Teaser Act 1 Act 2 Act 3 Act 4 Act 5

Episode #VS702

1000 Miles Off Course


Crossing Jordan Virtual Season 7

“1000 Miles Off Course”

 

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


DRAMATIS PERSONAE

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

Jeffrey Brandau
Annie Capra
Sidney Wilkes
Man #1 (Victim)
Man #2 (Ricky)
Woman (Tiffy)
Bartender
Uniformed Cop #1
Uniformed Cop #2
Dr. Mason
Priest
Mr. Davidson
Mrs. Davidson
Broadcaster

SET LIST

INTERIORS
THE MORGUE
     JORDAN’S OFFICE
     CONFERENCE ROOM
     HALLWAY
     BREAK ROOM
     AUTOPSY ONE
     AUTOSPY TWO

THE PRECINCT
     INTERVIEW ONE
     INTERVIEW TWO
     HALLWAY

BUG AND LILY’S APARTMENT
     LIVING ROOM
PEDIATRICIAN’S EXAMINING ROOM
A BAR


EXTERIORS
SIDEWALK IN FRONT OF BAR
ALLEY BEHIND BAR

TEASER

As Good As I Once Was - Toby Keith

1. INT – BAR – ABOUT AN HOUR BEFORE “LAST CALL”

Honky tonk music plays from a jukebox – Toby Keith’s “As Good as I Once Was.”

MAN #1 sits at the bar. He is unkempt, his face bloated as an alcoholic’s, but there is the suggestion he was once handsome. He seems at ease in the setting, a tumbler of amber liquid in front of him. He shakes his head, whatever thought he was having was unwelcome. He picks up the glass and drains it, gesturing to the BARTENDER for another hit. He raises an eyebrow.

MAN #1
(trace of a southern accent, Mississippi or Alabama)
Oh, come on, Pops, just pour.

 

BARTENDER
(shrugs)
Your money.

 

MAN #1
(raising glass, nasty smile on his face)
Ain’t that right.

 

A WOMAN in her early twenties sidles up and takes the seat next to MAN #1. She gives him a shy smile. He acknowledges her by running his eyes up and down her body. The WOMAN blushes and drops her gaze.

MAN #1
(snorts)
Right, Sugarcakes.

 

WOMAN
I just thought… you looked lonely.

 

MAN #1
(shakes his head slowly, world-weary)
Yeah. Sure I did. (he motions to the bartender) Whatever the lady’s having.

 

WOMAN
You don’t have to… I didn’t mean-

 

MAN #1
Hell yeah, you meant to.

The BARTENDER puts a drink in front of the WOMAN. She’s been here a while, too.
MAN #1 pulls a roll of cash from his pocket and peels off a bill which he passes to the bartender.

MAN #1 (cont’d)
There you go. Now you can scram.

 

WOMAN
(confused, whatever plan she had isn’t going well)
But – I just… You looked-

 

MAN #1
Lonely. Yeah. Well, I bought a pretty lady a drink and now I ain’t lonely no more.

 

WOMAN
(persistently)
I don’t know what you think I am-

MAN #1 turns toward her for the first time. His eyes are all pupil and cold as ice.

MAN #1
I know exactly what you are, Sweet Thing. You and your- (he jerks his head toward a corner table where a MAN #2, in his early twenties like the WOMAN, sits) Your friend back there. Thing is I used to be what you are. (he chuckles bitterly) Only I was a hell of a lot better at it.

The WOMAN gapes at him.

MAN #1
Whatever you’re running, I ain’t a part of it and I ain’t a good mark neither. Now, like I said, get outta my face.

The WOMAN gives up and returns to the table where’d she obviously been sitting. She and MAN #2 sit closely and talk.

MAN #1 (cont’d)
Another one, Pops.

scotch

The BARTENDER pours silently and watches as MAN #1 drinks the alcohol in a single gulp. MAN #1 stands up, puts some more bills on the bar and begins to walk toward the door. He is surprisingly steady on his feet.

2. EXT. SIDEWALK in FRONT OF BAR – MOMENTS LATER

MAN #1 looks up and down the street. There are no cars.

MAN #1
Figures. (Rolls his eyes.) Never a damn cab when you need one. (Beat.) Aw, hell. Doc’d probably tell me the walk’s good for me.

MAN #1 begins to walk, cutting through the alley behind the bar.


3. EXT. ALLEY BEHIND THE BAR – CONTINUING

The MAN is walking, hands in his pockets. He sighs when he hears a voice behind him.

MAN #2
Hey! You!

MAN #1 shoulders slump before he straightens and turns.

MAN #1
Yeah? Whaddaya’ want?

MAN #2 glances over at the WOMAN who is right behind him; they exchange a look.

MAN #2
You got the wrong idea back there.

 

MAN #1
Is that so, Skippy? So you and Angel Eyes there weren’t hoping to scam me out of a little of this cash I’m carrying?

 

MAN #2
No.

MAN #2 pulls out a large caliber gun.

MAN #2 (cont’d)
We figured you’d be happy to hand it over.

 

MAN #1
Well, think again.

 

MAN #2
(pauses)
I thought it over. Whaddya’ know? Still want the cash.

 

MAN #1
(laughing bitterly)
Oh, man, right.

 

MAN #2
You really wanna die? In this shithole alley?

 

MAN #1
(still laughing)
Hell, I been dead before. Ain’t too much worse than bein’ alive.

MAN #2 pulls the trigger.

MAN #1 looks down at the blood already soaking his shirt front. MAN #1 crumples to the ground.

MAN #2 leans over MAN #1 and takes the roll of bills from the MAN #1’S pocket.

MAN #1 smiles, a serene, content smile at odds with his previous demeanor.

MAN #1
Freckles.

Soft fade to black
CUT to opening theme

Crossing Jordan Theme

 

 


ACT ONE

4. INT. BUG’S APARTMENT - NIGHT

The frame is filled with a soft glow of light. We pull back slowly to reveal a small table light, lighting the room. The windows beyond are dark and reflect the tableau inside. We see LILY, seated, holding MADELINE. The baby is screaming. LILY has bags under her eyes and she is cooing in a low, desperate voice.

We hear soft music – songs of humpback whales or something

Camera pans up to BUG. He stands behind LILY’S chair, a bottle in his hands, a cloth over his shoulder.

BUG
(softly)
Let me try.

 

LILY
No, no, it’s okay. One more try. She just – She… needs to – to –

 

BUG
Lily.

 

LILY
(more forcefully)
No! I want to nurse. NO formula!

 

BUG
It’s been almost two hours. You’re both exhausted, tense.

 

LILY
(off his pleading look)
All right.

LILY hands the baby to BUG as he reaches for her.

LILY (cont’d)
Just tonight though.

BUG cradles MADELINE in the crook of one arm and gives her the bottle with his free hand. She eats greedily. Almost absently BUG tilts the bottle, forcing her to slow down – it’s fatherly and domestic.

BUG
The lactation nurse says drinking says drinking water might help.

 

LILY
Water! I’ve had enough water to float a boat. That woman thinks I’m a camel!

 

BUG
Maybe we should call the LaLeche advice line again.

LILY gives him an impatient look.

BUG (cont’d)
You know, it just happens sometimes.

 

LILY
(rising, whirling on him)
That’s easy for you to say! You don’t know what this is like.

 

BUG
I… didn’t… I’m sorry.

LILY chews on her lip for a long beat.

LILY
Oh, God, no. I’m sorry. I just feel so – so…

LILY begins to cry.

LILY (cont’d)
I’m failing her.


BUG somehow juggles the baby and the bottle, while also reaching for LILY.

BUG
You are not failing her.

 

LILY
I can’t produce enough milk!

LILY strokes the baby’s head.

LILY (cont’d)
What kind of mother can’t even provide for her own baby?

BUG kisses the top of her head and gives her a worried look; there is nothing he can say to console her really.

LILY (cont’d)
I just… (heavy sigh) I know you’re right. Giving her formula sometimes isn’t going to hurt her, but… it just seems like – like it happens a lot. (Dejected pause) Lately.

MADELINE chooses that moment to give her mother a sleepy, happy look. LILY’S face is a mixture of joy and anguish.

 

5. EXT. THE ALLEY BEHIND BAR – ABOUT 4 A.M.

There are uniformed police officers in the alley. One is talking with the BARTENDER. We pan to WOODY, hunched over the body. He turns as he hears heels clicking toward him. He tries to keep from smiling, but can’t quite.

UNIFORMED COP #1
(aside to his partner)
You’d think with gas prices, they’d come in one car.

UNIFORMED COP #2’S chuckle dies on a glare from WOODY.

JORDAN
(grinning as she crouches next to Woody)
He know something we don’t?

 

WOODY
(shrugging, not entirely comfortable)
He wouldn’t be the first to think… that.

 

JORDAN
(still grinning)
Yeah… that. Maybe your luck’d improve if we didn’t always grab take-out at the last minute.

 

WOODY
(eyebrows raised)
And all this time I thought Jordan Cavanaugh wasn’t the flowers-and-chocolate kind of girl.

 

JORDAN
I didn’t say that. (Beat) It just might be nice… sometime… you know… (Their eyes lock; she drops hers first.) Never mind. Forget I said anything. (Turns her attention to the body before Woody can protest) So, what’ve we got?

 

WOODY
Bartender was bringing the trash out and found him. Said he’d been in the bar earlier. No i.d., no cash, so probably a robbery gone bad.

JORDAN peers at the body, examining the wound and checking for signs of rigor.

JORDAN
Well, cause of death looks pretty obvious from the hole in his abdomen. He’s still warm, too. I’d say he’s been dead less than two hours.

 

WOODY
That would fit with what the uniforms got from the bartender.

 

JORDAN
I’ll get him back to the Morgue, see what else I can tell you.

 

WOODY
I’ll find out what else the bartender knows. (He looks down and shakes his head.) It looks pretty open and shut.

 

JORDAN
That would be a change.

JORDAN stands up and lets the morgue photographer get to work while she arranges transport.


6. EXT. THE ALLEY BEHIND THE BAR – CONTINUING

WOODY and BARTENDER stand next to the bar’s back door.

BARTENDER
I already told the other guy this stuff, you

 

WOODY
I know and I appreciate that, sir, but I’m going to be investigating the case, so I need to hear it again for myself.

 

BARTENDER
Yeah, yeah, all right. Uh… this guy comes in… I dunno… eleven-thirty? Midnight maybe.

 

WOODY
Had he come in to the bar before?

The BARTENDER shakes his head.

WOODY (cont’d)
You’re sure?

 

BARTENDER
Sure, I’m sure. This is my place. I get one, maybe two nights a month I don’t work.

 

WOODY
Okay. So, he came in between eleven-thirty and midnight. Did he talk to anyone? Play pool? Darts?

 

BARTENDER
(snorts)
He didn’t even look at anyone else. Sat down, asked for MacCutcheon-

 

WOODY
Sorry? MacCutcheon?

 

BARTENDER
It’s Scotch. Damned expensive Scotch.

 

WOODY
(eyebrows raised)
You get much call for things like that?

 

BARTENDER
Nah. But he stayed anyway. (He shrugs.) Musta’ had about eight, maybe ten, rounds. Lucky he could walk outta’ here.

 

WOODY
Yeah, well, I’m not sure I’d call it “lucky.” (He pauses.) So how did he pay?

 

BARTENDER
Cash. You should’ve seen it. He had this roll. Looked like one of them toilet paper rolls – the double size, you know? Mostly twenties and tens, like the guy was good buddies with the ATM.

 

WOODY
And he didn’t talk to anyone?

 

BARTENDER
No. No… wait, yeah. There was this girl. She came up to him and sat down. Flirted with him, not that he was interested. Bought her a drink and then told her to go away.

 

WOODY
He bought her a drink and then told her to leave?

 

BARTENDER
Yeah. That’s what he did. Made me wonder, you know, if maybe… maybe girls weren’t his thing. I mean, she was a looker and kinda young, too, maybe twenty-three, twenty-four.

 

WOODY
How did she… take that?

 

BARTENDER
(chuckling)
Oh, she didn’t like it too much.

 

WOODY
Did you see her leave?

 

BARTENDER
(hesitating)
No. No. You know, she went to a table, over in the corner near the bathrooms. There was a guy there. More her own age.

 

WOODY
Do you know if she got a look at the cash?


BARTENDER
Detective, everyone in this place got a look at the cash. He wasn’t shy about it.

 

WOODY
The couple do you remember when they left?

 

BARTENDER
I – No, I don’t. You think – you think they had something… to do with this?

 

WOODY
Could be. Do you think you’d be able to give a sketch artist an idea what they looked like?

 

BARTENDER
Maybe.

 

WOODY
Sir, I’d like to have you come down to the station and do that.

 

BARTENDER
Yeah, sure.

 

WOODY
(gestures to UNIFORM COP #1 who walks over).
Would you get Mr. (WOODY checks his notes) Mr. Nowitzsky down to the station and set him up with a sketch artist?

 

UNIFORM COP #1
Of course, Detective.

 

WOODY
Thanks.

WOODY ushers BARTENDER toward UNIFORM COP #1.

WOODY
(low voice)
Thank God for stupid criminals. Now just tell me COD was the gunshot, Jordan, and this one will probably be in the books by tonight.

 

Cross fade.

 

7. INT MORGUE HALLWAY - MORNING

GARRET and KATE are walking; she carries a coffee mug and he moves a little stiffly, still healing from the crash.

GARRET
Jordan’s a good M.E., Kate.

 

KATE
I know that. She just doesn’t….

 

GARRET
Follow the rulebook?

 

KATE
Does she even know it exists?

GARRET laughs quietly, face creasing as it brings on a little pain.

GARRET
Don’t worry about Jordan. She’s my responsibility for the time being.

 

KATE
And I run everything else?

 

GARRET
You still good with that?

 

KATE
I’m just not sure it’s fair.

 

GARRET
I can take on more-

 

KATE
(wry expression)
I meant it’s not fair to you.

8. INT. BREAK ROOM – CONTINUING

GARRET and KATE enter the break room. LILY is sitting at the table with MADELINE. NIGEL is pouring coffee and BUG is adjusting the small TV set in the room so the baby can see it. The baby’s eyes are glued to the screen.

BUG
(off the looks GARRET and KATE give him)
Maddie likes the colors and sounds.

 

KATE
Of the morning news?

 

LILY
She cries when the kids’ shows are on. Barney, Teletubbies, even Sesame Street.

 

BUG
Except for Cookie Monster.

 

NIGEL
(amused)
Well then, that settles it. She’s the smartest baby ever.

 

KATE
I’ll say.

There is a beat of silence as no one quite knows how to react to KATE’S growing willingness to play along with the group.

NIGEL
So, Dr. M…. ready to get back into things?

 

LILY
Are you sure you’re ready? I mean-

 

GARRET
(smiling gently)
I’m sure. It’s only a half day anyway.

 

NIGEL
Good plan. Get back into it slowly.

 

KATE
He’s in charge of Jordan.

 

BUG
Or not.

MADELINE chooses this moment to kick her feet. She giggles as she connects with LILY’S chin. Reacting in surprise, LILY knocks over her mug of tea. Despite the fact it’s lukewarm at best, she thrusts MADDIE at GARRET to protect the baby. BUG is cleaning up the spilled tea. GARRET’S palm pilot goes off. He pushes the baby towards NIGEL as he checks the message and then moves to change the channel on the TV. MADDIE is enjoying herself quite a lot, cooing and giggling and waving her chubby arms and legs about.

NIGEL
I’ll get you more tea. (Turns to Kate.) Here. (Thrusts baby toward her.)

KATE backs away in the small amount of space she has.

KATE
(nervous smile)
Uhhh…no. Thanks!

 

NIGEL
Come on, luv! It’s a team effort here.

 

KATE
Yeah, well, I – I – um – babies don’t like me.

 

NIGEL
(arching one brow; his tone is very sly)
Is it mutual?


NIGEL doesn’t give her time to answer, simply pushes MADELINE into her arms.

Kate and Maddy

MADDIE begins to fuss; her face tells us this is the precursor to a much louder event.

KATE gives NIGEL a desperate – and dangerous

KATE
(through clenched teeth.)
Entirely.

MADDIE begins to emit short, loud protests and we see KATE desperately trying to hand her back to LILY, whose back is to KATE. LILY and BUG are cleaning up the tea spill while NIGEL is rummaging around, trying to find another box of herbal tea. GARRET is sipping his coffee, one eye on the TV screen; the sound on the set is low. On the TV screen we see a picture of baby formula with your typical panic-inducing broadcast news headline over it: Is THIS a formula for Death?

Breaking News

LILY looks up at the TV screen as she moves to toss out the tea-soaked paper towels.

LILY
Bug! Oh, my God. Bug! That’s our formula. What are they saying about our formula? (gestures nervously.) Turn it up!

The TV screen now shows a picture of a baby, about six or seven month old, smiling.

BROADCASTER(V/O)
This is little Ryan Davidson in a photo taken only a few weeks ago. Like many parents, Ryan’s mom and dad often put him to bed with a bottle of trusted baby formula. Four days ago, that trust was broken in the worst way imaginable to any parent. That formula, so trusted, so common in many households, appears to have been tainted – with botulism. (Dramatic beat) And now, Ryan Davidson is dead.

KATE’S eyes go to the screen finally because, despite the fact MADDIE is screaming, no one is paying attention to her or the baby.

The BROADCASTER fades and the TV blurs behind LILY as the camera focuses in tightly on her. LILY’s face is ashen.

The TV comes back into sharp focus and we see a list of codes.

BROADCASTER(STILL V/O)
We are advised that the product codes you are currently seeing on the screen are those believed to be from the tainted batch.

 

LILY
I – I can’t even… Bug?

LILY pulls out a can of formula from the diaper bag. It’s the half used one from last night.

BUG takes the can and reads the product code.

BUG
(looks grave.)
It – uhm – It has the code. The one the news…said….

 

BROADCASTER
(Looks grave, shuffles papers)
We repeat – parents are urged to remain calm. Check the product code on your baby’s formula. Contact your family doctor if your child has had any of this formula. All area doctors will know what symptoms to look for. Again, calm is imperative….

 

LILY
(Eyes huge with terror)
We gave her tainted formula? (Tears begin to trickle from her eyes) Oh, my God. What are we going to do?


9. INT. AUTOPSY ONE – SIMULTANEOUS TO PREVIOUS SCENE

A close shot establishes Jordan examining the body. She is extracting the bullet when WOODY enters the room.

JORDAN
Hey. What’d you get?

 

WOODY
(coming closer)
Not much. It sounds like a couple of low lifes maybe wanted some of the cash our vic was carrying and he didn’t want to part with it.

JORDAN raises an eyebrow.

WOODY (cont’d)
Bartender said the vic was flashing a roll of cash about the size of a roll of Charmin.

 

JORDAN
(eyebrow arched)
Charmin, huh?

 

WOODY
(dimples showing)
The double ones. (Beat) Bartender says it was a lot of tens and twenties.

 

JORDAN
Where do you get the low lifes from?

 

WOODY
Oh, uh, some girl came up to our guy, but he wasn’t interested. Bought her a drink and then told her to go away. When she finally took the hint, she sat down with a guy about her own age.

 

JORDAN
We weren’t lucky enough to get…you know… a description?

 

WOODY
(Smiling, knowing Jordan is hoping he missed that “we”)
The bartender’s at the station now with a sketch artist. (Leans toward the body.) You got anything that might help?

 

JORDAN
(businesslike, speaking for the dead)
Male, Caucasian, about six feet, two inches, late thirties, maybe early forties. Preliminary examination shows signs of alcohol abuse. He wore contact lenses. There are a number of scars on the body, including at least one bullet hole. Several of them look like they may have been badly cared for or he wasn’t in a position to get them taken care of. A couple old fractures, one badly set that never healed properly. Probably caused him some pain by the end of each day.

 

WOODY
An i.d. would be nice.

 

JORDAN
Waiting to get a hit off his prints. Whoever he is, I don’t think it was an easy life. (She gestures toward the collection table). I found this in one of his pockets.


WOODY stares at an envelope that is smeared with blood. Next to it is a letter written on cheap binder paper. The blood has soaked into it, making it hard to make out anything. He looks up.

WOODY
Will Bug be able to do … you know… whatever it is he… does? You know, get something off of this? If this isn’t random, it might give us a motive or suspects. Or at least help us i.d. the poor bastard.

 

JORDAN
Maybe. But I don’t think it has anything to do with this case.

 

WOODY
Why not?

JORDAN holds up the envelope to show him.

JORDAN
Check out the postmark.

WOODY studies it for a moment and his face creases in confusion.

WOODY
But… that would make… you’re saying this letter was written in 1976?

 

JORDAN
That’s my guess.

 

WOODY
So it’s not… huh.

 

JORDAN
(casting a sympathetic eye toward the body)
Maybe it has something to do with why he was at a bar alone, drinking, flashing the cash that probably got him killed.

 

WOODY
(knowingly)
Ah. I see. (He gives her a smile). Your kind of case.

The computer beeps, indicating a print match.

Match

JORDAN
(looking at the screen)
WOODY
(reading over her shoulder)
Wow! I’ll be damned!

They exchange looks.

JORDAN
I think I’m impressed.

 

WOODY
Me, too, and I’m a cop. But wow… no wonder he wouldn’t just hand over the cash.

The door opens and NIGEL enters, his face a mask of worry. He’s here to tell them about the possibility of the baby being sick from tainted formula. Before he can speak, his eyes catch sight of the face on the computer screen. His jaw drops and we go in tight on his face as he pushes between JORDAN and WOODY to see the face. Still looking aghast, he glances to JORDAN and then to WOODY.

NIGEL
The two of you don’t have a bloody clue who this is, do you?

 


END OF ACT ONE

 

ACT TWO

10. INT. AUTOPSY ONE – CONTINUING

We fade in to an image on computer screen – the victim’s picture and print.

JORDAN
(with an eye roll)
Should we know who he is, Nige?

 

NIGEL
Should you? Yeah! I mean, you really…? (His eyes dart from WOODY to JORDAN and back.) You really don’t know?

 

WOODY
Enlighten us.

 

NIGEL
Flight 815!

 

JORDAN
(off NIGEL’S expression that says that should make it obvious)
Of course. Flight 815.

 

NIGEL
Oceanic Airlines Flight 815. No, come on, really. (pleading look.) This is – uh – was James Ford. One of the survivors of Oceanic 815.


JORDAN and WOODY exchange a dubious look and then give Nigel blank stares.

NIGEL (cont’d)
Oh, Sweet Nancy! (Speaks slowly, as if talking to not-too-bright children.) Oceanic Flight 815. 2004. It left Sydney. Crashed. Everyone on board presumed dead. But they weren’t. Forty-six people were rescued four months later.

 

WOODY
(snapping fingers)
Oh, yeah. Yeah, I remember that now. Something about being on some island that didn’t show up on any kind of radar?

 

NIGEL
(grinning)
That’s right.

 

JORDAN
That’s… a bitch. (off questioning looks) What? This guy survives a plane crash, being stranded and then dies in some back alley? It’s just… I don’t know… sad.

 

NIGEL
Oh, it’s more than sad, luv. (He looks back to the computer screen.) It’s fate.


11. INT. BREAK ROOM – SIMULTANEOUS TO PREVIOUS SCENE

LILY
Oh, my God! Oh, my… Oh. I’m a terrible mother-

 

BUG
Lily.

 

LILY
I’m a terrible mother! This is all my fault! If I could’ve – could’ve- would’ve… had enough milk… I can’t believe this!

 

BUG
(more strongly)
Lily! Come on, don’t say that.

 

LILY
Why not? It’s true! With me for a mother, she’s either going to starve to death or get some horrible disease from the formula.

 

BUG
(taking her by the shoulders)
Lily! This is not your fault. Not at all. It’s – it’s bad luck.

 

LILY
Bad luck? Bad luck? Getting a splinter is bad luck. Giving your baby tainted food is – is….

LILY breaks down and sobs in BUG’S arms.

GARRET is focused on the TV screen, listening intently while KATE is trying to hush MADDIE. KATE is swaying and bouncing, murmuring to the baby. We see it hit her.

KATE
(softly)
Oh.

KATE looks frantically at GARRET, then to BUG and LILY, who is starting to calm down a bit. She turns her attention to MADDIE.

KATE (cont’d)
We’ve got to get you out of here before…. Lily? Bug? Lily!

 

BUG
(looks up)
What?

 

KATE
I was going to suggest you take Madeline to her pediatrician.

 

LILY
Oh, my God. You’re right. The news – They said local doctors would know what to looks for. (look with some hope, but still a lot of panic.) We have to go. NOW!

 

BUG
Yeah, Sure. Of course.

 

LILY
(a new thought coming to her)
I’m going to have to call Jeffrey. He’ll want to meet us there.

BUG says nothing, but his face is tight and we can tell his jaw is clenched. LILY takes the baby from KATE while BUG shoulders the diaper bag. They exit.

GARRET
(turns off TV)
Good thinking. I’m sure they appreciated your concern.

 

KATE
I just didn’t think I could take much more hysteria. (Beat.) When that baby comes in…. (Gives him a significant look.)

GARRET closes his eyes as the realization dawns on him, too.


12. INT. AUTOPSY ONE – CONTINUING

NIGEL
Do you realize what this means? What’s going to happen now? Mother of… the headlines! This is going to be in every major paper in the country, probably a good number elsewhere as well. Amazing! And he ended up in our morgue. I mean-

 

WOODY
Nige! Nigel! (Beat while Nigel trails off.) This is really sad and everything, but headlines? Come on, why would anyone still be interested in that crash?

NIGEL rolls his eyes and then brushes past JORDAN and WOODY to get to the computer. He goes online and types a name in the search box. A results screen pops up and NIGEL clicks on a link.

Fate of Flight 815

Shot of screen: an obituary. This is for a young woman. JORDAN and WOODY scan the article while NIGEL looks on.

Cut to NIGEL doing another name search. We see another screen of results and NIGEL clicks on a link again.

CUT back to the computer screen: another obituary. Again NIGEL watches as JORDAN and WOODY scan this one for a Hispanic man who was silent partner in a number of lucrative companies.

Cut to NIGEL, entering a third name for a search. The process is the same.

Cut to a shot of JORDAN’S and WOODY’S faces this time as they read a third obituary, now for a woman who was a leader in fertility research.

Cut to NIGEL, about to repeat everything again.

JORDAN
I’ll be damned. (Beat as NIGEL turns to look at her.) This Ford guy – our victim – he wasn’t the first survivor to die.

 

NIGEL
No.

NIGEL looks back at the screen and closes the Internet connection, leaving Ford’s picture again.

NIGEL (cont’d)
In fact, he was the last.

 

END OF ACT TWO

ACT THREE


13. INT. PEDIATRICIAN’S EXAMNINING ROOM – MID MORNING

Shot starts on MADELINE’S toes. As we pull back we see BUG’S hands around her feet, playing with them. We can hear the baby giggling as the shot continues to widen. BUG is seated, holding the baby on his lap. BUG is focused on her, but we know from his expression he is very aware of the other two adults in the room. We continue to pull back and see LILY, pacing between BUG and the exam table. Her expression is one of both coldness and fear. As LILY paces closer to the exam table we see JEFFREY. His clothing looks almost rumpled, a reflection of his expression – fearful, awkward and jealous. His eyes cut from LILY to BUG and the baby and then up to a poster on the wall. The room is not physically that small, but the camera angles are such that we get the feeling of it being nearly claustrophobic.

BUG begins to hum a lullaby to the baby.

Lullaby

JEFFREY
What’s that?

 

LILY
What’s what?

 

JEFFREY
He – Bug – What’s he doing?

 

BUG
(looking up)
It’s a lullaby. My grandmother used to sing it to me.

 

JEFFREY
It’s – It’s Indian!

 

BUG
Actually, it’s Punjabi. It means-

 

LILY
So what?

 

JEFFREY
So what?! Madeline’s – She’s – not!

 

LILY
You’re not serious? Oh, my God. You are. You’re serious!

 

JEFFREY
(swallows)
Well, I… I just-

 

LILY
When you have her, sing Yiddish lullabies to her!

 

JEFFREY
I don’t know any.

 

LILY
Figures.

 

BUG
Stop it! (dire look from one to the other) Just stop it. Both of you. This isn’t the time to argue like this. (looks down at the baby) In fact… it just isn’t right to argue like this at all. We all love Maddie and we have to learn to get along. For her.

LILY and JEFFREY are about to protest; both are literally pointing fingers when the door opens and DOCTOR MASON enters. For the brief time the door is open, we can hear the chaos in the waiting room.

DOCTOR MASON
Lily. Jeffrey. Mr. … uhm… Bug. shakes hands all around and then crouches to greet the baby) And good morning to you, Maddie. I hear your parents were watching the news this morning. (looks at all three) And your grandmother must have been watching, too.

 

JEFFREY
(stepping forward)
About that – her… my mother… I – uh – I mean, we appreciate your making room for us. In … today. Now.

 

DOCTOR MASON
Your mother is a persuasive and… concerned woman.

 

LILY
What’d she donate?

 

BUG
Lily!

 

DOCTOR MASON
Actually the offer I accepted will help a number of children in my practice, ones with special needs. You can let go of your righteous indignation, Lily, and just worry about Maddie.

LILY, chastened, reaches to take the baby from BUG. She holds MADELINE as DOCTOR MASON begins to ask them the expected questions and to check her over.

DOCTOR MASON
(taking the baby’s temperature)
You’re sure the formula you gave her was in the suspected batch?


BUG takes the can from the diaper bag and shows him.

DOCTOR MASON
(noting her temperature, beginning to take her pulse)
And has she shown any of the symptoms you heard about in the report? (Off the blank look of all three.) Weak crying? Difficulty breathing? Weak feeding or sucking? Constipation?

BUG and LILY look at each other.

LILY
No. None of those things. But – But how long – Do you have any idea how long it would be before the symptoms started?

 

BUG
As few as six hours, up to several days. Eighteen to thirty-six hours is the usual. (He pauses.) They think it’s botulism, don’t they?


DOCTOR MASON nods solemnly.

LILY
How – How bad?

 

BUG
(standing up and placing a hand on her shoulder.)
It could be worse.

 

DOCTOR MASON
It could be a lot worse. We’re going to run the preliminary tests and if she’s been infected, we’ll start treatment immediately. (looks at all three parents with sympathy) The survival rate is almost 98%.

 

LILY JEFFREY
Oh, thank God! That’s – That’s…

JEFFREY slides woozily into a chair.

BUG
(smiling at MADDIE, holding one of her hands)
Hear that, Maddie? It’s probably nothing.

 

DOCTOR MASON
Let me get my nurse so we can draw some blood. The results will take a few hours, but you can get her home, take it easy. (He gives them a knowing smile.) Try not to worry.

Shot tightens back to MADELINE, to her toes. We fade, still on her toes.

 

14.INT. AUTOPSY TWO – SIMULTANEOUS TO PREVIOUS SCENE.

We fade in on toes and travel slowly up the body of a baby – it is the first victim of the poisoning. We pull back to see GARRET and SIDNEY, gowned and staring down at the pitiful sight.

pitiful sight

GARRET
Every time you think maybe, just maybe, this job can’t get to you….

 

SIDNEY
Dr. Macy? Look, you don’t have to be here. It’s your first day back and… it’s – it’s…. (shrugs)

 

GARRET
(tight smile)
Thanks, but we need two M.E.’s on this. I know the hospital is working as fast as they can, but we might find something out, something they weren’t looking for. Who knows? We could save lives. (He looks down.) Lily and…. We could save lives.

 

SIDNEY
Right. (Respectful beat) And two heads are better, huh?

 

GARRET
Something like that. (brows creases)

GARRET reaches for the recording equipment and turns it on.

 


15. INT AUTOPSY ONE – CONTINUING

NIGEL, WOODY and JORDAN are still grouped around the computer screen.

JORDAN
Fate, Nige? Come on!

 

NIGEL
Scoff if you want to, luv, but of the forty-six people who chose to leave that island, forty six are dead.

 

WOODY
Who chose to leave that island?

 

NIGEL
There was an infant and a pregnant woman – safe to say the infant didn’t choose and the fetus, well…. Anyway, that infant is now a toddler living with his great-aunt in Sydney.

 

JORDAN
The first obit. His mother?

 

NIGEL
(nodding)
The pregnant woman died in childbirth. Her husband gave their son to his father to raise and committed suicide. One way or another, in three years, forty-six otherwise healthy adults have met their deaths in a variety of manners.

 

JORDAN
There has to be a scientific explanation.

 

NIGEL
Would you like me to calculate the odds? No. There’s whole sites online about this. Some people say the island had a – a soul, if you will, that leaving before they were supposed to doomed them all. There were some people who died – on the island, y’know – and, it’s kind of like Elvis, supposedly most of them have turned up alive and well! It’s like the island was – I dunno – some type of – of – whaddya’ call it? – Purgatory….

JORDAN continue to listen, her eyes slightly glazed over, but WOODY moves away as his cell rings.

WOODY
This is Hoyt. (Listens.) You’re kidding? (Listens.) No, that’s great. I’ll be right there. Hey, is the bartender still there? (Listens.) Great, Hang on to him until we can do a line-up. (He closes the cell phone.) Well, I’d love to stay and chat conspiracy theories, Nige, but that was dispatch. A couple of uniforms just picked up our suspects.

 

JORDAN
They got a sketch out that fast?

 

WOODY
Nope. A waitress at a greasy spoon got a little suspicious when this couple paid for their meal with a twenty that was still wet with blood. She called the cops, managed to hold our two until our boys got there. Could be unrelated, but….

WOODY smirks and pushes the door open.

JORDAN
Hey, wait!

 

WOODY
Jordan-

 

JORDAN
You might need me. You know, some… detail or something, trip ‘em up.

 

WOODY
These two? They sound like they need much tripping up?

 

JORDAN
Woody.

 

WOODY
(long suffering sigh)
Fine. But you’re on the other side of the glass.

 

JORDAN
(eyebrow raised – is Woody challenging her?)
Hey, Nige. Now that we know who he is, any chance you can track down-

 

NIGEL
I’m on it.

 

END OF ACT THREE

 

 

ACT FOUR

16. INT. INTERROGATION ROOM #1 – AROUND LUNCHTIME

Camera comes up on WOODY and the female suspect (TIFFY).

17. INT. HALLWAY OUTSIDE INTERROGATION – SAME TIME

The camera pulls back to show JORDAN standing at the two-way glass, watching and listening. We stay with JORDAN, observing, listening, watching as WOODY paces behind TIFFY. She sits forward, arms crossed, head resting on them. Her expression is one of boredom.

18. Int. INTERROGATION ROOM #1 – SAME TIME

TIFFY
Look, I already told you. I saw the guy in the bar. I saw he had some cash. I got him to buy me a drink. That’s it.

 

WOODY
Really? You really wanna stick with that story… Tiffany? Is it really Tiffany, by the way?

 

TIFFY
(glares at him)
Isn’t that what my i.d. says?

 

WOODY
Which one?

 

TIFFY
(head up, face pale)
What’d’ya mean?

 

WOODY
Oh, our forensics guys had a look at your bag. Seems you’re not much of a seamstress there, Tiff. Or do you prefer Angie? Maybe Kristy? Or maybe – (Woody leans in next to her, close, but keeping his voice almost social) – maybe you’re just James Ford in drag.

TIFFY looks up at WOODY. Her eyes narrow and her mouth tightens as she seems to contemplate her options. She takes several breaths and then pouts.

TIFFY
Fine. But I want some kind of deal. I didn’t know what Ricky – what he was gonna do.

 

WOODY
We’ll leave the deals up to the D.A.’s office.

 

TIFFY
I never even got close to the guy, not in that alley. And you can’t prove anything else.

WOODY glances up at the two-way and grins. Oh, this woman does not know who she’s dealing with.

WOODY
You’d be surprised what we can prove around here.

 

19. INT. PRECINCT HALLWAY OUTSIDE INTERROGATION – CONTINUING

JORDAN
(to the glass and herself)
Oh, this one’s gonna be fun.

Interrogation


20. INT. AUTOPSY TWO – AROUND LUNCHTIME

The camera focuses on GARRET and SIDNEY as they work. We get several shots of the two M.E.’s and then the clock; each shot the clock shows a later time.

GARRET looks confused, scanning a results page – we can tell it’s not the first time he’s rechecked these results.

GARRET
Sidney? You see this?

 

SIDNEY
(reads the same page as Garret)
See what? There’s nothing there.

Nothing to see

GARRET
Exactly.

 

SIDNEY
Huh?

 

GARRET
The parents told the hospital they thought the formula had been tampered with, right?

SIDNEY nods.

GARRET (cont’d)
And from the details in the press it sounded like…?

 

SIDNEY
Botulism.

 

GARRET
Yeah.

 

SIDNEY
(the realization dawning)
But… there’s no….

 

GARRET
Nope.

 

SIDNEY
So the parents were scared. They told the hospital what they thought happened, but… it was something else.

 

GARRET
I think they were scared, all right. Scared and lying.

 

GARRET pins an x-ray up to the viewer and waits for SIDNEY to take another look. When the younger M.E. realizes what Garret has seen, they exchange looks.

GARRET (cont’d)
I’d better call B.P.D. We need to talk to the parents.

 


21. INT. INTERROGATION ROOM #2 – ABOUT AN HOUR AFTER PREVIOUS INTERVIEW

We see a shot of the MAN #2 (RICKY) from the teaser. He is slumped in a chair, studying his hands as he picks at his fingernails. The camera pulls back so we can see WOODY, seated across from him. His expression is cold, dispassionate. There are several beats of silence.

WOODY
So…

WOODY pretends to look down at the booking sheet as if to check the suspect’s name – that’s how disinterested he seems to be.

WOODY (cont’d)
… Ricky, is it? I’ve already heard ‘Lucy’s’ version of what happened in that alley. Maybe you want to give me yours?

 

RICKY
(long pause as he appraises Woody)
Not really.

 

WOODY
You’re fine with the fact your girlfriend sold you out? Told us how she tried to get some cash from the guy in the bar, but he told her to get lost, how you weren’t too happy about that. (Pause and Woody’s eyes narrow) Told us how you decided to rob the guy. Only it didn’t go down the way you planned, did it? So you shot him.

 

RICKY
(shrug)
Plans change, man. You gotta roll with the punches, you know?

 

WOODY
That’s original. Never heard that one before-

 

RICKY
Look, if you’ve got something, charge me. But you don’t have shit because if you did, we wouldn’t be having this little ‘talk.’

 

WOODY
(voice low, tone cool)
You think we don’t have anything, you scum-sucking moron? We have your girlfriend’s signed statement. We have the bartender, an eyewitness-

 

RICKY
(snorts derisively)
Right. That pervert wouldn’t know me from the President of the United States! The only time he took his eyes off Tiffy’s ass was to look at her tits. (Shakes his head) You haven’t got jack. No gun, no witnesses and it’s what I say against what Tiffy says.

 

WOODY
(voice is rising a little bit, but he is still deceptively calm)
Yeah? And how do you explain the cash? The blood-soaked cash. Blood that, at this very moment, CSU is matching to the victim’s. Explain that.

 

RICKY
(another shrug)
What can I say? I found it. I’m lucky that way.

 

WOODY
And when we find your DNA on his body?

 

RICKY
Fine. He was dead when I – when we – found him. I took the cash. You got me there. (Another shrug) Way I figger it, I deserved that money just as much as that loser did. Probably robbed a bank or looted some pension fund, left a bunch of little old ladies out on the street. (puffs his chest out) He was a nut job. Christ, the last thing he said was “Freckles.” What the hell does that mean?

 

WOODY
(beat)
Hmm…so, what? You did the world a favor? A little community service?

 

RICKY
Hell yeah, I did the world a favor! Taking that guy out was….

WOODY smiles at him; it’s such an innocent smile, but his eyes are saying “Gotcha!”

WOODY
Well, Ricky, all I can say is you’re about to learn a whole new meaning to ‘community service.’

22. INT. HALLWAY OUTSIDE INTERROGATION – CONTINUING

JORDAN
(a little sadly)
It’s always the stupid ones.

 

END OF ACT FOUR


ACT FIVE

23. INT. CONFERENCE ROOM – AFTER LUNCH

We have a shot of parents, MR. DAVIDSON and MRS. DAVIDSON. MRS. DAVIDSON’S eyes are red and swollen from crying. MR. DAVIDSON is wringing his hands and biting his lip rhythmically. We move across from them to see GARRET and SIDNEY, both looking grim and serious. Standing, by the door, is DETECTIVE ANNIE CAPRA.

GARRET
(face impassive, hands still on top of reports in front of him)
Mr. and Mrs. Davidson, I’m Dr. Garret Macy, Chief M.E., and this is Dr. Sidney Wilkes. We performed the autopsy on your son.

 

MR. DAVIDSON
It was the formula, right? Those bastards let something get in there.

GARRET, SIDNEY and DET. CAPRA exchange looks.

GARRET
It wasn’t the formula.

 

MRS. DAVIDSON
(gasps)
But – But… we… what else could it have been?

 

DET. CAPRA
Why don’t you tell us?

 

MR. DAVIDSON
And who the hell are you again?

 

DET. CAPRA
Detective Annie Capra. Boston P.D. Homicide.

 

MR. DAVIDSON
Homicide? (looks to GARRET and SIDNEY for confirmation) Are you saying this was deliberate? Someone poisoned our son? Because if it was someone at that baby food company, we’re going to sue-

 

SIDNEY
No one poisoned your son.

 

MRS. DAVIDSON
Are you sure?

 

GARRET
(pushing the x-rays toward the couple)
We’re sure.

 

MR. and MRS. DAVIDSON look at each other before looking at the films.

DET. CAPRA
(coming to stand at one end of the table)
Tell us what happened.

 

MR. DAVIDSON
We told you what happened!

 

GARRET
You told the hospital you thought the can of formula had been tampered with. You described the symptoms of botulism.

 

DET. CAPRA
We got a warrant and searched your house an hour ago. There were no cans of unopened formula anywhere.

 

MR. DAVIDSON MRS. DAVIDSON
We threw it out! We gave it to the doctors.

No one says anything. MR. and MRS. DAVIDSON regard each other for a moment; she drops her eyes first.

MR. DAVIDSON
Ryan wouldn’t stop crying. From the time we brought him home, it seemed like all he did was cry.

 

MRS. DAVIDSON
Our pediatrician said it was colic, that he’d have to outgrow it. We tried everything.

 

MR. DAVIDSON
Neither of us… we don’t remember the last time either of us got a full night of sleep.

 

GARRET
That happens when you have a baby.

 

MR. DAVIDSON
He was almost eight months old! They’re supposed to sleep through the night by then! They’re supposed to… to…. We tried… we… I couldn’t take it anymore. Leigh was upstairs, taking a nap. I… I – Oh, God…. I didn’t think – couldn’t think anymore. I know – I mean, I know you’re not supposed to…. But….

 

DET. CAPRA
(gently)
What did you do, Mr. Davidson?

 

MR. DAVIDSON
(looking at Det. Capra with a forlorn look)
Do I have to – to say?

 

DET. CAPRA
Yes. We need to hear it from you.

 

MR. DAVIDSON
But you can see… on the x-rays, right? You can see.

 

DET. CAPRA
I still need you to tell me.

 

MR. DAVIDSON
(in a whisper)
I shook him. (Long pause) He stopped crying. Finally.

 

MRS. DAVIDSON
At first, we didn’t think – he seemed all right. He did.

 

GARRET
And then?

 

MRS. DAVIDSON
He – He didn’t wake up from his nap at the usual time.

 

MR. DAVIDSON
He slept through the night.

 

MRS. DAVIDSON
And both of us were up the whole time. (She gives a hysterical laugh.) He finally sleeps through the night and – and – and….

 

SIDNEY
Why didn’t you tell someone? Your pediatrician? The hospital?

 

MR. DAVIDSON
We were scared. We didn’t think –

 

DET. CAPRA
See, we know that just isn’t true. (She stares at the parents.) We checked your computer. You did a search on the symptoms of botulism.

 

MRS. DAVIDSON
(eyes wild)
We really thought that maybe… I mean, it was possible… tampering happens.

 

DET. CAPRA
We also found the packets of laxatives.

MR. and MRS. DAVIDSON exchange another look.

GARRET
You did another search, didn’t you? You wanted to find something that would look like botulism.

MR. DAVIDSON nods after a long beat.

GARRET and DET. CAPRA also exchange a look. DET. CAPRA moves around both parents.

DET. CAPRA
Mike Davidson and Leigh Davidson, you are both under arrest for the murder of Ryan Davidson.

DET. CAPRA leads them away, unresisting.
GARRET and SIDNEY watch them go.

SIDNEY
Some people shouldn’t have kids.

 

GARRET
It’s not always that easy, Sidney.

 

SIDNEY
(appraising look)
You ever shake Abby?

 

GARRET
(shakes his head)
But that doesn’t mean there weren’t times I didn’t want to. (He gives a rueful grin.) Still want to.

 

SIDNEY
(still unmoved)
At least now she could shake back.


24. INT. BREAK ROOM – MID AFTERNOON

Shot of LILY and BUG with MADELINE in her carrier. She is fussy; we see a band-aid on her arm. We see BUG and LILY look up from trying to distract her.

GARRET
Nice band-aid. Sort of like a traffic cone.

 

LILY
(nervous smile)
She screamed even louder when the pediatrician pulled out the hot pink and green ones.

 

GARRET
She’ll be fine.

 

BUG
The doctor says it’ll be a few more hours-

 

GARRET
The baby that… the other baby… it wasn’t the formula. There was no tampering, no tainting.

 

BUG
How can you be sure?

 

GARRET
The parents shook him. When they realized he was in trouble, they made up the story.

 

LILY
(hands covering the lower half of her face)
That’s awful! That poor baby!

 

BUG and GARRET look at her. It’s so LILY – she’ll be angry, later. In the moment, her sympathy is for the victim here.

BUG
But the reports… the E.R….?

 

GARRET
They gave him an overdose of laxatives. It mimicked the symptoms of botulism closely enough that the E.R. docs didn’t question it. The parents thought… I don’t know what they thought.

BUG and LILY just look at each other and then MADELINE.

LILY
Garret? Did they say… why?

 

GARRET
(taking a deep breath)
Ryan – the baby – wouldn’t stop crying. They were tired and frustrated.

Another look between BUG and LILY. Their expressions clearly say, “There but for the grace….”

GARRET
(filling his coffee mug)
Hell of a first day back. I think I might take tomorrow off.

 

25. INT. AUTOPSY ONE – MID AFTERNOON

We begin with a close up on JORDAN’S face. As we pull back, we see her begin to pull the sheet up over MAN #1 (James Ford). We get a glimpse of her stitching, so we know the autopsy is complete. She is pensive, even for JORDAN. We hear the door open and watch her look up.

JORDAN
Can I help you?

A tall, black man in black with a Catholic priest’s collar is standing in the doorway. He moves closer to stare down at the dead man and then sighs.

JORDAN
Is there something I can do for you?

Visit

 

PRIEST
(his voice has an African cadence to it)
I haven’t seen him in a number of years.

 

JORDAN
Are you his lawyer? I thought it was going to be a few days before-

 

PRIEST
I’m not his lawyer.

 

JORDAN
(eyebrows arching up)
His confessor?

 

PRIEST
(shaking his head solemnly)
I do not hear confessions.

 

JORDAN
A friend?

 

PRIEST
(long beat as he considers the dead man)
Yes. I think so. In another lifetime.

 

JORDAN
Seems like he could have used a friend in this one.

 

PRIEST
(soft chuckle, the humor is something only he can understand)
Sawyer spent a long time-

 

JORDAN
Sawyer?

 

PRIEST
(eyes never leaving the dead man)
Ah, yes, you know him only as the victim here. James Ford. (Beat) He was happier as Sawyer. If only he had known it.

 

JORDAN
What? Why?

 

PRIEST
Sawyer spent many years looking for a friend. He found more than one of them. (The priest lays a hand on the sheet, over the dead man’s heart.) Then he misplaced them.

There are a few beats of contemplative silence.

JORDAN
You were on the island with him! Nigel said there are people who-

 

PRIEST
(slightly agitated for the first time; he looks up at Jordan with worried eyes)
Do you happen to know what his last words were?

 

JORDAN
(taken aback for a moment by his interruption and question)
Uh…yeah. Actually. Yeah. (Beat) The guy who – who did this – said Mr. Ford – um, Sawyer – said, ‘Freckles.’ (Another beat) Does that…Do you know what it means?

 

PRIEST
(smiling slowly and nodding)
Not it, Dr. Cavanaugh. Who. She – ‘Freckles’ – was someone important to Sawyer. (He studies JORDAN a moment.) He was, like so many in this world, someone who found it difficult to let others in to his heart.

 

JORDAN
And he let this… ‘Freckles’ in?

 

PRIEST
(nods)
Although it saddens me to say that what he found on… where I knew him, he lost again. I think it is tragic when people let those they love slip from them. Do you agree?

JORDAN’S eyes widen just enough to tell us she is unnerved by this man. She nods.

PRIEST
(gazing down one last time at the body)
Be at peace, my friend. All is well at last. You are no longer a thousand miles off course.
In the Middle of It All - Debra Stillman

 

 

26. INT. JORDAN’S OFFICE – END OF THE DAY

JORDAN is standing at her window. The office is filled with the light of the setting sun. She holds something in her hand. Camera pans down and we realize it is the blood-stained letter she found on Ford’s body. She turns as there is a knock.

Cut to WOODY, smiling, standing against the door jamb.

WOODY
Hey.

 

JORDAN
(tentative smile)
Hey.

 

WOODY
You gotta like the slam dunk cases, huh? (Beat) As much as you can ‘like’ any of ‘em.

 

JORDAN
Yeah.

 

WOODY
I talked to Walcott. She’s probably gonna go easy on the girl. Second offense – first was a minor possession charge. Plus she’s gonna testify against her boyfriend.

 

JORDAN
Tell me he’s going to be gone for a long time. Please.

 

WOODY
Oh, a very long time. His sheet is pretty long. Not to mention he doesn’t seem to have an ounce of remorse. He actually seemed pretty proud of the fact he’d killed one of the Flight 815 survivors – guess you and I are the only ones who missed that bit of pop culture. He did say one thing though.

JORDAN raises an eyebrow at him.

WOODY (cont’d)
Said he was glad he didn’t end up keeping the money. I guess Oceanic gave all the survivors a bunch of cash and lifetime passes on their flights. (shrugs) Based on what Nigel said-

 

JORDAN
They didn’t really need them.

 

WOODY
(Long beat)
You think there’s anything to all that – you know, the stuff Nigel was talking about?

 

JORDAN
(shrugs)
Maybe. I looked up a few more of the survivors. Nige was right. James Ford was the last. Pretty big coincidence – more than forty people dying in two and a half years. (Beat) Makes ya wonder.

 

WOODY
About?

 

JORDAN
Us. All of us. On that plane.

 

WOODY
Jordan, don’t-

 

JORDAN
No, Woody. No. Ford, those other deaths…(soft laugh) even Nigel’s crazy theories…. I bet they all felt like they got a second chance. They survived something – impossible. And then – now… it’s over. What if… What if?

 

WOODY
There’s no ‘what if.’ It’s some – weird coincidence.

 

JORDAN
I wonder if they thought that at first. (Off his puzzled look.) When their – their fellow survivors started dying. I wonder if it changed any of them. (She looks down.) Or if they just said it did.

WOODY shifts as he studies her.

JORDAN (cont’d)
(looks up at him)
I don’t want to make that mistake. What happened to us… up there. I want it to – to mean something. (She sits on the edge of her desk.)

WOODY sits next to JORDAN and puts an arm around her.

JORDAN (cont’d)
He – um – someone came to – to see the body.

 

WOODY
Ford’s?

JORDAN nods.

WOODY (cont’d)
I talked to his lawyer. The guy said it would be a couple days-

 

JORDAN

Not his lawyer. A priest. Someone who knew him a long time ago. I think he was on the island.

 

WOODY
But Ford was the last-

 

JORDAN
(shakes her head)
Nigel said that there were people who died on that island, but who have been… seen.

 

WOODY
(laughs, but stops abruptly)
Come on, Jordan! You’re not buying into Nigel’s mumbo jumbo are you? (He peers at her more closely and a grin dimples the corners of his mouth.) You are! You think Nigel was right! That and his other… (his voice softens) crazy theories.

 

JORDAN
I don’t know what to think about some of it. It was – It was weird. This man – This priest… the way he talked… like he’d known him. But… (shrugs, now seeming a bit irritated). It was weird, okay?

 

WOODY
(one hand up, defensively, but still smiling)
Okay.

 

JORDAN
The priest called him ‘Sawyer.’

 

WOODY
Sawyer?

 

JORDAN
I looked it up, online. It was an alias Ford used. Then I remembered this. (She fishes for something on her desk and holds up the letter.)

 

WOODY
The letter from…what… 1976?

 

JORDAN
Yeah. It’s… it’s… ruined, mostly. But – but you can read the greeting and –um – a line or two. It’s to a ‘Mr. Sawyer.’ And it was written by a kid.

 

WOODY
Ford kept some letter from a kid?

 

JORDAN
(shakes her head)
Took me a while to figure it out. Ford wrote that letter. To the man who ruined his life. In 1976.

 

WOODY
How? What happened?

 

JORDAN
Some man conned his mother out of the family’s money. His father found out and killed her and then himself.

 

WOODY
So…years later, Ford uses the same alias and runs the same kind of cons?

 

JORDAN
(shrugging)
I guess he couldn’t let go of the past.

WOODY is silent

JORDAN (cont’d)
The priest… I don’t know how he could have known, but he said Ford – Sawyer – was happier on that island, only he didn’t know it. Maybe he… finally… let go of… things he couldn’t change.

 

WOODY
It doesn’t sound like he was all that happy here.

 

JORDAN
No. It doesn’t. And it got me thinking.

 

WOODY
(smiling mischievously)
Uh oh. Again?

 

JORDAN
(grinning and blushing)
I’m serious!

 

WOODY
And that’s what scares me!

 

JORDAN
(deciding to ignore him)
There’re so many things I thought were… I don’t know… not ‘me.’ And maybe some of them aren’t. But maybe some of them are.

 

WOODY
Like…?

 

JORDAN
(deep breath)
Like… a date.

 

WOODY
As in July 4th kind of date?

 

JORDAN
(glaring mildly)
No! As in someone makes reservations at a – a decent restaurant and picks the other someone up.

 

WOODY
(dimples showing, moving closer to her)
And maybe that first someone brings the second someone flowers?

 

JORDAN
Maybe. (Beat) And chocolates. (Small grin)

 

WOODY
And the first someone does little things like opening doors for the second someone, paying for the meal… getting a goodnight kiss at the door?

 

JORDAN
Maybe.

 

WOODY
(sliding close enough to her to put his arms around her)
So… where’d you make the reservations? And, just FYI, I like carnations.

JORDAN narrows her eyes dangerously at him.

WOODY (cont’d)
Oh! You want me to be the first someone. (He cocks his head and considers it – briefly). I can do that.

WOODY leans in and JORDAN raises her head for a long, sweet kiss.

Kiss

FADE TO BLACK

 

Episode 3 Trailer - Dinner for Two

Dinner for Two

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