Crossing Jordan Virtual Season 7

“1000 Miles Off Course”

Written by
Nynaeve1723

Art by
Emma

“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
Woody Hoyt
Garret Macy
Nigel Townsend
Kate Switzer
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Lily Lebowski
Madeline Lebowski-Brandau

Jeffrey Brandau
Annie Capra
Sidney Wilkes
Man #1 (Victim)
Man #2 (Ricky)
Woman (Tiffy)
Bartender
Uniformed Cop #1
Uniformed Cop #2
Dr. Mason
Priest
Mr. Davidson
Mrs. Davidson
Broadcaster

SET LIST

INTERIORS
THE MORGUE
     JORDAN’S OFFICE
     CONFERENCE ROOM
     HALLWAY
     BREAK ROOM
     AUTOPSY ONE
     AUTOSPY TWO

THE PRECINCT
     INTERVIEW ONE
     INTERVIEW TWO
     HALLWAY

BUG AND LILY’S APARTMENT
     LIVING ROOM
PEDIATRICIAN’S EXAMINING ROOM
A BAR

EXTERIORS
SIDEWALK IN FRONT OF BAR
ALLEY BEHIND BAR

TEASER

As Good As I Once Was - Toby Keith

1. INT – BAR – ABOUT AN HOUR BEFORE “LAST CALL”

Honky tonk music plays from a jukebox – Toby Keith’s “As Good as I Once Was.”

MAN #1 sits at the bar. He is unkempt, his face bloated as an alcoholic’s, but there is the suggestion he was once handsome. He seems at ease in the setting, a tumbler of amber liquid in front of him. He shakes his head, whatever thought he was having was unwelcome. He picks up the glass and drains it, gesturing to the BARTENDER for another hit. He raises an eyebrow.

A WOMAN in her early twenties sidles up and takes the seat next to MAN #1. She gives him a shy smile. He acknowledges her by running his eyes up and down her body. The WOMAN blushes and drops her gaze.

The BARTENDER puts a drink in front of the WOMAN. She’s been here a while, too.
MAN #1 pulls a roll of cash from his pocket and peels off a bill which he passes to the bartender.

MAN #1 turns toward her for the first time. His eyes are all pupil and cold as ice.

The WOMAN gapes at him.

The WOMAN gives up and returns to the table where’d she obviously been sitting. She and MAN #2 sit closely and talk.

The BARTENDER pours silently and watches as MAN #1 drinks the alcohol in a single gulp. MAN #1 stands up, puts some more bills on the bar and begins to walk toward the door. He is surprisingly steady on his feet.

2. EXT. SIDEWALK in FRONT OF BAR – MOMENTS LATER

MAN #1 looks up and down the street. There are no cars.

MAN #1 begins to walk, cutting through the alley behind the bar.

3. EXT. ALLEY BEHIND THE BAR – CONTINUING

The MAN is walking, hands in his pockets. He sighs when he hears a voice behind him.

MAN #1 shoulders slump before he straightens and turns.

MAN #2 glances over at the WOMAN who is right behind him; they exchange a look.

MAN #2 pulls out a large caliber gun.

MAN #2 pulls the trigger.

MAN #1 looks down at the blood already soaking his shirt front. MAN #1 crumples to the ground.

MAN #2 leans over MAN #1 and takes the roll of bills from the MAN #1’S pocket.

MAN #1 smiles, a serene, content smile at odds with his previous demeanor.

Soft fade to black
CUT to opening theme

Crossing Jordan Theme

ACT ONE

4. INT. BUG’S APARTMENT - NIGHT

The frame is filled with a soft glow of light. We pull back slowly to reveal a small table light, lighting the room. The windows beyond are dark and reflect the tableau inside. We see LILY, seated, holding MADELINE. The baby is screaming. LILY has bags under her eyes and she is cooing in a low, desperate voice.

We hear soft music – songs of humpback whales or something

Camera pans up to BUG. He stands behind LILY’S chair, a bottle in his hands, a cloth over his shoulder.

LILY hands the baby to BUG as he reaches for her.

BUG cradles MADELINE in the crook of one arm and gives her the bottle with his free hand. She eats greedily. Almost absently BUG tilts the bottle, forcing her to slow down – it’s fatherly and domestic.

LILY gives him an impatient look.

LILY chews on her lip for a long beat.

LILY begins to cry.

BUG somehow juggles the baby and the bottle, while also reaching for LILY.

LILY strokes the baby’s head.

BUG kisses the top of her head and gives her a worried look; there is nothing he can say to console her really.

MADELINE chooses that moment to give her mother a sleepy, happy look. LILY’S face is a mixture of joy and anguish.

5. EXT. THE ALLEY BEHIND BAR – ABOUT 4 A.M.

There are uniformed police officers in the alley. One is talking with the BARTENDER. We pan to WOODY, hunched over the body. He turns as he hears heels clicking toward him. He tries to keep from smiling, but can’t quite.

UNIFORMED COP #2’S chuckle dies on a glare from WOODY.

JORDAN peers at the body, examining the wound and checking for signs of rigor.

JORDAN stands up and lets the morgue photographer get to work while she arranges transport.

6. EXT. THE ALLEY BEHIND THE BAR – CONTINUING

WOODY and BARTENDER stand next to the bar’s back door.

The BARTENDER shakes his head.

WOODY ushers BARTENDER toward UNIFORM COP #1.

Cross fade.

7. INT MORGUE HALLWAY - MORNING

GARRET and KATE are walking; she carries a coffee mug and he moves a little stiffly, still healing from the crash.

GARRET laughs quietly, face creasing as it brings on a little pain.

8. INT. BREAK ROOM – CONTINUING

GARRET and KATE enter the break room. LILY is sitting at the table with MADELINE. NIGEL is pouring coffee and BUG is adjusting the small TV set in the room so the baby can see it. The baby’s eyes are glued to the screen.

There is a beat of silence as no one quite knows how to react to KATE’S growing willingness to play along with the group.

MADELINE chooses this moment to kick her feet. She giggles as she connects with LILY’S chin. Reacting in surprise, LILY knocks over her mug of tea. Despite the fact it’s lukewarm at best, she thrusts MADDIE at GARRET to protect the baby. BUG is cleaning up the spilled tea. GARRET’S palm pilot goes off. He pushes the baby towards NIGEL as he checks the message and then moves to change the channel on the TV. MADDIE is enjoying herself quite a lot, cooing and giggling and waving her chubby arms and legs about.

KATE backs away in the small amount of space she has.

NIGEL doesn’t give her time to answer, simply pushes MADELINE into her arms.

MADDIE begins to fuss; her face tells us this is the precursor to a much louder event.

KATE gives NIGEL a desperate – and dangerous

MADDIE begins to emit short, loud protests and we see KATE desperately trying to hand her back to LILY, whose back is to KATE. LILY and BUG are cleaning up the tea spill while NIGEL is rummaging around, trying to find another box of herbal tea. GARRET is sipping his coffee, one eye on the TV screen; the sound on the set is low. On the TV screen we see a picture of baby formula with your typical panic-inducing broadcast news headline over it: Is THIS a formula for Death?

LILY looks up at the TV screen as she moves to toss out the tea-soaked paper towels.

The TV screen now shows a picture of a baby, about six or seven month old, smiling.

KATE’S eyes go to the screen finally because, despite the fact MADDIE is screaming, no one is paying attention to her or the baby.

The BROADCASTER fades and the TV blurs behind LILY as the camera focuses in tightly on her. LILY’s face is ashen.

The TV comes back into sharp focus and we see a list of codes.

LILY pulls out a can of formula from the diaper bag. It’s the half used one from last night.

BUG takes the can and reads the product code.

9. INT. AUTOPSY ONE – SIMULTANEOUS TO PREVIOUS SCENE

A close shot establishes Jordan examining the body. She is extracting the bullet when WOODY enters the room.

JORDAN raises an eyebrow.

WOODY stares at an envelope that is smeared with blood. Next to it is a letter written on cheap binder paper. The blood has soaked into it, making it hard to make out anything. He looks up.

JORDAN holds up the envelope to show him.

WOODY studies it for a moment and his face creases in confusion.

The computer beeps, indicating a print match.

They exchange looks.

The door opens and NIGEL enters, his face a mask of worry. He’s here to tell them about the possibility of the baby being sick from tainted formula. Before he can speak, his eyes catch sight of the face on the computer screen. His jaw drops and we go in tight on his face as he pushes between JORDAN and WOODY to see the face. Still looking aghast, he glances to JORDAN and then to WOODY.

END OF ACT ONE

ACT TWO

10. INT. AUTOPSY ONE – CONTINUING

We fade in to an image on computer screen – the victim’s picture and print.

JORDAN and WOODY exchange a dubious look and then give Nigel blank stares.

11. INT. BREAK ROOM – SIMULTANEOUS TO PREVIOUS SCENE

LILY breaks down and sobs in BUG’S arms.

GARRET is focused on the TV screen, listening intently while KATE is trying to hush MADDIE. KATE is swaying and bouncing, murmuring to the baby. We see it hit her.

KATE looks frantically at GARRET, then to BUG and LILY, who is starting to calm down a bit. She turns her attention to MADDIE.

BUG says nothing, but his face is tight and we can tell his jaw is clenched. LILY takes the baby from KATE while BUG shoulders the diaper bag. They exit.

GARRET closes his eyes as the realization dawns on him, too.

12. INT. AUTOPSY ONE – CONTINUING

NIGEL rolls his eyes and then brushes past JORDAN and WOODY to get to the computer. He goes online and types a name in the search box. A results screen pops up and NIGEL clicks on a link.

Shot of screen: an obituary. This is for a young woman. JORDAN and WOODY scan the article while NIGEL looks on.

Cut to NIGEL doing another name search. We see another screen of results and NIGEL clicks on a link again.

CUT back to the computer screen: another obituary. Again NIGEL watches as JORDAN and WOODY scan this one for a Hispanic man who was silent partner in a number of lucrative companies.

Cut to NIGEL, entering a third name for a search. The process is the same.

Cut to a shot of JORDAN’S and WOODY’S faces this time as they read a third obituary, now for a woman who was a leader in fertility research.

Cut to NIGEL, about to repeat everything again.

NIGEL looks back at the screen and closes the Internet connection, leaving Ford’s picture again.

END OF ACT TWO

ACT THREE

13. INT. PEDIATRICIAN’S EXAMNINING ROOM – MID MORNING

Shot starts on MADELINE’S toes. As we pull back we see BUG’S hands around her feet, playing with them. We can hear the baby giggling as the shot continues to widen. BUG is seated, holding the baby on his lap. BUG is focused on her, but we know from his expression he is very aware of the other two adults in the room. We continue to pull back and see LILY, pacing between BUG and the exam table. Her expression is one of both coldness and fear. As LILY paces closer to the exam table we see JEFFREY. His clothing looks almost rumpled, a reflection of his expression – fearful, awkward and jealous. His eyes cut from LILY to BUG and the baby and then up to a poster on the wall. The room is not physically that small, but the camera angles are such that we get the feeling of it being nearly claustrophobic.

BUG begins to hum a lullaby to the baby.

LILY and JEFFREY are about to protest; both are literally pointing fingers when the door opens and DOCTOR MASON enters. For the brief time the door is open, we can hear the chaos in the waiting room.

LILY, chastened, reaches to take the baby from BUG. She holds MADELINE as DOCTOR MASON begins to ask them the expected questions and to check her over.

BUG takes the can from the diaper bag and shows him.

BUG and LILY look at each other.

DOCTOR MASON nods solemnly.

JEFFREY slides woozily into a chair.

Shot tightens back to MADELINE, to her toes. We fade, still on her toes.

14.INT. AUTOPSY TWO – SIMULTANEOUS TO PREVIOUS SCENE.

We fade in on toes and travel slowly up the body of a baby – it is the first victim of the poisoning. We pull back to see GARRET and SIDNEY, gowned and staring down at the pitiful sight.

GARRET reaches for the recording equipment and turns it on.

15. INT AUTOPSY ONE – CONTINUING

NIGEL, WOODY and JORDAN are still grouped around the computer screen.

JORDAN continue to listen, her eyes slightly glazed over, but WOODY moves away as his cell rings.

WOODY smirks and pushes the door open.

END OF ACT THREE

ACT FOUR

16. INT. INTERROGATION ROOM #1 – AROUND LUNCHTIME

Camera comes up on WOODY and the female suspect (TIFFY).

17. INT. HALLWAY OUTSIDE INTERROGATION – SAME TIME

The camera pulls back to show JORDAN standing at the two-way glass, watching and listening. We stay with JORDAN, observing, listening, watching as WOODY paces behind TIFFY. She sits forward, arms crossed, head resting on them. Her expression is one of boredom.

18. Int. INTERROGATION ROOM #1 – SAME TIME

TIFFY looks up at WOODY. Her eyes narrow and her mouth tightens as she seems to contemplate her options. She takes several breaths and then pouts.

WOODY glances up at the two-way and grins. Oh, this woman does not know who she’s dealing with.

19. INT. PRECINCT HALLWAY OUTSIDE INTERROGATION – CONTINUING

20. INT. AUTOPSY TWO – AROUND LUNCHTIME

The camera focuses on GARRET and SIDNEY as they work. We get several shots of the two M.E.’s and then the clock; each shot the clock shows a later time.

GARRET looks confused, scanning a results page – we can tell it’s not the first time he’s rechecked these results.

SIDNEY nods.

GARRET pins an x-ray up to the viewer and waits for SIDNEY to take another look. When the younger M.E. realizes what Garret has seen, they exchange looks.

21. INT. INTERROGATION ROOM #2 – ABOUT AN HOUR AFTER PREVIOUS INTERVIEW

We see a shot of the MAN #2 (RICKY) from the teaser. He is slumped in a chair, studying his hands as he picks at his fingernails. The camera pulls back so we can see WOODY, seated across from him. His expression is cold, dispassionate. There are several beats of silence.

WOODY pretends to look down at the booking sheet as if to check the suspect’s name – that’s how disinterested he seems to be.

WOODY smiles at him; it’s such an innocent smile, but his eyes are saying “Gotcha!”

22. INT. HALLWAY OUTSIDE INTERROGATION – CONTINUING

END OF ACT FOUR

ACT FIVE

23. INT. CONFERENCE ROOM – AFTER LUNCH

We have a shot of parents, MR. DAVIDSON and MRS. DAVIDSON. MRS. DAVIDSON’S eyes are red and swollen from crying. MR. DAVIDSON is wringing his hands and biting his lip rhythmically. We move across from them to see GARRET and SIDNEY, both looking grim and serious. Standing, by the door, is DETECTIVE ANNIE CAPRA.

GARRET, SIDNEY and DET. CAPRA exchange looks.

MR. and MRS. DAVIDSON look at each other before looking at the films.

No one says anything. MR. and MRS. DAVIDSON regard each other for a moment; she drops her eyes first.

MR. and MRS. DAVIDSON exchange another look.

MR. DAVIDSON nods after a long beat.

GARRET and DET. CAPRA also exchange a look. DET. CAPRA moves around both parents.

DET. CAPRA leads them away, unresisting.
GARRET and SIDNEY watch them go.

24. INT. BREAK ROOM – MID AFTERNOON

Shot of LILY and BUG with MADELINE in her carrier. She is fussy; we see a band-aid on her arm. We see BUG and LILY look up from trying to distract her.

BUG and GARRET look at her. It’s so LILY – she’ll be angry, later. In the moment, her sympathy is for the victim here.

BUG and LILY just look at each other and then MADELINE.

Another look between BUG and LILY. Their expressions clearly say, “There but for the grace….”

25. INT. AUTOPSY ONE – MID AFTERNOON

We begin with a close up on JORDAN’S face. As we pull back, we see her begin to pull the sheet up over MAN #1 (James Ford). We get a glimpse of her stitching, so we know the autopsy is complete. She is pensive, even for JORDAN. We hear the door open and watch her look up.

A tall, black man in black with a Catholic priest’s collar is standing in the doorway. He moves closer to stare down at the dead man and then sighs.

There are a few beats of contemplative silence.

JORDAN’S eyes widen just enough to tell us she is unnerved by this man. She nods.

In the Middle of It All - Debra Stillman

26. INT. JORDAN’S OFFICE – END OF THE DAY

JORDAN is standing at her window. The office is filled with the light of the setting sun. She holds something in her hand. Camera pans down and we realize it is the blood-stained letter she found on Ford’s body. She turns as there is a knock.

Cut to WOODY, smiling, standing against the door jamb.

JORDAN raises an eyebrow at him.

WOODY shifts as he studies her.

WOODY sits next to JORDAN and puts an arm around her.

JORDAN nods.