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Episode #VS707
Crossing Jordan Virtual Season 7
“Reality Bites”
Written by
jkmw
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.
DRAMATIS PERSONAE
Jordan Cavanaugh
Woody Hoyt
Garret Macy
Nigel Townsend
Kate Switzer
Mahesh “Bug” Vijayaraghavensatanaryanamurthy
Lily Lebowski
Matt Seely
Uniformed Officer
Suspect
Mitch Duvall
Dana Thornton
Antonio Padova
Cast and crew of Dance Production
Homicide Lieutenant
Reporter
Principal
Teacher
Class
Student 1
Student 2
SET LIST
INTERIORS
POLICE PRECINCT
BULL PEN
WOODY’S OFFICE
HALLWAY
MORGUE
GARRET’S OFFICE
HALLWAY
RECEPTION
ELEVATOR
BREAK ROOM
GENERIC ARENA
STAGE AREA
ORCHESTRA PIT
SCHOOL
HALLWAY
CLASSROOM
DANCE STUDIO
TEASER
1. INT. POLICE BULL PEN. – DAY
The room is an organized chaos of crowded desks, ringing phones, uniformed
officers, detectives, and others.
WOODY is near a desk, searching the surface. We see “Phil Berman’s”
name plate.
| WOODY |
| Has anyone seen Berman? |
Mumbled, shouted “no’s”, “not my turn to watch him”
from the room.
| WOODY (cont’d) |
| He took my pen. |
Nobody is paying attention
| WOODY (cont’d) |
| My good pen… |
Still no attention
WOODY
(realizing he’s on his own) |
| ….I just put a new ink cartridge in it…. |
WOODY starts opening drawers. He stumbles on a Sports Illustrated swimsuit edition.
He stops to thumb through it.
The bullpen doors open with a bang. MATT SEELY and UNIFORMED OFFICER wrestle
in belligerent SUSPECT. Both MATT and SUSPECT are wet and muddy. SUSPECT is
yelling indiscriminately.
| MATT |
| Save it for your lawyer. |
SUSPECT pulls away and tries to make a break for it.
MATT (cont’d)
(frustrated) |
| Not again… |
MATT body slams SUSPECT against a desk near WOODY. WOODY puts magazine down and
reaches for his firearm. Before he can do anything, the situation is under control.
MATT pulls the SUSPECT up by the collar of his shirt and pushes him toward the
double doors to booking. UNIFORM grabs SUSPECT by the elbow.
MATT
(fuming) |
| Get him out of here. |
UNIFORM and SUSPECT exit amid shouts of police brutality and a struggle. MATT
looks at his muddy clothes and swears under his breath.
WOODY walks over waving his hand in front of his face as if MATT smells.
| WOODY |
| You smell like a gutter. |
MATT looks at him like he’s out of place
| MATT |
| Didn’t they give you an office? |
| WOODY |
| Right down the hall. It’s nice. (pauses with a grin) You seen Berman?
I think he’s snagged my good pen again. |
MATT gives him an incredulous look
WOODY reiterates, pantomiming writing with a pen
Handing WOODY a pen from a jar at the corner of Berman’s desk
MATT turns heel to his desk --which is next to Berman’s. WOODY puts pen
back and follows.
| WOODY |
| So…are you going to tell me why you look like you’ve dragged
along the banks of the Charles? |
MATT picks up two pink while-you-were-out notes and a thin long white envelope
from the middle of his desk. After glancing at them MATT closes his eyes as if
this day couldn’t get any worse.
He looks at the envelope in his hand.
| MATT (cont’d) |
| What’re you doing tonight? |
| WOODY |
| I’m flattered, but you’re really not my type… |
Looks at the envelope in MATT’S hand and smiles.
| WOODY (cont’d) |
| Agganis Arena …unless those are Boston U hockey tickets, to which
I have to tell you: I don’t kiss on the first date. |
MATT slaps the envelope in WOODY’S hand.
| MATT |
| It’s not hockey. It’s to that dance show thing everybody’s
talking about… |
WOODY
(opening the envelope) |
| Dancing with the Celebrities? |
| MATT |
| Yeah, that’s the one. It’s tonight and I’m…busy.
Take Cavanaugh. Maybe you can finally get laid and think about something
other than your pen. |
He thumbs through tickets.
| WOODY (cont’d) |
| Wait…are these back stage passes? |
MATT
(silent chuckle) |
| I’m not surprised. |
| WOODY |
| I heard this thing sold out in like…fifteen minutes. Why would you
just give me these? |
| MATT |
| I said. I’m not going. |
| WOODY |
| Nobody forks out this kind of money on tickets to give them away. What
d’you want from me? |
| MATT |
| Nothing….Just call it a random act of kindness. |
WOODY
(disbelievingly) |
| I’d believe that…..if you weren’t one of the most calculating
people I know. |
| MATT |
| Fine. The tickets were sent to me. I knew….I know one of the cast
members. |
WOODY looks at tickets again with a low whistle.
| WOODY (cont’d) |
| You must know ’em pretty good. Who is it? |
MATT
(off handedly) |
| Her name’s Dana. |
| WOODY |
| Dana. Dana Thornton? You’re friends with Dana Thornton?
She’s… |
He catches himself before he gushes.
| WOODY |
| . . . an incredibly talented dancer. |
MATT
(sarcastic, knowing smile) |
| I see you’ve watched the show. |
WOODY
(uncomfortable) |
| Tivo’d it. |
MATT snorts
| WOODY |
| You don’t have to watch Dancing with the Celebrities to know who
she is. She topped Maxim’s Hot 100 list last year. She’s everywhere. |
| MATT |
| Do you want them or not? |
WOODY hesitates. MATT holds the envelope over his trashcan
| MATT (cont’d) |
| Going once…going twice… |
WOODY snatches the tickets back out of MATT’S hand and thumbs through them
again.
| WOODY |
| Get this straight, I don‘t owe you my first born or anything. |
MATT
(steps around) |
| Do me a favor. When you meet Dana…try not to make an ass out of
yourself. |
WOODY
(stops him) |
| Wait, wait. How do you know a woman like Dana Thornton? |
| MATT |
| She turned pro and moved to L.A. a week before we were supposed to get
married. |
MATT pushes past WOODY, who has a dazed look on his face.
END OF TEASER
ACT 1
2. INT. GARRET’S OFFICE - DAY
GARRET is sitting at his desk. JORDAN is standing in front
JORDAN
(irritated) |
| You’re kidding me, right? |
GARRET
(deadpan) |
| Do I look like I’m joking? |
| JORDAN |
| I just did this…not that long ago. |
| GARRET |
| Three years. We all rotate, and it’s your turn. |
JORDAN counts silently and realizes he’s correct. Closes her eyes and sighs.
| JORDAN (cont’d) |
| Can’t Kate do it? |
| GARRET |
| It’s just a school career day Jordan. You go in to the classroom,
you tell them how exciting it is to be a medical examiner, you eat cake,
drink punch and you take the rest of the day off. |
| JORDAN |
| What about Bug instead? He could use a half day. |
GARRET stands and steps away from his desk.
| GARRET (cont’d) |
| I had all the display materials delivered to your office. Last year Nigel
organized it all into a PowerPoint. All you have to do is read off the slide. |
GARRET grabs his coat of the coat rack. He slides it on and walks out. JORDAN
follows.
3. INT. MORGUE - HALLWAY, CONTINUING
They walk toward the reception area and the elevators.
4. INT. MORGUE – RECEPTION, CONTINUING
They stop in front of the ELEVATOR, waiting.
GARRET
(pushing elevator button) |
| I don’t have time to argue with you about this right now, Jordan.
I have a meeting at the Governor’s Office. |
JORDAN
(earnestly) |
| You’ve been having quite few meetings there lately. |
| GARRET (cont’d) |
| Just put on a suit and be at JFK Elementary at 10 o’clock tomorrow
morning. They’re expecting you. |
JORDAN frowns accepting her fate. The elevator door opens WOODY is in the car.
He and GARRET greet each other as GARRET exits. WOODY sees JORDAN and smiles.
| WOODY |
| Just the person I was looking for… |
JORDAN is still looking past his shoulder to where GARRET disappeared. WOODY notes
her frown and looks over his shoulder as he approaches her.
| WOODY (cont’d) |
| What’s wrong? |
| JORDAN |
| You know, we never did get to ride the London Eye…How ’bout
it? ….If we leave right now we could be 400 feet over the Thames by
this time tomorrow. |
5. INT. MORGUE - HALLWAY, CONTINUING
They turn to make their way toward Trace.
| WOODY |
| If I thought you were serious, I’d go home get my passport right
now. |
JORDAN
(slightly frustrated) |
| Garret volunteered me for a fifth grade Career Day. |
WOODY
(unsympathetic) |
| Is that all? |
| JORDAN |
| Is that all? I’d rather deal with cross examination by
Alan Shore, of Crane, Poole and Schmidt, than face a group of fifth graders. |
| WOODY |
| Come on, it’s not that bad. They’re just a bunch of eleven
year olds. |
| JORDAN |
| I don’t do well with kids. |
They stop walking in front of the doors to Trace.
| WOODY |
| Don’t underestimate yourself Jordan. I go to these things all the
time. |
| JORDAN |
| Why am I not surprised? |
| WOODY |
| Eleven is a cool age. You’ll do fine. |
JORDAN
(lopsided smile) |
| So what brings you by? |
WOODY jumps like he just remembered why he was there and searches his pockets
for the tickets. He finds them and hands the envelope to JORDAN
| WOODY |
| It’s not another trip to London… |
JORDAN
(looking at tickets with surprise) |
| Dancing with the Celebrities? |
WOODY
(proudly) |
| First tier seats, back stage passes |
JORDAN
(wincing) |
| …Back stage passes… |
| WOODY |
| You don’t sound very excited. |
JORDAN
(apologetic) |
| No, no, it sounds like…fun. |
WOODY
(wind out of his sails) |
| You don’t want to go. |
WOODY
(compliant sigh) |
| They were freebies anyway. Seely was getting rid of them. |
| JORDAN |
| Why? He couldn’t find a date? |
| WOODY |
| He said he didn’t want to go… But get this. He claims he was
once engaged to Dana Thornton and she sent them. |
JORDAN
(incredulously) |
| And you believe him? |
NIGEL peeks his head out of the door to Trace
| NIGEL |
| Our own Matt Seely and the delicious Dana Thornton? |
WOODY steps aside as NIGEL joins them in the hallway
WOODY
(looking NIGEL up and down) |
| Do you have some kind of gossip radar? |
NIGEL
(takes tickets from JORDAN) |
| It’s plausible….Dana hails from Providence society….Took
honors in both junior completion and adult before turning pro. Matt and
she might have run in the same trust fund circles. |
NIGEL flashes a big smile
| NIGEL (cont’d) |
| That is, of course….before she left for the bright lights of Hollywood
and three seasons of D.W.T.C. |
| JORDAN |
| Don’t tell me you watch Dancing with the Celebrities? |
| NIGEL |
| Are you kidding? I Tivo it. |
WOODY gives NIGEL a high five.
| JORDAN |
| Am I the only one that doesn’t watch reality TV? |
She is met with silence
| JORDAN (cont’d) |
| You know what? You two go. You can compare notes. |
WOODY sighs
| JORDAN (cont’d) |
| I really need to prep for this thing. |
WOODY gets the tickets back and hands NIGEL one.
| WOODY |
| Just don’t wear a tux. |
NIGEL
(excited) |
| I’ll meet you at the front gate at six. |
NIGEL slips back into TRACE. WOODY takes JORDAN’S arm and guides her toward
her office.
| WOODY |
| I hope you realize that one leggy brunette is not interchangeable with
another. |
| JORDAN |
| I’m not a jealous person. |
WOODY
(sighs) |
| I wish you’d reconsider. We haven’t had any time alone together
in over a week. |
JORDAN
(worried) |
| Agganis is not known for its intimate atmosphere. (pause) I’m serious.
I really do need to figure out what I’m going to tell these kids tomorrow. |
| WOODY |
| Want some advice from somebody who’s been there? |
JORDAN
(relief) |
| Anything. |
| WOODY |
| Relax. They can smell fear. Remember to appeal to a typical eleven year
old’s interest level…..and if all else fails... |
JORDAN
(listening intently) |
| What? |
| WOODY |
| Ask if the cake is chocolate or vanilla. |
JORDAN
(smiles) |
| Gee. Thanks. |
| WOODY |
| How about a rain check? |
| JORDAN |
| After this school thing I’m meeting Lily at the florist to talk
flowers. She’s going about as crazy over this Commitment Ceremony
as she did the wedding. I have a feeling I’m going to need a cold
beer and a foot rub by tomorrow night. |
| WOODY |
| I’ve been told I give outstanding foot massages. |
| JORDAN |
| Say seven? And I’ll bring the beer. |
Whistling, WOODY exits, leaving JORDAN shaking her head.
6. INT. GENERIC ARENA STAGE AREA – DAY
There are two large floor-to-ceiling banks of speakers towering on either end
of the open stage. There is a large marquee in the back of the stage that reads:
Dancing with the Celebrities.
Dancers, paired off in couples, are rehearsing and/or stretching in various
corners and fringes of the stage. Stage lighting is being adjusted. Stage hands
are putting the finishing touches on the area. A Latin instrumental is coming
out of the speakers.
MITCH DUVALL (played by Jean Claude Van Damme) is partnered with DANA THORNTON.
They are dancing a Paso Doble center stage. MITCH is more just a strutting toreador
while DANA is dancing circles around him as the “cape”.
ANTONIO PADOVA is standing off just off the side. It is obvious he is the man
in charge. He points to the stage lights and speaks authoritatively to someone
in the rafters.
| ANTONIO |
| The center left red jell. It needs to come out farther… |
The light in question is redirected and ANTONIO flashes a pleased smile.
During a flourish in the music, MITCH lifts DANA over his head and stumbles.
ANTONIO, along with several stage hands run to spot DANA before she’s
dropped. ANTONIO helps her to her feet. DANA rolls her shoulder. She’s
obviously in pain but is brushing it off.
ANTONIO touches DANA’S arm. We see a gold wedding band.
ANTONIO
(tenderly) |
| Are you hurt? |
DANA covers his hand with hers and we see a matching wedding band
DANA
(soft smile) |
| No. I’m fine. |
A handler approaches MITCH giving him a towel and bottled water. MITCH is mopping
his neck with the towel
| MITCH |
| I think you’ve put on a few pounds since the tour started, Dee-Dee. |
ANTONIO
(diplomatically) |
| We’ll just take that lift out of tonight’s performance. |
| ANTONIO |
| Manny! Cue the music again….from the reverse slip to the drag. |
There is a bang from back stage as something’s dropped. ANTONIO leaves the
stage yelling directions to one of the stage hands. They disappear stage left.
DANA hits her mark while MITCH stands there drinking his water. She drops her
arms and frowns at her partner. The music starts nonetheless.
| MITCH |
| I’ve danced this damn thing until I can do it in my sleep. No lift.
Got it. I’m good. |
| DANA |
| We haven’t done a full run-through in three days. |
MITCH
(patronizingly) |
| We’re not out here to be judged. This is a reality road tour. Our
audience is a bunch of overly indulgent parents and their ten year old daughters
who only care about the costumes and the way Ohno looks in tight pants.
|
| DANA |
| Still, they pay a lot of money to see a good show. |
| MITCH |
| Six more cities of this bull and my contract is over. Lighten-up, Dee-Dee. |
| DANA |
| Would you stop calling me that? |
MITCH
(cups her cheek) |
| You didn’t say that when we were fine tuning some of the
sizzle in our chemistry… |
DANA
(hisses) |
| I wish you’d stop bringing that up. |
| MITCH |
| Oh, something was up that night, for both of us. We can always pick up
where we left off…. |
DANA
(yells out) |
| Antonio! I think we’re done here for now. I’ll just add a
flamenco circle right there. Mitch can pick it up from the down beat of
the exchange. |
DANA looks over her shoulder. ANTONIO is not there. All she sees is the local
warm up dancers and a couple of the tour regulars are busy rehearsing. DANA looks
off stage.
| MITCH |
| When are you gonna get tired of that pansy and be with a real man? |
DANA snaps her attention back to MITCH
| DANA (cont’d) |
| He’s my husband and until this tour is over…your boss. |
| MITCH |
| I bet the little girls out there tonight are not the only ones that will
be getting hot over Onho’s pants tonight. |
MITCH
(holds his hand up) |
| Save it, Dee-Dee. I’ve been called worse and by hotter women. |
With a smirk, MITCH bows slightly at the waist and then turns to leave. The music
for their dance comes to a final crescendo as MITCH reaches the speaker scaffolding
at stage left. He stops and raises his hands in an Olé pose at the final
beat. He winks at DANA. There is an understated crack and the speaker stack topples
down on top of him.
Chaos erupts, stage hands scramble yelling for someone to call 911.
DANA puts her hand over her mouth and turns away in horror.
END OF ACT ONE
ACT TWO
7. INT. POLICE BULL PEN. - DAY
MATT is sitting at his desk, decidedly cleaner than earlier. He is doodling
on a folded newspaper. We see it’s a story about the Dancing with the
Celebrities show. There is a publicity picture of ANTONIO and DANA in a dancing
pose. MATT has defaced ANTONIO with his doodles. The headline reads “Local
Dance-Duo’s Reality Television Bug Bites Boston” MATT draws a bold
line through everything but “Reality and “Bites”. MATT smirks
at his handiwork.
LIEUTENANT
(yelling) |
| Who’s up next?! |
MATT looks up from his paper to see the LIEUTENANT standing just outside his office
door with a coffee cup in his hand. Someone yells “HOYT”
| LIEUTENANT |
| Someone find his ass and tell him there’s a call over at Agganis
Arena. |
MATT stands and hurries over to the LIEUTENANT and stops him before he can reenter
his office.
| MATT |
| Agganis? What happened? |
LIEUTENANT
(sarcastic) |
| I assume it means someone’s dead. Don’t you have some paperwork
to finish on this morning’s bust? |
LIEUTENANT looks at the coffee cup in his hand and notices it’s empty
| LIEUTENANT (cont’d) |
| Dispatch didn’t say. |
| MATT |
| Would you mind if I tag-team with Hoyt on this one? |
LIEUTENANT
(pause) |
| He’s DIC. |
| LIEUTENANT |
| Knock yourself out….Oh, and no grandstanding. Got it? |
| MATT |
| I’ll meet him there. |
MATT exits. The LIEUTENANT stands there scratching his head for a moment.
LIEUTENANT (cont’d)
(to anyone in general) |
| There’d better be some fresh coffee in the pot or one of you maggots
is going to be pulling a double this weekend. |
8. INT. GENERIC ARENA - STAGE AREA, CONTINUING
Uniforms and CSU are already there. Pictures are being taken of the pile of
speakers in the orchestra pit. Witnesses are in the seats stage right. They
include DANA and ANTONIO
MATT enters, showing his badge to uniform at the door. Uniform points to the
group of witnesses. MATT scans the crowd and sees DANA before he acknowledges
the uniform.
DANA looks at the entrance and sees MATT. She touches ANTONIO who sees MATT
himself. MATT just glances at them and continues to the body.
9. INT. GENERIC ARENA – ORCHESTRA PIT, CONTINUING
We see the pile of speakers and scaffolding. High heeled male dance shoes stick
out from underneath, ala Wicked Witch of the East. A young UNIFORMED OFFICER
is standing to the side, fidgeting.
| MATT |
| Are you the first responder? |
UNIFORMED OFFICER
(nervous) |
| Yes, sir. |
MATT mumbles in time as he squats down to take a closer look
| MATT |
| The house began to pitch. The kitchen took a stitch… |
| UNIFORMED OFFICER |
| Excuse me sir? |
MATT touches a gloved hand on a cross bar in the wreckage.
MATT
(looks up) |
| Do we have an ID yet? |
UNIFORMED OFFICER
(blubbering) |
| Um, yes…sir. It’s - it’s… |
MATT stands, waiting
UNIFORMED OFFICER
(shifts closer and whispers) |
| It’s Mitch Duvall, sir, (pause) the ac-tor. |
| MATT |
| I guess that depends on your definition of actor. What’s the story
so far? |
| UNIFORMED OFFICER |
| Mr. Padova, the dude sitting next to Dana Thornton, met us at the door.
Apparently he’s the boss. Padova said that Duvall was finished for
the afternoon and was leaving the stage when the speakers just…fell
over. |
| MATT |
| Did he see exactly what happened? |
| UNIFORMED OFFICER |
| Just that the speakers fell. They couldn’t find a pulse…so
they just… left him. |
| MATT |
| Has the M.E.’s office been called? |
| UNIFORMED OFFICER |
| Dr. Switzer is on her way. |
WOODY enters openly gawks at the celebrities before he reaches MATT and the body.
| MATT |
| The stiff is none other than Mitch Duvall. |
WOODY squats to take a closer look.
| WOODY |
| Mitch Duvall: The Ultimate Shadow! Really? No shit. Where was his stuntman
when he needed him? Talk to anyone yet? |
| MATT |
| I just got here a few minutes ago. What’d you make of that….? |
MATT points to the cross bar. WOODY looks closer.
| WOODY |
| Looks like it’s in pretty good shape for a five hundred pound speaker
to come down on it. |
| MATT |
| I’m not an engineer but I’d think with that much weight on
that platform each one of these cross beams should have been bolted tight.
This one looks like it didn’t have anything in it at all. |
| WOODY |
| Maybe it wasn’t load bearing. The lab rats at CSU will be able to
tell us for sure. |
WOODY stands and looks toward the witnesses.
| WOODY (cont’d) |
| I’ll start asking some questions; you stay with Duvall. |
WOODY holds up his hand to stop him.
| WOODY |
| I think under the circumstances it would be best if I talked to her. Okay? |
MATT looks like he wants to protest.
| WOODY (cont’d) |
| Don’t dick with this case before we even get started. Just….stay
here |
KATE enters the auditorium.
| WOODY |
| Good, there’s Kate. Catch her up. |
WOODY escapes up the aisle, stops in front of KATE and points to MATT. KATE frowns.
WOODY continues to DANA and ANTONIO as MATT watches.
KATE stops in front of the speakers and looks at the scene while pulling on
a pair of gloves. She snaps her glove to get MATT’S attention.
KATE
(looks at the legs) |
| Is it my imagination or is the victim wearing high heels? |
| UNIFORMED OFFICER |
| It’s the Paso Doble. |
| KATE |
| Ah, that explains everything. Detective Seely… |
MATT
(cuts her off) |
| Name’s…Mitch Duvall. He had an unfortunate run in with the
sound system….I’ll be right over there. |
MATT follows WOODY. Irritated, KATE is left standing there with UNIFORMED OFFICER,
who smiles at her uncomfortably.
KATE
(to UNIFORMED OFFICER) |
| Get some help and let’s get these speakers off him. |
10. INT. GENERIC ARENA - STAGE AREA, CONTINUING
The scene changes to WOODY, DANA, and ANTONIO. ANTONIO has his arm wrapped
protectively around DANA.
| WOODY |
| I know this is a very upsetting time for you both, but would you mind
answering some questions? It’ll only take a moment. |
DANA looks over WOODY’S shoulder as MATT approaches. ANTONIO visibly tenses
up. MATT grabs WOODY’S shoulder.
MATT
(charming smile) |
| Kate’s got everything under control over there. Dana…Antonio.
It’s been a long time. |
WOODY opens his mouth to say something but is cut off when ANTONIO speaks.
ANTONIO
(holds his hand out to MATT) |
| Matt…I see you’re still a police officer…..I’m
sure your father must be proud. |
MATT shakes ANTONIO’S hand but looks like he’d rather be any place
else. He looks even more uncomfortable when DANA leans in to kiss both his cheeks,
continental style.
DANA
(whispers) |
| I’m glad you’re here. |
WOODY holds up a finger to say something but is cut off by MATT.
| DANA |
| Mitch and I were just wrapping up rehearsal on our number for tonight.
He was heading backstage when the speakers just…fell on him. |
WOODY clears his throat…to no avail.
| MATT |
| Did you hear anything odd or see anybody behind the scaffold right before
it collapsed? |
| DANA |
| No….but I really wasn’t paying attention….the music
was still on and the lights…you know how it gets, Matt. |
MATT nods then looks at the lighting rafters.
| MATT |
| The equipment belongs to the tour, correct? Who’s in charge of set
up? |
| ANTONIO |
| We have roadies that do most of the manual labor, but I inspected the
scaffolding myself, along with the stage manager, and everything was secure. |
Silence. MATT looks at WOODY who just folds his arms as if to say this is your
show. MATT takes a step forward.
| MATT |
| Did Mr. Duvall have any problems with anyone on the crew? |
| MATT |
| Any threats to his life? |
| MATT |
| You don’t sound very convincing, Tino. |
ANTONIO bristles at the diminutive of his name.
| MATT |
| It was just plain Tino when you were giving tango lessons between calling
bingo games on the cruise ship. |
| WOODY |
| What Detective Seely is trying to ask is if Mr. Duvall had any problems
on the tour. |
| ANTONIO |
| Mitch found traveling with an ensemble like this challenging. Most of
the celebrities we work with take the personal inconveniences of being on
the road in stride. |
| MATT |
| Did he ever take any of these frustrations out on anybody in particular? |
ANTONIO’S arm slips around DANA again.
END OF ACT TWO
ACT THREE
11. INT. MORGUE BREAK ROOM – THE NEXT MORNING
LILY, NIGEL, BUG and JORDAN are sitting at a table in various stages of break-brunch-breakfast.
The TV is on. On screen, the REPORTER is standing in a parking lot reporting
MITCH DUVALL’S death.
| REPORTER |
| Movie star, Mitch Duvall, was killed yesterday afternoon in a bizarre
accident. He was rehearsing what would have been last night’s Dancing
with the Celebrities performance at B.U.’s Agganis Arena. The show’s
executive producer and his dancer-wife could not be reached for comment. |
The feed changes to a clip of the day before and DANA and ANTONIO being whisked
away in a limousine amid security and police. MATT is in frame momentarily. Then
it’s back to the live feed.
| REPORTER |
| Mitch Duvall is probably best known for his action adventure movies and
his high profile divorce in 1997, but he has seen a resurgence in his popularity
in the last year due to an appearance in the highly rated reality show Dancing
with the Celebrities where he finished runner-up to.... |
We see the table, everyone is watching the TV.
| LILY |
| Anyone seen any of his movies? |
JORDAN
(munching on a doughnut) |
| I once dated this guy who could quote every line from every movie. He
even had a life size cut-out of Duvall from one of his special ops flicks
hanging on the wall in his bedroom. It was a little intimidating. |
JORDAN
(smirks) |
| Why d’you think I left him? |
BUG
(looking at the TV) |
| There’s Kate! |
Back to the REPORTER on the TV. They are showing a tape of KATE and WOODY working
their way past a mass of press.
REPORTER
(voice over) |
| Details are still sketchy at this hour, but sources report that an autopsy
has been ordered. When leaving the scene the Medical examiner reporting
to the scene had this to say…. |
REPORTER
(to KATE) |
| Dr. Switzer, can you tell us how Mitch Duvall was killed? |
KATE
(on TV) |
| The Medical Examiner’s Office won’t have a definitive cause
of death until a full autopsy has been completed. |
REPORTER
(to KATE) |
| When will that be? |
| KATE |
| That depends on when I can get to work, now doesn’t it? If you’ll
excuse me… |
KATE tries to break away but the REPORTER shoves the microphone in her face again.
| REPORTER |
| Is there any reason to believe his death may not be the result of an accident? |
| KATE |
| I can’t comment on that… |
WOODY enters the screen taking KATE by the elbow
| WOODY |
| Mr. Duvall’s death is being investigated at this time. The police
department will issue a statement as details become available…. |
KATE enters. She sees them watching the news report.
KATE
(mutters) |
| Damn vultures…. They kept me up half the night calling. |
| JORDAN |
| You need an unlisted telephone number. |
GARRET enters
GARRET
(to KATE) |
| Good, you’re here. The Mayor’s Office is getting pressure
to make a statement about the Duvall death. Get started on the autopsy first
thing. |
| KATE |
| I already have a full morning scheduled. |
| GARRET (cont’d) |
| Bug can handle it. This takes priority. Grab someone to assist. The sooner
we get this done the quicker we can get the press out of my hair. |
NIGEL snickers and LILY punches him in the shoulder. JORDAN raises her hand.
GARRET
(to KATE) |
| Jordan has a previous commitment. Nigel can clear his schedule. |
| NIGEL |
| I’m in the middle of…. |
GARRET
(to KATE) |
| Autopsy One is set up and waiting. Nigel can bring the body up while you
change. |
NIGEL
(chagrined) |
| …Right away. |
| JORDAN |
| You know, I have no trouble playing assistant. Nigel can take the school
and I can… |
GARRET
(looks at his watch) |
| You’ve got one hour to be to at JFK Elementary. (looks at her jeans
and tee) That’s about enough time to change and drive across town.
Brian has already loaded everything in the back of the van. |
JORDAN
(sarcastically) |
| You’ve been busy this morning. |
| GARRET |
| It’s an ugly job, but someone has to do it. |
With a grin GARRET exits quickly followed by everyone but JORDAN who stands
and tosses her paper coffee cup in the trash with a sigh.
12. INT. EMPTY HALLWAY OF SCHOOL – 10 a.m.
JORDAN, dressed in a dark suit with a smiley-face visitor sticker on the lapel
of her jacket, is walking down the hallway struggling with a dolly of supplies
behind her. The PRINCIPAL, a forty-something female, is walking along side.
| PRINCIPAL |
| I can’t tell you how pleased we are to have you speak to our Ms.
Mason’s fifth grade class today. |
JORDAN politely as she can, as she fights the dolly
| JORDAN |
| I’ve been looking forward to it. |
They come to a crossroads in the hallway JORDAN continues straight ahead, the
PRINCIPAL turns.
| PRINCIPAL |
| This way, Doctor Cavanaugh. |
JORDAN awkwardly turns the dolly around to catch up to the PRINCIPAL.
PRINCIPAL
(over her shoulder) |
| Ms. Mason’s class is the jewel of academic excellence here at JFK.
I think you will be impressed at how insightful and inquisitive they are. |
JORDAN
(nervous smile) |
| I’m…sure. |
PRINCIPAL stops in front of a door.
13. INT. CLASSROOM – CONTINUING
The PRINCIPAL opens the door and claps her hands to get the class’s attention.
We see a typical classroom with a couple of dozen children scrambling for seats.
| PRINCIPAL |
| Children, this is Doctor Cavanaugh, she is from the Massachusetts Medical
Examiner’s Office to talk to you about her exciting career in forensic
medicine. I’d like you all to sit quietly with your listening ears
and show her why JFK students are the best in the city. |
JORDAN looks on as the TEACHER picks up a large pile of folders and heads out
the door.
| PRINCIPAL |
| Well, we’ll leave you. Any problems just call the office. (looks
at her watch) I’ll be back before the fourth period bell. |
| JORDAN |
| Um, where’s Ms. Mason going? |
| PRINCIPAL |
| She’s doing some parent conferences this morning. |
| JORDAN |
| But…I…is that a good idea? |
| PRINCIPAL |
| You’ll be fine. |
PRINCIPAL (cont’d)
(to the CLASS) |
| Remember: your best behavior. |
The PRINCIPAL exits leaving JORDAN in front of a classroom of eyes. She pulls
her dolly closer between her and them, like a shield.
JORDAN
(nervously) |
| Hi. My name is Jordan. I’m a medical examiner with the…. |
A hand raises from the middle of the CLASS
JORDAN
(cont’d) |
| Yes. You have a question… |
| STUDENT 1 |
| I heard when someone burns up in a fire their brain boils and their skull
explodes! |
JORDAN’S jaw drops
14. INT. AUTOPSY – SAME TIME
KATE is standing over MITCH DUVALL’S CORPSE. NIGEL walks in and stops
to look at the screen with a set of X-rays of a head and neck. The neck is broken.
| NIGEL |
| The tox results are back (holds up a paper) but I think the COD is pretty
obvious. |
KATE
(working in the body) |
| Humor me, I’d still like to hear what the report says. |
| NIGEL |
| He’s a walking pharmaceutical cabinet. |
| KATE |
| You mean besides the steroids? |
NIGEL is looking at the CORPSE’S bulking muscles
| NIGEL |
| They’re pretty evident, huh? |
KATE lifts the drape over the CORPSE’s groin.
| KATE |
| In more ways than one. |
| NIGEL |
| There’s one good thing to be said about being a skinny chap. |
| NIGEL |
| There’s a variety of painkillers and omeprazole… |
KATE
(wrinkles her nose) |
| His gut was full of cheap Mexican food, so the Prilosic makes sense. |
| NIGEL |
| All the drugs do. Outside of the steroids there was nothing in questionable
levels. If anything he was toughing it out. His medical history reads like
an orthopedist’s idea of erotica. Broken bones, torn ligaments, multiple
surgeries to repair damage to his spine and joints over the years. |
| KATE |
| Duvall’s got more pins in him than the seamstress put in that dress
Lily is making us wear for her commitment ceremony. |
NIGEL glances at her figure
NIGEL
(a flirty grin) |
| I’m sure you’ll be stunning no matter the dress. |
KATE
(eye roll) |
| What is the point of a commitment ceremony anyway? |
| NIGEL |
| Yet you agreed to be part of it. I think there’s a romantic buried
underneath that cynical exterior. |
| KATE |
| What I am is confused. |
NIGEL’S grin kicks up a few degrees.
| NIGEL |
| Confused. About why you said ‘yes’ or romance in general. |
| KATE |
| No. Mr. Duvall. He wasn’t wasted…so he didn’t just stumble
into the speaker scaffolding. How then do we explain why a twice-inspected
steel structure just …falls… on a person? |
Door opens and WOODY enters. He notices KATE is almost done with the autopsy.
| WOODY |
| I thought you had two other autopsies scheduled before this one. |
| NIGEL |
| Mr. Duvall here got bumped to the head of the class. |
WOODY nods in acceptance.
| WOODY |
| Speaking of class, has anyone heard from Jordan? |
15. INT. CLASSROOM – CONTINUING
CUT TO JORDAN standing at the chalk broad drawing the diagram of an eye with
optic nerve, illustrating what she says as she says it.
| JORDAN (cont’d) |
| We have to use a pretty large gauge needle to draw fluid out of the eye.
It deflates just like a basketball if you do it right…but if you use
too much pressure…it pops like a water balloon. |
Ooooohs and Ahhhs from the CLASS. JORDAN smiles.
16. INT. AUTOPSY - CONTINUING
| NIGEL |
| I’m sure she’s fine. I wrote the lesson plan to be completely
foolproof. All she has to do is point and click. |
WOODY looks a little worried nonetheless
WOODY moves to stand directly over KATE’S shoulder to look at her work.
| WOODY |
| So what did I miss? |
KATE
(stops and looks at him) |
| Since my last name is not Cavanaugh you can take a step or two back. |
WOODY looks a little put out but complies. MATT enters, like WOODY he notices
KATE is close to finishing.
MATT
(pointing at the body) |
| I thought you said…. I thought she had two other autopsies scheduled
before this one. |
WOODY
(mildly sarcastic) |
| Duvall was moved to the front of the line. |
MATT
(to WOODY) |
| What’d I …. what’d we miss? |
KATE
(sighs) |
| I’m finished. His neck snapped between C2 and C3. Death was instantaneous. |
| MATT |
| So it was an accident? |
| KATE |
| I can’t say that until the report on the scaffolding comes back
from the crime lab. |
NIGEL
(put out) |
| It would have been in already if I were working on it. |
| WOODY |
| We couldn’t exactly pack a half ton of equipment in a body bag and
bring it in here to the morgue, Nige. |
| MATT |
| I doubt it’s going to be any help but I finally tracked down the
security tape from that morning. I hand carried it to the crime lab. |
MATT reaches in his coat pocket and brings out a DVD.
| MATT (cont’d) |
| But, I made a copy |
NIGEL takes the disk. He’s giddy, heading toward the door
| NIGEL |
| I take back every nasty thing I’ve ever said about you. I’ll
start right on this. |
WOODY
(following NIGEL) |
| Pay close attention to the stage set-up. I’d like a list of everybody
who came in contact with that scaffolding. |
WOODY, NIGEL and MATT exit.
KATE
(calls out) |
| Don’t worry about me. I’ll finish up here…..by myself…. |
No reply, she tsks.
17. INT. MORGUE HALLWAY - CONTINUING
NIGEL animatedly talks about a new process he has for using surveillance footage
in a crime reenactment simulation. NIGEL and WOODY enter the door to TRACE.
MATT’S phone rings he stops and answers.
MATT
(snaps) |
| Seely. (pause) No, no…you didn’t catch me at a bad time. (pause)
Yes. I remember where it is. (pause) I’ll be there in ten minutes. |
MATT hangs up and looks up to see LILY go into her office. He looks at the
phone in his hand for a moment, then turns to exit.
END OF ACT THREE
ACT FOUR
18. INT. DANCE STUDIO, LATE MORNING
One wall is mirrored, another has a dance bar. Another holds a trophy case,
full of trophies and ribbons. DANA is standing in the middle of the room staring
off into space.
The sound of a heavy door opening. Enter MATT. He stops and looks at the trophy
case with a smile.
| MATT |
| Nothing’s changed….even after twelve years. |
DANA
(small grin) |
| Not even the hiding spot for the spare key. |
MATT looks out the door like he’s remembering the spot himself.
| DANA |
| Thanks for meeting me here. |
| MATT |
| You said you wanted to talk. |
| DANA |
| I needed to get out of that hotel room before I went crazy. (pause) How
many hours do you think we spent in here? |
| DANA |
| Antonio’s been on the phone to Hollywood all morning to see if he
can get someone to take Mitch’s spot. We’re scheduled for three
shows in New York this weekend and he doesn’t want to postpone. |
| MATT |
| I assumed the tour would be canceled. |
DANA
(smile) |
| Wasn’t it you that insisted we still dance the MIT Open even though
it was the same day as your grandfather’s funeral? |
| MATT |
| I never liked the man anyway. |
| DANA |
| Your father was livid when you didn’t show up. |
MATT
(smiles nostalgically) |
| My interest in dancing was his fault anyway. He demanded I take ballroom
lessons in the first place. I can still hear him. A Seely needs to be
as commanding on the dance floor as he is in the boardroom. He just
didn’t plan on me giving up everything else for it. |
| MATT |
| No. I haven’t been on a dance floor since the last time I was in
this room. |
| DANA |
| That’s a shame. You were good, Matt. The best. |
| MATT |
| I was always just the frame. You were the talent, Dana. That’s why
I quit and you went pro. |
| DANA |
| That was so long ago. Now, I’m just a glorified taxi dancer trying
to make washed up stars look like they know what they are doing. |
DANA points out an old photo of the two of them, in costume and dance pose, in
the trophy case. They both chuckle.
| DANA |
| Do you ever regret staying on the police force? |
| MATT |
| I have moments, but nothing could ever be bad enough for me to go back
to work for my old man. |
| DANA |
| I noticed you’re not wearing a wedding band. Is there anyone…special? |
MATT
(frowns) |
| I thought maybe…but she was already in love with someone else before
I even met her. |
MATT pauses and the phone rings. He converses quietly and then hangs up.
| MATT |
| That was Hoyt. The results are back from the crime lab. (almost to himself)
We were right… There were enough bolts missing from the support beams
to bring down the whole damn thing. |
| DANA |
| What does that mean? |
| MATT |
| Who would want to kill Mitch Duvall? |
DANA
(shocked) |
| You really think he was murdered? |
DANA nods. MATT notices but doesn’t comment.
MATT
(nods his head toward the door) |
| At the arena I asked if Duvall had any beefs with anybody. |
| DANA |
| Mitch wasn’t there to make friends. He just wanted the money and
exposure. |
| MATT |
| Did he have any relationships that might have ended ugly? |
DANA
(turning to the trophy case) |
| He once told me he felt like a performing bear and the whole idea of America
voting on his performance was like being poked with a stick. |
| MATT |
| So why’d he sign for the tour? Why not just leave the show the end
of the season? |
| DANA |
| You know, no come back offers yet. He was used to being the star. Not
being the center of attention really got to him. |
| MATT |
| Anybody in particular bothered by this? |
| DANA |
| You’ve got a list of the cast and crew. Everyone of us had issues
with him at one time or another. |
| MATT |
| As of this moment…yes. |
19. INT. CLASSROOM. - CONTINUING
JORDAN is standing in front of the CLASS. They are all sitting at the edge
of their seats. JORDAN is talking with great animation.
| JORDAN |
| ….What threw us off was the victim’s time of death. You see
next to the body was a smorgasbord of some really bizarre foods including
a wheel of Casua Marsu. Only we didn’t know that until Bug identified
it…. |
The bell rings. Nobody notices.
| STUDENT 1 |
| What’s a Cass…Casua? |
| JORDAN |
| Casua Marsu. It’s an exotic Italian cheese. The fermentation
process goes past the regular aging to actual decomposition. Loosely translated
it means rotten cheese...or more to the point maggot cheese because
it contains live maggots. |
| JORDAN |
| They tell you to wear goggles when eating this stuff because the buggers
can jump up to a half a foot…which is why this guy was covered with
them…. After we figured out what this guy was snacking on, we determined
the victim had been dead for about twenty-four hours instead of the five
days we first thought. Which put a hole in the murderer’s alibi big
enough to drive a truck through. |
The door opens and the PRINCPAL walks in. Nobody notices. She looks pleased with
the way her class is hanging on every one of JORDAN’S words. Until she takes
it all in…
| JORDAN (cont’d) |
| The larvae had burrowed inside the knife wounds and begun to pupate. The
ones that hadn’t yet were still crawling just beneath his skin making
it look like the flesh was boiling….. |
PRINCPAL
(outraged) |
| DOCTOR CAVANAUGH!!! |
Everyone in the room jumps, including JORDAN. The PRINCIPAL takes in the gory
drawings on the chalk board and graphic forensic photos on the overhead screen.
| PRINCPAL |
| What is the meaning of this?! |
JORDAN
(swallows) |
| Wow. Time already up? |
END OF ACT FOUR
ACT FIVE
20. INT. ARENA – AROUND NOON
NIGEL is setting up a mass of equipment in the orchestra pit. The laptop screen
shows a crime scene reenactment program. KATE and BUG are standing on stage
waiting. WOODY leans over NIGEL’S shoulder.
| WOODY |
| Jordan called. I told her we were trying out your new program. |
WOODY fidgets, looking around
| WOODY (cont’d) |
| God, what’s taking so long? |
| NIGEL |
| Patience, dear Woodrow. I’m still trying to work the bugs out of
this. I loaded in the dimensions and placement of everything stationary
from the security tape. I still need to enter in the positions of all the
witnesses according to their statements. |
| WOODY |
| Yeah , yeah, but when do we get to see who’s telling the truth and
who isn’t? |
| NIGEL |
| Why don’t you take this laser pointer and pretend you’re Duvall.
The program interfaces with the laser’s trajectory and we’ll
have an accurate visual of the witnesses’ statements. Kate, you’re
Dana….and Bug I need you back stage where Mr. Padova said he was standing. |
MATT and DANA enter the rear of the theater seating area. DANA sits.
NIGEL looks between MATT and WOODY.
| NIGEL (cont’d) |
| You’re just in time. Here. |
He hands MATT a laser pointer.
| NIGEL |
| You’re the lighting technician. He said he was standing above stage
right. |
MATT pulls a built-in ladder out of the wall and climbs to the lighting rafters.
Once there gives an okay sign. Everyone falls into position and flips on the lasers.
WOODY
(looks at NIGEL) |
| According to the witness’s statements Duvall and Dana were talking
just left of center stage. |
NIGEL types something in his program and nods.
| WOODY (cont’d) |
| The lighting guy said he watched him move to the edge of the stage and
lost sight of him… |
MATT shines his laser to the point that point. WOODY steps there, pauses for a
second and takes a few more steps.
| WOODY (cont’d) |
| This is where the body was…. |
NIGEL
(looking at his simulation) |
| I have everyone accounted for except the stage manager….He said
he saw Duvall look up just before the speakers fell but according to this,
his view would be blocked by the rigging the technician used to climb to
the rafter… |
| WOODY |
| So where would the manager be? |
| NIGEL |
| Bug, move to your left one step. Can you see Woody? |
BUG
(points laser) |
| To see him I’d have to be standing…. |
There’s a loud crash as a stage door opens. Everyone looks around as JORDAN
all but runs in. She’s dressed the same way she was at school, right down
to the visitor’s tag. She stops directly where BUG’s laser is pointing.
| BUG (cont’d) |
| ….right behind the scaffolding. |
JORDAN
(out of breath) |
| Did I miss anything? |
21. INT. POLICE PRECINCT - WOODY’S OFFICE, EARLY EVENING
JORDAN is sitting at the desk, waiting. She has one shoe off rubbing her foot.
WOODY appears in the doorway.
| WOODY |
| Don’t tell me you’re starting without me. |
JORDAN slips her shoe back on and stands.
| JORDAN |
| Just warming up. Finished? |
WOODY takes her hand and they walk out to the hallway.
22. INT. POLICE PRECINCT – HALLWAY, CONTINUING
| WOODY |
| Done. He confessed to everything. Loosening the bolts…waiting for
Duvall to get into range. He just didn’t mean to kill him. |
| WOODY |
| Not that it makes a difference, but I believe him. He just wanted to scare
him into leaving the tour. I guess Duvall was a real jerk to everybody.
|
He stops and smiles at her.
| WOODY (cont’d) |
| How did flower shopping go? |
| JORDAN |
| Who would have guessed there are so many different colors of roses. |
She nods back up the hallway.
| JORDAN (cont’d) |
| Why aren’t you in the middle of processing? |
WOODY slips his arm around her.
| WOODY |
| I told Matt I was seeing you later and he offered to wrap everything
up by himself. |
| JORDAN |
| Seely is doing you another favor? Pretty soon you’ll be carpooling
together. |
| WOODY |
| He’s not that bad of a guy, Jordan. |
| JORDAN |
| I’ll have to take your word for that. |
GARRET enters.
JORDAN
(to GARRET) |
| Garret! Hi. What are you doing here? |
| GARRET |
| I was hoping to catch you. |
| JORDAN |
| You could have just called. |
| GARRET |
| Probably…but I thought I should talk to you in person. |
ARRET shakes his head at her and JORDAN waits lecture she knows is coming.
| GARRET (cont’d) |
| I got an email from the Superintendent of Education this afternoon. He
said he heard you made quite an impression at JFK Elementary today. |
| JORDAN |
| It was nothing. (pause) Honest. |
GARRET
(to WOODY) |
| Nothing. Security escorted her to the parking lot. |
| JORDAN |
| I did what you told me to. I appealed to the interests of a typical eleven
year old. |
| GARRET |
| By uploading the files on the Hansard case for a little show and tell. |
WOODY
(shivers in memory) |
| Maggot Man?! I couldn’t even look at cheese for a month
after that case. Whatever possessed you to…? |
| JORDAN |
| It started when they asked to see the pictures I have from that conference
I went to at the Body Farm. |
WOODY
(shocked) |
| Isn’t that the place in Tennessee were they study human decomposition? |
JORDAN
(indignant) |
| I left out the pictures of any naked cadavers where you could still tell
what sex they were. |
WOODY
(rubs his forehead) |
| Of course. |
| GARRET |
| JFK Elementary requested that you don’t return for the next career
day…or ever. |
| WOODY |
| She’s lucky they‘re not pressing charges. |
| GARRET |
| They would’ve if the class didn’t spend the rest of the day
talking about what they needed to do to get into medical school. The superintendent
wants to talk to you about maybe doing a less graphic presentation for some
more schools. |
| JORDAN |
| See! I made a connection. I could really get into this mentoring thing. |
WOODY sighs
JORDAN
(to WOODY) |
| Hey! Maybe next time you and I can tag team career day. |
GARRET simply shakes his head.
23. INT. POLICE BULL PEN – SAME TIME
MATT is getting ready to leave. He stops reaches inside the top drawer of his
desk. He pulls out WOODY’s pen and smiles to himself. He doesn’t
notice DANA entering.
| DANA |
| I figured you’d still be here. I had to thank you for everything
you did. |
MATT
(looking over her shoulder) |
| Where’s Antonio? |
| DANA |
| Probably half way to L.A. by now. He decided to cancel the rest of the
tour. |
| DANA |
| I quit Celebrities tonight. I’m going to take some time off. Regroup. |
| DANA |
| We decided to take some time off from each other also. |
| MATT |
| I’m sorry to hear that. |
| DANA |
| I’m the one who should be apologizing. I never should’ve hurt
you like I did. |
| DANA |
| I thought that that would be enough. We were so young. Too young. |
DANA runs her finger along the edge of MATT’S desk
| DANA |
| I had this idea that you’d eventually change your mind about the
police force and go back to work for your father. |
MATT
(shrugs) |
| It would’ve never happened. |
| DANA |
| I knew if I married you it would just be a matter of time before that
phone would ring and someone would tell me something happened to you. Running
away with Antonio seemed a little less frightening. |
| MATT |
| What are you going to do now? |
| DANA |
| I thought I’d stick around Boston for awhile. Maybe see if the old
studio needs a teacher. |
MATT
(surprised) |
| That would be quite a step down for you. |
| DANA |
| I want to try to make up for everything that happened…if you’ll
let me. |
| MATT |
| I’d be a liar if I told you I wasn’t tempted. But you know
what… it’s twelve years too late. I’m happy where I am
in my life. |
MATT looks at the pen in his hand
| MATT (cont’d) |
| I have a good job and friends… |
MATT sets the pen on the edge of Berman’s desk, in plain sight.
DANA
(smiles in spite of herself) |
| I had to give it a try. Could you do one more favor for me….for
old times’ sake? |
MATT
(holds out his hand) |
| I’d be honored. |
They dance a simple box step between the desks.
FADE TO BLACK
Next time on Crossing Jordan:
"Up In Smoke"
Trailer by Cissou
