Crossing Jordan Virtual Season 7

“Father Knows Best”

Written by
Madambeth and NCCJFAN

Graphic 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

Mom
Dad
Older child
Younger child
Emy
Abby Macy
Matthew Macy
Uniformed Police Officer
Jack Hoyt
Candace Hoyt
Young Woody Hoyt
Young Cal Hoyt
Dr. Carl Weatherly
Dr. Mario Garcia

SMALL APARTMENT
   MAIN ROOM

FLASHBACK-ROADSIDE 1970’s

DAD’S SUV

FLASHBACK- 1970’s LIVINGROOM

GARRET’S APARTMENT

WOODY’S APARTMENT

DR. GARCIA’S OFFICE AND HALLWAY

DR. CARL WEATHERLY’S OFFICE
   WAITING ROOM
   HALLWAY
   EXAM ROOM

EXTERIORS
GRASSY EMBANKMENT
ROADSIDE

GARRET’S CAR

TEASER

1. INT. SMALL APARTMENT MAIN ROOM - NIGHT

Cramped, cluttered, and messy. The shot is taken from a child’s point of view. We hear adult voices, but the camera never gets above the waist level of the adults. Two little boys are on the couch, looking worried. The smaller of the two is hugging a teddy bear and keeps looking towards the older brother. Both of them keep twisting around, looking at their mom and dad, who are arguing as they pace around the living room. Their father keeps following the mother, forcefully trying to convince her of something. The parents are yelling at each other, and the TV is blaring in the background, although we can’t make out what’s on the screen.

Father Knows Best - Clive Richardson

The family leaves the apartment. As the door closes on the apartment, the camera pans back to the living room where the TV is still on. The old black and white show, Father Knows Best, comes on with its theme song blaring.

CUT TO:

2. INT. MORGUE HALLWAY – MORNING

GARRET is rapidly walking down the hall with EMY following close at his heels. She’s trying to stop him and tell him something, but GARRET is on a tear. He’s all authority at this point.

GARRET begins rifling through the stack of paper and sighs. From somewhere in the background we hear an infant begin to wail.

Voice trails off as

HARD CUT TO:

3. INT. DAD’S SUV – NIGHT

The FAMILY is in the SUV. DAD is worked up again and is driving too fast as he cuts in front of other drivers. The KIDS are in the back seat, quietly whimpering. MOM’S bracing herself in the front seat as the vehicle swerves.

FADE TO BLACK

Crossing Jordan Theme

END OF TEASER

ACT ONE

5. EXT. GRASSY EMBANKMENT ROADSIDE - 7:43 A.M.

The camera follows a pair of shiny, black loafers as they walk through the gravel on the side of a major road. The camera pans up the pant legs, along the side of an overcoat, up a shoulder until we see WOODY HOYT’S determined stare as he makes his way towards something. There are lots of people in uniforms milling around, red and blue lights glint off the fine film of sweat on his cheeks, but there is absolutely no sound. No wind, no orders being called, no engines running. Just silence, as WOODY makes his way toward an embankment off the road where we see the charred remains of an SUV.

6. EXT. ROADSIDE – NIGHT (FLASHBACK)

Suddenly, in place of the SUV we see a truck, at night, the hood squashed in and some smoke lightly coming out of it. We hear the first sound we’ve heard in the whole scene so far: the light crying of a couple of small children saying, “Daddy.”

Just as quickly as the flash appeared, it is gone.

7. EXT GRASSY EMBANKMENT ROADSIDE – CONTINUING (PRESENT)

WOODY rubs his eyes, takes a deep breath and continues walking towards the SUV.

He nods to a UNIFORMED OFFICER and puts on a pair of latex gloves.

She gestures towards passenger side.

WOODY follows JORDAN around to the other side of the car and leans down to look at the charred remains of the mother from the opening scene. We only see bits of clumped, black hair burned into what’s left of her cheek and neck.

WOODY covers his mouth with the mask but says nothing for a moment.

He gestures toward the car.

JORDAN hands him a license next. Again, it is charred, but a small part of the picture and pieces of the address remain.

WOODY finally leans down and looks into the back seat. Two charred little skeletons are slouched over shoulder to shoulder.

WOODY swallows hard twice and closes his eyes.


8. EXT. ROADSIDE – CONTINUING FLASHBACK

There is another flash of a truck, nighttime, crying, and a shrieked, “Daddy!”

GARRET watches her with the baby for a long moment and then sighs. He walks over and crouches down slowly to peer at the baby’s face. The baby frowns, tries to focus on the face in front of him and settles for yawning.

GARRET looks flustered to be suddenly holding the tiny baby but he nods to ABBY, who heads out the door. She stops and looks back to watch him with the baby a moment without his knowing.

GARRET looks around the room, unsure of what to do for a moment until the baby starts to fuss.

He walks carefully over to his couch, sits down and settles MATTHEW into the crook of his arm.

ABBY is still watching from the hall. She smiles and rolls her eyes slightly when GARRET subtly begins counting MATTHEW’S finger and then not so subtly yanks one of the baby’s socks off and starts on the toes.

ABBY smiles and continues down the hall towards the bathrooms as GARRET puts the boy’s socks back on.

MATTHEW coos and snuggles into GARRET’S arms more. The camera pulls back out of the room as GARRET rocks the baby from side to side, and grandfather and grandson begin to bond.


11. INT. TRACE - 12:04 P.M.

JORDAN is standing between two tables. The bodies of the two little boys from the car that morning are on them. WOODY stands by the door, his arms folded over his chest and looking like he’d rather be anywhere else.

JORDAN keeps casting her eyes at him as she speaks into the microphone attached to her head, giving details about the condition of the bodies at time of trace evidence. She explains about the lack of a car seat or booster seat in the car, indicating that the family may have left in a hurry; or they just weren’t so concerned with safety. She removes and bags a small piece of the pajamas she had described to WOODY at the scene that morning and turns the headset off when she sees WOODY begin to squirm.

She turns the headset back on and continues to report her findings. As she is speaking, WOODY begins to have the flashbacks again.

CUT TO:

12. INT. TRUCK – NIGHT (FLASHBACK)

We are following the truck from the first flashback as it drives down a dark road, swerving slightly. We are in the backseat, looking from a child’s point of view at the back of a man’s head in the driver’s seat. The man lifts a brown bottle, obviously a beer, to his lips and takes a long swig before the truck swerves a little.

The camera changes view so that we are looking in the back seat at two boys about two and four years old. They are both crying; the older of the two holds the smaller one close. We hear JORDAN’s voiceover, as she is continuing trace.

She stops, turns quickly to look where WOODY had been standing and only sees the door to Trace swinging and WOODY is gone.

She sighs, unsure of how to help him or find out what is going on, and just stares at the door a long moment, shaking her head.


14. INT. PEDIATRICIAN’S OFFICE - AFTERNOON

There’s wall-to-wall moms and children of all ages. Some of the kids are crying, some are running around playing. Some mothers are engaged in the activities and others are reading magazines while casually glancing at their kids every now and then. As the camera pans out, we see GARRET and ABBY sitting in the corner of the waiting area. ABBY is holding MATTHEW and GARRET just looks darned uncomfortable. He’s out of his element here – he hasn’t been in a pediatrician’s office since ABBY was fifteen.

ABBY gives WEATHERLY a look that clearly says, ‘help me out, here…’ as she hands him the baby and the child’s immunization record.

WEATHERLY places MATT on the examination table and undoes the diaper. For a minute there’s nothing but the coo of the baby as the pediatrician looks MATT over and checks the immunization record.

END OF ACT ONE

ACT TWO

17.INT. SMALL APARTMENT MAIN ROOM AFTERNOON

WOODY and JORDAN are there along with some uniforms. They all are wearing latex gloves, combing the apartment for some kind of clue as to why all of this happened. WOODY is hanging back a little – he appears to be looking for evidence, but not really. We see that fine sheen of perspiration on his face again, beading more now on his upper lip, like he’s almost afraid of what he’s going to find.

JORDAN is rifling through the clutter, looking at every scrap of paper – trying to find anything that would tell them why this had to happen.

WOODY hesitates a moment before walking over to the toy box. He squats down in front of it and then gingerly, almost reverently, begins sorting the toys. He pulls out a Superman figure and looks at it for a long moment before closing his eyes.

CUT TO:

18. INT. LIVING ROOM – AFTERNOON (FLASHBACK)

TWO YOUNG BOYS are playing in the living room of a home. The oldest has a Superman figure that he’s pretending to fly across the room and landing it on the younger brother’s back. A fake wrestling match ensues and we hear the boys giggle. Then a harsh, loud voice yells from the background:

CUT TO:

19. INT. SMALL APARTMENT MAIN ROOM – CONTINUING (PRESENT)

We see JORDAN kneeling beside WOODY, gently removing the Superman figure from his grasp.

JORDAN places one hand on the side of his face and turns it towards hers.

He storms out and slams the door behind him.


21. INT. GARCIA’S OFFICE HALLWAY – CONTINUING

WOODY stops and take a deep breath as he leans against the wall and shuts his eyes tight.

CUT TO:

22. INT. TRUCK – NIGHT (FLASHBACK)

There are images of TWO YOUNG BOYS being bounced around in a truck seat, banging up against the doors. One of the young boy’s head slams up against the glass of the car door window.

CUT TO:

23. INT. GARCIA’S OFFICE HALLWAY – CONTINUING (PRESENT)

WOODY opens his eyes and continues to storm down the hallway.

CUT TO:

24. INT. DR. GARCIA’S OFFICE – CONTINUING FROM WOODY’S EXIT

JORDAN and DR. GARCIA are looking at the door. JORDAN’S mouth is slightly open in surprise. She turns to face DR. GARCIA before standing to leave herself.

END OF ACT TWO

ACT THREE

27. INT. WOODY’S APARTMENT-BEDROOM - 11:05 P.M.

The camera travels up the end of the bed. WOODY is on his side but changes positions to his belly, then his other side. He’s obviously not sleeping well. JORDAN, on the other hand, is sleeping soundly beside him, looking dead to the world with her arms wrapped around her pillow comfortably.

The camera pans from the side of JORDAN’S head to WOODY’S face. We can see sweat on his brow and his eyes are moving back and forth rapidly under the lids.

CUT TO:

Father and Son - Cat Stevens

28. INT. LIVING ROOM – EVENING (FLASHBACK)

MUSIC “CAT STEVENS- FATHER AND SON”

It is typical 1970’s living room. A MAN and WOMAN in their early- to mid-twenties are present. We are looking from a downward view, through the railing of a flight of stairs. The MAN is wearing a sheriff’s jacket, wool lining around the collar, gold star on the front. He is pacing back and forth in front of a couch where the young WOMAN is sitting. She keeps bringing a tissue to her eyes and nose. She’s obviously crying quietly. The man runs a hand through his hair and turns so that we can see his face through the railing of the steps. He looks strikingly like WOODY’S brother, CALVIN, but we know this can’t be. This scene is taking place in the past. These are WOODY and CALVIN’S parents. Finally, we can make out what is being said.

She touches her belly and we now notice she’s got a slight bump there, indicating she is a few months along in a pregnancy.

Her husband stops suddenly and drops down so that he is crouching down beside her. He speaks softly but with conviction.

Suddenly, the camera turns so that we are looking at the staircase at the large blue eyes through which we now see we have been watching the scene. Having heard his name mentioned, the little boy has perked up and grips the railing tighter as he leans closer to hear.

CUT TO:

29. INT. WOODY’S APARTMENT – CONTINUING (PRESENT)

WOODY is sitting upright in bed, breathing heavily. JORDAN sits up quickly beside him and reaches out to rub his back.

30.INT. WOODY’S BEDROOM - A LITTLE LATER

We see JORDAN walking through the doorway in her pajamas, carrying a bottle of water in one hand. She looks concerned as she walks over to the bed and hands the bottle of water to WOODY who is sitting up against the headboard. He still looks frazzled.

JORDAN watches as he downs half the bottle before leaning back and closing his eyes with a sigh. Finally, JORDAN speaks.

WOODY doesn’t open his eyes but grunts. JORDAN is willing to wait him out. She goes to the other side of the bed and climbs in, lying on her side with her head propped up on a palm.

WOODY waits a few moments before turning over onto his stomach and wrapping his arms around his pillow. He stares at the headboard for a long few moments before he speaks.

JORDAN is no dummy. She knows what he wants right now and, just as he is seeking her comfort, she is willing to give it to him. She knows whatever it is he wants to tell her, he will when he’s ready.

She nods and moves closer to him, wrapping her arms around his shoulders as WOODY rolls her to her back and climbs on top of her under the covers. They continue kissing.

FADE TO BLACK

31. INT GARRET’S APARTMENT - SAME NIGHT, 11:30 P.M.

GARRET is walking around the living room area, rocking a crying MATTHEW in his arms. He paces back and forth, jostling the baby to try and settle him.

GARRET is obviously becoming a little frustrated. He goes to a bedroom door and settles the baby into one arm and knocks with the hand of the other.

He brings the warmed bottle into the living room, tests it on his wrist and hands it to her.

ABBY thanks him and offers MATT the bottle which he immediately starts to suck down. She smiles at him as he opens his eyes and coos as he looks up at her calmly.

JORDAN lifts her head suddenly and looks at him.

WOODY nods slowly and looks down at her.

END OF ACT THREE

ACT FOUR

33. INT. GARRET’S APARTMENT - LATER THAT NIGHT

ABBY and GARRET have just gotten little MATT to sleep. ABBY is tucking a blanket over the baby, whose crib is still in the middle of the living room. She picks up the bottle, carries it into the kitchen, and GARRET follows her. It’s obvious, that despite the tender father/daughter moment earlier, he’s still agitated over the situation.

A flash of pain crosses WOODY’S face and JORDAN notices it. She realizes where this is going for him and that, once again, it’s hitting too close to home for his comfort.

JORDAN gently places her hand on his cheek.

35. INT. GARRET’S APARTMENT – A FEW DAYS LATER

The living room area is now neat and clean, as MATT has a “regular” crib that’s in ABBY’S room. GARRET is holding MATT, talking baby-talk to his grandson, when ABBY walks in from her bedroom, dressed and ready for work.

Teach Your Children Well - Crosby, Stills, Nash and Young

END OF ACT FOUR

ACT FIVE

41. INT. MORGUE HALLWAY-7:49 P.M.

GARRET is turning off the lights to his office and locking the door for the night when NIGEL appears from the trace evidence room into the hallway beside him.

NIGEL looks over, a little puzzled, and the doors close in front of them.

CUT TO:

My Little Girl - Tim McGraw

42. INT. GARRET’S APARTMENT- 8:33 P.M.

GARRET walks into the apartment quietly and hears soft crying from ABBY’S room. He puts his things down and quietly goes to her door and peeks in. ABBY is sitting in a rocking chair by her bedroom window rocking MATT in her arms.

She is singing to him softly as he settles down and stares up at her, watching her face closely as she sings.

GARRET can’t help but lean against the doorframe and watch them.