Crossing Jordan Virtual Season 7

“There Are More Things (Than Are Dreamt Of)”

Written by
Nynaeve

Art by
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.

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

Max Cavanaugh
Matt Seely
Eddie Winslow
Det. Rich Davidson
Sophie Bergstrom
Dr. Torres
Nurses

JORDAN’S APARTMENT
   BEDROOM

MIAMI HOSPITAL
   MAX’S ROOM
   HALLWAY
   CAFETERIA

MAX’S HOUSE
   LIVING ROOM
   KITCHEN

VICTIM’S HOME
   MASTER BEDROOM

EXTERIORS
MAX’S HOUSE

TEASER

Another Mystery - Dar Williams

1. INT. JORDAN’S BEDROOM – EVENING

The scene does a slow fade intro. WOODY is sitting in JORDAN’S bed, reading something. Next to him is a pad of paper. His gaze is very intent, but occasionally flicks toward the kitchen from where we hear sounds of cupboards opening and dishing clanking. He jots something down, almost furtively, before glancing toward the kitchen again. Safe, he returns to his reading. He murmurs to himself.

CROSS FADE TO:

2. INT. MAX’S LIVING ROOM – NIGHT

The shot is a close-up of JORDAN. There is a slow pull out to reveal that it is a photo. MAX glances over at the photo from his recliner. His eyes cloud with old worries and then, after a moment, he gives the barest of smiles. He reaches for a tumbler on the table next to him and takes a sip of the Scotch it contains. There is a sound, startling MAX out of his chair. He gets up and checks the front door, shaking his head when it’s clear there’s nothing amiss outside. He is making his way back to his chair when we see a streak of something hurtling toward his back. The weapon – a Louisville Slugger – connects with the back of MAX’S neck. He goes down, knocking over the table where JORDAN’S picture stood. The shot tightens on the shattered frame which is soon dappled with blood spatter and we can hear the gruesome sound of the bat connecting with flesh. The shot widens once more at a slow and measured pace. Dim light reflects off some of the bloody glass shards. It goes silent, a moment passing before we can hear a door slam. The shot remains focused on the photograph while we hear MAX struggling to breathe and then a clunking noise and a discordant jingling noise, as a telephone makes when dropped. Numbers are pushed slowly and then there is ringing. We can hear a voice in the background.

The shot widens all the way out to reveal MAX on the floor, the baseball bat near him, blood pooling from a wound we can’t see. He scrabbles for the picture and then his eyes close.

END OF TEASER

 

Crossing Jordan Theme

;

ACT ONE

3. TRACE – LATE MORNING

JORDAN and NIGEL are talking. NIGEL keeps looking around, his eyes anxious. They are both ignoring the body that NIGEL should be examining.

KATE is doing the autopsy on the body seen earlier. NIGEL enters.

KATE watches them and sighs when the door shuts.

5. INT. HALLWAY – CONTINUING

GARRET is getting a bottle of water from the fridge. LILY and BUG are getting ready to go home.

MAX is lying in a raised bed. He’s pale and the IV pole at his bedside has several bags on it. He is clearly in some pain, but has a tight smile anyway. JORDAN is sitting next to him. WOODY stands across from the uneasy father-daughter tableau.

8. INT. HOSPITAL HALLWAY – CONTINUING

JORDAN and DETECTIVE DAVIDSON enter the hallway. In an effort to put her at ease, DAVIDSON leans against a wall. His demeanor is affable, but his eyes appraise JORDAN thoroughly. She is busy making up her mind about him as well. DAVIDSON smiles and glances away. She wins the visual standoff. Maybe.

9. INT. MAX’S HOSPITAL ROOM – CONTINUING

MAX is glaring at WOODY.

MAX sighs and closes his eyes, cornered.

END OF ACT ONE

ACT TWO

GARRET is gowned and gloved, standing next to the body of a man in his mid-seventies. He is appraising the body, taking in details. He has a thoughtful frown on his face.

BUG enters. Seeing GARRET, he looks perplexed.

BUG waits a moment longer and then sighs. He gets the chart for the second body and begins scanning it as he approaches her. She is also in her mid-seventies. He rereads a section of the chart, looks at the body again and then his brows knit down.

GARRET is frowning at the open body on the table. He glances up as the door swishes open. KATE looks in and sighs, apparently frustrated.

KATE’S eyes widen.

Grazed Knees - Snow Patrol

DETECTIVE EDDIE WINSLOW stands in the doorway. NIGEL is crouched next to a nightstand flanking the double bed.

NIGEL still doesn’t answer. His hands are trembling as he slams the drawer shut. His gaze travels to the top of the nightstand and he sees, as if for the first time, a clear drinking glass. It is half filled with water and a single flower blossom sits in the water. NIGEL leans in and studies the glass. Clear as day, there is a single, greasy fingerprint.

13. INT. NIGEL’S LAB – EARLY EVENING

GARRET is perched on the edge of a table. NIGEL is sitting in front of his computer. Off to one side is the infamous white board. BUG and LILY are also in the room, near the door, both looking uncertain and uncomfortable. KATE is there, looking uncertain as to exactly why she is bothering.

END OF ACT TWO

ACT THREE

JORDAN and WOODY are standing in Max’s kitchen. JORDAN slumps against a counter, a glass of Scotch in one hand. She’s pale and there are dark circles under her eyes. WOODY also has a small Scotch. He is on edge, his expression anxious. She is gazing down into her drink and doesn’t notice him cross to her. Without a word, he takes her into his arms; she lets herself rest against him, her arms tight around his neck. Her Scotch almost slops over the edge onto his neck. She squeezes her eyes shut but can’t fight back the tears. WOODY sets his drink down on the counter behind her and holds her more tightly, one hand rubbing her back.

WOODY is asleep on the couch, one arm over his head, the other hanging off the side of the couch. His legs are bent up. He’s snoring lowly. He snorts and half wakes himself up. He blinks, glances around and seems to recall, with a deep sigh, where he is. He moves one arm so it covers his eyes and is already falling back asleep when we hear a scraping. WOODY is awake instantly. There’s enough light coming in from the streetlight that we can see his gun lying on the coffee table. He picks it up.

The deadbolt on the door tumbles over. It sounds almost like a gunshot in the dark, especially to someone on high alert. Slowly, the door opens. WOODY is on his feet, moving quietly, gun at his side, but the tension in his body says he’s ready to aim the second it becomes necessary.

A woman – about thirty – tiptoes in, carrying shoes in one hand and looking over her shoulder as she shuts the door as quietly as possible. WOODY uses her inattention to creep closer to her. He brings up the gun and aims.

16. INT. MAX’S LIVING ROOM – CONTINUING

The woman, SOPHIE BERGSTROM, is sitting on the couch. JORDAN sits next to her. WOODY enters from the kitchen, carrying a glass of water. He hands it to SOPHIE. He looks a little guilty, but we notice his gun is tucked into the back of his sweat pants’ waistband. Just in case? SOPHIE drinks about half the glass of water and then sits forward, glass held in both hands, elbows on knees. JORDAN and WOODY exchange a glance and then look back at her.

END OF ACT THREE

ACT FOUR

SOPHIE stands up, her face cold, her posture rigid. When she speaks, she spits out her words.

18. EXT. MAX’S FRONT DOOR – CONTINUING

SOPHIE smiles to herself; the expression borders on mischievous.

Facing the door, JORDAN has one hand still on the deadbolt. She peers through the peephole, her jaw set, her shoulders squared. After a moment she turns away and leans back on the door, her head resting on it, eyes on the ceiling. She is shaking.

20. INT. MAX’S HOSPITAL ROOM – MORNING (BEFORE 10 A.M.)

JORDAN is standing by the window, her back to the bed. MAX has a breakfast tray pushed to one side. He looks like he might have a headache. He looks over to WOODY, who’s standing by the door. WOODY takes a step back. He’s so not getting in the middle of this one.

FADE TO:

21. INT. NIGEL’S LAB – MORNING

NIGEL is hunched over his computer, muttering darkly to himself.

KATE takes it and looks at it.

ACT FIVE

KATE is smiling as NIGEL reads a website. She reaches out a hand, as if she might put it on his shoulder (as before the rescue helicopters arrived on the mountain). Without warning, NIGEL turns around, grinning broadly. KATE snatches her hand away and the smile fades, replaced by one of mild triumph. There is a sparkle of something else in her eyes though.

Breathe In, Breathe Out - Mat Kearney

23. INT. HOSPITAL CAFETERIA – MORNING

WOODY and JORDAN are at a table, sipping coffee. Actually, WOODY is sipping coffee; JORDAN is staring at hers. Her face is unreadable.

WOODY is about to reply when a page over the hospital PA system interrupts. They both look up, listening.

JORDAN and WOODY are in the hospital room, toward the door. JORDAN is pale, her eyes filled with unshed tears as MAX’s doctor and several nurses are working on him. There is a portable crash cart in the room. WOODY’S eyes dart between the action going on with MAX and JORDAN. He has his hands on her shoulders, rubbing gently, without even realizing it. The medical personnel work frantically and finally are rewarded with a heartbeat and respiration.

SOPHIE, who has been in a corner of the room, tries to sidle past JORDAN. Quick as a cat, JORDAN reaches out and grabs the younger woman’s arm.

25. INT. GARRET’S OFFICE – CONTINUING FROM NIGEL’s PREVIOUS SCENE

GARRET sits at his desk, doing paperwork. He looks up when there is a knock.

26. INT. HALLWAY – CONTINUING

GARRET, NIGEL and LILY pass BUG. He looks after them.

27. INT. JORDAN’S OFFICE DOORWAY – CONTINUING

The four reach Jordan’s office door, now standing wide open, and find KATE standing in front of it. She looks at them, her face grim.

NIGEL takes a deep, shocked breath.

The camera cuts from their faces to Jordan’s desk. Exactly in its center is a drinking glass. A greasy fingerprint is visible even from where NIGEL et al are standing. In the glass is a single Black Hellebore blossom.

NIGEL takes a step into the room. GARRET reaches out to hold him bac