“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
Homeless Man (Edgar Wield)
Convicted Rapist (Mark McCormick)
Various BPD officers
INTERROGATION ROOM ONE
BOSTON PUBLIC GARDEN
Mr. E's Beautiful Blues - Eels
1. EXT. BOSTON PUBLIC GARDEN LAGOON – MID AFTERNOON
The shot is tight on JORDAN and WOODY. Both are wearing sunglasses and look
uber-cool. Her head is resting lightly on his shoulder and his mouth is turned
slightly toward her, whispering something in her ear. They are both smiling
as brightly as the sun is shining. The shot begins to widen as the camera pulls
back. We see they are dressed in casual clothes and sitting in a group of people.
Slowly the shot continues to pull back and we see they are taking a ride on
the famous Swan Boats in the Boston Public Garden Lagoon. Clearly, they aren’t
paying much attention to their surroundings, the other people or even what the
guide is saying. They are both pedaling somewhat automatically.
CROSS FADE TO:
2. EXT. BOSTON PUBLIC GARDEN PATHWAY – CONTINUING
Holding hands, still smiling and talking animatedly, JORDAN and WOODY walk along
one of the pathways in the public garden. The flowers are bursting out in bloom,
echoing the clearly happy state of their lives at the moment. They are chattering
away happily, though we are not privileged to hear their conversation. At one
point, WOODY lifts up JORDAN’S hand – the one wearing his ring – and gestures
to the engagement ring. She laughs and shakes her head at him. They stop for
a quick kiss before moving on, heading toward an exit.
3. EXT. BOSTON PUBLIC GARDEN SIDEWALK – CONTINUING
Tucked into a tight spot is the El Camino. JORDAN is getting her car keys out
of her jeans pocket, though the jeans fit her so nicely, it’s hard to imagine
how she got a key in there! WOODY is playful, trying to get the keys from her.
She is laughing at him, making fun of his efforts at being “muy macho.” A light
breeze ruffles her hair and catches at something tucked underneath one wiper
blade. JORDAN reaches for it, keeping WOODY at bay with hardly an effort, and
opens the folded paper. She assumes it is one of those flyers marketers often
leave under the wipers when you park somewhere. From his carefree demeanor,
that’s where WOODY’S mind is, too.
We push in on his face as he reacts to her. His brows come down and his eyes
are instantly wary. He crosses back in front of the car to her side. We see
her. Her face has gone the color of chalk. WOODY looks down to find she’s not
holding a marketing flyer. She’s holding a picture of the two of them. It’s
a copy of one that ran in the newspaper after the Cupid case. There is a red
slash through JORDAN’S face. The mark was made with such force that it almost
dug a groove in the photo paper. Both of them look around, scanning the area,
but find nothing.
The camera pulls back to a car, about half a block down.
4. INT. ANONYMOUS CAR – CONTINUING
We see binoculars before we see anything else. Reflected in their lenses are
tiny images of JORDAN and WOODY. Slowly, the binoculars are lowered, revealing
the face of the person holding them. It’s JAMES HORTON. He is smiling his eerie,
Good to see you again, too, Sis.
Crossing Jordan Theme
END OF TEASER
5. TRACE – LATE AFTERNOON
JORDAN is pacing, hands tight against her sides, brow furrowed in concentration
as she cuts her glance toward the machine currently testing the photo. The room
is a bit of a disaster area, strewn with papers showing various results. The
machine beeps and she all but jumps out of her skin before hurrying over to
it. She does not notice GARRET come in behind her as she scans the latest results.
You know the maid has the year off, right?
She starts and turns toward him, not really seeing him at first, simply reacting. For a moment, she looks ready to pounce on him. GARRET even takes an involuntary step backward. She realizes who it is and some of the tension leaves her.
Jeez! What’s with stealth mode?
Actually, I knocked. Loudly.
He displays his red knuckles for proof.
What’s going on?
JORDAN edges back toward the machine that is still analyzing the photo and tries to feign nonchalance as she removes it.
GARRET arches one eyebrow and then lets his gaze wander around Trace.
JORDAN (cont’d) (sighing)
It’s just… really… nothing. Forget it.
He approaches her and takes the photo from her. She doesn’t put up a fight, which tells him a lot right there. He looks down and then back up at her. She shrugs, helpless for a moment.
You and Woody have a particularly… heated argument?
She bites her lip and shakes her head.
I almost wish.
Where’d it come from?
JORDAN (shrugging again)
It was – um – on my car. The windshield. We – Woody and I… we-
She chokes back a fearful cry.
We were at the Public Garden. (rueful laugh) Swan boats.
And this was there when you came back?
She nods, a tear or two escaping now.
Anything with it? A note? A-?
She shakes her head vehemently.
No. Just that. (exhales forcefully) It’s enough.
It might not mean anything, Jordan.
She gives him a disbelieving look.
She brushes away some of the tears and GARRET takes her in his arms. She clings
He pulls back and, in a fatherly manner, dries her tears. He holds her arms and looks into her eyes, his demeanor and voice promising.
We’ll get him this time, Jordan.
6. EXT. SEVERAL BLOCKS FROM PUBLIC GARDENS – SAME TIME
WOODY is canvassing the area around where the El Camino was parked. His eyes
are hard and determined and we can just about see him grinding his teeth. He’s
working his way to a less-than-prosperous area, stopping the people he comes
across. We can tell he’s not getting anywhere. His expression is still hard,
but despair is beginning to take hold, too. He sees a man digging in a dumpster
and approaches him.
WOODY (shield out)
The man jumps back and looks around, assessing his chances at getting away, but he’s blocked in.
WOODY (cont’d) (soothing)
Hey, hey, it’s okay. I’m not… I’m not gonna bust you for anything.
The man does not look convinced.
I just need to ask you a coupla’ questions. (beat) Is that okay?
The man takes some time to think it over and finally nods.
WOODY (cont’d) (smiling reassuringly)
I’m Woody Hoyt. What’s your name?
Edgar. Uh… Edgar Wield.
The guy is still spooked, so WOODY keeps his distance.
You spend a lot of time around here?
WIELD shrugs and see-saws his hand.
How ‘bout today?
Yeah, yeah. Sunday’s are good around the Gardens.
WOODY (hint of a smile)
I bet. So… you were in the Gardens?
WIELD shrugs again.
Around them maybe?
Yeah. Looking at the cars. (rapidly) Not that I’d touch ‘em, man. No way.
No, sure, of course not. D’you remember seeing anyone putting anything on the windshields?
You mean like advertising stuff?
WOODY nods encouragingly.
WIELD ponders it.
There was a guy. But he only put something on this one car.
WOODY (contained excitement)
Do you remember what kind of car?
Sure. It was a classic. Looked like it’d had better times though.
There is a long pause as WOODY waits for WIELD to go on.
WIELD (cont’d) (chuckling)
Kinda like some of us, I guess. (beat) El Camino. Man, great ride.
Mr. Wield, do you think you could describe the man? To a sketch artist maybe?
WIELD looks uncertain.
There’d be a meal in it.
WIELD (grinning again)
Porterhouse? Baked potato?
WOODY (supremely agreeable)
With all the trimmings.
7. INT. AUTOPSY ONE – EARLY EVENING
There is a body on the table, but the room is empty. The door swings open and
KATE enters, followed by NIGEL. He is chattering on about something, as usual.
KATE is not paying much attention to him. She picks up the paperwork on the
body and begins to read through it. NIGEL is still oblivious to their surroundings
and sidles closer to her, aiming at kissing the back of her neck. She turns
Do you mind?
NIGEL stops mid-sentence.
KATE gestures to the body. NIGEL covertly (or so he thinks) glances around and realizes they are in the autopsy suite. He gulps.
KATE (smiling a bit)
NIGEL (embarrassed but hopeful)
I – uh - that is… you might need help.
She flicks up one brow at him. Sure, Dr. Kate Switzer might need help on an autopsy. And porcines might become airborne.
NIGEL (changing the subject)
What’ve you got?
KATE (glancing back at paperwork)
Margaret Frazer. Or… I should say, Sister Frevisse.
NIGEL (face a bit pale)
Well, I’m not related to her, so… yeah.
NIGEL hastily crosses himself. Wrongly.
You’re not even Catholic!
How’d you know?
Well, for one thing, it goes like this.
She takes one of his hands and moves it in the correct sequence because it’s just the sort of thing she would know.
And for another, when Woody was going on about wanting a traditional Catholic
ceremony, your eyes glazed over.
So did Jordan’s!
KATE (head nod)
True. But she knew “transubstantiation” wasn’t a new branch of the T.
NIGEL gives in.
So… a nun?
Yeah. Apparent stroke while watching television.
I hope it wasn’t that show about the people with superpowers. (shudder)
Imagine if that were the last thing you saw on this earth.
KATE (a bit put-upon)
Yes, well, somehow I imagine the convent water cooler shows are a little less… worldly.
Do you suppose that would be “convent holy water cooler shows?”
(off her look) Right, then. You probably don’t need me after all.
KATE can’t help but be slightly amused by him and so she softens.
It looks like a routine case, but we really should get as much from trace as possible. (shrug) You never know, right?
NIGEL (smiling once more)
Especially around here.
8. INT. JORDAN’S OFFICE – EVENING
JORDAN is sitting at her desk, staring at the photo left on her windshield.
If she had death ray eyes, she’d have burned a hole in it by now. She stands
up, holding the picture. She knows there can’t possibly be a test she hasn’t
run, but she can’t just sit there either. She is just rounding her desk when
the door opens and WOODY comes in.
JORDAN (all business)
Did you find anything?
A homeless guy with an appreciation for the finer things in life.
Her looks says, “Huh?”
WOODY waves a hand, telling her not to worry, he’s just rambling.
There was a witness.
Your homeless guy.
He saw a guy putting something on the windshield.
He was sure it was the El Camino?
Besides having good taste in wine, he considers the El Camino to be one of the finest pieces of Detroit rolling iron ever to come off the assembly line.
(can’t help the smile)
I take it that’s a quote?
Well, if it were me sayin’ that…. (grin) He gave us a sketch.
WOODY hands the sketch over. JORDAN studies it for a long minute. Her face is a mixture of relief and confusion. The man in the composite couldn’t look much less like James.
JORDAN (nodding slowly)
I helped put him away. Um… during my first stretch here. (looks up) His girlfriend broke up with him. He didn’t take it well.
WOODY looks at her, brows raised.
Broke into her place. Tortured her. Raped her. Left her to bleed out.
She shakes her head as if to clear the visual memories.
WOODY flips open his cell, watching JORDAN, as he calls the precinct. The shot tightens in on JORDAN, so we can really read her expression and see the pain in her eyes. We hear WOODY as she might – vaguely, as though far away. Her attention is drawn back to him when his cell snaps shut.
McCormick was released ten weeks ago. (disbelieving) Good behavior. I
don’t call that-
He points to picture found on the El Camino.
JORDAN (trying to be strong)
He probably just wants to rattle me. Us.
You think? Well, it worked.
My place or yours?
She gives him a hard look. They’ve been down this road a few times lately.
I’ve got to testify first thing tomorrow-
WOODY (no nonsense)
Fine. Your place.
It’s pointless to argue and she doesn’t really want to anyway.
At least it’s not….
McCormick’s not the brightest bulb. His idea of low profile was only telling
two of his buddies what he did instead of the whole bar.
WOODY can’t suppress a slightly bitter chuckle.
Wanna grab some dinner?
JORDAN smiles and nods.
CROSS FADE TO:
9. INT. AUTOPSY ONE – LATE EVENING
Somebody Loves Me - 12 Volt Sex
KATE is working on the body with her usual loud music playing. Her face is
placid and, from her expression, there haven’t been any surprises so far. She
barely glances up as the door opens. It’s NIGEL. He turns the music off. She
glares at him and blushes ever so slightly. NIGEL knows he’s courting disaster,
but his face says that it’s important.
NIGEL (a bit apologetic)
Turn it back on.
You need to see this.
I need music.
Kate… you need to see this.
There is a beat as they face off.
I found something.
So did I. A woman in her eighties who stroked out. (beat) Might not’ve happened if she’d been on blood pressure meds.
She looks back down at the body and begins to bring the examination to a close.
KATE’S eyes widen as she looks over the body again.
But… that’s… it would….
NIGEL (with sympathy)
I’d say it did.
10. HALLWAY, JORDAN’S APARTMENT – LATE EVENING
JORDAN and WOODY are walking toward her door, holding hands. She is teasing him.
It’s you they give the funny looks, not me!
Is not. (beat) Anyway, I’ve never noticed these looks.
JORDAN (mock exasperation)
Of course not. You’re too busy clapping your hands and shouting “Opa!” at the top of your voice when they set the cheese on fire.
The waiter does it, too!
The waiter’s Greek. You’re… from Wisconsin.
She is fishing her key out of her purse as he tugs her toward him, pulling her in for a long kiss. When they break apart, he reaches one hand up to brush a finger along her cheek.
JORDAN (big smile)
WOODY (nuzzling her neck)
I could maybe set something else on fire.
JORDAN (eyes closed)
WOODY takes her key from her and fits it into the lock by feel because he’s
too busy pushing her against the door, kissing her thoroughly. The passionate
moment is brought to a crashing halt when the door gives behind them. We follow
WOODY’S eyes down and see the lock is broken. Shit. Okay, not surprising, but
He pulls his gun and motions for her to stay behind him. He knows telling her
to stay outside is pointless. Cautiously, they enter the apartment. It’s a mess.
WOODY does a quick circuit of the place and affirms that whoever trashed the
place is gone. As he comes back to JORDAN, standing by the kitchen counter,
his gaze follows hers. There’s another picture. This one is GARRET and her at
a scene. As before, there is a red slash through her face.
Man, I miss the snakes.
11. INT. ANONYMOUS APARTMENT – CONTINUING
We see the same binoculars as before. Through them, we watch JORDAN and WOODY
moving around. As they lower, we see JAMES’ face. He has that creepy smile of
his. He gives a low, dark laugh.
Soon, Sis. Soon.
END OF ACT ONE
12. INT. AUTOPSY TWO – NEXT MORNING
BUG is getting ready to do an autopsy on a body that came in overnight. He is
reading the chart, mumbling as he goes.
Mervyn Bunter. Podiatrist. Forty-two years old. (grimaces at the young age) Divorced. Severe asthma.
NIGEL comes in, his demeanor as usual - that is, relatively cheerful.
Good morning, Buggles.
BUG gives NIGEL the usual dry look.
Not if you’re Mr. Bunter.
NIGEL’S expression is a bit curious, as if BUG has said that before, but he lets it go and cocks his head and looks at the sheet-covered corpse.
I suppose not.
He takes the preliminary file from BUG and scans it.
Then again, he won’t have to look at feet every day.
NIGEL (slightly guilty look)
I’m only saying… (beat) So, shall we?
BUG nods gently and NIGEL pulls the sheet back. They are standing by his chest and the shot reveals the body from the abdomen up. They both get a bit of a start as they continue, but we stay on their faces.
Well… that’s… different.
LILY walks through the door at the moment. She begins to say something along the lines of ‘Bug, there you are!’ when her gaze falls on the corpse. As before, the shot reveals only his abdomen up.
Oh, my God!
She averts her eyes.
Don’t the two of you have any respect?
Don’t look at us, luv. He came in this way. (eyes BUG) Didn’t he?
BUG glares at him.
MATT SEELY now enters our French farce and shakes his head.
You’ve seen Mr. Bunter.
LILY is close enough to hit him with the file she was carrying.
Ow! What? We found him like that.
All three arch their eyebrows at SEELY.
According to his landlord, he had a bit of a fetish. (beat) Liked to walk around naked.
Everyone looks at the corpse again.
Except for his shoes.
The shot finally pulls back and reveals all of the body. And I do mean all.
He’s naked, overweight, fish-pale and naked, except for a pair of highly shined
patent leather loafers.
So… any thoughts on cause of death? Other than exposure.
LILY smacks him with the folder again and leaves, whatever the reason she was seeking BUG now gone from her mind.
Blue tint in his fingernails and skin suggests lack of oxygen. (beat) He was asthmatic. Could’ve been an attack.
BUG, being professional once again, is examining the man’s head. He palpates the skull and finds something.
He hit his head. Probably happened when he fell.
Great, so he wheezed himself to death. Case closed.
BUG gives SEELY another one of those looks. Meanwhile, NIGEL has noticed something on the body’s bottom lip. He gets a pair of tweezers and a bag. Without saying a word, he plucks the item from the mouth. It’s a longish, white fiber. He flicks up his eyebrows at the other men. BUG understands and proceeds to check the body’s eyes, while SEELY looks at both of them with frustration.
Based on this fiber being partly in his mouth, he could have been smothered.
Not natural causes?
BUG (dry dry dry)
I think someone wanted us to assume that.
And the fiber getting left behind was a slip up.
NIGEL is again peering at something. This time it’s the man’s shoes.
Well, well. What have we here?
NIGEL looks at them with a raised eyebrow, beckoning them over.
13. INT. KATE’S OFFICE
KATE is working on her laptop, presumably on a report. There is a knock on the
door and GARRET pokes his head in.
I just sent Sidney out on a pick up. I need you to take the body when he gets back.
KATE gives a glance at the papers on her desk. Though far less cluttered than JORDAN’S or GARRET’S, the look lets us know that KATE does not like leaving paperwork undone.
GARRET (trying to reassure)
It should be straightforward. Eighty year old male with terminal lung cancer.
Then – if I may ask – why do we need to do an autopsy?
Daughter requested it. (beat) I know the guy who runs the facility where the deceased was. He says she’s having a hard time accepting the death.
KATE (ever practical)
So we’re going to spend the Commonwealth’s money and my time to help someone accept what was inevitable? Is that really our job description?
It is. When the deceased was a close family friend of the current governor.
KATE rolls her eyes, but knows she has no choice.
Kate? I know you’ll be… efficient.
She smiles very slightly and shakes her head slowly.
You mean I won’t go looking for conspiracies and other complications.
GARRET nods, smiling. He exits, leaving her to finish her paperwork as much
14. AUTOPSY ONE – ABOUT AN HOUR LATER
KATE is standing over the body of an emaciated, octogenarian male. The shot
is tasteful but we can see that his body had been ravaged by the end stages
of cancer. She has a look of what might almost be pity. She takes a deep breath
and sighs heavily, as if having to cut into this man’s already wasted body is
another insult to him and one she’s sorry to inflict. She conducts her autopsy.
Several shots blend together, giving us the sense of her progress and the passage
of time as she makes incisions, weighs organs, takes blood samples and so on.
She begins to run a few tests on some of the samples – our KATE is truly a Renaissance
woman – and begins to stitch him back up. She is just finishing when one of
the tests beeps, indicating it is complete. She checks it and her face clouds.
What the hell…?
She reruns the test with a new sample and begins another one on the vitreous fluid of the eye. As she waits, she rereads the file on the deceased. The shot is over her shoulder, allowing us to read a few pertinent details. The man was ROBERT LEWIS and he was a psychiatrist. Her tests are once again complete and she checks the results.
She takes her results with her and exits in a hurry.
15. HALLWAY – CONTINUING
KATE sees GARRET, talking with BUG and NIGEL. She strides up to the men and
peremptorily interrupts them.
I need everything from Dr. Lewis.
GARRET (gritting his teeth)
His effects are in the usual location.
No. I need the things from his hospital room. (beat) Everything.
What’s this about?
The cancer didn’t kill him.
There is a shared look between GARRET, NIGEL and BUG.
He was pumped full of potassium.
There is another look between the men.
Yeah, Nigel. I know.
You know what?
We just may have a serial killer at work.
16. INT. PRECINCT INTERROGATION – MORNING
WOODY is just entering the door. He’s carrying what almost looks like a pony
keg of coffee. Whatever he wants out the suspect in the room, WOODY’S prepared
to wait it out apparently! As WOODY sets down his files and arranges his coffee
keg, we take a look at MARK MCCORMICK. According to his files, he’s about forty
now, but he looks older. His eyes follow WOODY with great wariness, bitterness
and anger. For his part, WOODY looks jumpy (this may not be his first keg of
coffee today) and there is definite anger there, too. For a long moment, neither
man says anything. WOODY finally, wordlessly, pushes a picture of JORDAN across
the table. MCCORMICK looks at it.
Who’s this bitch?
WOODY (barely controlled)
This is the medical examiner whose testimony helped put your
sorry ass in prison.
MCCORMICK takes a closer look and gets this nasty smile on his face.
MCCORMICK (almost amused)
Geez, yeah. (snicker) I always thought she’d be a hot piece of ass.
WOODY is across the table, hands on the man’s shirt, hauling him up from the chair. Their eyes lock and the only sound is WOODY’S angry, heavy breathing. Slowly, WOODY gets control of himself and releases the other man. MCCORMICK sinks back into his chair, his face now a mixture of defiance and good, old-fashioned fear.
Shit, man. Take it easy.
WOODY (through clenched teeth)
Not while scum like you is on the street, stalking Jord – someone who was doing her job.
MCCORMICK clues in a bit and chuckles. The sound as is nasty and slimy as his smile.
She’s that good, huh?
WOODY more or less growls at the man.
MCCORMICK (cont’d) (hands up in defense)
Look… Detective, I’m sorry to hear someone’s following your girlfriend
around, but that someone ain’t me.
I’ve got a witness, McCormick.
A witness to what?
WOODY draws out photocopies of the photos – the one from the car and that from the apartment – and puts them in front of the suspect. MCCORMICK takes a look at them. After a moment, he shrugs.
Drop the act. Someone saw you leaving this (taps the first photo) on her car.
MCCORMICK (relaxing now)
Well, whoever your witness is, he’s got a good imagination ‘coz I didn’t do it.
Right. It’s just coincidence that you were seen outside the Public Gardens on Sunday. Coincidence this ended up on the windshield of the car of a woman you swore, in court, to – let me think – oh, yeah, “Cut into little pieces” when you got out. Coincidence?
MCCORMICK is clearly thinking. It takes him a moment.
WOODY rolls his eyes. He’s had more than enough of this guy’s b.s.
Well, that lets me out. (beat) I was in city lock-up, Detective. Saturday night til this six this morning.
WOODY’S expression doesn’t change much, but we can see his jaw tighten. He gets
up and stalks out of the room without a word. MCCORMICK pulls the keg of coffee
over and takes a long sip.
17. INT. WOODY’S OFFICE – A FEW MINUTES LATER
WOODY is pacing in his office, his phone held up to one ear. He’s listening
intently to whoever is on the other end of the call. His face begins to darken
and his brows knit down. He speaks curtly.
Thank you, sergeant.
WOODY hangs up, rubbing his forehead. He goes utterly still for a moment and
then nearly explodes, kicking a filing cabinet with such force, he actually
makes a dent in it.
He doesn’t notice SEELY is standing in the doorway.
I’m pretty sure it surrenders.
WOODY turns around, his eyes blazing, his hands clenched into fists. Too many
things have been going on lately. The strain is really starting to tell.
SEELY pretends to back up out of concern for his own safety.
Geez, man. What’s up? Caterer can’t find a miniature Hoyt and Cavanaugh for the top of the cake?
WOODY ignores him and brushes past.
18. PRECINCT HALLWAY – CONTINUING
Stupid Thing - Nickel
MUSIC: Stupid Thing by Nickel
WOODY is walking down the hall in angry, ground-eating strides. SEELY is behind
him, a look of actual worry on his face now. WOODY reaches the interrogation
room and flings it open. He steps in.
19. INTERROGATION – CONTINUING
WOODY looks at MCCORMICK, who looks back with a fairly mild expression.
WOODY (cold, dangerous)
Have a nice chat with lock-up?
WOODY steps toward MCCORMICK as he stands up. WOODY is in the guy’s face.
WOODY (cont’d) (same tone)
If you come near her….
MCCORMICK’S defiance and relaxed manner take a hit. He’s back to being more than a little bit fearful.
I won’t. (beat) I swear.
MCCORMICK all but flees the room. WOODY reassembles the file and picks it up. From the door, SEELY watches MCCORMICK go and then turns back to watch WOODY. He starts to say something but WOODY waves him away impatiently. SEELY looks somewhat reluctant as he leaves. WOODY flips open his cell phone and dials. We can’t hear anything again, except WOODY’S breathing. His face changes though, so his call must have been answered. When he speaks, it’s short and serious.
I need your help. (beat) She needs your help.
20. EXT. PRECINCT PARKING LOT – A FEW MINUTES LATER
MCCORMICK exits the precinct building and walks toward a bus stop. WOODY exits
the building just after MCCORMICK and heads to his car. He is unaware that someone
across the lot is watching him as he gets in, turns on the car and drives away.
21. EXT. ACROSS THE STREET FROM PARKING LOT – CONTINUING
JAMES is sitting in the same anonymous car as before. His eyes follow WOODY’S
car down the street. JAMES smiles and laughs to himself.
You gotta love it when your investments pay off.
END OF ACT TWO
22. ALLEY NEAR PUBLIC GARDENS - ABOUT NOON
WOODY is in the alley where he found the homeless man before. He has found the
man again. This time affable, Boy Detective has taken a vacation day. In his
place is Bad Ass WOODY who has WIELD pinned up against one of the grimy walls.
WOODY’S jaw is clenched so tightly, the muscles there are fluttering lightly.
His eyes are coldly furious.
WOODY (deathly control)
I don’t like being lied to.
WIELD (terrified, but trying to brazen it out)
What’re you talking about, man?
WOODY keeps one hand bunched up in WIELD’S shirt and, from a pocket, pulls out the sketch that looked like MCCORMICK. WOODY thrusts a booking photo in WIELD’S face.
This. This is what I’m talking about.
WIELD (still trying to brazen it out)
I don’t get it.
Oh, right. You don’t have an idea what I’m talking about.
I don’t! That’s the guy I saw. Looks like you found him.
Oh, yeah. I found him.
Then why’re you hassling me?
Because another cop found him first.
There is a look of bewilderment on WIELD’S face.
Found him Saturday night, at a bar. Illegal poker game.
WIELD pales a bit.
Yeah. He was nowhere near here Sunday because he was in city lock-up. The whole day.
WIELD deflates a bit.
It’s time to start telling the truth, Wield.
He paid me.
WIELD (ignoring WOODY)
Said a cop’d come looking.
WIELD (still ignoring WOODY)
He said it was a joke. Gave me a hundred bucks-
WOODY’S had enough.
Who? Goddammit, who?!?!!?
WIELD stops, coming back abruptly to the reality he seems to have left for a moment.
Can I get another steak?
WOODY gives him a look of disbelief and contempt.
You’re lucky I don’t throw you into a cell for obstructing a police investigation.
WIELD wasn’t really, since WOODY’S working “off the books”, but the bluff works.
WIELD begins to talk.
23. INT. BREAK ROOM – AFTERNOON
JORDAN is absent-mindedly eating an apple, flipping without much interest through
the newspaper. Beneath a file next to her, we can see the edge of a photo peeking
out – the one of her and GARRET. She wants to run tests on it, but the place
is pretty busy today, so she’s forcing herself to wait. She’s dressed in the
white suit we haven’t seen since Slokum was around. She looks up when the door
opens. It’s LILY, who takes a look at JORDAN and smiles.
Wow! You’re all dressed up.
JORDAN (around the apple)
Court. The Fidelma case.
How’d it go?
Pretty easy. Defendant’s actually going for an insanity plea.
LILY grunts in response. What more is there really to say? JORDAN sets the apple down, gives it a dirty look and belches quietly. LILY giggles, but stops when JORDAN winces.
No time for breakfast this morning. Probably ate too fast.
There might be something more, but JORDAN isn’t going to say anything.
LILY (nodding in sympathy)
It’s always something. A couple weeks-
GARRET opens the door, and LILY breaks off. He nods toward both of them.
GARRET (to JORDAN)
The Fidelma case?
You got anything to change into? (beat) I’ve got a body coming in and everyone else is pretty busy.
Sure. I’ve got some scrubs in my locker. Give me five minutes?
Body’s not going anywhere. (beat) Autopsy Two. Sidney can pull trace if you need him.
She stands up and winces again, wobbling a little now that she’s on her feet. GARRET and LILY both look at her, concerned. She smiles wryly as she picks up all her stuff, especially that photo.
Gotta love a head rush. Maybe I should send out for a sandwich.
SLOW FADE TO:
24. INT WOMEN’S LOCKER ROOM – CONTINUING
JORDAN is standing in front of her locker, about to open it. She’s a little
bit pale and still doesn’t seem quite steady on her feet. This is JORDAN, however,
so she just ignores it and yanks open the locker door. She puts the photo in
there for the time being and pulls out a pair of scrubs. Before going on, she
slips out of her high heels, ready to exchange them for a pair of sneakers up
on the locker’s top shelf. She pulls down the sneakers, which snag on a box.
The box comes flying out, and its contents scatter on the floor. JORDAN groans
softly and shakes her head.
It’s supposed to rain men, not Tampax.
She kneels and begins to gather the feminine hygiene products. They are all back in the box, so she stands up and begins to put them back on the shelf. With her arm half upraised, she stops. She looks at the box again and then closes her eyes. Her lips move silently. She’s counting. Her lips stop. She reaches for her purse and pulls out a birth control pill dispenser, checking the punch out tabs. Everything is in order. She counts again and must come to the same conclusion because she checks the pill dispenser again. Nope, it’s still correct. She reaches into her purse again, this time pulling out a small calendar. As she does, something else falls out of her purse and clatters to the floor. She sets the calendar on the bench behind her and picks up what fell. It’s an orange prescription bottle from the antibiotics she took when she did the autopsy on Sherry Austen and cut herself. Her jaw goes slack.
Un uh. No way.
She closes her eyes briefly and leans against one of the closed lockers, clutching the prescription bottle and counting. Again.
25. INT. WOMEN’S LOCKER ROOM – ABOUT TEN MINUTES LATER
JORDAN is sitting down, pill bottle in one hand, photo in the other, her face
almost blank. She is a million miles away.
GARRET (from the doorway)
JORDAN comes back to herself with a start. She glances around, needing a moment to remember where she is and why she’s there.
You said five minutes. What happened? Fall asleep in there?
She hesitates for a moment, blinking rapidly. We know she’s trying to come up with a cover story.
Uh… no. Sorry. Had a little trouble… locker wouldn’t open.
Then get your ass to Autopsy Three. That body’s not going to autopsy itself.
Yeah. Right. Um… on my way.
She changes with lightning quickness, not bothering to hang the suit up, just shoving it, the prescription bottle and the photo back in the locker. She slams the locker shut and rests her head against it for a moment.
JORDAN (cont’d) (mutter)
God… not now. Not now.
She takes a deep breath before pulling away from the locker. We see her put
on her determined, professional demeanor, but we know it’s an effort. With a
last, almost-guilty look back to the closed locker, she leaves the room.
26. INT. AUTOPSY THREE – CONTINUING
JORDAN pushes through the swinging door to find SIDNEY in the room. He is holding
the paperwork on the body. He glances up.
Dr. Macy thought you might like a hand.
Yeah. Sure. Fine.
She is struggling to keep everything together.
What’ve we got?
Caucasian male, late-
Before SIDNEY can say more, she is pulling the sheet off the body, starting
at the head. Her eyes are immediately drawn to the man’s throat. C.O.D on this
one will be pretty easy – someone slashed his throat with such force you can
see bone at the back gleaming. The wound is raw, ragged, almost as if the killer
sawed at the man’s neck. SIDNEY looks away for a moment – it’s that bad. Even
JORDAN goes a little pale. Slowly, she is able to draw her focus away from the
horrible, gaping trench in the man’s throat. The camera pans with her until
we reach the face. JORDAN gasps.
The body on the table is GEORGE COOPER, her grandmother’s manservant. In the
middle of his forehead, almost as though someone had smeared ashes there as
a very late Ash Wednesday observation, is one clear, bloody fingerprint.
JORDAN grips the edge of the autopsy table to stay upright.
END OF ACT THREE
27. EXT. LOGAN ARRIVING PASSENGER PICK-UP – LATE AFTERNOON
MAX CAVANAUGH stands on the curb, one bag at his feet, scanning the on-coming
cars. He sees what he’s looking for and raises a hand, so the driver can more
easily find him. ‘Cause it would be so difficult finding a six-foot-six guy
The car comes to a stop by MAX and we see the driver is WOODY. MAX opens the
passenger door, tosses his bag in the bag and climbs in.
28. INT. WOODY’S BPD CAR – CONTINUING
WOODY signals, pulling the car back into the slow-moving line of cars. MAX is
watching WOODY, but neither man says a word for now. WOODY navigates through
the crowds until he’s free of the worst congestion. He glances over at MAX.
Thanks for coming.
She’s my daughter.
Yes, sir. She is that.
Speaking of which, isn’t there something you want to ask me?
WOODY looks confused for a moment and then he blushes furiously.
I - I’m sorry. I should have… I didn’t think… It’s just-
Relax, Woody. I was joking. I figure I’m lucky she told me about the engagement at all. I always kind of thought someday I’d get a postcard from her saying she’d gotten hitched in Vegas.
Please don’t tell her that. She’d probably like the idea.
And you’d rather have the church wedding with all the trimmings?
WOODY nods and then shrugs.
MAX (cont’d) (humor in his voice)
How’s that going?
We’re – uh – compromising.
MAX laughs and WOODY joins him. They fall silent on the same beat; it is a sudden and oppressive silence. MAX studies WOODY again before speaking.
You really think it’s James?
I know it is. (beat) The homeless guy, Wield, gave me a real description this time around.
Does Jahdon know?
About Wield’s being paid off the first time? (shakes his head) But she knows it’s James. Even if she won’t say it. To me, anyway. (long beat) After the first one… she wanted – we both wanted to believe it was this McCormick guy. (shakes head) But the break-in last night… the picture of her and Garret….
You checked McCormick out though, right?
WOODY (another nod)
I really wanted it to be him. I – uh – I almost lost it with him. It was – it was like… I don’t know.
Like he’d give up if you scared him enough?
Maybe. (beat) Yeah. (shakes his head) But… James.
He’ll keep this up – whatever this is – until he wants to end
WOODY only nods morosely.
MAX (cont’d) (softly)
Until someone is dead.
29. INT. MORGUE CONFERENCE ROOM – LATE AFTERNOON
Everyone is there: JORDAN, GARRET, NIGEL, KATE, BUG, LILY and SEELY. The white
board is set up where everyone can see it and GARRET is leading the discussion.
There are four names across the top and beneath each a column of facts known
I don’t see why I’m here.
Because we have a serial killer on our hands, Detective. We thought you might like to apprehend him and get a nice commendation.
How is this a serial killer? None of the M.O.’s are the same. You don’t have any trace-
Not true! We just don’t have much trace.
Fine. You have some trace that might or might not link these victims. But the victims have nothing in common! Serials usually hunt within a specific group.
Usually. Not always.
JORDAN is quiet, almost detached. There is more than a lot on her plate – there’s a whole smorgasbord.
They do have something in common.
All eyes turn to her. She is looking down at the table. She does not look up.
This is greeted with a babble of voices: some questioning, some protesting, all confused. As it quiets, GARRET speaks.
GARRET (calm, but concerned)
Would you like to explain why you think that?
JORDAN stands up and walks to the white board. She holds out her hand silently. GARRET takes a moment and then hands over his pen. He sits on one edge of the table. JORDAN points to the first name on their list
JORDAN (to KATE)
You used her legal name, didn’t you?
She was a nun, but (shrug) for the death certificate….
She was my high school chemistry teacher. (she swallows) She wrote me letters of recommendation for college.
LILY murmurs something very quiet. JORDAN doesn’t even seem to hear it as she moves on to the second victim.
Mervyn Bunter? I was in pre-med with him. We dated for a few months.
Did he – um – I mean, the… shoe thing?
LILY and KATE both give him dirty looks. NIGEL blushes and mumbles an apology.
JORDAN (sad smile)
We were never that close.
GARRET (pointing to third name)
Doctor Lewis. He was the psychiatrist who…. (long beat) He –
um – He treated my mom.
JORDAN swallows hard. Her hand is shaking as she points to the last name.
George Cooper is – was – my grandmother’s… major domo.
Okay, that’s really strange, creepy and sad, but I still don’t see how
you guys think we’ve got a serial killer. I mean, three of those were accidental,
She opens a folder. It’s the report on the nun.
Sister Frevisse had high blood pressure. She was taking Norvasc for it.
And it didn’t work and she stroked out.
KATE (irritated by SEELY)
No. She didn’t. Nigel found Preludin in the tox.
But you should never mix those. It can cause… oh.
KATE (eyebrow arched)
Exactly. (to SEELY) You see, Detective, Norvasc and Preludin will interact in a way that can kill a person who takes them at the same time. But-
SEELY (catching on)
-It will look like natural causes?
Give that man a lollipop!
What about that Bunter guy?
Well, remember, you were there when we found fibers in his mouth. And a little something on one of those shiny shoes of his.
JORDAN (soft, soft, soft)
Would’ve been easy to overlook. We might have, too, if it weren’t for the fibers.
And before you ask, Seely, Kate found that Dr. Lewis had been pumped full of potassium. He had end-stage cancer, so we might have written it off to that except his daughter insisted on a full work up.
And when we got everything from his room at the care facility we found another fingerprint. This one was on the i.v. drip bag. Nigel also ran the residue in the bag. (beat) Potassium.
Okay. So… how can you be sure it’s the same guy?
SEELY gives her a puzzled look.
A single print. How often have you seen that, Seely? (shakes her head) He wanted us to find it. He’s playing a game.
But the nun? You didn’t say-
I reran everything. Found a print on her crucifix. (beat) And Jordan’s right. How often do we get one single, clear print?
And it’s all the same print?
It’s like he’s signing his work.
With a flourish on George. A bloody flourish.
SEELY (eyes narrowing)
You all talk like you know who it is.
No one has noticed a new person standing in the doorway to the room.
That’s because they do.
30. INT. WOODY’S BPD CAR – RUSH HOUR
We see that the car is stuck in rush hour traffic, moving slowly, about to enter
the TWT. WOODY is tapping the fingers of one hand against the steering wheel,
checking the side and rearview mirrors constantly as if that will make traffic
move and muttering under his breath.
MAX is still, but tense. We hear the chime of a cell phone. WOODY glances over.
MAX reaches into a pocket and pulls out his phone. He flips it open and grunts
Probably one of those “Welcome to Sprint Boston” things.
MAX doesn’t reply at first. He’s accessing the message and reading it. When he doesn’t say anything, WOODY looks over. MAX is pasty pale.
What is it?
There is still no reply.
MAX holds the phone up so WOODY can see the screen. The message is short:
Welcome home, Dad. Can’t wait for the family reunion. I’m sure Jordan’s… anxious
about it, too.
You don’t think…?
MAX is dialing the Morgue. Just as the phone begins ringing, the car enters
the TWT and MAX’S service goes out.
31. MORGUE CONFERENCE ROOM – CONTINUING FROM PREVIOUS SCENE
Mad World - Michael Andres and Gary Jules
Everyone sits in stunned silence as JAMES saunters into the room a few steps.
JAMES smiles at all of them and casually draws out a gun.
Good to see you again, Sis. (beat) Aren’t you going to introduce me?
JORDAN (angry, defiant)
James, this is everyone. Everyone, this is James, my crazy half-brother.
Gee, Sis, that hurts! Half-brother, full brother… does it really matter?
Family is family, after all.
SEELY has used what he believes to be a distraction to pull his weapon and aim it at JAMES.
Drop the weapon. Now.
JAMES makes a sound that might be half a chuckle, points his gun at SEELY and fires. JORDAN flinches, LILY makes a little scream and the men gasp as SEELY falls backward, hit in the shoulder. KATE looks up at JAMES, her eyes wide, her expression angry and shocked – more angry though.
What kind of person are you-?
JAMES directs the muzzle in her direction now.
The kind that would put a bullet in that pretty blonde head of yours without a second thought, Dr. Switzer. (chilling beat) It is Dr. Switzer, isn’t it?
JORDAN (scared but angry)
What do you want, James?
I thought it was about time for a family reunion. (beat) Sent Dad a text message telling him how much I was looking forward to it.
JORDAN looks confused.
Oh, didn’t Detective Hoyt tell you? He called dear old Dad earlier today, asked for his help.
JAMES checks his watch.
His flight should have gotten in about… oh, forty-five minutes ago. (chuckling) I bet by now they’re stuck in rush hour traffic, cursing it… and me.
I don’t – I don’t believe you.
Tsk, tsk, tsk. Of course, you do. And you’re wondering what you can do to stop me.
All right… what can I do?
Come with me. I’ve got it all arranged.
JORDAN swallows hard and nods.
Jordan, you can’t-
But she’s going to. Because she knows if she doesn’t, I’ll shoot someone else. (glances around) The new mother?
BUG starts in his seat, but LILY puts a hand on his arm as the muzzle of JAMES’ gun now points at BUG.
JAMES (moving the gun toward GARRET)
Maybe the beloved father figure?
JORDAN (low, warning)
JAMES (ignores her)
The “zany” Brit?
NIGEL reacts – with a little desperation but also a good show of bravery – as the gun is leveled at him.
I prefer “eccentric.”
JAMES (shrugs, moves gun)
How ‘bout the new girl? The snippy bitch from New York?
KATE (one eyebrow arched)
Hurt me, answer to Binky.
KATE begins tapping her pen on the table.
JAMES (momentarily confused)
Oh, yes. That excuse for a dog. (darkly amused) Suspected of murder, wasn’t he?
Oh, he’s capable of it. (beat) In the right situation.
JAMES chuckles. He’s amused by KATE and her bravery. He doesn’t seem to notice she’s still tapping that pen.
Should I take that as a threat, Dr. Switzer?
KATE (shrug, tapping pen)
Take it however you like.
JAMES shakes his head a bit – amused, almost disbelieving. The expression on his face worries NIGEL because he reaches out to still KATE’S hand, the one holding the pen; KATE cuts her eyes toward JORDAN as JAMES turns back to his sister.
JAMES (checking his watch)
This has been great, Sis, but I think we’d better get going.
Even under the cover of NIGEL’S palm, KATE keeps tapping. NIGEL shoots her a look, pleading with her to stop. She glares at him and looks at JORDAN once again.
JORDAN (as calmly as she can)
You don’t need the gun.
But I think it adds a little… excitement, don’t you?
I think everyone here has had enough excitement for one day.
During this exchange NIGEL finally looks down at KATE’S hand. His brow furrows briefly and then he lets his face go blank. KATE’S hand stops tapping at last and, with great care, she transfers the pen to him.
JAMES (focused on JORDAN)
Enough talk. Let’s go.
JORDAN squares her shoulders and gives one sharp nod. GARRET tries to protest but she shakes her head, her eyes pleading with him – with all of them – not to try anything. She takes a breath and starts to walk toward JAMES. The two are so focused on each other that neither notices NIGEL scoot his chair out just a bit. JORDAN trips over his chair leg. She doesn’t quite fall, but NIGEL reaches out to steady her. She cuts him a quick glance, fearful JAMES will react badly. JAMES’ face is hard and cold, watching this, but when he speaks, his voice has that maniacally cheerful tone we all know and love.
Careful there. Wouldn’t want you to get hurt. (beat) Yet.
LILY smothers a gasp and GARRET barely manages to stay in his seat. BUG has noticed SEELY’S gun is lying on the floor and he eyes it. JAMES sees it, however.
Don’t bother, Mahatma. I’d drill a hole in Mrs. Vijay’s skull before you could even think about pulling the trigger.
BUG sits back as if burned. LILY grips his hand. JORDAN is still heading toward JAMES. She reaches him and he pulls her into what might seem like a familial embrace, but is really a gunman taking a hostage. The gun comes up to her head. He sneers at the rest of them.
We’ll be on our way. If I see any of you move… so much as a face in the doorway before we’re on that elevator? Well, let’s just say that a brain tumor is easier to come back from than a bullet.
JORDAN swallows, determined not to show any fear. JAMES is pulling her out the door. He looks back one more time.
I’d tell you all not to bother trying to find us, but I know it wouldn’t do any good. (smiling) Although I don’t think even Nigel can manage it this time.
He tugs JORDAN out of the room. Everyone sits immobile, faces pale. We hear what they hear: heavy steps down the hallway, the ding of the elevator as it arrives, the swish of the doors as they close. They all stay stone still for another long moment. It’s NIGEL who breaks the spell.
NIGEL (to KATE)
What the bloody hell was that all about?
You slipped the pen to her, right?
The others are all completely at a loss.
And just why did I do that?
You remember the little trick you all tried my first day here?
It takes a moment for that memory to surface for all of them.
The camera pen!
But – But the range… it’s –
Unimportant. (beat, sly smile) I modified your spygear.
NIGEL looks impressed.
Added a GPS tracker.
NIGEL looks very impressed.
I wanted to see if I could.
GARRET gives a wry chuckle and shakes his head.
Good work, Kate.
I want to find him as much as any of you. (mostly joking) He insulted my dog.
As GARRET, NIGEL and KATE head toward the door to “saddle” up, LILY and BUG
begin to look over SEELY. Ad-libbed comments show us it’s a flesh wound, painful,
but not serious.
32. INT. WOODY’S CAR – CONTINUING
Traffic is moving better, though still slow, as the car emerges from the TWT.
MAX immediately hits redial on his cell phone.
MAX (under his breath)
Answer, damn it!
WOODY looks over expectantly.
MAX (cont’d) (mixed tone)
Garret! Thank God! Look, I don’t have time to explain anything, but I need you to get Jahdon and-
MAX falls silent. WOODY looks over again, more alarmed than ever. Wordlessly, MAX closes the phone and looks over at the younger man.
James was there.
At the Morgue?
He took Jahdon.
At that moment, the text alert tone chimes on MAX’S phone again. He and WOODY
both look at the phone. There is no doubt who sent the message.
END OF ACT FOUR
33. EXT. A BLOCK AWAY FROM AN ABANDONED WAREHOUSE – ABOUT AN
There is a crowd of Alphabet Agencies trying to look inconspicuous while sorting
out jurisdictional proceedings. Some are wearing ATF badges; others are in BPD
gear. There is a SWAT team present. MAX and WOODY are standing with GARRET,
NIGEL, KATE and a pale SEELY, with his arm bound up. There is even someone from
Fischer and Sons Mortuary. No “presumed drowned in the Charles” for our miscreant
You’re sure this is the right place?
KATE holds up the GPS locator.
MAX (cont’d) (to GARRET)
Anyone at that place you run know they’re supposed to cut up dead bodies and nothing else?
Don’t look at me. Jordan taught them everything they know.
He and MAX share a knowing smile, despite the situation.
The SWAT TEAM LEADER approaches our group.
We’d appreciate if you could get all these civilians back a bit farther.
There is a general babble of protest. One voice emerges in particular.
That’s my daughter in there!
STL (to MAX)
I understand that, sir. (beat) Cavanaugh, right? BPD veteran? (off MAX’s nod) Then you understand the importance of a clear chain of command.
I understand the importance of getting my daughter out of there.
The STL sighs and a three-way, ad-libbed argument ensues between him, WOODY
and MAX. An ATF GUY walks over and joins the “discussion.” The morgue crew and
SEELY exchange looks. KATE begins rummaging in her purse. The various agents,
WOODY and MAX aren’t paying attention, but the morgue crew is bemused. With
a note of triumph, KATE pulls something out of her purse. She thrusts her purse
at NIGEL to hold. Good thing he’s secure in his masculinity – or that the purse
matches his outfit. Take your pick.
KATE bull noses her way into the group of men, holding up the object from
her purse. Slowly, the men fall silent. The STL and ATF GUY look really confused.
WOODY knows KATE well enough by now to blush. MAX is somewhere between confused
Well, come on.
There is silence.
KATE (shaking the object)
It’s the fastest way to resolve this.
What? You think I haven’t seen one before? I’m a doctor. (beat) And my
patients are dead. Believe me, you guys’ll all … surpass them.
Not only are the men still silent, but all their jaws have dropped and WOODY has gone about fourteen shades of red. Even the STL and ATF GUY are slightly pink. We finally see what KATE’S holding up: a measuring tape.
STL (recovering, now annoyed)
Switzer. Dr. Kate Switzer.
That’s really… cute ‘n’ all, but we have a job to do here.
And I’m trying to help you decide who gets to do it first.
You’re really not-
They look around. Yep. MAX is gone.
34. EXT. ABANDONED WAREHOUSE – CONTINUING
MAX is approaching the building where JAMES has JORDAN. He spots a side door
and heads for it. When he reaches it, he pulls it open and enters.
35. INT. ABANDONED WAREHOUSE – CONTINUING
MAX stops, letting his eyes adjust to the dim light. He has his hands up as
he scans the cavernous building. He can’t see anyone so he calls out.
All right, James. You got what you want. I’m here.
There is no response.
Come on, son. It’s time to let Jahdon go.
MAX continues to look around. He hears steps before he sees anyone. At last, JAMES appears, dragging JORDAN with him. JAMES’ expression is murderous. JORDAN looks angry, miserable, scared and defiant. (In other words, it’s JORDAN with her back against a wall!)
Well, isn’t this nice? (beat) I did think it would take you longer to figure out my little puzzle though.
It didn’t. Now, son-
Don’t call me that.
He tightens his grip on JORDAN, who gives the softest of squeaks, still determined not to show him fear.
All right. James. (beat) Let Jahdon go.
Jahdon, this is between James and me.
You listen to me. For once, listen to me! (focuses on her) He’s going to let you go and you’re going to walk out of here.
JORDAN shakes her head, tears falling now.
Yes, you are, honey. You’re gonna walk out that door. Woody’s waiting for you. Woody and… and all the things you’re supposed to have.
JAMES (shaking head)
So touching. (pretends to think) All right.
He drops JORDAN’S arm. She looks at him in shock – and horror.
MAX (gaze locked on JAMES)
Go on, Jahdon.
Why? (looks between the two) He’s not going to let either of us walk out of here.
A look of infinite sadness flickers over her face.
Yes. He is.
The tension is palpable. Finally, JAMES gives JORDAN a little shove.
Dad’s right. (beat) This time.
No! Un huh. I know you-
JAMES (creepily mild)
No. You don’t. (appraises her) I’m not going to shoot you, Sis. (slow smile) I’m going to shoot him (gestures to MAX) and you’re going to live with that. (eyebrows arch) The rest of your life… knowing he came back here just to die. In your place.
And those other people? Why them?
Because I could.
JORDAN takes a very shaky breath.
Because they cared about Emily Cavanaugh’s daughter. Because they were a part of your life, the life I never got to have!
James… you’re sick. You need help.
JAMES (losing patience)
We’ve sung this song before! (waves gun crazily) What I needed
was a family. A mother. Our mother.
He takes a few erratic paces back and forth.
And I finally find her and – and then what? She’s – she’s gone. Taken.
All because of – because of – him!
He gestures toward MAX.
This is between you and me. It always has been. (looks at JORDAN again) Now go on, Jahdon. (stern) Go!
Yes… Jahdon… go on. Get out of here. You don’t want to watch.
(looks straight at her) It’s terrible to see your parent lying in a pool
of their own blood.
JORDAN looks ready to lunge at him, but MAX speaks again.
JAMES levels the gun at MAX and chambers a round. He is still, however, staring straight at JORDAN. His gaze is cold and broken. JORDAN’S face tells us she doesn’t want to give in, but she knows this is a losing battle. She has to try anyway.
The camera swings from the two shot to JAMES, pushing in tight on him.
How ‘bout I count from three? Would that-
There is the sound of another round being chambered and we pull out enough to see a gun pressed to the back of JAMES’ head.
Drop the gun, Horton.
You have to love these old warehouses – so many doors, so shadowy, so easy for our hero to slink inside and surprise the bad guy!
JAMES (does not drop the gun)
Ah, Detective Hoyt! To the rescue. (chuckle) What would my sister do without you?
JAMES’ finger trembles on the trigger. WOODY slaps him upside the head.
Forget it. Just drop the gun. (beat) Everyone can walk out of here.
JAMES finally drops the weapon, but he seems to find the whole thing amusing. He starts to laugh.
Do you think anyone wants me to walk out of here?
He continues to laugh and it distracts both WOODY and JORDAN. JAMES elbows WOODY
in the stomach. As WOODY reflexively lets go, JAMES makes a break for the weapon.
MAX pushes JORDAN out of the way as he reaches for an ankle holster and pulls
a piece. Apparently, the man knows a thing or two about carrying a gun on an
It Ends Tonight - All-American rejects
MAX fires his weapon, hitting JAMES in the side of the throat. JAMES gets off
a wild shot that strikes MAX in the thigh. Both men go down.
Now on her hands and knees, facing away from the carnage, JORDAN quickly turns
and takes in the scene. Her head whips wildly back and forth for a moment as
she tries to assess the injuries. WOODY is already at JAMES’ side. She crawls
to her father and checks his thigh. He waves her away. Crying freely now, she
nods and makes her way to JAMES. The blood is arterial, bright red, pumping
fiercely. WOODY shakes his head at her, but she tries anyway. She puts her hand
over the tear in JAMES’ neck.
Hold on, James. Hold on.
This is still her brother and, despite that shell of hers, JORDAN still tries to preserve life when she can.
JAMES (light fading from his eyes, speech labored)
He… finally… (voice ragged) got what… he (whisper) wanted.
His lips stop and his eyes lose that spark. The blood from his neck has gone
to a trickle between JORDAN’S fingers. She looks up at WOODY and then back at
her father. WOODY reaches for her hands, bloody and all just as the Alphabet
Agents come crashing through the doors.
We pull out, revealing WOODY, JORDAN and MAX as a small island of calm in a
chaotic sea of bodies.
SLOW FADE TO:
36. HOSPITAL ROOM – TWO DAYS LATER
NIGEL and KATE are in MAX’S hospital room, chatting with him. We can hear MAX
ad-libbing to KATE about the time NIGEL tried to lead “ghost tours of Boston”
through the Pogue. KATE is rolling her eyes in a good-humored way.
At the doorway, JORDAN and WOODY exchange amused smiles. They quietly step
into the room.
Are we interrupting?
MAX, NIGEL and KATE look around at WOODY and JORDAN. MAX smiles. NIGEL looks gratefully thrilled.
Yes, thank God! Listening to these two (gestures at them) you’d think I was some sort of … lunatic!
Just eccentric, Nige.
NIGEL rolls his eyes, but he is smiling. He and KATE stand up and say goodbye to MAX, promising to stop back again the next day. MAX watches them go before turning to JORDAN.
Tomorrow? What’s this about-
JORDAN (kissing his forehead)
No arguments, Dad. After the thing earlier this year, the doctors want to keep you a few extra days.
MAX groans. JORDAN sits next to him on the bed, on the side of his good leg. Like a bit of a mother hen, she rearranges his blankets and even tries to fluff his pillows. Few people get this treatment from JORDAN.
It’ll just be a few days. Then you’re gonna go home – to the house here-
Awww, not another home health aide!
Nope. I thought I’d stay with you a couple weeks. ‘Til you’re on your feet.
Oh, no, you don’t. Un huh, Jahdon. You’re not putting your plans on hold for me.
JORDAN and WOODY look at each other. They both have a slightly guilty look.
Ummm… what plans?
Yeah, Dad, what plans?
Come off it, you two. Nigel let it slip.
Let what slip?
MAX rolls his eyes. He points vaguely in the direction of JORDAN’S eyes.
It’s not gonna work, Jahdon. (beat) There’s this thing you do… with your eyes. (grin) When you’re trying not to tell me something.
Damn, she and WOODY are busted.
So, you two are going to go on this safari Nigel told me about and you’re going to have a good time.
There is a pause.
I told that nice Dr. Switzer she could come stay in the house. That dog of hers might like a place to run around.
There is another look between WOODY and JORDAN – this one of pure shock!
Yeah. I’m sure… Binky’ll love that.
I shoulda let you have a dog.
That’s not a dog – it’s a Q-tip on legs.
MAX gives him a look and WOODY quiets down.
Now, one thing I would like to know… (stern look) is after this little honeymoon of yours are you two actually going to get married?
JORDAN just laughs and kisses him again.
Yeah, Dad. I promise.
WOODY (hand on hers)
37. INT. GARRET’S OFFICE – A WEEK LATER
MAX is sitting on GARRET’S couch. He has a cane propped up next to him. He looks
up as GARRET walks in, bringing some coffee. MAX takes it with a nod of gratitude.
GARRET glances at his watch.
By now they should be…
A lot further from home than I’ve ever been.
GARRET chuckles. The men sip coffee in companionable silence for a moment. MAX is looking out the window and GARRET is studying him.
She’s not the same woman she was.
MAX looks around at him and agrees with a nod of his head.
The – uh – the crash. It changed… a lot. For all of us.
I noticed. (beat) Think she’ll let her old man give her away at the wedding?
GARRET doesn’t answer. MAX either isn’t getting the serious tone or is avoiding it. GARRET decides to take the bull by the horns.
She needs to know, Max.
The silence stretches into a long moment.
I don’t know all of it, Garret.
But you know how to find out.
Then why didn’t you?
To protect her. From… from people who would have hurt her. (long beat) They’re all – all gone now. But… I don’t know. Maybe this isn’t the right time.
It’s never going to be the “right” time, Max. (beat) But she needs to know.
The men lock eyes and it is MAX who eventually looks away first. He heaves a great sigh and uses his cane to push himself up. He hobbles to GARRET’S desk and sets down the coffee cup. GARRET is looking up, a determined look on his face. There is another long moment of silence. Finally, MAX nods.