Crossing Jordan Virtual Season 7
“How Does Your Garden Grow?”
bourbon and jmkw
“Crossing Jordan Virtual Season 7” is a
fan-based effort not intended to infringe on the rights of Tailwind Productions,
NBC/Universal or any of the other copyright holders of “Crossing Jordan.”
No money was made from the writing or posting of any content.
Detective Woodrow “Woody” Hoyt
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Det. Matt Seely
Det. Annie Capra
Det. Roz Framus
A.D.A. Jeffrey Brandau
BOSTON POLICE DEPARTMENT
RENEE WALCOTT’S OFFICE
OUR LADY OF SEVEN SORROWS SCHOOL
ROOM OFF CUSTODIAN’S OFFICE
RENEE WALCOTT’S CAR
ROAD OFF OF HIGHWAY
OUR LADY OF SEVEN SORROWS
BOSTON POLICE DEPARTMENT
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.
|Hey, Woody. (beat, casually) What… do you think of Matt Seely?|
WOODY gives a curious smile.
|That’s a joke, right?|
|You wanna know what I think of Seely…? Yeah, this is like Candid Camera
or something. You’re recording this, right?
|Ashton Kutcher is hiding somewhere.|
|Woody… I was… just… forget it…|
ANNIE turns in frustration and walks away.
(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.
There is a bit of an awkward pause. She waits for him to say something. He licks his lips nervously.
|I… haven’t seen you in a while… everything okay?|
|Yeah, sure. Just crazy busy… different shifts… I had that flu bug…|
|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.
|I was just wondering… if maybe you…|
FRAMUS passes and catches sight of ANNIE’S shoes.
|Those shoes are fabulous! Are those Prada?
|No, they’re knockoffs. Cost twenty bucks.|
|Yeah, I got ‘em at that place a couple blocks over.|
|Next to the drug store?|
|No, Chinese restaurant.|
|Wing Wah’s or Imperial Palace?|
MATT has been listening with typical amounts of disgust. He throws up his hands.
|Jeez! They never should’ve let women on the police force.
|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.
|Sorry… you… were saying?|
|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.
|You two wanna stop playing footsie for a minute, we got a homicide… body offa I-95…|
MATT blushes and looks at ANNIE.
|Footsie. That’s funny… he thinks we’re…|
|I know. Crazy, right?|
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
|Why is it we always wind up with dead schoolgirls?|
|Some days I really hate my job.|
MATT flips open his notebook.
|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…
(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.|
|School let out at 3:15…|
|And she was dead within two hours. |
|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.
|Please! I need to see her!|
|This is a crime scene, sir.|
MAN breaks free from the UNIFORMED OFFICER and stumbles blindly to where the body is.
MAN begins to wail when he sees the body. He drops to his knees and picks up the dead girl’s hand.
|I’m sorry, sir… this is a crime scene…|
MATT has leaned down to gently help MAN to his feet.
|She’s my daughter… she’s my little girl…|
The MAN continues to sob while ANNIE, MATT, and BUG trade sympathetic looks.
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.
(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?|
(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.
|Capt. Sullivan, over at Homicide, called. They have a 15 year old female found under an underpass….|
(walking to the elevator)
|Who caught it over there?|
(looking at the paper)
|Detectives Capra… and, ah, Matt Seely. |
RENEE halts in front of the elevator, BECKY stops a step back.
|How’s the schedule look? |
BECKY trots back to her desk and pulls around her appointment book.
|Mr. Meyers is open.|
(pinches the bridge of her nose)
|Anyone else? |
(looking at the book)
|Ah… Davidson and Marcos are-|
(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.
|Just the man I wanted to see. What does your day look like?|
|I have a ten o’clock, eleven fifteen and-|
|Rearrange them. Girl. Possible Homicide. Underpass. |
|You’re the only man I can trust for the job, Jeffrey. (beat) I’m depending on you. |
|Of course. |
RENEE steps into the elevator and presses the down button.
|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.
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.
|I’m sorry… Mr.. Hornack, is it? |
He nods, but he barely hears her.
|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…|
|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.
|Please… please… you’ve got to find who did this… please…|
|We’re doing all we can, 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.
|Poor girl… she looks so young.|
|There was bruising around her thighs… vaginal tearing… definitely rape… but… no DNA… no useable semen sample.|
|Damn… Any prints, fibers?|
|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?|
|We were just on our way. Let us know what you find. You can call me,
you know. Not just her.
|Sorry if I bruised your fragile ego, detective.|
|Just… let us know, would you?|
ANNIE and MATT turn to go. They step out into the hallway.
6. INT. MORGUE HALLWAY – CONTINUING
|Oh, please. He does not hate you.|
|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?|
|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.
|Oh, hey… what are you two doing here?|
|We’re working the Hornack case together.|
(to ANNIE, pointing to MATT)
|Really? Who’d you piss off to get stuck with him?|
|Funny, I just asked Hoyt the same thing about you.|
|Ah, charming as ever.|
|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.
|You… go ahead down. I’ll meet you at the car.|
|Yeah, I just have a quick question for Jordan.|
(a bit suspiciously)
The doors slide shut. ANNIE turns back to JORDAN, who is looking through her mail. ANNIE attempts to act casual.
|Matt Seely… what do you think of him?|
|You want the version with or without profanity?|
JORDAN screws up her face. Wheels are spinning. She’s trying very hard. Finally she stops.
|Sorry, can’t do it.|
|C’mon, Jordan, you can’t think of one nice thing to say about the guy?|
|He… can… rock a turtleneck like nobody’s business.|
|Why do you want to know what I think?
JORDAN gets a slightly disgusted look on her face.
|Wait… you’re not…?|
There’s a beat. ANNIE’S eyes widen; she doesn’t know how to respond.
|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.
|What’s the shelf life of the raspberry jelly they put into jelly doughnuts? |
|Long’s Bakery about 14.5 days, Altenburg’s 6 weeks… easily.|
(looks at the name printed on the bakery bag)
|I’m not sure. I’d have to look it up. |
JORDAN shrugs and tosses the bag in the trashcan.
|Never mind. My taste buds might be off. (beat) What’s up?|
|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.|
|That Dr. M is leaving at the end of the year. |
|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.
|Who else has seen this?|
|I showed it to Kate. She told me to talk to Garret. |
|He’s behind closed doors getting ready for some… thing. |
|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.
(holds out the paper NIGEL gave her)
|Would you care to explain this?|
GARRET gives it a cursory glance before shouldering his bag.
|It’s a letter to the Governor telling him of my intent to retire. (smiles) I won’t ask how you got this. |
|I’m not in the habit of generating unnecessary paperwork. (beat) Although this was just a formality. I filed the actual forms months ago. |
|When were you going to tell me?|
GARRET holds the door open, ushering JORDAN out to the hallway so he can lock
10. INT. MORGUE HALLWAY – CONTINUING
He starts walking down the hallway. JORDAN is hot on his heels.
|I didn’t want everyone to make a big deal over it.|
|So you were just planning on leaving one evening and never coming back? |
They stop in front of EMY’S desk; GARRET signs out.
|I can’t believe you’re doing this. |
|I tried it before. Remember? This time Slokum is nowhere near the short list as my replacement.|
GARRET pushes the elevator call button.
|We can talk about this some other time. I’m late for an appointment upstate. |
|You can’t. We need to talk about it right now.|
The elevator doors open. GARRET steps inside and presses the door close button.
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.
|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?
|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…|
(smiling a bit sheepishly)
|Twelve years of Catholic school.|
MATT looks over at her with a grin.
|Just trying to picture you in saddle shoes and a little plaid kilt.|
ANNIE smiles in mild embarrassment.
|You’re from Boston and you’re not Catholic?
|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…|
|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.
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.
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.
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.
|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
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.
|Jordan’s persistent. I’ll give her that.|
GARRET turns the cell phone off and tosses in the back seat.
|She’ll get over it.|
|You really should have told her about your plans months ago. |
|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.
|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. |
|I just wanted to show you something.|
|We’ve never had to leave town for that.|
GARRET chuckles softly at her innuendo.
|Actually, I wanted your opinion on a house I’m thinking of buying.|
|A vacation place? |
|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.
|What were all those pictures about? You certainly got quite a collection.|
|My faith is important to me. There’s no crime against that, is there?|
|There’s a crime against murdering and raping women, though.|
|Please… please don’t talk about that. Don’t say that word.|
|No… rape. It’s… dirty.
|Why did you run, Karl?|
|I… don’t know. Someone killed that girl… then two strangers show up in my office… I got… jumpy…|
|Did you know Karen Hornack?|
|I had… seen her at school before.|
|What happened, Karl? Karen missed the bus… you offered to give her a ride home… you just got… carried away…|
KARL suddenly gets agitated.
|I don’t have to talk to you. Not without my lawyer.|
|Come on… we just need…|
|No! I want my lawyer. I want my lawyer now.|
|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
|He gives me the creeps just looking at him. Rubbing that thing… and all those pictures… sick freak.|
|Just because he’s religious doesn’t make him sick or a freak.|
|No, but raping and killing teenage girls kind of qualifies him. And he’s not your average mass-going Catholic, either.|
|Unfortunately, we have absolutely no evidence he killed Karen Hornack.|
|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.
|He did it. He killed that girl. He offers her a ride home… she trusts him…|
|He makes some kind of fumbling pass at her…|
|So, he punishes her for making him feel that way.|
ANNIE nods in agreement.
|Look at him… he’s scared… it’s like he wants to be absolved of something…|
|Like he wants to confess…|
Beat while MATT ponders something.
|The secretary… the one who has the lunchtime Bible study… Lashondra, Laniqua…|
MATT smiles in a moment of inspiration.
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
21. INT. BPD INTERROGATION ROOM – CONTINUING
MATT enters the room, still clutching the Bible, face out.
|Your lawyer’s on his way. Might take a while. Weather. I’ll just wait with you.|
|Yeah, there’s a real nor’easter heading this way. Gonna be a rough night. Probably lose power…|
|I don’t have to talk to you.|
(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.
|Thanks. I’d read at my desk, but you know how people are.|
|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.
|What are you reading?|
|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.
|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.
|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.
|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.
(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
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.
GARRET parks the car directly in front. Both he and RENEE look out the windshield
for a moment before getting out of the car.
(searching for words)
|I didn’t say that. It’s just… three hours away from Boston.|
(stops and smells the air.)
|That’s the point.|
GARRET pops the trunk of the car and pulls out their bags.
(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.|
|You’re really serious about this.|
(grabbing a grocery sack out of the trunk)
|Why wouldn’t I be? |
|But... here? What about your condo in Boston? |
|It’s in a great location. I shouldn’t have any problem renting it out. |
|She lives with her mother most of the time anyway. It’s closer to work and school. |
GARRET leads RENEE to the front door.
|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. |
(shaking her head)
(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.|
|That sounds ominous. Is everything alright? |
(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.
(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.
|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.
|About the Merlot? (beat) Mondavi’s always nice. |
|You get great sunlight around the house. You could have quite a garden.|
|What the hell would I do with a garden?|
|Cultivate. Grow. You know… nurture. Isn’t that the point of getting away from Jordan?|
|It’s still early. Why don’t I show you around the property before dinner?|
|There’s enough to show around?
|Nineteen acres and a pond. |
|See? Garden. (beat) Can I change first?|
(points at the ceiling)
|The bedrooms are upstairs. Take your pick.|
|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.
MATT clears his throat nervously.
|There’s… a little Italian place in Cambridge… BYOB… I thought we’d… celebrate closing the Hornack case…|
|You did, did you?|
|Kind of a… professional dinner…
(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.
|You might want to put that back in the wine cellar for awhile.|
|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
|What are you talking about?|
|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.
|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.
|You know, this is actually kind of nice. If you ignore the insects. |
|I told you there’s bug spray in my bag.|
She takes a deep breath of fresh air.
|Avery would love it. He lives for walks in the park.|
|How’s he doing? I haven’t seen him in a long time. |
|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. |
|I gather you don’t see Avery getting a step-mother in the near future. |
|I’m sure Ed’s girl does… but so did the last dozen or so.|
|I’m sure it’ll be an interesting evening.|
|How’s Abby handling motherhood? |
|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.|
|Spoken like a proud grandfather. |
|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. |
|I’m not looking forward to the day when Avery doesn’t need me anymore.|
|Hopefully it’ll never come to that. I only have myself to blame for the road my relationship with Abby took.|
|You’re back on track now.|
|We’re getting there. Matthew is helping. |
They stop walking when the path ends at by an old stone wall fence.
|Well, that’s the end. |
|What went wrong between us?|
There is a long pause before GARRET speaks.
|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.
|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.
|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.|
|There was no interrogation here, Your Honor. Karen Hornack’s name was never even mentioned. Det. Seely was merely discussing Scripture with…|
|That dog don’t hunt, Mr. Brandau. Detective Seely was trying to get information from Mr. Barnes. Plain and simple. |
|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.|
|There was no affirmative waiver here, Your Honor. The detective was using psychological torment to get a confession from my client.|
|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.
|Your Honor, Karl Barnes confessed to the brutal murder of a fifteen year old girl-|
|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. |
|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. |
|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
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.
|I don’t understand… what happened?|
|The charges against Barnes have been dropped. He’s… free to go. I’m sorry, Mr. Hornack.|
|But… he confessed… I don’t understand… how can they let him go when he confessed?|
BRANDAU shoots a look to MATT.
|We can’t use the confession. I… wasn’t supposed to interrogate him without his lawyer present.|
|But… you did anyway.|
The horror is beginning to dawn on MR. HORNACK.
|So… the judge let him go. Because of what you did.|
MATT looks down, feeling very guilty.
MR. HORNACK begins to cry.
|She was all I had… my only child… And now he can just… walk the streets?
He raped and murdered my daughter!
|Sorry? You’re sorry? How dare you? How dare you!
ANNIE reaches out for him.
|Mr. Hornack, I know you’re…|
|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.
|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.
|I think the last time I did this on a workday afternoon was after you gave expert testimony in the Seidl case, remember? |
(remembering, with a smile)
|Expert testimony for the defense. You ended up raking me over the coals.|
|They were already grabbing at straws before you even hit the stand. |
|We were both doing some grabbing of our own by the time we reached
|Poor Becky thought we were going to kill each other. |
RENEE kisses GARRET softly and sits up.
|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.
|I know Brandau is a competent A.D.A… for a putz.|
(looking over her shoulder)
|He’s a good guy. You’re just a little prejudiced. |
|My morgue was turned upside down by his and Lily’s… affair.
|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.
|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. |
(sits down on the bed)
|If you want to use that argument, I think we were the ones who officially started it. |
|What we had was totally different.|
|For one, we were old enough not to run around like a couple of hormonal…
|Rabbits! (beat) I’m afraid to think about what happens behind closed doors there anymore. |
|I think we broke at least a half-dozen decency laws in our time (sexy smile) and that was just the Seidl trial alone. |
|A few. |
GARRET brushes his hand over RENEE’S cheek.
|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.
|I’m sure Brandau has everything under control.|
(reaches for her)
|He’s a good guy after all. |
|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.
|Thanks, Annie. Hey, I heard about the Hornack case. I’m so sorry.|
|Yeah, I just came by to deliver the word in person. Looks like bad news travels fast.|
There’s a beat of silence while ANNIE hands up the books. She considers whether to speak or not.
|You and Matt Seely… you dated for a while, didn’t you?|
|I don’t know if “dated” is the right word. We… had drinks, coffee a few times. It never got further than that.|
|I don’t mean to pry, and you can tell me to shut up, but… why didn’t it work out?|
|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.
|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.
|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.
|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.
|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.
|Have you seen Matt Seely?|
|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.
(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.
|Maybe you should consider a new career as a chef after you retire.|
|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.
|How did you ever find this place anyway?|
GARRET stands and begins to clear the table.
|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-
|With Dr. Stiles. (beat) I heard. |
RENEE joins GARRET clearing dinner.
|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. |
|I just swore an oath for another three more years of zero time off. |
She sips her wine and sets it down.
|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. |
|You weren’t ready to walk away yet. |
(muses, while scraping plates into the trash)
|And you are.|
|It took a plane crash… but yes. |
RENEE smiles even though she doesn’t find his comment funny.
|Now you’re leaving Boston to become a hermit on the side of a mountain.|
|I thought you were in favor of my retiring. You even helped me write my letter of intent to the governor. |
|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.
|Do you really think that’s what going on here?|
|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.
|Too much red wine always gives you a hangover. |
|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
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.
|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.
|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.
|The job ruined my first marriage. (beat) It all but destroyed our relationship. |
GARRET turns RENEE to face him.
|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.|
|Three hours away is quite a drive for a booty call. |
|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.
|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.|
|Avery would love it out here. |
|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.
|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.
|You are a detective.
She crosses and sits down next to him. There’s a beat of silence.
|It could’ve gone either way, Matt. Another judge might’ve let the confession in.|
|Thanks for the pep talk. Don’t tell me you were a cheerleader in high school.|
|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.
|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…
|What are you… you’re not really going to…|
|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.
|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.
|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.
|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.|
|You heard what Gandhi said, there’s no trace…|
|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.
|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.
|Come on. I’m taking you home and putting you to bed.|
|Please, Detective Capra, I’m not that kinda guy.|
|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.
(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
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.
RENEE stands next to GARRET. He sets his coffee on the railing and slides an arm around her back.
|Bad Wednesday habit.|
(sips her coffee, gesturing her chin to GARRET’S cellphone)
|So? Did you tell her to start the paperwork?
|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. |
|We probably should get ready to go back.|
|You’re probably right. I have meetings scheduled all afternoon. |
|If you weren’t taking to the realtor, who were you calling?|
(glances at his phone)
|I was checking my messages.|
|How many did Jordan leave? |
GARRET smiles thinking about the dozen or so messages from JORDAN he deleted.
|Apparently, that rape/murder case is getting a little sticky. |
|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. |
|In that case, how’s French toast sound for breakfast? |
35. INT. MORGUE AUTOPSY ONE – DAY
NIGEL and BUG are in Autopsy. ANNIE enters, giving a rueful smile. The mood
|Morning. Back to square one on the Hornack case, eh?|
|We can still get this guy without the confession.|
|How’s Seely taking it?|
|I think we’re all pretty disappointed. |
|Is he going to grace us with his presence?|
|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.
(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.
|Tox screen was clean. |
|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.
|Autopsy… whaddya got?|
|What with? Scarf? Rope?|
|Looks too thin to be either one.|
|Scarf or rope would’ve left fiber. Even with the rain, we should have been able to retrieve something imbedded in her skin.|
|What, then? What does a school custodian have easy access to or keep in his car that’s not going to leave any trace? |
|It would be about the right width.|
NIGEL approaches with a read-out in his hands.
|You got that tox screen?|
|I didn’t make anything of it first. It’s within the range of normal, but she shows elevated levels sodium hypochlorite.|
|I barely passed chemistry. You wanna help me out?|
|Disinfectant… industrial strength. Usually used in swimming pools or to disinfect toilets, sinks in hospitals… hotels…|
|Schools? Maybe some spilled while they were struggling.
|I’ll get a warrant on the custodian’s office… closet… anywhere he stashes stuff at school… like electrical…|
|We’re not going to need a warrant for a school.|
|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.
|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.
|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.
|What are you looking for?|
Then MATT stops and walks closer, his flashlight shining. He smiles.
|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.
|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. |
|I have every confidence in Mr. Brandau’s abilities and those of the Boston Police Department.|
|I understand that Mr. Brandau has the medical examiner’s office to thank for uncovering potential new evidence that led to Barnes’ re-arrest.|
|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.
|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? |
(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 opens her cell phone and presses a speed dial. She waits for the other end to answer.
|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.
|All rise. Court is now in session. The Honorable Michael Fitzpatrick presiding.|
JUDGE enters and sits at bench.
|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.
|Yes, Your Honor. Yes, we are.|
|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.
(taking off his reading glasses)
|I didn’t think you were talking to me.|
|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. |
|Where is it?|
JORDAN walks into the office. It’s obvious she’s empty handed.
|I must have dropped it.|
GARRET sets his book aside and pats the sofa cushion next to him. JORDAN sits.
|I’m sure you’ll figure something out. |
|I thought about slashing his tires, but Woody started quoting some idiotic traffic code… so, I just let the air out. |
|Why do I have a feeling you’re not joking?|
JORDAN gestures to GARRET’S discarded book.
|What are you reading?|
JORDAN picks up the book and reads the title.
|The New Englander’s Guide to Expert Gardening?
|I thought I might try planting some tomatoes. |
|Dad tried growing a vegetable garden once. The first eighty hour work week and it ended up like every other plant we ever had. |
|I plan on taking the time and effort it’ll take to make it work. |
There is a long pause.
|You really are leaving. |
|The paperwork’s been approved. |
There is another long pause.
|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.
|No. I hope it’ll be better. |
|You have better things to do these days than hang out here anyway. (beat) Why aren’t you home with Woody?|
|Little League practice tonight. He took the team out for pizza after.|
|Someday, maybe, he’ll be coaching his own kids. |
Uncomfortable, JORDAN looks for a segue.
|I could ask you why you’re here. I understand you took Renée Walcott with
you on your… mysterious trip.
|You’re changing the subject.|
|You better believe it. (beat) So what gives? (holds up the book) Does she have anything to do with this sudden interest in horticulture? |
(takes the book from her hands)
|Let’s just say we discussed the merits of cultivating. Growing. You know…
|You’re really going all out on this retirement thing? |
|I hope you’re not planning on giving me a gold watch just yet? |
|There’s still a few months left… right?|
|More than a few, so don’t be dividing up my stuff until then.|
|Can I get dibs on your file cabinets? |
|I’ll see what I can do.|
|Oh, and the desk light. Mine’s a piece of-|
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.
|Hey… Annie. You heading out?|
|Yeah… I thought you’d left already.|
|I was waiting for you actually. I… wanted to thank you. For everything.|
(warm, sincere smile)
There’s a beat while they share a moment.
|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…|
|Oh… you mean like a professional thing.
MATT shrugs nonchalantly.
He stops and exhales in frustration.
(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.
|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.
Next time on Crossing Jordan: