Teaser Act 1 Act 2 Act 3 Act 4 Act 5
Episode #VS709


Mightier

Crossing Jordan Virtual Season 7

“Mightier / Margin for Murder”

“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


Garret Macy as K.C. “Casey” Martin, the Private Investigator
Mahesh “Bug” Vijayaraghavensatanaryanamurthy as Mr. Vajpayee, the Nightclub Operator
Matt Seeley as Mickey Sellers, the Playboy
Nigel Townsend as Nick Townsend , the Celebrity Private Investigator
Jordan Cavanaugh as Janice Chandler, the Femme Fatale
Kate Switzer as Camille, Nick’s P.I. Wife
Lily Lebowski as the Chanteuse
Woody Hoyt as Agent Jack Wilson, the FBI Agent

Jeffery as the Band Leader
Emy as the Coat Check Girl
Slokem as the Rich Patron
Roz as the Trophy Wife
Renee as the Uppity Professional Woman
Stiles as the Wealthy War Veteran
Peter as the Waiter
Sidney as the Local FBI Agent
Elliot as Officer Barnett, the Uniformed Police Officer
Eddie as Lt. Jimmy Prescott, Homicide Detective
Waitress

 

SET LIST


INTERIORS
MORGUE
   RECEPTION AREA

GARRET’S LIVING ROOM

PRIVATE INVESTIGATOR’S OFFICE

NIGHTCLUB
   HALLWAY
   BUSINESS OFFICE

DINER

APARTMENT
   HALLWAY
   SMALL KITCHEN AREA

UPSCALE APARTMENT

GENTLEMAN’S CLUB

BUSINESS OFFICE

UPSCALE HOTEL ROOM


EXTERIORS
BOSTON SKYLINE

URBAN NEIGHBORHOOD

NIGHTCLUB-EXTERIOR

STREET CORNER BUS STOP

CITY STREET SIDEWALK

 

“Margin for Murder” is loosely based in the style of “Strangled.” An open mind and lots of imagination need to be used to paint the picture of this in your mind. Think of it as a shadowy black and white film noir filmed during the late 1940s or early ’50s. For example Double Indemnity, Murder, My Sweet and, most famously, The Maltese Falcon. Every possible cliché has been taken into consideration and I hope you picture them liberally. Like a reverse The Wizard of Oz, the opening sequence is in color. Only our Dorothy - Garret - doesn’t get swept away in a tornado, he gets just gets swept away by a case of insomnia…

Side note: The lounge act of Louis Prima and his then-wife, Keely Smith, is referenced in the episode. If you’re not familiar, they were the entertainers the entertainers themselves went to see back in the fifties and early sixties. You can find a few clips on them on Youtube--J.

 

In honor of her birthday, the VS7 staff would like to dedicate this episode to Jill Hennessy.

TEASER

1. INT. MORGUE RECEPTION – EARLY EVENING (In COLOR)

There is rain falling against the windows. GARRET is dressed to leave. He pauses at the reception desk for messages.

The elevator opens. Enter BUG and MATT.

BUG
(to MATT)
…That’s entirely preposterous and you know it!

MATT
Haven’t you ever watched Double Indemnity? Look at the facts!

BUG
Excuse me if I don’t base my scientific observations on a movie!

MATT
It’s not just a movie.

BUG
Don’t tell me… you read the book too?

NIGEL enters in a rush.

NIGEL
(to GARRET)
Dr. M, thank God I caught you.

GARRET
I really don’t want to hear it, Nigel. It’s been a long day….

NIGEL
(irritated)
You have to do something about Kate. She’s rearranging the lab and…

GARRET
(indifferently)
…I’m sure she has her reasons.

MATT breaks into the conversation.

MATT
(to NIGEL)
You watch old movies, don’t you?

NIGEL
(cautiously)
It depends…

JORDAN enters, dressed in scrubs.

JORDAN
Okay, who turned out the lights in the store room?

NIGEL
She got you, too?

JORDAN looks confused.

MATT
(to JORDAN)
How about you? Do like film noir?

JORDAN
Love it!

There is an adlib arguing about old crime movies between MATT, NIGEL, BUG, and JORDAN. GARRET gives the group a tight smile.

GARRET
It looks like you’ve all got everything you need….

KATE enters from the office area.

KATE
Garret….

GARRET
Make it quick.

KATE
(to GARRET)
The weather report is calling for severe storms tonight. I’ve disconnected all unessential electronics in the Lab. I want to put the generator on just in case.

JORDAN
You turned the lights off!

GARRET
(to KATE)
Kate, you’re in charge. Do whatever you think’s best.

NIGEL
(panicky)
You didn’t unplug the PC on the B-bus? (beat) You did. I was downloading….NO!

NIGEL races though the doors.

GARRET
Now…, if you’ll excuse me.

BUG blocks GARRET from leaving.

BUG
Dr. Macy, could you tell this…imbecile…that there’s more to forensic footwork than you can find in a Hollywood script?

GARRET slaps BUG’S shoulder as if to say work this out yourselves. The elevator doors open. GARRET walks in putting on his fedora.

JORDAN
(to GARRET)
Wait! Are you just going to leave while Kate’s being the power police? It’s barely raining.

There is a loud clap of thunder. KATE puts her hands in her lab coat with a smug smile. She exits through the double doors, back to the morgue area.

GARRET
(to JORDAN)
You’ll have to take that up with her. I’m leaving and won’t be available until tomorrow morning. I expect you all to get along until then.

GARRET presses the door close button.

JORDAN
I don’t suppose…

The doors close.

JORDAN
(left talking to the elevator doors)
…you’ll have your cell phone on.

JORDAN sighs and turns to MATT and BUG, who are still arguing.

BUG
(to MATT)
I still say you’re an imbecile.

Crossing Jordan Theme




END OF TEASER

 

 

ACT 1


Italia - Chris Botti

2 . EXT. BOSTON SKYLINE – NIGHT

****MUSIC - Italia, Chris Botti ****

Rain is gently falling on GARRET’S apartment window. The room is dimly lit.

The music is playing softly in the background. Light filters dimly through the window.

 

 

3. INT. GARRET’S APARTMENT - CONTINUING

The only light is coming from his home office desk. GARRET enters wearing comfortable jeans and a few of the buttons on his shirt undone. He is carrying a coffee cup and a handful of Italian travel brochures. He stops at the end table by his sofa. There is a framed picture of ABBY and GARRET on top next to an answering machine that is empty. He puts the brochures down.

Home


GARRET sits down on the SOFA an opens his laptop. He opens a file. We see it is his letter of resignation. We follow the words across the page as they spell out his desire to retire and name KATE as temporary CME until she can be approved by the power that be. He types a few strokes and back spaces. He stops and closes the laptop, setting it aside.

Laura - Charlie Parker

GARRET turns off his CD player and the scene goes silent. He goes to his music collection and thumbs through the vinyl until he finds what he thinks he’s looking for. He stops and replaces it, pulling something different. With a smile, he slips the vinyl out of the cover and puts in on his player.

****MUSIC-Charlie Parker’s “Laura” ****

GARRET sits down at his desk and puts a sheet of paper in his old typewriter. He looks off for a second, gathering his thoughts. The music builds the first notes of the melody and he begins to type.

GARRET speaks in a voice over with music and the sound of typing in the background.

GARRET
The year is 1953. President Harry S. Truman announces the birth of the hydrogen bomb; the Soviet Union mourns the death of Stalin; and Burt Lancaster is making love to Deborah Kerr on the beach, heating up every movie screen in the nation. My name is Kenneth Charles Martin. My mother was the only one to call me Kenneth - besides my wife - during the divorce proceedings. Most people just call me Casey.

FADE TO BLACK AND WHITE

Casey Martin4. OFFICE BUILDING HALLWAY - MORNING

There is a dingy hallway of a mid-century office building. The shadowy lighting is straight out of a film noir.

GARRET, dressed in a mid-century cut suit and fedora is keying the lock to an office door. On the glass front we see the words K.C. MARTIN PRIVATE INVESTIGATOR.

GARRET continues to speak in the voice over, but now there is no typing sound, just music.


GARRET
I’m a drunk. I think we’d better get that straight from the beginning. I used to drink because I wanted to drink. I was rarely falling-down ossified. Most nights just drunk enough to want to bloody my knuckles on someone’s face. Now, I’m stone-cold sober. I live where being drunk isn’t thought of as sin. In fact, it’s a way of life. I live in Boston…

The music fades out. GARRET opens the door to an industrial-style furnished office.

5. CASEY’S OFFICE - CONTINUING

There is a window behind the desk with a flashing neon light outside. The room is lit with classic Venetian blind lighting. GARRET hangs his hat and jacket on a coat tree. He sits down at his desk and opens the center drawer, pulling out a pack of cigarettes. He puts one in his mouth.

Martin's office


GARRET (cont’d)
Here I am. Just a ten-percenter, with a typewriter, a telephone, and a couple of small clients. One license as a Private Investigator and another as a Notary Public . Anything to make a buck. Not a very fast buck, either. Still…it keeps me in the game. Something the ex never understood.

There is a knock on the door.

GARRET (cont’d)
It’s open.

JORDAN enters. The light leaves her face in shadows. She is dressed in a woman’s suit, with a pencil skirt and form fitting jacket. She has on a feathered hat, with netting across her face, and a fox stole over one shoulder. She takes one step forward until she is in full light.

JORDAN
(sultry voice)
Are you Martin, the private investigator?

GARRET lights his cigarette, taking a drag off it, but making no move to stand .

GARRET
It depends on who’s asking? (beat) Smoke?

JORDAN smiles alluringly and takes the cigarette. She leans over the desk for him to light it. She straightens and studies him through the smoke for a moment.

JORDAN
I’d like to hire you to find something for me.

GARRET
If it can be found I can do it. Miss….?

JORDAN sits in a chair in front of the desk and crosses her legs.

JORDAN
Chandler. My name is Janice Chandler. I need you to find a bracelet….diamonds. It was stolen.

GARRET
Call the police.

JORDAN
I can’t. This case needs….prudence. I’ll make it worth your while.

GARRET
(Silent chuckle)
I charge fifty a day, plus expenses, and I’m not liable if the bracelet doesn’t want to be found.

JORDAN
(enigmatic look)
I’m sure you‘ll find it. When can you start?

GARRET
I’ll need two hundred up front and anything you can give me about what happened.

JORDAN
I don’t carry that kind of cash with me.

GARRET
(with slight chuckle)
I don’t work for favors, Doll. No matter how tempting the package.

JORDAN stands and opens up her purse. She pulls out a match book which she casually tosses on the desk.

JORDAN
Meet me here tonight at ten. I’ll have your money for you.

JORDAN leans over the desk and stubs her cigarette out in an ashtray by GARRET’S elbow. Her face is once again in shadows.

JORDAN
Until then, good afternoon, Mr. Martin.

GARRET pushes back in his seat as she walks out. He picks up the match book and we see the name of a nightclub-Banjara- in stylized lettering.

GARRET
(in voice over, keys typing)
Dames like Janice Chandler remind me of my ex-wife. Warm between the sheets, hot under the collar and cold as ice beneath the skin. A perfect combination of sexuality and self-confidence that makes it impossible for a man to get bored. Underneath it all, a woman like that is a lot of work. Too much. Still, there was something about her that made me go to that meeting. Something I’d soon live to regret…


That Old Black Magic - Louis Prima & Keely Smith
6. EXT. NIGHTCLUB ENTRANCE – NIGHT

Everything is wet, as if has just finished raining. We flash to the same lettering-Banjara- in a neon marquee outside of a nightclub. We go in the door.


7 . INT. NIGHTCLUB – CONTIUING

The club is warmly lit and inviting. Music plays.

***MUSIC- Louis Prima and Keely Smith- That Old Black Magic***

At the front of the room there’s a stage with a big band. LILY and JEFFERY are on stage as chanteuse and bandleader. They are channeling their inner Prima and Smith. The act is in full swing.

The Band

There is an array of tables with candle lamps, full of people in evening clothes enjoying the show. We see GARRET standing the doorway, giving his hat and overcoat to EMY, the coat check girl. He is underdressed, in his rumpled cheap suit. He garnishes a few stray looks from SLOKUM and FRAMUS, who walk past.


GARRET
(voice over)
The Banjara was a little different than the watering holes I was used to. The places I frequented were more like rat traps. That’s why I was usually there….to trap rats… and, with any luck, exterminate them. But that was when my badge said Boston Police Department instead of private dick.

BUG, dressed in a tuxedo and slicked back hair, stands off the side of the stage watching LILY and JEFFERY perform.

GARRET (cont’d)
The owner looked like he ran a clean place. He didn’t seem like the kind that welcomed trouble. Too bad it had invited itself to the party.

BUG scowls and disappears down a hallway next to the stage.

From across the room, we see JORDAN sitting at a table with RENEE and STILES. JORDAN is smiling at something RENEE said at the table. JORDAN’S dressed in a glittering evening gown. She notices GARRET and makes excuses. She walks past SIDNEY, who, along with GARRET, watches her walk across the room to him with an appreciative eye. She holds out her hand in greeting.


GARRET (cont’d)
It wasn’t hard to pick her out of the crowd of uptown types. Her dress wasn’t something you’d find in a pew for Sunday morning Mass. You could say it covered just enough to keep the chill out and the drool off. Too bad it wasn’t July.

JORDAN gives him a once over, pausing at his wrinkled suit coat. She grins.

JORDAN
Casey, I’m glad you could make it. I can call you Casey?

PETER, a waiter, approaches with a tray in his hand.

JORDAN (cont’d)
(sly smirk)
Drink?

GARRET
(tight smile)
No, thank you. Like I said, I work only a cash business.

JORDAN
Of course…

PETER nods and fades away. JORDAN glances a quick, almost furtive look toward the hallway.

JORDAN (cont’d)
…shall we?

JORDAN points to a hallway behind the stage. GARRET follows her.

8. NIGHTCLUB HALLWAY – CONTINUING

They go down the same hallway BUG went. From the stage,

9. NIGHTCLUB STAGE – CONTINUING

LILY watches them with open interest. JEFFERY tells the audience the band is taking a break. Lily misses her cue for a final bow. She stumbles to catch up.


10 . NIGHTCLUB HALLWAY - CONTINUING

The hallway is decorated in a classic style. At the end is a doorway. The door is cracked open.

GARRET
Where are we going?

JORDAN
I’d like you to meet a… friend of mine. He’s agreed to cover your fee. You may have heard of him. Mickey Sellers, of the publishing Sellers. The bracelet is…a family heirloom.

GARRET
And his old man thinks it still tucked away in some safe deposit box somewhere.

JORDAN
Which is why the police can’t be involved.

They approach the door. From behind it we hear MATT and BUG in an intense argument. GARRET stops JORDAN from going any further. He shields her from the door.

MATT
(from other side of the door)
You have until this time tomorrow to vacate the premises or I’ll have to thrown out...with the rest of the trash.

The door flies open. BUG exits. He’s furious.

BUG
I’ll see you DEAD before I hand over everything I’ve worked for!

BUG storms off. MATT laughs mockingly. We look in the door and see the generic office.


11. NIGHTCLUB OFFICE – CONTINUING

There is window behind the desk. The curtains are drawn, but they move slightly with the open window.

MATT is leaning casually against an office desk. He’s dressed in a perfectly pressed tuxedo. There is a gardenia in his lapel. He lifts it to his nose with a smirk.


MATT
I really need to have this place thoroughly aired out once that little roach is gone.

MATT smiles, and JORDAN slides up to him, linking her arm with his.

JORDAN
Darling, this is the man I was telling you about.

MATT looks up, as if he just noticed GARRET standing there. He looks him up and down emotionlessly. MATT disengages himself from JORDAN and walks around to the other side of the desk putting it between him and GARRET.

MATT
(to JORDAN)
Ah, the gumshoe. (condescending smirk) I see you had to scrape the bottom of the barrel, my dear. Martin, isn’t it? I hope we can count on his discretion in this matter.

GARRET
You can.

MATT
(to GARRET)
I understand you’re looking for a cash advance.

GARRET
That’s the way I work. I should think a business man like you would understand.

MATT stares GARRET in the eye and slowly reaches into his jacket’s breast pocket. GARRET visibly tenses. MATT pulls out a silver cigarette case and flicks it open.

MATT
You seem a little edgy, Mr. Martin.

GARRET
I normally discuss business in my office.

MATT
(strikes a match off the desk)
As of tonight, this is my office.

GARRET
Your club? The marquee out front says it belongs to a man named Vajpayee.

MATT
Mr. Vajpayee has been having some legal concerns. I’ve been only too happy to help him out financially in exchange for the ownership of the club. Isn’t that right, my dear?

MATT strokes his finger across JORDAN’S jaw.

JORDAN
(purrs)
Yes, Darling.

MATT
So where were we? Yes. Two hundred…for expenses.

MATT stops and smirks at JORDAN.

MATT (cont’d)
Tell me, Mr. Martin, do you think Janice is worth that much?

GARRET looks pointedly at MATT’S hand.

GARRET
I think you probably drop more than that on your manicurist each week.

MATT
(laughs)
You’re probably right. I’m beginning to like you, Mr. Martin.

GARRET does not comment. He simply smiles. MATT reaches back in the breast pocket of his dinner jacket for his wallet. He opens it and counts out two bills and hands them to GARRET.

Gun
MATT
(to JORDAN)
Darling, I trust you to give our new associate the information he needs to get started. I’m going back out to catch the second half of the show. Don’t be long.

The drapes at the window part and we see a gloved hand point a gun inside the office. There are two shots. MATT falls. JORDAN screams. GARRET pushes JORDAN out of the way and pulls his own gun, returning two shots into the darkness on the other side of the window. GARRET looks out and sees nothing. JORDAN is standing next to MATT’S body, looking in horror. GARRET goes to MATT’S body and checks for a pulse.

GARRET
He’s dead.


Dead!Matt


12. NIGHTCLUB – MOMENTS AFTER THE SHOOTING

The house lights are up. ALL PLAYERS are gathered in the room. GARRET is segregated from the rest, looking at the room.

GARRET speaks in voice over.


GARRET
Murder has a way of killing a good time. I could tell it was going to be a long night… morning actually. The only person that was going to get any rest was Sellers, and he was on his way to bed in a nice cold steel drawer downtown. Sweet dreams, Baby Boy. The flatfoots were making short order of the long list of names in the room. The first set of questions were short and sweet, but I wondered how long it would be before yours truly would be dancing solo in the police spotlight.

During GARRET’S voice over we see SLOKUM check his watch while FRAMUS checks her lipstick in a compact mirror. STILES blusters as RENEE refuses an offer of coffee which PETER is carrying through the crowd. BUG stands off to a corner watching the room. JEFFERY winks at EMY, who is rubbing one of her aching feet. LILY twists her wedding band and glares at JEFFERY. SIDNEY stands a few feet away from JORDAN. He lights a cigarette, scanning the room. JORDAN sits at a table by herself, wiping a tear as ELLIOT, a uniformed officer, apparently questions her. JORDAN’S eyes narrow slightly and she looks to GARRET.

PETER appears over GARRET’S left shoulder with the coffee pot .


PETER
(pouring coffee)
I hear you were the last one to see Sellers alive. You and Miss Chandler. Now there’s a doll a guy would like to have on his arm….if you know what I mean. (beat) Sellers collected them like they were pieces of fine art. He’d sport one or another everywhere until some other skirt caught his eye. I hear you were working for her.

GARRET
I can’t go into that.

STILES
(stands, from across the room and yells)
This is ridiculous. We’ve given our statements. I really must insist that we be allowed to leave.

ELLIOT
Sit your ass back down….

EDDIE WINSLOW enters. He’s dressed in a plain dark suit with a gold badge pinned to his pocket. All eyes are on him.

EDDIE
(tipping back his hat)
I’m sure what Officer Barnett is trying to say is that we will do everything in our power to expedite the process. Until then, we’d appreciate your full cooperation.

SLOKUM
Just who the hell are you?

EDDIE
The name is Prescott…

PETER slips away, leaving GARRET looking at EDDIE.

GARRET still speaks in voice over

GARRET
I, for one, didn’t need an introduction…

EDDIE steps off the dais and toward the group gathered. He speaks to ELLIOT and, in turn, appears to address the group. All are looking at him with bored attention. He tells them they can all leave. We see RENEE and STILES, SLOKUM and FRAMUS exit.

GARRET (cont’d)
In my time on the force, I discovered bad cops fell into three categories. Top of the list sat the dishonest cop. No explanation necessary. Next, came the coaster. Cops who were content to do the minimum for whatever reason. Then, came the swaggerers. For this group, the job was all about how it made them look. They endangered their partners by showing off; they jeopardized cases by refusing to see anything but their own glory. Like the weasel he is, Lt. Jimmy Prescott could twist himself into all those odd shaped molds. It just depended on which served him the best at the moment.

EDDIE strolls up to GARRET’S table with notebook and pen in hand. ELLIOT is not far behind.

EDDIE
(smirks)
Well, well…they let in all kinds here. Casey Martin…. Don’t stand on my account.

GARRET leans back in his chair and sips his coffee

GARRET
I wasn’t planning to.

EDDIE
Gone to shaking down society swells. How the mighty have fallen. Come to find out…

He taps his notebook with his pen

EDDIE (cont’d)
you were in the room when Sellers’ ticket was punched.

EDDIE glances at his notes.

EDDIE (cont’d)
Two slugs, point blank. Very neat and straight to the point. But then again, you never were one to beat around the bush.

EDDIE tips back his hat with the tip of his pen.

EDDIE (cont’d)
I understand your piece was freshly fired.

GARRET
Like I told your Boy Friday here (nods to ELLIOT) Mr. Sellers and I were discussing a business arrangement when two shots were fired from the window. I pulled my own piece to return fire. I got off two shots. I went over to the window and the perp was gone.

EDDIE
Two shots. Out an open window. How very convenient….You don’t mind if I keep your gun and have my guys in the lab do a little ballistics check with the slugs they pull out of Sellers…do you?

GARRET
I’ll need a receipt. (pause) Of course.

EDDIE
You don’t trust me, Casey, old friend?

GARRET
About as much as you trust me…old friend.


GARRET catches a glimpse of JORDAN. She’s staring at him. Her expression is unreadable.

Miss Chandler

EDDIE
(confidingly)
A woman like that could drive a man to kill for love or money or a combination of both. Or maybe you just popped him for kicks.

GARRET
(looks EDDIE in the eye)
I didn’t kill him.

EDDIE
How’s about you let me decide that?

GARRET
(standing, and putting on his hat)
Since you haven’t slapped any cuffs on me yet, I’ll take it for granted your boys haven’t come up with anything. Either charge me with something or let me go home to bed.

EDDIE
I wouldn’t make any travel plans.

EDDIE pockets his notebook.

EDDIE (cont’d)
Officer Barnett here will make sure of it.

ELLIOT appears at GARRET’S side. GARRET ignores him

GARRET
Give my best to your wife…and my daughter.

EDDIE snarls.

GARRET walks past EDDIE and ELLIOT without a backward glance. He approaches JORDAN whose expression has changed, taking on a vulnerable look. He stops.


GARRET
Do you need a ride home?

JORDAN
Yes, thank you.

JORDAN picks up her evening bag and fur stole, and GARRET guides her out. We see BUG’S eyes narrow as he watches them. LILY looks away as they walk by her table. SIDNEY follows them to the door but stays there.

 

Asphalt Jungle Theme - Duke Ellington

GARRET speaks in voice over again.


GARRET
What started out as a case about turning up a handful of missing diamonds had taken a turn. I thumbed the two bills in my pocket. It takes a private dick to risk his neck for a couple hundred clams. I really need to look into a new line of work.

****MUSIC The Asphalt Jungle*****

END OF ACT ONE

 

 


ACT TWO


13. DINER - MORNING

There is a long lunch counter with stools. WOODY sits in the center. There is a plate at one elbow and folded newspaper at the other.)

GARRET speaks in voice over.


GARRET
Like I said before, I’m a drunk. No matter if he still drinks or not, a drunk is always a drunk. Every night I go to bed thinking about a nightcap. Every morning I wake up wanting something to take the edge off. Today was no exception. If anything, it was worse. Instead of thinking about some civilized breakfast like eggs and bacon, my taste buds were longing for an uncivilized pint of cheap booze. So, like I did every morning, I stopped off at Dolly’s to scald them quiet with a good ol’ cup of joe.

GARRET enters. The WAITRESS behind the counter acknowledges him while pouring coffee in WOODY’S cup.

GARRET (cont’d)
He was sitting at the bar, pouring cream in his coffee. He looked very neat and very clean-shaven. Like he’d just stepped off the pages of Esquire magazine. If it weren’t for the forty-four Magnum-sized bulge in his jacket, I probably wouldn’t have given him a second glance. The hair on the back of my neck stood on end.

GARRET sits down two stools away, and the WAITRESS pours him coffee.

WAITRESS
Morning, Casey. The usual?

GARRET
Thanks, Doll.

WAITRESS
Coming right up, Handsome.

She yells over her shoulder.

WAITRESS (cont’d)
Fry two, let the sun shine, put some mystery in the alley and add a shingle with a little shimmy on the side!

WAITRESS taps her pencil on the counter in front of WOODY.

WAITRESS (cont’d)
You fine, Sugar?


WOODY nods over his coffee cup. She rips off a check of her pad and slips it under the back of his plate.

WOODY slides the newspaper to GARRET. The headline reads Beacon Hill Playboy Shot Dead in Nightclub Police Source Names Local PI as Prime Suspect.

WOODY
You really should complain to the editor, Casey. The report makes you sound like some worthless sad sack.

GARRET
Do I know you?

WOODY
No, but I’m about to become your best friend.

GARRET
I’m not in the market for friends right now.

WOODY
(points to the paper)
I’d say you could use just about every friend you can get a hold of.

GARRET
You’re not a reporter, not with that heat you’re packing. That leaves cop or mob….and I don’t sleep with the mob.

WOODY gives a mirthless laugh. He has a forkful of egg omelet in his hand.

WOODY
I know. I also know you’re ex Boston PD and that you and the lead detective on this case have a history. It’s one that makes me believe the investigation will have more holes in it than the Swiss on this omelet…..


WOODY looks at his plate. We see an elegantly plated half-eaten omelet.

SNAP TO COLOR

14 . GARRET’S APARTMENT – 3:30 A.M.

GARRET is sitting at his desk, frowning at his typewriter. The clock on his desk reads 330 A.M. He rolls the paper up and we see the words, “the investigation will have more holes in it than the Swiss on this omelet.”

GARRET
(mutters to himself)
Dolly’s slings hash, not omelets…

FLASH TO BLACK AND WHITE

15. DINER – CONTINUING

We see GARRET looking like he’s waiting for some kind of direction. The annoyed WAITRESS snaps her gum and rips the plate out from under WOODY…who looks a little lost. She replaces it with plate of simple diner fare. This time the eggs are scrambled and there is a side of hash browns. Almost as an afterthought, she dumps some ketchup on them. WOODY smiles happily. The WAITRESS caps the bottle with a little indignation and walks away once more.

SNAP TO COLOR

16. GARRET’S APARTMENT – 3:30 A.M.

GARRET is grinning, and the sound of regular typing resumes.

FLASH TO BLACK AND WHITE

17. DINER - CONTINUING

We reset the scene to just before it was interrupted. The typing sound fades.

WOODY gives a mirthless laugh. He has a fork with scrambled eggs on it his hand.

WOODY
I know. I also know you’re ex Boston PD and that you and the head detective on this case have a history that makes me believe that the investigation will have more holes in it than a wall at a fifty cent peep show.

GARRET
What do you want from me?

WOODY
Let’s just say we both want the same thing. Mickey Sellers’ murderer behind bars.

GARRET
Just who the hell are you?

WOODY makes a show of opening his lapel and reaching for his identification. He opens it, showing a FBI shield.

GARRET reads the I.D. and tosses it back

GARRET
Murder’s a little out of the Bureau’s jurisdiction, Agent Wilson.

WOODY repockets his I.D.

WOODY
Call me Jack, Casey. I have a feeling we’ll be working together closely.

The WAITRESS sets a plate in front of GARRET. He waits until she leaves to speak.

GARRET
You didn’t answer my question. What’s J. Edgar’s interest?

WOODY
Do you happen to play chess?

GARRET
On occasion.

WOODY stands, tossing a bill on the counter.

WOODY
Let’s just say he has a vested interest in who wins this match. Enjoy your breakfast. I’ll be in touch.

GARRET resumes voice over

GARRET
Agent Jack Wilson was obviously a man on a mission. Like the dark knight on a chess board, I was about to unwittingly enter his game. It was only a matter of time before I found out if I was going to be just another pawn ready to take the fall.

WOODY opens the diner door. He holds it open for KATE, followed by NIGEL. They are dressed in sharp period street clothes. KATE gives WOODY a quick once over. WOODY tips his hat to KATE and then exits.

GARRET (cont’d)
Little did I know it was about to be bishop to queen four. This pawn took his first real breath since Wilson opened his mouth…

18. INT. DINER - CONTINUING


KATE walks ahead of NIGEL to the counter. She sits on the stool next to GARRET. NIGEL sits on his opposite side


KATE
(addressing the WAITRESS)
Just coffee, and tea for the tall one.

The WAITRESS pours.

KATE speaks nonchalantly, while putting her purse in her lap.


KATE (cont’d)
Good morning, Casey. You can imagine my surprise when we woke up this morning to read in the paper that you murdered a man last night.

GARRET
Good morning to you, too, Camille. Nicky.

NIGEL bobs the tea ball in his tea cup.

NIGEL
Really, Old Man, I’m a little put out that you didn’t even call to say you were planning an evening at Banjara. We could have made a party of it. Darling, do you remember the last time we were there?

KATE
You had one too many martinis and called another woman My Treasure.

NIGEL
The lights were so bloody low. I saw a deliciously curvy blonde in the crowd. Happily, you were only kind to remind me of which beauty I’m married to….

NIGEL rubs his side in remembered pain.

NIGEL (cont’d)
It only hurts when it rains.

KATE
You were lucky I was in a good mood.

NIGEL
(hand over his heart)
For which I’m eternally thankful.

GARRET
(eating)
It’s a wonder you two haven’t killed each other yet.

Mr. and Mrs. Townsend

NIGEL
’Tis the main reason I sleep with a gun under my pillow. (beat) Speaking of which, I hear they pulled two forty-five slugs out of Sellers this morning. Don’t you carry a forty-five?

GARRET
It’s in the department’s hands right now.

NIGEL
That’s not very sporting.

KATE
Since we are not down at the station bailing you out of jail, I can assume Prescott is still building his case. Which means we have a little time, but not much.

NIGEL
We always work best under pressure, don’t we, Love?

KATE
(smiling)
Of course.

NIGEL pulls a folded paper out of his pocket.

NIGEL
We took the liberty of procuring a list of the club employees from a friend at City Hall. I’m still working on getting a copy of the police report so we can start canvassing the guest list.

KATE
We’re running into a few road blocks with the police, but I’m sure we’ll have something soon. Speaking of which….

KATE points her thumb over her shoulder.

KATE (cont’d)
The uniform officer outside? Yours?

GARRET
The lump’s named Barnett. He’s my shadow, courtesy of Prescott.

NIGEL
Poor chap. We really should send him out some coffee. Don’t you think so, Darling?

KATE
(signaling the waitress)
Maybe a doughnut or two. I’m sure Casey’s had him running all night.

NIGEL
(to GARRET)
We have someone getting us everything there is to know about Sellers. What we know so far is that he wasn’t exactly a choir boy.

GARRET
I got that impression.

NIGEL
At least the society columnist at his father’s newspaper made it sound that way. I’ve got an appointment in thirty to talk to the editor to get the scoop on junior’s nine to five existence…not he ever showed up at the office, I’d wager. Fancied himself an entrepreneur.

KATE points off screen, giving direction to what we assume is the delivery person, who is taking the coffee and doughnuts to ELLIOT. She smiles and gives a five fingered wave before turning back to the conversation.

KATE
We did find out he had a thing for girl singers. A few weeks ago he ended an affair with one from Banjara.

NIGEL
Small world, no?

GARRET
You two own the most profitable PI firm in the city. You charge more in an hour than I make in a week. I can’t afford you.

NIGEL snaps his fingers and pats his pockets.

NIGEL
Well damn, I knew I forgot something. Darling, did you remember to start the expense form?

KATE puts her hand over GARRET’S

KATE
We’re not asking for money, Casey. Let’s just call it a favor. You can owe us if you want. That’s what friends are for.

NIGEL
Besides, you know how much I’d like to wipe that smirk off Prescott’s face.

KATE
That’s only because I once admitted he can make it look better than you.

NIGEL
(indignantly)
That’s all the incentive I need.

GARRET
The last time I owed you two a favor I was babysitting that dust mop you call a dog for a week.

KATE
(smiling)
Binky misses you. You really should come over for dinner this week. He’d love to see you again. I’ll invite this friend of mine. You’ll love her. We’ll make it a foursome.

NIGEL
Darling, let’s get him off the hook first.

GARRET
(resumes eating)
I need to warn you…the Bureau’s sniffing around.

NIGEL takes a pencil out of his pocket and flips his list over.

NIGEL
Curious. The case you’re working on?

GARRET looks between them.

KATE
Oh, don’t look so shocked. The only reason you’d be in a place like Banjara is a woman or a case…and since you gave up on dames about the same time you got sober, it only goes to figure you were working.

GARRET
Sellers current fling hired me to find a diamond bracelet that was stolen.

NIGEL
(quick to brush it off)
She probably pawned it for the cash.

GARRET
That’s what I figured…. An easy day’s pay for me. I was at the club to get the retainer. Sellers was popped just as the money was changing hands.

NIGEL
I hope he didn’t bleed all over it. It’s hard to spend it when Benjamin’s covered in blood.

GARRET grunts.

NIGEL (cont’d)
Yes, well, you’re right. The misplaced rocks probably have nothing to do with it…, but the Feds in the picture it might be a good place to start. Who contacted you?

GARRET
Wilson. Jack Wilson. He was the one leaving when you came in.

KATE
Hmmm, I didn’t recognize him. But with a face like that I’m sure one of the girls in the secretary pool downtown will. I’ll start there.

NIGEL
The diamonds. What’s her name?

GARRET shakes his head.

GARRET
(setting his coffee cup down)
Nicky, why don’t you just pay a visit to the paper? I’ll start at the club.

KATE
(stands)
Fine. Let’s meet back here in two.

NIGEL
(rubbing his hands together)
Make it three. I’d like to have a talk with Sellers’ personal staff. You never know. The butler might have done it.

KATE
(rolls her eyes)
We go through this every time. You and your conspiracy theories. I don’t know why you always insist the butler had something to do with everything. You’d think there was a secret society of criminal minds that do nothing but infiltrate the homes of the affluent one silver serving tray at a time....

The argument fades away as KATE and NIGEL leave the diner. GARRET smiles and pays his bill to the WAITRESS.

GARRET resumes voice over.

GARRET
Some friendships you cultivate, others you inherit, and then there are those that just happen over a bottle of gin and a good old fashioned bar fight. I’m here to tell you: Camille has a mean right hook.

 


19. EXT. CITY STREET IN FRONT OF NIGHTCLUB – AFTER BREAKFAST

Period vehicles are parked along the curbs. A newspaper boy is hawking papers at the corner.

A vintage convertible pulls up to the curb. GARRET is behind the wheel. WOODY is leaning against a lamppost a few feet away, watching.

GARRET speaks in voice over


GARRET
Being at a nightclub first thing in the morning is like waking up next to a Bourbon Street hooker after an all night bender. Soft lighting and a sea of perfume give way to the sour odor of stale cigarette smoke, spilt booze and the wear and tear that was done by those there before you.

GARRET steps out of the car and looks up at the club’s marquee. He flicks a cigarette into the gutter and walks toward the entrance of the club. GARRET stops when WOODY steps in front of him.

GARRET
If I’d known you were heading in this direction, Agent Wilson, I would’ve offered to give you a ride.

WOODY focuses over GARRET’S shoulder.

WOODY
(enigmatic smile)
I had my own ride.

GARRET turns to see SIDNEY tipping his hat at WOODY from the driver’s seat of the car he’s sitting in. SIDNEY pulls the car away from the curb and drives down the street.

WOODY (cont’d)
You don’t strike me as the white-tie, night club type, Casey. Yet, here you are twice in the period of twenty four hours.

GARRET looks at WOODY incredulously.

GARRET
It attracts all kinds, Agent Wilson. The stage show is something.

WOODY
It’s Jack, remember? You and Miss Chandler were the last two people to see Mickey Sellers breathing…. Either you’re here to make sure you didn’t leave any evidence or to see if anybody working last night remembered something more…. I’m betting on the latter.

GARRET
That doesn’t explain why you’re here.

WOODY gives him another smile, the “awe-shucks” one this time.

WOODY
Like I said before. I’m your new best friend and friends help each other out of sticky situations.

GARRET
And I told you I don’t need a friend. I’m sure you can catch a cab at the corner or….

GARRET looks to see ELLIOT is now parked in the spot SIDNEY vacated.

GARRET (cont’d)
I’m sure Barnett can give you a lift back downtown.

WOODY
That won’t be necessary. Why don’t you give me the guided tour? I’m dying to see where the infamous Mickey Sellers bought the farm.

GARRET
What do you really want?

WOODY
(serious edge)
Janice Chandler tried to hire you. How well do you know her?

GARRET
I don’t think that is any of your damn business.

WOODY
Don’t be fooled. There’s more to her than a gorgeous package.

GARRET
You just described my ex-wife…and probably every other dame on the face of the planet. Your point?

WOODY
Tell me right now and I’m on the first train back to D.C. and you’ll never see me again. Are you covering for her? Was Janice Chandler the one that pulled the trigger and killed Mickey Sellers?

GARRET
I’ll tell you what I told the police….

WOODY
I’d prefer the truth.

GARRET
The perp was out on the fire escape. The shots came through the window.

There is a long pause ending with WOODY flashing that awe-shucks smile again.

WOODY
Good. (pause) Now that that’s out of the way, why don’t we pool our resources and find out who did this?

GARRET
I work alone.

WOODY
(chuckles)
We’re on the same team here. I figure we can get to the bottom of this before your buddy at BPD can finish pulling his head out of his ass. The sooner we figure out who really sent Sellers on his dirt nap we both can get back to doing what we do.

GARRET
And what is it you do… Jack?

WOODY
Keep the world safe from kidnappers, bank robbers and thieves, Casey. At least that’s what it says on my job description. Besides, my badge is bigger than Prescott’s. If you’re with me they’re not going to arrest you.

GARRET
I guess that doesn’t leave me much choice.

WOODY
Shall we? The lights are on. I think there‘s someone home in there.

WOODY opens the door.

END OF ACT TWO

 


ACT THREE

20. INT. NIGHTCLUB – CONTINUING

The lights are up. Chairs are on the tables. There an old Electrolox canister vacuum running and someone is sweeping the stage. BUG is sitting at a table covered with papers. There is an adding machine at his elbow.

Bug


BUG
(curtly, not looking up)
We’re closed.

WOODY pulls his badge out of his jacket and holds it out for BUG to see.

WOODY
We won’t take up much of your time.

BUG looks up to see GARRET standing behind WOODY.

BUG
I talked to the police last night.

GARRET speaks in the voice over.

GARRET
Detective work can be like finding an elephant in the dark. Reality can be different depending upon the schmuck’s point of view….The truth being relative amid a deceptive world of half-truths and outright lies. I had a feeling it was going to be a long day… and without a paycheck to go with it… even longer. Maybe I should have had Dolly pack me a sandwich for the ride.

WOODY pulls out a chair, turns it around and straddles it. BUG backs his own chair up a few inches.

GARRET
I’m sure you did. We’re interested in what you didn’t tell them.


HARD CUT

21. INT. APARTMENT DOORWAY - CONTINUING

EMY is standing just inside, dressed in a red kimono-style robe. She looks like she was dragged out of bed to answer the door. GARRET and WOODY are standing just outside the door.)


EMY
(yawns)
I told them everything I saw….which was nothing.

WOODY
Tell me about Mr. Sellers’ interest in the club.


HARD CUT

22. EXT. STREET CORNER BUS STOP - CONTINUING

PETER is standing at the corner. GARRET and WOODY flank him on either side.

Interview


PETER
Rumor has it Mr. Vajpayee went to Mickey Sellers to cover some gambling debts. He used the club as collateral.

GARRET
(speculative)
Which he couldn’t repay.

HARD CUT

23. INT. NIGHTCLUB - CONTINUING


BUG
…It was nothing less than extortion.

HARD CUT

24. INT. APARTMENT DOORWAY - CONTINUING

JEFFERY has joined EMY. He also looks like he was sleeping.


JEFFERY
(Scratching his shoulder)
No. I don’t think the money was the issue.

WOODY
So, he just wanted the club.

HARD CUT

25. INT. KITCHENETTE - CONTINUING

LILY’S sitting at a table. She is holding MADDIE, bouncing her on her lap. WOODY and GARRET are sitting opposite her, shoulder to shoulder.


LILY
(tiredly)
Mickey got whatever he wanted…and if he didn’t…he took it.

HARD CUT

26. INT. UPSCALE LIVING ROOM - CONTINUING

SLOKUM, dressed in a smoking jacket, and ROZ, in a robe with a feather boa collar, are sitting next to each other on a settee. GARRET and WOODY are sitting shoulder to shoulder on a matching settee opposite them.


SLOKUM
Business is business.

ROZ holds a teapot.

ROZ
More tea, gentlemen?

WOODY
Thank you. I don’t mind if I do.

GARRET
Can you think of anyone who would want Sellers dead?

HARD CUT

27. INT. GENTLEMAN’S CLUB – CONTINUING

The interior is dimly lit. STILES is sitting in a wingback chair. There is a pipe in his hand. GARRET and WOODY are standing in front of him.

Stiles


STILES
He had a habit of rubbing people the wrong way…but his family was always there to sooth ruffled feathers.

WOODY
Pay offs?

HARD CUT

28. INT. BUSINESS OFFICE – CONTINUING

The interior is bright. RENEE is dressed in a severe suit, sitting behind a large desk, obviously in charge. People are buzzing around her. WOODY and GARRET are sitting shoulder to shoulder in front of her desk.


RENEE
That is such an unsightly way to put it…but yes.

GARRET
Where were you when Sellers was being murdered?

HARD CUT

29. INT. UPSCALE LIVING ROOM - CONTINUING


SLOKUM
That’s putting it a little crassly.

ROZ
(pats SLOKUM’S knee)
He was making a phone call and I was ….checking my lipstick.

HARD CUT

30. INT. NIGHTCLUB - CONTINUING


BUG
I don’t know. I may have gone outside for some air.

HARD CUT

31. INT. APARTMENT DOORWAY - CONTINUING


JEFFERY
My dressing room.

EMY
Ditto.

HARD CUT

32. EXT. STREET CORNER BUS STOP - CONTINUING


WOODY
So… you only heard two shots.

PETER
I was in the backroom cleaning a mai-tai, some drunk split on me, off my trousers. So, I’m not really…sure.

HARD CUT

33. INT. GENTLEMAN’S CLUB - CONTINUING


STILES
I thought that was a car backfiring out front. Until Janice screamed, of course.

HARD CUT

34. INT. BUSINESS OFFICE - CONTINUING


RENEE
I wasn’t counting.

WOODY
Do you own a gun, Ma’am?

HARD CUT

35. INT. UPSCALE LIVING ROOM - CONTINUING


ROZ
I’ve never been fond of guns, Mr. Wilson. They tend to make a terrible mess.

ROZ winks.

HARD CUT

36. INT. APARTMENT DOORWAY - CONTINUING

JEFFERY drapes his arm over EMY’S shoulder.


JEFFERY
Who doesn’t?

GARRET
What kind?

HARD CUT

37. EXT. STREET CORNER BUS STOP - CONTINUING


PETER
(shrugs)
A Colt single action. It was my grandfather’s. I don’t even know if it works anymore.

HARD CUT

38. INT. NIGHTCLUB - CONTINUING


BUG
(edgy)
There’s a forty-five under the bar…and one in the back. A man in my position can never be too careful.

HARD CUT

39. INT. GENTLEMAN’S CLUB – CONTINUING


STILES
(pompously)
A Luger Pistolen-aught-eight. It’s a war trophy. I took it off the Kraut myself. He was dead, of course. You wanna see it?

HARD CUT

40. INT. KITCHENETTE - CONTINUING

LILY is holding a huge hand gun, looking down the sight.


LILY
Thumb safety, slide stop, three pound trigger pull with no creep. That pig of a husband of mine may have lousy taste in mistresses, but he never forgets my birthday.

WOODY is now holding MADDIE, who is teething on his tie.

WOODY
(looks at GARRET)
A forty-five. How thoughtful…

LILY
…for a pig.

HARD CUT

41. INT. UPSCALE LIVING ROOM - CONTINUING


GARRET
What about his personal life? Did Sellers associate with anyone who might be capable of doing this?

ROZ
Mickey changed his women with the weather. He just never told them that.

HARD CUT

42. INT. GENTLEMAN’S CLUB - CONTINUING


STILES
Power and money breed animosity.

HARD CUT

43. INT. BUSINESS OFFICE - CONTINUING


RENEE
Do I look like his social secretary?

HARD CUT

44. INT. APARTMENT DOORWAY - CONTINUING


WOODY
I understand there was a relationship between Sellers and your wife.

JEFFERY
The bitch. Yeah, he was doing her.

HARD CUT

45. INT. NIGHTCLUB - CONTINUING


BUG
(sighs)
She could do so much better than him.

HARD CUT

46. EXT. STREET CORNER BUS STOP - CONTINUING


PETER
It didn’t last long. He gave her up for Miss Chandler. Could you blame him?

HARD CUT

47. INT. UPSCALE LIVING ROOM - CONTINUING


ROZ
(snobby tone)
He’d been traipsing around that Chandler woman ever since she arrived in town. Although he never seemed that attached to her. Weren’t you working for her, Mr. Martin?

HARD CUT

48. INT. KITCHENETTE - CONTINUING


LILY
The sad part was I believed he really loved me. At least, until she showed up. All she has to do is smile and men are falling at her feet.

HARD CUT


49 . EXT. STEET OUTSIDE NIGHTCLUB - CONTINUING

WOODY and GARRET are standing next to GARRET’S car.

EDDIE pulls up in front of them in an unmarked car. He stops the engine.

GARRET speaks in voice over.


GARRET
There’s an old adage that says a bad penny always turns up. I wouldn’t give two cents for Prescott, but there he was. For myself, I hadn’t been in the company of so many badges since I was kicked off the force. I began to sweat like a duck in a shooting gallery.

EDDIE
(to GARRET)
You’re a damn lucky asshole, Martin.

GARRET
Prescott. I assume you’re done clearing me and are here to personally apologize for the harassment.

EDDIE
Don’t press your luck. I still say there are more loose ends here than there are in a whorehouse and you’re one of them…but I’ve been told to drop you from the suspect list.


EDDIE looks up and down the street.

EDDIE (cont’d)
I hope you’re not harassing witnesses, because I’d like nothing more than to run you in right now.

WOODY hands EDDIE his badge.

WOODY
Mr. Martin is helping me with my own investigation.

EDDIE ignores WOODY’S badge.

EDDIE
I know who the hell you are. You have my boss shitting daisies to make you happy. Just remember this is a murder investigation, Agent Wilson.

GARRET
It’s good to know you’re still investigating. You didn’t happen to bring my gun with you. I have a receipt.

EDDIE pulls GARRET’S gun and clip out of his pocket and reluctantly hands them to GARRET.

EDDIE
I was going to make you pick up at the station, but the Chief didn’t know if you’d remember where it is.

EDDIE starts his car back up.

EDDIE (cont’d)
I’m calling Barnett off…but if I hear one word about you screwing things up… so help me, I run you both in.

WOODY
We’ll keep that in mind.

EDDIE gives them both another once over and leaves. ELLIOT’S cruiser follows.

WOODY
(nonchalant)
Congratulations. You’re off the hook.

GARRET looks at his gun and clip with a critical eye.

GARRET
Until he can convince the Chief that he’s run out of other places to look.

WOODY
We’d better figure out who did this and fast.

GARRET
Cut the shit. Do you want to tell me you’re really investigating here?

WOODY
(smile)
Murder, of course.

GARRET slaps the clip and gun into place. WOODY’S smile fades.

WOODY (cont’d)
Fine. I’ll explain everything after we’ve talked to your client.

GARRET
What does Janice Chandler have to do with this?

WOODY
According to your police statement, nothing. I just want to make sure of that.

GARRET speaks in voice over.

GARRET
Wilson wasn’t exactly being as chatty as the broad who I share a party line telephone with, but after a day of feeling like I was at the track making bets on yesterday’s racing form, I was starting to see some pay out. Whatever his interest in the murder, it had everything to do with the sweet number we were about to go see.


50. INT. UPSCALE HOTEL HALLWAY – AFTERNOON

The hotel is simple and elegant with white paneled doors and light wall papers.

GARRET continues with the voice over.

GARRET
Yogi Barra is one of the best catchers to ever play the game of baseball. His only fault is that he plays for the Yankees. Yogi once told a sports reporter ‘You can observe a lot just by watching.’ Along with having a helluva swing, he sometimes makes a valid point. I was about to see if this one held water. (pause) I did….in spades.

GARRET and WOODY approach a door. The numbers “311” are painted on the door. GARRET knocks.

JORDAN opens the door. Her hair and makeup are flawless. She’s dressed in a Hepburn-style blouse and pants. She dabs her nose daintily with a handkerchief when she sees GARRET.

JORDAN throws her arms around GARRET’S neck.


JORDAN
Oh, thank God you’re here. I’ve been so worried.

GARRET
Worried?

JORDAN
It’s nothing, not really, I just….

JORDAN stops when she sees they are not alone. She looks up, noticing WOODY. She’s momentarily stunned, but regroups quickly. She steps away from GARRET.

WOODY
What, no crocodile tears for me too? Then again, they don’t have the same effect on me that they used to.

JORDAN
(haltingly)
Agent Wilson, what a surprise.

GARRET
You two know each other.

WOODY
(looking at JORDAN)
We’ve crossed paths a time or two.

JORDAN
(to WOODY)
What are you doing here?

WOODY
I’m trying to help find out who offed Sellers.

WOODY pushes past JORDAN to step inside a tastefully furnished hotel sitting room.

51. INT. UPSCALE HOTEL ROOM - CONTINUING

JORDAN
(to GARRET)
What’s going on here, Casey?

WOODY looks around the room, opening the door to the bedroom, noting that the three of them are alone.

GARRET
Agent Wilson is working with me to find the murderer. We just need to clear up a few things.

JORDAN
(confused)
That’s the police’s job. Not a private investigator’s.

WOODY
It’s his way of earning that retainer Sellers palmed him.

JORDAN glares.

JORDAN
(false pleasantness)
Of course. What do you need me to do?

WOODY
Why don’t you tell us how you met the recently, and I’m sure, dearly departed?

JORDAN
What does that have to do with anything?

GARRET
Probably nothing, but you might be able to lead us to the killer.

WOODY
So, was it love at first sight?

JORDAN
(sighs as if she’s being put out)
I met Mickey in….Providence. (pause) I’m just a little confused as to why the FBI is involved. Isn’t this a local matter?

WOODY
I happened to be in town and saw the story in the paper this morning. I saw your name and knew I had to get involved. (smirks) For old time’s sake.

JORDAN
(flustered)
I’m not sure I can be of any help. The only thing I saw was the end of a gun pointing through the window. It was big and loud.

JORDAN lifts her right hand and pantomimes a gun.

JORDAN (cont’d)
It was over before I could react.

GARRET
Can you think of anybody who’d want Sellers dead?

JORDAN
(haltingly)
No, I… Mickey never let me get that close. He kept his relationship with me separate from the rest of his life.

WOODY
You didn’t know his family has one of the largest gem collections on the Eastern seaboard?

JORDAN
It’s no secret Sellers was born with a silver spoon in his mouth.

GARRET is distracted when he looks over his shoulder and notes a wet bar. He looks at it like something is amiss.

JORDAN (cont’d)
Is there a law against coming from money?

WOODY
No, but there are laws to protect men like Sellers from being taking advantage of by others.

JORDAN
Mickey was a big boy. He didn’t need protection.

WOODY
So, why did he have breakfast with St. Pete this morning instead of you?

JORDAN turns to look to the window.

JORDAN
I don’t know. All I know is what I told you.

GARRET
That’s fine. We understand this is a difficult time.

He points to the bar.

GARRET (cont’d)
May I? It’s been a long afternoon.

JORDAN
(wave of the hand)
Help yourself.

GARRET looks at the bottles and glasses on the bar carefully while he pours a drink. He notes two dirty glasses. One has lipstick. He uses his handkerchief to pocket the second. WOODY notices and distracts JORDAN.

WOODY approaches JORDAN taking her arm.

WOODY
(low voice)
Just one last thing.

JORDAN
What?

WOODY
(low voice)
I know you’re involved here way up to your sweet little ass. If I find out you had anything to do with Sellers’ murder, I will personally lock you up and throw away the key myself.

JORDAN
(shakes his hand off)
I think it’s time for you both to leave.

GARRET looks longingly at the glass of whiskey he poured. He leaves it and turns away from the bar.

GARRET
We’ll find who did this. I promise you that.

JORDAN
(demure look)
Thank you.

GARRET touches his hat before he walks out the door.

WOODY points to the bedroom and speaks in the same low voice.


WOODY
If that sweet little number you have laid out on the bed in there is what you are planning on wearing when you go pay your respects to the stiff’s old man later...I suggest something a little lower cut. The clock’s ticking.


JORDAN slaps him across the cheek.

JORDAN
(hisses)
Get out.


WOODY grabs her with one arm and kisses her.

kiss

JORDAN
(coldly, but breathless)
You shouldn’t kiss a woman like that while you're wearing a gun.…. Someone might get hurt.

WOODY
(smile)
I‘ll remember that next time.

JORDAN
Who says there’ll be a next time?

WOODY doesn’t comment and follows GARRET out to the HALLWAY wiping the lipstick from his mouth. JORDAN slams the door.


52 . EXT. STREET IN FRONT OF HOTEL - CONTINUING

GARRET’S car is parked at the curb. WOODY and GARRET stop in front of it. WOODY points at GARRET‘S pocket.


WOODY
If you wanted to steal something off Janice Chandler I could have waited outside and you could’ve tried for her panties. I hope I’m not arresting you for something a little less perverted.

GARRET carefully pulls the handkerchief and glass out of his pocket.

GARRET
She wasn’t alone this morning.

WOODY
Hers?

GARRET
There were two glasses. One with lipstick and one with a nice clear left thumbprint, too masculine to be Miss Chandler’s. The shooter was left handed.

GARRET hands WOODY the glass; he looks at it with a critical eye.

GARRET (cont’d)
Tell me you have someone over at the Bureau that can work some magic on this.

WOODY
(nods)
I know someone. If the prints are on file we should have a name by morning.

GARRET
Do you want to tell me how the hell you’re involved in this now?

WOODY
Not really.

GARRET
You are anyway.

WOODY
Her real name is Janice O’Reilly. She’s got a record a mile long. Her mother died when she was ten. She went to live with her father who was a two-bit hustler. She came along, and they went big time. Every few months the two of them would weave these elaborate scenarios, target some mark and rob them blind. Her father was outed a few years back in Miami; she went solo. I’ve been investigating her for six years. I just never got anything to stick.

GARRET
Six years is a long time to work one case.

WOODY
It’s become personal.

GARRET
So you think Sellers was her latest a mark?

WOODY holds up the handkerchief and glass.

WOODY
No. I think you are, and this proves it.

GARRET
You honestly think she could be behind this?

WOODY
(tired)
Honestly? I hope like hell someone’s just waving a fish in front of our noses to throw us off the trail. Don’t get me wrong, I want to see her locked up for her crimes....

GARRET
But you don’t want to see her face the Chair.

WOODY gives him a sad smile.

WOODY
It would be a waste…. Don’t you think?

GARRET resumes the voice over.

GARRET
Wilson was first and foremost a g-man, right down to the shine on his wingtips. Janice Chandler…O’ Reilly…or whatever…is a force of nature. Wilson has been sent in as the cleanup crew. It just didn’t take a detective to see he was also a poor sap deep under the spell of a beautiful doll. If I didn’t envy him so much… I’d pity him.

 

END OF ACT THREE

 

 

ACT FOUR


54. INT. DINER – LATE AFTERNOON

WOODY and GARRET are sitting at a booth. A pot of coffee sits between them. The bell over the diner door rings. Enter NIGEL and KATE. GARRET waves them over. KATE stops in front of WOODY.


KATE is speaking to NIGEL, but looking at WOODY.


KATE
Nicky, go call Cook and tell her to set an extra plate for dinner. Good afternoon, Agent Wilson. I do hope you like lamb.

WOODY stands.

WOODY
One of my favorites… Miss?

KATE slips into the booth and begins to pull off her gloves before WOODY can sit back down.

KATE
It’s missus, but you can call me Camille.

NIGEL
(indulgent smile)
Everyone does.

KATE
(gestures to NIGEL)
My husband, Nick. (beat)
Now-that-we-have-the-formalities-taken-care-of, let’s get down to business.

NIGEL sits down next to GARRET.

NIGEL
It’s a good thing we’re not billing you, Casey. The newspaper offices were a complete waste of time. Our stiff didn’t win any popularity contests there, but I couldn’t find anybody who had both means and motive to kill him.

KATE
It was the same at the house.

GARRET
No disgruntled ex-employees?

KATE
More than a few I’d assume. But Daddy has deep pockets.

NIGEL
I also ran the pawnshops. No diamond bracelets surfacing in the last few days.

KATE
Do you think whoever has the bracelet killed Sellers?

WOODY
Men have been killed for less.

GARRET
We talked to a few of the last people to see Sellers alive. A surprising number of them own forty-fives and were indisposed when Sellers was shot.

NIGEL
(grin)
It might be interesting to have a drink at the Banjara tonight and see who shows up.

KATE
Do you think the real killer will be there?

NIGEL
Any excuse to see you in an evening gown, my sweet.

WOODY
I could arrange for the police to leak to the press that the case is looking cold…

GARRET
(slick smile)
No. I have a plan.

Jump, Jive, An' Wail - Louis Prima
54. EXT. ENTRANCE OF THE NIGHTCLUB - NIGHT

***MUSIC Jump, Jive, An’ Wail, Louis Prima ***

A sign on the exterior door proclaims the club is closed due to a death, but the music playing inside suggests there is a party is going on.

GARRET speaks in voice over


GARRET
Like moths to a flame the guilty tend to return to the scene of the crime. Maybe it’s out of remorse, maybe it’s to gloat…I like to think it’s because it makes it easier for men like me to finger them.

55. INT. NIGHTCLUB - CONTINUING

NIGEL, KATE, WOODY and GARRET enter. NIGEL and KATE are dressed in evening clothes. WOODY and GARRET are in the same suits they’ve been wearing all day. They are greeted by EMY who takes NIGEL’S hat. The other two men decline.

RENEE and STILES are at one table. PETER is opening them a bottle of champagne. Next to them is a table of three: ROZ, SLOKUM and BUG. JEFFERY and LILY are on stage with the band. LILY has a drink in her hand.

BUG stands and approaches.

BUG
Nick! Camille!

KATE
(shaking BUG’S hand)
I hope you didn’t mind us inviting ourselves.

BUG
Nonsense. We always have a table for the famous Nick Townsend and his lovely bride. Mr. Martin. Agent Wilson. Good evening.

GARRET
Thank you for letting us join your wake.

BUG seats them at a table.

BUG
(nonchalantly)
Tragedy, isn’t it.

BUG snaps his fingers and PETER comes running.

BUG (cont’d)
Let me send a bottle of champagne over to your table.

GARRET
Three glasses.

WOODY
(interrupting)
Make that two. I’m on duty.

NIGEL
(to KATE)
Good. There’s just that much more for you and me, Darling.

KATE
(to BUG)
Thank you, but I think we’ll pass on the bubbly tonight. Just bring us a couple of martinis…dry…two olives….no, make it three. Intrigue makes me hungry.

BUG gives the group a suspicious look before giving PETER the order.

GARRET
(looking at his watch)
I don’t see Miss Chandler here tonight….

We see a female arm with a stunning diamond bracelet slip over GARRET’S shoulder. It’s JORDAN.

JORDAN
(in GARRET’S ear)
I shouldn’t be talking to you after this afternoon. You’re lucky I’m a forgiving person. Aren’t you going to introduce me to your friends?

NIGEL stands, taking JORDAN‘S hand in his and kissing it.

NIGEL
(still over her hand)
Nick Townsend, my lovely wife, Camille. Casey’s description of you didn’t do you justice, my dear.

KATE
(to NIGEL)
Would you stop gnawing on the woman’s hand?

NIGEL
I was just admiring her lovely bracelet, Dearest.

JORDAN
(chuckles lightheartedly)
Oh, this. (looks at GARRET) It had slipped behind my dressing table. How silly is that? I just found it this evening. I could have sworn they were gone for good.

GARRET smiles enigmatically.

JORDAN looks directly at WOODY even though she is still standing by GARRET’S shoulder.

JORDAN
(conversationally)
I assumed you‘d be halfway back to where ever the hell you hang your hat these days.

WOODY
(tips his seat back)
I still have a job to do. Nice sparkle. A parting gift from Sellers? Or was it his old man?

JORDAN
(fingers the bracelet)
A lady never discusses such things. Are you here to grill us again, Agent Wilson?

WOODY speaks loudly enough for his voice to carry in the club.

WOODY
Actually, we might have a few answers….

The music stops. There is whispering in the room. LILY steps off the stage. She weaves, obviously drunk.

LILY
(slurs)
You figured out who killed Mickey?

JEFFERY comes down from the stage after her.

JEFFERY
Sit down, before you fall down!

LILY
Don’t tell me what to do!! If they have answers I want them.

BUG guides LILY to a table. All attention is centered on WOODY.

SLOKUM
Is it true? Do you have a lead?

GARRET
(stands)
More than a lead…we have the murderer. Right here. In this room.

There is a gasp and more whispers. Dramatic background music begins to play.

KATE
(whispered to NIGEL)
I love this part…

NIGEL taps his martini glass to hers.

STILES
(calls out)
Don’t just stand there. Out with it, my good man.

GARRET
(walks to the center of the room)
Miss Chandler and I were the last two people to see Mickey Sellers alive. We were discussing a business deal when the killer climbed two stories up the fire escape, pried open the window with his right hand and pumped two 45 rounds in Sellers’ back with his left.

Another gasp comes from the assembled crowd.

GARRET
The killer had means and more than enough motive to kill Mickey Sellers in cold blood.

RENEE
Who did it?

GARRET
Sellers had threatened his very existence…

He looks at LILY.

GARRET (cont’d)
…and the woman he had secretly loved for years had her heart crushed by the man. The killer is none other than…

There is a dramatic pause, punctuated by the music.

GARRET (cont’d)
…the man that had the most to gain by Sellers death.

There is a second dramatic pause.

GARRET (cont’d)
Mr.Vajpayee.

Roz
ROZ
What?!

The music abruptly stops like someone look the needle off the record. There is a crash as the tray PETER is carrying slips and falls to the floor.

BUG pushes his way forward. He no longer has the poise and demeanor of a nightclub owner but as BUG himself.

BUG
Dr Macy, I hate to tell you this, but your theory isn’t at all feasible.

Everyone looks uncomfortable, having been stopped.

NIGEL
(mutters under his breath)
Oh, bloody hell. Not again.

WOODY rocks his chair back down in four legs. PETER picks up the tray. JORDAN pushes her bracelet around her wrist looking utterly bored.

BUG
As much as I would have loved to be the one to kill Matt Seeley. It isn’t possible the way you have it set up.

He raises his right hand.

BUG (cont’d)
You see… I’m right-handed.


GARRET looks around the room. LILY smiles and nods as if to say BUG is correct.

HARD CUT TO COLOR

56. INT. GARRET’S APARTMENT – 4:56 A.M.

GARRET sitting at his desk. The clock reads 4: 56 A.M. GARRET drums his fingers on the desk for a minute before using his typewriter key to X out the sentences about BUG being the murderer. GARRET pulls himself together and begins to type again.

HARD CUT TO BLACK AND WHITE

57. INT. NIGHTCLUB - CONTINUING

GARRET is standing before the group as before. The dramatic music picks back up.

RENEE
Who did it?

GARRET
It was an inside job. Someone who could slip in and out the back door without anybody noticing.

GARRET pulls a cigarette out of his pocket and puts it in his mouth. He pats his pockets for a lighter in vain. He looks at PETER and asks for a light. PETER complies and holds on a lighter with his left hand.

GARRET
I assume when the police find that old forty-five of your grandfather’s they’ll discover it works just fine.

PETER panics and runs towards the door. WOODY stops him. WOODY drags PETER back to the table and puts cuffs on him.

PETER
Sellers had to die!

PETER looks at JORDAN.

PETER (cont’d)
Tell them, Sweetheart! Tell them about our plans….

JORDAN begins to back up toward the door.

JORDAN
(hisses)
Shut up, you idiot!

PETER
Janice and I are in love! We were going to run away together, but Sellers wouldn’t let her go. He threatened to kill her! I had to….

JORDAN
(yells)
Lies! It’s all lies. He’s obviously a deranged man. Someone call the police!

GARRET
They’ll be here any minute. What happened, Janice? Mickey discover your little game? The diamonds were supposed to be just the beginning, and he wasn’t cooperating. You had to bring in a patsy to pull the trigger, then hire a second one to take the fall.

JORDAN
You have no idea what you are talking about. Do you think I’d be stupid enough to be in the same room if I’d had hired someone to kill Mickey?

GARRET
No, I think you are clever enough to use every one of us in your plot. Is that why you came to see me? Did you see my name in the phone book and decide it was a good one to see on the police report.

JORDAN pulls a derringer out of nowhere and points it.

JORDAN
(glares at GARRET)
Nobody would miss a washed up, drunken PI. It was a perfect fit.

JORDAN takes a step back.

JORDAN (cont’d)
He told me he wouldn’t turn me over to the feds if I did some side jobs for him.

She gives WOODY a defiant look.

JORDAN (cont’d)
I don’t like being told what to do.

GARRET
You’ll never get out of here…

JORDAN
I’ve gotten out of tighter situations.

GARRET pulls his own gun.

GARRET
Janice.

JORDAN
(softly)
Don’t make me shoot you, Casey. Please.

There is a click, and we see WOODY has pulled his own gun.

WOODY
You’re outnumbered, Janice. Put the gun down.

JORDAN aims the gun at WOODY’S head.

JORDAN
I could’ve killed you once before…but I didn’t.

WOODY holsters his gun and takes a step forward

WOODY
(soft smile)
Los Angeles, four years ago. I still have the scar. Every time I look at it I think of you and remember that night at the inn.

JORDAN
(flinches momentarily)
We could get that back again. You don’t owe these people anything. You. Me. We’ll take the first plane out of here. We’ll disappear. (holds up her arm) These rocks will be able to take care of us for a while…I have more back at hotel…

WOODY
(another step forward)
You know I can’t do that.

JORDAN
NO!

Just as JORDAN is about to pull the trigger the door to the club opens. EDDIE and a half dozen uniformed officers storm the room. WOODY grabs the gun out of JORDAN’S hand. Her head drops in defeat.

GARRET points at PETER and nods to JORDAN.


GARRET
I have a two-for-one for you tonight, Lieutenant.

JORDAN wraps her arms around WOODY’S middle.

JORDAN
(weeping)
Don’t do this.

WOODY looks in her eyes. He’s tempted.

WOODY
I’m sorry.

WOODY pulls out of her arms and looks at EDDIE.

WOODY (cont’d)
I’ll ride with Miss Chandler to the station and wait for her lawyer. She still faces federal charges.

EDDIE
Murder trumps anything J. Edgar can pin on her.

WOODY
Call it a professional courtesy.

EDDIE
Very well. Get ’em out of here….

WOODY cuffs JORDAN’S hands in front of her and drapes her fur stole over them.


WOODY, JORDAN, PETER, EDDIE and OFFICERS exit. NIGEL stands and slaps GARRET‘S shoulder in congratulations.


NIGEL
You did it, Old Man! I’d say let’s break out that bottle of bubbly….but instead I could go for a good cigar.

GARRET
I think I’ll pass. It’s been a long day.

BUG
It’s starting to rain again. Do you need a cab, Mr. Martin?

GARRET
(straighten his hat on his head)
Thanks anyway. I’ll walk.

GARRET lets himself out.

58. EXT. IN FRONT OF THE NIGHTCLUB – CONTINUING

GARRET flicks his cigarette in the gutter and pulls his collar up around his neck.

GARRET speaks in voice over


GARRET
They say there is a fine line between love and hate. That line is as wide as the Charles River when compared to the one between desire and duty. Wilson did what he was paid to do. I don’t know if I could have made the same choice if I were in his shoes. At least I was going to be able to sleep at night, thankful I didn’t.

SLOW FADE

END OF ACT FOUR

 

 

 

ACT FIVE

 

SLOW FADE IN

 

You Go to My Head - Keely Smith

59. EXT. STREET CORNER - MORNING

****MUSIC You Go To My Head, Keely Smith****

We see the DINER from before.

60. INT. DINER - CONTINUING

GARRET enters with a newspaper under his arm. GARRET is greeted by the WAITRESS who pours him coffee.

GARRET puts the newspaper on bar. The headline reads “MURDERESS FACES THE ELECTRIC CHAIR.” with a mug shot of JORDAN and a portrait of MATT. He refolds the paper to cover it back up.

NIGEL and KATE, with BINKY, enter, music fades to the back ground.

KATE
Morning, Casey.

NIGEL
(holding BINKY’S leash)
We’re going to drive up to the mountains for a little fresh air. You look like you could use some.

GARRET
(over his coffee)
Thanks anyway, but I‘ve got to get some work done.

KATE
I see you saw the headlines. Do you think she’ll be pardoned?

GARRET
I doubt it.

KATE
Have you talked to Wilson lately?

GARRET
He was put on the execution witness list. He declined, but I‘m sure he‘ll be there anyway. I doubt he thought the game would end this way.

NIGEL
You have to admit she pushed her luck one too many times.

GARRET
She always does.

NIGEL
That’s why we love her.

KATE
Not all of us are so enamored. It goes without saying that Jordan is going to kick your ass if she ever sees this…..and I’ll do it for her if you’re late for the morning meeting. I have more than enough work to do without doing your job, too.

KATE takes her hat off and runs her fingers through her hairdo making her look more like KATE.

KATE (cont’d)
So….if you’re about done playing Dashiell Hammett…the sun’s up and the next time you do this….

KATE grabs BINKY’S lease from NIGEL, who looks bewildered.

KATE
Leave me and my dog out of it. Once is more than enough to be married to Nicky…

HARD CUT TO COLOR

1. INT. GARRET’S APARTMENT – 7:12 A.M.

GARRET rubs his eyes. Sunlight brightens the room. The clock reads 7:12 A.M. He takes the needle off the Keely Smith record that is playing. The music stops. GARRET stretches like he has just woken up from a restful night’s sleep. He stares at the paper in the typewriter for a minute before he starts typing again. We hear the clicks of the keys and see the type on the page…

GARRET finishes with voice over

GARRET
Just like taxes, there is no escaping it when your number is up. I’d bet my last dollar Janice wouldn’t have changed a thing. There was no doubt she was TNT disguised as a pretty package. A babe that lived life on her terms and took her fate as it was dished up. For that, I had to admire her… Maybe even be a little envious. Today she’s headlines. Tomorrow her story will be used to wrap fish at the market. It’s a hell of a legacy, but that won’t stop the next chiseler, or the next, or the next, from taking her place before the sun sets again on the city of Boston. It’s all part of the game of chance we call life in this wretched world.

I, for one, am glad to be part of it.


GARRET pulls the paper out of the roller and reads it over as he sips his coffee. He smiles likes he’s happy with what he sees and wads it up, tossing it on top of an over-flowing trash can. He stands and leaves the frame.

Satisfied

 

Laura - Charlie Parker

****MUSIC-Charlie Parker’s “Laura” ****

 

 

 

 

 

 

Next time on Crossing Jordan:

"Charmer"



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