Teaser Act 1 Act 2 Act 3 Act 4 Act 5
Episode #VS732


Mommy Dearest

Crossing Jordan Virtual Season 7

“Mommy Dearest, Part One”

Written by
bourbon, jmkw, Madambeth, Mecedeme, NCCJFAN, Nynaeve1723

Art by
Art Gal, BigCJFan, Harbor Runner

 

 

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

DRAMATIS PERSONAE


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

Max Cavanaugh
Det. Martin Cruz
Peter Winslow
Sidney Wilkes

SET LIST

INTERIORS
MORGUE
   GARRET’S OFFICE
   RECEPTION AREA
   LOBBY
   HALLWAY
   JORDAN’S OFFICE
   CONFERENCE ROOM
   FREIGHT ELEVATOR DOORWAY
   AUTOPSY ONE
   TRACE EVIDENCE
   LADIES’ TOILETS

SAFARI CABIN

AIRPLANE CABIN

MAX’S CAR

HALCYON ARMS HOTEL
   HALLWAY
   ROOM TWO-NINETEEN


EXTERIORS
LOGAN INTERNATIONAL ARRIVALS HALL

SIDEWALK IN FRONT OF HALCYON ARMS

 

TEASER

 

1. INT. SAFARI CABIN – CONTINUING FROM END OF #VS731

Wonderful - Everclear

JORDAN is tossing things wildly into a suitcase. Her eyes have that intense, focused look she gets. WOODY is bewildered, watching her, trying to get her to talk, but it’s almost as if she can’t even hear him. She slams her own suitcase shut and begins in on WOODY’S suitcase and his belongings. WOODY grabs hold of her wrist.

WOODY
Jordan!

JORDAN looks down at his hand on her wrist as if it’s something alien. Slowly, she looks up at him, but her eyes are still focused somewhere else – somewhere in the past.

JORDAN
(sharply)
What?


WOODY
What’re you doing?

She gives him a look that says, ‘Isn’t it obvious?” WOODY sighs and rolls his eyes a bit.

WOODY (cont’d)
Okay. Why are you throwing our stuff into suitcases and ignoring me?


JORDAN
I told you.


WOODY
(exasperated)
You told me Garret called and said something about a lead on your mom’s murder.


JORDAN
(nodding vigorously)
Yeah.


WOODY
Look, Jordan, I – Don’t take this the wrong way, but why would this lead be any… better than any of the others?


JORDAN
Because it is.


WOODY
Enough to cut this trip short?


JORDAN
Yes.

There is a long moment of silence as they stare at each other. It’s JORDAN who gives in.

JORDAN (cont’d)
There’s a man. He knows… I don’t know exactly, but he knows something. About my mother. About – About that day.


WOODY
Man? What man? What the hell are you talking about?


JORDAN
He – He used to do… things for the cops. He claimed he helped some cop do… something… something to do with my mom.


WOODY
Claimed to who? Jordan-


JORDAN
Pollack! (long beat) Pollack interviewed him. (swallows) When he was researching that judge. This man gave him my mother’s name.


WOODY
Why didn’t Pollack say anything to you?

JORDAN gives him another look.

JORDAN
It was – It was in his notes. Will… Pollack gave them to me. After.


WOODY
That was months ago.


JORDAN
(nodding)
Yeah. (beat) Pollack was careful. He didn’t leave names.


WOODY
(clueing in)
Not the informant?


JORDAN
Not the cop.

WOODY looks around and then takes a deep breath.

WOODY
And now?


JORDAN
Nigel’s been… looking. (beat) He found him.


She hauls WOODY’S suitcase off the bed, her eyes now fixed on him. He holds her gaze for a long moment and then puts his hand on top of hers, taking the handle from her and reaching for her suitcase as well. JORDAN’S expression is a mixture of smiles and tears.

 

END OF TEASER

Crossing Jordan Theme

 

 

ACT ONE

 

Pavlov's Bell - Aimee Mann

2. INT. AIRPLANE CABIN – SEVERAL HOURS LATER

JORDAN is sitting next to the window, gazing out. She has that distant, focused expression again. Next to her, WOODY is flipping desultorily through the airline in-flight magazine. From the way they are both sitting, there is a great deal of tension between them. We saw that WOODY understands her need to go home now, but he clearly isn’t best pleased at some of the things she’s been keeping from him. He slides the magazine back into the pocket in front of him and shifts slightly. JORDAN is back with him now – mentally as well as physically – on the plane and she gives him a sidelong glance. We all know their history. We know this is the sort of moment when WOODY tries to smooth things out, but he doesn’t seem inclined to do that at this point. JORDAN bites her lip and we see her swallow hard. She turns to him.

JORDAN
Woody.


WOODY
Don’t, Jordan.


JORDAN
Don’t what?

He looks at her. His expression is cool, a bit hurt.

WOODY
Whatever excuse you’re going to make, don’t.

JORDAN looks momentarily stung, but then nods slowly.

JORDAN
No excuses.

He raises an eyebrow at her.

JORDAN (cont’d)
Just an apology.

She reaches for his hand. He lets her take it.

JORDAN (cont’d)
I should have told you.

WOODY takes this in for a moment and we see him squeeze her hand gently in acceptance. There are a million things she could say, and he knows it. It means a lot to him that she isn’t defending her actions. It’s a huge step for her.

WOODY
So tell me now.

JORDAN looks out the window again briefly, before shifting so she is resting more against the cabin wall and can look him in the eye better.

JORDAN
Where do you want me to start?


WOODY
You said Pollack’s unnamed informant did some… dirty work for some cops, but Pollack didn’t list names.


JORDAN
(nodding)
His source didn’t actually tell him who any of the cops were. (swallows) I think the guy was trying to get some credibility without burning himself.


WOODY
But he mentioned your mother?


JORDAN
Yeah. Said he helped “this cop” involved in the murder of some woman. Emily Cavanaugh.


WOODY
You think these notes of Pollack’s are for real?


JORDAN
Yeah.


WOODY
Why didn’t he tell you?


JORDAN
(arched eyebrow)
When? “Oh, hi. I hear Lily’s getting married tomorrow, you’re the maid of honor and, by the way, I have a lead on your mother’s murder.”

WOODY shrugs slightly to concede the point.

WOODY
How’d you get the notes then?


JORDAN
He left a copy with his brother. Will gave them to me. I didn’t know – didn’t know what to think at first. I’ve been down that road so many times.


WOODY
But someone with specific information – or so he indicated to Pollack.

JORDAN nods, biting her lip again.

WOODY
(softly)
You could’ve told me.


JORDAN
(sighing)
I know. I meant to. But – I don’t know. Maybe I thought if only Nigel knew… at least until he found “Mr. Y.”


There is a long moment of silence. JORDAN seems to drift back to that mental place. WOODY brings her back by gently stroking her fingers. She looks at him again.

You okay?

WOODY
Are you gonna be okay if this doesn’t pan out?

A shadow crosses her face. Is she thinking about the other possible secret she’s keeping from him?

JORDAN
(softly)
I think so. (small smile) Yeah. For the first time… yeah.


WOODY raises the arm rest between them and beckons her into his arms. As cramped and awkward as it might be, he cradles her, placing a light kiss on her forehead. They begin to ad-lib a happier discussion of what they saw and did on their vacation.

CROSS FADE TO

3. INT. GARRET’S OFFICE – MORNING

It’s a little cramped, but kind of neutral territory, so we see GARRET, MAX, NIGEL, KATE, LILY and BUG all in GARRET’S office.

LILY
So, Jordan knew about this guy… three months ago?


NIGEL
Well, she knew he was out there. Not much else.


BUG
And she trusted these notes Pollack left?


NIGEL
Why not? He didn’t go there looking for information about her mum and he didn’t use it to try to get her back even when he had it.


KATE
And he didn’t exactly make it easy to find this guy.


NIGEL
(holds up one finger)
That he did not! As much as I hate to admit it, even my substantial investigative skills were not up to the test. (dramatic pause) Until Max here supplied a name.


GARRET
(skeptical)
How exactly did you know this guy’s name, Max?


MAX
(expression impassive)
I didn’t know him. Never met the guy, actually. But I knew cops who, shall we say, availed themselves of his services.


GARRET
Malden?


MAX
Among others.


LILY
So where is he, Nige?


NIGEL
(big grin)
As a matter of fact, our elusive Mr. Y – now known to us as Vinnie Fratelli – has been paroled and is here. In our fair city.

There is a general gasp of amazement and the level of excitement seems to go up a notch. This may be JORDAN’S quest – and to a degree, MAX’S – but most of them have known JORDAN long enough to feel an emotional investment.

NIGEL (cont’d)
Not that he’s living in the fairer parts, I might add.


KATE
(eyebrow arched)
And you know this how? I mean, unless you’ve suddenly become a parole officer…?


NIGEL
(blushing, stammering)
That – That would be easier, I think.


KATE
Oh?

Everyone is also looking at him expectantly.

NIGEL
Let’s just say Jordan is one of the few people I’d… commit myself like this for.

More raised eyebrows and expectant faces. NIGEL realizes he’s not going to be off the hook until he confesses.

NIGEL (cont’d)
Oh, all right! I’m designing Framus a new wardrobe! (beat, lower voice) And a matching one for her dog.


BUG
(hushed, awed)
Great Buddha.

LILY simply giggles; MAX rolls his eyes; GARRET shakes his head in amusement. KATE is the only coherent one.

KATE
(tartly)
Just don’t try to use Binky as a model.


NIGEL
(a bit scared)
Wouldn’t dream of it, luh- Kate.

There is another long beat of silence as everyone contemplates the various images running through their heads. For most, it’s not the most pleasant experience. After a moment, GARRET shakes his head, clearing the images.

GARRET
So where is Mr. Fratelli?

NIGEL is relieved that the topic has changed and latches on gratefully.

NIGEL
The Halcyon Arms. On Ambler.


GARRET
Then why are we still sitting here?


KATE
(voice of reason)
Don’t you think we should let the police talk to him?


MAX
On what suspicion? That the notes of a dead reporter indicate Fratelli was involved in a thirty year old murder case?

KATE cocks her head, realizing MAX is right.

MAX (cont’d)
Garret’s right. We should talk to him. The sooner, the better.

LILY looks at her watch.

LILY
Ummm… I hate to bring this up, but Jordan and Woody’s flight gets in about an hour from now. And you know Jordan….


GARRET
Fine. Max and I’ll go to the Halcyon Arms. Nigel can pick them up and meet us there.

MAX doesn’t look thrilled with the arrangements, but agrees. At this moment, GARRET’S phone rings. He answers it and listens for a moment, his face clouding.

GARRET
(phone conversation)
I understand. (beat) Yes, of course. We’ll be ready.

He hangs up and looks around at everyone.

GARRET (cont’d)
No one’s going anywhere, at least not for the next few hours. (beat) There was a shooting at Boston General. In the E.R. It’s a mass casualty situation.

There are groans – for a number of reasons – and ad-libbed comments/protests. It takes a minute for the commotion to die down.

MAX
I’ll get Jahdon and Woody. Then we’ll go talk to Fratelli.

Who can argue with that?

GARRET
(nodding)
All right, people. Let’s get prepped. (beat) Max, give us a call when you’ve talked to him. We’re all worried about Jordan.


On that, they all disperse, leaving MAX in GARRET’S office, a thoughtful look on his face.



4. EXT. LOGAN INTERNATIONAL ARRIVALS – TWO HOURS LATER

JORDAN and WOODY are standing on the sidewalk outside international arrivals, luggage at their feet, scanning the on-coming cars for anything familiar. WOODY checks his watch again.

WOODY
You did give Lily our arrival time?

JORDAN nods.

WOODY (cont’d)
And she promised someone would come get us?


JORDAN
(agitated herself)
They’re probably just – you know – giving us time to get our luggage, clear customs-


WOODY
-Catch a few innings of the game in the sports bar.

JORDAN shoots him a look and takes out her cell phone. She waits, impatiently, for what seems like a while, finally all but shouting into the phone.

JORDAN
Lily? What’s going on- (pause) Oh. Okay. (pause) Yeah. Sure. (pause) Right. My dad. (longer pause) Thanks.

She clicks the phone shut.

JORDAN (cont’d)
They had a mass casualty, still waiting for the bodies to start arriving.

WOODY winces.

JORDAN (cont’d)
My dad’s on his way. (frowns) But Lily said he should’ve been here in plenty of time.


We watch them stand around a few more minutes and then finally, they see MAX pulling up. MAX parks the car next to them, pops the trunk and waits while WOODY hoists the luggage into it. JORDAN gets in next to her dad and WOODY gets in the backseat.



5. INT. MAX’S CAR – CONTINUING

JORDAN leans over and gives her dad a peck on the cheek.

JORDAN
Hey, Dad.


MAX
How was the trip?


JORDAN
(ignoring his question)
Where is this guy?


MAX
Geez, Jahdon, that’s it? “Where’s this guy?” No “The trip was great. How are you?”


JORDAN
Dad….

MAX sighs and signals back into traffic.

MAX
Don’t you want to go home, sweetheart? Freshen up a little? Maybe take a nap?


JORDAN
Dad.


MAX
(giving in)
The Halcyon Arms. It’s on Ambler.


WOODY
That rat trap?


MAX
Yeah, well, Fratelli was never too good at making an honest living. I’d imagine since his release that’d be tough, even if he wanted to.


JORDAN
(worried)
You knew him?

MAX glances over at her.

MAX
I knew who he was.


JORDAN
Do you think he… could’ve been involved?


Slowly, MAX nods.

SLOW FADE TO


6. EXT. HALCYON ARMS – ABOUT TWENTY MINUTES LATER

MAX’S car pulls up to the curb in front of the hotel. The building is old, dingy and exudes an air of desperation. They all get out, with MAX muttering something about hoping the rental company has Lo-Jack on the car.

 

7. INT. HALCYON ARMS HALLWAY – CONTINUING

JORDAN, WOODY and MAX stand outside a room that might be number 219, but only the “1” is actually still in place; the other digits are legible only because the paint is less faded where they had been. WOODY is knocking.

WOODY
Mr. Fratelli? Boston P.D. here. We need to ask you a few questions about an old case.

There is no answer. All three look around.

WOODY (cont’d)
The desk clerk said two-nineteen, right?


JORDAN
Un-huh.

She wanders up and down the hall a moment before returning.

JORDAN (cont’d)
This has got to be it.


WOODY tries the knob and it actually turns. He reaches to pull his piece, forgetting he’s been on vacation and doesn’t have it. MAX hands him a gun. WOODY chooses not to ask where it came from. He motions to JORDAN and MAX to stay where they are. You’d think he’d have learned by now.

WOODY enters the room cautiously.

This Night - Black Lab

8. INT. ROOM TWO-NINETEEN – CONTINUING

The room is small, dirty and there simply is nowhere to hide. The bed is unmade, a filthy sink stands in one corner and a dirty curtain is pulled across a small section, presumably what passes for the bathroom. There is a scent in the air that all three recognize. WOODY advances into the room more quickly, JORDAN and MAX behind him. WOODY reaches the bed and looks over it. On the floor a body lies sprawled. His once-white undershirt is now a near-uniform scarlet. JORDAN hastens around the side of the bed and kneels next to the body. She checks for a pulse, but it’s perfunctory. This close up, she can see one entrance wound in the man’s chest and another in his shoulder. She carefully touches the blood and then looks up. JORDAN sits back on her heels, while WOODY slides the gun into the back of his pants’ waistband. MAX’S face is back to being unreadable.

Body

WOODY
Dead?


JORDAN
(nodding)
Not more than an hour, ninety minutes tops.

 

END OF ACT ONE

 

 

ACT TWO

 

9. INT. ROOM TWO-NINETEEN – CONTINUING

WOODY Looks like he put up a heck of a fight. WOODY gives the room a cursory glance before he looks out into the hallway to see if anybody is out there. MAX opens the curtain and looks outside.

WOODY turns back in and pulls out his cell.

JORDAN
(standing)
What’re you doing?


WOODY
What does it look like I’m doing? I’m calling this in.


JORDAN
No. Wait. We just got here.

WOODY gestures at the large hole on FRATELLI’S chest.

JORDAN
Fifteen minutes.


WOODY
(flipping his phone open)
On top of the hour or so head start the killer already has? Not this time.

MAX puts his hand over WOODY’S, stopping him from calling.

MAX
She’s right. Whoever did this wanted to make it look like something else.

WOODY looks at them incredulously.

JORDAN
Fratelli was probably shot the second the door opened.

She points to the blood around the body.

JORDAN (cont’d)
He died where he fell.


MAX
There wasn’t any struggle. This place was tossed. (beat) Let’s just hope they were in too much of a hurry to be thorough.

Both MAX and JORDAN begin to search the room carefully. WOODY goes into a panic.

WOODY
Whoa, whoa, this is a crime scene. No, no, you can’t do that.

JORDAN cuts him a look that says ‘try me.’

JORDAN
Maybe it would be better if you waited in the car.

There is a long uncomfortable pause

WOODY
(blinks)
I can’t believe this.


JORDAN
What?

Meanwhile, MAX begins searching the dresser.

WOODY
You. Him. Nothing’s ever really changed, has it? (beat) I’m sorry I can’t do this anymore.

JORDAN looks at her feet. WOODY flips open his phone again. He takes a deep long sigh.


WOODY (cont’d)
You’ve got five. And then I’m making the call.


MAX stands and approaches JORDAN. WOODY leaves. We hear him talking to himself in the hallway.

JORDAN turns quickly and weaves slightly on her feet. She puts her hand to her head.

MAX
You all right, honey?


JORDAN
(waves off his concern)
Yeah.

MAX puts a comforting hand on her shoulder.

MAX
I’ll talk to him. It’s my fault you got called back from your vacation.


JORDAN
I’m fine. It’s just jetlag.

She looks at the curtained-off bathroom.

JORDAN (cont’d)
I’m going to take a look in the bathroom.


JORDAN disappears behind the curtain. MAX pauses a second. Out of corner of his eye he sees the glossy sheen of package tape; it is sticking out from underneath the edge of a register cover and air vent in the floor by the sink. He squats down and uses a pen to carefully pry it up. Surprisingly, it comes up easily and silently, as FRATELLI made sure it would.

MAX pulls a large, bulky manila envelope out from the ducted work. He turns it over. There is no writing on it. Wordlessly, he stuffs it in the waistband of his pants at the small of his back. He puts the register cover back on.

JORDAN returns from the bathroom.

JORDAN
(disappointed)
Other than a having a noteworthy mildew breeding ground, it’s clean.


From outside in the hallway, we hear WOODY making his call. JORDAN gives her father a lopsided smile as if saying they’d reached another dead-end.

 

10. INT. HALCYON ARMS HALLWAY –TWENTY MINUTES LATER

WOODY, JORDAN and MAX are standing in the hallway as the police and CSU are processing the room. DET. MARTIN CRUZ enters from inside the room. He is just finishing a call on his cell phone.

CRUZ
(to WOODY)
I just talked to the desk sergeant over at the 19th, Hoyt. So you can probably understand my curiosity as to why you are calling in a murder here on the North End when you are supposed to be chasing the doctor around the Serengeti for another four days. (smug smile) Would you care to tell me what’s going on?

WOODY takes a deep breath and opens his mouth. MAX takes a tiny step forward.

MAX
(interrupting)
The trip was called short. I was their ride from the airport.


WOODY
(under his breath)
Max-


MAX
(rushing to continue)
I decided to make a side trip here to talk to a friend, and we found Mr. Fratelli’s door open and his body on the floor.


JORDAN
(pipes up)
I verified Mr. Fratelli was dead and….


MAX
… Detective Hoyt called it in after we made sure the room was empty.


CRUZ
The vic? Your friend?


MAX
(looks at JORDAN and shrugs)
Never met him before in my life….


JORDAN
(matter-of-factly)
… Dad’s friend checked out before we got here.


CRUZ
So, you just came upstairs to make sure he was gone.


JORDAN
(virtuously)
Come on, have you looked around? I don’t think management keeps the best records…

WOODY’S jaw jumps thinking this has got to be the worst excuse he’s ever heard MAX and JORDAN make up.

CRUZ
(to MAX)
And just who are you?


MAX
Max Cavanaugh.


CRUZ
Cavanaugh? As in Lieutenant Max Cavanaugh?


JORDAN
My father.

CRUZ looks down his nose between MAX and JORDAN.

CRUZ
Well, that explains a lot.

JORDAN looks insulted. WOODY steps in.

WOODY
We really don’t know any more. But if we can think of anything else, you’ll be the first person we’ll contact.

He grabs JORDAN’S arm to steer her away from the scene.

WOODY (cont’d)
Now, if you don’t mind, we just came in from a long ass flight and I’d like to go home and relax a little.


CRUZ
You didn’t see or hear anything?


WOODY
(clearly and concisely)
Like they said, we saw the open door and discovered the body. We double checked to make sure the scene was secure and waited right here for the cavalry.


CRUZ
I’ll be talking to the residents to find out if they noticed any more than you did. (beat) I trust I’ll be able to get in touch with you all if I need to?


WOODY
(saccharine smile)
You know me… anything to help your investigation.


JORDAN opens her mouth like she wants to comment. WOODY yanks her away. MAX follows quickly behind.



11. EXT. HALCYON ARMS - CONTINUING

They exit the building and approach MAX’S car. It looks untouched.

WOODY
Well, it’s still here… not that having my passport disappearing with the luggage wouldn’t have just made the day complete. (opens the car door) Let’s just get the hell outta here.


12. INT. MAX’S CAR - CONTINUING

WOODY climbs in the back of the car, JORDAN in the front passenger seat. They both slam the car doors simultaneously and look out their respective car door windows. MAX climbs into the driver’s seat a little more sedately. MAX starts the car and pulls away from the curb. Once in traffic, JORDAN speaks.

JORDAN
After you drop Woody at the apartment would you mind taking me to the morgue? I want to know exactly what they found.


WOODY
Can’t that wait? I think we need to talk.


JORDAN
(turns to WOODY)
Why? You don’t want to listen.


WOODY
I don’t want to lose my badge!


JORDAN
Is that all you can think about?


WOODY
(snorts)
That and going to jail for B&E and tampering with a murder scene.

He lays his head on the back of the seat.

WOODY (cont’d)
Twenty-four hours ago we were watching the sunrise over Mt. Kilimanjaro. Now I’ve got the memory of Cruz hijacking one of the biggest cases of my career, while making me his bitch, running on a constant loop in my brain.


JORDAN
(rolls her eyes)
He didn’t hijack that case. It was his long before you came to Boston.

MAX shifts uncomfortably in his seat, periodically looking in the rearview mirror. After a second he pulls over to the curb again.

MAX
It’s a wonder you two never killed each other.


MAX reaches around and pulls the envelope out of his back. He tosses it in JORDAN’S lap and settles more comfortably in his seat before pulling back into traffic.

WOODY sits and leans over the front seat to see the envelope.

WOODY
(groans)
Please tell me you didn’t take that from Fratelli’s room?


MAX
Okay, I won’t. The same way I won’t ask you why you were Detective Cruz’s bitch.


JORDAN
(excited)
Where’d you find this?


MAX
Let’s just say Fratelli wasn’t worried about heat in that palace he was living in.

JORDAN turns the envelope over in her hands. She looks almost afraid to open it.

WOODY
Aren’t you going to open it?


JORDAN
What if it’s another dead end?


MAX
There’s only one way to find out.

 

END OF ACT TWO

 

 

ACT THREE

 

13. INT. MORGUE- RECEPTION AREA - AFTERNOON

JORDAN, WOODY and MAX exit the elevator. The area is buzzing. Peripheral personnel are running around, some with gear, others rolling gurneys with bodies. PETER stands in the middle of the hallway with a clipboard, obviously directing traffic. SIDNEY, rolling a gurney, stops in front of PETER; he opens the flap of the body bag. Inside is a bloody corpse. PETER points toward Trace.

WOODY
(to JORDAN and MAX)
Is it too late to jump back on a plane?


WOODY and MAX hang back as JORDAN approaches PETER and SIDNEY. They both smile when they see her. Hugs all around.

Welcome Back!

SIDNEY
Welcome back! Heard you were flying back early.


JORDAN
A few days, give or take.


PETER
You look tanned and rested.

JORDAN takes note of the action going on around them.

JORDAN
You look busy.


PETER
It’s not that bad. Guy goes postal in the ER. (beat) It’s times like this I’m glad I’m out of the live patient business.


SIDNEY
Could’ve been worse. His gun jammed after six rounds.


JORDAN
(looking around)
Where’s Garret?


She taps a finger on PETER’S clipboard.

JORDAN (cont’d)
He’s usually the one out here barking orders.


PETER
His office, I think.

He points between himself and SIDNEY.

PETER (cont’d)
He left me in charge.


JORDAN
Really? Great! Congratulations. Your first mass casualty as ME in charge!

SIDNEY begins wheeling the gurney toward Trace.

SIDNEY
I still think it’s because there’s something going on.


JORDAN
Whaddaya mean?


PETER
(gestures towards GARRET’S office)
He’s not saying, but it has to do with a pick up on the North End. Bug just left.
 
JORDAN
North End?

Morgue personnel start to interrupt PETER and JORDAN. Distracted, PETER answers.

PETER
Yeah. A shooting at some flop house on Ambler.


JORDAN looks back at WOODY and MAX, but they are already heading towards GARRET’S office.

 

14. INT. GARRET’S OFFICE – CONTINUING.

JORDAN enters a few moments behind MAX and WOODY; GARRET is sitting at his desk. Nigel is there. He approaches JORDAN and gives her a hug.

NIGEL
Darling. I’m so sorry.


JORDAN
(hugs him tight)
Thanks, Nige.


GARRET
Welcome home.

GARRET shakes WOODY’S hand.

WOODY
Thanks.


GARRET
I hear the trip from the airport was eventful.

WOODY snorts. JORDAN looks like she wants to make a comment but turns her attention to GARRET instead.

JORDAN
(to GARRET)
Someone must have found out Nigel was digging.


MAX
We can’t dwell on that now. (holds out his hand) D’ya still have a copy of the notes.

GARRET opens his desk drawer and pulls out a file. He hands it to MAX.

GARRET
We’ve already been through it.


NIGEL
We were lucky to get the connection to Fratelli out of it. I’ve tried just about everything but Pollack was a clever cryptic. It’s just what looks like random words and numbers.

Both JORDAN and WOODY look over MAX’S shoulder.

WOODY
Maybe not that clever… just a good copier.


NIGEL
What do you mean? Do you understand the code?


WOODY
We just might have the key. Jor, where’s that notebook?

MAX chuckles as WOODY finally gets caught up in the mystery. JORDAN opens her bag and pulls out the envelope.

JORDAN
(smirks)
I thought you weren’t too busy saving your badge to notice what was in here.


WOODY dumps the contents of the envelope on GARRET’S desk. Inside is a small notebook, a stack of cash, some newspaper clips, a few shell casings, and a switchblade.

Contents of Envelope

NIGEL looks at the collection with bold interest.

NIGEL
Where’d you get this?


WOODY
You really don’t want to know. From the looks of it, it’s Fratelli’s business ledger. Jobs, payoffs, favors, a little blackmail….

They all gather round the desk as they spread the copy of Pollack’s notes and the note book.

WOODY
If the dates are right, he’s got records here that go back forty years.


JORDAN
(points to the notebook)
Look, here’s one of the words from JD’s notes… and here. And all these numbers match up.


NIGEL
Bloody hell, Pollack must’ve somehow unearthed this thing while Fratelli was serving time, and broke his codes.


WOODY
Something bothers me about this whole thing. (beat) It just doesn’t make any sense.


JORDAN
Of course it does. Fratelli was a freelance cleaner who worked for both sides. He kept cryptic records. Did you expect him to use Jackson Hewitt to do his accounting?


WOODY
Not that. Here’s this guy who’s got some serious dirt on some key players in the department. Yet, he quietly does time? Don’t you think he would have called in a few of these markers?


MAX
(quick to respond)
I’m sure he had his reasons.

WOODY picks up the stack of bills and begins to count.

WOODY
There’s less then a grand here. According to this ledger he should be rolling in the dough.


GARRET
A partner?


WOODY
No, I think Fratelli was paid just to be the window dressing. Someone else is the real go-to guy... even more than one.


GARRET
Do you think we’re looking at a fraternity of vigilante cops who used Fratelli as a front?


NIGEL
It’d fit the profile.

Everyone looks confused. They begin to speculate among themselves, except MAX who suddenly is digging through the pile of stuff, like he’s looking for something specific. He stops when he finds an article buried among the newspaper clippings. The article is highlighted with a picture of a younger MAX and a group of fellow beat officers. He picks it up and leans heavily on GARRET’S desk. After a moment he stealthily pockets the article.

JORDAN
(to MAX)
You said you knew the guy.


MAX
Heard of him.


WOODY
Do you at least know how was he contacted?


MAX
There was a place near the 23rd. A bar… A board, by the pay phone-


JORDAN
The 23rd? Wasn’t that the precinct you were attached to when Mom was killed? You used to meet up with Pete and the guys to play poker at some place after your shift-


MAX
(interrupts)
I think Hoyt has a point. We shouldn’t have searched Fratelli’s place. We need to just turn this all over and forget we ever saw it.


JORDAN
(narrowed eyes)
Why? Is there something you’re not telling us?


MAX
Nothing, sweetheart. (beat) I, um, gonna go see if there’s any coffee in the break room. I’ll be back.


MAX makes a quick exit. Instead of turning toward the break room, he goes the opposite direction toward the elevator.

Everybody Knows - Concrete Blonde

15. INT. HALLWAY OUTSIDE GARRET’S OFFICE - A FEW MINUTES LATER

WOODY is slipping out the office door and heading towards the break room. He rounds the corner, doesn’t see MAX in there and looks puzzled for a moment. The ding of the elevators down the end of the hall makes him turn and hurry for them. He punches the down button angrily and climbs onto the car, fuming as the doors close in front of him.

CUT TO:

16. INT. MORGUE LOBBY- CONTINUING

WOODY rushes off of the elevator, a man on a mission. He is scanning the throng of people around him casually; a six foot five Irishman shouldn’t be difficult to find.

He peers towards the front doors and begins to stride quickly towards the exit after someone we cannot see, but assume is MAX.

He reaches out and puts a hand on MAX’S shoulder and the older man turns around with a sigh. He looks very upset.

WOODY smirks and nods towards the doors.

WOODY
(sarcastically)
Let me guess. (beat) They’re outta coffee in the break room so you thought you’d just run down to the vendor outside… I’ll take a caramel latte.

MAX frowns as WOODY pulls him aside from the doors.

MAX
Let it go, kid. (beat) You don’t know what you’re dealin’ with here.

WOODY groans and rubs his eyes. He’s exhausted from vacation and the flight back. All he really wanted to do when he got back to Boston was pass out with JORDAN in his arms until he had to go back to work. Of course the Cavanaugh Family Players interrupted his plans. Again.

WOODY
No, see, that’s the thing, Max. I can’t let it go.

He looks towards the elevators and turns back to MAX, almost pleading.

WOODY (cont’d)
(passionately)
I am stupid in love with your daughter.

He pauses to run a hand through his hair and lowers his voice.

WOODY (cont’d)
(quietly)
I am going to marry her, build a life with her, a family… and… and I cannot have this hangin’ over our life together like some morbid-ass piñata just waiting to be cracked open at any time.


MAX looks at his feet and shakes his head. He opens and closes his mouth a few times but says nothing and so WOODY continues his tirade.

WOODY (cont’d)
I won’t let it go. I won’t let it go because she deserves to be happy. We deserve to be happy, just the same as any other couple.

WOODY stops finally and looks at MAX’S hands in the pockets of his light coat. He slowly realizes that MAX hasn’t taken them out since WOODY approached him.

WOODY (cont’d)
So I’m going to ask you one time, Max. (beat) What’d you take from that envelope?

MAX can’t help but show a little spark of pride for his soon-to-be-son-in-law’s sharp eye. He sighs again and takes his hands out of his pockets. In one hand is the article he pinched from the pile of items in the envelope.

WOODY
(puzzled)
What is that?

He takes it from MAX’S hand and looks at the old newspaper picture. It is fuzzy but he can still make out the writing under the picture that names MAX and VINNIE FRATELLI among others, as two of the people in the photo.

WOODY
(incredulous)
You did know him. (beat) Why would you lie about that, Max?

MAX doesn’t reply. WOODY turns and sees that JORDAN is standing just outside the elevator door, looking very pale and very angry.

JORDAN
Yeah, Max, why would you lie about that?

MAX turns almost as pale as JORDAN when he sees her.

MAX
Now, Jahdon, this isn’t what it looks-


JORDAN
(interrupting)
What it looks like, Dad, is you lied to me. Again! How the hell am I supposed to trust anyone, when my own father... every damn time I begin to believe….


She stops, breathing heavily with anger.

WOODY looks at MAX with ‘I told you so’ in his eyes.

WOODY
See where all the secrecy has gotten you?

There is a beat, as he shakes his head.

WOODY (cont’d)
How the hell did you stay out of jail all those years?


MAX
I did what I had to for my family. You don’t understand what it was like-


WOODY
No, I guess I don’t.

He looks at JORDAN, who’s ready to explode.

WOODY (cont’d)
I’ll wait out there while you two… chat.

He starts to leave, shoving the article back into MAX’S hand.

MAX
No, Woody, you stay. I got nothin’ to say-


WOODY
(interrupts forcefully)
No! You owe it to your daughter, Max. I’ll just get that caramel latte….

He steps outside to the sidewalk vendor, where he still has a good view of MAX and JORDAN.

JORDAN
(angry laughter)
You know what? This is what a battered wife feels like – every time she thinks he’s really sorry and he’s going to stop… Wham! Knife in her back!


MAX
Don’t say that, Jahdon, I only ever had your best interest-


JORDAN
(another angry laugh)
My best interest? When you just watched me struggle… all those years…?

She leans against the wall in frustration. Her voice drops.

JORDAN (cont’d)
How are you involved in this? The truth, Dad!


MAX
Honey… (beat) These people are very dangerous men.

He can’t make eye contact with her.

MAX (cont’d)
You don’t need to be involved-


JORDAN
(wearily shakes head)
I got a newsflash for ya, Dad - I’ve been involved since I saw Mom in a pool of blood.

There is an ominous pause – passers-by are giving odd glances, but JORDAN doesn’t even see them.

JORDAN (cont’d)
Tell me, or so help me....

MAX sighs and turns slightly, as he’s still unable to face her. He looks down at the article.

MAX
The truth? (sigh) The truth is that I did meet this guy. (beat) It was tough on the force back then. If you needed something done… well… there were people who could do things.

He folds up the paper, then unfolds it again.

MAX (cont’d)
I’m not proud of everything in my past, and Fratelli was… let’s say he’s someone I was trying not to remember.

MAX finally faces her, but reluctantly. She’s still leaning against the wall, looking dubious. He’s been lying for so many years that she doubts he is capable of speaking truth.

MAX (cont’d)
The truth? (another sigh) Me and the boys, we… Jahdon?


MAX can’t reach her in time; JORDAN slides to the floor, in a faint.

 

END OF ACT THREE

 

 

ACT FOUR




17. INT. MORGUE LOBBY – DAY

LILY enters the lobby. The elevator doors open. MAX and WOODY exit the car, supporting JORDAN, who looks weak, but is trying to wriggle free of their grasp.

JORDAN
Just let me… I’m not completely helpless!

LILY looks up to see the men with their arms around her; both look concerned.

LILY
Jordan? What’s wrong?


WOODY
She fainted.


JORDAN
I did not faint. I just… got a little dizzy and… thought I should sit down.


MAX
Jahdon, you fainted.


LILY
(to MAX and WOODY)
Over here.

LILY and the men guide her onto the lobby sofa.

WOODY
Easy does it, Jordan. Just take a deep breath.


JORDAN
What is this? “Treat Jordan Like an Invalid Day?” If you start talking about me like I’m not here, I’m walking.


MAX
We’re just worried about you, sweetheart.


WOODY
(carefully)
Jordan… do you want me to call Dr. Sanchez?


JORDAN
(angry)
No! No! It’s not… that! What, are you going to throw that at me every time I so much as sneeze?


WOODY
Jordan…


JORDAN
I just flew halfway around the world, all right? Cut me some slack. Time change… jet lag… low blood sugar.


LILY
Low blood sugar… there’s some donuts in the break room. You should-


JORDAN
Stop! Okay? Just stop. I… can’t breathe with you all hovering! I don’t need donuts, I need-


JORDAN suddenly looks a little green around the gills. She stands and hurries out of the lobby and down the hall.

 

18. INT. MORGUE – LADIES’ TOILET – DAY

Wonderland - Collapsis

Typical institutional bathroom. A couple of stalls, a row of sinks. We hear coughing, sounds of slight moaning. LILY enters, looking very concerned.

LILY
Jordan? Are you in here?

We hear the flush of the toilet, and JORDAN exits one of the stalls, looking pale and sweaty. She doesn’t acknowledge LILY but stumbles to the sink. Washes hands, splashes water on her face.


LILY (cont’d.)
It’s not just the time change or jetlag. You’re sick, Jordan.
JORDAN
I’m fine, really… just some… bug… or maybe the airplane food’s coming back to haunt me.

JORDAN’S trying to make light of it, but not succeeding. She grips the sides of the sink and shuts her eyes.

LILY
Are you sure that’s all it is?


JORDAN
Yes, Lily. I’m fine.


LILY
All right. But you need something to settle your stomach. Some dry toast or chicken broth or-

JORDAN presses on hand to her mouth and waves LILY off with the other.

JORDAN
No, no… really. Food kind of… yeah, not a good idea….


LILY
(smiling warmly)
I remember when I was pregnant with Maddie, I felt nauseous every time someone even mentioned….

LILY’S face changes, and JORDAN looks furtively away.

LILY (cont’d)
Jordan, are you…?

JORDAN only smiles weakly and shrugs. LILY, being LILY, throws her arms around JORDAN.

LILY (cont’d)
Oh, Jordan, I’m so happy for you! That’s wonderful!

LILY holds JORDAN at arm’s length. JORDAN is teary and dark-eyed.

LILY (cont’d)
That’s not wonderful?


JORDAN
(trying to laugh through tears)
Some doctor, huh? I do know what causes these things. Shoulda known to use a back-up when I was taking those antibiotics. Not exactly the best time for a baby.


LILY
Jordan, if everyone waited for the “best time” to have a baby, the human race would be extinct by now. (big, “Lily” smile) You and Woody have finally found each other. You’re getting married.

LILY takes a step back and assesses JORDAN’S still flat waistline.

LILY (cont’d)
So what if you have to rethink your wedding dress a little?


JORDAN
(finding it hard to say the words)
That’s not what I mean! Part of me… I want a baby. But maybe… maybe I don’t have any business having children….


LILY
Don’t say that.

Aren't you excited?

JORDAN
My mother… she tried to drown James in the bathtub. She was sick. What if I… what if I… ?


LILY
They still haven’t proven a hereditary link with post-partum psychosis or depression, Jordan. And even if there were… it can be monitored, treated. You know that.


JORDAN
(starting to break up)
Every day… every day I wake up and ask myself, “Is this it? Is today the day the tumor comes back?” How can I bring a life into the world with that sword hanging over my head? It’s not fair to Woody, and it’s not fair… to a baby.


LILY
What does Woody think?


JORDAN
He doesn’t know. Hell, I’m not even 100% sure. Not like there’s a Rite-Aid on every corner in Africa.


LILY
Oh, Jordan… with all that’s going on, you need to be sure. And you need to tell Woody. There are no guarantees in life


JORDAN
I know… working in a place like this….

She shakes her head.

LILY
Woody loves you. And you love him. And when he finds out about this baby, he’s gonna be… over the moon.

JORDAN snorts lightly.

LILY (cont’d)
You should see the way his face lights up when he talks about you and starting a family. He’s going to want that with you whether you’ve got five good years together or fifty.


JORDAN smiles weakly. LILY puts her arms around her, and we can see JORDAN’S face is a mix of emotions. Anxiety, fear, and love.

CUT TO:

 

17. INT. JORDAN’S OFFICE - SAME TIME

WOODY is pacing the floor in front of the door and MAX stands leaning against a corner of Jordan’s desk.. Slightly amused, he is watching WOODY’S frantic pacing.

MAX
Easy, kid, you’re gonna wear a hole through the floor.

WOODY tosses him a glare and runs a hand through his hair as he stops at the window.

WOODY
(worried)
It’s the tumor… it could be the tumor… it’s gotta be.

MAX shakes his head.

MAX
You don’t know that; it might not be.

WOODY turns quickly and glares at MAX.

WOODY
(angrily)
How the hell would you know? (pause) You weren’t there for her when she was going through that… when she had surgery.


MAX stands tall and steps toward WOODY menacingly. His voice is a whisper as he looks WOODY right in the eye.

Big Daddy

MAX
The way I hear it, neither were you.

It is WOODY’S turn to jump to action. He pops straight up and gets right in MAX’S face.

WOODY
(deceptively calm)
I was there when she woke up.

He steps closer to MAX and looks the older man in the eye evenly.

WOODY (cont’d)
(insistent)
Don’t think for a second that I don’t know where my priorities lie. (beat) Your daughter is the most important person in the world to me and when it looked like I might lose her… that scared the hell outta me.

He looks away but we can see his body is shaking with anger; and maybe a little fear. MAX notices WOODY’S hand is shaking and he reaches out to put a hand on the younger man’s shoulder. WOODY starts to pull back until he realizes MAX is only comforting him.

MAX
I’m worried about her too, Woody. (beat) Whatever you may think of me, I am still her father.

WOODY nods and looks back up into MAX’S eyes.

WOODY
And I understand that. I just want to make sure that you understand that I’m in this for the long haul. I’m going to marry her. (beat) It’s time to pass the torch, Max.

MAX sighs and looks toward the door. JORDAN had never been in a really serious relationship before WOODY and he never had to think about another man taking his place in her heart before. It hurts, but he can understand where WOODY’S coming from first hand. His marriage to JORDAN’S mother may have been rife with problems, but he loved and stood by her through them all.

MAX
This whole… playin’ second banana to you is really gonna chap my ass, you know that?

He smiles slightly and so does WOODY.

WOODY
(smiling)
Yes, sir.

MAX pats him on the shoulder gently, his face more serious again.

MAX
Good. (beat) Now, you just got back from vacation, you should be relaxed not all tense worryin’ about Jahdon. She’s fine as far as we know and that’s what I’m gonna believe until I hear otherwise and you should do the same.

WOODY nods and takes a deep breath.

WOODY
You’re right. I’ve gotta just chill. (laughs) You know Jordan, if we hover she’ll just get pissed off and… rebel.

MAX smiles.

MAX
‘Specially if she hears you talkin’ like that.




18. INT. MORGUE FREIGHT ELEVATOR DOORS – CONTINUING

The freight elevator opens, and an orderly pushes a gurney with a body bag. BUG walks over, checks the file and signs.

CUT TO:

19. INT. CONFERENCE ROOM – CONTINUING

All the morgue staff is there. GARRET wades through them to stand at the head of the table.

GARRET
Alright, people.

There is a beat while everyone stops talking.

GARRET (cont’d)
Fratelli came in a few minutes ago and-


JORDAN
I’ll get changed-


GARRET
No, Jordan. Not this time.

He catches NIGEL’S eye and gestures toward the door with a nod. NIGEL nods in understanding and blocks the door. JORDAN looks from NIGEL to GARRET, highly annoyed.

JORDAN
(warning look in her eyes)
Garret! I have to do this one.


GARRET
Jordan, it is with deepest love I say this: stay the hell away from that body. (looks around) And that goes for anyone whose name isn’t Kate Switzer.


JORDAN
But-


GARRET
Not. This. Time. Kate’s got it. She has the fewest connections with the case. And that means you don’t even stand in the doorway. Got it Jordan?


JORDAN
I-


GARRET
(slowly)
Not even looking through the window.


JORDAN
You can’t expect-

NIGEL takes JORDAN gently by the shoulders.

NIGEL
Let Kate do her job, luv. She’s bloody good at it.

KATE smiles quietly to herself at the compliment. This rocks JORDAN a little. NIGEL’S usually her partner in crime.

JORDAN
(slowly)
But… I….

She looks at the stern faces around her and makes eye contact with Lily, who glances at her flat stomach and widens her eyes meaningfully.

LILY
(pointedly)
You are tired. Go home, get some rest.


JORDAN
I… give up.

There is another pause as she looks back at LILY.

JORDAN
I’ll go find Dad – he’s probably doing something illegal….


GARRET
Good idea.


KATE
(to JORDAN)
I’ll call you the second I’m finished. Providing you and your father aren’t in jail.


JORDAN
Don’t worry. I’d get one phone call… (looks right at KATE) Be careful, okay?


KATE
I won’t be careful; I’ll be perfect.

An understanding look passes between them. JORDAN nods; NIGEL steps aside and pats her shoulder as she leaves. Garret catches his eye and nods for him to follow her.

GARRET
Lily, make sure she actually stays away from Autopsy, will you?


LILY nods.

 

END OF ACT FOUR

 

 

ACT FIVE

 

20. INT. AUTOPSY ONE – ABOUT AN HOUR LATER

KATE is in scrubs, masked, gloved and working on FRATELLI’S body. She looks up briefly as NIGEL enters, also in scrubs and full kit. His face is not happy. He gives her a questioning look and she replies with a minute shake of her head.

GARRET comes in and looks at the two of them.

GARRET
Any news?

NIGEL and KATE exchange a look.

KATE
None of it good.

GARRET takes a deep breath and then rubs the lower half of his face wearily.

GARRET
Better tell me what you’ve got. Cruz is on his way over. (beat) Maybe I can… spin things.

Neither of them says anything, both waiting for the other to start.

GARRET
Someone.


KATE
Jordan was right about time of death.

This falls like a lead balloon.

GARRET
And Max was late meeting her and Woody at the airport. Great.


KATE
It gets worse. (beat) The bullet lodged in his spine. Forty caliber. I took a quick look under the scope.


NIGEL
Glock?


KATE
I’m not a ballistics expert, but the bands and grooves looked like it, yeah.


GARRET
Christ. Standard issue sidearm for BPD since the early 90s.


NIGEL
There’s more.

GARRET looks at NIGEL with a “Go ahead” look.

NIGEL (cont’d)
I found a few hairs on the body. (looks down) All I know so far is they’re male.


GARRET
And white and short, right?


NIGEL
(glum)
And that.

There is a heavy moment of silence. Finally, GARRET nods, for lack of anything else to do.

GARRET
I’d better see if I can head off Detective Cruz. (beat) Find something, Kate. Anything.


KATE
(concerned)
Garret, I can’t-


GARRET
I’m not asking you to. Just… Just keep looking. I can’t believe Max would do this.

GARRET exits. KATE watches the door for a moment and then looks at NIGEL.

KATE
What do you think?


NIGEL
I think some days I hate this job.




21. INT. TRACE EVIDENCE- SAME TIME AS AUTOPSY

JORDAN is sitting on a wheeled stool, staring at the wall. Her expression is unreadable except to say that she looks tense. We can only see from her shoulders up and she looks down every so often at one arm but we can’t yet see what she’s looking at.

The camera slowly pans back until we see her pull something back from her arm and set it down in front of her. She quickly picks something else up and we see her place the object in the crook of her arm and close it quickly. She then picks up the original object on the table in front of her and holds it up.

JORDAN
(quietly)
Alright, Cavanaugh, let’s see if the rabbit’s dead.


She narrows her eyes at the little vial of blood she is holding up. She takes it over to the rack and places a sticker on it that is clearly marked Jane Doe.

Jane Doe

 

22. INT. AUTOPSY ONE – LATER

Season of the Witch - Donovan

KATE is still working on FRATELLI. The shot is tight on her face. Her brows knit down and her eyes narrow above the mask. She leans in closer to the body. The shot begins to pull out, slowly. We see her reach for another instrument. As the shot continues to widen, KATE reaches into the incision she’s made with the instrument she picked up. She lifts something out and is peering at it when NIGEL comes back in. He immediately crosses to look at what KATE is holding.

NIGEL
What’s that?


KATE
(brief glance at him)
The key to the whole mystery?


NIGEL looks at her – did KATE just make a joke? He steps closer and takes the instrument from her so he can get a good, close look at the object. It is, in fact, a key.

Autopsy

KATE (cont’d)
It was in his stomach.


NIGEL
Fratelli’s final meal?


KATE
I’d prefer a nice Maine lobster, myself.


NIGEL
Who wouldn’t? (beat) What kind of bloke swallows a key?


KATE
The scared kind.


NIGEL
(eyebrow arched)
Must be bloody important.

He gestures to the key.

NIGEL (cont’d)
May I?

KATE hands him the forceps with the key in its pincers. She watches as NIGEL studies the key.

KATE
Any idea what it might fit?


NIGEL
Mmmmm… not as yet. (smiles at her) But I’ll figure it out.


KATE
I’m sure you will. (beat) I am going to have to tell Cruz about-


There is a commotion outside. NIGEL drops the key in an evidence bag as KATE ungloves and they both go to see what’s going on.

 

23. MORGUE LADIES’ ROOM – SAME TIME

We see Jordan in the bathroom mirror at the morgue. She’s looking at the results from the blood test, blinking a few times. She turns to the garbage. She pauses as it occurs to her questions might be raised if the results are found, and she puts it in her back pocket. She splashes water on her face, sighs at herself in the mirror.

JORDAN
(to reflection)
So. How do we feel about this one? (reflection shakes her head) Yeah, me neither.


JORDAN exits the bathroom.

 

24. INT. MORGUE HALLWAY – CONTINUING

She runs into GARRET.

GARRET
Hey, careful!


JORDAN
Sorry – I was just looking for Lily – have you seen her?


GARRET
Not for a while. Maybe she’s having coffee.

Bows his head a little as he looks at her pointedly.

GARRET (cont’d)
You look pale. What’s going on?


JORDAN
Jeez, will everyone calm down? I’m fine.


GARRET
I’ve heard that one before.


JORDAN
Really, I’m healthy. (beat) I would tell you if I weren’t.


GARRET
(eyes crinkle thoughtfully)
You’ve grown a lot, but if you thought you could get away with it….


JORDAN
(smiles)
You’re probably right. (changes subject) I gotta find Lily, she wanted this test result… for… a family.


GARRET
(wry smile)
I’m watching you.

He enters his office.

JORDAN
(smiles to herself).
I know.


She’s a little surprised that she’s okay with this, too.

Jordan walks toward the break room. She sees LILY in the hall, talking to MATT SEELY.

JORDAN
Hey, Lily, I… uh… got the results from that test…

Notices MATT and LILY are both looking sombre.

JORDAN
What? (beat) What now!


SEELY
Hey, Jordan. Uh… you haven’t seen your father, have you?


JORDAN
Not for a while – (‘not again’ look) – what is it this time?


LILY
(deep breath).
Jordan… your dad... everyone’s looking for him.


MAX
(steps around the corner)
Who’s ‘everyone’?


JORDAN
(to SEELY)
No. Un uh. No way.

SEELY throws a warning glare at JORDAN and raises his hands in self defense.

SEELY
It’s not even my case, I’m just following orders. (beat, his eyes soften.) I won’t use cuffs. (turns to MAX) Max Cavanaugh, you are under arrest for the murder….

Max, you're under arrest

 

CUT TO BLACK

END


TO BE CONTINUED…

 

Next time on Crossing Jordan:

"Mommy Dearest - Part 2"



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