“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.
Detective Woodrow “Woody” Hoyt
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Det. Rich Davidson
Another Mystery - Dar Williams
1. INT. JORDAN’S BEDROOM – EVENING
The scene does a slow fade intro. WOODY is sitting in JORDAN’S bed, reading
something. Next to him is a pad of paper. His gaze is very intent, but occasionally
flicks toward the kitchen from where we hear sounds of cupboards opening and
dishing clanking. He jots something down, almost furtively, before glancing
toward the kitchen again. Safe, he returns to his reading. He murmurs to himself.
Now that would be cool!
He doesn’t notice that the sounds from the kitchen have stopped and Jordan
has moved toward the bed.
What would be cool?
WOODY looks up, the very definition of “a guilty thing surprised.”
He attempts to look innocent, but fails miserably.
You said, “That would be cool!”
I did? (hopeful beat) Oh… uh… yeah. It’s… uh…
Really! It’s nothing.
He starts to put away his reading material while also trying to move over to sit
on his pad of notepaper. The boy would be terrible at undercover work. JORDAN
is still smiling at him, comfortable in her own skin, with where her life is at
the moment. She pounces. Despite his best efforts to stop her, she gets a hold
of his reading material. She gapes at him and stiffens for a moment.
Jordan… I can explain. I just-
I thought it was a joke.
It was! (mumbles) I guess.
She glares at him.
I thought when… if… I mean if….
(long beat) But it’s not what you want.
I didn’t say that. (beat) It’s just… (shrug) timing.
Their eyes meet and hold for a long moment.
He gives up with a sigh. She rolls off him, ruffling the pad of paper he’d
tried to hide. She picks it up and scans his writing. She flips back several pages,
finding them all filled with notes. She looks at him.
Florists? Caterers? Bands? Woody, there’s a guest list here!
WOODY snatches the notepad away.
There is? How’d that get there?
She glares at him again before turning away. WOODY drops the notepad and his reading
material on the floor. He takes a deep breath and rolls onto his side to face
her back. He traces a line down her shoulder with one finger. Her back muscles
loosen a fraction. He leans in and kisses the back of her neck.
Don’t what? (beat) Love you? Need you? Hope to – Hope to spend
the rest of… a long time with you?
You might as well tell me not to breathe.
He kisses her again, the time on the shoulder. One hand supports his head as he
studies her. His other hand is unseen, but the muscles of his biceps and shoulder
bunch and flex a bit. JORDAN’S eyes flutter shut, then open and she moans
She rolls to face him, smiling again, but not as mischievously as before. They
kiss, long and slow. WOODY pulls back first and leans in.
All’s fair in love, remember?
Does that make this make-up sex?
She answers him with another passionate kiss and the camera pans off the couple,
over the edge of the bed and to the floor. There is a slow push in on WOODY’S
reading material: Today’s Bride magazine. The cover bride bears
a striking resemblance to JORDAN.
CROSS FADE TO:
2. INT. MAX’S LIVING ROOM – NIGHT
The shot is a close-up of JORDAN. There is a slow pull out to reveal that it
is a photo. MAX glances over at the photo from his recliner. His eyes cloud
with old worries and then, after a moment, he gives the barest of smiles. He
reaches for a tumbler on the table next to him and takes a sip of the Scotch
it contains. There is a sound, startling MAX out of his chair. He gets up and
checks the front door, shaking his head when it’s clear there’s
nothing amiss outside. He is making his way back to his chair when we see a
streak of something hurtling toward his back. The weapon – a Louisville
Slugger – connects with the back of MAX’S neck. He goes down, knocking
over the table where JORDAN’S picture stood. The shot tightens on the
shattered frame which is soon dappled with blood spatter and we can hear the
gruesome sound of the bat connecting with flesh. The shot widens once more at
a slow and measured pace. Dim light reflects off some of the bloody glass shards.
It goes silent, a moment passing before we can hear a door slam. The shot remains
focused on the photograph while we hear MAX struggling to breathe and then a
clunking noise and a discordant jingling noise, as a telephone makes when dropped.
Numbers are pushed slowly and then there is ringing. We can hear a voice in
9-1-1. What’s the emergency?
The only reply is a deep, masculine groan.
911 OPERATOR (cont’d)
Sir? Sir, can you tell me what’s wrong?
The shot widens all the way out to reveal MAX on the floor, the baseball bat
near him, blood pooling from a wound we can’t see. He scrabbles for the
picture and then his eyes close.
END OF TEASER
Crossing Jordan Theme
3. TRACE – LATE MORNING
JORDAN and NIGEL are talking. NIGEL keeps looking around, his eyes anxious.
They are both ignoring the body that NIGEL should be examining.
I’m sorry, luv. I’ve tried all the relevant databases here
or in D.C.
Then widen the search.
NIGEL starts to protest.
Sorry. (beat) It’s just… He has to be out there somewhere.
I did warn you-
I know, I know. (eyes lock) Keep trying. Please?
Before he can respond, the door opens. WOODY enters, glancing at the body and
then at JORDAN. She and NIGEL exchange guilty looks, but WOODY doesn’t seem
to notice, allowing them both to recover.
I thought this was Seely’s body.
WOODY takes a deep breath.
Jordan, I… need to talk to you.
He gives NIGEL a pointed look.
NIGEL and JORDAN share a look tinged with guilt. How much of their conversation
did WOODY hear?
There is another glance between NIGEL and JORDAN before NIGEL grins a bit anxiously,
trying to play this off.
(trying to be sly)
Oh, ho ho, I get it. A bit of afternoon delight? (beat)
He waggles his eyebrows.
Ewww! (beat) No!
Well, for one thing, there’s a corpse on the table there. For another,
this place isn’t big on privacy.
JORDAN relaxes a little as the distraction seems to be successful. She gets into
Especially since he bugged my office with streaming video and audio.
NIGEL looks aghast.
And thinks I don’t know about it.
She and NIGEL trade another look. Their previous furtiveness is gone. They realize
they are in the clear. Of course, NIGEL also knows he’s been found out on
the other matter.
(under his breath)
NIGEL rushes from the room. WOODY turns to watch him go and then looks back to
He didn’t… really? Did he? (beat) Don’t answer that.
What’d’ ya’ need?
WOODY’S expression becomes serious again. She’s brought him back to
why he came. He looks at the floor.
Woody? What’s wrong?
I… uh… I got a call. Um… about – about twenty
Is it Cal?
WOODY shakes his head.
Your aunt or uncle? (no answer) Jeez, Woods. Come on.
(barely meets her eyes)
4. INT. AUTOPSY ONE – LATE AFTERNOON
KATE is doing the autopsy on the body seen earlier. NIGEL enters.
(not looking up)
Silicate. Specifically Silicon Dioxide.
And you’re telling me this because…?
I thought you’d want to know.
You thought wrong.
But it might be related to the cause of death!
Thank you, Nigel. Given that I found what appears to be seawater in Mrs.
Lewis’ lungs, it probably is related to cause of death. (looks up)
What this has to do with me remains a mystery.
He catches the look on KATE’S face.
Yeah, well then….
He looks around, awkward.
SEELY enters and scowls when he sees the open condition of the body.
I thought Jordan was doing the autopsy.
Jordan is having her weekly crises. The rest of us – as usual –
are covering for her.
SEELY ponders this and responds in SEELY fashion.
So… when will you have the results?
(heavy on the scorn)
don’t know, Detective. This is my fourth autopsy today and I can
tell you this: the other three went much more quickly. (glances at NIGEL
and SEELY) Probably because no one came in to ask me when those autopsies
would be done or tell me about silicate.
NIGEL and SEELY exchange looks. NIGEL makes a motion toward the door. He and SEELY
KATE watches them and sighs when the door shuts.
5. INT. HALLWAY – CONTINUING
Wow! Is she in a particularly bad mood or does she just hate me?
Yes. (beat) I believe Binky suffered a defeat at the paws of his arch
rival last weekend.
You know, that made sense. If you know this place.
Binky. Her dog. He’s a-
I don’t care. Really, Nigel. I’m okay with it not making sense.
There is a brief silence.
So… does Jordan’s sudden absence have anything to do with
that call Hoyt got?
His brother again?
No. Her father.
The legendary Max Cavanaugh! (beat) He must be getting up there. All that
corned beef and cabbage finally catch up with the old fart?
NIGEL is stunned all over again at just how crass SEELY can be.
6. INT. BREAK ROOM – CONTINUING
GARRET is getting a bottle of water from the fridge. LILY and BUG are getting
ready to go home.
Hey, Bug, thanks for coming in tomorrow.
I have a colony of Mealworm Beetles I need to check on anyway.
Does anyone know what happened?
Only what Woody found out. (beat) Jordan said she’d call when she
It really was attempted murder?
That’s what the detective who called Woody said. I guess he wouldn’t
say much more on the phone though.
Poor Jordan. This has got to be her worst nightmare. (beat, off their
looks) Well, one of them.
Probably not high on Max’s list either.
7. INT. HOSPITAL ROOM – EVENING
MAX is lying in a raised bed. He’s pale and the IV pole at his bedside
has several bags on it. He is clearly in some pain, but has a tight smile anyway.
JORDAN is sitting next to him. WOODY stands across from the uneasy father-daughter
(joking but emotional)
So, what, Dad? Didn’t think your only daughter was a good enough
I just figured Hoyt would stick around Bahston.
JORDAN rolls her eyes a bit.
I’m working on that, Sir.
JORDAN ignores WOODY.
Aww, Jahdon. It’s nothing. A bump on the head.
A subacute subdural hematoma is not a bump on the head! Someone
tried to kill you.
Well, they didn’t do a very good job of it, did they?
A suited man enters. MAX sees the man and looks away, his face unreadable. The
man steps forward.
Remembered anything else, Mr. Cavanaugh?
Visiting hours are over.
DAVIDSON fishes into his coat and pulls out his badge. He flashes his shield at
Detective Rich Davidson, Miami-Dade P.D. And you are?
Dr. Jordan Cavanaugh.
Mr. Cavanaugh’s daughter?
DAVIDSON’S attitude changes visibly.
Maybe you can help me out. Your father doesn’t seem-
She doesn’t live here, Davidson. She doesn’t know anything.
You worked homicide, Max. You know how it is with family – sometimes
they don’t know what they know.
MAX glares at him, but DAVIDSON doesn’t back down.
Mind if I ask you a few questions?
JORDAN glances at MAX. He’s hiding something; it’s like old times
and not in a good way. We know her well enough to know that JORDAN plans to see
how many of her questions she can get DAVIDSON to answer.
DAVIDSON gestures to the door and JORDAN, with another look at MAX, follows him.
MAX looks away, pretending to be unaffected, but his eyes are anxious. He turns
his attention and frustration to WOODY.
8. INT. HOSPITAL HALLWAY – CONTINUING
JORDAN and DETECTIVE DAVIDSON enter the hallway. In an effort to put her at
ease, DAVIDSON leans against a wall. His demeanor is affable, but his eyes appraise
JORDAN thoroughly. She is busy making up her mind about him as well. DAVIDSON
smiles and glances away. She wins the visual standoff. Maybe.
Your dad’s a tough one. (beat) Stubborn.
It runs in the family.
DAVIDSON tries another smile, this one broader.
You don’t say? (no reaction) All right, Miss Cavanaugh-
Oh, yeah, right. Sorry. (sheepish smile) You’re a… medical
JORDAN nods warily.
So you know the sort of information that can help an investigation.
She nods again.
Can you think of anyone who would want to hurt your father?
My dad was a cop in Boston for forty years.
My uncle was a MDPD cop that long and no one’s following him around!
Sorry. (beat) I didn’t-
Someone’s following my dad? Do you have any leads?
No. But I’m pretty sure your father knows who it is. (beat) That’s
why I need your help.
9. INT. MAX’S HOSPITAL ROOM – CONTINUING
MAX is glaring at WOODY.
Why did you let her come down here?
Let her? Sir, I know you’ve been gone a couple years, but
you do remember-
All right, all right. (beat) Did you have to tell her?
With all due respect, I’m not in the habit of lying to her.
Not telling her isn’t the same as-
Yes, Sir, it is. (hard look at MAX) To her, it is.
When did you get to be an expert on my daughter?
No one is an expert on Jordan! I’m just the guy who loves
her and wants to make a life with her.
MAX is taken aback momentarily. He shakes his head and snorts.
How’s that going?
Like I said, I’m working on it.
Well, if it matters, you have my blessing.
Thank you, Sir. It does matter. (pause) So, what happened last night?
This was a touching little scene, Max, but it’s obvious you know
more than you’re telling Davidson.
MAX sighs and closes his eyes, cornered.
END OF ACT ONE
10. INT. TRACE – NEXT MORNING
GARRET is gowned and gloved, standing next to the body of a man in his mid-seventies.
He is appraising the body, taking in details. He has a thoughtful frown on his
BUG enters. Seeing GARRET, he looks perplexed.
I thought Kate-
Dr. Switzer’s a little…
I was going to say busy, but… yeah. That, too.
Nigel thinks it’s because that dog of hers lost some contest.
Could have something to do with Jordan.
(sly, for him)
I didn’t think Jordan went in for fancy canine contests.
Somehow I don’t think Kate was cut out to work with someone of Jordan’s…
Ohhhh. You mean her insistence on playing homicide detective, tilting
at windmills, bullying government and racking up the frequent flier miles
when it suits her?
GARRET is a bit amazed at this speech of BUG’S. He catches the twinkle in
the younger man’s eyes though and smiles.
And yet all of you – us – go along with her.
There is a moment as they ponder this.
So, you’re filling in for Kate.
GARRET gestures to the second body in Trace.
You got it. His-and-hers autopsies.
Who’s the ‘hers’ here?
GARRET doesn’t reply, but gives BUG a look.
BUG waits a moment longer and then sighs. He gets the chart for the second
body and begins scanning it as he approaches her. She is also in her mid-seventies.
He rereads a section of the chart, looks at the body again and then his brows
Death certificate lists heart failure. Not all that unexpected for a woman
No, not really.
So… why are we…?
Because this (gestures to his corpse) is her husband, who also appears
to have died of heart failure. At the same time.
Could be like that case Jordan had. That couple who were always fighting?
Turned out to be accidental.
Yeah. I remember. (beat) But unless these two fought lying down, in bed
with the covers pulled up, this wasn’t an accident.
Any indications at the scene?
GARRET shakes his head.
Eddie Winslow’s the detective on this one. The place was clean as
Which is why you’re heading to Autopsy Two with the Missus while
the Mister and I are off to One.
11. INT. AUTOPSY ONE – APPROXIMATELY ONE HOUR LATER
GARRET is frowning at the open body on the table. He glances up as the door
swishes open. KATE looks in and sighs, apparently frustrated.
Have you seen Nigel?
Isn’t he running tests for the Lewis autopsy?
(rolls her eyes)
We can only hope. (beat) That’s why I’m looking for him. Detective
Seely, as usual, is breathing down my neck for this report.
Ignore Detective Seely, Doctor Switzer. Everyone else here does.
That would be much easier if the man used a breath mint from time to time.
GARRET tries not to smile, but can’t help it. He knows SEELY isn’t
as bad as all that, but the detective does seem to have a habit of rubbing people
the wrong way. KATE is about to leave when GARRET’s expression changes.
Mind taking a look at something?
KATE arches one eyebrow.
I thought this one was heart failure.
Well… the situation was… suspicious. (shakes head) But this….
KATE grabs a pair of gloves and puts them on as she crosses toward the autopsy
table. GARRET steps back a little, letting her make her own examination. He watches
her closely though. From his perspective we see her start to frown, her eyes narrowing
a bit. She looks up.
Were there any pre-existing conditions in the medical history?
GARRET shakes his head.
Remarkably, the only thing our friend here suffered from was mild arthritis.
If he took aspirin for it, that might account for the inflammation of
GARRET raises one eyebrow.
Okay, about half a bottle’s worth.
Not to mention this.
He stands at the body’s head and opens the lips, revealing blisters and
inflammation on the gums and inside of the mouth.
KATE’S eyes widen.
You think… what? Suicide?
Why? The man was seventy-eight with the health of someone twenty years
younger. Hell, I’ve got more wrong with me.
But the wife came in at the same time, right?
Maybe she wasn’t in such good health.
She dies. He can’t live without her?
I don’t know. Whatever caused this, it had to be painful. Why not
pills or a carbon monoxide?
Before KATE can answer, the door opens again. This time, BUG enters. He takes
in the scene and pauses. He gestures vaguely toward KATE.
Dr. Switzer was looking for Nigel. I asked for her opinion.
He’s in Two.
KATE gives what might be considered a low growl.
What’s he doing there? He knows I need those tests on Mrs. Lewis.
I asked him take a look at the ‘Missus.’
There’s no way she died of heart failure.
Grazed Knees - Snow Patrol
12. INT. VICTIM’S HOME BEDROOM – EARLY AFTERNOON
DETECTIVE EDDIE WINSLOW stands in the doorway. NIGEL is crouched next to a
nightstand flanking the double bed.
You don’t think Macy’s being a little… paranoid?
(without looking up)
Whatever caused the damage to those bodies, it wasn’t heart failure,
They were old. Maybe they were tired of waiting to have their tickets
NIGEL does glance up now. His look is reproachful.
Sorry. It’s just… well, come on. I talked with their lawyer
this morning. They had enough to get by on, but nothing else. One kid. Estranged.
They hadn’t even heard from him in years.
NIGEL is only half listening. His search of one nightstand has come up empty,
so he moves around the bed to the other one. He pulls open a drawer and begins
to move things around. EDDIE’s speech fades into a drone in NIGEL’S
ears as he picks up a framed photo of an adolescent boy. His jaw drops.
EDDIE stops abruptly.
Christ. Oh… Christ.
Townsend? What is it?
NIGEL still doesn’t answer. His hands are trembling as he slams the drawer
shut. His gaze travels to the top of the nightstand and he sees, as if for the
first time, a clear drinking glass. It is half filled with water and a single
flower blossom sits in the water. NIGEL leans in and studies the glass. Clear
as day, there is a single, greasy fingerprint.
13. INT. NIGEL’S LAB – EARLY EVENING
GARRET is perched on the edge of a table. NIGEL is sitting in front of his
computer. Off to one side is the infamous white board. BUG and LILY are also
in the room, near the door, both looking uncertain and uncomfortable. KATE is
there, looking uncertain as to exactly why she is bothering.
What are you saying, Nige?
This print is James Horton’s.
Jordan’s half brother?
James Horton died almost four years ago.
(shaking his head)
No, Dr. M. James Horton jumped in the Charles almost four years ago.
His body was never recovered.
GARRET looks back at BUG, giving him an “Et tu, Brute?” look.
This is… ridiculous. (beat) Even for you, Nigel.
Ridiculous or not, the evidence doesn’t lie. This print belongs
to James Horton, Jordan’s half brother. The estranged son of Sam and
Our “his and her” bodies.
Okay, let me get this straight: Jordan has a half brother everyone thought
Actually, everyone thought Jordan made him up until he killed Captain
Malden and kidnapped her.
He was certifiable.
Nigel, are you absolutely certain about that print?
Wish to God I weren’t, luv, but yeah… I’m certain.
It just doesn’t make sense! Why… why take the chance? Horton…
got away with… everything.
You said it, Doctor Macy. (off GARRET’S look) He was certifiable.
He was also smart enough to have everyone believing he didn’t exist.
Then he goes and leaves an obvious print at the scene? (beat) Come on, people,
He’s still certifiable.
That, too. (beat) He wanted Jordan to know he’s back.
END OF ACT TWO
14. INT. MAX’S KITCHEN – LATE EVENING
JORDAN and WOODY are standing in Max’s kitchen. JORDAN slumps against
a counter, a glass of Scotch in one hand. She’s pale and there are dark
circles under her eyes. WOODY also has a small Scotch. He is on edge, his expression
anxious. She is gazing down into her drink and doesn’t notice him cross
to her. Without a word, he takes her into his arms; she lets herself rest against
him, her arms tight around his neck. Her Scotch almost slops over the edge onto
his neck. She squeezes her eyes shut but can’t fight back the tears. WOODY
sets his drink down on the counter behind her and holds her more tightly, one
hand rubbing her back.
He’s going to be okay, Jordan.
She nods rapidly, still trying to fight the trickle of tears.
Yeah. (another rapid nod) Yeah.
She wipes at her eyes and pulls back a little. WOODY cranes his head to look into
her eyes. He smiles and thumbs away a few more tears.
As long as whoever’s been following him doesn’t come back.
There’s really nothing WOODY can say to that. He takes a heavy breath instead.
Why don’t you let me clean up in there?
He jerks his head toward the living room. From the doorway, we can see that it’s
still a mess.
(shaking her head)
‘S okay. I can do it.
I know you can….
Their gazes lock for several long beats. She gives in, relief written across her
Go… take a bath or something. I’ll take care of in there,
grab some sheets and hit the couch.
JORDAN arches an eyebrow.
Yeah… I mean… it’s – it’s your dad’s
JORDAN rolls her eyes. If nothing else, he’s chased away her tears.
You think he thinks… what? We’re waiting? (beat, then eye
WOODY shifts from foot to foot.
I just… I wouldn’t feel right.
Now she glares at him a bit, but her expression tells us there is something charmingly
old-fashioned and respectful that gets her. She ends by grinning.
Think you could at least tuck me in?
That I could do.
15. INT. MAX’S LIVING ROOM – MIDDLE OF THE NIGHT
WOODY is asleep on the couch, one arm over his head, the other hanging off
the side of the couch. His legs are bent up. He’s snoring lowly. He snorts
and half wakes himself up. He blinks, glances around and seems to recall, with
a deep sigh, where he is. He moves one arm so it covers his eyes and is already
falling back asleep when we hear a scraping. WOODY is awake instantly. There’s
enough light coming in from the streetlight that we can see his gun lying on
the coffee table. He picks it up.
The deadbolt on the door tumbles over. It sounds almost like a gunshot in the
dark, especially to someone on high alert. Slowly, the door opens. WOODY is
on his feet, moving quietly, gun at his side, but the tension in his body says
he’s ready to aim the second it becomes necessary.
A woman – about thirty – tiptoes in, carrying shoes in one hand
and looking over her shoulder as she shuts the door as quietly as possible.
WOODY uses her inattention to creep closer to her. He brings up the gun and
The woman turns her head, sees the gun and begins to scream.
16. INT. MAX’S LIVING ROOM – CONTINUING
The woman, SOPHIE BERGSTROM, is sitting on the couch. JORDAN sits next to her.
WOODY enters from the kitchen, carrying a glass of water. He hands it to SOPHIE.
He looks a little guilty, but we notice his gun is tucked into the back of his
sweat pants’ waistband. Just in case? SOPHIE drinks about half the glass
of water and then sits forward, glass held in both hands, elbows on knees. JORDAN
and WOODY exchange a glance and then look back at her.
Who are you?
(still hunched over)
Sophie. Bergstrom. You’re… Jordan.
(cutting to the chase)
Why were you sneaking into my dad’s house in the middle of the night?
I wasn’t sneaking! (sets glass on coffee table) I have a key.
WOODY gives her a tight, fake smile and holds the key up between the thumb and
forefinger of one hand.
So why did you have key to Max’s house?
(lips licks nervously)
I… um… you know.
You feed the goldfish when Max is away?
SOPHIE looks up, her eyes angry now, frustrated.
Max doesn’t have goldfish.
No. No fish. No cats. Not even any plants. (beat) You still haven’t
told us why you’re here.
(a touch of defiance)
Maybe it’s none of your business.
(mild threat in her voice)
My dad is in the hospital and some woman I’ve never met or heard
of comes into his house in the middle of the night… what?
SOPHIE has gone pale.
Max… in the hospital?
(a little softer)
Someone attacked him last night.
Is he okay?
He will be. (another glance at JORDAN) Now… care to tell us what
you’re doing here?
SOPHIE picks up the water glass and downs the rest of the liquid. Then she takes
a steadying breath.
JORDAN’S eyebrows arch.
You’re my dad’s girlfriend?
(under his breath)
JORDAN shoots him a deathly glare – apparently he didn’t speak quietly
enough! JORDAN stands up and crosses to the front door.
Do you live here?
I have my own place.
That doesn’t answer my question.
I… stay here. Sometimes. Oh, God…
She puts her face in her hands.
Maybe if I’d been here last night!
WOODY looks over at JORDAN; she tilts her head minutely, giving him permission
to ask the question.
Where were you last night?
A buying trip. I work for Nieman-Marcus.
She clasps her hands and rocks back and forth once or twice before the implication
of his question hits her.
You’ve got to be kidding me! You can’t think-! Max knows me
better than that.
END OF ACT THREE
17. INT. MAX’S LIVING ROOM – CONTINUING
SOPHIE stands up, her face cold, her posture rigid. When she speaks, she spits
out her words.
I don’t need this. I’m leaving.
She gives WOODY an expectant look. WOODY matches her gaze.
(before WOODY can reply)
I don’t think so.
SOPHIE’S eyes widen in surprise and anger. She puts her hands on her hips.
I can’t believe this. (beat) Am I even allowed to know what hospital
Max is at?
There is a long, tense silence. WOODY lets JORDAN take the lead on this one.
Dade Memorial. (beat) Visiting hours are 10 a.m. to 9 p.m.
I’ll be there at ten.
She strides toward the door; JORDAN moves enough so the younger woman can exit.
SOPHIE doesn’t bother to close the door behind her, leaving it up to JORDAN
to close it with a firm thud and deliberate twist of the deadbolt.
18. EXT. MAX’S FRONT DOOR – CONTINUING
SOPHIE smiles to herself; the expression borders on mischievous.
(low, to herself)
Daddy’s little girl. Think you’re all grown up? (casts a look
backward) We’ll see.
19. INT. MAX’S LIVING ROOM – CONTINUING
Facing the door, JORDAN has one hand still on the deadbolt. She peers through
the peephole, her jaw set, her shoulders squared. After a moment she turns away
and leans back on the door, her head resting on it, eyes on the ceiling. She
That was… awkward.
That’s one word for it.
She shakes her head, as if to clear it. After a deep sigh, she goes to the couch.
WOODY joins her and she leans into him, her head on his shoulder.
Do you really think… my dad…? I mean…. (wry smile) You
know what I mean.
Jordan, he retired; he didn’t join a monastery.
He couldn’t have found a nice widow who likes Canasta, carries a
wallet full or pictures of her grandchildren and volunteers for Meals on
The way I heard it, you didn’t like the widow he found that fit
She wouldn’t let Dad be who he is.
(kisses her head)
Maybe Sophie does.
JORDAN pulls away.
This from the guy who pulled a gun on her?
WOODY puts up a hand to defend himself.
I didn’t she was my new best friend. But… maybe… maybe
you should talk to Max before you….
Before I what?
(as gently as he can)
Before you make up your mind about her.
JORDAN leans back against the couch. She closes her eyes. There is a long beat
She’s younger than I am!
Not as pretty though.
JORDAN smiles in spite of herself. Eyes still closed, she gropes for WOODY’S
hand. She finds it and their fingers entwine.
You should try to get some more sleep.
She cracks open one eye.
On one condition.
JORDAN opens both eyes and looks over at him. She smiles and gives his hand a
Hey, my dad’s shacking up. Why can’t we?
I don’t know….
Come on, Farm Boy. I promise I won’t try to seduce you.
JORDAN is standing by the window, her back to the bed. MAX has a breakfast
tray pushed to one side. He looks like he might have a headache. He looks over
to WOODY, who’s standing by the door. WOODY takes a step back. He’s
so not getting in the middle of this one.
(trying not sound accusing, not succeeding too well)
Why didn’t you tell me about her?
Gee, Jahdon, I can’t think why not. You always take these things
JORDAN turns. She is struggling to learn more without getting angry.
She was sneaking into your house at two a.m.! I’m supposed to take
MAX sighs and rubs his forehead.
Jahdon! She has a key.
WOODY suddenly finds the floor very interesting. MAX notices the younger man looking
down and he looks between WOODY and JORDAN.
You didn’t. Aw, come on now.
We didn’t know if she was telling the truth. (turns) If you’d
told us about her….
I would’ve. (off her look) Today.
JORDAN shakes her head.
I don’t trust her.
Don’t take this wrong, but you don’t trust anyone, unless
you have a full FBI profile on them. (beat) And even then!
(a little pleased)
You didn’t trust me?
You, she trusted.
WOODY’S face falls.
Anyone with taste that terrible can’t be evil. (to MAX) All right,
Dad. Tell us about Sophie.
So you can check her out?
Of course not.
So Nigel can check her out?
There is a standoff for a moment. MAX drops his gaze first, shaking his head in
You wanna take notes, Woody?
MAX’S shot hits the mark. JORDAN and WOODY both flinch.
Welcome to the Cavanaugh family.
In this air of thick tension, MAX begins to tell them about SOPHIE.
I met her about six months ago….
The sound of his voice diminishes as the scene goes gray and then black.
21. INT. NIGEL’S LAB – MORNING
NIGEL is hunched over his computer, muttering darkly to himself.
Come on, come on, come on.
KATE is standing in the doorway.
And I thought I was then only one who ended up talking to myself around
NIGEL emits a little squeak of surprise.
Sweet Nancy! Don’t do that, woman.
NIGEL colors and looks down, trying to hide a goofy grin.
You won’t let me call you “luv.”
True. (beat) What’s wrong with Dr. Switzer?
You’ve been here a year and a half! (shrugs) Besides, the only people
I talk like that to I don’t like very much.
KATE is taken somewhat aback. She seems hesitant to reply. NIGEL rushes on, blushing
I’ve got those results you needed. On the Lewis autopsy.
Thank you. That will make – Wait a minute. When did you get here?
KATE arches an eyebrow. It’s a small gesture but on NIGEL it has the same
effect as any of Torquemada’s nefarious devices.
You were here all night?
NIGEL gives her the hapless “What can I say?” look.
It’s… It’s just… Well, you see-
The Horton case.
He nods in glum agreement.
Hot coals, a bed of nails or shards of glass?
Which one would you endure for her?
It’s not like that!
No! (beat) She – Look, you didn’t meet Jordan under the best
Jordan… gives a hundred percent of herself… to everything.
Even when she shouldn’t.
And you find that… admirable?
I know she’s stubborn and difficult and demanding. Selfish. (beat)
She’s also committed to helping people find what she never could.
After all she’s been through… well, it’s amazing she’s
willing to give anything of herself.
KATE nods slowly. Her face is still, her eyes gaze into the space above NIGEL’S
She’s lucky. (smiles at him) To have this… group.
It’s KATE’S turn to look confused.
We’re a family here. (beat) And there’s always room for one
For a moment, they look at each other. NIGEL’S computer makes a noise, drawing
his attention away. There is a sense of relief and disappointment.
I’ve run every test I can think of on the Hortons. I can’t
figure out this toxin.
KATE starts to nod, when something on the infamous white board catches her eye.
She walks across and points to a picture.
Photo of the fingerprint on the glass.
No. (touches then photo) This.
NIGEL stands up and goes over. He peers at the spot where she’s pointing.
Oh, I dunno exactly. There was some flower in the water.
Do you have a picture of it?
What? The flower?
No. The water. (beat) Yes. (smile) The flower.
Um, sure, yeah. Just a sec…
He picks up the Horton file and leafs through the photos.
…Yeah. Here it is.
KATE takes it and looks at it.
Want me to name your poison?
END OF ACT FOUR
22. INT. NIGEL’S LAB - CONTINUING
KATE is smiling as NIGEL reads a website. She reaches out a hand, as if she
might put it on his shoulder (as before the rescue helicopters arrived on the
mountain). Without warning, NIGEL turns around, grinning broadly. KATE snatches
her hand away and the smile fades, replaced by one of mild triumph. There is
a sparkle of something else in her eyes though.
You’re brilliant! Bloody brilliant!
(smirking, in good humor)
Finally! Someone around here gets it.
Also known as the Christmas Rose. Found in New England. Every part, poisonous.
(reading from the screen again)
The poison has a blistering effect on the mucous membranes of the mouth,
causes severe diarrhea, vomiting and death from cardiac arrest. (looks up)
Sounds like the autopsy findings.
NIGEL looks at KATE again; his smile is huge, infectious.
By the way, how’d you know what it was?
NIGEL jerks his head toward the screen.
(a bit furtive)
Oh… that. Um… I went through a – a phase.
Uh… yeah. Sure.
So what’s your favorite blossom? I’d say mine is a tulipa
Yeah… yeah. Those are great.
Nice try, luh-… Kate. (bigger grin) Come on, what was this phase?
Is there any chance you’ll drop it if I ask you to?
NIGEL thinks it over – or pretends to – before shaking his head gleefully.
Oh, God… I can’t believe I’m going to tell you this.
(beat) If you tell anyone….
NIGEL holds up a hand and draws one finger across his lips. KATE snorts. She knows
the likelihood of NIGEL’S lips staying zipped unless someone installed an
(speaking in a rush)
NIGEL has to take a moment to puzzle that out. Once he does, his eyes go wide
and his jaw drops. He emits a squeak of what might be laughter, although he’s
not that stupid.
I’m sorry… did you say Goth? As in… black clothing,
heavy on the eyeliner and changing one’s name to Belladonna or something
of the sort?
No one finds out. You understand? If I hear one word of this
outside this room… I will prove that a forensics expert can commit
the perfect murder.
NIGEL gulps, but then smiles.
No one. I swear. (grin) On one condition.
I know this delightful club….
KATE rolls her eyes, but, at the same time, looks somewhat pleased that he has
– it would seem – asked her out. The moment doesn’t last long
as she recalls her poise.
KATE walks away, pacing the lab as she talks.
Why… Why this? (gestures to picture on website) There are easier
ways to kill people.
Yes, but this way, we were bound to suspect something and investigate.
(beat) We’d find the fingerprint, learn that it was his and be impressed
with his clever message telling us he was back.
He’s never heard of e-mail?
Oh, where’s the fun in that?
KATE makes a “you’re kidding” face.
Strange idea of fun.
Yeah, well, Jordan’s charming sibling is a strange one.
He stands up.
I’m going to let Dr. M know what we found. (smiles at her) What
Breathe In, Breathe Out - Mat Kearney
KATE rolls her eyes, but it is good natured. NIGEL pauses in the doorway and looks
back at her.
Starting to find your place, aren’t you?
In our little… group.
NIGEL nods and exits. KATE turns back to the white board, her eyes narrowing as
she studies the photos taped there again. Abruptly, she shakes her head and briskly
23. INT. HOSPITAL CAFETERIA – MORNING
WOODY and JORDAN are at a table, sipping coffee. Actually, WOODY is sipping
coffee; JORDAN is staring at hers. Her face is unreadable.
I don’t care what he said. I don’t like leaving her up there
Jordan… you heard… how they met, what she’s like….
I just – I don’t… there’s something about her.
Good fashion sense?
JORDAN rolls her eyes at him.
Would it help if that detective – Davidson? – checked her
JORDAN rubs her temples.
I – Yeah….
He’ll want to talk to her anyway. She might have information that
would help him.
JORDAN snorts lightly.
WOODY is about to reply when a page over the hospital PA system interrupts.
They both look up, listening.
Dr. Torres! Dr. Torres to Room thirty-three-eighty-two. Stat!
JORDAN’S jaw drops.
WOODY has already pushed back his chair and is moving around to help JORDAN out
24. INT. MAX’S HOSPITAL ROOM – CONTINUING
JORDAN and WOODY are in the hospital room, toward the door. JORDAN is pale,
her eyes filled with unshed tears as MAX’s doctor and several nurses are
working on him. There is a portable crash cart in the room. WOODY’S eyes
dart between the action going on with MAX and JORDAN. He has his hands on her
shoulders, rubbing gently, without even realizing it. The medical personnel
work frantically and finally are rewarded with a heartbeat and respiration.
Let’s get him to ICU.
(as TORRES goes by)
One of the nurses will show you to the ICU waiting area. I’ll talk
to you as soon as I can.
JORDAN nods. The tears spill over and trickle down her face. WOODY’S hold
on her shoulders intensifies. She reaches up one hand and squeezes his.
SOPHIE, who has been in a corner of the room, tries to sidle past JORDAN. Quick
as a cat, JORDAN reaches out and grabs the younger woman’s arm.
What did you do to him?
SOPHIE shakes her head, panicked.
Nuh – Nuh- Nothing! I swear. (sob) We were talking and then….
JORDAN gives SOPHIE a hard, penetrating look. JORDAN literally gets in the other
I don’t believe you.
I will find out what you did. (long beat) And you will pay for it.
SOPHIE stares at JORDAN as long as she can, but ends up lowering her gaze first.
She wrenches herself free and flees the room. JORDAN looks up at WOODY. His look
is nearly as stricken as JORDAN’S.
(shaking with rage)
(still soft, but firm)
Later. I promise.
JORDAN bites her lip as a shaky cry escapes her. She nods helplessly and lets
WOODY guide her out of the room.
25. INT. GARRET’S OFFICE – CONTINUING FROM NIGEL’s PREVIOUS
GARRET sits at his desk, doing paperwork. He looks up when there is a knock.
NIGEL opens the door and pokes his head in.
We know what the toxin is.
The one that killed the Hortons?
NIGEL nods and smiles a bit.
You know that glass from the scene?
With Horton’s fingerprint.
Well, it turns out that wasn’t the only clue. Kate noticed,
in one of the pictures, a flower in the glass.
And I presume Dr. Switzer recognized the flower.
That she did! It’s called Black Hellebore.
He steps into the office.
Now what I think is that James Horton wanted us to notice something amiss
in the autopsies-
And that he planted the glass with the fingerprint and the flower so we’d
know who and how.
NIGEL deflates a little, but managed a nod.
He probably thought Jordan would either catch the case or she’d
find out about it working here.
He didn’t know she’d be with Max. (beat) Speaking of which,
should we tell her?
GARRET sighs and pushes his glasses up on his head.
Not yet. I’m gonna talk to Winslow. Let’s see if we can’t
beat Horton at his own game.
Behind NIGEL, there is a flurry of activity. LILY has come to screeching halt.
Her eyes are wide and her hair is flying. She looks from NIGEL to GARRET.
Garret! Nigel. Come quick!
GARRET stands up as NIGEL turns to LILY and puts his hands on her arms, trying
to steady her.
What is it, Lily?
NIGEL and GARRET exchange perplexed looks.
I was. Walking by. Door was… (convulsive swallow) open. I looked
You have to see.
All three exit the office, GARRET and NIGEL trotting ahead of LILY.
26. INT. HALLWAY – CONTINUING
GARRET, NIGEL and LILY pass BUG. He looks after them.
What’s going on?
No one answers him
What’s… oh, never mind.
He quickly follows.
27. INT. JORDAN’S OFFICE DOORWAY – CONTINUING
The four reach Jordan’s office door, now standing wide open, and find
KATE standing in front of it. She looks at them, her face grim.
NIGEL takes a deep, shocked breath.
The camera cuts from their faces to Jordan’s desk. Exactly in its center
is a drinking glass. A greasy fingerprint is visible even from where NIGEL et
al are standing. In the glass is a single Black Hellebore blossom.
NIGEL takes a step into the room. GARRET reaches out to hold him back.
I won’t touch anything. (looks back) There’s something else
on her desk.
GARRET puts down his arm and lets NIGEL proceed. He moves slowly, ultra-conscious
of the need to keep from contaminating the office. He reaches her desk and looks
down. He closes his eyes for a moment.
NIGEL looks over his shoulder.
NIGEL reaches for a tissue from the desk and tweezes one corner of the photo
between layers of tissue. He holds it up delicately.
I think we should call Jordan now.
We see a picture of MAX, lying on his living room floor, his head bloody, his
eyes closed. Across the top is scrawled in red Sharpie ink “How’s