Crossing Jordan Virtual Season 7
“Slipknot”
Written by
bourbon, NCCJFAN, and jmkw
Art by
ArtGal and Almost-Something
“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
Woody Hoyt
Jordan Cavanaugh
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Nigel Townsend
Kate Switzer
Garret Macy
Morning Radio DJ
Morgue Diener
Becky
Renée Walcott
AV Brian
Darrell Martin
Eddie Winslow
Gerald Schraber
SET LIST
INTERIORS
WOODY’S APARTMENT
KITCHEN
BEDROOM
MORGUE
RECEPTION AREA
HALLWAY
TRACE
KATE’S OFFICE
JORDAN’S OFFICE
BREAK ROOM
BUG’S CUBICLE
RENNE WALCOTT’S OFFICE
OUTER
INNER
POLICE PRECINCT
INTERROGATION
OBSERVATION
WOODY’S OFFICE
EXTERIORS
BOSTON CITYSCAPE
MEDICAL EXAMINER’S BUILDING
TEASER
1. EXT.BOSTON CITYSCAPE - SUNRISE
There are scenes of morning birds flying; spring flowers in the city park; traffic
on the streets; commuters at a train stop. It all shows a busy city at the beginning
of weekday morning.
MORNING RADIO DJ
(voiceover) |
| It’s 7:03. Time to wake up, Beantown! If you’re looking for blue skies,
we have it! Didn’t say it too loud, but it looks like Spring has finally
arrived! Sunny, highs today in the fifties…. |
2. WOODY’S APARTMENT LIVING ROOM - CONTINUING
MORNING RADIO DJ (cont’d)
(voice over) |
| Expect the usual delays on I-290 eastbound from College Square to
Downtown Worcester. Route 1 southbound from City Square Tunnel to Leverett
Connector South is sluggish. There’s a fender bender on the eastbound Haymarket
Ramp and disabled vehicle on the left shoulder on Mass turnpike at the two
and a quarter mile marker. What a mess. |
WOODY enters during the end of the DJ’S voiceover and the start of the music.
He looks like he’s been working all night. His face is pinched and actions are
stilted like he’s stiff. He tosses his keys on the counter next to JORDAN’S
keys and bag.
MORNING RADIO DJ (cont’d)
(voiceover) |
| Here’s just what the doctor ordered while you’re sitting out there…
At least it’s not snowing. |
The music slowly fades. WOODY pulls a bottle of water out of the fridge. He
looks over his shoulder toward the bedroom. Satisfied, he’s not being watched,
WOODY pulls a prescription bottle out of his pocket. He reads the label and
shakes his head as if he can’t believe he’s doing this as he opens the bottle
and pops a pill in his mouth. He chases it down with the water. He rests his
forehead against the refrigerator door for a moment but he wanders into the
bedroom.
3. INT. WOODY’S BEDROOM - CONTINUING
JORDAN’S clothes are in a pile on the floor, just inside the door. JORDAN’S
asleep in the bed. WOODY takes off his badge, gun, and cell phone, putting them
on a bedside table. He kicks off his shoes and lies down on top of the covers
fully clothed. Just as his head hits the pillow and his eyes close, the land-line
phone rings.
JORDAN
(mumbles, eyes closed) |
| Answer that and I’ll kill you where you lay. I just came off a double and I don’t have to be in ‘til 10. |
WOODY
(eyes closed) |
| After the night I just had, I just might shoot it instead. |
Neither moves a muscle. After five rings, the answering machine picks up the call. The voice is young, female, and very charming.
| ANSWERING MACHINE |
| Woody,… Hi… it’s me … Becky… from D.A. Walcott’s office… |
JORDAN
(eyes still closed, conversationally) |
| Becky? She’s always been Miss Jenkins to me. |
WOODY throws his arm over his eyes and groans.
| ANSWERING MACHINE |
| … I tried your cell but it went straight to voice mail. Did you forget
to charge the battery again? |
JORDAN
(rolls over to face him) |
| Again? Becky’s got a cute giggle. |
WOODY cracks open one eye to look at his dead cell phone. He groans again.
| ANSWERING MACHINE |
| … I still had your home number saved on my cell… so… |
JORDAN
(smiles) |
| Home phone number, huh? Did she call here a lot? |
| ANSWERING MACHINE |
| Anyway, Ms. Walcott… |
| WOODY |
| It was just coffee… and one dinner. It was a long time ago. I barely remember it. |
JORDAN
(teasingly) |
| I can only assume you made more of an impression if you’re still in her phone. |
| ANSWERING MACHINE |
| … she wants you… |
WOODY
(tiredly) |
| Tell you what? |
| JORDAN |
| Is she a natural redhead? |
| ANSWERING MACHINE |
| … She’s in one of those moods, so it’s important… |
WOODY
(eyes snap open) |
| WHAT?! |
JORDAN
(smirks) |
| Inquiring minds want to know… |
WOODY
(frustrated sigh) |
| How the hell would I -? |
| ANSWERING MACHINE |
| See you then… *BEEP* |
WOODY
(glaring at JORDAN) |
| Great, Walcott… and I missed the message. |
JORDAN
(matter-of-factly) |
| Don’t worry. Becky wasn’t calling you to catch up on old times. Walcott wants to see you in her office as soon as possible. |
| JORDAN |
| The message. Walcott needs to talk to you about an old case. There’s been a new development… and she doesn’t sound too happy about it. |
JORDAN climbs out of bed.
| JORDAN |
| I’ll start the coffee. |
END OF TEASER
ACT ONE
4. EXT. MORGUE BUILDING - MORNING
5. INT. MORGUE RECEPTION AREA - CONTINUING
BUG is standing at the Reception desk. He’s still wearing his coat like he had
just arrived. The elevator opens. NIGEL is just standing there in the car. He
appears preoccupied. BUG notices.
The elevator doors start to close as BUG’S voice registers in NIGEL’S mind. NIGEL sticks out his hand to stop them. NIGEL exits the elevator.
| BUG (cont’d) |
| Good morning… I think. |
There is a long pause as NIGEL looks around.
| NIGEL |
| Have you seen Kate yet this morning? |
BUG
(suffering sigh) |
| ‘Morning Bug. How have you been? I’m sorry my head’s presently shoved up my butt or I’d be more courteous. |
NIGEL realizes how rude he’s being. He centers his attention on BUG.
NIGEL
(smiles) |
| Sorry, mate… Good morning. |
| BUG |
| No, I haven’t seen Kate… so there’s still hope maybe she’s gone. |
NIGEL chuckles.
| BUG (cont’d) |
| You know… you haven’t been yourself since we got back from the retreat. Are you okay? |
NIGEL
(self-conscious) |
| Whatever do you mean? |
| BUG |
| Is there something you’re not telling me? |
NIGEL
(big fake smile) |
| Of course not. I’m just - with everything going on I’ve been playing catch up… that’s all. |
| BUG |
| Jeffery has Maddie this weekend. Why don’t just the three of us, you, me and Lily, go out Saturday night? Like old times. What do you say? |
The elevator doors open again. They both turn to look. KATE enters. BUG frowns. NIGEL looks like he’d rather be anywhere else. KATE simply smiles at both men.
| KATE |
| Good morning, gentlemen. |
Her attention goes straight to the reception desk where she grabs her messages. She reads them as she casually exits inside the double door. NIGEL’S gaze follows her.
NIGEL
(still looking at the doors) |
| Sure. Sounds like fun… Let’s talk about it later… |
Before BUG can answer NIGEL exits after KATE. BUG is left standing alone in Reception behind the closing doors.
6. INT- MORGUE HALLWAY - CONTINUING
NIGEL quick steps to catch up with KATE.
NIGEL
(charming smile.) |
| Good morning, darling. |
KATE stops and raises her finger ready to tell him not to call her ‘darling’ but keeps silent. She starts walking again.
| KATE |
| I was stuck in traffic and my first autopsy is scheduled in fifteen minutes. So, I’m in a little rush… Is there something you needed? |
| NIGEL |
| I was just wondering why you’re not returning my calls. |
| KATE |
| I’ve been busy. I can’t just take a weekend off without having to play catch up. |
| NIGEL |
| I think we should talk… about…what happened… that night... in the tent. |
NIGEL looks up and down the hallway to see if they are being overheard. KATE’S amusement fades and she puts her hands on her hips.
KATE
(conversationally) |
| What about it? We had sex. Plain and simple. |
NIGEL
(hushed) |
| As result you’re not talking to me? Don’t you think we need to figure out what happened? |
| KATE |
| Granted… it may have been a while since I’ve indulged, but I think it went pretty well like I remembered. |
NIGEL grabs her arm and rushes her into TRACE. The room is empty.
7. INT. TRACE - CONTINUING
NIGEL
(hisses) |
| I bloody well don’t need a play-by-play. I was there remember? |
| KATE |
| Then I don’t see the relevance of the question. |
NIGEL
(dazed) |
| Didn’t it mean anything to you? Don’t we mean-? |
KATE
(rests her hand on his chest.) |
| We were both reliving the stress of surviving the plane crash. Emotions were high. It would be a mistake for either of us to read more into it. |
KATE steps away and pushes up the door.
KATE exits leaving NIGEL looking “used.”
8. INT. KATE’S OFFICE - CONTINUING
KATE opens the door and storms in and slams the door behind her. She throws her bag on her desk. She’s on the verge of tears.
KATE
(mutters) |
| … You’re the most exasperating man. |
There’s a hesitant knock on the door.
KATE (cont’d)
(snaps) |
| What?! |
There is a long pause. KATE wipes her hand over her face and rips open the door. Outside, a scrub-dressed DIENER jumps back. He looks a little intimidated.
| DIENER |
| Dr. Switzer. We… We’re ready for you in Autopsy One… Only-when-you-are… of course…. |
KATE
(apologetic tone) |
| Thank you. I’ll be right there. |
The DIENER turns heel and quickly escapes down the hallway.
KATE
(sighs to herself) |
| This is going to be a long day. |
KATE quietly shuts the door.
9. INT. RENEE WALCOTT’S OUTER OFFICE - MORNING
BECKY, a pretty, twenty-something, redheaded office assistant, is sitting at
her desk outside RENEE’S closed door, typing on her computer. She looks up with
a perfectly practiced smile as the elevator doors open. WOODY enters. Her smile
becomes a little more genuine.
WOODY has a travel coffee mug in his hand. He looks rushed and nervous. He
stops at a trash can just outside the elevator doors and looks like he’s going
to throw the travel mug away. At the last second, he realizes it’s not disposable.
He looks around like he doesn’t know what to do with it.
WOODY looks over at BECKY.
BECKY
(holds her hand out) |
| Here, let me refresh that for you. Light and very sweet… right? |
Grinning, WOODY approaches the desk and hands her the cup. We see a piece of tissue on his face where he nicked himself shaving.
WOODY
(a little out of breath) |
| Um, thanks. (beat) Is she in her office? |
BECKY stands up and walks around the end of her desk.
| BECKY |
| She’s just finishing up a conference call. |
| WOODY |
| Did she tell you any more about what’s going on? |
WOODY rolls his shoulders like his suit coat is constricting him. BECKY stops in front of him and straightens his lapels.
| BECKY |
| All I know is she’s got just about everybody in the office running around like a chicken with its head cut off. Stand still. |
BECKY chuckles softly and pulls the tissue off WOODY’S face. WOODY looks embarrassed and rubs his face to make sure there are no more bits of tissue.
| WOODY |
| Thanks for the heads up. (pulls out his cell) I really need to get a new
battery for this thing. |
| BECKY |
| When you do… maybe you can see if you still have my number in there somewhere. |
WOODY
(stammers) |
| Becky, I… I’m sort of engaged to someone… else. |
RENEE
(slightly mocking tone) |
| Sort of? I’m sure Jordan finds your unique mastery of the understatement
quite endearing, Detective Hoyt. |
WOODY and BECKY turn to see RENEE’S door open and her leaning against the frame. BECKY scrambles back around her desk to her seat.
| RENEE (cont’d) |
| If you’re finished being made presentable by my assistant, I’d like to discuss a homicide you worked in ‘02. |
WOODY quickly follows RENEE into her office.
The door shuts with BECKY’S big eyes peeking around the end of her desk at them.
10. INT. RENEE’S OFFICE - CONTINUING
RENEE sits behind her desk and motions with her hand for WOODY to take a seat. He does so, but looks around like he’s searching for the quickest exits.
WOODY
(nervously) |
| What can I help you with? |
RENEE slides a file across her desk and leans back in her seat.
| RENEE |
| Tell me what you remember about this case. |
WOODY opens the file and begins to scan the pages. His nervous, awkward demeanor visibly changes as he becomes more confident and in charge, slipping into his homicide detective persona.
WOODY
(still reading the file) |
| Marsha Schraber… It was one of the first homicides I worked after starting at the Nineteenth. Mrs. Schraber’s body was found face down in a hotel room in Worcester. Official cause of death was strangulation. (beat) Unofficially, she was murdered. That bastard, Little, talked her into living out her S&M fantasy by being tortured to death by some freakshow that had just been released from jail. |
| RENEE |
| Yes… well, the freakshow, as you most eloquently put it, has
come to the attention of a mental health watch group. |
| RENEE |
| They had the Schraber case reviewed and they discovered a problem. |
| RENEE |
| Apparently, one of the plainclothes on the scene when you arrested Darrel Martin at the pub that night got a little anxious. |
RENEE opens a second file and pulls out two sheets of paper. She hands them to WOODY, who begins to read.
| RENEE |
| The top page is a copy of the CSU report filed after impounding Martin’s vehicle. The second is a statement taken immediately after bringing him in for questioning. As you can see, the official report lists the time the search warrant was issued… yet, the police statement shows that an officer noted pictures of victim and a paper with the address of the crimes scene in his car… all before probable cause had been established. |
| RENEE |
| I’m not holding you personally responsible, Detective. Although it was
your responsibility as lead investigator on the case to know who is doing
what. I am disappointed that the prosecutor on the case
chose to ignore the discrepancy. |
WOODY
(closes the file) |
| What happens now? |
| RENEE |
| Darrell Martin was released from Bridgewater last night. |
WOODY
(shocked) |
| Last night? |
| RENEE |
| This advocacy group must have some friends in high places. The state supreme court granted an emergency hearing yesterday afternoon. |
RENEE leans back in her seat.
| RENEE (cont’d) |
| They claimed, on appeal, that we deliberately withheld the report. Any pictures you got in the search can’t be used at trial. All we can do now is damage control. |
| |
| WOODY stands up and begins to pace. He’s growing upset. |
| WOODY |
| I arrested this guy… I interrogated him. He’s about as sociopathic as they come. He wouldn’t think twice about killing again. |
| RENEE |
| You’re preaching to the choir, Detective. The officer in question has been placed on administrative leave and the prosecutor on the case has been dismissed. I have everyone on my staff doing everything in their power to make sure this doesn’t happen again. |
WOODY stops and stares at her. He looks furious.
| RENEE |
| The system isn’t perfect, Woody. |
| WOODY |
| So this guy walks… to do this again. |
| RENEE |
| Not if we can help it. We’re going to try this guy again; we just have
to do it without the pictures. |
| WOODY |
| We have the confession! |
| RENEE |
| From a guy the defense is going to claim was mentally incompetent. It’s not gonna be worth the paper it’s written on. |
| WOODY |
| We used Jordan as bait to net this guy in the first place. He knows who she is and where she works. If he so much as comes within a mile of the morgue I’ll put him on a slab myself. |
| RENEE |
| Detective Hoyt. I’d tread lightly. You’re not completely without fault here. |
| WOODY |
| You can’t expect me to sit by and do nothing. |
RENEE picks up a pen and looks down at the paperwork on her desk.
| RENEE |
| On the contrary, you know this case better than anyone. I need you to go back through the police records and get me anything we can use to make sure we can throw away the key the next time. |
| WOODY |
| Look for more screw ups. |
RENEE
(busy working) |
| It’s called covering all of our asses, Detective. |
Frustrated, WOODY exits the office.
11. RENEE WALCOTT’S OUTER OFFICE - CONTINUING
WOODY storms past BECKY without a second glance. He pushes the elevator button.
WOODY doesn’t hear her. Annoyed that the elevator isn’t right there, he gives
up and uses the stairs. BECKY is left alone holding his coffee mug.
12. INT AUTOPSY ONE - DAY
KATE stands at the autopsy table. She is studiously working inside the body. JORDAN enters. She is holding an iPhone. A short distance away, NIGEL is sorting through test tubes and Petri dishes, making annotations on a clipboard.
JORDAN
(to KATE) |
| You left this… |
She puts the phone on the counter.
| JORDAN (cont’d) |
| … in the Breakroom. I had to take it away from Seely. He was planning on running up your minutes while you had him cooling his heels on the Chambers autopsy report. |
| KATE |
| I told the little twit I wouldn’t be able to get to it until later on today. If he’s in such a bloody hurry he can type it up himself. |
KATE
(sighs) |
| That man just irritates the crap out of me. |
KATE looks over in NIGEL’S direction. NIGEL looks annoyed as he catalogs the samples. JORDAN doesn’t miss either as she looks between NIGEL and KATE.
| JORDAN |
| Don’t take it personally. Seely’s an equal opportunity pain in the ass. |
| KATE |
| I would have had it done yesterday, if… |
She raises her voice to make sure NIGEL can hear.
| KATE (cont’d) |
| … I didn’t have to grow old waiting for the labs to come back. |
| NIGEL |
| If you’ve got problems with the way the lab is run, you can bloody well
take your samples and their triplicate requests to the police crime
lab. |
| KATE |
| If you weren’t so busy doing the police lab’s job…. |
| JORDAN |
| Allrighty then… I’ll let him know. |
JORDAN backs out the door as the fight brews.
13. MORGUE HALLWAY - CONTINUING
JORDAN is crouching at the door to Autopsy, trying to eavesdrop on KATE and
NIGEL. We hear heated voices but, like JORDAN, we can’t make out what KATE and
NIGEL are saying. JORDAN strains to listen.
We see a smile form on her lips. WOODY rounds the corner. His pace picks up
when he sees JORDAN.
| WOODY |
| I’ve been looking for- |
JORDAN
(finger to her lips) |
| Shhhh… com’ere |
WOODY leans in. There is a confused look on his face.
JORDAN (cont’d)
(amused whisper) |
| You’re just in time. Kate just threatened to scalp him. |
WOODY listens long enough to realize KATE and NIGEL are arguing. He sighs and straightens up.
WOODY
(sarcastic) |
| Nigel and Kate fighting. I’ll call the media. |
JORDAN pulls on WOODY’S tie to bring his head back down out of sight. She pauses to listen.
JORDAN
(still whispering) |
| There’s something more to this that the usual. I felt it ever since we got back from Littleton. |
WOODY
(unamused) |
| We’ve got a problem. |
WOODY straightens back up again. Jordan, realizing he is serious, does the same. Woody leads her away from the door and towards JORDAN’S office. KATE’S and NIGEL’S voices fade.
14. JORDAN’S OFFICE - CONTINUING
| WOODY |
| I just left Walcott. |
WOODY shuts the office door behind them.
| WOODY (cont’d) |
| Do you remember Marsha Schraber? The S&M vic. |
| JORDAN |
| Yeah. (beat) She was the chick who posted on the sicko website that she wanted to be killed. |
| WOODY |
| Her killer was released from Bridgewater last night. |
JORDAN
(incredulously) |
| David Little? Sickboy 23, himself, came through here about 2 years ago. I handled him personally. Renal failure. |
JORDAN
(mildly surprised) |
| They’re moving him to general lockup? |
| WOODY |
| No. His case has been appealed by one of those touchy-feely groups and he’s been released. |
JORDAN leaves WOODY standing there in shock while she rounds her desk and sits down looking through a pile of paperwork on top.
| JORDAN |
| If there ever was a valid argument for not guilty by reason of insanity,
Darrell Martin was it. It was all a game to him. He was just the instrument
of murder. (beat) It was Little who really killed Marsha Schraber. |
WOODY
(leans over her desk) |
| How can you say that? Darrel Martin wrapped his hands around the woman’s neck and squeezed until she was dead… all to get his rocks off. |
| JORDAN |
| I didn’t say he was innocent… just not guilty. |
| WOODY |
| He’s going to do it again. |
| JORDAN |
| You don’t know that! |
| JORDAN |
| Who has been getting treatment for years. |
| WOODY |
| You know as well as I do that Bridgewater is more of a jail than a mental health facility. |
| JORDAN |
| They wouldn’t have released him if they thought he was still a threat. |
| WOODY |
| I don’t give a crap whether he’s convinced them he’s the Second Coming. He killed a woman in cold blood and threatened to do the same thing to you. |
WOODY
(authoritatively) |
| I don’t want you going anywhere alone until I can figure out how to get this creep locked up again. |
JORDAN sets her paperwork aside and looks WOODY in the eye
JORDAN
(in astonishment) |
| You. Don’t want me. To go anywhere. Alone. |
| WOODY |
| I’m serious, Jordan. I’ve already called in a few favors to get you ‘round the clock protection. |
| WOODY |
| I’m not going to argue with you about this. It’s my responsibility as your fiancé to make sure you’re safe and I’m going to do everything in my- |
JORDAN cuts him off. She stands up until she’s nose to nose to him over her desk
| JORDAN |
| Your responsibility as my fiancé. |
JORDAN steps back
| JORDAN (cont’d) |
| Just because you put a ring on my finger doesn’t mean you can put one through my nose. I’ve been taking care of myself for most of my life and I don’t need you to do it for me. |
| WOODY |
| This is not up for debate. Jordan… And that’s final. |
| JORDAN |
| Gee, Dad, if I don’t do what you say are you going to spank me, too? |
WOODY
(exasperated) |
| Jordan. |
| JORDAN |
| Don’t you think you’re going a little overboard? |
| WOODY |
| Jordan, I’ve got too much on my mind to add worrying about you. |
WOODY stands up straight. His face blanches slightly. JORDAN steps back around her desk until she’s standing next to WOODY.
JORDAN
(softly) |
| Are you alright? |
JORDAN puts her hand on WOODY’S cheek.
| JORDAN |
| We’ve probably heard the last of Darrell Martin. I’m sure he got a lot more to think about than some fake email. |
| WOODY |
| He thought it was real and he wanted to make it happen. |
JORDAN kisses him softly.
| JORDAN |
| If I promise to keep my eyes open will you stop stressing and go home and get some rest? |
WOODY
(sighs tiredly) |
| Walcott’s got me going over the police report from the night we picked him up at your Dad’s place. |
WOODY takes JORDAN’S hand from his face and kisses her palm before he takes her hand in his. He looks at the ring on her hand as he speaks.
| WOODY (cont’d) |
| She’s not happy that this happened so quickly on her watch. |
| JORDAN |
| Renée’s never happy about anything…. |
JORDAN pauses, not knowing if WOODY is listening to her, because he seems to be distracted, fiddling with her ring.
WOODY looks up at her face
| JORDAN |
| Are you telling me everything? |
| WOODY |
| Just be careful… okay. I really need you to do that for me… please? |
WOODY kisses her swiftly and exits the office.
15. EXT. SKY - DAY
We see it is daytime, a cloudless sky, and then someone steps into frame. He
removes his sunglasses, and we see it is DARRELL MARTIN. He smiles a small,
twisted smile as he looks at something in the distance, and we see what he is
looking at.
CUT TO:
16. EXT. STORAGE LOCKER – CONTINUING
It is the exterior of one of those U-Store-It storage facilities. DARRELL moves
toward it with excitement and confidence. We get the feeling that being in a
mental hospital/prison has done nothing to cure what ailed him. He’s as twisted
as ever. He pulls a set of keys out of his jacket pocket and slips it into the
garage door. He raises the door.
HARD CUT TO:
17. INT. STORAGE LOCKER - CONTINUING
It is pitch black inside, but sunlight spills from without, silhouetting DARRELL’S
ominous form. He steps inside, turns on the light switch, and quickly slides
the garage door shut. He smiles a creepy smile. We can see instruments of torture
beside him.
END ACT ONE
ACT TWO
18. STORAGE LOCKER - CONTINUING
| DARRELL |
| You’ve done very well. Passed the first test. Alone. In the dark. You
won’t be easy to break. |
We hear a sound – the rattling of chains – and we know someone else is in
the room. Bound. Probably gagged. DARRELL takes a step inside the room.
| DARRELL (cont’d) |
| I admit… I was surprised when you called me. You’re not my usual type of client. But I think we’re both going to enjoy this. |
DARRELL picks up a particularly scary-looking apparatus of some kind.
| DARRELL (cont’d) |
| Are you ready to play? |
DARRELL sneers and steps out of frame towards his “prey.”
19. INT. MORGUE LOBBY - DAY
NIGEL is standing in the lobby with some mail. He is lost in thought when BUG enters with his coat on. NIGEL snaps out of his trance. He hurries off after BUG as he heads to the elevator. NIGEL is trying to act casual, but he obviously has something on his mind and wants to chat.
| NIGEL |
| Off for the evening, are you Buggles? |
BUG, still moving, waves over his shoulder.
NIGEL
(cheerfully) |
| How about if I take you up on that offer? You know… you… me… best mates? We can catch up over a pint. It’ll be like old times. |
NIGEL punches BUG on the arm in a bit of overdone affection. BUG is suspicious.
| BUG |
| Thanks, but… Lily and I sort of have plans. With the baby. |
NIGEL
(disappointed) |
| Oh. Another time, then. |
BUG
(lighting up) |
| We’re going out to celebrate. Maddie said her first word last night. Pointed at her jar of mashed peas and said, “Gurf!” |
NIGEL’S face falls. He’s playing second fiddle to mashed peas?
| BUG |
| Yeah, well, it’s obvious! Gurf… mashed peas. It was so cute, the way she held up her chubby little hand and said- |
NIGEL
(blurting it out) |
| Kate and I had sex! |
BUG looks at him, dumbfounded. There is absolute silence.
| NIGEL (cont’d) |
| At the retreat. |
Another beat. No one moves. Frozen silence. BUG doesn’t even blink.
| NIGEL (cont’d) |
| Well? Aren’t you going to say anything? |
BUG
(numbly) |
| I’m sorry. I must have had a cerebral event. I thought I heard you say you had sex with Dr. Switzer. |
A small, sly smile spreads across NIGEL’S face. He can hardly believe it himself.
| NIGEL |
| And it. Was. Bloody… amazing. |
BUG holds his hands against his ears.
BUG turns away and starts to jab at the elevator button. NIGEL continues in a rush. Now that it is off his chest, he lets it all go.
| NIGEL |
| That woman had me calling out deities of at least three world religions, and I’m pretty sure she enjoyed herself, too, if you catch my meaning…. |
BUG whimpers in discomfort and continues to press frantically at the elevator button.
| NIGEL (cont’d) |
| Now she says it was just meaningless sex. I don’t mind telling you… there was nothing meaningless about it. But she won’t even speak to me. |
| BUG |
| You want my advice? I think you should forget it ever happened. Which is what I’m going to do so, no thanks to you, I won’t have the memory of my baby girl’s first words forever associated with the image of (distastefully) you… her…. |
| NIGEL |
| Making the beast with two backs? |
BUG
(hands over ears again) |
| AAAAAAAAAHHHHH! |
BUG steps in the elevator. NIGEL looks on sadly as the doors slide shut. Over his shoulder, we can see JORDAN entering the lobby with AV BRIAN. They both head toward the elevator.
NIGEL sees his chance.
| NIGEL |
| Jordan! I wonder if I could have a word… |
| JORDAN |
| Uh, sure. What’s up? |
NIGEL looks back and forth between AV BRIAN and JORDAN.
NIGEL
(under his breath) |
| Well, it’s sort of about… S-E-X. |
JORDAN leans into NIGEL confidentially, whispers.
| JORDAN |
| I’m pretty sure Brian can spell. |
| NIGEL |
| It’s a bit… delicate. |
BRIAN hits the elevator button and slips on his iPod headphones.
| BRIAN |
| Just pretend I’m not here, dude. |
| NIGEL |
| Well… something happened… at the retreat… between me and… Kate. |
JORDAN is silent, frozen.
| NIGEL (cont’d) |
| Say something! |
| JORDAN |
| I’m sorry. I was just trying to picture baby seals or something to get that image out of my brain. |
NIGEL
(dramatically) |
| Now she won’t even talk to me. I feel cheap. Used. |
JORDAN
(shuddering) |
| And I feel like I’ll need take a shower for about an hour to wash the ick off of me. |
NIGEL
(helplessly) |
| Jordan…. |
JORDAN’S mouth opens, searching for something to say. She makes a few wordless noises, gestures, and then the elevator doors slide open.
JORDAN
(rushed) |
| Gotta go! We’ll talk! Bye! |
JORDAN grabs AV BRIAN into the elevator, and the doors slide shut again, leaving NIGEL looking miserable.
20. INT. PARKING GARAGE - NIGHT
JORDAN and AV BRIAN are walking through the parking garage. They stop at her car.
AV BRIAN stands there a bit awkwardly.
| JORDAN (cont’d) |
| Thanks for walking me to the door. But you should know I don’t kiss on the first date. |
AV BRIAN blushes, stammers.
| JORDAN (cont’d) |
| It was a joke, Brian. G’night. |
BRIAN
(smiling, blushing with relief) |
| Oh… yeah... good night, Dr. Cavanaugh. |
BRIAN turns to go and JORDAN slides into the driver’s seat. She takes her phone out of her bag and dials. We can hear WOODY answer on the other end.
JORDAN
(fond but patronizing) |
| Just letting you know that your guard dog walked me to the car as ordered. Although I think Brian’s more of a basset hound than a Rottweiler. |
CUT TO:
21. INT. OFFICE BUILDING HALLWAY - CONTINUING
We see WOODY walking down a hallway of a nondescript office building. Generic
pictures on the wall, generic furniture, etc.
| WOODY |
| Good. Are your doors locked? |
CUT TO:
22. INT. PARKING GARAGE – CONTINUING
We hear the sound of JORDAN locking her car doors.
| JORDAN |
| Doors locked. (joking) Hey, how many coffees should I pick up on the way home for the guys in the patrol car you got sitting outside my apartment? |
JORDAN laughs, but there is silence.
CUT TO:
23. OFFICE BUIDING HALLWAY - CONTINUING
WOODY looks sheepish.
CUT TO:
24. INT. PARKING GARAGE - CONTINUING
JORDAN
(deadpan) |
| You really do have a patrol car sitting outside my apartment. |
CUT TO:
25. INT. OFFICE BUILDING HALLWAY - CONTINUING
| WOODY |
| Hey, with that sicko running around out there, Jordan? I can’t be too
careful. |
CUT TO:
26. INT. PARKING GARAGE - CONTINUING
| JORDAN |
| Woody, I’m fine! I’ll see you later? My place? |
CUT TO:
27. INT. OFFICE BUILDING HALLWAY - CONTINUING
WOODY has reached his destination. He stops in front of an office door. We can’t
see what it is. He pauses with his hand on the doorknob.
| WOODY |
| I… can’t. I’m working late… stakeout. Don’t wait up. |
CUT TO:
28. INT. PARKING GARAGE - CONTINUING
JORDAN frowns. She’s not suspicious, exactly. Just concerned.
| JORDAN |
| Okay… Please tell me this doesn’t have anything to do with the Sickboy case. |
CUT TO:
29. INT. OFFICE BUILDING OFFICE - CONTINUING
WOODY is entering the office. It appears to be some kind of reception area.
WOODY
(wearily) |
| Jordan, it has nothing to do with the Sickboy case. I swear. Look, I gotta go. I’ll… call you later, okay? |
He hurriedly flips his phone shut and puts it away. He is standing in front of a reception desk. He looks exceedingly uncomfortable, embarrassed almost, as he approaches the desk. He speaks in a rough whisper to the unseen person seated at the desk.
| WOODY |
| Hi… Woody Hoyt. I… have an appointment. |
30. INT. JORDAN’S APARTMENT – NEXT MORNING
JORDAN is asleep – alone – in bed. The clock turns over to 7:00 and the alarm goes off. JORDAN jerks awake and sits up in bed and switches the alarm off. She rubs her eyes, a bit disoriented, and looks around. She looks over to the other side of the bed and it is empty. The sheets and comforter are still pulled up over the pillow. It has not been slept in. She frowns with concern and grabs her cell phone and flips it open. Her shoulders drop. No messages. She quickly dials, waits, then rubs her temples in frustration. No answer.
JORDAN
(with some worry) |
| Woody, it’s me… Just checking in… again… must be some stakeout. Call me, okay? I love you. |
She folds the phone shut and sits in bed with a creased forehead for a moment before she jumps out of bed to begin the day.
31. INT. PARKING GARAGE – DAY
JORDAN pulls into a parking space. Her cell phone rings. She grins with relief and picks it up, answering it before she reads the display.
| JORDAN |
| What, are you psychic? I was just about to call Brian and have him walk me from my car, I swear… (her face falls) Garret… sorry, I thought… okay… I’ll be right there. |
JORDAN closes her phone for a moment and shakes her head. Then she starts her car again and pulls out of the space.
32.EXT. CRIME SCENE - MORNING
It is a roadside by a highway. There are patrol cars, etc. There’s a drainage ditch and some kind of nasty brown liquid seeping out. We can see JORDAN getting out of her car. She immediately makes a face – something smells. She flashes her badge to a uniform and ducks under the police tape. She sees EDDIE WINSLOW talking to a cop, and she approaches him with a sassy smile.
| JORDAN |
| Eddie Winslow. Thought I smelled your aftershave. |
| EDDIE |
| Everybody’s a comedian. |
JORDAN waves her hand in front of her nose.
| JORDAN |
| Is that what I think it is? |
| EDDIE |
| If you’re thinking it’s runoff from the sewage treatment plant, then, yeah. Breathe through your mouth. That helps. |
JORDAN
(grimacing) |
| Whaddya got? |
| EDDIE |
| Got a lot of cross-contamination is what we got. Over here. |
EDDIE signals for her to follow him. They talk as they walk.
| EDDIE (cont’d) |
| Plant employee spotted him this morning on the way in. Caucasian male… John Doe… |
EDDIE hesitates for a moment.
| EDDIE (cont’d) |
| Nowhere to put the ID. |
JORDAN raises a confused eyebrow.
| EDDIE (cont’d) |
| Looks like some kind of kinky sex thing gone wrong. Ligature marks around the neck. |
| JORDAN |
| You thinking auto-erotic asphyxiation? |
EDDIE
(smirking) |
| Not that I’d know what that is. John Doe’s girlfriend – or boyfriend, whatever – must’ve panicked, dumped the body. |
JORDAN bends down to get a better look at the neck. She jabs him with a thermometer.
| JORDAN |
| No obvious signs of trauma besides the ligature marks. |
| EDDIE |
| Can you give me time of death? |
| JORDAN |
| Between internal temp and lividity… I’d say 14 to 16 hours. |
She gestures to a UNIFORMED COP, indicating the gimp mask.
EDDIE nods to UNIFORMED COP, mutters about getting an evidence bag. JORDAN has pulled on gloves and is removing the mask. She drops the mask in the bag, and then we see her reaction. Her eyes widen, she pales.
EDDIE smirks at the idea of JORDAN knowing a BDSM devotee.
EDDIE
(teasing) |
| You’re kidding me. An old boyfriend? |
EDDIE and JORDAN trade looks, and we see the face: it is DARRELL. Under the
gimp mask, he had been wearing a ball gag. His eyes stare up lifelessly. He
is quite dead.
END ACT TWO
ACT THREE
33. EXT. CRIME SCENE – CONTINUING
| EDDIE |
| How do you know him? |
| JORDAN |
| His name is Darrell Martin. |
EDDIE
(light goes on) |
| Darrell Martin… you mean the Sickboy case? |
| EDDIE |
| Damn. He just got sprung from Bridgewater a couple days ago. The psychofreak didn’t waste any time hanging out his shingle again, did he? |
JORDAN bristles at EDDIE’S description of Darrell.
| EDDIE (cont’d) |
| How’s that for poetic justice? Sick fuck kills somebody, gets off on a technicality and winds up dead in a pile of crap wearing nothing but a gimp mask. I’m thinking the world’s a little better off with one less nutsack. |
| JORDAN |
| Yeah? Well, the “nutsack” was mentally ill. Whatever he did, he didn’t deserve to get dumped in this shit stink. |
JORDAN snaps off her gloves and strides off.
34. INT. AUTOPSY TWO - DAY
GARRET is starting DARRELL’S autopsy. JORDAN enters and stands cautiously next to GARRET.
| JORDAN |
| Even dead this guy gives me the creeps. |
| GARRET |
| You shouldn’t even be in here. |
| JORDAN |
| C’mon, Garret. This was my case. |
| GARRET |
| Not anymore. You were a witness in his murder trial. You know there’s a conflict of interest here. |
JORDAN tries to play innocent, but doesn’t succeed.
| JORDAN |
| I’ll be as quiet as a mouse. Won’t even know I’m here. |
GARRET sighs wearily, knowing there’s no point in trying. JORDAN peers curiously over GARRET’S shoulder. EDDIE enters.
| EDDIE |
| Looks like Darrell here was a very busy guy. Just got back from talking to some contacts at the S&M shops on South Street. Since getting sprung, our boy had already made contact with half his old client list. |
| JORDAN |
| Consensual BDSM isn’t a crime |
EDDIE makes “air quotes” with his fingers.
| EDDIE |
| No, it’s a “lifestyle choice”. |
| JORDAN |
| Hey, we’ve all got our peccadilloes. |
| EDDIE |
| Speak for yourself, Cavanaugh. I’m a completely normal, red-blooded, average kind of guy. |
JORDAN
(smirking) |
| Yeah, from what I’ve heard, average would be the right word. |
| GARRET |
| Knock it off, both of you. |
| EDDIE |
| We know how he died. Accidental homicide. Ain’t karma a bitch? |
| JORDAN |
| I don’t… think… this was an accident. |
| EDDIE |
| What? Come on, Jordan! You know what happened! |
| JORDAN |
| Think about it. Darrell was a dominant. |
| JORDAN |
| So, what was he doing in bondage gear? Dominants and submissives don’t usually change roles like that. |
EDDIE groans. He doesn’t want to hear the conspiracy theory.
| JORDAN (cont’d) |
| There was no sign of sexual activity, consensual or otherwise. And there was something about the scene… his arms, his legs. It was like he’d been… posed that way to look as… vulnerable, humiliated as possible. |
| EDDIE |
| Maybe that was part of the whole sick game! It’s just a little hard for me to get worked up over this freak, Jordan. He killed that woman to get his rocks off! |
| JORDAN |
| He was a stooge, Eddie. Someone else was pulling the strings. |
| EDDIE |
| Murder, accident… it’s all the same to me. But if it’s murder, then that means more paperwork for me, and frankly, I don’t think this pervert is worth the effort. |
| GARRET |
| Looks like you’re in for some writer’s cramp, Detective. |
EDDIE and JORDAN raise eyebrows and cross to get a better look.
| EDDIE |
| What are we looking at here? |
| JORDAN |
| Massive internal hemorrhaging. |
| GARRET |
| It wasn’t immediately obvious from the external exam. He sustained some kind of massive peri-mortem abdominal trauma. |
| GARRET |
| Beaten… kicked. Granted, my tastes are a little more… vanilla
than the decedent’s, but that doesn’t look like accidental homicide in my
book. |
| EDDIE |
| We’re talking Murder One. |
EDDIE frowns. He can be flippant, but now that he’s got a murder on his hands, he knows it’s time to get serious.
EDDIE (cont’d)
(to JORDAN) |
| Hoyt pulled this case back in ‘02, right? |
| EDDIE |
| He used you as bait… this guy threatened you… |
JORDAN turns to him defiantly.
| JORDAN |
| You got something to say to me, say it. |
| EDDIE |
| All right… where were you and your boyfriend at the time of the murder? |
| JORDAN |
| I was at work until 5 PM, and Woody was working a stakeout. |
| EDDIE |
| You sure about that? |
JORDAN
(sarcastic) |
| Jeez, you got me. I ditched at 4:30. |
EDDIE
(quietly) |
| I’ve been on all night, and I didn’t hear anything about a stakeout. Hoyt wasn’t even signed in. |
JORDAN’S eyes widen. She can’t believe what she’s hearing.
| JORDAN |
| What?! Five minutes ago, you’re ready to write this off as karma,
and now you think it’s Woody?! |
EDDIE
(still quiet but firm) |
| You gotta admit he’s a prime suspect, Jordan. He had motive, and he’s lying about where he was last night. |
| JORDAN |
| I’m sure he has a perfectly good explanation. |
| EDDIE |
| I’d love to hear it. You know where he is? |
JORDAN’S face falls. She opens her mouth, but of course, she has nothing to say.
| JORDAN |
| You know what? Screw you, Winslow. |
JORDAN strides out defiantly.
CUT TO:
35. INT. HALLWAY OUTSIDE AUTOPSY - CONTINUING
We see JORDAN exit autopsy. She is walking tall, but once outside, she stops,
and we see her face. She is definitely rattled.
36. INT. MORGUE BREAKROOM - CONTINUING
BUG and LILY are standing beside the refrigerator, anxiously whispering to each
other.
BUG smiles confidently, one hand on the refrigerator door handle.
LILY
(somewhat anxious) |
| You sure? I mean, are you absolutely sure? You’ve been working
on this … thing for a long time. |
| BUG |
| According to all the scientific data, it’s time. It’s been three weeks. |
He starts to open the refrigerator door and LILY puts her hand on his arm to stop him.
| LILY |
| But what if someone messed up while we were gone on that camping trip? What if they forgot to feed them… what if…? |
BUG opens the door a crack.
| BUG |
| Peter assured me they were kept comfortably cool and fed. |
| KATE |
| Who was kept comfortably cool and fed? Is Maddie sick? |
She startles both LILY and BUG as she enters the break room and goes over to
the coffee pot to pour herself a cup. She looks mildly pissed when she discovers
there’s only half a cup left.
LILY crosses her arms across her chest defensively. You don’t have to be a
thermometer to know that the temperature in the break room just lowered several
degrees when KATE entered the room
KATE raises the cup to her lips and goes from mildly pissed to really pissed. She not only has only a half cup of coffee, but it’s cold.
| KATE |
| I was just asking a question. |
BUG senses the tension between the two, but knows that KATE is clueless as to the reason.
| BUG |
| It’s a project I’ve been working on. |
KATE pours the coffee down the drain of the sink and begins rummaging around for coffee filters and coffee to make another pot.
| KATE |
| A project that requires being kept cool and fed? |
She turns and looks suspiciously towards the refrigerator that BUG is gently opening.
| KATE (cont’d) |
| What are you growing in there? |
BUG reaches in the refrigerator and reverently pulls out a Styrofoam box – the kind that restaurants give you to put your leftovers in.
| BUG |
| The Phodaga alticeps. |
KATE
(blank face) |
| Phodaga alticeps? |
| BUG |
| From the Kingdom Animalia, phylum Arthropoda, superclass Hexapoda, class insecta, subclass Pterygota, order Coleoptera, suborder Polyphaga- |
LILY
(gently) |
| It’s a beetle. |
BUG eases the lid off the box.
| BUG |
| Not just any beetle… a leaf beetle. |
| KATE |
| You’ve been keeping a box of beetles in there? (points) The same place I keep my lunch? |
BUG finally gets the lid raised and looks at his offspring with a satisfied smile.
| BUG |
| Only their larvae. If they were adults, they’d be crawling out of the box and all over the place. |
He nods towards contents of box.
| BUG (cont’d) |
| Just look at ‘em, Lily. All happy and healthy and squirming around. |
LILY joins BUG in looking over the larvae like some kind of proud parent.
| LILY |
| They do look healthy, don’t they? |
She smiles at BUG and he smiles back at her. It’s a sort of oddly intimate moment and KATE looks faintly uncomfortable.
| KATE |
| So are cigars in order? |
BUG looks up from the larvae, a slightly confused look on his face.
| KATE |
| Cigars? You know, those smoky, smelly things that are given out when people become parents. |
BUG
(offended and confused) |
| Parents? |
KATE gives up on making the coffee and pushes past Bug to get a bottle of water out of the refrigerator.
| KATE |
| From the way you and Lily are acting, you’d think you had procreated the Second Coming in the break room ‘fridge. |
BUG opens his mouth and closes it a few times and gives a disgusted look to LILY. He then turns on his heel and leaves the room in a huff.
| KATE (cont’d) |
| What’s his problem? |
She nods at BUG’S retreating back.
LILY puts the coffee filters and coffee back where they belong in the cabinet.
| LILY |
| What makes you think there’s anything wrong with Bug? |
KATE
(leaning against the cabinets) |
| Well, Bug’s never been Mr. Merry Sunshine… but the past couple of days he’s been more morose than normal. And downright cold to me. |
LILY turns back around to look at KATE.
| LILY |
| I think he’s jealous of you and his best friend. |
Now it’s KATE’S turn to open and shut her mouth a time or two, before regaining her composure long enough to take a sip of water.
| KATE |
| I don’t see a reason for Bug to be jealous. |
LILY
(shrugging) |
| Bug and Nigel have been best friends for a long time, Kate. And now Bug’s afraid they’re drifting apart. |
| KATE |
| And Bug thinks I’m the reason? |
| LILY |
| I don’t think it’s so much you as what happened… Nigel means the world to Bug… and me… and the rest of the staff here… we don’t want him hurt. |
| KATE |
| Just because Nigel and I had sex- |
Now she goes back to pissed off and flustered.
| KATE (cont’d) |
| Sex… Nigel… Look – just because Nigel and I slept together doesn’t give
everybody and his brother here a right to… treat me differently. It was
just sex. |
LILY now walks towards the break room door, but pauses before leaving.
| LILY |
| Kate, you and I both know that sex is never… just sex. For men
or women. And especially not for someone like Nigel. |
37. INT. PRECINCT INTERROGATION – MIDDAY
EDDIE is sitting at the table. He’s looking at a file. By the look on his face, we assume it’s the DARREL MARTIN case. EDDIE looks up when the door opens. WOODY enters and stands directly across the table from EDDIE. It’s evident there is still little love between the two men.
EDDIE
(casually, but coolly) |
| Thank you for being so prompt, Detective. |
| WOODY |
| Your message didn’t make it sound like I had much of a choice. |
EDDIE leans back in his chair.
WOODY makes no move to sit
EDDIE (cont’d)
(looking around the room) |
| I always liked the interrogation rooms here at the Nineteenth. (grins) They’re old school. Two-way mirrors, table bolted to the middle of the floor. At the Plaza the rooms are windowless closets with no observation. Just a closed circuit feed in a central room. It’s hard to really read a perp when the only angle you get of him is from a stationary camera. |
WOODY
(slightly irritated) |
| I’ve got four active cases on my desk that aren’t getting any hotter. Would you care to get to the point? |
38. INT. POLICE PRECINCT OBSERVATION- CONTINUING
Neither EDDIE nor WOODY is aware that JORDAN has let herself into the observation
room. She turns up the volume on the speaker.
CUT TO:
39. INT. PRECINCT INTERROGATION - CONTINUING
EDDIE stands up, walks around the table and pulls out the chair for WOODY to
sit.
| EDDIE |
| I hear nothing but good things at about you downtown, Hoyt. You’re quite
the golden boy. I don’t think a few minutes are going to make a difference
in your case load. (pause) Please… sit… Detective. |
There’s a hard look on EDDIE’S face. He’s not going to take ‘no’ for an answer.
WOODY reluctantly sits.
CUT TO:
40. INT. OBSERVATION - CONTINUING
JORDAN pinches the bridge of her nose.
CUT TO:
41. INT. PRECINCT INTERROGATION - CONTINUING
EDDIE walks back around the table. He picks up the file and opens it again.
Instead of sitting in the chair, he sits on the edge of the table.
| EDDIE |
| Would you care to tell me what you know about Darrell Martin? |
| WOODY |
| He’s dead… but you know that already… Lieutenant. |
| EDDIE |
| He was part of one of your first real big busts after joining homicide. |
| EDDIE |
| It was quite a sensational case. The press was all over it. I remember you’re name was firmly on the map after that. |
| WOODY |
| I was just doing my job. |
EDDIE stands up and begins to walk around the table.
| EDDIE |
| Still… you impressed quite a few people with how you handled yourself. Some very important people. |
There is a long pause as EDDIE stops in front of WOODY.
| EDDIE (cont’d) |
| It must have been a little frustrating when his case was successfully appealed because of utterly stupid police dick up. |
| WOODY |
| Where’re you going with this, Winslow? |
EDDIE braces one hand on the table and leans in.
| EDDIE |
| DA Walcott said you were pretty upset when she told you about the appeal.
Almost violent were her exact words. |
WOODY is speechless.
CUT TO:
42. INT. OBSERVATION - CONTINUING
JORDAN leans toward the glass. She looks scared.
CUT TO:
43. INT. PRECINCT INTERROGATION – CONTINUING
WOODY
(grinding his teeth) |
| Are you insinuating…? |
EDDIE pushes away from the table and walks until he’s directly behind WOODY’S
chair.
WOODY flinches when EDDIE leans over his shoulder and slaps a series of pictures…
one by one… down in front of WOODY. They are of the crime scene and the mangled
body.
EDDIE
(points at one) |
| It took some serious rage to do this to a person, Hoyt. |
EDDIE gives WOODY a split second to digest the pictures.
| EDDIE (cont’d) |
| You told your… fiancée… that you were on a stake-out all night. Yet, there
are no records of it… anywhere. Furthermore, I have records of
you crossing the TWT yesterday, which puts you in the general area where
the body was found, right around the TOD. |
EDDIE roughly pulls WOODY’S chair away from the table. EDDIE leans in so he’s right in WOODY’S face, eyes boring into WOODY’S.
EDDIE (cont’d)
(harsh whisper) |
| Did you do this? Did you beat Darrel Martin to death and then drive him cross town to toss the body away like a piece of trash? |
HARD CUT TO:
44. INT. OBSERVATION - CONTINUING
JORDAN puts her hand to her mouth.
CUT TO:
45. INT. PRECINCT INTERROGATION - CONTINUING
The staring contest last a full minute. The only movement is a tick on the side
of WOODY’S jaw.
WOODY is the first to blink. EDDIE wisely backs away.
WOODY
(mockingly) |
| You can’t honestly believe I could do this? |
EDDIE
(folds his arms) |
| From what I’ve read in your personnel record, it’s not a stretch. So why don’t you convince me otherwise. |
WOODY stands and walks to the opposite side of the room.
| EDDIE(cont’d) |
| You weren’t working. Where were you last night? |
There is a long pause.
EDDIE
(slightly condescending) |
| I’m not here to judge you if you have a little something on the side. That’s between you and- |
WOODY takes a menacing step forward and shouts, cutting EDDIE off.
| WOODY |
| I’m not cheating on her! I’d never- |
EDDIE
(shouts back) |
| Then tell me what the hell you were doing that you needed to cover! |
WOODY
(exasperated) |
| It’s none of your business. None of anybody’s business! |
A light switches on in OBSERVATION. Both men look to the two way mirror to see JORDAN standing there. WOODY’S shoulders drop. JORDAN reaches over and keys the intercom.
JORDAN
(dispassionately) |
| Tell him, Woody. Where were you last night? |
WOODY looks at EDDIE accusingly. EDDIE looks away.
WOODY paces a few seconds. He stops to look at JORDAN. He tries to read her and is winces at what he sees and looks away.
WOODY
(mumbles) |
| I… ah… had a… medical appointment… |
| WOODY |
| Spaulding… Hospital… with my neurologist. (looks at JORDAN) You can verify it by calling his office. |
EDDIE presses.
| EDDIE |
| I will. It most have been a little more than an office visit if you were there all evening. |
| WOODY |
| I was… getting some tests done… pre-op. |
EDDIE glances at JORDAN. This was news to her.
| EDDIE |
| You’re having surgery? |
| WOODY |
| I didn’t kill Martin. I couldn’t have. At the time of the murder, I was a little indisposed in a backless gown with my ass in the air while they shot dye in my back to see where it didn’t go so they know where to cut. (smirks) I have a bad back. |
| EDDIE |
| You were shot a few years ago. |
WOODY
(sarcastically) |
| Yeah, well… they told I was as good as new. They were wrong. |
| WOODY |
| I have my reasons and I don’t think they are relevant to your investigation, Lieutenant. |
WOODY walks over the door. He opens it.
| WOODY |
| If we’re done here, I have to get back to work. |
| EDDIE |
| I’ll be in touch if your story doesn’t pan out. |
WOODY exits.
Alone, EDDIE looks at the OBSERVATION window. It’s empty. JORDAN’S gone.
46. INT. MORGUE HALLWAY JUST OUTSDIE TRACE – MIDDAY
We see BUG sitting at his desk through the window. He’s doing paperwork.
NIGEL comes down the hallway. He stops when he sees BUG and swings into the
cubicle.
NIGEL
(big smile) |
| Kate tells me congratulations are in order! |
BUG looks annoyed.
| NIGEL (cont’d) |
| The Phodaga alticeps! I’m sure they’ll be a smashing success
at your lecture at the annual Massachusetts Horticultural Society symposium. |
BUG shrugs.
| NIGEL (cont’d) |
| Oh, come on now. |
NIGEL playfully punches him on the shoulder.
| NIGEL (cont’d) |
| You’ve been working on this presentation for months. You debated for days
about whether to lecture on leaf beetles or cut worms. I said the cutworms
do more damage to ornamentals and you said the life cycle of the Phodaga
alticeps is vastly more exhilarating- |
Rolling his eyes, BUG cuts NIGEL off.
| NIGEL |
| So why the long face? |
NIGEL puts his arm around BUG’S shoulder.
NIGEL
(bigger smile) |
| Buggles, you know you can tell me anything. |
| BUG |
| I thought you wanted to share the unveiling with Lily and me. |
NIGEL
(haltingly) |
| I did, I did. It’s… I’m behind and then there were a few rush orders…. |
| BUG |
| I’m sure you’ve got better things to do anyway. |
BUG picks up his paperwork and stands.
| BUG |
| I have a sign out being picked up in an hour. I need to get Emy the forms straight away. |
| NIGEL |
| What’s going on, Bug. Is this about Kate and me? |
BUG
(rolls his eyes) |
| Whatever you and Dr Switzer did or do in privacy is none of my
business. |
| NIGEL |
| Then why do I have the feeling it is? |
| BUG |
| Because you can’t shut your trap about it. |
NIGEL is taken aback.
| NIGEL |
| You have Lily and Maddie. I thought you’d be… happy for me. |
| BUG |
| I wish Kate Switzer stayed in New York where she belongs. |
47. INT. PRECINCT BULLPEN - AFTERNOON
We follow WOODY as he loops through the Bullpen. Someone calls his name but he doesn’t stop.
48. INT. PRECINCT HALLWAY - CONTINUING
WOODY continues down the HALLWAY, where once again his name is called in greeting. WOODY ignores it.
49. INT. PRECINCT HALLWAY OUTSIDE WOODY’S OFFICE - CONTINUING
WOODY stops at his office door and opens it. We see JORDAN leaning against his desk. The metaphorical chill in the room is somewhere around freezing. WOODY pauses before he walks in.
50. INT. WOODY’S OFFICE – CONTINUING
He purposely leaves the door open. JORDAN kicks off his desk slowly and casually kicks the door shut. The echo is deafening. WOODY assumes a defensive pose behind his desk.
| JORDAN |
| Spaulding Rehab Hospital is kinda out of the way… when Boston General is right down the street. |
| WOODY |
| I didn’t want the whole world knowing my business. |
| JORDAN |
| So now I’m the rest of the world. |
| WOODY |
| Jordan, I didn’t mean it like that. |
| JORDAN |
| When were you going to tell me you were having trouble with your back again? |
| WOODY |
| I was hoping the subject would never come up. |
WOODY
(sheepishly) |
| I didn’t want to worry you. |
| JORDAN |
| You. Didn’t. Want. To. Worry. Me? |
| JORDAN |
| What’s that supposed to mean? |
WOODY
(snaps) |
| You didn’t exactly drop everything to tell me about your tumor! Damn it Jordan, I had to find out when you went into full blown seizure in front of my eyes! |
| JORDAN |
| So, what is this… pay back? |
WOODY sits down in his chair and hangs his head in his hands. JORDAN’S anger tempers slightly when she notices that he’s stiff, like he’s in pain.
JORDAN (cont’d)
(softly) |
| This has been going on for a while, hasn’t it? |
| WOODY |
| A few weeks. It didn’t get really bad until after the camping trip. The doc said sleeping on the cold hard ground shifted the fragment so it’s pressing into a spinal nerve. |
WOODY
(mirthless chuckle) |
| A bone chip. One last little reminder of how Riggs screwed up my life. |
JORDAN touches WOODY’S shoulder.
| WOODY |
| Friday. I talked the doctor into getting this done under the radar. |
JORDAN
(incredulously) |
| You think you are going to have back surgery and jump right back into active duty Monday morning? |
WOODY sits back up and looks JORDAN in the face.
| WOODY |
| That’s the plan. It’s an outpatient, microsurgery thing. In and out. |
| WOODY |
| You don’t understand, Jordan. I have to take care of this on the QT. |
JORDAN
(rolls her eyes) |
| Nobody’s going to try and steal your office while you’re gone. Your boss is on to that feeding frenzy already. |
| WOODY |
| I just made the Lieutenant’s List. |
JORDAN jaw drops. There is a pause.
| JORDAN |
| When were you going to tell me that? |
| WOODY |
| Soon… After… When this whole thing’s over. I damn near had to sell my soul to the Devil to make Sergeant. This time the stakes have gone up. (beat) I’m going to have a wife to worry about providing for now. If they think my back is going to be an ongoing problem I’ll never see Lou. |
| JORDAN |
| A wife to provide for? The last time I checked I was gainfully
employed. I may not be rolling in the dough... but I can sure as hell provide
my share of living expenses. |
| WOODY |
| A man takes care of his family. He makes sure they’re protected and want for nothing. |
JORDAN opens her mouth to say something but WOODY contin