Teaser Act 1 Act 2 Act 3 Act 4 Act 5
Episode #VS733


Mommy Dearest - Part Two

Crossing Jordan Virtual Season 7

“Mommy Dearest - Part Two”

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

Art by
Art Gal, 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
Matt Seely
Emy
Teenaged Boy
Emily Cavanaugh
Blackie Conroy
Murphy
Det. Martin Cruz

SET LIST

INTERIORS
MORGUE
   GARRET’S OFFICE
   RECEPTION AREA
   AUTOPSY ONE
   JORDAN’S OFFICE
   HALLWAY
   TRACE
   NIGEL’S LAB
   BREAK ROOM


PRECINCT INTERROGATION ROOM

BUS STATION
   LOBBY
   LOCKER AREA

MAX CAVANAUGH’S BOSTON HOUSE
   KITCHEN
   FRONT ENTRYWAY

 

EXTERIORS
SIDEWALK OUTSIDE BUS STATION

OUTSIDE MAX CAVANAUGH’S HOUSE

 

TEASER

 

1. INT. MORGUE HALLWAY – CONTINUING FROM EPISODE 32

Mercy of the Fallen - Dar Williams

JORDAN, SEELY, MAX and LILY are exactly as we left them. We see SEELY leading MAX away by the arm, no force being used. It looks as if they both are just casually walking down the hall – if it weren’t for the fact that MAX’S face is a shade paler than normal. JORDAN is obviously agitated and LILY is trying to calm her down.

JORDAN follows after SEELY and MAX.

JORDAN
Hey! You can’t do that!

SEELY doesn’t even dare to turn around; he keeps walking with MAX.

SEELY
Jordan, like I said, I’m not on this case. I’m just following orders.


MAX
Jah-don, it’s fine, sweetheart, just stay outta this. I’ll be out in a heartbeat….

JORDAN is still agitated and is quickly following MAX and SEELY to the elevators. Both the men get inside and JORDAN holds the door open, nearly yelling in SEELY’S face.

JORDAN
But there’s no forensic evidence!

SEELY gives her a sympathetic look, eyes soft.

SEELY
I’m sorry, Jordan. I have to do this.

SEELY glances over at MAX, who nods to him imperceptibly.

MAX
Let the doors go, Jahdon.


JORDAN
But, Dad….


MAX
(more firmly)
Let. The. Doors. Go.

JORDAN reluctantly lets her hand slip off the sides of the elevator doors and she maintains eye contact with her father until the doors shut completely and they are lost from view. She turns slowly, one arm across her stomach, her face pale, looking as if she may pass out again. LILY is now with her and is trying to comfort her.

LILY
Jordan… try not to get too upset. I’m sure it’s just a screw-up on the part of the DA.

LILY looks JORDAN in the eyes and JORDAN catches her drift. She can’t get sick again right now. She tamps down the grief and turns it to anger as only JORDAN can.

JORDAN
(riled up again)
How could they? There’s no evidence… They want proof, I’ll show them proof….


She now is walking rapidly down the hallway.

 

2. INT. AUTOPSY ONE – CONTINUING

JORDAN bursts into the autopsy room where FRATELLI’S body is.

KATE is still in there with the body. She’s obviously startled and not happy to see JORDAN.

KATE
(sharply)
Hey! You’re not supposed to be here!


JORDAN pulls up short, breathing deeply.

Trust Me

JORDAN
Seely just arrested my father for Fratelli’s murder. (another deep breath) Just tell me what you’ve got.


KATE
(sympathetic, but still firm)
You know I can’t do that.

JORDAN pauses for a second before continuing with pleading in her voice.

JORDAN
Please. I need something….


KATE
Jordan….

KATE takes her by the arm and leads her to the door.

KATE (cont’d)
… you know I can’t.

KATE looks JORDAN in the eyes.

KATE (cont’d)
You’re just going to have to do something you’ve never done before.


JORDAN
What?


KATE
(tight smile)
Trust other people. (beat) Trust me.

 

END OF TEASER

Crossing Jordan Theme

 

 

ACT ONE



3. INT. BPD INTERROGATION ROOM – DAY

MAX is sitting in the interrogation room. SEELY enters wearily. His arm is still in a sling from where he was shot by JAMES a couple of weeks earlier. He puts a file onto the table and drops into the chair. It’s clear he doesn’t want to be doing this.

Nothin' to hide

SEELY
We can wait for a lawyer, Max.


MAX
I told you. I got nothing to hide.


SEELY
Come on, Max, you were a cop. You know you wouldn’t be sitting here if you didn’t have something to hide.


MAX
I didn’t kill Fratelli. You got no evidence.


SEELY
Oh? How ‘bout this? You were almost a half hour late picking up Jordan and Woody from the airport. Where were you?


MAX
I told you. Traffic. Must’ve been an accident. You know how it is.


SEELY
Except we have no reported accidents on your route to the airport, and according to the highway department, traffic was running normally without major delays all day.


MAX
I didn’t kill Fratelli! Why would I do that? I want the truth to come out about my wife’s murder.

SEELY gestures to his shoulder.

SEELY
I know all about the Cavanaugh Family and their relationship with the truth. I don’t know if you killed Fratelli or not, and frankly, I’m not sure I care. But no thanks to you, I’d be singing with the angels now if your stepson had aimed a few inches to the left, so forgive me if I’m not inclined to swallow your version of the truth whole.


MAX
I know I’ve screwed things up, but I didn’t kill Fratelli. Look… I got a little lost on the way to the airport, all right? I’m getting older, don’t remember the old neighborhood the way I used to. I was… embarrassed.


SEELY
So, you didn’t stop to see Fratelli on your way to pick up your daughter?


MAX
No!


SEELY
Huh.


MAX
Look, you got something to say to me, then say it, Detective.


SEELY
It’s just the cleaning lady said she heard Fratelli arguing with someone about the time of the murder. An older man. A local. Accent gave him away. So, I’m still wondering if you Cavanaughs just define “truth” a little more loosely than the rest of us.




4. INT. MORGUE HALLWAY – DAY

JORDAN is moving down the hall. She is a bit frantic, looking around for something, anyone. Just then, KATE exits the autopsy suite, but she doesn’t see JORDAN. JORDAN moves aside to try to hide from KATE. She sees KATE has a folder in her hand. JORDAN watches as KATE moves to the copy machine and puts the folder on top of it, ready to make copies. JORDAN watches with interest. EMY enters.

EMY
Excuse me, Dr. Switzer? You have a call on line two. It’s “The Pampered Pooch.” They want to re-schedule Binky’s groomer appointment.


KATE
What? But - But he gets… cranky without consistent grooming. (exasperated huff) All right, I’ll take it in my office.


EMY and KATE hurry off. JORDAN dashes forward and quickly makes copies of the folder, leaving the original folder just where she found it.

 

5. INT. MORGUE - JORDAN’S OFFICE – A FEW MINUTES LATER

Dirty Wake - Collapsis

JORDAN enters her office with the papers. She shuts the door and runs to her desk. With a deep breath, she spreads the papers out in front of her. She is smiling confidently, convinced that because she is Jordan, she’ll be able to solve this thing single-handedly. Underneath, there is a nervousness. The stakes are high this time, maybe the highest they’ve ever been.

JORDAN
All right, let’s see what we got. Vincent Fratelli, GSW… ballistics report…

She picks up a paper and scans it. Her brows draw down into a frown.

JORDAN (cont’d)
Police issue…?

JORDAN puts the paper down. Her mind is whirring. Police issue gun; MAX was late. Maybe it’s all starting to fit into place. Tears pop into her eyes.

JORDAN (cont’d)
No, Dad….

There’s a knock on her door. She quickly shuffles the papers and sticks them in a drawer, wiping her eyes.

JORDAN (cont’d)
Come in.

LILY opens the door and enters with a soft smile.

LILY
You feeling any better?


JORDAN
(in a rush)
Yeah, yeah. Great. Mind over matter, right?

LILY nods. There is a beat.

LILY
I was wondering if you’d had the chance to run that test yet?


JORDAN
Oh… no. I’ve been going crazy trying to catch up on these autopsy reports. I’ll do it. Promise.

LILY frowns and is about to speak when KATE appears in the background.

KATE
There you are. You remember I said how you needed to trust me?


JORDAN
Yeah…?


KATE
You need to see this.

 

END OF ACT ONE

 

 

ACT TWO


6. INT. MORGUE - TRACE - CONTINUING

All we see is an evidence bag. The camera pulls back a bit and we see the key KATE found while autopsying FRATELLI and it’s in the evidence bag. The camera pulls back more, and we see KATE and JORDAN looking up at the key in the evidence bag as Kate holds it up.

JORDAN
What the hell…?


KATE
(slowly)
I I you could trust me.


JORDAN
(glances at Kate)
I know what you said.

JORDAN grabs the evidence bag and peers closely at it.

JORDAN (cont’d)
And again - what the hell…?


KATE
It’s a key. People use them to open locks.


JORDAN
(distractedly)
Sarcasm will get you nowhere.


KATE
I don’t have to get anywhere.

There is a pause as she glances at JORDAN.

KATE (cont’d)
So…?


JORDAN
… what?


KATE
When do we start the detective work? That’s how it goes around here, right? We play some sort of whodunit game, if I understand Nigel.


JORDAN
(ironic smile)
Welcome to the Dark Side, Kate.

They exchange a glance.

JORDAN (cont’d)
So… it’s a key.


KATE
I believe we established that. Now, why’s it there?


JORDAN
It’s there… because it’s important.


KATE
Obviously.


JORDAN
Check out the size… that’s not a door key.


KATE
No. Padlock?


JORDAN
It doesn’t look old. If this had something to do with my mother’s case it would be old.


KATE
Oddly enough, not everything in the world is about your family. (beat) Why would he swallow a key?


JORDAN
He thought he could hide it.


KATE
If the killer saw him swallow it, he’d have – dug it out, or something.


JORDAN
You’d think so. Maybe the key had to be hidden from someone else.


KATE
Fratelli clearly didn’t know he was in danger.

NIGEL swings through the doors. He glances at the key briefly and keeps walking through the room casually.

NIGEL
Looks like our Mr. Fratelli swallowed a key to a bus station locker. Those things have a wide handle, not easy to ingest. Took some time, I’d say. (beat) Based on where he was standing when he was shot, he knew the killer, then, but still had time to swallow… it….

He stops walking as he sees KATE and JORDAN are looking at him with annoyed amazement.

NIGEL
What? Have I got something on my face…?


KATE
(To JORDAN)
How does he do that? I mean, he saw the key. Once.


JORDAN
We aren’t sure.




7. INT. MORGUE – NIGEL’S LAB - CONTINUING

Hey Man, Nice Shot - Filter

NIGEL and JORDAN are sitting by NIGEL’S computer. NIGEL’S fingers are flying over the keyboard.

NIGEL
Right. Fratelli is released. He gets on the bus. Takes a room at the Halcyon Arms.


JORDAN
Maybe we should invite Kate to be here? (quizzical look from NIGEL) We could play the game.

NIGEL chuckles a bit and nods.

NIGEL
I’d say we’ve found sides to that woman she herself never knew existed.


JORDAN
(eyebrow arched)
Some of us have more sides than others. (beat) So… Fratelli checks in at the Halcyon Arms. Then what?


NIGEL
(back to business)
Well, we have a few receipts.

He glances down at papers in a file.

NIGEL (cont’d)
He ate at a restaurant of questionable hygiene. There are a few drinks at a bar of questionable repute. Nothing really riveting here.


JORDAN
Bank accounts…?


NIGEL
None. Strictly cash. Income…

He clicks at the computer keyboard.

NIGEL (cont’d)
… all I can find in the way of employment is a flyer delivery scheme.


JORDAN
Parole officer?


NIGEL
Way ahead of you, Luv.

He clicks the keyboard again and then shakes his head.

NIGEL (cont’d)
Didn’t miss any appointments.


JORDAN
Great. A model citizen. (beat) What’re we missing?

More frustrated, she slaps the desk, hard.

NIGEL
Patience, my dear… (clicking on keyboard) We’ve got a security camera across the street from his humble abode, at an ATM. Here, the first day he’s out of the slammer. He leaves, and it’s not for his job… (checks the file) …no parole appointment…

He leans in and looks carefully at the screen.

NIGEL (cont’d)
Look, he’s carrying something. Hard to tell what it is from this angle….


JORDAN
A box? An envelope? Hell, it could be a baby blanket from that picture.


NIGEL
(not listening)
Hmmm, heading east. Stopping a cab….

He pauses and leans even closer to the screen. He sits up, tapping at the keyboard again. We see the screen: numbers on the cab are coming clearly into view.

JORDAN
Hey, the number’s there!

NIGEL is ahead of her, already on the phone.

NIGEL
Yeah, Chris! (pause) Lovely, you should have seen the frock… (pause) No, I told you, it was puce! (laughs) Listen, I’ve got a job for you. If I email you the time and place of a pickup and the cab number… (pause) You’ve always been able to read my mind.

There is a pause as NIGEL, phone cradled in his shoulder, emails the information.

NIGEL (cont’d)
What would I do without you? (pause) What? (mock indignation) You’re nothing without my other-worldly creative spirit and you know it!

There is a longer pause. Jordan stands up, walks behind him and watches the screen over his shoulder. One gets the feeling she’s revving up her engines.

NIGEL
Right! (his computer bleeps) Got it – my turn to owe you, Luv. Let me know when the next order comes in, I’ve got some lovely taffeta just waiting for one of your ladies….

He begins tapping madly at keyboard.

NIGEL (cont’d)
OK. Here’s the address Fratelli was dropped at. It’s quite a distance from all the other places we’ve tracked him to… and… yes, it’s a bus station!

He stands up, spins around, runs over to the printer and grabs the printed address.

NIGEL
So, Fratelli is released. Within thirty six hours he’s at a bus station… after his untimely death we dig a locker key from his duodenum…

He flips through a huge book.

NIGEL (cont’d)
… aaaand, yes, the number from that key is consistent with the locker numbers in that particular…

He finally pauses, looking up to notice that JORDAN’S gone, the door swinging shut.

NIGEL (cont’d)
… station….

He sighs and slowly closes the book.

NIGEL (cont’d)
Well, this can’t be good.




8. INT. BUS STATION LOBBY - DAY

JORDAN enters from the street, looks at the key in her hand and looks around at the various signs. We track her across the crowded lobby, heading toward a bank of lockers.

9. INT. BUS STATION LOCKER AREA - CONTINUING

JORDAN waits while a large man retrieves a suitcase from a locker near the one she’s focused on. She steps up to the locker, opens it and pulls out a fat manila envelope. She can’t resist peeking. She pulls out a few pages, and leans against the locker, instantly engrossed.

Answers in an Envelope

 

10. EXT. SIDEWALK - CONTINUING

WOODY is walking down the street, talking on his cell. He’s looking around for an address.

WOODY
OK, I’m here. Just a sec, Nige.


He opens a large door and enters.

 

11. INT. BUS STATION LOBBY – CONTINUING

We’re inside the bus station.

12. INT. INDETERMINATE (MIGHT STILL BE A BUS STATION) – CONTINUING

JORDAN is flipping the page over, still reading with great focus.

13. BUS STATION LOCKER - CONTINUING

WOODY, still on the phone, is glancing around.

WOODY
What’s the number again?

There is a beat and his face falls.


WOODY (cont’d)
Whoa, there she is.

We see a long-haired brunette leaving the station quickly. WOODY turns and follows through the crowd. He puts his phone against his chest before he calls out.


WOODY (cont’d)
Jordan! Jordan, come on… excuse me – pardon me, ma’am. (into phone) I’ve almost got her. I’ll call you in a minute, Nige.

He closes his phone before he holds the door for a woman pushing a stroller.



14. EXT. SIDEWALK – CONTINUING

WOODY runs a few steps to catch up with JORDAN.
WOODY (cont’d)
Jordan!


He touches her shoulder, she turns. It’s not JORDAN; it’s a teenaged boy with absurdly long hair.

‘JORDAN’
Dude!

He brushes WOODY’S hand from his shoulder.

‘JORDAN’ (cont’d)
What, what? I didn’t do nothin’!

 

WOODY
(stops in his tracks)
Oh, jeez – I’m sorry… uh, ‘dude.’

He hurries back to the station. JORDAN may have seen him and he knows she would be gone by now if she did. He hits speed dial on his phone.

WOODY
Yeah, Nige, false alarm. Wasn’t her.

 

15. INT. BUS STATION LOBBY - CONTINUING

WOODY passes through door, listening to the phone.

WOODY (cont’d)
Number – ten-twenty-three?

He looks around.

WOODY (cont’d)
Right.


He heads in the direction of the locker.

 

16. INT. CLOSED LOCKER - CONTINUING

The shot is from inside the locker. The key’s hanging from the door and as it opens we see WOODY’S head. The locker is empty.

Cut to exterior of locker. WOODY, looking around, slams the locker door closed.

WOODY (cont’d)
(into phone)
She’s gone.


He closes phone and leans against the locker where JORDAN was moments before.

 

END OF ACT TWO

 

 

ACT THREE

 

17. INT. MAX’S HOUSE – DUSK

Hold on to Nothing - David Gray

JORDAN is sitting at the kitchen table in MAX’S Boston house. The kitchen is tidy, but there is a thin film of dust over everything. On the table are papers from the envelope that JORDAN took from the locker. Some are scattered about; a few have even fallen, disregarded, to the floor. Another group, however, is in two neat stacks. One is face down, telling us JORDAN has read those; the second is face up and it’s on these that she is concentrating. Her face is pale and her eyes red-rimmed. As she concentrates, she wipes a hand across her eyes. This is our JORDAN – determined to find the truth and more so, determined to face it, whatever it may be. She is not giving in – not even to the tears to which she is entitled.

Why?

JORDAN
Oh, Dad. Why…? Why all of this?

She flips another page.

JORDAN (cont’d)
And why didn’t you just tell me?


She stands up and goes to one of the cupboards. Opening it, she finds a bottle of Scotch still sealed. She tears the seal, gets a glass from another cupboard and pours herself a measure of alcohol. She takes it and sits back down. She holds the glass in one hand and flips another page with the other. Her eyes well up with tears she can’t stop. She brushes them away and then looks at the glass of Scotch.

The shot pushes in on the amber liquid until it fills the screen. As the shot pulls back out, the world is tinted that amber color and we see a series of moments from JORDAN’S life. We start with her as a little girl, making toast for her mother and slowly fade into the same little girl playing under the tree at the sanitarium. As that fades, we move to the moment JORDAN comes home to find her mother dead and her father under suspicion. We hear her calling for her father and see MAX trying to reach her. She breaks free of the officer holding her and is in his arms, but the pacing of the shots picks up and we see her seated next to him on the steps to their house. MAX looks desolate and we hear him, as though from a distance, telling the pre-teen JORDAN that he’s sad because he locked himself out. Still moving at a faster clip, we watch the close relationship become strained at times, spiraling through MAX smiling at her high school graduation, an argument in college, the time in med school when she nearly died of the overdose, to a letter from her to her father the first time she left Boston. The pacing accelerates again and we see her return, her visit – with MAX – to EMILY’S grave, moments at the Pogue. The pacing is so fast now that much of it is an amber blur when we come to a stunning halt: JORDAN and MAX on the roof at the Morgue, having clam chowder. We hear MAX’S words clearly - You’re still my daughter and I love you.

Amber Memories

The amber filter is whisked down and we are looking into JORDAN’S face again. She is no longer looking through the Scotch in the glass. It is at her lips; she’s ready to take a sip.

JORDAN (cont’d)
Geez, Dad. I would’ve forgiven you.




18. INT. GARRET’S OFFICE – DUSK

GARRET sits at his desk, his phone at one ear. He listens for a moment before we get to hear his end of the conversation.

GARRET
Yeah, Woody. I know. (beat to listen) No, Nigel found her phone in his lab. (beat to listen) Don’t worry. I’ll call you if she shows up. (beat to listen) Okay. Hurry back.

Tiredly, GARRET hangs up the phone. He looks up to find MAX standing in the doorway. GARRET doesn’t even look surprised, just weary, bone-weary. He’s not really ready to deal with MAX, but he squares his shoulders a bit, knowing he isn’t going to have a choice.

MAX
Jah-don?


GARRET nods.

MAX comes into the office, as tired as GARRET is. He sits down across from GARRET.

MAX (cont’d)
What happened?



GARRET (getting angry – quickly)
What do you think happened, Max? (quick beat) She found another of Fratelli’s hiding places and went after it.
MAX
(trying to conceal anxiety)
What’d she find?


GARRET
Don’t you know?


MAX
If I knew, would I be here?


GARRET
You know, Max, I just don’t know anymore.

They lock gazes for a long moment.

GARRET (cont’d)
(sighing)
Fratelli had a locker. At a bus station. He took a package there from his hotel right after he got out of prison.


MAX
(nodding)
And Jah-don…


GARRET
… found out where. She took off.


MAX
Alone?


GARRET
(exploding)
Of course, alone! That’s how she always did - (shakes head) - does things, Max. (stands) That’s what you taught her.


MAX
What I…? Now you just hold on a minute-!


GARRET
(ignoring the last part)
Yes, you, Max. You! Her mother was murdered and her father has spent the last thirty years lying to her about it.

MAX glares.

GARRET (cont’d)
Of course she does things alone. You taught her she couldn’t trust anyone. (quiets a little) Especially not when it comes to – to this.

MAX slumps a bit.

MAX
I love her.


GARRET
(snort)
You think the rest of us don’t?

There is a heavy silence.

GARRET (cont’d)
Jesus, Max! That’s not enough. Not this time. She needs answers.


WOODY
(from behind them)
We need answers. (beat) All of them. Everything, Max.

WOODY steps into the room, his face hard and implacable.

WOODY (cont’d)
All of it. On the table. (hard stare) Now.

MAX is caught between two men who love his daughter as much as he does, in different ways.

MAX
(after a long beat)
I don’t know all of it.


WOODY
So tell us what you do know.

MAX sighs. WOODY draws up another chair and sits down. GARRET takes his seat again. He and WOODY look expectantly at MAX. Finally, MAX takes a deep breath and is ready to tell them what he knows.

MAX
It started with Emily.

FADE

 

19. INT. MORGUE - JORDAN’S OFFICE – SAME TIME AS #18

LILY enters looking frantic. She crosses to the desk and begins to go through papers, looking for a clue as to JORDAN’S whereabouts.

LILY
Come on, Jordan, where are you…?


LILY pages through her desk calendar. Nothing. She starts to search around her desk and then her eye falls on something. She picks it up and frowns. Her eyes scan the page, and then her eyebrows lift in surprise.

Test results

LILY
Oh, Jordan….

She hurries out of the office.

 

END OF ACT THREE

 

ACT FOUR

 

20. INT. MORGUE HALLWAY – ABOUT HALF AN HOUR LATER

WOODY is hurrying down the hallway talking on his cell phone. He is agitated.

WOODY
No, no… I just… needed to get a hold of her… if she gets in touch with you, will you tell her to call me? Yeah, thanks.

LILY comes around the corner and sees him as he folds up his phone. She is clearly anxious, and carries the paper she took from JORDAN’S office.

LILY
Woody! Have you found Jordan?


WOODY
No, not yet. I’ve been… uh… Max is….

He waves his hand distractedly.

LILY
You’ve got to find her.


WOODY
Yeah, no kidding. She’s gonna want to hear what Max has to say.


LILY
No, I mean it. I’m… worried.

WOODY is clearly angry and too agitated in general to indulge one of LILY’S hand-wringing sessions. He’s getting annoyed.

WOODY
I’m working on it, Lily. But something tells me Jordan can take care of herself. She usually does.


LILY
She’s – She’s not safe.

WOODY turns to LILY. They stop walking.

WOODY
(very firmly)
If you know something I don’t, now would be a good time to tell me.

LILY’S face says it all. She wants to tell him, but she doesn’t want to betray JORDAN. After a beat, WOODY gives up and storms off. LILY calls after him.

LILY
Woody, Jordan’s pregnant!

Jordan's pregnant!


WOODY stops in his tracks. With a stunned look, he turns and goes back to LILY with a questioning look. LILY smiles sympathetically and hands him the paper. He gives it a cursory glance, and then looks back up at her and nods numbly. He hurries off still clutching the paper as LILY, with a worried look on her face, watches him go.



21. INT. BREAK ROOM – SAME TIME AS #20

NIGEL is in the room, cleaning out the fridge to keep himself busy. MAX is pouring himself a cup of coffee. He is distracted as he takes a sip and then scowls.

MAX
How do you people drink this stuff?


NIGEL
(without looking)
Well, normally we drink it in the morning.

MAX snorts, as if to say the time of day wouldn’t really matter to the coffee’s quality. He dumps out the coffee and sits at the table, looking haggard. NIGEL takes note of this and joins MAX at the table.

NIGEL (cont’d)
She’ll turn up, mate.

MAX runs a hand down his face.

MAX
And then what?

NIGEL gets that look on his face, the one that says he knows he’s sort of said the wrong thing. His eyebrows flick up.

NIGEL
Um… yeah. (long beat) It’s been a long day. For everyone. Maybe you should, you know, go home?

MAX sighs and his shoulders slump.

MAX
Nice thought, Nigel, but….

NIGEL looks at MAX, waiting for him to finish. MAX doesn’t. His expression is thoughtful.

NIGEL
Max?


MAX
Ughhhhh, of course. (looks at NIGEL) Jordan found something new about - about what happened. Where would she go?


NIGEL gets the “a ha!” look.

MAX is on his feet and moving quickly out of the break room, NIGEL hot on his heels. They head into the hallway.

 

22. INT. MORGUE HALLWAY – CONTINUING

MAX and NIGEL run into LILY and WOODY. WOODY is still pretty much speechless, holding the pregnancy test result. The look he gives MAX and NIGEL is almost blank, but LILY is more “with it.”

LILY
What? What is it?


MAX
I have an idea… where Jah-don is.


LILY
Where?!?!


MAX
Home.


WOODY
(befuddled)
Her apartment?


MAX
(wry look)
No. (beat) Where it all started.

WOODY nods; it makes sense to him.

WOODY
Why are we standing here?


MAX smiles a bit and charges off down the hall. WOODY follows him. LILY and NIGEL exchange a look as they watch them go. They look a little bit concerned and a little bit pleased – whatever happens next, it’s going to change lives.

23. INT. WOODY’S CAR, BOSTON STREET- A FEW MINUTES LATER

WOODY is driving, but he looks like he’s on auto pilot. There’s obviously a lot on his mind.

MAX is sitting in the passenger seat. He notices that WOODY looks perplexed and wrongly assumes that WOODY is merely worried that JORDAN might not be where they think she is.

MAX
(gently)
She’s fine kid, I know my Jah-don. (beat) She’ll be there.

WOODY shifts uncomfortably in his seat and sighs impatiently at a red light.

WOODY
I sure hope you’re right, Max.


CUT TO:

24. EXT. MAX CAVANAUGH’S HOUSE- CONTINUING

MAX and WOODY pull up to the house and both jump out of the car quickly. WOODY has a little bit of a lead on MAX, but the older man catches up quickly and they shoulder their way into the house.

25. INT. MAX’S FRONT ENTRYWAY – CONTINUING

They enter the house and head for the kitchen.

26. INT. MAX’S KITCHEN - CONTINUING

Let the Sun Fall Down - Kim Richey

MAX manages to beat WOODY to the kitchen where JORDAN sits at the table amidst all of the paperwork.

WOODY looks relieved to at least see JORDAN in one piece and his trained detective’s eye gives the room a cursory glance to check for any danger.

His eyes fall on the glass of Scotch on the table and he squints, relaxing only when he sees that JORDAN’S lipstick choice of the day is not around the rim. She didn’t drink any of it.

He vaguely hears MAX’S voice saying JORDAN’S name over his shoulder and turns to look at the father and daughter. JORDAN looks no worse for the wear, physically, but her eyes are filled with angry tears.

MAX looks worried and ashamed.

MAX
(softly)
Jah-don—

She raises a hand to cut him off and looks at the papers around her sadly before returning her glare to MAX.

JORDAN
(angrily)
You never told me. (beat) How could you?

 

END OF ACT FOUR

 

ACT FIVE

 

27. INT. MAX’S KITCHEN – CONTINUING

MAX, JORDAN and WOODY are standing around the table. The files, the bottle of Scotch, and the glass are still sitting in the middle of the table.

JORDAN
What did you call yourselves? Robin Hood and his Merry Men? (beat) The signs were all there. How could I be so blind?


MAX
I kept you in the dark for your own safety.


JORDAN
Safety? Safety? You watched me losing my mind for years and you didn’t say anything?!


MAX
Those were difficult times in the department. The only way to fight the corruption was to-


JORDAN
(cuts him off)
What? Be more corrupt by playing both sides of the fence? I’m not buying it Dad. Not this time.


MAX
Let me explain.


JORDAN
Go to hell.

JORDAN turns away. MAX sinks slowly into one of the kitchen chairs.

MAX
It was just little things at first. A fix here, a nod there. (righteously) We were just trying to keep the peace.

JORDAN hands WOODY the stack of papers.

JORDAN
What he means by a fix and a nod is doing favors for Blackie and the boys.


WOODY
(surprised)
Blackie? Blackie Conroy the crime boss?


MAX
He was just a soldier, just like we were back then.


WOODY
How did you get mixed up with him?


JORDAN
(mirthless chuckle)
I guess I never told you about our family ties. (beat) Dad and Blackie are lifelong friends.

WOODY’S surprised look turns to MAX.

JORDAN (cont’d)
(false brightness)
In fact, if you look up my baptismal record you’ll see that Conroy is my godfather. (beat) Don’t worry. I wasn’t planning on inviting him to the wedding.


MAX
He used to be a man you could trust, Jah-dan.

WOODY looks at the papers in his hands.

WOODY
Who else was involved?


MAX
Tom, Pete, Kevin, Carl… a few others.


WOODY
Fratelli? How did he fit in?


MAX
Like I said, we were working together to keep the peace on the streets. Cahill was running the Irish mob at the time. Vincent Fratelli was muscle.

MAX picks up the drink.

MAX (cont’d)
Cahill had strict rules about drugs and working underaged girls and his word was law. So when a group from Providence started moving into his territory he took offense. So did we. At least with the Irish we knew what we were dealing with.


WOODY
(adding it up)
Cahill’d set them up, and one way or another, you took them down.


MAX
It was a win-win. He built the power and we kept some pretty nasty people off the streets. (beat) Jeffers was the first to start getting cold feet. He and I had drinks one night… talked about turning ourselves in.


JORDAN
What stopped you?


MAX
Your mother.

At the mention of EMILY, JORDAN jumps back from the table and begins to pace. Both WOODY and MAX look at her with mixed emotions.

MAX
Emily knew about what we were doing from day one… She was in total agreement.


JORDAN
Don’t you dare try to lay this all on Mom.


MAX
Emily wasn’t happy in our marriage. In the end, neither of us was. We had you, hoping it would help. It did for a while. But our problems were still there. Working for the Irish… helped.


JORDAN
Why didn’t you just separate?


MAX
It wasn’t that easy. Your mother was a very fragile woman.


JORDAN
And staying in a troubled marriage to a dirty cop was supposed to be healthier for her?


MAX
When we eloped she knew she’d never be able to go back to her old life. She’d never be accepted in the circles she used to run around with. Even her mother - the only person that acknowledged our marriage - had her limitations.


WOODY
Status and money. That’s how it all snowballed, huh?


MAX
You used to be a uniformed officer. You know how much they make. Emily only wanted the best for Jah-dan. We both did. The house, ballet and music lessons - private school… Then there was James. Asking for your grandparents’ help was out of the question. It was (beat) overwhelming.

JORDAN puts her hand protectively over her abdomen.

JORDAN
I would have been happy without all that.


MAX
I know… but you mother wouldn’t have been.


WOODY
(not condoning, but understanding)
You relied on that extra income.


MAX
I made some difficult choices, if that’s what you’re asking. But I don’t regret taking care of my family.


WOODY
Emily talked you into doing more, bigger, jobs for the mob?


MAX
Emily had her own agenda. She’d been working on it for awhile. With Cahill out and Blackie in, she figured we’d never have to worry about anything.

WOODY looks incredulously at JORDAN, who is simply staring at her father.

MAX (cont’d)
I remember the day like it was yesterday. I came home from the night shift to find Jqh-dan and Emily both in their best dresses. Emily told me that her mother was taking them out to lunch. I remembered thinking it was odd at the time because Jordan had a pretty severe head cold and had been out of school all week long.


Focus to JORDAN, who is searching her own memories.

FLASH to BLACK and WHITE

28. INT. GENERIC PUB/BAR - 1979

Promises - Eric Clapton

It’s obvious this is where the Irish mob headquarters are. BLACKIE CONROY and VINCENT FRATELLI are at the pool table. The door opens. Enter EMILY CAVANAUGH and a nine year old JORDAN. JORDAN sneezes, EMILY is quick to hand her a tissue.

JORDAN
(nasally)
Can’t I wait in the car?


EMILY
This won’t take long, baby.


JORDAN
(wiping her nose)
I don’t like Mr. Conroy. He’s always asking me some stupid thing from the Bible.


EMILY
(fusses with JORDAN’S hair)
He’s just worried about your eternal soul.
 
JORDAN
He probably should worry about his.

BLACKIE puts his cue down and walks toward them, looking over their shoulders for MAX. He looks at EMILY and smiles when it is apparent she and JORDAN are alone. He touches JORDAN’S head and smiles at her.

EMILY
Thanks for taking my call.


BLACKIE
It sounded urgent.


EMILY
Is there some place quiet we can talk?


BLACKIE
The office is empty. Does Max know you’re here?

EMILY shakes her head. BLACKIE puts a hand on JORDAN’S shoulder.

BLACKIE
(calling the bartender)
Murphy! Do you think you can fix this little lady a Shirley Temple while her mother and I have a little talk?


MURPHY
Comin’ right up.

BLACKIE guides JORDAN to the bar and helps her up on a stool.

JORDAN
(reserved)
What’s a Shirley Temple?


BLACKIE
(charmingly)
It’s a pretty pink drink made with ginger ale with a cherry on top.


JORDAN
I don’t like ginger ale.


EMILY
(scoldingly)
Jordan!


BLACKIE
(chuckling)
It’s alright. (to MURPHY) Let her have whatever she wants… within reason.

He goes on loud enough for all to hear.

BLACKIE (cont’d)
This is my godchild, and so help me God, I’ll kill the person who destroys this innocence…

He kisses the top of JORDAN’S head, then speaks to her directly.

BLACKIE (cont’d)
While your mother and I are talking I want you to name four mentions of the word “repent” in the book of Jeremiah. (winks at her) Half these Paddies in here need to learn a lesson or two.


JORDAN watches as her mother and BLACKIE disappear into the back of the bar.

FLASH back to the present and COLOR.

29. INT. MAX’S KITCHEN – PRESENT CONTINUING

JORDAN jumps as she snaps out of her daydream.

WOODY
(slight wonderment)
Blackie Conroy set up his boss….


MAX
He let me believe it was my ticket out. We’d pick up Cahill and Conroy would make sure we had enough on him to put him away for life.


WOODY
And Conroy would take over.


MAX
We’d all get what we wanted in the end.


WOODY
The money?


MAX
That was Emily’s negotiation fee. She’d make sure we were all in sync and we’d all split the cash.


WOODY
Then the money disappeared.


MAX
We thought Blackie had double crossed us. He accused us of snaking his share.


WOODY
It was a Catch-22. Neither of you had any recourse to argue.


MAX
Blackie was struggling for complete control over the organization and we couldn’t exactly change our statement to reflect a million in missing cash. Needless to say, our working arrangement was over.

MAX pours himself another drink

MAX (cont’d)
We came home empty handed and it wasn’t long before Emily’s neurosis started to escalate. She became paranoid. Her drugs weren’t working any more. I sent her back to Summit View as an outpatient. She was threatening to blow the whole thing wide open. (beat) I was under a lot of pressure to keep her quiet. I had to think about your safety, Jah-dan… and James.


JORDAN
I’ll give. How does James fit in to this wild fairytale of yours?


MAX
We told everyone that the baby died from SIDS and it was… agreed… that for Emily’s health that we never speak of him again. Blackie was one of a few people who knew he was still alive.


JORDAN
Who else knew? No, no. Let me guess. Your partners in crime.


MAX
If we were to keep secrets from everyone else we couldn’t keep them with each other.

Even as he says it, MAX pales at the thought of the web of lies that culminated into so much tragedy.

MAX (cont’d)
Blackie had been keeping an eye on James for me. I didn’t realize until it was too late that he was keeping a little too close to him (beat) James’d been running money for the mob on the Northside since he was 15.


JORDAN
(snorts)
So much for secrets.


MAX
Blackie sent James over to talk to your mother. To tell her to keep quiet or else something bad would happen. (beat) Emily gave him my gun and told him to hang low. She’d take care of everything.


WOODY
She called his biological father.


MAX
Who called Blackie. (beat) They were both busy trying to figure what to do about Jeffers. He was threatening to turn himself in again. This time he was giving his partner twenty-four hours’ notice.


WOODY
Deadly mistake.


MAX
Blackie sent Fratelli to take care of the problem. Just like this morning… Blackie took care of Fratelli when it became obvious he talked to that reporter friend of yours.


JORDAN
James went along for the ride with Jeffers.


MAX
Insurance. He knew I wasn’t far behind Jeffers in turning myself in. He thought it would keep Emily in line too. Then in a gesture of good faith Blackie turned around and sent James to Mexico to keep him safe, but kept the gun. (beat) Still, Emily was so adamant that Blackie had double crossed us with the money.


WOODY
It didn’t stop her.


MAX
Emily was in a full blown manic state by this point.


JORDAN
Are you saying Blackie Conroy killed my mother?


MAX
No, at least not personally. He had an airtight alibi for the time of her murder.


WOODY
What?


MAX
I was buying him a drink and telling him that nothing had changed with our arrangement. (beat) If it kept Emily happy and you safe, I was willing to sell myself to the devil.


JORDAN
So what, you were too late for him to call his fixer off.


WOODY
Vincent Fratelli?


JORDAN
It’ll be in here if he did…

JORDAN thumbs through the files.

MAX
It’s true. Fratelli pulled the trigger, but I doubt you’re going to find a clear-cut answer there.


JORDAN
(confused)
What’d’ya mean? That piece of crap kept meticulous records.


MAX
This was different.


WOODY
What are you saying, Max?

MAX downs his liquor and put the glass down on the table with a final thud.

MAX
(remorseful, dejected)
Don’t you see? Malden, Reilly, Cahill, Pete… Blackie. They all wanted her dead, Jordan. Each for their own reasons… but it all ended up the same. They each offered Fratelli money to kill her.


WOODY
(disbelievingly)
There was more than one hit out on her?


MAX
Emily was a very fragile woman ready to explode, with a lot of secrets on a lot of people.


JORDAN
You knew. Damnit! You knew all along she was in danger and you didn’t do anything to stop it!


MAX
(snaps)
I tried Jah-dan! Your mother was sick. She was out of control. I did everything I could think of, but it was already too late. Emily signed her death certificate the day she talked Blackie into hanging Cahill and taking over the mob.

JORDAN blinks. She hears BLACKIE’S voice echoed in her mind.

BLACKIE
(distant voiceover)
… so help me God, I’ll kill the person who destroys her innocence…

JORDAN slowly tears up. MAX reaches for her.

MAX
Jah-don-

JORDAN holds up her hands defensively.

JORDAN
Don’t. Just don’t.

JORDAN sticks her hand in her jacket and pulls out a tape recorder. She flicks the switch off and sets in on the table. MAX cringes. WOODY looks dumbfounded.

MAX
(mirthless smile)
Looks a lot like the recorder Detective Cruz gave Seely to record our interrogation. I thought they cut me loose a little too quickly.


JORDAN
Give me one damn good reason I don’t turn this over to him right now?


MAX
(resigned, but almost relieved)
I can’t.

JORDAN lets out a short primeval scream before picking the recorder up and throwing it against the wall.

JORDAN
I’m not going to let you off that easy. No. You can go straight to hell for all I care, but I’ve got a child to worry about, Dad. (beat) That’s right, I’m pregnant and I’ll be damned if I’m going to be the reason this baby doesn’t have family around to support it. We’ve all had to suffer with the choices you’ve made but, by God, my baby isn’t going to.


MAX
Jah-don-


JORDAN
I don’t want to hear it. Whatever it is. (shakes head) I just – right now? I can’t.


She turns and stumbles out of the kitchen. We hear the front door open and then slam shut.

 

30. EXT. MAX’S HOUSE – CONTINUING

The One Who Knows - Dar Williams and Allison Krauss

After the last scene with her father, JORDAN has run outside. We see her leaning against the side of the house, taking deep breaths, trying to calm herself down, her hand protectively across her abdomen. We hear loud voices coming from the house, at first indiscernible, but at last we hear WOODY’S voice override MAX’S. He’s going out to find Jordan. MAX is to stay put. We know that now “the baton has been passed” forever.

WOODY opens door and steps out on porch, looking for JORDAN. A look of relief washes over his face when he finds her – at least she didn’t run far.

Strong Enough

WOODY
Hey….

JORDAN waits a beat. Her face says it all: worry, concern and the knowledge that she just let WOODY know he was going to be a father in a way she really didn’t plan on.

JORDAN
Hey.

She leans her head against the side of the house, tilting it up, fighting tears in the way that only JORDAN does, and sniffs.

JORDAN (cont’d)
You know, I really planned on candlelight and soft music for that moment.

WOODY moves to stand in front of her, but doesn’t touch her yet. He’s still trying to get a read on her.

WOODY
I seem to remember we tried candlelight and soft music before. That doesn’t really work well for us.


JORDAN
(mirthless chuckle)
I’m not sure how “well” I’m working for anyone right now. Me… you… Dad….


Her hand glides over her stomach as her voice trails off.

WOODY places one hand over hers and runs the other down the side of her cheek.

WOODY
You’re fine. (beat) How long have you known?

JORDAN’S voice is still wavering – all of this is catching up with her.

JORDAN
A - A little while. (beat) How long have you known?

WOODY’S eyebrows hit his hairline. How’d she know that he knew? JORDAN understands this look.

JORDAN (cont’d)
You didn’t look surprised when I told Dad of his impending grandfatherhood.


WOODY
(small shrug)
Lily… kind of spilled the beans when you took off and we couldn’t find you.

He removes his hand from her face to dig in his pocket.

WOODY (cont’d)
She handed me this.

WOODY hands her the slip of paper with the results of her pregnancy test on it. JORDAN glances at it and slips it back into her own pocket, thinking that at some time she’ll make a baby book, and the paper needs to be in it. WOODY watches her carefully.

WOODY (cont’d)
When were you going to tell me?

JORDAN draws a deep breath that’s just this side of unsteady.

JORDAN
Soon. Now. I mean… I was trying to process all this… (gestures with hand) … myself. Dad, Blackie, James, Cahill – and then the test came back positive… and-


WOODY
Did you know while we were in Africa?

JORDAN glances away. Despite everything, she’s worried.

JORDAN
I had my suspicions. But it wasn’t like I could run out and buy a test there.

WOODY nods, and now realizing she’s calmed down, gently pulls her into his arms.

WOODY
We’re going to have a baby….

JORDAN pulls slightly away and still looks worried.

JORDAN
Woody, I swear, I was on the pill. But the antibiotics I took when I cut myself –

WOODY, realizing that she’s really worried about what his real reaction is, stifles the rest of her words with a long, wet kiss.

WOODY
Doesn’t matter. I’m crazy in love with you, Jordan, and with anyone else that might come along.

He grins that grin that only WOODY can – the one that just melts your heart and your knees.

WOODY (cont’d)
We’re gonna be parents.

He pulls her in for another hug.

JORDAN
(tearfully)
You’re sure you’re okay with this?


WOODY
The only way I could be more okay is if it were twins.

JORDAN pulls away and looks at him in total disbelief while WOODY grins like a madman.

JORDAN
You’ve got to be kidding.

WOODY nods, letting her know he’s joking, before he gestures towards the house.

WOODY
But there’s still that.


JORDAN
I know. What am I supposed to do? What Max did… what Max did was wrong. But he’s my father.


WOODY waits a beat as he hears cars pull up in front of the house. There’s a black-and- white and a police-issued unmarked car. CRUZ gets out of the unmarked and nods towards the couple before heading up the walk, followed by SEELY. MAX has obviously made a phone call.

WOODY tucks a curl behind JORDAN’S ear before he whispers to her.

WOODY
I don’t think you’re going to have to make that decision.




31. INT. GARRET’S OFFICE - MORNING

In the Morning - Big Head Todd and the Monsters

We see GARRET at his desk, going over the paperwork for his retirement. JORDAN passes by the window, dressed in that red suit. She pauses when she sees GARRET and then taps at his door.

JORDAN
Lookin’ for company?

GARRET throws his pen down on the paperwork and turns to smile at her.

GARRET
Any excuse to get out of paperwork.

JORDAN grins back at him and sets down on the edge of the couch.

GARRET
So how’d it go?

JORDAN sighs and waits a beat before responding.

JORDAN
It was just a preliminary hearing. Max told them everything.

She blinks back tears.

JORDAN (cont’d)
So, right now, I just don’t know.

GARRET hands her a tissue from the box on her desk. JORDAN dabs her eyes.

JORDAN
I’m sorry. I’m usually not quite so—


GARRET
(hides a chuckle)
Emotional? Yeah. (beat) I hear congratulations are in order.


JORDAN
(surprised )
You know?


GARRET
(laughs out loud now)
You know this place is a sieve. Besides Woody –

WOODY chooses this moment to stick his head in the door.

WOODY
Woody what?


GARRET
Woody’s kind of the proud papa. That’s all I was going to say.


JORDAN looks in between the two men who love her in two entirely different ways. We get a sense of not only has the baton passed, it’s not even in the parade anymore. She turns to WOODY.

JORDAN has a slight edge of accusation in her voice.

JORDAN
You’ve told everyone, haven’t you?

WOODY pretends to straighten his tie before looking at her with pride all over his face.

WOODY
Pretty much.

JORDAN stands and goes over to face him.

JORDAN
And you didn’t think I at least wanted to break the news to Garret?


WOODY
You snooze you lose…


GARRET
You’re lucky he didn’t buy a billboard.

JORDAN is still flabbergasted and WOODY just looks at her with that goofy grin on his face.

WOODY
So? I’m happy. I’m proud. We’re having a kid. A baby. A girl-


JORDAN
(protesting)
You don’t know if it’s a girl –

WOODY takes her arm and begins to pull her out of the office.

WOODY
Isn’t it time for you to eat again? I read somewhere that pregnant women need to eat every three or so hours to keep their protein and energy levels up. When was the last time you ate?


WOODY leads her down the hall and we view them from GARRET’S point of view. WOODY and JORDAN are walking toward NIGEL, who has a folder of some sort. KATE joins them and then LILY and BUG. There are hugs and smiles. We see a smile come over GARRET’S face as he realizes that “his bestest girlfriend” is going to be just fine. More than fine. He signs his resignation papers with a flourish and it fades to black.

Happy Ending

 

END

 

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