Teaser Act 1 Act 2 Act 3 Act 4 Act 5
Episode #VS729


How Does Your Garden Grow?

Crossing Jordan Virtual Season 7

“How Does Your Garden Grow?”

Written by
bourbon and jmkw

Art by
Nynaeve1723

 

“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
Detective Woodrow “Woody” Hoyt
Garret Macy
Nigel Townsend
Kate Switzer
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Lily Lebowski

Renée Walcott
Det. Matt Seely
Det. Annie Capra
Det. Roz Framus
Captain
Uniformed Officer
Mr. Hornack
Karl Barnes
A.D.A. Jeffrey Brandau
Defense Attorney
Judge
School Principal
Bailiff
Reporter
Cameraman
Driver

SET LIST

INTERIORS
BOSTON POLICE DEPARTMENT
   BULLPEN
   INTERROGATION
   OBSERVATION
   HALLWAY

MORGUE
   TRACE
   HALLWAY
   JORDAN’S OFFICE
   GARRET’S OFFICE
   LILY’S OFFICE
   AUTOPSY ONE

RENEE WALCOTT’S OFFICE

OUR LADY OF SEVEN SORROWS SCHOOL
   BASEMENT
   CUSTODIAN’S OFFICE
   ROOM OFF CUSTODIAN’S OFFICE

COUNTRY HOUSE
   KITCHEN
   BEDROOM

COURTHOUSE
   COURTOOM
   HALLWAY

GARRET’S CAR

RENEE WALCOTT’S CAR


EXTERIORS
ROAD OFF OF HIGHWAY
   CRIME SCENE

OUR LADY OF SEVEN SORROWS

COUNTRY ROAD
   GARRET’S CAR

COUNTRY HOUSE
   RURAL AREA
   PORCH
   COURTHOUSE
   COURTHOUSE STEPS

BOSTON POLICE DEPARTMENT
   ROOFTOP
   STEPS

 

TEASER

 

1. INT. BPD BULLPEN – DAY

ANNIE CAPRA is at the coffee machine, pouring herself a cup of coffee. She is looking at something across the room. From her POV, we see it is MATT SEELY, who is looking for a file in a file drawer. He looks over at her once out of the corner of his eye. She smiles encouragingly at him, but he looks away nervously. She sighs as WOODY approaches to get himself a cup.

WOODY
Hey, Annie.


ANNIE
Hey, Woody. (beat, casually) What… do you think of Matt Seely?

WOODY gives a curious smile.

WOODY
That’s a joke, right?


ANNIE
What? No!


WOODY
You wanna know what I think of Seely…? Yeah, this is like Candid Camera or something. You’re recording this, right?


ANNIE
No.


WOODY
Ashton Kutcher is hiding somewhere.


ANNIE
Woody… I was… just… forget it…

ANNIE turns in frustration and walks away.

WOODY
(calling after her)
You’re funny, Capra! Funny!

She’s lost in thought when MATT sidles up next to her with his file, which he clutches nervously.

MATT
Oh, hey, Annie.


ANNIE
Hi, Matt.

There is a bit of an awkward pause. She waits for him to say something. He licks his lips nervously.

MATT
I… haven’t seen you in a while… everything okay?


ANNIE
Yeah, sure. Just crazy busy… different shifts… I had that flu bug…


MATT
Oh… that’s good. I mean… not that you had that flu bug…

MATT curses inwardly, and there’s a beat before he goes on.

MATT (cont’d)
I was just wondering… if maybe you…

FRAMUS passes and catches sight of ANNIE’S shoes.

FRAMUS
Those shoes are fabulous! Are those Prada?


ANNIE
No, they’re knockoffs. Cost twenty bucks.


FRAMUS
Shut up!


ANNIE
Yeah, I got ‘em at that place a couple blocks over.


FRAMUS
Next to the drug store?


ANNIE
No, Chinese restaurant.


FRAMUS
Wing Wah’s or Imperial Palace?

MATT has been listening with typical amounts of disgust. He throws up his hands.

MATT
Jeez! They never should’ve let women on the police force.


FRAMUS
Then we’d both be out of a job, Matt. (to ANNIE) Call me. We’ll talk. Ciao.

ANNIE watches FRAMUS go with some amusement and then turns to MATT.

ANNIE
Sorry… you… were saying?


MATT
Yeah… I was wondering if maybe you’d like to…

CAPTAIN sticks his head out of the office. He’s holding up a piece of paper.

CAPTAIN
You two wanna stop playing footsie for a minute, we got a homicide… body offa I-95…

MATT blushes and looks at ANNIE.

MATT
Footsie. That’s funny… he thinks we’re…


ANNIE
I know. Crazy, right?


MATT
Crazy.


CAPTAIN
Now!

 

CROSS FADE TO:

2. EXT. ROAD OFF OF HIGHWAY – MORNING

It is a large, empty field. In the background we can see cars whizzing by on the highway. MATT, CAPRA, and other crime scene personnel are there. There is a dead body of a teenage girl wearing a Catholic schoolgirl uniform. MATT and CAPRA look down sadly at the body. BUG is crouched on the ground unpacking his tools.

BUG
Why is it we always wind up with dead schoolgirls?


CAPRA
Some days I really hate my job.

MATT flips open his notebook.

MATT
Karen Hornack, 15, sophomore at Our Lady of Seven Sorrows. Her father reported her missing yesterday around 4PM when she didn’t get off the school bus. Driver says she never got on. Ligature mark around the neck… looks like strangulation…


BUG
(nodding in agreement)
Petechial hemorrhaging… Time of death… between 3 and 5PM yesterday. From lividity… I’d say she’s been here for at least ten hours.


MATT
School let out at 3:15…


ANNIE
(grimly)
And she was dead within two hours.


MATT
TOD gives us a small window. Somebody must have taken her from school.

There is some noise, a disturbance, distressed voices. ANNIE, MATT, and BUG look up to see a MAN struggling with a UNIFORMED OFFICER.

MAN
Please! I need to see her!


UNIFORMED OFFICER
This is a crime scene, sir.

MAN breaks free from the UNIFORMED OFFICER and stumbles blindly to where the body is.

UNIFORMED OFFICER
Sir!

MAN begins to wail when he sees the body. He drops to his knees and picks up the dead girl’s hand.

ANNIE
(gently)
I’m sorry, sir… this is a crime scene…

MATT has leaned down to gently help MAN to his feet.

MAN
Oh, God… it’s true…


ANNIE
Is she…?


MAN
She’s my daughter… she’s my little girl…


The MAN continues to sob while ANNIE, MATT, and BUG trade sympathetic looks.

 

END TEASER

Crossing Jordan Theme

 

ACT ONE

 

3. INT. RENEE WALCOTT’S OFFICE - MORNING

RENEE steps out of her office. She is loaded down with handful of files, coat, handbag, and briefcase. She stops at her assistant’s desk and puts the files in BECKY’S in basket and keeps walking.

RENEE calls over her shoulder.

RENEE
(over her shoulder)
I’ll be back tomorrow. Please call the day care and remind them that Avery’s father is picking him up tonight. (beat) Has it stopped raining yet?


BECKY
(jots a quick note)
Yes, ma’am. Around eight. The forecast is expecting more this evening… and, um…

BECKY picks up a message and follows RENEE as she walks toward the elevator.

BECKY (cont’d)
Capt. Sullivan, over at Homicide, called. They have a 15 year old female found under an underpass….


RENEE
(walking to the elevator)
Who caught it over there?


BECKY
(looking at the paper)
Detectives Capra… and, ah, Matt Seely.

RENEE halts in front of the elevator, BECKY stops a step back.

RENEE
How’s the schedule look?

BECKY trots back to her desk and pulls around her appointment book.

BECKY
Mr. Meyers is open.


RENEE
(pinches the bridge of her nose)
Anyone else?


BECKY
(looking at the book)
Ah… Davidson and Marcos are-


RENEE
(cuts her off)
Someone who actually knows how to find the courtroom without using Mapquest.

The elevator doors open. JEFFREY BRANDAU is inside the car. Briefcase and coat in hand like he’s just getting in.

RENEE
Just the man I wanted to see. What does your day look like?


JEFFREY
I have a ten o’clock, eleven fifteen and-


RENEE
Rearrange them. Girl. Possible Homicide. Underpass.


JEFFREY
-but -


RENEE
You’re the only man I can trust for the job, Jeffrey. (beat) I’m depending on you.


JEFFREY
(puffs up)
Of course.

RENEE steps into the elevator and presses the down button.

RENEE
Good. Becky will give you the details. (beat) I’m already late for my appointment. I’m sure Det. Capra and her, ah, partner can fill you in on the rest.

The elevator doors close.

JEFFREY
(to BECKY)
Partner?

BECKY simply smirks and hands JEFFREY the message, before going back to her desk. JEFFREY reads it a groans at the sight of MATT’S name. His shoulders visibly drop as he walks down the hallway to his office.



4. EXT. CRIME SCENE – DAY

We are where we left off before. MAN – MR HORNACK – is still sobbing. ANNIE has an arm around him.

ANNIE
I’m sorry… Mr.. Hornack, is it?

He nods, but he barely hears her.

MR HORNACK
Who would do this? She’s a little girl… She was all I had… her mother passed… she was my only child… all I had…


MATT
We need to ask you to…

They are gently trying to usher him away from the crime scene. MR. HORNACK grabs MATT’S arm, as if seeing him for the first time. He has MATT’S arm in a tight grip and looks at him beseechingly.

MR. HORNACK
Please… please… you’ve got to find who did this… please…


MATT
We’re doing all we can, Mr. Hornack.


MR. HORNACK
No… please… promise me you’ll find him… promise me you’ll find whoever did this to my little girl… my little girl…

MR. HORNACK has dissolved into agonizing sobs, still gripping MATT’S arm, as MATT looks on.



5. INT. MORGUE TRACE - DAY

We see KAREN’S body on a table. BUG is working on her. MATT and ANNIE enter. They exchange nods, and ANNIE crosses sadly to the table.

ANNIE
Poor girl… she looks so young.


SEELY
Got any trace yet?


BUG
There was bruising around her thighs… vaginal tearing… definitely rape… but… no DNA… no useable semen sample.


ANNIE
Damn… Any prints, fibers?


BUG
Nothing. She was out in the field in a rainstorm last night. Most of the trace is long gone. We might get lucky in autopsy. Have you talked to the school yet?


MATT
We were just on our way. Let us know what you find. You can call me, you know. Not just her.


BUG
Sorry if I bruised your fragile ego, detective.


MATT
Just… let us know, would you?


ANNIE
Thanks, Bug.


ANNIE and MATT turn to go. They step out into the hallway.

6. INT. MORGUE HALLWAY – CONTINUING

MATT
That guy hates me.

 

ANNIE
(groan, eyeroll)
Oh, please. He does not hate you.


MATT
He doesn’t hate me as much as Macy hates me, but he hates me. (beat) Hey… you, uh… doing anything after we knock off tonight?


ANNIE
No, why?


MATT
I was… uh… thinking maybe we-?

JORDAN comes out of an office and meets them in the hallway. The three start walking together toward the lobby. MATT looks disappointed to have been interrupted.

JORDAN
Oh, hey… what are you two doing here?


ANNIE
We’re working the Hornack case together.


JORDAN
(to ANNIE, pointing to MATT)
Really? Who’d you piss off to get stuck with him?


MATT
Funny, I just asked Hoyt the same thing about you.


JORDAN
Ah, charming as ever.


MATT
You can dish it out, Cavanaugh, but you can’t take it.

 

7. INT. MORGUE LOBBY – CONTINUING

JORDAN stops at the desk to pick up mail. MATT crosses to elevator. The doors slide open and MATT steps inside. ANNIE looks back at JORDAN.

MATT
(to ANNIE)
You coming?


ANNIE
You… go ahead down. I’ll meet you at the car.


MATT
You sure?


ANNIE
Yeah, I just have a quick question for Jordan.


MATT
(a bit suspiciously)
Okay…

The doors slide shut. ANNIE turns back to JORDAN, who is looking through her mail. ANNIE attempts to act casual.

ANNIE
Hey… Jordan?


JORDAN
(looking up)
Yeah?


ANNIE
Matt Seely… what do you think of him?


JORDAN
You want the version with or without profanity?


ANNIE
Without, please.

JORDAN screws up her face. Wheels are spinning. She’s trying very hard. Finally she stops.

JORDAN
Sorry, can’t do it.


ANNIE
C’mon, Jordan, you can’t think of one nice thing to say about the guy?


JORDAN
(reaching)
He… can… rock a turtleneck like nobody’s business.


ANNIE
Jordan!


JORDAN
Why do you want to know what I think?

JORDAN gets a slightly disgusted look on her face.

JORDAN (cont’d)
Wait… you’re not…?

There’s a beat. ANNIE’S eyes widen; she doesn’t know how to respond.

ANNIE
Me? No… I just… we’ve been working together… I… wanted… a professional opinion. Never mind. Forget I asked.


She hits the elevator button and is relieved when it slides open. She steps inside, leaving JORDAN with a curious look on her face. JORDAN shakes her head and heads to her office.


8. INT. MORGUE JORDAN’S OFFICE - CONTINUING

There is a bakery bag on the corner of JORDAN’S desk. She opens it a pulls out a half eaten jelly doughnut. She grimaces at it and puts it back.

There is a knock on the door. JORDAN looks up to see NIGEL standing there.

NIGEL
Gotta second?


JORDAN
What’s the shelf life of the raspberry jelly they put into jelly doughnuts?


NIGEL
(blinks twice)
Long’s Bakery about 14.5 days, Altenburg’s 6 weeks… easily.


JORDAN
(looks at the name printed on the bakery bag)
Um, Grossman’s?


NIGEL
I’m not sure. I’d have to look it up.

JORDAN shrugs and tosses the bag in the trashcan.

JORDAN
Never mind. My taste buds might be off. (beat) What’s up?


NIGEL
I just got off the phone with a friend of mine from The Globe. He wanted to know if some rumors trickling down from the Governor’s Office were true.


JORDAN
What rumors?


NIGEL
That Dr. M is leaving at the end of the year.


JORDAN
What?


NIGEL
I told him it was a bunch a bull… so I did some investigating myself.

NIGEL hands JORDAN a sheet of paper. JORDAN looks confused until she reads it.

JORDAN
Is it real?


NIGEL
Yeah.


JORDAN
Who else has seen this?


NIGEL
I showed it to Kate. She told me to talk to Garret.


JORDAN
Did you?


NIGEL
He’s behind closed doors getting ready for some… thing.


JORDAN
We’ll see about that.

 

9. INT MORGUE GARRET’S OFFICE – SAME TIME

GARRET looks at his watch. He tosses a file into a basket on his desk and stands up. He pulls his coat off the coat tree and grabs a small overnight bag from the floor beneath it.

There is one knock on the door before it swings open.

GARRET turns to smile at an alarmed JORDAN.

JORDAN
(holds out the paper NIGEL gave her)
Would you care to explain this?

Care to explain?

GARRET gives it a cursory glance before shouldering his bag.

GARRET
It’s a letter to the Governor telling him of my intent to retire. (smiles) I won’t ask how you got this.


JORDAN
Is it real?


GARRET
I’m not in the habit of generating unnecessary paperwork. (beat) Although this was just a formality. I filed the actual forms months ago.


JORDAN
(shocked)
When were you going to tell me?


GARRET holds the door open, ushering JORDAN out to the hallway so he can lock the door.

10. INT. MORGUE HALLWAY – CONTINUING

He starts walking down the hallway. JORDAN is hot on his heels.

GARRET.
I didn’t want everyone to make a big deal over it.


JORDAN
So you were just planning on leaving one evening and never coming back?


GARRET
Jordan.

They stop in front of EMY’S desk; GARRET signs out.

JORDAN
I can’t believe you’re doing this.


GARRET
I tried it before. Remember? This time Slokum is nowhere near the short list as my replacement.

GARRET pushes the elevator call button.

GARRET
We can talk about this some other time. I’m late for an appointment upstate.


JORDAN
You can’t. We need to talk about it right now.

The elevator doors open. GARRET steps inside and presses the door close button.

GARRET
No.


The doors close.

 

11. EXT. OUR LADY OF SEVEN SORROWS – DAY

MATT and ANNIE are walking outside of a Catholic school. There is a statue of the Virgin Mary outside. She has her eyes cast heavenward, and seven swords are sticking out of her chest. ANNIE walks right by it, but MATT gives it a curious look before heading up the stairs into the building.

12. INT. SCHOOL BASEMENT – CONTINUING

ANNIE and MATT are walking down a basement hallway of a school. The ceiling is low; there are lots of exposed pipes, a flickering fluorescent light, etc. They walk purposefully.

MATT
Nice name for a school. What are they trying to do, scare the kids to death? Our Lady of Seven Sorrows. What’s that all about?


ANNIE
The Virgin Mary? The swords represent her seven earthly sorrows… the prophesy of Simeon… flight into Egypt... missing Christ child… way of the cross… crucifixion… descent from cross… Christ’s entombment…


MATT
I’m impressed.


ANNIE
(smiling a bit sheepishly)
Twelve years of Catholic school.

MATT looks over at her with a grin.

ANNIE (cont’d)
What?


MATT
Just trying to picture you in saddle shoes and a little plaid kilt.

ANNIE smiles in mild embarrassment.

ANNIE
You’re from Boston and you’re not Catholic?


MATT
Episcopalian. All of the pleasure, none of the guilt. (beat) We’re looking for Karl Barnes. School custodian. He got picked up a couple years ago… peeping Tom… got probation, but conveniently forget to tell the diocese when he applied for the job… probably just a garden variety perv…


ANNIE
As good a place to start as any. Maybe we can rule him out at least…

They have reached a door marked “CUSTODIAN.” They push the door open and enter into:



13. INT. SCHOOL CUSTODIAN’S OFFICE – CONTINUING

A tiny, windowless office of some kind. There is not much in there - a beat up old desk with an old rotary phone. Some invoices for janitorial supplies. There’s a large cupboard, slightly ajar. Inside we can see rolls of toilet paper, jugs of Clorox.

ANNIE
Mr. Barnes? Hello?


No one answers. Next to the cupboard is another unmarked door. SEELY gestures to it, and they open the door and step inside.

14. INT. ROOM INSIDE CUSTODIAN’S OFFICE – CONTINUING

SEELY flicks on the light next to the door, and their faces register. From their POV, we see the rest of the room. There is a cot pushed up against one wall, but that is not what has their attention. We see that a small altar has been set up on the opposite wall. The walls are covered, absolutely covered, with holy cards, pictures, post cards, newspaper clippings of religious imagery… Mary, Christ crucified… a particularly lurid rendering of Christ’s heart wrapped in a crown of thorns. It is an unsettling collage. The effect, rather than being inspiring and calming, is downright creepy. MATT and ANNIE are dumbstruck.

Downright creepy...

MATT
Holy…


There is movement behind them. It is KARL BARNES. He is thin, pale, balding. His eyes widen when he sees the two of them in his sanctuary. There is a moment where they all are frozen. Suddenly, KARL bolts and runs, but not before dropping the mops and buckets he’s carrying. ANNIE and SEELY take off after him.

15. INT. SCHOOL BASEMENT HALLWAY – CONTINUING

BARNES heads down the hall, but ANNIE and SEELY are on his heels.

SEELY
Hey! Hey!

BARNES turns down the hallway toward a door to the outside. As he reaches it, ANNIE and SEELY have pulled their guns. BARNES reaches the door, but it has been padlocked shut. He pushes against it in vain.

SEELY (cont’d)
Freeze! Turn around! Turn around! Now!


BARNES’ shoulders sink in defeat. He turns around and ANNIE starts to cuff him while SEELY slowly lowers his gun.

 

END OF ACT ONE

 

ACT TWO

 

Route 101 - Herb Alpert
16. EXT. COUNTRY ROAD - DAY

We see the overhead of a sun-dappled, tree-canopied, two-lane road. We see glimpses of GARRET’S car speeding along.

We hear a cell phone ring.

17. INT. GARRET’S CAR - CONTINUING

GARRET is driving. RENEE is in the passenger seat. RENEE reaches over and turns off the car radio. The cell is still ringing.

Afternoon drive

RENEE
Jordan’s persistent. I’ll give her that.

GARRET turns the cell phone off and tosses in the back seat.

GARRET
She’ll get over it.


RENEE
You really should have told her about your plans months ago.


GARRET
I don’t have to tell Jordan anything. (beat) Besides, I’d rather leave the postmortem for after I’m gone.

RENEE looks like she wants to question his statement. Instead she leans her elbow against the door frame and looks out at the passing scenery.

RENEE
So, exactly where are you taking me? You were pretty vague when you asked if I could break away for the day. (stops and smiles) You know kidnapping a government official is a serious crime.


GARRET
(smiles)
I just wanted to show you something.


RENEE
(flirty smile)
We’ve never had to leave town for that.

GARRET chuckles softly at her innuendo.

GARRET
Actually, I wanted your opinion on a house I’m thinking of buying.


RENEE
(confused)
A vacation place?


GARRET
No. A retirement home.

 

18. INT. BPD INTERROGATION – DAY

KARL BARNES is sitting at the interrogation table with a rosary in his hand. He looks frightened. MATT and ANNIE are there. MATT is sitting across from him, ANNIE is standing.

MATT
What were all those pictures about? You certainly got quite a collection.


KARL
My faith is important to me. There’s no crime against that, is there?


MATT
There’s a crime against murdering and raping women, though.


KARL
Please… please don’t talk about that. Don’t say that word.


MATT
What… murder?


KARL
No… rape. It’s… dirty.


ANNIE
Why did you run, Karl?


KARL
I… don’t know. Someone killed that girl… then two strangers show up in my office… I got… jumpy…


MATT
Did you know Karen Hornack?


KARL
I had… seen her at school before.


ANNIE
What happened, Karl? Karen missed the bus… you offered to give her a ride home… you just got… carried away…

KARL suddenly gets agitated.

KARL
I don’t have to talk to you. Not without my lawyer.


MATT
Come on… we just need…


KARL
No! I want my lawyer. I want my lawyer now.


ANNIE
Karl…


KARL
I don’t have to talk to you!


KARL snaps his eyes shut and begins to rub his rosary, muttering a prayer under his breath. ANNIE and MATT exchange frustrated looks.

19. INT. BPD INTERROGATION OBSERVATION ROOM - CONTINUING

ANNIE and MATT are standing in the observation room looking into the interrogation room. BARNES is sitting inside with a rosary in his hand. He is rubbing at the beads. There is a sort of twitchy energy about him, and he has beady little eyes.

MATT
He gives me the creeps just looking at him. Rubbing that thing… and all those pictures… sick freak.


ANNIE
Just because he’s religious doesn’t make him sick or a freak.


MATT
No, but raping and killing teenage girls kind of qualifies him. And he’s not your average mass-going Catholic, either.


ANNIE
Unfortunately, we have absolutely no evidence he killed Karen Hornack.


MATT
And now he’s good and lawyered up, we might never have it.

MATT and ANNIE turn their attention back to the window. BARNES continues to rub away at the beads.

MATT (cont’d)
He did it. He killed that girl. He offers her a ride home… she trusts him…


ANNIE
He makes some kind of fumbling pass at her…


MATT
She rejects him…


ANNIE
Sex… it’s dirty


MATT
So, he punishes her for making him feel that way.

ANNIE nods in agreement.

ANNIE
Look at him… he’s scared… it’s like he wants to be absolved of something…


MATT
(pointedly)
Like he wants to confess…


ANNIE
Yeah…

Beat while MATT ponders something.

MATT
The secretary… the one who has the lunchtime Bible study… Lashondra, Laniqua…


ANNIE
(eye-rolling)
Larraine?


MATT
Yeah… she in today?


ANNIE
I think so…


MATT smiles in a moment of inspiration.

CUT TO:

20. INT. BPD HALLWAY - CONTINUING

We see a tight close-up of a hand wrapped around a book with HOLY BIBLE embossed in gold letters. Pull back to reveal MATT clutching the Bible to his chest, working on an expression of piety. He opens the door to the Interrogation Room and:

21. INT. BPD INTERROGATION ROOM – CONTINUING

MATT enters the room, still clutching the Bible, face out.

MATT
Your lawyer’s on his way. Might take a while. Weather. I’ll just wait with you.


KARL
Okay.


MATT
Yeah, there’s a real nor’easter heading this way. Gonna be a rough night. Probably lose power…


KARL
I don’t have to talk to you.


MATT
(holding up Bible, pointing to chair)
I’m not interested in talking, my friend. I’m interested in reading. You mind if I…?

KARL shrugs. MATT sits down at the table and opens the Bible. KARL watches with some interest.

MATT (cont’d)
Thanks. I’d read at my desk, but you know how people are.


KARL
They don’t understand. They mock; they scorn.

MATT smiles in understanding and turns to the page. He reads, smiling and nodding knowingly. KARL watches with interest.

KARL
What are you reading?


MATT
Book of Genesis. “The Lord said, ‘What have you done? Listen! Your brother’s blood cries out to me from the ground. Now you are under a curse and driven from the ground, which opened its mouth to receive your brother’s blood from your hand.’”

MATT turns toward KARL. He is now frowning.

MATT (cont’d)
(confidentially)
In my line of work… I feel like sometimes I can hear their blood crying out from the ground. You know? Some nights, I lie awake, and I can hear them. Restless souls. Crying out. Those are the nights I don’t sleep much.

MATT gets up and walks slowly around to KARL’S side of the table with this Bible. He speaks to him quietly, but with meaning.

MATT (cont’d)
I can’t imagine the guilt Cain must’ve felt. Killing his own brother. Watching the life drain out of his eyes. It must have eaten at him like a cancer. No escape. But the Lord knows all. Sees all. And He was merciful.

KARL’S lip is beginning to quiver. MATT thumbs through for another passage.

MATT (cont’d)
This is the one I like: “If we confess our sins, he is faithful and just and will forgive us our sins.” Good thing for Cain he confessed, because murder is a mortal sin, right? That is a one-way ticket to hell. Am I right? An eternity of torment. Anguish.

KARL has broken down into sobs. MATT sits down in the chair next to him.

MATT
(firmly but gently)
There something you want to get off your chest, Karl?


KARL nods once, his shoulders shaking in sobs. MATT looks up into the mirror to where ANNIE is watching. They share a look of relief.

END OF ACT TWO

 

ACT THREE

 

22. EXT- RURAL AREA - DAY

GARRET drives the car up a weed-strewn dirt driveway. At the end drive sits a small cottage-style house surrounded in the back by a tree line. The chimney of a large stone fireplace shows prominently in the front. The paint is slightly weathered, but all in all it looks warm and welcoming.

Welcoming Cottage

GARRET parks the car directly in front. Both he and RENEE look out the windshield for a moment before getting out of the car.

RENEE
(searching for words)
It’s… charming.


GARRET
You don’t like it.


RENEE
I didn’t say that. It’s just… three hours away from Boston.


GARRET
(stops and smells the air.)
That’s the point.

GARRET pops the trunk of the car and pulls out their bags.

RENEE
We’re staying here?


GARRET
(handing her, her bag)
It’s a time share that the owners want to unload. (beat) It’s not being rented right now so the realtor gave me the keys.


RENEE
You’re really serious about this.


GARRET
(grabbing a grocery sack out of the trunk)
Why wouldn’t I be?


RENEE
But... here? What about your condo in Boston?


GARRET
It’s in a great location. I shouldn’t have any problem renting it out.


RENEE
What about Abby?


GARRET
She lives with her mother most of the time anyway. It’s closer to work and school.

GARRET leads RENEE to the front door.

GARRET (cont’d)
Besides, I don’t think Maggie’s set Matt down since she’s gotten over the shock of being a grandmother. I’m just in the way.


RENEE
(shaking her head)
Retirement…


GARRET
(turns the key and opens the door)
The last few months I’ve thought about where I am, what I want to do with the rest of my life.


RENEE
That sounds ominous. Is everything alright?


GARRET
(smiles at her concern)
I’m fine. I’m just tired, that’s all. Very, very tired. It’s time to put something else ahead of the morgue.

GARRET opens the door and they walk in. They walk into a sunny living area with a eat-in kitchen off to one side and stairs to the second story to the other. GARRET sets his overnight bag by the stairs and exits into the kitchen. RENEE puts her bag next to GARRET’S and smoothes her hands over her dress. For a moment she looks slightly distressed. The lawyer in her covers it quickly.

RENEE
(calls into him)
What’re your plans?

 

23. INT. HOUSE KITCHEN AREA - CONTINUING

GARRET is unpacking the grocery bags. He sets a bottle of wine on the counter.

GARRET
I have got a grandson to spoil and about ten years of best-sellers to catch up on.

RENEE enters the KITCHEN. She sits down on a stool at the counter, picks up the wine bottle and reads the label.

GARRET
What d’you think?


RENEE
About the Merlot? (beat) Mondavi’s always nice.


GARRET
The house.


RENEE
You get great sunlight around the house. You could have quite a garden.


GARRET
What the hell would I do with a garden?


RENEE
Cultivate. Grow. You know… nurture. Isn’t that the point of getting away from Jordan?

GARRET chuckles.

GARRET
It’s still early. Why don’t I show you around the property before dinner?


RENEE
There’s enough to show around?


GARRET
Nineteen acres and a pond.


RENEE
See? Garden. (beat) Can I change first?


GARRET
(points at the ceiling)
The bedrooms are upstairs. Take your pick.


RENEE
Give me five minutes.


RENEE swings her legs off the stool and walks out of the room. GARRET smiles as he watches her. He picks up the wine bottle.

 

24. INT. BPD BULLPEN – DAY

ANNIE has her head down at her desk. Someone places a bottle on her desk. She looks up, and MATT is standing there with a smile on his face. She smiles back and picks up the bottle.

ANNIE
What’s this?

MATT clears his throat nervously.

MATT
There’s… a little Italian place in Cambridge… BYOB… I thought we’d… celebrate closing the Hornack case…


ANNIE
(smiling slyly)
You did, did you?


MATT
Kind of a… professional dinner…


ANNIE
(still having fun with him)
Oh? You and Berman always celebrate over Italian and a bottle of red when you close a case?

MATT is blushing and stammering when JEFFREY BRANDAU enters, looking very angry. He’s carrying a legal document in his hand.

BRANDAU
You might want to put that back in the wine cellar for awhile.


ANNIE
What? Why?


BRANDAU
Tell me… have you ever even heard of the 6th Amendment? Did you actually go to the police academy, or did you buy your badge off eBay?


SEELY
What are you talking about?


BRANDAU
Barnes’ lawyer has filed a motion to suppress the confession.

BRANDAU forces the document into SEELY’S hands. ANNIE springs to her seat, and begins to read over MATT’S shoulders. MATT, too, looks stunned.

BRANDAU (cont’d)
And considering the judge we’ve drawn on the case… I’d say there’s a pretty good chance of getting the confession tossed. Thanks to your stunt, Reverend Seely, Karl Barnes is probably going to walk…

Looks are exchanged all around.

25. EXT. RURAL AREA -DAY

GARRET and RENEE are walking, hand in hand, along a path in an overgrown clearing. We see the back of the house in the background.

RENEE
You know, this is actually kind of nice. If you ignore the insects.


GARRET
I told you there’s bug spray in my bag.


RENEE
I’m fine.

She takes a deep breath of fresh air.

RENEE (cont’d)
Avery would love it. He lives for walks in the park.


GARRET
How’s he doing? I haven’t seen him in a long time.


RENEE
Growing like a weed. His father has him tonight. He’s, ah, introducing him to his latest girlfriend. (beat) They should get along famously. There isn’t much of an age difference. It matches Ed’s attention span.


GARRET
(smiles)
I gather you don’t see Avery getting a step-mother in the near future.


RENEE
I’m sure Ed’s girl does… but so did the last dozen or so.


GARRET
I’m sure it’ll be an interesting evening.


RENEE
How’s Abby handling motherhood?


GARRET
(shrugs)
To tell you the truth, I was a little afraid at first. But she really seems to be taking the responsibility seriously. (smiles proudly) And it doesn’t hurt that she’s the mother of the most perfect child on the planet.


RENEE
(chuckles)
Spoken like a proud grandfather.


GARRET
It’s seems like just yesterday that Abby was the one needing her diaper changed. Now she’s taking care of herself and her son.


RENEE
I’m not looking forward to the day when Avery doesn’t need me anymore.


GARRET
Hopefully it’ll never come to that. I only have myself to blame for the road my relationship with Abby took.


RENEE
You’re back on track now.


GARRET
We’re getting there. Matthew is helping.

They stop walking when the path ends at by an old stone wall fence.

GARRET (cont’d)
Well, that’s the end.


RENEE
(nostalgically)
What went wrong between us?

There is a long pause before GARRET speaks.

GARRET
I don’t think it was ever us, Renee. We worked. It was everything else that didn’t make it easy to see it that way.

RENEE puts her head on GARRET’S shoulder.

RENEE
And we just let it. (beat) Do you ever have any regrets about the choices we’ve made?


GARRET puts his arm around her.

 

26. INT. COURTHOUSE COURTOOM – DAY

The motion hearing is in full swing. BRANDAU is at the prosecution table. Behind him are ANNIE, MATT, and MR. HORNACK. On the other side is the DEFENSE ATTORNEY with KARL BARNES. A JUDGE is hearing arguments.

DEFENSE ATTORNEY
Your Honor, every schoolchild can recite the Miranda rights. The 6th Amendment guarantees a defendant’s right to counsel, and Detective Seely’s interrogation of my client clearly violated that right.


BRANDAU
There was no interrogation here, Your Honor. Karen Hornack’s name was never even mentioned. Det. Seely was merely discussing Scripture with…


JUDGE
That dog don’t hunt, Mr. Brandau. Detective Seely was trying to get information from Mr. Barnes. Plain and simple.


BRANDAU
Even if we assume there was an interrogation, Your Honor… the defendant was aware of his rights. He told Detective Seely he knew he didn’t have to talk without his lawyer present… any statements made constitute a waiver of his right to counsel.


DEFENSE ATTORNEY
There was no affirmative waiver here, Your Honor. The detective was using psychological torment to get a confession from my client.


JUDGE
I don’t know about torment, counsel, but… as much as it pains me, I’m inclined to agree with your argument. I’m ruling that any statements made to Detective Seely are inadmissible.


BRANDAU
Your Honor, Karl Barnes confessed to the brutal murder of a fifteen year old girl-


JUDGE
I understand that, Mr. Brandau, but if this man goes free, it’s not because he deserves it, it is because Detective Seely denied him his constitutional rights.


DEFENSE ATTORNEY
Your Honor, without the confession, the prosecution has no grounds to hold my client. We would move for immediate dismissal of the charges against him.


JUDGE
Motion granted. The charges are dismissed without prejudice. Court is adjourned.


The JUDGE gives a sharp rap of the gavel and exits. BRANDAU, stunned, closes his briefcase. At the defense table, BARNES is shaking his lawyer’s hand. They sweep out of the room. We can see ANNIE and MATT exchanging horrified looks. BRANDAU turns to ANNIE and MATT. MR. HORNACK looks confused and helplessly looks back and forth at the others for some explanation. They look down in shame and regret.

27. INT. COURTHOUSE HALLWAY – CONTINUING

ANNIE, SEELY, and BRANDAU file out of the courtroom looking very grim. MR. HORNACK follows in a state of confusion and near-panic.

MR. HORNACK
I don’t understand… what happened?


BRANDAU
The charges against Barnes have been dropped. He’s… free to go. I’m sorry, Mr. Hornack.


MR. HORNACK
But… he confessed… I don’t understand… how can they let him go when he confessed?

BRANDAU shoots a look to MATT.

MATT
We can’t use the confession. I… wasn’t supposed to interrogate him without his lawyer present.


MR. HORNACK
But… you did anyway.


MATT
… Yes.

The horror is beginning to dawn on MR. HORNACK.

MR. HORNACK
So… the judge let him go. Because of what you did.

MATT looks down, feeling very guilty.

MATT
… Yes.

MR. HORNACK begins to cry.

MR. HORNACK
She was all I had… my only child… And now he can just… walk the streets? He raped and murdered my daughter!


MATT
I’m… sorry…


MR. HORNACK
Sorry? You’re sorry? How dare you? How dare you!

ANNIE reaches out for him.

ANNIE
Mr. Hornack, I know you’re…


MR HORNACK
Don’t! Don’t… don’t touch me… just…

MR. HORNACK shakes his head, unable to express his grief and rage. He turns and stumbles off down the hallway and staggers down the steps. MATT stares at his feet. ANNIE looks at him in sympathy. Finally, MATT looks up with a blank look on his face. He gives a small shrug.

MATT
(quietly)
You win some; you lose some.


He strides off, and BRANDAU and ANNIE trade confused looks.

 

28. INT. HOUSE BEDROOM - LATE AFTERNOON

A window is open. A breeze gently blows at the curtain. RENEE and GARRET are in the bed, languidly lounging in obvious afterglow. RENEE stretches like a cat on a sunny windowsill.

RENEE
I think the last time I did this on a workday afternoon was after you gave expert testimony in the Seidl case, remember?


GARRET
(remembering, with a smile)
Expert testimony for the defense. You ended up raking me over the coals.


RENEE
(grinning)
They were already grabbing at straws before you even hit the stand.


GARRET
We were both doing some grabbing of our own by the time we reached your office.


RENEE
(laughs)
Poor Becky thought we were going to kill each other.

RENEE kisses GARRET softly and sits up.

RENEE (cont’d)
Speaking of the office, I really should check in with her. (beat) I left Jeffrey in change of rape/murder case. Although, I know he can handle it.

GARRET watches RENEE as she puts her underclothes back on.

GARRET
(snorts)
I know Brandau is a competent A.D.A… for a putz.


RENEE
(looking over her shoulder)
He’s a good guy. You’re just a little prejudiced.


GARRET
My morgue was turned upside down by his and Lily’s… affair.


RENEE
(chuckles)
I think it was a little more than an affair, Garret. Their relationship made it all the way to the wedding. They share a child.

GARRET sits up and leans against the headboard.

GARRET
(contemplatively)
Office romances. (beat) They started this mess, you know. And now it’s spreading like wildfire. The morgue is pairing up like some kind of refrigerated Noah’s Ark.


RENEE
(sits down on the bed)
If you want to use that argument, I think we were the ones who officially started it.


GARRET
(grunts)
What we had was totally different.


RENEE
(chuckles)
How so?


GARRET
For one, we were old enough not to run around like a couple of hormonal… rabbits.


RENEE
(amused)
Hormonal rabbits?


GARRET
Rabbits! (beat) I’m afraid to think about what happens behind closed doors there anymore.


RENEE
I think we broke at least a half-dozen decency laws in our time (sexy smile) and that was just the Seidl trial alone.


GARRET
(smiles smugly)
A few.

GARRET brushes his hand over RENEE’S cheek.

GARRET (cont’d)
You probably should make your call before everyone leaves for the day.

RENEE’S smile deepens. She climbs back into the bed, straddling GARRET’S waist.

RENEE.
I’m sure Brandau has everything under control.


GARRET
(reaches for her)
He’s a good guy after all.


RENEE
Besides. I’d like to hear more about this rabbit theory of yours.

 

29. INT. LILY’S OFFICE – DAY

ANNIE is walking by LILY’S office. LILY is on a chair trying to put an armful of books on a top shelf. She loses her balance and some of the books fall to the floor. ANNIE enters and picks up the books. She starts to hand them one at a time to LILY.

ANNIE
I got it.


LILY
Thanks, Annie. Hey, I heard about the Hornack case. I’m so sorry.


ANNIE
Yeah, I just came by to deliver the word in person. Looks like bad news travels fast.


LILY
Her poor family…

There’s a beat of silence while ANNIE hands up the books. She considers whether to speak or not.

ANNIE
You and Matt Seely… you dated for a while, didn’t you?


LILY
I don’t know if “dated” is the right word. We… had drinks, coffee a few times. It never got further than that.


CAPRA
I don’t mean to pry, and you can tell me to shut up, but… why didn’t it work out?


LILY
You mean besides the fact that he’s an obnoxious, tactless jerk?

LILY laughs, but then sees CAPRA look away. LILY climbs down off her chair and perches on the edge of her desk.

LILY (cont’d)
No, that’s not fair. He can be a jerk, but he’s got this… other side. Caring, sensitive, vulnerable. There was this case… a little girl had been kidnapped in Mexico and sold into a sex ring. After we found her, Matt tracked her parents down in Monterrey and paid for them to fly to Boston to see their daughter again. He didn’t have to do that.


CAPRA
I never heard that.


LILY
Doesn’t surprise me. I think… when Matt joined the force, people gave him a hard time. Some… rich preppie playing cops and robbers. I think he’s… well, I think sometimes he’s just an obnoxious, tactless jerk…

ANNIE and LILY share a small smile.

LILY (cont’d)
But… a lot of it is a defense mechanism… like he’s built this shell around himself to keep everyone at arm’s length. I think it was just easier for him to be the arrogant jerk everybody assumed he was instead of opening himself up to get hurt. Underneath… there’s so much more. (beat) I remember in the park back home, there was this little garden plaque with a quote from Emerson, “What is a weed? A plant whose virtues have not yet been discovered.”

LILY and ANNIE share a look of understanding.

LILY (cont’d)
You want to know why it didn’t work with us? I think it was because… Matt’s looking for someone who can break through that shell. Someone he trusts enough to share that other side of himself with completely. And I… wasn’t that person. But whoever she is? I think she’s a pretty lucky girl.


LILY smiles knowingly at ANNIE.

 

30. INT. BPD BULLPEN – NIGHT

It is late at the BPD. The police department never sleeps, of course, but things have quieted down a bit and most people have gone home for the night. ANNIE enters, returned from the morgue. She crosses to her desk. It’s been a long, depressing day. She shuts off her computer, slips on her coat wearily. She looks over to SEELY’S desk. He’s not there, but his computer is still on, and his car keys are still on his desk. She looks down at her own desk. The bottle of wine is missing. Then she looks over to his desk and sees the brown paper bag that had held the wine. She sees BERMAN at his desk. He’s got one of those tiny TV sets, and he’s watching a game.

ANNIE
(to BERMAN)
Have you seen Matt Seely?


BERMAN
It’s not my turn to watch him.


ANNIE sighs and heads off as if to look for him.

 

31. INT. HOUSE KITCHEN AREA - EVENING

GARRET and RENEE are sitting at the kitchen counter. The remnants of dinner sit between them, along with the bottle of wine. One glass sits by RENEE’S elbow.

RENEE
(leaning back on the stool with wine glass in one hand)
That was the best steak I’ve had in a while.

GARRET picks up the wine and refills RENEE’S glass.

RENEE (cont’d)
Maybe you should consider a new career as a chef after you retire.


GARRET
I don’t think I want to leave one world of slicing and dicing to go to another one. (beat) Besides, the closest thing to a restaurant around here is the hotdog warmer at the gas station.

RENEE listens to the dusk sounds coming from the screened backdoor.

RENEE
How did you ever find this place anyway?

GARRET stands and begins to clear the table.

GARRET
I always wanted a place in the Berks. (beat) It just never happened. A few weeks ago I was in the area for a, ah, departmental retreat-


RENEE
(interjecting)
With Dr. Stiles. (beat) I heard.

RENEE joins GARRET clearing dinner.

GARRET
Yes, well… I remembered how much I liked to come up here before I became the CME and didn’t have time anymore. (beat) I called a realtor as soon as we were back in the city.


RENEE
I just swore an oath for another three more years of zero time off.

She sips her wine and sets it down.

RENEE (cont’d)
There are times I wonder if I did the right thing. (beat) It’s not like I haven’t paid my dues. And then there’s Avery.


GARRET
You weren’t ready to walk away yet.


RENEE
(muses, while scraping plates into the trash)
And you are.


GARRET
(quips)
It took a plane crash… but yes.

RENEE smiles even though she doesn’t find his comment funny.

RENEE
Now you’re leaving Boston to become a hermit on the side of a mountain.


GARRET
I thought you were in favor of my retiring. You even helped me write my letter of intent to the governor.


RENEE
Retirement? Getting away from grind? Sure. I just never thought you were planning on just walking away.

GARRET stops with the dishes and turns his attention completely on RENEE.

GARRET
Do you really think that’s what going on here?


RENEE
I know a cut and run when I see it, Garret.

RENEE picks up her discarded wine glass and finishes off the contents. She reaches for the bottle. GARRET puts his hand over hers.

GARRET
Too much red wine always gives you a hangover.


RENEE
Maybe I want to get rip-roaring drunk. (beat) When you first told me you were considering retiring I thought maybe with one less complication…


RENEE turns away and exits the room. We hear the door to the house open and close.

32. EXT. HOUSE PORCH- CONTINUING

RENEE stands on the end of the porch looking out at the dark landscape. She wraps her arms around her shoulders to ward off the night chill. GARRET appears behind her. He slowly wraps his arms around her from behind. A look of longing crosses RENEE’S face for a second before she covers with a more ambiguous look.

GARRET
We’re less than three hours out of the city. If I wanted to leave permanently I would’ve picked some place warmer.

There is a long pause.

GARRET (cont’d)
I’m an alcoholic. I know what it feels like to need something so bad it rules your every thought. Lately, I’ve realized that booze was the least of my addictions. The morgue is like a drug. The people, the responsibility… the job. (beat) And the only way I can make a clean break it to put some distance between me and it.

RENEE’S reserve begins to crumble.

GARRET (cont’d)
The job ruined my first marriage. (beat) It all but destroyed our relationship.


GARRET turns RENEE to face him.

Renée and Garret

GARRET (cont’d)
I don’t want to lose what we have and if I stayed in Boston... at least right now… we’d never stand a chance.


RENEE
(watery smile)
Three hours away is quite a drive for a booty call.


GARRET
But not when you’re picking up the pieces. (beat) I want to try again, Renee. I want to see if we can make this work outside of just the occasional sleep over.

GARRET wraps his arms around her once more.

GARRET (cont’d)
Three hours is not too far to be out of touch… but far enough that you can get away from being DA for a while.


RENEE
Avery would love it out here.


GARRET
And I’d love to share it with him.

 

33. EXT. BPD ROOFTOP – NIGHT

ANNIE pushes open the roof access door and steps out onto the roof. It is dark; she scans the rooftop, and then we see MATT sitting there cross-legged. He has a bottle with him, and he takes a swig.

ANNIE
What are you doing up here?

He holds up the bottle. It is the bottle of red wine he had brought to share with her at the Italian restaurant.

MATT
Celebrating.


ANNIE
You’re drunk.


MATT
You are a detective.


She crosses and sits down next to him. There’s a beat of silence.

Annie and Matt

ANNIE
It could’ve gone either way, Matt. Another judge might’ve let the confession in.


MATT
(sarcastic)
Thanks for the pep talk. Don’t tell me you were a cheerleader in high school.


ANNIE
Guilty.


MATT
Well, don’t take it personally… but you’re full of crap.

He offers her a swig of the bottle, but she shakes her head. There is a beat.

MATT (cont’d)
My dad used to say, “We Seelys don’t have blood in our veins, we have ink.” Maybe he’s right. I mean… what was I thinking? Me… a cop


ANNIE
What are you… you’re not really going to…


MATT
I should just walk away. Go work for my dad. Lots of life and death decisions like… whether to buy the Globe or sell the Tribune. The thing is… I knew if I went in there… playing mind games with that guy… I knew I was risking getting any confession tossed. I knew that. But I just kept thinking of that man… his wife’s dead, his only child’s dead… and I could get the guy to talk. I could look that girl’s father in the eye and tell him who raped and murdered his daughter… give him some peace. But… now I gotta look him in the eye and tell him the sick freak who raped and murdered his daughter is free to walk the streets to do it to some other man’s daughter because I screwed up.

ANNIE just sits. There is silence.

MATT (cont’d)
I don’t know if I can do this any more, Annie. What the hell am I doing here?

A look passes over ANNIE’S face, and she realizes this is what LILY was talking about. She has just seen a moment of naked vulnerability that MATT has chosen to share with her. She places a comforting hand on his arm.

ANNIE
The same thing the rest of us are doing. Just trying to do the best we can in a job where it practically takes a law degree to write a parking ticket these days. Matt, you’re a good cop.


MATT
I don’t know… am I?


ANNIE
Yes. Yes, you are. And there’s no one else in this division I’d rather work a case with. (Beat) It’s not over, Matt. Yeah, you screwed up, but we were never going to get a confession out of this guy, not with his lawyer there. This case has always been about forensics.


MATT
You heard what Gandhi said, there’s no trace…


ANNIE
There’s gotta be something. I know it looks pretty hopeless from the bottom of a bottle, but we know who this guy is. We’re gonna get him. You gotta believe that.

MATT manages a small smile.

MATT
Wow. A Catholic schoolgirl and a cheerleader. You aren’t by any chance a French maid, too, are you?

ANNIE rolls her eyes but smiles, too. She stands and offers him her hand.

ANNIE
Come on. I’m taking you home and putting you to bed.


MATT
Please, Detective Capra, I’m not that kinda guy.


ANNIE
You should be so lucky.

She pulls him hard by the arm and yanks him to his feet. He nearly topples over drunkenly on her. She wraps her arm around his middle to steady him, and he looks up at her.

MATT
(with a small, wistful, tipsy smile)
Yeah… I should be.


She hoists him back to his feet and they head off.

 

34. EXT. HOUSE PORCH - SUNRISE

Back porch

GARRET is standing on the same edge of the porch that he and RENEE stood talking the night before. He has a coffee cup in one hand and his cell phone in the other. The front door opens. RENEE enters. She looks like she just rolled out of bed. She’s wearing a robe and carrying her own coffee cup.

GARRET
(smiles softly)
Good morning.

RENEE stands next to GARRET. He sets his coffee on the railing and slides an arm around her back.

RENEE
You’re up early.


GARRET
Bad Wednesday habit.


RENEE
(sips her coffee, gesturing her chin to GARRET’S cellphone)
So? Did you tell her to start the paperwork?

GARRET
I will.


RENEE
You’re going to want to get the place painted before winter. There’s an aide in my office whose husband is a contractor. I could get you his card.


GARRET
We probably should get ready to go back.


RENEE
Do we have to?


GARRET
Yeah


RENEE
You’re probably right. I have meetings scheduled all afternoon.


RENEE
If you weren’t taking to the realtor, who were you calling?


GARRET
(glances at his phone)
I was checking my messages.


RENEE
How many did Jordan leave?

GARRET smiles thinking about the dozen or so messages from JORDAN he deleted.

GARRET
Apparently, that rape/murder case is getting a little sticky.


RENEE
(sighs)
Great.


GARRET
Bug’s going to take another look at the body when he gets to work this morning. (beat) It’s gonna take awhile to rerun everything. If we leave right now we’ll just be hovering. (beat) Bug hates hovering.


RENEE
In that case, how’s French toast sound for breakfast?


GARRET
Perfect.

 

35. INT. MORGUE AUTOPSY ONE – DAY

NIGEL and BUG are in Autopsy. ANNIE enters, giving a rueful smile. The mood is downbeat.

ANNIE
Morning.


NIGEL
Morning. Back to square one on the Hornack case, eh?


ANNIE
We can still get this guy without the confession.


BUG
How’s Seely taking it?


ANNIE
I think we’re all pretty disappointed.


BUG
Is he going to grace us with his presence?


ANNIE
He’s… indisposed this morning. I wouldn’t expect him for another few hours.

The door opens and MATT enters. He looks bright-eyed and bushy-tailed. ANNIE’S face registers surprise.

MATT
(in an energetic rush)
I need DNA, fibers, prints, anything you got on Karen Hornack. If you got nothing, you need to go back and look at it again. Give me tox screen, autopsy, x-rays, MRIs, whatever the hell it is you ghouls do here. Nobody’s sleeping again until we get Karl Barnes back off the street.

BUG and NIGEL are a bit dumfounded at being barked at by the unnaturally alert SEELY, but they can’t help but “snap to” in spite of themselves.

NIGEL
Tox screen was clean.


MATT
No such thing as a clean tox screen. Look at it again.

NIGEL turns around to look through the file again. MATT turns his attention to BUG.

MATT
Autopsy… whaddya got?


BUG
I’m closing now…


MATT
Cause of death?


BUG
Asphyxia… strangulation…


MATT
What with? Scarf? Rope?


ANNIE
Looks too thin to be either one.


BUG
Scarf or rope would’ve left fiber. Even with the rain, we should have been able to retrieve something imbedded in her skin.


MATT
What, then? What does a school custodian have easy access to or keep in his car that’s not going to leave any trace?


ANNIE
Electrical cord…


BUG
It would be about the right width.

NIGEL approaches with a read-out in his hands.

MATT
You got that tox screen?


NIGEL
I didn’t make anything of it first. It’s within the range of normal, but she shows elevated levels sodium hypochlorite.


MATT
I barely passed chemistry. You wanna help me out?


NIGEL
Disinfectant… industrial strength. Usually used in swimming pools or to disinfect toilets, sinks in hospitals… hotels…


ANNIE
Schools? Maybe some spilled while they were struggling.


MATT
I’ll get a warrant on the custodian’s office… closet… anywhere he stashes stuff at school… like electrical…


ANNIE
We’re not going to need a warrant for a school.


MATT
I’m not taking any chances. I’m getting Judge Fitzpatrick on the phone now. Let’s go…

36. INT. SCHOOL BASEMENT - DAY

ANNIE and MATT are walking down the steps into the school basement. They are accompanied by the SCHOOL PRINCIPAL. He is struggling to keep up with the detectives who are walking with purpose.

PRINCIPAL
Everything’s on laptop these days… slide shows… overhead presentations. Karl likes to tinker with machines, so he asked if he could have the old projectors. We’ve… terminated his employment, of course, but they should be in here.


PRINCIPAL unlocks the door to the Custodian’s Office. It’s the same office they were in before. They step inside.

37. INT. SCHOOL CUSTODIAN’S OFFICE – CONTINUING

ANNIE and MATT step inside. They cross to the cupboard and open it. There are several old film strip projectors and overhead projectors. They all have thin electrical cording.

ANNIE
Let’s get these and any others he’s got in his car. Maybe we’ll get some of Karen’s DNA of the cord.

MATT nods in agreement. Then he frowns, and on a hunch, he walks around behind the cupboard to where KARL’S odd religious mural was. He’s got a small flashlight and he’s looking all over the mural.

ANNIE
What are you looking for?


MATT
Just a hunch…

Then MATT stops and walks closer, his flashlight shining. He smiles.

MATT
Well, this is a Catholic school, so can I hear a… bingo.


ANNIE walks over and crouches to get a better look. Amid the sea of faces of saints, there is a little corner of the mural with another collection of faces. They are taken from school yearbooks and school newspapers, and it is definitely the face of Karen Hornack.

ANNIE and MATT trade looks. They’ve got him. Bingo, indeed.

 

38. EXT. COURTHOUSE STEPS - DAY

RENEE is climbing down the steps. She’s dressed in a dark power suit, carrying a briefcase, looking every inch the Suffolk County District Attorney. A REPORTER and CAMERAMAN stop her. RENEE retains a cool demeanor as the CAMERAMAN begins rolling and the REPORTER puts a microphone in her face.

REPORTER
Ms. Walcott, can you comment on the developments in the Karl Barnes case. The BPD dropped the ball earlier this week and ADA Brandau was left with egg on his face.


RENEE
I have every confidence in Mr. Brandau’s abilities and those of the Boston Police Department.


REPORTER
I understand that Mr. Brandau has the medical examiner’s office to thank for uncovering potential new evidence that led to Barnes’ re-arrest.


RENEE
I can’t comment on an ongoing investigation.

They stop at the curb where a car is waiting for RENEE. She opens the car door.

REPORTER
A source in the Governor’s Office tells us that the Chief Medical Examiner, Garret Macy is retiring from the his position at the end of this year. (beat) It’s quite well documented that your office and Dr. Macy have had many professional differences in the past. Are you looking forward to a more productive relationship with the new administration?


RENEE
(stops and smiles)
I have the utmost faith in Dr. Macy and his staff. I’m sure I’ll enjoy the same level of quality and dedication from the medical examiner’s office in the future that I have in the past. (beat) Now if you’ll excuse me, I have an important appointment uptown.


RENEE climbs into the car. REPORTER slashes his hand across his throat to indicate to the CAMERAMAN to stop taping.

39. INT. RENEE’S CAR – CONTINUING

RENEE shuts the car door and leans across the front seat to talk to the DRIVER.

RENEE
Let’s go…


DRIVER
Ma’am

RENEE opens her cell phone and presses a speed dial. She waits for the other end to answer.

RENEE
I got shanghaied by Channel 4 leaving the office. I’m running a few minutes late. (beat) I’ll meet you at that bistro by the realtor’s office in about fifteen, if we can get through this traffic. (beat) Lunch is on me since you just emptied your savings account.

 

40. INT. COURTHOUSE COURTROOM – DAY

It is the same courtroom as earlier. Court is not in session yet. We see BARNES at the defense table with his attorney. They look a little more nervous than before. JEFFREY BRANDAU is at the prosecution table. Behind him are ANNIE, MATT and MR. HORNACK. BRANDAU turns and looks at them reassuringly.

BAILIFF enters, followed by JUDGE.

BAILIFF
All rise. Court is now in session. The Honorable Michael Fitzpatrick presiding.

JUDGE enters and sits at bench.

JUDGE
Please be seated. In the matter of the People v. Karl Barnes… is the prosecution ready to proceed, Mr. Brandau?

BRANDAU rises confidently from his chair at the prosecution table.

BRANDAU
Yes, Your Honor. Yes, we are.


JUDGE
Very well… the defendant is bound over for trial. We’ll set a date for the first available date on the docket. The clerk will…


JUDGE’S voice fades out. MATT and ANNIE share a look of relief. MATT looks over at MR. HORNACK, who is crying quietly but gives a grateful nod.

 

41. INT. GARRET’S OFFICE - NIGHT

Music is softly playing in the background. GARRET is sitting on the sofa with his feet on the coffee table. He is reading a book, and making occasional notes in its margins. There is a knock on his doorframe. GARRET looks up to see JORDAN. He sets aside his book.

GARRET
(taking off his reading glasses)
I didn’t think you were talking to me.


JORDAN
(smiles)
It’s hard to avoid when I need you to sign a memo to send to the moron on the 6th floor that keeps on stealing my parking space.


GARRET
(smiles back)
Where is it?

JORDAN walks into the office. It’s obvious she’s empty handed.

JORDAN
I must have dropped it.

GARRET sets his book aside and pats the sofa cushion next to him. JORDAN sits.

GARRET
I’m sure you’ll figure something out.


JORDAN
I thought about slashing his tires, but Woody started quoting some idiotic traffic code… so, I just let the air out.


GARRET
Why do I have a feeling you’re not joking?

JORDAN gestures to GARRET’S discarded book.

JORDAN
What are you reading?

JORDAN picks up the book and reads the title.

JORDAN(cont’d)
(lips twitching)
The New Englander’s Guide to Expert Gardening?


GARRET
I thought I might try planting some tomatoes.


JORDAN
Dad tried growing a vegetable garden once. The first eighty hour work week and it ended up like every other plant we ever had.


GARRET
I plan on taking the time and effort it’ll take to make it work.

There is a long pause.

JORDAN
(mirthless)
You really are leaving.


GARRET
The paperwork’s been approved.


JORDAN
I just….

There is another long pause.

GARRET
(softly)
What Jordan?


JORDAN
It’s not going to be the same stopping by at the end of the day and you’re not here.

GARRET puts his arm around JORDAN’S shoulders.

GARRET
No. I hope it’ll be better.


JORDAN
I doubt that.


GARRET
You have better things to do these days than hang out here anyway. (beat) Why aren’t you home with Woody?


JORDAN
(shrugs)
Little League practice tonight. He took the team out for pizza after.


GARRET
(grinning)
Someday, maybe, he’ll be coaching his own kids.

Uncomfortable, JORDAN looks for a segue.

JORDAN
I could ask you why you’re here. I understand you took Renée Walcott with you on your… mysterious trip.


GARRET
You’re changing the subject.


JORDAN
You better believe it. (beat) So what gives? (holds up the book) Does she have anything to do with this sudden interest in horticulture?


GARRET
(takes the book from her hands)
Let’s just say we discussed the merits of cultivating. Growing. You know… nurturing.


JORDAN
(arched eyebrow)
You’re really going all out on this retirement thing?


GARRET
I hope you’re not planning on giving me a gold watch just yet?


JORDAN
There’s still a few months left… right?


GARRET
More than a few, so don’t be dividing up my stuff until then.


JORDAN
(smiles)
Can I get dibs on your file cabinets?


GARRET
(chuckles)
I’ll see what I can do.


JORDAN
Oh, and the desk light. Mine’s a piece of-


GARRET
(sighs)
Jordan…

 

42. EXT. BPD STEPS – NIGHT

ANNIE is coming out of the police department front door and heading out into the night. We see MATT exit behind her and call out to her.

MATT
Hey… Annie. You heading out?


ANNIE
Yeah… I thought you’d left already.


MATT
I was waiting for you actually. I… wanted to thank you. For everything.


ANNIE
(warm, sincere smile)
You’re welcome.

There’s a beat while they share a moment.


MATT
Listen… I was… just gonna grab some dinner… a burger or something at that new brewpub on the corner… and I… was wondering if… you’d like to join me…


ANNIE
(subtle teasing)
Oh… you mean like a professional thing.

MATT shrugs nonchalantly.

MATT
Uh… yeah… I…

He stops and exhales in frustration.

MATT (cont’d)
(in a nervous but exasperated rush)
No, okay? No. Not a professional thing. I… like you, okay? I think you’re… great, and I thought… maybe… we could…

ANNIE smiles to herself. She’s tortured him enough and leans in to give him a small, sweet kiss. When the kiss breaks, he looks out her, wide-eyed and gobsmacked. She gives him a sassy but warm smile. She turns and takes a few steps away from him.

ANNIE
Cheeseburger, medium rare, hold the onions. Definitely no onions.


She smiles back at him over her shoulder. He grins, and finding his feet, he hurries to catch up with her. She slips her arm through the crook of his elbow, and they head down the sidewalk together.

 

END

 

Next time on Crossing Jordan:

"Ithaca"

Ithaca



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