Crossing Jordan Virtual Season 7
“Murder Most Foul”
Written by
Bourbon
Art by
Art Gal
Act Banners by
Jilly and Nyn
“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
Emy
Henry VIII
Six Wives
Fight Choreographer
Todd
Director
Molly
Rick
Young Man
Jake
Props Lady
Stage Manager
Actor
Mrs. Leonard
Heidi
Sean
Tricia
Ben
SET LIST
INTERIORS
THE MORGUE
TRACE
AUTOSPY ONE
BREAK ROOM
CONFERENCE ROOM
LILY’S OFFICE
LOBBY
COLLEGE THEATRE
LOBBY
AUDITORIUM
BACKSTAGE
STAGE
STORE
HIGH SCHOOL
CLASSROOM
HALLWAY
EXTERIORS
COLLEGE QUAD
FOOD TENT
MORGUE ROOFTOP
1. EXT. COLLEGE QUAD – DAY
MUSIC: “BRUSH UP YOUR SHAKESPEARE”
The setting is Hancock College, a typical but fictional Boston liberal arts
college, with red-brick Georgian style architecture and a tidy green quad. The
college has currently been taken over by a Ren Fair and Shakespeare Festival.
Out on the quad, we get various shots as the music plays: a man in medieval
armor, a serving wench, a juggler, a man on stilts, and finally a mime, all
while a crowd mills around.
Cut to a hanging banner reading “WELCOME TO THE HANCOCK COLLEGE SHAKESPEARE
FESTIVAL AND RENAISSANCE FAYRE”
The camera pans down to where we see a dead body on the ground dressed and
looking just like Henry VIII. He is quite dead and still clutching a giant turkey
leg.
We cut up to where we see the body surrounded by SIX WIVES dressed in Tudor
costume. We also see WOODY and JORDAN looking on with a small measure of amusement.
| WIFE #1 |
| He really was in character. Like all the time. |
| WIFE #2 |
| Insisted on authentic Renaissance food for lunch. Took one bite of the
turkey leg and started to choke. |
| WIFE #1 |
| We tried to do the Heimlich, but we couldn’t get our arms around him… |
WOODY raises an eyebrow.
| WIFE #2 (cont’d) |
| You know… Henry VIII and his Six Wives? We do a show. Every hour on the
hour. |
| JORDAN |
| So, Henry VIII chokes on a turkey leg and his wives keep their heads. I’d say there’s a certain poetic justice in that. |
JORDAN signals for some flunkeys to lift the gurney with HENRY’S considerable body onto the van.
| WOODY |
| All right. Show’s over. Thanks, ladies. |
.
The WIVES disperse and JORDAN starts closing up her gear.
| WOODY |
| Damn. Whose idea was it to have an outdoor festival in January? |
| JORDAN |
| They’ve gotta have it during J-term when most of the students aren’t around. |
| JORDAN |
| January term. Sort of like summer school in the winter. |
| WOODY |
| Oh. It’s a college thing. Still. I could sure use some of that Miami weather about now. |
| WOODY |
| You heard from your dad? |
JORDAN
(brightening a little) |
| Yeah. He’s driving the home health aid crazy, of course. The head is healing nicely. The rest of him….? |
WOODY puts a sympathetic arm around her.
| WOODY |
| It’ll take time, Jordan. (beat) Let me buy you lunch? |
| JORDAN |
| As long as it’s not turkey. |
A MIME crosses their path and tries to engage WOODY, but he ignores him and waves him off.
| WOODY |
| Show folk… they give me the heebie jeebies. |
He gives a little shudder.
| JORDAN |
| Woody, it’s a Renaissance fair, not a geek show. |
| WOODY |
| There’s just something a little creepy about ‘em… always look
like they’re gonna group hug or burst into song. |
| JORDAN |
| What – you never wanted to be in a school play or anything? |
WOODY
(reluctantly) |
| I was in the Thanksgiving pageant when I was in third grade. I was… a pumpkin. |
JORDAN guffaws.
| WOODY (cont’d) |
| Hey, I was a chubby kid! I was the only one who could fill out the costume!
|
JORDAN rolls eyes playfully. They start walking as if to exit. JORDAN stops in
front of one of the college buildings. There’s a banner hanging out front that
says “SHAKESPEARE FESTIVAL TICKETS AVAILABLE HERE.”
| JORDAN |
| Before we eat, you mind if I stop in and pick up some tickets? |
| WOODY |
| You mean, like, tickets as in theatre tickets? |
| WOODY |
| I just didn’t know you were that into Shakespeare, that’s all. |
| JORDAN |
| Sword fights, blood and guts, blue humor. What’s not to like? |
WOODY gives her the eye… ’fess up.
JORDAN
(a bit sheepishly) |
| I had this amazing pre-med professor. Two PhDs in biochemistry and Art History. Said being well-rounded made him a better scientist, so…I minored in English Renaissance Lit. |
She shrugs. No big deal.
| WOODY (cont’d) |
| You’re gonna make me go to a play, aren’t you? |
JORDAN pushes him up the steps. He goes with an eyeroll and a groan.
| JORDAN |
| Did I ever tell you how much I love opera? Really long ones. In German. |
He gives another groan as she slaps him on the back and they enter the building.
2.INT. COLLEGE THEATRE LOBBY – DAY
JORDAN and WOODY enter the building. JORDAN crosses to the box office. WOODY
stands off by himself and waits. He hears a sound that is, to him, unmistakable:
the sound of metal against metal. Someone is fencing. His ears perk up, and
he follows the sound to:
3. INT. COLLEGE THEATRE AUDITORIUM – CONTINUING
WOODY peers inside the doors to the theatre’s auditorium. It is a small hive
of activity. Actors are having measurements taken by the costumers, people are
painting scenery, a few cast and crew are eating lunch. Onstage, two men are
fencing, while another man watches. Intrigued, WOODY wanders down the aisle.
Suddenly, one of the men watching throws down his script in overblown frustration.
| FIGHT CHOREOGRAPHER |
| No, no, no! You say the line then thrust. Then he says
his line with a riposte! |
The ACTORS look at him in confusion. One of them speaks.
| TODD |
| I thought that’s what I was doing! |
| FIGHT CHOREOGRAPHER |
| Oh, come on, do I have to do it myself? Watch… |
He takes the sword from one of the actors and pushes him aside. At this point, the DIRECTOR looks up and sees WOODY.
DIRECTOR
(to WOODY, snooty) |
| May I help you? |
All eyes turn to WOODY.
WOODY
(embarrassed at being caught) |
| Uh, no, sorry… I was just… |
| WOODY |
| Well, it’s just … I was watching the fencing and… no offense, but… |
| FIGHT CHOREOGRAPHER |
| But what? |
| WOODY |
| Well… you’re holding the sabre wrong… and your feet… |
FIGHT CHOREOGRAPHER
(aggressive and snotty) |
| I’ve been certified by the American Academy of Stage Combat.
Where did you train? |
Someone titters in the semi-darkened theatre. WOODY blushes a bit in embarrassment.
| WOODY |
| I was captain of my college fencing team. |
FIGHT CHOREOGRAPHER
(snickering, sarcastic) |
| Where? Yale Drama School? |
| WOODY |
| Kewaunee County Community College. |
There’s a more audible titter.
| FIGHT CHOREOGRAPHER |
| All right, Community College… |
FIGHT CHOREOGRAPHER tosses him a sabre. WOODY catches it. It’s been a long time,
but it feels good in his hand. He smiles.
| FIGHT CHOREOGRAPHER (cont’d) |
| You’re on. |
WOODY considers it for a moment. He climbs the steps from auditorium floor onto
the stage. At this point, JORDAN has entered. The two men face off. WOODY is
a bit rusty, and at first the FIGHT CHOREOGRAPHER gets the better of him. He
almost knocks WOODY off his feet.
| FIGHT CHOREOGRAPHER (cont'd) |
| You were the captain of the team? |
JORDAN is looking anxious for him, but WOODY gets back into it. He’s found his
stride again. He’s got the other guy on the run, and is able to knock the sabre
out of his hand. WOODY holds the blade on him, and the FIGHT CHOREOGRAPHER raises
his hand in surrender.
FIGHT DIRECTOR retreats to lick his wounds. WOODY smiles broadly at JORDAN,
who is looking at him with a mix of surprise and pride. TODD slaps him on the
back.
| TODD |
| ‘Bout time someone kicked that guy’s ass. |
The DIRECTOR crosses and looks at him with admiration.
| WOODY |
| Sorry. Didn’t mean to show your guy up. |
| DIRECTOR |
| You’re very good. Are you Equity? |
| WOODY |
| No, I’m Boston PD. (beat) Maybe this Shakespeare thing isn’t so bad after all. What play is this anyway? |
He picks up the script that the FIGHT CHOREOGRAPHER had earlier thrown on the
stage and reads the cover.
There are several loud gasps. All eyes are suddenly on Woody. DIRECTOR’S eyes
are wide with fear.
| DIRECTOR |
| “Angels and ministers of grace defend us!” |
An actor standing in front of WOODY suddenly turns around three times and spits over his left shoulder at Woody’s feet.
There is a stunned silence. WOODY gulps.
| WOODY |
| Was it something I said? |
4. INT. MORGUE BREAK ROOM – DAY
BUG is in the break room getting coffee. NIGEL sticks his head in the door.
| NIGEL |
| Have you seen Jordan? I have the file she was looking for. |
| BUG |
| She’s out on a call. Henry VIII apparently choked on a turkey leg. |
NIGEL looks at him, eyebrow raised.
| BUG |
| Some kind of Shakespeare Festival/Renaissance thing over at Hancock College. |
NIGEL
(with excitement) |
| The Ren Fayre’s in town? |
| BUG |
| Ssssh! Keep it down! If Lily finds out, she’ll want to drag me and Maddie to it! |
| NIGEL |
| You don’t want to go? |
| BUG |
| Bubonic Plague, mud, and poor personal hygiene. Why would you anyone want to relive that? |
| NIGEL |
| You don’t know what you’re missing! |
| BUG |
| A weekend with Shakespeare sounds only slightly better than the Psychic Fair she dragged me to last month. But that’s like saying being beaten over the head with a crowbar is only slightly better than being eaten by coyotes. |
KATE enters to pour herself a cup of coffee.
| NIGEL |
| “Good morrow, Kate; for that’s your name, I hear.” |
| NIGEL |
| “An angel is like you, Kate; and you are like an angel.” |
| NIGEL |
| Oh, come on, love. You know… The Shakespearean Kates! Henry IV, Henry
V… |
He comes in close with a raised eyebrow.
| NIGEL (cont’d) |
| The Taming of the Shrew. Shakespeare festival’s in town. You’ll
feel right at home. Hamlet was the original Goth. Fancy a go, love? |
KATE stifles a small smile at Nigel’s good-natured teasing about her Goth past.
| KATE |
| Did I just hear something about being eaten by coyotes? |
KATE exits and nearly collides with LILY. She’s excited and carrying a newspaper and her cell phone.
| LILY |
| There you are! You’ll never guess… The Ren Fayre’s in town. I’m ordering tickets right now! Saturday or Sunday afternoon? |
BUG stammers while NIGEL smiles in amusement.
| LILY (cont’d) |
| You do want to go, don’t you? |
BUG is all befuddled gestures and points out the door.
| BUG |
| I’ve got to… there’s a… I should… |
BUG hurries out of the room. LILY watches him go.
LILY turns back to NIGEL with an exasperated “the nerve of him” look.
| NIGEL |
| As it just so happens, Uncle Nigel is free this weekend. |
LILY stomps her foot and heads off in a huff.
CROSS FADE TO:
5. INT. MORGUE TRACE - DAY
There is a body of a young girl on the table. BUG stands looking down at her
sadly. LILY enters and approaches with sympathy.
| LILY |
| Hey. I heard you went out on a call. (beat) Suicide, huh? |
| BUG |
| Yeah. Seventeen years old. Neighbor found her in the garage with the car motor running. |
| LILY |
| Such a waste. Do we know why? |
| BUG |
| Police said there was no note. |
| LILY |
| I can’t imagine how hard that must be for the parents. At least if there was a note, if they had some idea why, it might make it a little easier… |
| BUG |
| I’m not sure anything could make this easier for a parent. |
LILY and BUG share a moment of understanding. They’re both thinking the same thing – Maddie. A woman bursts in, wild-eyed, crying.
| MRS. LEONARD |
| Where is she? |
| MRS. LEONARD |
| Where is she? Where’s my baby? |
MRS. LEONARD sees the girl on the table and crosses to her, stroking her hair and cheek. She begins to weep mournfully.
| WOMAN |
| My baby… my precious baby… |
LILY and BUG trade sympathetic looks.
CROSS FADE TO:
6. INT. MORGUE LILY’S OFFICE – DAY
MRS. LEONARD is sitting on the sofa. LILY hands her a tissue. BUG is there,
too.
| MRS. LEONARD |
| They called me at work to tell me… I didn’t believe it at first. |
| LILY |
| Mrs. Leonard, I know this is hard, but… did Heidi have a history of depression? |
| LILY |
| Had she been upset about anything? |
MRS. LEONARD
(emphatically) |
| No. No! Heidi wouldn’t have done this. I know it. Her boyfriend… he’d
given her a ring. Sort of… pre-engagement, I guess. I know they
were young, but they were so happy, so in love. He was her world. |
| LILY |
| I know something like this can be hard to accept…. |
| MRS. LEONARD |
| No! She didn’t do this.. Please… you need to find the truth. She had everything to live for. It was all she could do, talk about her dream wedding… Now instead of planning her wedding, I have to plan her funeral. |
She breaks down again, and LILY helps her up and guides her to the door.
| LILY |
| I’m so sorry, Mrs. Leonard. Please… will you call me if you need anything? |
MRS. LEONARD nods and leaves the room. LILY turns back to BUG.
| LILY (cont’d) |
| That poor woman. How can you accept that your newly-engaged daughter killed
herself? |
| BUG |
| Except… Heidi wasn’t wearing an engagement ring when they brought her in. |
LILY and BUG exchange uh-oh looks.
7. INT. COLLEGE THEATRE AUDITORIUM – DAY
| WOODY |
| What? What did I do? |
| DIRECTOR |
| You said… that word! |
| JORDAN |
| Uh…, I think you’re supposed to call it “The Scottish Play.” It’s apparently bad luck to say the name of the play in a theatre. |
| DIRECTOR |
| Bad luck? You’ve cursed this production! |
| WOODY |
| What? That’s ridiculous. All I did was say… |
Everyone gasps. The DIRECTOR claps his hands over his ears.
| WOODY |
| Okay! Okay! Sorry… “The Scottish Play.” My bad. |
WOODY rolls eyes and climbs off the stage to join JORDAN.
| WOODY (cont'd) |
| Sheesh. What did I tell you? Actors. |
They head up the aisle. Behind them on stage, we can see one of the actors is
sitting having lunch on stage with an actress, MOLLY. He begins to cough. MOLLY
hits him on the back.
RICK stands up and begins to stagger. He is coughing and sputtering, holding his sides in pain. He begins to cough up blood.
| MOLLY |
| Rick?! Help him! Somebody! Call 911! |
Everyone has turned in alarm towards RICK. WOODY and JORDAN rush to the stage just as Rick collapses on the edge of the stage. There is general consternation. JORDAN checks his pulse, etc. His eyes stare up lifelessly.
JORDAN looks at WOODY and shakes her head slightly. DIRECTOR eyes WOODY.
DIRECTOR
(muttering under his breath) |
| Cursed… |
WOODY looks around sheepishly at the actors, who are eyeing him suspiciously.
He gulps nervously and:
BLACKOUT
8.INT. HIGH SCHOOL CLASSROOM – DAY
BUG and LILY are in an empty high school classroom. They are talking to SEAN,
a nice-looking but slightly arrogant jock type. He’s wearing a varsity basketball
team jacket.
| SEAN |
| I broke it off. Asked for the ring back. I didn’t think she’d…. |
SEAN cuts himself off and shakes his head.
| LILY |
| Her mom said you and Heidi were inseparable. What happened? |
| SEAN |
| She wasn’t who I thought she was. |
| LILY |
| I’m not sure what that… |
SEAN
(erupting) |
| You really wanna know? She cheated. I saw her. We were at this party at Tony Messina’s house when his parents were out of town. I was in the backyard at the keg, and someone came out and said they saw her going upstairs, so I looked up, and I could see her in the window. There she was with some other guy. He was… god, I can’t even think about it. Then on top of everything, she lies about it! Said it wasn’t her. She was saving herself for our wedding night. What a crock. |
| BUG |
| You didn’t believe her? |
| SEAN |
| I saw her with my own eyes! I couldn’t see her face since she was… (he shudders) But it was her. |
SEAN looks back and forth at BUG and LILY.
| SEAN (cont’d) |
| Hey, it’s not my fault, okay? I never thought she’d do something crazy. |
9. INT. HIGH SCHOOL HALLWAY – DAY
BUG and LILY are walking down the locker-lined hallway as they talk.
| BUG |
| Sean’s right. I can’t believe she’d kill herself over this. |
| LILY |
| I don’t know… her mom said he was her world. |
| BUG |
| Come on! But kill herself? She was only seventeen! |
| LILY |
| That’s just it. When I was in high school, I was in love – or thought I was – with this guy from my algebra class. I even let him cheat off me during tests. Finally, I got up the nerve to ask him to the school dance, and he said yes. Later, that day I overheard him telling his buddies he thought I was a freakshow and the only reason he’d said yes was so I’d keep letting him cheat off me. I was devastated. I went home and got a bottle of my mom’s sleeping pills out of the medicine cabinet. I stood there for an hour trying to get up the courage to swallow them. |
| LILY |
| I came to my senses, realized he didn’t look as much like Luke Perry as I first thought, and put the pills back. When you’re seventeen, everything seems like it’s the best and worst it’s ever going to be. Maybe Heidi really thought her life was over without Sean. |
BUG and LILY round the corner. They see a girl, TRICIA, putting flowers down in front of one of the lockers.
TRICIA sees them and turns to hurry off.
| LILY |
| Hey! We just want to talk to you! Hey! |
BUG and LILY catch up to her. She looks scared.
| BUG |
| We’re from the Medical Examiner’s office… was that Heidi Leonard’s locker? |
TRICIA nods.
| TRICIA |
| She was my best friend. Look, she didn’t kill herself, okay? Trust me. If you want to know what happened, talk to that asshole Sean. |
| LILY |
| Well, we know Sean asked for the ring back. Is there something else…? |
| TRICIA |
| Then find Ben Hudson. He’ll tell you what happened if he has any guts. |
| BUG |
| If you know something about Heidi’s death, you have an obligation to…. |
LILY shoots him a look. Let me handle this.
| LILY |
| Here’s my card. If you can think of anything, anything at all... or if you just want to talk… will you call me? |
TRICIA nods reluctantly and takes the card. She turns to go.
TRICIA
(over her shoulder, firmly) |
| She didn’t kill herself… |
TRICIA runs off as BUG and LILY exchange looks.
10. INT. COLLEGE THEATRE AUDITORIUM – DAY
They are carting Rick’s body away. JORDAN is talking to MOLLY.
| MOLLY |
| He had a stomach bug about a week ago. Got really sick. But then he was fine…. |
| JORDAN |
| Other than the bug, had Rick been sick lately? Complaining of any other symptoms? |
| MOLLY |
| Well… he was tired. And he didn’t look so good the last couple of days. Kind of green around the gills. But he just figured it was because he’d been sick, and we’ve been rehearsing long hours. |
JORDAN and MOLLY watch as they cart Rick away.
| MOLLY (cont’d) |
| Do you think that’s what it was? The flu bug? |
JORDAN shakes her head slowly. She’s baffled.
11.INT. MORGUE AUTOPSY ONE – DAY
JORDAN has Rick on a table. She is doing some preliminary paperwork. WOODY sticks
his head in the door.
| WOODY |
| Hey, you ready for dinner? |
WOODY
(entering) |
| You think it might have been some kind of superflu? |
| JORDAN |
| I doubt it. Healthy thirty-two year olds don’t generally die of the flu. |
| JORDAN |
| He’s cyanotic. And look at this… |
JORDAN holds up an x-ray.
| JORDAN |
| His liver is enlarged. He’s jaundiced. |
| WOODY |
| Yellow and blue make green… |
| JORDAN |
| Yup. We should know more after the autopsy. |
NIGEL comes in behind Woody.
NIGEL
(gleefully) |
| This must be Henry VIII. |
He crosses to the body.
| NIGEL (cont’d) |
| That’s not Henry VIII… |
NIGEL gives her a confused look.
| JORDAN (cont’d) |
| Actor playing Macbeth at the Shakespeare festival collapsed and died during
rehearsals this morning. |
| NIGEL |
| Ah, the infamous curse strikes again. (half-joking) Don’t tell me… some poor bastard said “Macbeth” inside the theatre. |
| WOODY |
| Does everyone know about this curse but me?!?!? |
| NIGEL |
| It’s part of Shakespearean lore! (beat) Did you know Macbeth
is the shortest and bloodiest of Shakespeare’s plays? |
JORDAN
(gleeful) |
| Oh, man, I saw this production once where Lady Macbeth goes to wash her
hands, and blood comes gushing out of the faucet. It was like something
out of The Shining! |
NIGEL ooohs in appreciation.
| JORDAN (cont’d) |
| I still don’t think Macbeth is as bloody as Titus Andronicus,
though. |
NIGEL
(rubbing hands together gleefully) |
| Ooooh! Yes! Titus! |
WOODY
(lost, feeling a bit left out) |
| What? What’s that? |
| NIGEL |
| Titus’ daughter is ravaged by the queen’s sons. Then they cut off her hands and her tongue so she can’t name her attackers… |
| JORDAN |
| But she manages to write their names in the dirt with a stick… |
| NIGEL |
| So Titus kills the sons, bakes them in a pie, and serves them to their mother! |
NIGEL
(interrupting) |
| Then there’s always Desdemona’s death scene for a good laugh… |
| JORDAN |
| Well, only if we’re going to assume asphyxia is the cause of death. |
JORDAN
(short, almost blowing him off) |
| Othello smothers Desdemona because he thinks she’s been unfaithful. But she sits up and talks after she’s supposedly dead then dies again. |
NIGEL
(realizes she’s on to something) |
| Yes… if he strangles her rather than smother her with a pillow… |
| JORDAN |
| A fractured hyoid bone could delay death. |
| NIGEL |
| You’re on to something… (beat) Oh, well. I could talk about the Bard for hours. Never mind. You had paperwork for me? |
JORDAN hands him some paperwork.
NIGEL starts to go.
NIGEL (cont’d)
(as he exits, dramatically) |
| “Parting is such sweet sorrow…” |
There’s a beat while JORDAN shakes her head and watches him go, then she turns
back to her work. We see WOODY has been watching the two for the entire time,
looking lost and a bit insecure.
| WOODY |
| Wow. You’re really… smart. |
| WOODY |
| I guess I always knew you were smart. And not just because you’re a doctor
and you can kick my ass in Scrabble. But you’re… smart smart. |
| JORDAN |
| You’re no slouch yourself. How old were you when you passed your detective’s exam? Like twelve? |
| WOODY |
| No, I’m serious. It’s just… you… Nigel… all this stuff you know…
I’m just… |
He gives up and shrugs.
| JORDAN |
| Nigel’s a freak of nature. |
| JORDAN |
| It’s not a big deal, Woody. |
She slips her arms around him.
| JORDAN (cont’d) |
| Come on. Let’s forget dinner. We’ll get some takeout… go back to your
place… how’s that sound? |
| WOODY |
| Just no Scrabble, okay? |
| JORDAN |
| I’m sure we can think of some other games to play. |
They share a kiss.
| JORDAN (cont’d) |
| Let me change out of my scrubs. I’ll meet you by the elevators. |
WOODY smiles and JORDAN exits, but we can see after she leaves that he is feeling
a bit insecure about the whole thing.
12. INT. MORGUE LOBBY – DAY
BUG is in the lobby picking up his mail. He’s drinking coffee, but he’s yawning.
NIGEL is there, too, leafing through a catalog. KATE comes through the lobby
with her coat and briefcase. She’s stifling a yawn. NIGEL smiles teasingly when
he sees her.
| NIGEL |
| “Ah, you are called plain Kate, and bonny Kate, and sometimes Kate the cursed…” |
KATE
(irritated) |
| Okay, I get it… Taming of the Shrew. Ha, ha. You can stop now. |
| NIGEL |
| “But, Kate, the prettiest Kate in Christendom, Kate of Kate Hall. Superdainty Kate.” |
KATE presses the elevator button and ignores him.
| NIGEL (cont’d) |
| “Kate! The name is music to mine ear!” |
The door opens. LILY is inside and steps off as KATE steps in.
| NIGEL |
| “Nay, come Kate come, you must not look so sour!” |
KATE eyerolls as the doors slide shut. NIGEL heads off with his mail.
LILY
(to BUG) |
| There you are. |
They share a quick kiss.
| BUG |
| Yeah. These late shifts are hell. I just want to get out of here and pick up Maddie at the sitter’s. |
| LILY |
| You’re thinking about Heidi, aren’t you? (beat) Don’t worry. We’re going to figure this thing out. |
The elevator doors open again, and a gaggle of teenage boys in varsity jackets like Sean’s steps out. They are jostling each other, strutting with bravado. One boy steps to the forefront. He is BEN.
BEN
(arrogant) |
| I heard somebody here wanted to talk to me. |
13. INT. MORGUE CONFERENCE ROOM – DAY
| BEN |
| Yeah. I know Sean Roberts. He’s on the basketball team with me. |
| BEN |
| Friends? No. Not really. We were teammates. That’s it. |
| BEN |
| Thought he was God’s gift. |
| LILY |
| Did you know he and Heidi had broken up? |
BEN
(smirks) |
| Yeah. I heard something about that. |
| BUG |
| You think this is funny? A girl is dead! |
| BEN |
| Hey, some of us were a little sick of that jerk strutting around like he owned the place. Mister Perfect. Captain of the basketball team… college scouts… little miss perfect girlfriend. Some of us thought he needed to be taken down a peg or two. |
| BUG |
| So…that’s what you did. You took him down a peg. |
| LILY |
| Ben… did you have something to do with Heidi’s death? |
| BEN |
| No! Nothing like that. We just… |
| BEN |
| We were at Tony Messina’s kegger. There’s this girl Jessica. Looks kind of like Heidi from the back. Same hair. She’ll do anything in pants. So, I had this idea… |
| LILY |
| It wasn’t Heidi Sean saw in the window. It was Jessica. |
| BEN |
| It was just a joke, okay? |
| BUG |
| Some joke! Heidi Leonard is dead! |
| BEN |
| It’s not my fault that chick offed herself! I didn’t know she was some kind of psychofreak! |
| BUG |
| I can’t even stand the sight of you. |
BUG stalks off while BEN sits there looking only mildly repentant.
14. INT. MORGUE AUTOPSY ONE – MORNING
JORDAN is in autopsy with RICK/MACBETH. NIGEL enters.
| JORDAN |
| You got that tox screen back on Macbeth yet? |
| JORDAN |
| That doesn’t make sense. Look at this…. |
NIGEL comes closer as JORDAN points to the open abdominal cavity.
| JORDAN (cont’d) |
| The liver… it’s necrotic. |
| NIGEL |
| That explains the jaundice. |
| JORDAN |
| But what the hell chewed his liver up? |
| NIGEL |
| That was no stomach flu. |
JORDAN
(thinking out loud) |
| Molly said he had a stomach bug then improved. A week later his liver is destroyed… that ring any bells? |
| NIGEL |
| Some sort of toxin that wouldn’t leave traces in the blood system. Something organic. |
| JORDAN |
| Like… wild mushrooms, maybe? |
| NIGEL |
| Amanita phalloides…death cap. Could be accidental poisoning. |
| JORDAN |
| Or not. I’ll call Woody… |
She goes to the counter and calls on her cell phone.
15. INT. STORE – CONTINUING
We see a tight shot of WOODY. He’s focusing on something, head down. He answers his phone without seeing who it is.
| JORDAN (V/O) |
| Hey, it’s me. Where are you? |
| WOODY |
| I’m… uh… at the coffee shop. |
The shot widens to reveal WOODY is not at the corner Starbucks, but at a bookstore,
specifically in the English Lit section. He is reading a book entitled THE
COMPLETE WORKS OF WILLIAM SHAKESPEARE.
16. INT. MORGUE AUTOPSY ONE – CONTINUING
| JORDAN |
| Found something on Macbeth. Need to run more tests, but I think we’re
going to want to talk to the cast and crew. |
17. INT. STORE – CONTINUING
| WOODY |
| I’ll meet you there. |
| JORDAN (V/O) |
| Hey, pick me up a tall half caf latte while you’re there, wouldya? |
WOODY grimaces. Busted!
WOODY frowns and stuffs the book back in the shelf. He walks a few steps away,
then goes back and gets the book off the shelf again and walks away.
18. INT. COLLEGE THEATRE AUDITORIUM – DAY
WOODY is standing at the back of the theatre. There is a rehearsal going on.
There is a young man on stage rehearsing a scene with a young woman. JORDAN
enters. They speak in whispers so as not to disturb the stage action.
She notices the action onstage.
| JORDAN (cont’d) |
| Hey, I love this one. |
WOODY and JORDAN turn their attention for a moment to the stage.
| YOUNG MAN |
| “If thou would have such a one, take me: and take me, take a soldier; take a soldier, take a king: what say’st thou, then, to my love? Speak, my fair, and fairly, I pray thee.” |
The scene continues. WOODY looks at JORDAN, lost.
JORDAN
(explaining) |
| Henry V. He’s a soldier, a little rough around the edges, not much on poetry. But he’s fallen in love with the French king’s daughter, and he’s asking her to marry him. |
WOODY shrugs weakly. He hasn’t picked up anything from what the actors have been
saying. JORDAN smiles at him in sympathy.
| JORDAN (cont’d) |
| We’ll rent it on DVD sometime. Killer movie. |
JORDAN tries to give him a smile, but the rehearsal has broken up, so he just signals from her to follow him. They head down the aisle of the theatre.
| JORDAN |
| Hey, where’s my coffee? |
WOODY stumbles around for an answer when they see MOLLY. She’s sitting in the
front row, crying.
| JORDAN (cont’d) |
| Molly… you okay? |
MOLLY
(drying tears, with a rueful laugh) |
| Yeah, I’m just having a hard time with this. I guess I should’ve learned by now not to fall for my leading man, right? |
| MOLLY |
| I have a policy against dating men during the run of a show. I’ve been burned before. But Rick and I had… feelings for each other. Who knows what might have happened… after? Now we’ll never know. |
She begins to sniffle again. TODD comes out from behind the curtain. We recognize
him as one of the men in the fencing scene.
| TODD |
| Hey, Mol? Everything all right? |
TODD approaches and puts a protective arm around her.
| TODD |
| You need to eat, keep your strength up. Why don’t you let me take you to lunch? |
| MOLLY |
| Yeah… sure… I’ll get my purse. |
MOLLY heads off kind of in a numb haze.
| TODD |
| Poor kid. She’s been through a tough time. |
| JORDAN |
| You’re playing Macduff, aren’t you? |
| TODD |
| Yeah! I get to off the bad guy at the end! |
| TODD |
| I caught a lucky break. It’s only my second year in the main company. I had to slog for three years with the mimes and the wenches out in the Faire. Fingers crossed, next year I’ll get to play Hamlet. |
| WOODY |
| Were you and Rick friends? |
| TODD |
| Yeah, sure. Who didn’t like Rick? He was a friendly guy. (beat) Molly’s sort of… delicate right now. I know you’re probably gonna have questions for her, but… go easy, okay? |
MOLLY comes back with her purse.
They head up the aisle. We hear them talking.
| TODD |
| Where you wanna go? My treat. |
19.INT. COLLEGE THEATRE BACKSTAGE – DAY
JORDAN and WOODY are talking to JAKE. He’s a handsome leading-man type. He’s being
measured for a costume.
| JAKE |
| Can we make this quick? I’ve got an audition in New York for Guiding
Light. |
| WOODY |
| Just a few questions, Jake. |
| JORDAN |
| Was Rick into natural foods at all? Foraging…? Organic mushrooms…? |
| JAKE |
| Rick? No way. Rick thought there were two basic food groups – beer and pizza. You think he ate some bad mushrooms? |
| WOODY |
| Just following a lead. You were Rick’s understudy, weren’t you? |
| WOODY |
| Now that he’s dead, you’ll be playing the part of Macbeth. |
| JAKE |
| What, you think I… you think I poisoned him, don’t you? |
| WOODY |
| A part like this could make a guy’s career. No more soap operas. |
| JAKE |
| No way, man. This part is huge for me, but I wouldn’t kill for
it. Look, you think someone poisoned Rick, talk to the crazy props lady.
You know the scene where the witches throw stuff in their witches brew? |
| JORDAN |
| Yeah… “eye of newt, toe of frog…” |
| JAKE |
| Well, she’s not using rubber spiders and snakes, that crazy old lady is using actual eye of newt! Rick parked in her parking spot one time, and she’s been giving him the evil eye and muttering about casting a real spell on him ever since. |
WOODY and JORDAN give each other a look. This is getting odd.
FADE TO:
20. INT. COLLEGE THEATRE BACKSTAGE – DAY
WOODY and JORDAN approach the PROPS LADY. She is dressed sort of bizarrely in
eccentric clothes, but she otherwise appears to be a kindly old lady. WOODY
flashes his badge.
| WOODY |
| Excuse me, ma’am? You’re in charge of the props, right? |
| WOODY |
| Can we have a word with you? |
| PROPS LADY |
| I was just sorting these trick daggers from these real daggers. Wouldn’t want them to get mixed up, would we? |
She titters, and WOODY and JORDAN laugh nervously.
| WOODY |
| I understand you’re using some… unusual items for the witches’
brew. |
| PROPS LADY |
| Well… in the interest of authenticity only. |
JORDAN points to the props cabinet.
| PROPS LADY |
| No, dear. Go right ahead. I keep everything in there. Breakaway bottles, prop knives, blood… |
WOODY raises an eyebrow.
| PROPS LADY (cont’d) |
| Fake blood! Corn syrup and food coloring. Cross my heart. |
JORDAN
(reading a label) |
| “Desiccated dog feet?” I don’t think this is even legal… |
| PROPS LADY |
| I got it at a Chinese apothecary. It makes an excellent tea for sore throats. (beat) Is this about Rick? |
| WOODY |
| You were pretty angry when he took your parking spot. |
PROPS LADY gives them a sweet but somehow sinister smile.
| PROPS LADY |
| People really shouldn’t park in handicapped spaces if they don’t have handicapped tags, should they? |
| JORDAN |
| Have you ever heard of the Death Cap mushroom? |
| PROPS LADY |
| Of course! I was using some in the spell in Act One. I thought it added a nice touch! |
| JORDAN |
| Any chance those mushrooms could have ended up in the wrong hands? |
| PROPS LADY |
| That’s impossible. They’re right here. |
The PROPS LADY rummages in the cabinet. She starts to get a bit frantic.
| PROPS LADY |
| They were right here… Oh. Dear. |
21. INT. MORGUE – AUTOPSY – NIGHT
BUG is finishing up with HEIDI’S autopsy. LILY enters.
| LILY |
| Hey… did you find anything? |
BUG
(sadly) |
| Cause of death: acute carbon monoxide poisoning. Manner of death: suicide. |
| LILY |
| What do we tell her mother? |
| BUG |
| That her daughter was so devastated over the loss of her boyfriend she ended her life. You know the worst thing? Sean and Ben did nothing illegal. They’re the reason a girl is dead, and they’re getting off scot free. When I think of Maddie getting sucked in by guys like that, I just… |
He makes an angry but helpless gesture. LILY puts her arm around him.
EMY sticks her head in the door.
| EMY |
| Excuse me. There’s someone here to see you. Says she was a friend of Heidi’s. |
22. INT. MORGUE LILY’S OFFICE – NIGHT
| TRICIA |
| She didn’t kill herself. |
| LILY |
| Are you saying someone… killed her? |
TRICIA
(bitterly) |
| Yeah. Sean and Ben. |
LILY and BUG trade horrified looks. TRICIA shakes her head.
| TRICIA (cont’d) |
| No. Not really. But they might as well have. |
| LILY |
| Tricia, if you know something about Heidi’s death… |
| TRICIA |
| It was me. I did it. I talked her into it. |
| BUG |
| You talked her into killing herself? |
| TRICIA |
| I didn’t think he was worth it, but she wanted Sean back. Begged me to help her. So, I told her she needed to do something big… get his attention. Make him feel bad for dumping her. |
BUG and LILY exchange looks. The story is beginning to come to light.
| TRICIA (cont’d) |
| She was gonna cut her wrists, but she didn’t like the sight of blood,
so that’s when I thought of the car…. |
TRICIA
(breaking down) |
| She was just supposed to get sick and go to the hospital! She wasn’t supposed
to die! I had it all timed out! I was supposed to find her just
in time, but my dad’s car wouldn’t start. By the time her neighbor found
her, it was too late… |
FADE TO:
23. INT. MORGUE LILY’S OFFICE – DAY
BUG and LILY are sitting with MRS. LEONARD.
| MRS. LEONARD |
| I just wanted to come by and thank you. For everything. |
| LILY |
| You’re welcome, Mrs. Leonard. |
MRS. LEONARD pulls a little chain out from under her blouse. There’s a ring on it.
| MRS. LEONARD |
| Sean came by last night and dropped this off. Said he didn’t feel right keeping it. Heidi deserved to have it back. |
| MRS. LEONARD |
| I think I’ll wear it for awhile. To remember her. Then I think… I’ll give it to a charity. Heidi would want that. |
| LILY |
| I think that’s a lovely idea. |
| MRS. LEONARD |
| Well, goodbye. Thank you again. |
MRS. LEONARD turns to go, then notices a framed wedding photo of Bug and Lily.
| MRS. LEONARD (cont’d) |
| Oh…you’re married! I didn’t realize. Do you have any children? |
| BUG |
| Yes, yes. We have a little girl. |
BUG and LILY smile at each other warmly. MRS. LEONARD smiles back at them bittersweetly.
| MRS. LEONARD |
| Hold on to her. |
MRS. LEONARD exits, and BUG and LILY slip comforting arms around each other.
24. EXT. COLLEGE QUAD - DAY
JORDAN and WOODY are wandering around the grounds of the fayre. There are some
jugglers and wenches roaming around. JORDAN is enjoying herself. WOODY isn’t.
| WOODY |
| Jordan… what are we doing here? |
| JORDAN |
| I told you… I’m… doing research. Trying to get inside the mind of a killer. |
| WOODY |
| No, you’re not! You’re enjoying this! |
| WOODY |
| So, you made me flash my badge to get in here! That’s cheating! |
| JORDAN |
| All right, all right. We’ll at least pay for lunch. How’s that? |
25. EXT. FOOD TENT – DAY
JORDAN and WOODY are moving through the food line. There are serving wenches behind
the counters. One of them looks familiar. It is one of HENRY VIII’s wives from
the beginning. She looks bored.
WOODY
(to JORDAN) |
| Plastic forks and knives. Very authentic. |
| WIFE #1 |
| Hey… you’re that cop. |
| WIFE #1 |
| I’m Anne of Cleves. One of Henry VIII’s wives? |
| WOODY |
| Oh, yeah. So you got busted back down to serving wench? |
| WIFE #1 |
| Yeah… back to the kitchen. Jeez, I actually had lines this season
before Henry croaked. I’ll never make it into the Shakespeare company at
this rate. |
| JORDAN |
| No thanks to a turkey leg. |
WOODY points to the food.
| WIFE #1 |
| For $7.50 you can get a hot dog and a soda or for $25.00 you can get
the full Renaissance experience – turkey with chestnut and wild mushroom
stuffing. |
| JORDAN |
| Thanks, we’ll pass. |
| WIFE #1 |
| No, it’s okay. They make us go through training. How to recognize authentic
species of heritage mushrooms. The cook takes it very seriously.
|
| JORDAN |
| Does everyone have to go through the training? |
| WIFE #1 |
| Yeah… we all start in the kitchen then work our way up. |
JORDAN and WOODY look at each other and take off at a fast pace. WIFE watches
them go, puzzled.
26. INT. COLLEGE THEATRE AUDITORIUM – DAY
The theatre is all abuzz. There are last minute costume fittings taking place,
some of the actors are running lines together. WOODY and JORDAN enter.
| DIRECTOR |
| Ten minutes to places for dress rehearsal, everyone! We open in twenty-four hours! |
WOODY
(to JAKE) |
| I’m looking for Todd. |
WOODY and JORDAN take off.
27. INT. COLLEGE THEATRE BACKSTAGE – DAY
MOLLY and TODD are tucked away in a corner of the backstage. MOLLY is sad and TODD is trying to comfort her, but she isn’t pleased. As we move closer, we can hear them.
| MOLLY |
| Todd, I’m not real comfortable with this. |
| MOLLY |
| You know I don’t date men in the cast anymore. Not after what happened between us last season. |
| TODD |
| I don’t understand…. |
| MOLLY |
| What don’t you understand? We can only be friends, Todd. When it didn’t work out with us, things just got too weird. |
| TODD |
| But we’re over that now. I’m here for you. |
MOLLY
(getting angrier) |
| No! It’s not gonna happen! |
| TODD |
| But I thought… with Rick out of the way…. |
| MOLLY |
| What?! How can you even say that? |
WOODY and JORDAN come from around the corner. TODD looks at them, stunned. He suspects he’s been caught.
TODD panics. He grabs MOLLY and she shrieks as he shields himself with her. WOODY draws his gun, and TODD grabs a knife from the table and holds it at her throat.
| TODD |
| Stay back! I’ll do it! |
| TODD |
| Are you sure about that? That old lady can’t keep anything straight. |
TODD presses the knife a bit into her throat and she cries out in fear. It appears to be a real knife.
| WOODY |
| Just drop it, Todd. You don’t want to do this. Put the knife down. |
| JORDAN |
| Come on, Todd. You don’t want to hurt Molly. You love her. |
| TODD |
| And what did she do with my love? Threw it back in my face. Flirted with every other guy in the cast. Draped herself all over Rick. Rick. Two-bit hack. Do you know how it felt seeing him with his hands all over her? |
| WOODY |
| Okay, Todd. Easy… just put the knife down. |
| TODD |
| If I can’t have her, then no one can have her. |
TODD presses the knife closer. MOLLY shrieks.
We hear a crashing sound. It’s the PROPS LADY. She has smashed a heavy glass bottle over TODD’S head. He collapses to the ground. PROPS LADY stands there smiling sweetly with the jagged edge of a bottle. WOODY and JORDAN stare at her in amazement.
| PROPS LADY |
| I never did like those breakaway bottles. No authenticity. |
28. INT. MORGUE TRACE - EVENING
NIGEL and JORDAN are working in trace. They talk as they work.
| NIGEL |
| Okay…”Cry havoc and let slip the dogs of war.” |
| JORDAN |
| Come on, you’re throwing grapefruits! Julius Caesar. “If music
be the food of love, play on.” |
| JORDAN |
| Please! That was a total gimmee! Twelfth Night! |
WOODY enters.
| NIGEL |
| “Oh, then I see Queen Mab hath been with you…” |
| JORDAN |
| Romeo and Juliet. Mercutio. “Oh, brave new world that hath such
things in it.” |
| WOODY |
| I got one. “To be or not to be. That is the question.” |
JORDAN and WOODY look at him – you gotta be kidding.
| NIGEL |
| “A house divided against itself shall not stand.” |
| NIGEL |
| That was in fact a trick question. It’s from the Bible and Lincoln quoted it in the Gettysburg Address. |
WOODY
(joking) |
| You know, I used to think Lincoln’s Gettysburg Address was where he lived during the Civil War. |
JORDAN laughs weakly and then turns her attention back to NIGEL. WOODY’S face falls. He slowly backs out of trace as NIGEL and JORDAN continue their game.
| NIGEL |
| “I will live in thy heart, die in thy lap, and be buried in thy eyes.” |
| JORDAN |
| Much Ado. Okay, here’s one…. |
WOODY is gone.
29. EXT. MORGUE ROOFTOP - EVENING
WOODY is on the rooftop, lost in thought and feeling very sorry for himself. JORDAN enters.
| JORDAN |
| You just walked out without saying anything. What was that about? |
WOODY
(erupting) |
| I can’t quote Shakespeare, Jordan. I can’t rattle off scientific terms in Latin. I don’t know the Mona Lisa from “Dogs Playing Poker.” I went to community college and then got my BA from some podunk University of Wisconsin night school satellite program in Kewaunee. |
| JORDAN |
| You went to community college so you could save money, and you went to night school so you could work as a sheriff’s deputy by day and support Cal. There’s no shame in any of that. |
| WOODY |
| That’s easy for you to say. You went to a real college. You’ve got an MD. |
JORDAN
(exasperated) |
| So what? You think a college degree means everything? Have you seen some of the boneheads they’ll give a BA to? Some of them on Capitol Hill. |
| WOODY |
| Still. Sometimes I wonder… maybe… you’d should be with somebody… smarter. |
JORDAN
(speechless) |
| What are you…? |
She shakes her head, stunned.
| WOODY |
| Someone you can take to the symphony. Who knows how to order the right wine. Someone who won’t embarrass you at those professional dinners you go to. |
| JORDAN |
| You know, I never took you for the self-pitying type. |
| JORDAN |
| All this… I’m not good enough bullshit. I love you. You. The
guy with bad ties and worse puns. The guy who’ll actually go back and tell
the cashier she’s given him too much change. The guy who made me laugh so
hard at breakfast this morning, milk came out my nose. That’s the guy I
want to spend my life with. If you think any different, you’ve got a lot
to learn about me. And yourself. |
She strides off firmly. WOODY watches her go. Then his face changes and he calls out to her as she reaches the door.
She turns to him, not sure what to expect.
| WOODY (cont’d) |
| About the play tonight… |
There’s a beat. JORDAN frowns, still unsure what he’s going to say. Is it good
or bad…?
| WOODY (cont’d) |
| I’ve got some errands to run after work. You mind if I meet you there?
|
JORDAN smiles with relief.
| JORDAN |
| Don’t be late, Farmboy. |
They smile at each other as JORDAN exits.
30. INT. MORGUE LOBBY – EVENING
NIGEL enters the lobby to pick up a package. He sees JORDAN stepping into the
elevator as doors slide shut.
| NIGEL |
| Off to the theatre then? I want a detailed review on Monday. |
Doors close as KATE enters lobby and heads towards the elevator.
| NIGEL |
| “Why there’s a wench. Come on and kiss me, Kate.” |
| KATE |
| Jeez, is that what it’s gonna take? |
As the elevator doors part, she grabs him by the back of the head and plants a long, hot kiss on him. She lets him go, and he topples backwards, stunned. She steps on the elevator nonchalantly as the doors slide shut. NIGEL is dumbfounded.
NIGEL
(softly, numbly) |
| “There’s witchcraft in your lips, Kate…” |
31. INT. CAMPUS THEATRE AUDITORIUM – NIGHT
It is opening night. There are a few people running around on stage doing last
minute things. There is excitement in the air. WOODY and JORDAN are talking
to MOLLY and DIRECTOR.
| STAGE MANAGER |
| Twenty minutes to places, everyone! |
| JORDAN |
| You okay? I can’t believe you’re actually going on tonight after all you’ve been through. |
MOLLY
(with sadness in her eyes) |
| Well, you know what they say. The show must go on. I want to
thank you for everything you did… for Rick. And me. |
| JORDAN |
| Thank the props lady. |
DIRECTOR
(dramatically) |
| Now that Rick’s soul is at rest, perhaps the curse can be lifted. |
| WOODY |
| Oh, come on, you don’t really believe that stuff, do you? |
In the background we hear a loud crash. An ACTOR is lying on the ground in pain at the foot of a set of onstage stairs.
ACTOR
(moaning in pain) |
| My leg! I think it’s broken! |
DIRECTOR looks at WOODY with a raised eyebrow.
| DIRECTOR |
| The show must go on… |
WOODY looks back and forth to the ACTOR to DIRECTOR. His eyes widen as he gets what the man is suggesting.
SHARP CUT TO:
32. INT. COLLEGE THEATRE BACKSTAGE – NIGHT
WOODY is standing backstage in typical Shakespearean costume. He is holding
his sword and looking quite nervous. JORDAN enters the backstage area looking
around for Woody. She smiles. She catches his eye, and he smiles nervously.
She crosses to him, feeling proud but a bit nervous for him.
| JORDAN |
| Hey! You look… great. |
| WOODY |
| Are you kidding me? I feel ridiculous. |
| WOODY |
| They’re making me wear this thing – they call it a “dance belt,” but I’m telling you it’s a thong. I got fabric stuck in parts of my body where fabric should never go. |
He tugs uncomfortably at his wedgie.
| JORDAN |
| Well, I think you look great. |
He sees that she’s serious and smiles back at her.
| JORDAN (cont’d) |
| You got your lines down? |
| WOODY |
| Yeah. All three of ‘em. |
| JORDAN |
| Wow. You’re really going to do this. |
| WOODY |
| Too late to back out now. Anything to get squared away with this whole “curse” thing. You think I want that hanging over my head? |
| JORDAN |
| I’m really… proud of you. Not just for this. For everything. |
| STAGE MANAGER |
| Places, everyone! |
WOODY kisses her and runs into place. She smiles and watches him go.
CROSS FADE TO:
33. INT. COLLEGE THEATRE AUDITORIUM – NIGHT
The theatre is darkened – the performance is on. We see JORDAN in the audience
watching the action. Voices are heard on stage. Cut to the stage, where we see
JAKE playing MACBETH on an stage, carrying his sword.
| JAKE/MACBETH |
| What’s he that was not born of woman? Such a one am I to fear, or none! |
WOODY comes on stage, dressed in his YOUNG SIWARD costume, carrying his sword.
| JAKE/MACBETH |
| My name’s Macbeth. |
| WOODY |
| The devil himself could not pronounce a title more hateful to my ear. |
| JAKE/MACBETH |
| No, nor more fearful. |
| WOODY |
| Thou liest, abhorred tyrant; with my sword I’ll prove the lie thou speaks’t! |
CROSS FADE TO:
34. INT. COLLEGE THEATRE AUDITORIUM – NIGHT
It is time for the curtain call. WOODY is taking a bow with the rest of the
cast. The audience is cheering.
WOODY smiles down at her and winks.
CUT TO:
35. INT. STAGE – NIGHT
MUSIC: “THE WOOING OF KATHERINE” Henry V Original Motion Picture
Soundtrack
JORDAN enters the darkened theatre. There is only a thin stream
of light on the stage. She walks down the aisle.
| JORDAN |
| Woody? You in here? |
| WOODY (V/O) |
| “I know no ways to mince it but directly to say, ‘I love you.’“ |
JORDAN turns to where the voice is coming from. We see WOODY step out from
behind the curtain onto the bare stage. He looks nervous and a bit bashful.
She smiles at him curiously, and he takes a few steps out onto center stage
to where there’s a single spotlight shining.
| WOODY (cont’d) |
| “If I could win a lady at leap-frog, or by vaulting into my saddle with
my armour on my back, I should quickly leap into a wife, but when I come
to woo ladies, I fright them.” |
She walks down to the edge of the stage. He clears his throat, takes a deep breath and goes on, haltingly.
| WOODY |
| “I have neither words nor eloquence. I speak to thee a plain soldier. If thou can love me for this, take me.” |
Her face changes… she knows exactly where this is going. Drawn by his words,
she goes up the steps to the stage, tears in her eyes, and walks toward him.
| WOODY (cont’d) |
| “A good leg will fall; a straight back will stoop; a black beard will
turn white: but a good heart is the sun, for it shines bright and never
changes. If thou would have such a one, take me: and take me, take a… farmboy;
take a farmboy, take a… cop. What say’st thou?” |
She smiles through tears as he gets down on one knee before her. He reaches
into his pocket and pulls a ringbox out.
| WOODY (cont’d) |
| Will you marry me? |
She smiles broadly and brushes at her happy tears with one hand while he slips
the ring on her left hand. They stand there in an embrace, hugging and kissing.
An audience of two.
FADE TO END CREDITS
Next time on Crossing Jordan:
"Holy Water"
