Crossing Jordan Virtual Season 7

“Ithaca”

Written by
Nynaeve

Art by
BigCJFan

“Crossing Jordan Virtual Season 7” is a fan-based effort not intended to infringe on the rights of Tailwind Productions, NBC/Universal or any of the other copyright holders of “Crossing Jordan.” No money was made from the writing or posting of any content.

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

Matt Seely
Sidney Wilkes
Homeless Man (Edgar Wield)
Convicted Rapist (Mark McCormick)
Max Cavanaugh
James Horton
Various BPD officers
SWAT team
ATF agents
Fischer

MORGUE
   HALLWAY
   JORDAN’S OFFICE
   TRACE
   AUTOPSY ONE
   AUTOPSY TWO

PRECINCT
   INTERROGATION ROOM ONE
   HALLWAY

WAREHOUSE

EXTERIORS
BOSTON PUBLIC GARDEN
   LAGOON
   PATHWAYS
   SIDEWALK NEARBY

TEASER

Mr. E's Beautiful Blues - Eels

1. EXT. BOSTON PUBLIC GARDEN LAGOON – MID AFTERNOON

The shot is tight on JORDAN and WOODY. Both are wearing sunglasses and look uber-cool. Her head is resting lightly on his shoulder and his mouth is turned slightly toward her, whispering something in her ear. They are both smiling as brightly as the sun is shining. The shot begins to widen as the camera pulls back. We see they are dressed in casual clothes and sitting in a group of people. Slowly the shot continues to pull back and we see they are taking a ride on the famous Swan Boats in the Boston Public Garden Lagoon. Clearly, they aren’t paying much attention to their surroundings, the other people or even what the guide is saying. They are both pedaling somewhat automatically.

CROSS FADE TO:

2. EXT. BOSTON PUBLIC GARDEN PATHWAY – CONTINUING

Holding hands, still smiling and talking animatedly, JORDAN and WOODY walk along one of the pathways in the public garden. The flowers are bursting out in bloom, echoing the clearly happy state of their lives at the moment. They are chattering away happily, though we are not privileged to hear their conversation. At one point, WOODY lifts up JORDAN’S hand – the one wearing his ring – and gestures to the engagement ring. She laughs and shakes her head at him. They stop for a quick kiss before moving on, heading toward an exit.

3. EXT. BOSTON PUBLIC GARDEN SIDEWALK – CONTINUING

Tucked into a tight spot is the El Camino. JORDAN is getting her car keys out of her jeans pocket, though the jeans fit her so nicely, it’s hard to imagine how she got a key in there! WOODY is playful, trying to get the keys from her. She is laughing at him, making fun of his efforts at being “muy macho.” A light breeze ruffles her hair and catches at something tucked underneath one wiper blade. JORDAN reaches for it, keeping WOODY at bay with hardly an effort, and opens the folded paper. She assumes it is one of those flyers marketers often leave under the wipers when you park somewhere. From his carefree demeanor, that’s where WOODY’S mind is, too.

We push in on his face as he reacts to her. His brows come down and his eyes are instantly wary. He crosses back in front of the car to her side. We see her. Her face has gone the color of chalk. WOODY looks down to find she’s not holding a marketing flyer. She’s holding a picture of the two of them. It’s a copy of one that ran in the newspaper after the Cupid case. There is a red slash through JORDAN’S face. The mark was made with such force that it almost dug a groove in the photo paper. Both of them look around, scanning the area, but find nothing.

The camera pulls back to a car, about half a block down.

4. INT. ANONYMOUS CAR – CONTINUING

We see binoculars before we see anything else. Reflected in their lenses are tiny images of JORDAN and WOODY. Slowly, the binoculars are lowered, revealing the face of the person holding them. It’s JAMES HORTON. He is smiling his eerie, creepy smile.

Crossing Jordan Theme

END OF TEASER

ACT ONE

5. TRACE – LATE AFTERNOON

JORDAN is pacing, hands tight against her sides, brow furrowed in concentration as she cuts her glance toward the machine currently testing the photo. The room is a bit of a disaster area, strewn with papers showing various results. The machine beeps and she all but jumps out of her skin before hurrying over to it. She does not notice GARRET come in behind her as she scans the latest results.

She brushes away some of the tears and GARRET takes her in his arms. She clings to him.

6. EXT. SEVERAL BLOCKS FROM PUBLIC GARDENS – SAME TIME

WOODY is canvassing the area around where the El Camino was parked. His eyes are hard and determined and we can just about see him grinding his teeth. He’s working his way to a less-than-prosperous area, stopping the people he comes across. We can tell he’s not getting anywhere. His expression is still hard, but despair is beginning to take hold, too. He sees a man digging in a dumpster and approaches him.

7. INT. AUTOPSY ONE – EARLY EVENING

There is a body on the table, but the room is empty. The door swings open and KATE enters, followed by NIGEL. He is chattering on about something, as usual. KATE is not paying much attention to him. She picks up the paperwork on the body and begins to read through it. NIGEL is still oblivious to their surroundings and sidles closer to her, aiming at kissing the back of her neck. She turns to him.

8. INT. JORDAN’S OFFICE – EVENING

JORDAN is sitting at her desk, staring at the photo left on her windshield. If she had death ray eyes, she’d have burned a hole in it by now. She stands up, holding the picture. She knows there can’t possibly be a test she hasn’t run, but she can’t just sit there either. She is just rounding her desk when the door opens and WOODY comes in.

Her looks says, “Huh?”

WOODY waves a hand, telling her not to worry, he’s just rambling.

JORDAN smiles and nods.

CROSS FADE TO:

9. INT. AUTOPSY ONE – LATE EVENING

Somebody Loves Me - 12 Volt Sex

KATE is working on the body with her usual loud music playing. Her face is placid and, from her expression, there haven’t been any surprises so far. She barely glances up as the door opens. It’s NIGEL. He turns the music off. She glares at him and blushes ever so slightly. NIGEL knows he’s courting disaster, but his face says that it’s important.

10. HALLWAY, JORDAN’S APARTMENT – LATE EVENING

JORDAN and WOODY are walking toward her door, holding hands. She is teasing him.

WOODY takes her key from her and fits it into the lock by feel because he’s too busy pushing her against the door, kissing her thoroughly. The passionate moment is brought to a crashing halt when the door gives behind them. We follow WOODY’S eyes down and see the lock is broken. Shit. Okay, not surprising, but still… shit.

He pulls his gun and motions for her to stay behind him. He knows telling her to stay outside is pointless. Cautiously, they enter the apartment. It’s a mess. WOODY does a quick circuit of the place and affirms that whoever trashed the place is gone. As he comes back to JORDAN, standing by the kitchen counter, his gaze follows hers. There’s another picture. This one is GARRET and her at a scene. As before, there is a red slash through her face.

11. INT. ANONYMOUS APARTMENT – CONTINUING

We see the same binoculars as before. Through them, we watch JORDAN and WOODY moving around. As they lower, we see JAMES’ face. He has that creepy smile of his. He gives a low, dark laugh.

END OF ACT ONE

ACT TWO

12. INT. AUTOPSY TWO – NEXT MORNING

BUG is getting ready to do an autopsy on a body that came in overnight. He is reading the chart, mumbling as he goes.

The shot finally pulls back and reveals all of the body. And I do mean all. He’s naked, overweight, fish-pale and naked, except for a pair of highly shined patent leather loafers.

NIGEL looks at them with a raised eyebrow, beckoning them over.

13. INT. KATE’S OFFICE

KATE is working on her laptop, presumably on a report. There is a knock on the door and GARRET pokes his head in.

GARRET nods, smiling. He exits, leaving her to finish her paperwork as much as possible.

14. AUTOPSY ONE – ABOUT AN HOUR LATER

KATE is standing over the body of an emaciated, octogenarian male. The shot is tasteful but we can see that his body had been ravaged by the end stages of cancer. She has a look of what might almost be pity. She takes a deep breath and sighs heavily, as if having to cut into this man’s already wasted body is another insult to him and one she’s sorry to inflict. She conducts her autopsy. Several shots blend together, giving us the sense of her progress and the passage of time as she makes incisions, weighs organs, takes blood samples and so on. She begins to run a few tests on some of the samples – our KATE is truly a Renaissance woman – and begins to stitch him back up. She is just finishing when one of the tests beeps, indicating it is complete. She checks it and her face clouds.

She takes her results with her and exits in a hurry.

15. HALLWAY – CONTINUING

KATE sees GARRET, talking with BUG and NIGEL. She strides up to the men and peremptorily interrupts them.

16. INT. PRECINCT INTERROGATION – MORNING

WOODY is just entering the door. He’s carrying what almost looks like a pony keg of coffee. Whatever he wants out the suspect in the room, WOODY’S prepared to wait it out apparently! As WOODY sets down his files and arranges his coffee keg, we take a look at MARK MCCORMICK. According to his files, he’s about forty now, but he looks older. His eyes follow WOODY with great wariness, bitterness and anger. For his part, WOODY looks jumpy (this may not be his first keg of coffee today) and there is definite anger there, too. For a long moment, neither man says anything. WOODY finally, wordlessly, pushes a picture of JORDAN across the table. MCCORMICK looks at it.

WOODY snorts.

MCCORMICK is clearly thinking. It takes him a moment.

WOODY’S expression doesn’t change much, but we can see his jaw tighten. He gets up and stalks out of the room without a word. MCCORMICK pulls the keg of coffee over and takes a long sip.



17. INT. WOODY’S OFFICE – A FEW MINUTES LATER

WOODY is pacing in his office, his phone held up to one ear. He’s listening intently to whoever is on the other end of the call. His face begins to darken and his brows knit down. He speaks curtly.

WOODY hangs up, rubbing his forehead. He goes utterly still for a moment and then nearly explodes, kicking a filing cabinet with such force, he actually makes a dent in it.

He doesn’t notice SEELY is standing in the doorway.

WOODY turns around, his eyes blazing, his hands clenched into fists. Too many things have been going on lately. The strain is really starting to tell.

SEELY pretends to back up out of concern for his own safety.

WOODY ignores him and brushes past.

18. PRECINCT HALLWAY – CONTINUING

Stupid Thing - Nickel

MUSIC: Stupid Thing by Nickel

WOODY is walking down the hall in angry, ground-eating strides. SEELY is behind him, a look of actual worry on his face now. WOODY reaches the interrogation room and flings it open. He steps in.

19. INTERROGATION – CONTINUING

WOODY looks at MCCORMICK, who looks back with a fairly mild expression.

FADE TO:

20. EXT. PRECINCT PARKING LOT – A FEW MINUTES LATER

MCCORMICK exits the precinct building and walks toward a bus stop. WOODY exits the building just after MCCORMICK and heads to his car. He is unaware that someone across the lot is watching him as he gets in, turns on the car and drives away.

21. EXT. ACROSS THE STREET FROM PARKING LOT – CONTINUING

JAMES is sitting in the same anonymous car as before. His eyes follow WOODY’S car down the street. JAMES smiles and laughs to himself.

END OF ACT TWO

ACT THREE

22. ALLEY NEAR PUBLIC GARDENS - ABOUT NOON

WOODY is in the alley where he found the homeless man before. He has found the man again. This time affable, Boy Detective has taken a vacation day. In his place is Bad Ass WOODY who has WIELD pinned up against one of the grimy walls. WOODY’S jaw is clenched so tightly, the muscles there are fluttering lightly. His eyes are coldly furious.

WIELD wasn’t really, since WOODY’S working “off the books”, but the bluff works. WIELD begins to talk.

FADE

23. INT. BREAK ROOM – AFTERNOON

JORDAN is absent-mindedly eating an apple, flipping without much interest through the newspaper. Beneath a file next to her, we can see the edge of a photo peeking out – the one of her and GARRET. She wants to run tests on it, but the place is pretty busy today, so she’s forcing herself to wait. She’s dressed in the white suit we haven’t seen since Slokum was around. She looks up when the door opens. It’s LILY, who takes a look at JORDAN and smiles.

SLOW FADE TO:

24. INT WOMEN’S LOCKER ROOM – CONTINUING

JORDAN is standing in front of her locker, about to open it. She’s a little bit pale and still doesn’t seem quite steady on her feet. This is JORDAN, however, so she just ignores it and yanks open the locker door. She puts the photo in there for the time being and pulls out a pair of scrubs. Before going on, she slips out of her high heels, ready to exchange them for a pair of sneakers up on the locker’s top shelf. She pulls down the sneakers, which snag on a box. The box comes flying out, and its contents scatter on the floor. JORDAN groans softly and shakes her head.

25. INT. WOMEN’S LOCKER ROOM – ABOUT TEN MINUTES LATER

JORDAN is sitting down, pill bottle in one hand, photo in the other, her face almost blank. She is a million miles away.

She takes a deep breath before pulling away from the locker. We see her put on her determined, professional demeanor, but we know it’s an effort. With a last, almost-guilty look back to the closed locker, she leaves the room.

26. INT. AUTOPSY THREE – CONTINUING

JORDAN pushes through the swinging door to find SIDNEY in the room. He is holding the paperwork on the body. He glances up.

Before SIDNEY can say more, she is pulling the sheet off the body, starting at the head. Her eyes are immediately drawn to the man’s throat. C.O.D on this one will be pretty easy – someone slashed his throat with such force you can see bone at the back gleaming. The wound is raw, ragged, almost as if the killer sawed at the man’s neck. SIDNEY looks away for a moment – it’s that bad. Even JORDAN goes a little pale. Slowly, she is able to draw her focus away from the horrible, gaping trench in the man’s throat. The camera pans with her until we reach the face. JORDAN gasps.

The body on the table is GEORGE COOPER, her grandmother’s manservant. In the middle of his forehead, almost as though someone had smeared ashes there as a very late Ash Wednesday observation, is one clear, bloody fingerprint.

JORDAN grips the edge of the autopsy table to stay upright.

END OF ACT THREE

ACT FOUR

27. EXT. LOGAN ARRIVING PASSENGER PICK-UP – LATE AFTERNOON

MAX CAVANAUGH stands on the curb, one bag at his feet, scanning the on-coming cars. He sees what he’s looking for and raises a hand, so the driver can more easily find him. ‘Cause it would be so difficult finding a six-foot-six guy otherwise.

The car comes to a stop by MAX and we see the driver is WOODY. MAX opens the passenger door, tosses his bag in the bag and climbs in.

28. INT. WOODY’S BPD CAR – CONTINUING

WOODY signals, pulling the car back into the slow-moving line of cars. MAX is watching WOODY, but neither man says a word for now. WOODY navigates through the crowds until he’s free of the worst congestion. He glances over at MAX.

29. INT. MORGUE CONFERENCE ROOM – LATE AFTERNOON

Everyone is there: JORDAN, GARRET, NIGEL, KATE, BUG, LILY and SEELY. The white board is set up where everyone can see it and GARRET is leading the discussion. There are four names across the top and beneath each a column of facts known about them.

30. INT. WOODY’S BPD CAR – RUSH HOUR

We see that the car is stuck in rush hour traffic, moving slowly, about to enter the TWT. WOODY is tapping the fingers of one hand against the steering wheel, checking the side and rearview mirrors constantly as if that will make traffic move and muttering under his breath.

MAX is still, but tense. We hear the chime of a cell phone. WOODY glances over. MAX reaches into a pocket and pulls out his phone. He flips it open and grunts in surprise.

MAX is dialing the Morgue. Just as the phone begins ringing, the car enters the TWT and MAX’S service goes out.

31. MORGUE CONFERENCE ROOM – CONTINUING FROM PREVIOUS SCENE

Mad World - Michael Andres and Gary Jules

Everyone sits in stunned silence as JAMES saunters into the room a few steps. JAMES smiles at all of them and casually draws out a gun.

As GARRET, NIGEL and KATE head toward the door to “saddle” up, LILY and BUG begin to look over SEELY. Ad-libbed comments show us it’s a flesh wound, painful, but not serious.

32. INT. WOODY’S CAR – CONTINUING

Traffic is moving better, though still slow, as the car emerges from the TWT. MAX immediately hits redial on his cell phone.

At that moment, the text alert tone chimes on MAX’S phone again. He and WOODY both look at the phone. There is no doubt who sent the message.

END OF ACT FOUR

ACT FIVE

33. EXT. A BLOCK AWAY FROM AN ABANDONED WAREHOUSE – ABOUT AN HOUR LATER

There is a crowd of Alphabet Agencies trying to look inconspicuous while sorting out jurisdictional proceedings. Some are wearing ATF badges; others are in BPD gear. There is a SWAT team present. MAX and WOODY are standing with GARRET, NIGEL, KATE and a pale SEELY, with his arm bound up. There is even someone from Fischer and Sons Mortuary. No “presumed drowned in the Charles” for our miscreant this time!

He and MAX share a knowing smile, despite the situation.

The SWAT TEAM LEADER approaches our group.

The STL sighs and a three-way, ad-libbed argument ensues between him, WOODY and MAX. An ATF GUY walks over and joins the “discussion.” The morgue crew and SEELY exchange looks. KATE begins rummaging in her purse. The various agents, WOODY and MAX aren’t paying attention, but the morgue crew is bemused. With a note of triumph, KATE pulls something out of her purse. She thrusts her purse at NIGEL to hold. Good thing he’s secure in his masculinity – or that the purse matches his outfit. Take your pick.

KATE bull noses her way into the group of men, holding up the object from her purse. Slowly, the men fall silent. The STL and ATF GUY look really confused. WOODY knows KATE well enough by now to blush. MAX is somewhere between confused and angry.

They look around. Yep. MAX is gone.

34. EXT. ABANDONED WAREHOUSE – CONTINUING

MAX is approaching the building where JAMES has JORDAN. He spots a side door and heads for it. When he reaches it, he pulls it open and enters.

35. INT. ABANDONED WAREHOUSE – CONTINUING

MAX stops, letting his eyes adjust to the dim light. He has his hands up as he scans the cavernous building. He can’t see anyone so he calls out.