige?

NIGEL takes a deep breath and expels it loudly. He looks exhausted, frustrated and even a bit defeated.

NIGEL
Our hair sample? Our skin cells? (WOODY nods) Not from the boyfriend.

WOODY
You haven’t even compared them yet! (hesitates) Oh! They’re from a woman? Like the vomit at Midas’ club!

NIGEL
Maybe.

WOODY
(confused)
Um…Nige… isn’t it kinda one or the other?

NIGEL
Sure. I just can’t tell which.

WOODY doesn’t reply, just looks at him.

NIGEL (cont’d)
Neither the hair nor the DNA are human.

 

END OF ACT FOUR

 

 

ACT FIVE

 

38. INT. TRACE – MOMENTS LATER

WOODY is looking in the microscope now. NIGEL still looks depressed.

WOODY
So, how can you tell again?

NIGEL
The shaft…it’s all wrong. See, in humans…

He lapses into forensic techno babble.

WOODY
In English? Please?

BUG enters before NIGEL can answer. He looks at the odd tableau and frowns.

BUG
What’s going on?

WOODY
Nigel can’t figure out what this hair is.

NIGEL
It’s not human. I know that.

BUG motions WOODY aside and looks into the scope. He makes some adjustments, studies the hair for a moment and then stands back.

BUG
It’s Macropus giganteus.

WOODY/NIGEL
What?

WOODY
What the heck is that?

NIGEL
It can’t be!

BUG
(to WOODY)
An Eastern Grey Kangaroo.
(to NIGEL)
It is.

WOODY
(very confused)
But – um – I mean… we don’t have kangaroos. (beat) Do we?

BUG
Well, the zoo does. And sometimes people keep them as pets.

NIGEL grins suddenly and hurries to his computer. He types in a quick search and all but jumps and down when the page comes up.

NIGEL
Here it is! Buggles, you’re brilliant!

BUG
I am and don’t call me that.

NIGEL
No, no, no. When you said “pets.” I remembered a story I read. News of the Weird sort of thing, you know?

BUG
(dry)
Your Bible?

NIGEL ignores this.

NIGEL
Look.

NIGEL points to the story.

WOODY and BUG lean in.

WOODY
(reading)
Escaped Pet Kangaroo Still at Large – neighbors hopping mad. (groans) Despite ongoing efforts by the Forestry Department, the SPCA and local conservationists, Pittsfield’s most notable resident – an Eastern Grey Kangaroo named Sylvia – continues to elude capture. The eight-year old family pet escaped last August. Sightings have been coming in ever since, but no one can get close to the fast-moving marsupial. (looks up) Is this for real?

NIGEL
I should think so. There was even a discussion of it on one of those drive time shows on the radio. Callers got quite… agitated. Personally, I didn’t think she’d make it through the winter.

BUG
Looks like she did.

WOODY
So… my perp is a – a – a…?

BUG
A Macropus giganteus. An Eastern Grey Kangaroo. (looks at article again) Apparently named Sylvia.

NIGEL
For Sylvia Plath, do you suppose?

WOODY hangs his head.
The Part Where You Let Go - Hem

39. EXT. DEPARTURES KINGSFORD-SMITH AIRPORT SYDNEY – MORNING

JORDAN and WILL are standing outside the departures hall at Sydney’s airport. WILL hands her an envelope. Through the open flap at the top, we can see a bank check. As WILL gives her the sale price of his brother’s boat, he asks a question.

Heading Home

WILL
You’re sure about this?

JORDAN nods and then smiles a bit.

JORDAN
The Fives belongs... here.

WILL
You could always come back.

JORDAN shakes her head and smiles more, that smile she has when she knows it’s something that’s never going to happen.

JORDAN
I don’t... I doubt it. (long beat) But I’m glad I came. Thank you.

WILL hangs his head for a moment. When he looks up, he is smiling at her. It is a bittersweet smile, much like the one POLLACK gave JORDAN the night he left her.

JORDAN (cont’d)
Your brother...

WILL
(grinning)
Was a pain in the arse?

JORDAN laughs.

JORDAN
At times. (wide smile) Yeah... that. But – um – he also came into my life at a time when... let’s just say I’d screwed up another relationship... worse than usual.

WILL
Woody Hoyt?

JORDAN
(faint blush)
God, he did tell you everything. (beat) Yeah. Woody. I – I don’t know. Polla- J.D. – He... he....

She is at a loss for words for a moment.

JORDAN (cont’d)
Even though we had problems, he meant more to me than I realized.

WILL nods slowly. The moment could be awkward, but it isn’t; it’s quiet, a definite ending, but an ending chosen this time. WILL moves to hug her and JORDAN lets him. WILL pulls back. There is nothing more to say, so JORDAN shoulders her bag and heads inside. WILL watches her go, his face pensive, but understanding.


40. EXT. MUELLER’S BACKYARD - AFTERNOON

NIGEL and WOODY are in the MUELLERS’ backyard, looking for evidence of the marsupial perpetrator. Near the fence line, NIGEL snaps a picture and calls over WOODY.

Throughout the entire backyard scenes, the neighbor’s dog barks.

NIGEL
(pointing)
I’d say this is where Sylvia jumped over the fence.

WOODY peers at the ground, where NIGEL is pointing. Then, he looks up at the fence.

WOODY
Fence looks pretty tall.

NIGEL
Eastern grays can jump about ten feet.

WOODY
(eyeing the fence again)
Or not. (beat) So... Syl – the kangaroo jumps the fence... why?

NIGEL
Why does any animal do most things?

WOODY
Self-preservation?

NIGEL nods.

WOODY (cont’d)
So Syl – the kangaroo was being chased?

NIGEL
I doubt it. Not many things can take down a kangaroo. (looks around) No, I’d say she was attracted to the Muellers’ landscaping.

WOODY and NIGEL begin to follow a series of indentations in the ground. The path leads them toward a circular enclosure of flowering grasses and green plants.

NIGEL (cont’d)
Decoration to us; all-you-can-eat buffet to Sylvia.

He holds up a nibbled leaf.

NIGEL (cont’d)
See?

WOODY nods and turns his gaze toward the house. It’s possible to see the smashed French doors, but not easy.

WOODY
All right, so Syl – the kangaroo was here for the menu. Why’d Mr. Mueller come out here? He couldn’t have seen... her...it... could he?

NIGEL looks like he’s doing calculations in his head.

NIGEL
Could have. But he would have to be looking for something, I’d say.

WOODY
All right, whatever. He comes out here. And... what?

NIGEL
I’ll be Mr. Mueller.

WOODY gives him a look that says This time you have really gone nuts.

NIGEL (cont’d)
Come on. I’m Mr. Mueller....

WOODY sighs.

WOODY
And I’m Syl – the kangaroo. (under his breath) If anyone ever hears about this....

Kanga-Woody


NIGEL walks to the French doors and stands on the cement patio. He looks toward WOODY.

NIGEL
Okay. For some reason, I come out on to the patio. I see something in one of the planters. I come toward it.

WOODY
So I lunge at you and start punching.

NIGEL shakes his head.

NIGEL
Wait, that won’t work. Blood trail started about two feet from the end of the patio. (beat) Besides which, kangaroos don’t usually attack humans and they tend to grab on with their forepaws and then kick with the back ones.

NIGEL retraces his steps.

NIGEL (cont’d)
I can hear something.

WOODY
I’m eating the plants.

NIGEL
Right. So I start to walk toward the sound.

WOODY
You see... me.

NIGEL
I’m shocked. But maybe I’ve read the article about Sylvia. Or maybe I guess she escaped from somewhere and I think I’ll try to capture her. Or maybe I’m just curious.

WOODY
So you keep walking toward me.

NIGEL
Right. I put out a hand. With some torn up bits of grass perhaps.

WOODY
I was someone’s pet so this is pretty familiar to me. I come toward you.

NIGEL is nodding and both men are walking to the place where the blood trail began.

NIGEL
And somehow, right here, it all went bad.

Neither man notices the widow now standing on the patio.

DIANA
(loudly)
What are you doing in my backyard?

41. EXT. MUELLER’S BACKYARD (PATIO) - CONTINUING

As DIANA calls out, the next-door neighbor’s dog begins to bark in a frenzy that takes about thirty seconds to die down.

NIGEL
(whirls around)
Mrs. Mueller! (shaky surprised laughter) We’re trying to figure out why Sylvia attacked your husband. (beat) I’m your husband; Woody’s Sylvia.

DIANA says nothing – her facial expression is enough. These two are lunatics!

WOODY
(looking sheepish)
Ummm – We’re – that is... we know who – I mean, what – your husband fought with. Sylvia. (beat) An escaped Eastern Gray Kangaroo.

That doesn’t clear much up for DIANA and her expression continues to be skeptical.

NIGEL
You see, this family up in Pittsfield has this pet kangaroo – named Sylvia – and she-

WOODY
Nigel! Nige!

WOODY makes the throat-cutting motion. NIGEL’S words trail off.

WOODY (cont’d)
(to DIANA)
Mrs. Mueller, an escaped kangaroo jumped into your yard, fought with your husband and we believe, led to his heart attack.

DIANA
(canny expression now)
So you know I had nothing to do with Jim’s death?

WOODY
I wouldn’t say that. The D.A.’ll still want to talk to you about the pills you switched.

Her face falls. She looks from WOODY to NIGEL and back and then her brows draw down and in with a question.

DIANA
Why would a kangaroo attack Jim?

NIGEL
(excited smile again and loudly)
That’s what we’re out here trying to figure out!

The neighbor’s dog begins to bark with renewed fervor.

DIANA
(frustrated)
I hate that dog. (shakes head) You can hardly set foot in this yard without it – making that racket!

NIGEL
(has an epiphany)
That’s it!

WOODY and DIANA give him looks.

NIGEL (cont’d)
(sly grin)
Dogs – wild dogs, like dingoes, especially – are about the only predator that can successfully take down a ‘roo.

WOODY
(nodding)
So... Syl – the kangaroo hears the dog bark and....?

NIGEL
And attacks the thing that’s closest. (beat) Jim Mueller. It explains the bruising and the irregular slashing. Plus the hair on him. She probably grabbed him then started kicking with her back feet.

DIANA
(looking from NIGEL to WOODY)
I am off the hook!

WOODY
(gives her the “are you kidding me?” look)
No. Like I said, the D.A.’ll still want to talk to you.

DIANA does what she seems to do best - she faints. NIGEL and WOODY look at the widow and then at each other. Though not insensitive, neither of them is impressed. WOODY shrugs.

WOODY
Guess I’ll read ‘er her rights when she comes to.

Something So Strong - Crowded House
42. INT. BOSTON LOGAN AIRPORT BAGGAGE CLAIM - EVENING

WOODY is leaning against a wall, watching passengers from the LA to Boston flight come toward their carousel. He’s dressed in jeans and a t-shirt with his hands stuffed into his pockets. He’s scanning the crowd, trying to look as nonchalant as his attire, but there is a sharpness about him that gives away his anxiety. He smiles when he makes out a familiar dark-haired woman. He doesn’t react at first, however. He takes a moment to drink her in. As angry and confused as he was by her departure, he can’t help the happiness he feels at her return. He pushes away from the wall and the movement attracts her gaze. She smiles a bit hesitantly, but gains confidence as he comes toward her and she sees the smile on his face. They meet a few feet away from the crowd around the carousel. She lets her shoulder bag slide to the floor and he pulls her into his arms. They share a deep kiss.

When they break apart, JORDAN looks up at him and beams.

JORDAN
(sly)
That better not be a gun in your pocket.

WOODY brushes a lock of hair from her face and tucks it behind her ear.

WOODY
It’s not.

JORDAN
Really?

WOODY
Give me about an hour to get us back to your place and I’ll prove it to you. All night.

JORDAN’S eyebrows arch and then she grins again.

WOODY (cont’d)
So... how was Sydney?

JORDAN
It was... therapeutic. (beat) How was homicide?

WOODY waves a hand dismissively.

WOODY
Oh, you know... the usual. One hit and run, a burglary gone wrong and one case of death by kangaroo.

JORDAN’S mouth drops open.

WOODY (cont’d)
See, this family in Pittsfield had this pet kangaroo. Only she escaped last year. Sylvia – that’s the kangaroo – named for Sylvia Plath, Nigel confirmed....

WOODY yammers on about Sylvia and her rather dubious, if unintentional, exploits. JORDAN watches him, her eyes twinkling a little. There is a hint of a smile on her face. As if without conscious thought, she reaches for his hand. As the scene fades we are left with an impression of comfort and contentment.

 

Next time on Crossing Jordan:

"There Are More Things (Than Dreamt Of)"



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