Crossing Jordan Virtual Season 7
“Mightier / Margin for Murder”
Written by
jmkw
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
Garret Macy as K.C. “Casey” Martin, the Private Investigator
Mahesh “Bug” Vijayaraghavensatanaryanamurthy as Mr. Vajpayee,
the Nightclub Operator
Matt Seeley as Mickey Sellers, the Playboy
Nigel Townsend as Nick Townsend , the Celebrity Private Investigator
Jordan Cavanaugh as Janice Chandler, the Femme Fatale
Kate Switzer as Camille, Nick’s P.I. Wife
Lily Lebowski as the Chanteuse
Woody Hoyt as Agent Jack Wilson, the FBI Agent
Jeffery as the Band Leader
Emy as the Coat Check Girl
Slokem as the Rich Patron
Roz as the Trophy Wife
Renee as the Uppity Professional Woman
Stiles as the Wealthy War Veteran
Peter as the Waiter
Sidney as the Local FBI Agent
Elliot as Officer Barnett, the Uniformed Police Officer
Eddie as Lt. Jimmy Prescott, Homicide Detective
Waitress
SET LIST
INTERIORS
MORGUE
RECEPTION AREA
GARRET’S LIVING ROOM
PRIVATE INVESTIGATOR’S OFFICE
NIGHTCLUB
HALLWAY
BUSINESS OFFICE
DINER
APARTMENT
HALLWAY
SMALL KITCHEN AREA
UPSCALE APARTMENT
GENTLEMAN’S CLUB
BUSINESS OFFICE
UPSCALE HOTEL ROOM
EXTERIORS
BOSTON SKYLINE
URBAN NEIGHBORHOOD
NIGHTCLUB-EXTERIOR
STREET CORNER BUS STOP
CITY STREET SIDEWALK
“Margin for Murder” is loosely based in the style of “Strangled.”
An open mind and lots of imagination need to be used to paint the picture of
this in your mind. Think of it as a shadowy black and white film noir filmed
during the late 1940s or early ’50s. For example Double Indemnity,
Murder, My Sweet and, most famously, The Maltese Falcon. Every
possible cliché has been taken into consideration and I hope you picture
them liberally. Like a reverse The Wizard of Oz, the opening sequence
is in color. Only our Dorothy - Garret - doesn’t get swept away in a tornado,
he gets just gets swept away by a case of insomnia…
Side note: The lounge act of Louis Prima and his then-wife, Keely Smith, is
referenced in the episode. If you’re not familiar, they were the entertainers
the entertainers themselves went to see back in the fifties and early sixties.
You can find a few clips on them on Youtube--J.
In honor of her birthday, the VS7 staff would like
to dedicate this episode to Jill Hennessy.
TEASER
1. INT. MORGUE RECEPTION – EARLY EVENING (In COLOR)
There is rain falling against the windows. GARRET is dressed to leave. He pauses
at the reception desk for messages.
The elevator opens. Enter BUG and MATT.
BUG
(to MATT) |
| …That’s entirely preposterous and you know it! |
| MATT |
| Haven’t you ever watched Double Indemnity? Look at the
facts! |
| BUG |
| Excuse me if I don’t base my scientific observations on
a movie! |
| MATT |
| It’s not just a movie. |
| BUG |
| Don’t tell me… you read the book too? |
NIGEL enters in a rush.
NIGEL
(to GARRET) |
| Dr. M, thank God I caught you. |
| GARRET |
| I really don’t want to hear it, Nigel. It’s been a long day…. |
NIGEL
(irritated) |
| You have to do something about Kate. She’s rearranging the lab and… |
GARRET
(indifferently) |
| …I’m sure she has her reasons. |
MATT breaks into the conversation.
MATT
(to NIGEL) |
| You watch old movies, don’t you? |
NIGEL
(cautiously) |
| It depends… |
JORDAN enters, dressed in scrubs.
| JORDAN |
| Okay, who turned out the lights in the store room? |
JORDAN looks confused.
MATT
(to JORDAN) |
| How about you? Do like film noir? |
There is an adlib arguing about old crime movies between MATT, NIGEL, BUG, and
JORDAN. GARRET gives the group a tight smile.
| GARRET |
| It looks like you’ve all got everything you need…. |
KATE enters from the office area.
KATE
(to GARRET) |
| The weather report is calling for severe storms tonight. I’ve disconnected
all unessential electronics in the Lab. I want to put the generator on just
in case. |
| JORDAN |
| You turned the lights off! |
GARRET
(to KATE) |
| Kate, you’re in charge. Do whatever you think’s best. |
NIGEL
(panicky) |
| You didn’t unplug the PC on the B-bus? (beat) You did. I was downloading….NO!
|
NIGEL races though the doors.
| GARRET |
| Now…, if you’ll excuse me. |
BUG blocks GARRET from leaving.
| BUG |
| Dr. Macy, could you tell this…imbecile…that there’s
more to forensic footwork than you can find in a Hollywood script? |
GARRET slaps BUG’S shoulder as if to say work this out yourselves.
The elevator doors open. GARRET walks in putting on his fedora.
JORDAN
(to GARRET) |
| Wait! Are you just going to leave while Kate’s being the power police?
It’s barely raining. |
There is a loud clap of thunder. KATE puts her hands in her lab coat with a smug
smile. She exits through the double doors, back to the morgue area.
GARRET
(to JORDAN) |
| You’ll have to take that up with her. I’m leaving and won’t
be available until tomorrow morning. I expect you all to get along until
then. |
GARRET presses the door close button.
The doors close.
JORDAN
(left talking to the elevator doors) |
| …you’ll have your cell phone on. |
JORDAN sighs and turns to MATT and BUG, who are still arguing.
BUG
(to MATT) |
| I still say you’re an imbecile. |
END OF TEASER
ACT 1
2 . EXT. BOSTON SKYLINE – NIGHT
****MUSIC - Italia, Chris Botti ****
Rain is gently falling on GARRET’S apartment window. The room is dimly
lit.
The music is playing softly in the background. Light filters dimly through
the window.
3. INT. GARRET’S APARTMENT - CONTINUING
The only light is coming from his home office desk. GARRET enters wearing comfortable
jeans and a few of the buttons on his shirt undone. He is carrying a coffee
cup and a handful of Italian travel brochures. He stops at the end table by
his sofa. There is a framed picture of ABBY and GARRET on top next to an answering
machine that is empty. He puts the brochures down.
GARRET sits down on the SOFA an opens his laptop. He opens a file. We see it
is his letter of resignation. We follow the words across the page as they spell
out his desire to retire and name KATE as temporary CME until she can be approved
by the power that be. He types a few strokes and back spaces. He stops and closes
the laptop, setting it aside.
GARRET turns off his CD player and the scene goes silent. He
goes to his music collection and thumbs through the vinyl until he finds what
he thinks he’s looking for. He stops and replaces it, pulling something
different. With a smile, he slips the vinyl out of the cover and puts in on
his player.
****MUSIC-Charlie Parker’s “Laura” ****
GARRET sits down at his desk and puts a sheet of paper in his old typewriter.
He looks off for a second, gathering his thoughts. The music builds the first
notes of the melody and he begins to type.
GARRET speaks in a voice over with music and the sound of typing in the background.
| GARRET |
| The year is 1953. President Harry S. Truman announces the birth of the
hydrogen bomb; the Soviet Union mourns the death of Stalin; and Burt Lancaster
is making love to Deborah Kerr on the beach, heating up every movie screen
in the nation. My name is Kenneth Charles Martin. My mother was the only
one to call me Kenneth - besides my wife - during the divorce proceedings.
Most people just call me Casey. |
FADE TO BLACK AND WHITE
4.
OFFICE BUILDING HALLWAY - MORNING
There is a dingy hallway of a mid-century office building. The shadowy lighting
is straight out of a film noir.
GARRET, dressed in a mid-century cut suit and fedora is keying the lock to
an office door. On the glass front we see the words K.C. MARTIN PRIVATE INVESTIGATOR.
GARRET continues to speak in the voice over, but now there is no typing sound,
just music.
| GARRET |
| I’m a drunk. I think we’d better get that straight from the
beginning. I used to drink because I wanted to drink. I was rarely falling-down
ossified. Most nights just drunk enough to want to bloody my knuckles on
someone’s face. Now, I’m stone-cold sober. I live where being
drunk isn’t thought of as sin. In fact, it’s a way of life.
I live in Boston… |
The music fades out. GARRET opens the door to an industrial-style furnished office.
5. CASEY’S OFFICE - CONTINUING
There is a window behind the desk with a flashing neon light outside. The room
is lit with classic Venetian blind lighting. GARRET hangs his hat and jacket
on a coat tree. He sits down at his desk and opens the center drawer, pulling
out a pack of cigarettes. He puts one in his mouth.
| GARRET (cont’d) |
| Here I am. Just a ten-percenter, with a typewriter, a telephone, and a
couple of small clients. One license as a Private Investigator and another
as a Notary Public . Anything to make a buck. Not a very fast buck, either.
Still…it keeps me in the game. Something the ex never understood.
|
There is a knock on the door.
| GARRET (cont’d) |
| It’s open. |
JORDAN enters. The light leaves her face in shadows. She is dressed in a woman’s
suit, with a pencil skirt and form fitting jacket. She has on a feathered hat,
with netting across her face, and a fox stole over one shoulder. She takes one
step forward until she is in full light.
JORDAN
(sultry voice) |
| Are you Martin, the private investigator? |
GARRET lights his cigarette, taking a drag off it, but making no move to stand
.
| GARRET |
| It depends on who’s asking? (beat) Smoke? |
JORDAN smiles alluringly and takes the cigarette. She leans over the desk for
him to light it. She straightens and studies him through the smoke for a moment.
| JORDAN |
| I’d like to hire you to find something for me. |
| GARRET |
| If it can be found I can do it. Miss….? |
JORDAN sits in a chair in front of the desk and crosses her legs.
| JORDAN |
| Chandler. My name is Janice Chandler. I need you to find a bracelet….diamonds.
It was stolen. |
| JORDAN |
| I can’t. This case needs….prudence. I’ll make it worth
your while. |
GARRET
(Silent chuckle) |
| I charge fifty a day, plus expenses, and I’m not liable if the bracelet
doesn’t want to be found. |
JORDAN
(enigmatic look) |
| I’m sure you‘ll find it. When can you start? |
| GARRET |
| I’ll need two hundred up front and anything you can give me about
what happened. |
| JORDAN |
| I don’t carry that kind of cash with me. |
GARRET
(with slight chuckle) |
| I don’t work for favors, Doll. No matter how tempting the package.
|
JORDAN stands and opens up her purse. She pulls out a match book which she casually
tosses on the desk.
| JORDAN |
| Meet me here tonight at ten. I’ll have your money for you. |
JORDAN leans over the desk and stubs her cigarette out in an ashtray by GARRET’S
elbow. Her face is once again in shadows.
| JORDAN |
| Until then, good afternoon, Mr. Martin. |
GARRET pushes back in his seat as she walks out. He picks up the match book and
we see the name of a nightclub-Banjara- in stylized lettering.
GARRET
(in voice over, keys typing) |
| Dames like Janice Chandler remind me of my ex-wife. Warm between the sheets,
hot under the collar and cold as ice beneath the skin. A perfect combination
of sexuality and self-confidence that makes it impossible for a man to get
bored. Underneath it all, a woman like that is a lot of work. Too much.
Still, there was something about her that made me go to that meeting. Something
I’d soon live to regret… |
6. EXT. NIGHTCLUB ENTRANCE – NIGHT
Everything is wet, as if has just finished raining. We flash to the same lettering-Banjara-
in a neon marquee outside of a nightclub. We go in the door.
7 . INT. NIGHTCLUB – CONTIUING
The club is warmly lit and inviting. Music plays.
***MUSIC- Louis Prima and Keely Smith- That Old Black Magic***
At the front of the room there’s a stage with a big band. LILY and JEFFERY
are on stage as chanteuse and bandleader. They are channeling their inner Prima
and Smith. The act is in full swing.
There is an array of tables with candle lamps, full of people in evening clothes
enjoying the show. We see GARRET standing the doorway, giving his hat and overcoat
to EMY, the coat check girl. He is underdressed, in his rumpled cheap suit.
He garnishes a few stray looks from SLOKUM and FRAMUS, who walk past.
GARRET
(voice over) |
| The Banjara was a little different than the watering holes I
was used to. The places I frequented were more like rat traps. That’s
why I was usually there….to trap rats… and, with any luck, exterminate
them. But that was when my badge said Boston Police Department instead of
private dick. |
BUG, dressed in a tuxedo and slicked back hair, stands off the side of the stage
watching LILY and JEFFERY perform.
| GARRET (cont’d) |
| The owner looked like he ran a clean place. He didn’t seem like
the kind that welcomed trouble. Too bad it had invited itself to the party. |
BUG scowls and disappears down a hallway next to the stage.
From across the room, we see JORDAN sitting at a table with RENEE and STILES.
JORDAN is smiling at something RENEE said at the table. JORDAN’S dressed
in a glittering evening gown. She notices GARRET and makes excuses. She walks
past SIDNEY, who, along with GARRET, watches her walk across the room to him
with an appreciative eye. She holds out her hand in greeting.
| GARRET (cont’d) |
| It wasn’t hard to pick her out of the crowd of uptown types. Her
dress wasn’t something you’d find in a pew for Sunday morning
Mass. You could say it covered just enough to keep the chill out and the
drool off. Too bad it wasn’t July. |
JORDAN gives him a once over, pausing at his wrinkled suit coat. She grins.
| JORDAN |
| Casey, I’m glad you could make it. I can call you Casey? |
PETER, a waiter, approaches with a tray in his hand.
JORDAN (cont’d)
(sly smirk) |
| Drink? |
GARRET
(tight smile) |
| No, thank you. Like I said, I work only a cash business. |
PETER nods and fades away. JORDAN glances a quick, almost furtive look toward
the hallway.
| JORDAN (cont’d) |
| …shall we? |
JORDAN points to a hallway behind the stage. GARRET follows her.
8. NIGHTCLUB HALLWAY – CONTINUING
They go down the same hallway BUG went. From the stage,
9. NIGHTCLUB STAGE – CONTINUING
LILY watches them with open interest. JEFFERY tells the audience the band is
taking a break. Lily misses her cue for a final bow. She stumbles to catch up.
10 . NIGHTCLUB HALLWAY - CONTINUING
The hallway is decorated in a classic style. At the end is a doorway. The door
is cracked open.
| GARRET |
| Where are we going? |
| JORDAN |
| I’d like you to meet a… friend of mine. He’s agreed
to cover your fee. You may have heard of him. Mickey Sellers, of the publishing
Sellers. The bracelet is…a family heirloom. |
| GARRET |
| And his old man thinks it still tucked away in some safe deposit box somewhere. |
| JORDAN |
| Which is why the police can’t be involved. |
They approach the door. From behind it we hear MATT and BUG in an intense argument.
GARRET stops JORDAN from going any further. He shields her from the door.
MATT
(from other side of the door) |
| You have until this time tomorrow to vacate the premises or I’ll
have to thrown out...with the rest of the trash. |
The door flies open. BUG exits. He’s furious.
| BUG |
| I’ll see you DEAD before I hand over everything I’ve
worked for! |
BUG storms off. MATT laughs mockingly. We look in the door and see the generic
office.
11. NIGHTCLUB OFFICE – CONTINUING
There is window behind the desk. The curtains are drawn, but they move slightly
with the open window.
MATT is leaning casually against an office desk. He’s dressed in a perfectly
pressed tuxedo. There is a gardenia in his lapel. He lifts it to his nose with
a smirk.
| MATT |
| I really need to have this place thoroughly aired out once that little
roach is gone. |
MATT smiles, and JORDAN slides up to him, linking her arm with his.
| JORDAN |
| Darling, this is the man I was telling you about. |
MATT looks up, as if he just noticed GARRET standing there. He looks him up and
down emotionlessly. MATT disengages himself from JORDAN and walks around to the
other side of the desk putting it between him and GARRET.
MATT
(to JORDAN) |
| Ah, the gumshoe. (condescending smirk) I see you had to scrape the bottom
of the barrel, my dear. Martin, isn’t it? I hope we can count on his
discretion in this matter. |
MATT
(to GARRET) |
| I understand you’re looking for a cash advance. |
| GARRET |
| That’s the way I work. I should think a business man like you would
understand. |
MATT stares GARRET in the eye and slowly reaches into his jacket’s breast
pocket. GARRET visibly tenses. MATT pulls out a silver cigarette case and flicks
it open.
| MATT |
| You seem a little edgy, Mr. Martin. |
| GARRET |
| I normally discuss business in my office. |
MATT
(strikes a match off the desk) |
| As of tonight, this is my office. |
| GARRET |
| Your club? The marquee out front says it belongs to a man named Vajpayee. |
| MATT |
| Mr. Vajpayee has been having some legal concerns. I’ve been only
too happy to help him out financially in exchange for the ownership of the
club. Isn’t that right, my dear? |
MATT strokes his finger across JORDAN’S jaw.
JORDAN
(purrs) |
| Yes, Darling. |
| MATT |
| So where were we? Yes. Two hundred…for expenses. |
MATT stops and smirks at JORDAN.
| MATT (cont’d) |
| Tell me, Mr. Martin, do you think Janice is worth that much? |
GARRET looks pointedly at MATT’S hand.
| GARRET |
| I think you probably drop more than that on your manicurist each week.
|
MATT
(laughs) |
| You’re probably right. I’m beginning to like you, Mr. Martin. |
GARRET does not comment. He simply smiles. MATT reaches back in the breast pocket
of his dinner jacket for his wallet. He opens it and counts out two bills and
hands them to GARRET.
MATT
(to JORDAN) |
| Darling, I trust you to give our new associate the information he needs
to get started. I’m going back out to catch the second half of the
show. Don’t be long. |
The drapes at the window part and we see a gloved hand point a gun inside the
office. There are two shots. MATT falls. JORDAN screams. GARRET pushes JORDAN
out of the way and pulls his own gun, returning two shots into the darkness on
the other side of the window. GARRET looks out and sees nothing. JORDAN is standing
next to MATT’S body, looking in horror. GARRET goes to MATT’S body
and checks for a pulse.
12. NIGHTCLUB – MOMENTS AFTER THE SHOOTING
The house lights are up. ALL PLAYERS are gathered in the room. GARRET is segregated
from the rest, looking at the room.
GARRET speaks in voice over.
| GARRET |
| Murder has a way of killing a good time. I could tell it was going to
be a long night… morning actually. The only person that was going
to get any rest was Sellers, and he was on his way to bed in a nice cold
steel drawer downtown. Sweet dreams, Baby Boy. The flatfoots were making
short order of the long list of names in the room. The first set of questions
were short and sweet, but I wondered how long it would be before yours truly
would be dancing solo in the police spotlight. |
During GARRET’S voice over we see SLOKUM check his watch while FRAMUS checks
her lipstick in a compact mirror. STILES blusters as RENEE refuses an offer of
coffee which PETER is carrying through the crowd. BUG stands off to a corner watching
the room. JEFFERY winks at EMY, who is rubbing one of her aching feet. LILY twists
her wedding band and glares at JEFFERY. SIDNEY stands a few feet away from JORDAN.
He lights a cigarette, scanning the room. JORDAN sits at a table by herself, wiping
a tear as ELLIOT, a uniformed officer, apparently questions her. JORDAN’S
eyes narrow slightly and she looks to GARRET.
PETER appears over GARRET’S left shoulder with the coffee pot .
PETER
(pouring coffee) |
| I hear you were the last one to see Sellers alive. You and Miss Chandler.
Now there’s a doll a guy would like to have on his arm….if you
know what I mean. (beat) Sellers collected them like they were pieces of
fine art. He’d sport one or another everywhere until some other skirt
caught his eye. I hear you were working for her. |
| GARRET |
| I can’t go into that. |
STILES
(stands, from across the room and yells) |
| This is ridiculous. We’ve given our statements. I really must insist
that we be allowed to leave. |
| ELLIOT |
| Sit your ass back down…. |
EDDIE WINSLOW enters. He’s dressed in a plain dark suit with a gold badge
pinned to his pocket. All eyes are on him.
EDDIE
(tipping back his hat) |
| I’m sure what Officer Barnett is trying to say is that we will do
everything in our power to expedite the process. Until then, we’d
appreciate your full cooperation. |
| SLOKUM |
| Just who the hell are you? |
| EDDIE |
| The name is Prescott… |
PETER slips away, leaving GARRET looking at EDDIE.
GARRET still speaks in voice over
| GARRET |
| I, for one, didn’t need an introduction… |
EDDIE steps off the dais and toward the group gathered. He speaks to ELLIOT and,
in turn, appears to address the group. All are looking at him with bored attention.
He tells them they can all leave. We see RENEE and STILES, SLOKUM and FRAMUS exit.
| GARRET (cont’d) |
| In my time on the force, I discovered bad cops fell into three categories.
Top of the list sat the dishonest cop. No explanation necessary. Next, came
the coaster. Cops who were content to do the minimum for whatever reason.
Then, came the swaggerers. For this group, the job was all about how it
made them look. They endangered their partners by showing off; they jeopardized
cases by refusing to see anything but their own glory. Like the weasel he
is, Lt. Jimmy Prescott could twist himself into all those odd shaped molds.
It just depended on which served him the best at the moment. |
EDDIE strolls up to GARRET’S table with notebook and pen in hand. ELLIOT
is not far behind.
EDDIE
(smirks) |
| Well, well…they let in all kinds here. Casey Martin…. Don’t
stand on my account. |
GARRET leans back in his chair and sips his coffee
| GARRET |
| I wasn’t planning to. |
| EDDIE |
| Gone to shaking down society swells. How the mighty have fallen. Come
to find out… |
He taps his notebook with his pen
| EDDIE (cont’d) |
| …you were in the room when Sellers’
ticket was punched. |
EDDIE glances at his notes.
| EDDIE (cont’d) |
| Two slugs, point blank. Very neat and straight to the point. But then
again, you never were one to beat around the bush. |
EDDIE tips back his hat with the tip of his pen.
| EDDIE (cont’d) |
| I understand your piece was freshly fired. |
| GARRET |
| Like I told your Boy Friday here (nods to ELLIOT) Mr. Sellers and I were
discussing a business arrangement when two shots were fired from the window.
I pulled my own piece to return fire. I got off two shots. I went over to
the window and the perp was gone. |
| EDDIE |
| Two shots. Out an open window. How very convenient….You don’t
mind if I keep your gun and have my guys in the lab do a little ballistics
check with the slugs they pull out of Sellers…do you? |
| GARRET |
| I’ll need a receipt. (pause) Of course. |
| EDDIE |
| You don’t trust me, Casey, old friend? |
| GARRET |
| About as much as you trust me…old friend. |
GARRET catches a glimpse of JORDAN. She’s staring at him. Her expression
is unreadable.
EDDIE
(confidingly) |
| A woman like that could drive a man to kill for love or money or a combination
of both. Or maybe you just popped him for kicks. |
GARRET
(looks EDDIE in the eye) |
| I didn’t kill him. |
| EDDIE |
| How’s about you let me decide that? |
GARRET
(standing, and putting on his hat) |
| Since you haven’t slapped any cuffs on me yet, I’ll take it
for granted your boys haven’t come up with anything. Either charge
me with something or let me go home to bed. |
| EDDIE |
| I wouldn’t make any travel plans. |
EDDIE pockets his notebook.
| EDDIE (cont’d) |
| Officer Barnett here will make sure of it. |
ELLIOT appears at GARRET’S side. GARRET ignores him
| GARRET |
| Give my best to your wife…and my daughter. |
EDDIE snarls.
GARRET walks past EDDIE and ELLIOT without a backward glance. He approaches
JORDAN whose expression has changed, taking on a vulnerable look. He stops.
| GARRET |
| Do you need a ride home? |
JORDAN picks up her evening bag and fur stole, and GARRET guides her out. We see
BUG’S eyes narrow as he watches them. LILY looks away as they walk by her
table. SIDNEY follows them to the door but stays there.
GARRET speaks in voice over again.
| GARRET |
| What started out as a case about turning up a handful of missing diamonds
had taken a turn. I thumbed the two bills in my pocket. It takes a private
dick to risk his neck for a couple hundred clams. I really need to look
into a new line of work. |
****MUSIC The Asphalt Jungle*****
END OF ACT ONE
ACT TWO
13. DINER - MORNING
There is a long lunch counter with stools. WOODY sits in the center. There
is a plate at one elbow and folded newspaper at the other.)
GARRET speaks in voice over.
| GARRET |
| Like I said before, I’m a drunk. No matter if he still drinks or
not, a drunk is always a drunk. Every night I go to bed thinking about a
nightcap. Every morning I wake up wanting something to take the edge off.
Today was no exception. If anything, it was worse. Instead of thinking about
some civilized breakfast like eggs and bacon, my taste buds were longing
for an uncivilized pint of cheap booze. So, like I did every morning, I
stopped off at Dolly’s to scald them quiet with a good ol’ cup
of joe. |
GARRET enters. The WAITRESS behind the counter acknowledges him while pouring
coffee in WOODY’S cup.
| GARRET (cont’d) |
| He was sitting at the bar, pouring cream in his coffee. He looked very
neat and very clean-shaven. Like he’d just stepped off the pages of
Esquire magazine. If it weren’t for the forty-four Magnum-sized bulge
in his jacket, I probably wouldn’t have given him a second glance.
The hair on the back of my neck stood on end. |
GARRET sits down two stools away, and the WAITRESS pours him coffee.
| WAITRESS |
| Morning, Casey. The usual? |
| WAITRESS |
| Coming right up, Handsome. |
She yells over her shoulder.
| WAITRESS (cont’d) |
| Fry two, let the sun shine, put some mystery in the alley and add a shingle
with a little shimmy on the side! |
WAITRESS taps her pencil on the counter in front of WOODY.
| WAITRESS (cont’d) |
| You fine, Sugar? |
WOODY nods over his coffee cup. She rips off a check of her pad and slips it
under the back of his plate.
WOODY slides the newspaper to GARRET. The headline reads Beacon Hill Playboy
Shot Dead in Nightclub Police Source Names Local PI as Prime Suspect.
| WOODY |
| You really should complain to the editor, Casey. The report makes you
sound like some worthless sad sack. |
| WOODY |
| No, but I’m about to become your best friend. |
| GARRET |
| I’m not in the market for friends right now. |
WOODY
(points to the paper) |
| I’d say you could use just about every friend you can get a hold
of. |
| GARRET |
| You’re not a reporter, not with that heat you’re packing.
That leaves cop or mob….and I don’t sleep with the mob. |
WOODY gives a mirthless laugh. He has a forkful of egg omelet in his hand.
| WOODY |
| I know. I also know you’re ex Boston PD and that you and the lead
detective on this case have a history. It’s one that makes me believe
the investigation will have more holes in it than the Swiss on this omelet….. |
WOODY looks at his plate. We see an elegantly plated half-eaten omelet.
SNAP TO COLOR
14 . GARRET’S APARTMENT – 3:30 A.M.
GARRET is sitting at his desk, frowning at his typewriter. The clock on his
desk reads 330 A.M. He rolls the paper up and we see the words, “the investigation
will have more holes in it than the Swiss on this omelet.”
GARRET
(mutters to himself) |
| Dolly’s slings hash, not omelets… |
FLASH TO BLACK AND WHITE
15. DINER – CONTINUING
We see GARRET looking like he’s waiting for some kind of direction. The
annoyed WAITRESS snaps her gum and rips the plate out from under WOODY…who
looks a little lost. She replaces it with plate of simple diner fare. This time
the eggs are scrambled and there is a side of hash browns. Almost as an afterthought,
she dumps some ketchup on them. WOODY smiles happily. The WAITRESS caps the
bottle with a little indignation and walks away once more.
SNAP TO COLOR
16. GARRET’S APARTMENT – 3:30 A.M.
GARRET is grinning, and the sound of regular typing resumes.
FLASH TO BLACK AND WHITE
17. DINER - CONTINUING
We reset the scene to just before it was interrupted. The typing sound fades.
WOODY gives a mirthless laugh. He has a fork with scrambled eggs on it his
hand.
| WOODY |
| I know. I also know you’re ex Boston PD and that you and the head
detective on this case have a history that makes me believe that the investigation
will have more holes in it than a wall at a fifty cent peep show. |
| GARRET |
| What do you want from me? |
| WOODY |
| Let’s just say we both want the same thing. Mickey Sellers’
murderer behind bars. |
| GARRET |
| Just who the hell are you? |
WOODY makes a show of opening his lapel and reaching for his identification. He
opens it, showing a FBI shield.
GARRET reads the I.D. and tosses it back
| GARRET |
| Murder’s a little out of the Bureau’s jurisdiction, Agent
Wilson. |
WOODY repockets his I.D.
| WOODY |
| Call me Jack, Casey. I have a feeling we’ll be working together
closely. |
The WAITRESS sets a plate in front of GARRET. He waits until she leaves to speak.
| GARRET |
| You didn’t answer my question. What’s J. Edgar’s interest? |
| WOODY |
| Do you happen to play chess? |
WOODY stands, tossing a bill on the counter.
| WOODY |
| Let’s just say he has a vested interest in who wins this
match. Enjoy your breakfast. I’ll be in touch. |
GARRET resumes voice over
| GARRET |
| Agent Jack Wilson was obviously a man on a mission. Like the dark knight
on a chess board, I was about to unwittingly enter his game. It was only
a matter of time before I found out if I was going to be just another pawn
ready to take the fall. |
WOODY opens the diner door. He holds it open for KATE, followed by NIGEL. They
are dressed in sharp period street clothes. KATE gives WOODY a quick once over.
WOODY tips his hat to KATE and then exits.
| GARRET (cont’d) |
| Little did I know it was about to be bishop to queen four. This pawn took
his first real breath since Wilson opened his mouth… |
18. INT. DINER - CONTINUING
KATE walks ahead of NIGEL to the counter. She sits on the stool next to GARRET.
NIGEL sits on his opposite side
KATE
(addressing the WAITRESS) |
| Just coffee, and tea for the tall one. |
The WAITRESS pours.
KATE speaks nonchalantly, while putting her purse in her lap.
| KATE (cont’d) |
| Good morning, Casey. You can imagine my surprise when we woke up this
morning to read in the paper that you murdered a man last night. |
| GARRET |
| Good morning to you, too, Camille. Nicky. |
NIGEL bobs the tea ball in his tea cup.
| NIGEL |
| Really, Old Man, I’m a little put out that you didn’t even
call to say you were planning an evening at Banjara. We could have
made a party of it. Darling, do you remember the last time we were there?
|
| KATE |
| You had one too many martinis and called another woman My Treasure.
|
| NIGEL |
| The lights were so bloody low. I saw a deliciously curvy blonde in the
crowd. Happily, you were only kind to remind me of which beauty I’m
married to…. |
NIGEL rubs his side in remembered pain.
| NIGEL (cont’d) |
| It only hurts when it rains. |
| KATE |
| You were lucky I was in a good mood. |
NIGEL
(hand over his heart) |
| For which I’m eternally thankful. |
GARRET
(eating) |
| It’s a wonder you two haven’t killed each other yet. |
| NIGEL |
| ’Tis the main reason I sleep with a gun under my pillow. (beat)
Speaking of which, I hear they pulled two forty-five slugs out of Sellers
this morning. Don’t you carry a forty-five? |
| GARRET |
| It’s in the department’s hands right now. |
| NIGEL |
| That’s not very sporting. |
| KATE |
| Since we are not down at the station bailing you out of jail, I can assume
Prescott is still building his case. Which means we have a little time,
but not much. |
| NIGEL |
| We always work best under pressure, don’t we, Love? |
KATE
(smiling) |
| Of course. |
NIGEL pulls a folded paper out of his pocket.
| NIGEL |
| We took the liberty of procuring a list of the club employees from a friend
at City Hall. I’m still working on getting a copy of the police report
so we can start canvassing the guest list. |
| KATE |
| We’re running into a few road blocks with the police, but I’m
sure we’ll have something soon. Speaking of which…. |
KATE points her thumb over her shoulder.
| KATE (cont’d) |
| The uniform officer outside? Yours? |
| GARRET |
| The lump’s named Barnett. He’s my shadow, courtesy of Prescott. |
| NIGEL |
| Poor chap. We really should send him out some coffee. Don’t you
think so, Darling? |
KATE
(signaling the waitress) |
| Maybe a doughnut or two. I’m sure Casey’s had him running
all night. |
NIGEL
(to GARRET) |
| We have someone getting us everything there is to know about Sellers.
What we know so far is that he wasn’t exactly a choir boy. |
| GARRET |
| I got that impression. |
| NIGEL |
| At least the society columnist at his father’s newspaper made it
sound that way. I’ve got an appointment in thirty to talk to the editor
to get the scoop on junior’s nine to five existence…not he ever
showed up at the office, I’d wager. Fancied himself an entrepreneur.
|
KATE points off screen, giving direction to what we assume is the delivery person,
who is taking the coffee and doughnuts to ELLIOT. She smiles and gives a five
fingered wave before turning back to the conversation.
| KATE |
| We did find out he had a thing for girl singers. A few weeks ago he ended
an affair with one from Banjara. |
| GARRET |
| You two own the most profitable PI firm in the city. You charge more in
an hour than I make in a week. I can’t afford you. |
NIGEL snaps his fingers and pats his pockets.
| NIGEL |
| Well damn, I knew I forgot something. Darling, did you remember to start
the expense form? |
KATE puts her hand over GARRET’S
| KATE |
| We’re not asking for money, Casey. Let’s just call it a favor.
You can owe us if you want. That’s what friends are for. |
| NIGEL |
| Besides, you know how much I’d like to wipe that smirk off Prescott’s
face. |
| KATE |
| That’s only because I once admitted he can make it look better than
you. |
NIGEL
(indignantly) |
| That’s all the incentive I need. |
| GARRET |
| The last time I owed you two a favor I was babysitting that dust mop you
call a dog for a week. |
KATE
(smiling) |
| Binky misses you. You really should come over for dinner this week. He’d
love to see you again. I’ll invite this friend of mine. You’ll
love her. We’ll make it a foursome. |
| NIGEL |
| Darling, let’s get him off the hook first. |
GARRET
(resumes eating) |
| I need to warn you…the Bureau’s sniffing around. |
NIGEL takes a pencil out of his pocket and flips his list over.
| NIGEL |
| Curious. The case you’re working on? |
GARRET looks between them.
| KATE |
| Oh, don’t look so shocked. The only reason you’d be in a place
like Banjara is a woman or a case…and since you gave up on
dames about the same time you got sober, it only goes to figure you were
working. |
| GARRET |
| Sellers current fling hired me to find a diamond bracelet that was stolen.
|
NIGEL
(quick to brush it off) |
| She probably pawned it for the cash. |
| GARRET |
| That’s what I figured…. An easy day’s pay for me. I
was at the club to get the retainer. Sellers was popped just as the money
was changing hands. |
| NIGEL |
| I hope he didn’t bleed all over it. It’s hard to spend it
when Benjamin’s covered in blood. |
GARRET grunts.
| NIGEL (cont’d) |
| Yes, well, you’re right. The misplaced rocks probably have nothing
to do with it…, but the Feds in the picture it might be a good place
to start. Who contacted you? |
| GARRET |
| Wilson. Jack Wilson. He was the one leaving when you came in. |
| KATE |
| Hmmm, I didn’t recognize him. But with a face like that I’m
sure one of the girls in the secretary pool downtown will. I’ll start
there. |
| NIGEL |
| The diamonds. What’s her name? |
GARRET shakes his head.
GARRET
(setting his coffee cup down) |
| Nicky, why don’t you just pay a visit to the paper? I’ll start
at the club. |
KATE
(stands) |
| Fine. Let’s meet back here in two. |
NIGEL
(rubbing his hands together) |
| Make it three. I’d like to have a talk with Sellers’ personal
staff. You never know. The butler might have done it. |
KATE
(rolls her eyes) |
| We go through this every time. You and your conspiracy theories.
I don’t know why you always insist the butler had something to do
with everything. You’d think there was a secret society of criminal
minds that do nothing but infiltrate the homes of the affluent one silver
serving tray at a time.... |
The argument fades away as KATE and NIGEL leave the diner. GARRET smiles and pays
his bill to the WAITRESS.
GARRET resumes voice over.
| GARRET |
| Some friendships you cultivate, others you inherit, and then there are
those that just happen over a bottle of gin and a good old fashioned bar
fight. I’m here to tell you: Camille has a mean right hook. |
19. EXT. CITY STREET IN FRONT OF NIGHTCLUB – AFTER BREAKFAST
Period vehicles are parked along the curbs. A newspaper boy is hawking papers
at the corner.
A vintage convertible pulls up to the curb. GARRET is behind the wheel. WOODY
is leaning against a lamppost a few feet away, watching.
GARRET speaks in voice over
| GARRET |
| Being at a nightclub first thing in the morning is like waking up next
to a Bourbon Street hooker after an all night bender. Soft lighting and
a sea of perfume give way to the sour odor of stale cigarette smoke, spilt
booze and the wear and tear that was done by those there before you. |
GARRET steps out of the car and looks up at the club’s marquee. He flicks
a cigarette into the gutter and walks toward the entrance of the club. GARRET
stops when WOODY steps in front of him.
| GARRET |
| If I’d known you were heading in this direction, Agent Wilson, I
would’ve offered to give you a ride. |
WOODY focuses over GARRET’S shoulder.
WOODY
(enigmatic smile) |
| I had my own ride. |
GARRET turns to see SIDNEY tipping his hat at WOODY from the driver’s seat
of the car he’s sitting in. SIDNEY pulls the car away from the curb and
drives down the street.
| WOODY (cont’d) |
| You don’t strike me as the white-tie, night club type, Casey. Yet,
here you are twice in the period of twenty four hours. |
GARRET looks at WOODY incredulously.
| GARRET |
| It attracts all kinds, Agent Wilson. The stage show is something. |
| WOODY |
| It’s Jack, remember? You and Miss Chandler were the last two people
to see Mickey Sellers breathing…. Either you’re here to make
sure you didn’t leave any evidence or to see if anybody working last
night remembered something more…. I’m betting on the latter.
|
| GARRET |
| That doesn’t explain why you’re here. |
WOODY gives him another smile, the “awe-shucks” one this time.
| WOODY |
| Like I said before. I’m your new best friend and friends help each
other out of sticky situations. |
| GARRET |
| And I told you I don’t need a friend. I’m sure you can catch
a cab at the corner or…. |
GARRET looks to see ELLIOT is now parked in the spot SIDNEY vacated.
| GARRET (cont’d) |
| I’m sure Barnett can give you a lift back downtown. |
| WOODY |
| That won’t be necessary. Why don’t you give me the guided
tour? I’m dying to see where the infamous Mickey Sellers bought the
farm. |
| GARRET |
| What do you really want? |
WOODY
(serious edge) |
| Janice Chandler tried to hire you. How well do you know her? |
| GARRET |
| I don’t think that is any of your damn business. |
| WOODY |
| Don’t be fooled. There’s more to her than a gorgeous package. |
| GARRET |
| You just described my ex-wife…and probably every other dame on the
face of the planet. Your point? |
| WOODY |
| Tell me right now and I’m on the first train back to D.C. and you’ll
never see me again. Are you covering for her? Was Janice Chandler the one
that pulled the trigger and killed Mickey Sellers? |
| GARRET |
| I’ll tell you what I told the police…. |
| WOODY |
| I’d prefer the truth. |
| GARRET |
| The perp was out on the fire escape. The shots came through the window.
|
There is a long pause ending with WOODY flashing that awe-shucks smile again.
| WOODY |
| Good. (pause) Now that that’s out of the way, why don’t we
pool our resources and find out who did this? |
WOODY
(chuckles) |
| We’re on the same team here. I figure we can get to the bottom of
this before your buddy at BPD can finish pulling his head out of his ass.
The sooner we figure out who really sent Sellers on his dirt nap we both
can get back to doing what we do. |
| GARRET |
| And what is it you do… Jack? |
| WOODY |
| Keep the world safe from kidnappers, bank robbers and thieves, Casey.
At least that’s what it says on my job description. Besides, my badge
is bigger than Prescott’s. If you’re with me they’re not
going to arrest you. |
| GARRET |
| I guess that doesn’t leave me much choice. |
| WOODY |
| Shall we? The lights are on. I think there‘s someone home in there. |
WOODY opens the door.
END OF ACT TWO
ACT THREE
20. INT. NIGHTCLUB – CONTINUING
The lights are up. Chairs are on the tables. There an old Electrolox canister
vacuum running and someone is sweeping the stage. BUG is sitting at a table
covered with papers. There is an adding machine at his elbow.
BUG
(curtly, not looking up) |
| We’re closed. |
WOODY pulls his badge out of his jacket and holds it out for BUG to see.
| WOODY |
| We won’t take up much of your time. |
BUG looks up to see GARRET standing behind WOODY.
| BUG |
| I talked to the police last night. |
GARRET speaks in the voice over.
| GARRET |
| Detective work can be like finding an elephant in the dark. Reality can
be different depending upon the schmuck’s point of view….The
truth being relative amid a deceptive world of half-truths and outright
lies. I had a feeling it was going to be a long day… and without a
paycheck to go with it… even longer. Maybe I should have had Dolly
pack me a sandwich for the ride. |
WOODY pulls out a chair, turns it around and straddles it. BUG backs his own chair
up a few inches.
| GARRET |
| I’m sure you did. We’re interested in what you didn’t
tell them. |
HARD CUT
21. INT. APARTMENT DOORWAY - CONTINUING
EMY is standing just inside, dressed in a red kimono-style robe. She looks
like she was dragged out of bed to answer the door. GARRET and WOODY are standing
just outside the door.)
EMY
(yawns) |
| I told them everything I saw….which was nothing. |
| WOODY |
| Tell me about Mr. Sellers’ interest in the club. |
HARD CUT
22. EXT. STREET CORNER BUS STOP - CONTINUING
PETER is standing at the corner. GARRET and WOODY flank him on either side.
| PETER |
| Rumor has it Mr. Vajpayee went to Mickey Sellers to cover some gambling
debts. He used the club as collateral. |
GARRET
(speculative) |
| Which he couldn’t repay. |
HARD CUT
23. INT. NIGHTCLUB - CONTINUING
| BUG |
| …It was nothing less than extortion. |
HARD CUT
24. INT. APARTMENT DOORWAY - CONTINUING
JEFFERY has joined EMY. He also looks like he was sleeping.
JEFFERY
(Scratching his shoulder) |
| No. I don’t think the money was the issue. |
| WOODY |
| So, he just wanted the club. |
HARD CUT
25. INT. KITCHENETTE - CONTINUING
LILY’S sitting at a table. She is holding MADDIE, bouncing her on her
lap. WOODY and GARRET are sitting opposite her, shoulder to shoulder.
LILY
(tiredly) |
| Mickey got whatever he wanted…and if he didn’t…he took
it. |
HARD CUT
26. INT. UPSCALE LIVING ROOM - CONTINUING
SLOKUM, dressed in a smoking jacket, and ROZ, in a robe with a feather boa
collar, are sitting next to each other on a settee. GARRET and WOODY are sitting
shoulder to shoulder on a matching settee opposite them.
| SLOKUM |
| Business is business. |
ROZ holds a teapot.
| WOODY |
| Thank you. I don’t mind if I do. |
| GARRET |
| Can you think of anyone who would want Sellers dead? |
HARD CUT
27. INT. GENTLEMAN’S CLUB – CONTINUING
The interior is dimly lit. STILES is sitting in a wingback chair. There is
a pipe in his hand. GARRET and WOODY are standing in front of him.
| STILES |
| He had a habit of rubbing people the wrong way…but his family was
always there to sooth ruffled feathers. |
HARD CUT
28. INT. BUSINESS OFFICE – CONTINUING
The interior is bright. RENEE is dressed in a severe suit, sitting behind a
large desk, obviously in charge. People are buzzing around her. WOODY and GARRET
are sitting shoulder to shoulder in front of her desk.
| RENEE |
| That is such an unsightly way to put it…but yes. |
| GARRET |
| Where were you when Sellers was being murdered? |
HARD CUT
29. INT. UPSCALE LIVING ROOM - CONTINUING
| SLOKUM |
| That’s putting it a little crassly. |
ROZ
(pats SLOKUM’S knee) |
| He was making a phone call and I was ….checking my lipstick. |
HARD CUT
30. INT. NIGHTCLUB - CONTINUING
| BUG |
| I don’t know. I may have gone outside for some air. |
HARD CUT
31. INT. APARTMENT DOORWAY - CONTINUING
| JEFFERY |
| My dressing room. |
HARD CUT
32. EXT. STREET CORNER BUS STOP - CONTINUING
| WOODY |
| So… you only heard two shots. |
| PETER |
| I was in the backroom cleaning a mai-tai, some drunk split on me, off
my trousers. So, I’m not really…sure. |
HARD CUT
33. INT. GENTLEMAN’S CLUB - CONTINUING
| STILES |
| I thought that was a car backfiring out front. Until Janice screamed,
of course. |
HARD CUT
34. INT. BUSINESS OFFICE - CONTINUING
| WOODY |
| Do you own a gun, Ma’am? |
HARD CUT
35. INT. UPSCALE LIVING ROOM - CONTINUING
| ROZ |
| I’ve never been fond of guns, Mr. Wilson. They tend to make a terrible
mess. |
ROZ winks.
HARD CUT
36. INT. APARTMENT DOORWAY - CONTINUING
JEFFERY drapes his arm over EMY’S shoulder.
HARD CUT
37. EXT. STREET CORNER BUS STOP - CONTINUING
PETER
(shrugs) |
| A Colt single action. It was my grandfather’s. I don’t even
know if it works anymore. |
HARD CUT
38. INT. NIGHTCLUB - CONTINUING
BUG
(edgy) |
| There’s a forty-five under the bar…and one in the back. A
man in my position can never be too careful. |
HARD CUT
39. INT. GENTLEMAN’S CLUB – CONTINUING
STILES
(pompously) |
| A Luger Pistolen-aught-eight. It’s a war trophy. I took it off the
Kraut myself. He was dead, of course. You wanna see it? |
HARD CUT
40. INT. KITCHENETTE - CONTINUING
LILY is holding a huge hand gun, looking down the sight.
| LILY |
| Thumb safety, slide stop, three pound trigger pull with no creep. That
pig of a husband of mine may have lousy taste in mistresses, but he never
forgets my birthday. |
WOODY is now holding MADDIE, who is teething on his tie.
WOODY
(looks at GARRET) |
| A forty-five. How thoughtful… |
HARD CUT
41. INT. UPSCALE LIVING ROOM - CONTINUING
| GARRET |
| What about his personal life? Did Sellers associate with anyone who might
be capable of doing this? |
| ROZ |
| Mickey changed his women with the weather. He just never told them that.
|
HARD CUT
42. INT. GENTLEMAN’S CLUB - CONTINUING
| STILES |
| Power and money breed animosity. |
HARD CUT
43. INT. BUSINESS OFFICE - CONTINUING
| RENEE |
| Do I look like his social secretary? |
HARD CUT
44. INT. APARTMENT DOORWAY - CONTINUING
| WOODY |
| I understand there was a relationship between Sellers and your wife. |
| JEFFERY |
| The bitch. Yeah, he was doing her. |
HARD CUT
45. INT. NIGHTCLUB - CONTINUING
BUG
(sighs) |
| She could do so much better than him. |
HARD CUT
46. EXT. STREET CORNER BUS STOP - CONTINUING
| PETER |
| It didn’t last long. He gave her up for Miss Chandler. Could you
blame him? |
HARD CUT
47. INT. UPSCALE LIVING ROOM - CONTINUING
ROZ
(snobby tone) |
| He’d been traipsing around that Chandler woman ever since she arrived
in town. Although he never seemed that attached to her. Weren’t you
working for her, Mr. Martin? |
HARD CUT
48. INT. KITCHENETTE - CONTINUING
| LILY |
| The sad part was I believed he really loved me. At least, until she
showed up. All she has to do is smile and men are falling at her feet. |
HARD CUT
49 . EXT. STEET OUTSIDE NIGHTCLUB - CONTINUING
WOODY and GARRET are standing next to GARRET’S car.
EDDIE pulls up in front of them in an unmarked car. He stops the engine.
GARRET speaks in voice over.
| GARRET |
| There’s an old adage that says a bad penny always turns up. I wouldn’t
give two cents for Prescott, but there he was. For myself, I hadn’t
been in the company of so many badges since I was kicked off the force.
I began to sweat like a duck in a shooting gallery. |
EDDIE
(to GARRET) |
| You’re a damn lucky asshole, Martin. |
| GARRET |
| Prescott. I assume you’re done clearing me and are here to personally
apologize for the harassment. |
| EDDIE |
| Don’t press your luck. I still say there are more loose ends here
than there are in a whorehouse and you’re one of them…but I’ve
been told to drop you from the suspect list. |
EDDIE looks up and down the street.
| EDDIE (cont’d) |
| I hope you’re not harassing witnesses, because I’d like nothing
more than to run you in right now. |
WOODY hands EDDIE his badge.
| WOODY |
| Mr. Martin is helping me with my own investigation. |
EDDIE ignores WOODY’S badge.
| EDDIE |
| I know who the hell you are. You have my boss shitting daisies to make
you happy. Just remember this is a murder investigation, Agent Wilson. |
| GARRET |
| It’s good to know you’re still investigating. You didn’t
happen to bring my gun with you. I have a receipt. |
EDDIE pulls GARRET’S gun and clip out of his pocket and reluctantly hands
them to GARRET.
| EDDIE |
| I was going to make you pick up at the station, but the Chief didn’t
know if you’d remember where it is. |
EDDIE starts his car back up.
| EDDIE (cont’d) |
| I’m calling Barnett off…but if I hear one word about you screwing
things up… so help me, I run you both in. |
| WOODY |
| We’ll keep that in mind. |
EDDIE gives them both another once over and leaves. ELLIOT’S cruiser follows.
WOODY
(nonchalant) |
| Congratulations. You’re off the hook. |
GARRET looks at his gun and clip with a critical eye.
| GARRET |
| Until he can convince the Chief that he’s run out of other places
to look. |
| WOODY |
| We’d better figure out who did this and fast. |
| GARRET |
| Cut the shit. Do you want to tell me you’re really investigating
here? |
WOODY
(smile) |
| Murder, of course. |
GARRET slaps the clip and gun into place. WOODY’S smile fades.
| WOODY (cont’d) |
| Fine. I’ll explain everything after we’ve talked to your client. |
| GARRET |
| What does Janice Chandler have to do with this? |
| WOODY |
| According to your police statement, nothing. I just want to make sure
of that. |
GARRET speaks in voice over.
| GARRET |
| Wilson wasn’t exactly being as chatty as the broad who I share a
party line telephone with, but after a day of feeling like I was at the
track making bets on yesterday’s racing form, I was starting to see
some pay out. Whatever his interest in the murder, it had everything to
do with the sweet number we were about to go see. |
50. INT. UPSCALE HOTEL HALLWAY – AFTERNOON
The hotel is simple and elegant with white paneled doors and light wall papers.
GARRET continues with the voice over.
| GARRET |
| Yogi Barra is one of the best catchers to ever play the game of baseball.
His only fault is that he plays for the Yankees. Yogi once told a sports
reporter ‘You can observe a lot just by watching.’ Along
with having a helluva swing, he sometimes makes a valid point. I was about
to see if this one held water. (pause) I did….in spades. |
GARRET and WOODY approach a door. The numbers “311” are painted on
the door. GARRET knocks.
JORDAN opens the door. Her hair and makeup are flawless. She’s dressed
in a Hepburn-style blouse and pants. She dabs her nose daintily with a handkerchief
when she sees GARRET.
JORDAN throws her arms around GARRET’S neck.
| JORDAN |
| Oh, thank God you’re here. I’ve been so worried. |
| JORDAN |
| It’s nothing, not really, I just…. |
JORDAN stops when she sees they are not alone. She looks up, noticing WOODY. She’s
momentarily stunned, but regroups quickly. She steps away from GARRET.
| WOODY |
| What, no crocodile tears for me too? Then again, they don’t have
the same effect on me that they used to. |
JORDAN
(haltingly) |
| Agent Wilson, what a surprise. |
| GARRET |
| You two know each other. |
WOODY
(looking at JORDAN) |
| We’ve crossed paths a time or two. |
JORDAN
(to WOODY) |
| What are you doing here? |
| WOODY |
| I’m trying to help find out who offed Sellers. |
WOODY pushes past JORDAN to step inside a tastefully furnished hotel sitting room.
51. INT. UPSCALE HOTEL ROOM - CONTINUING
JORDAN
(to GARRET) |
| What’s going on here, Casey? |
WOODY looks around the room, opening the door to the bedroom, noting that the
three of them are alone.
| GARRET |
| Agent Wilson is working with me to find the murderer. We just need to
clear up a few things. |
JORDAN
(confused) |
| That’s the police’s job. Not a private investigator’s. |
| WOODY |
| It’s his way of earning that retainer Sellers palmed him. |
JORDAN glares.
JORDAN
(false pleasantness) |
| Of course. What do you need me to do? |
| WOODY |
| Why don’t you tell us how you met the recently, and I’m sure,
dearly departed? |
| JORDAN |
| What does that have to do with anything? |
| GARRET |
| Probably nothing, but you might be able to lead us to the killer. |
| WOODY |
| So, was it love at first sight? |
JORDAN
(sighs as if she’s being put out) |
| I met Mickey in….Providence. (pause) I’m just a little confused
as to why the FBI is involved. Isn’t this a local matter? |
| WOODY |
| I happened to be in town and saw the story in the paper this morning.
I saw your name and knew I had to get involved. (smirks) For old time’s
sake. |
JORDAN
(flustered) |
| I’m not sure I can be of any help. The only thing I saw was the
end of a gun pointing through the window. It was big and loud. |
JORDAN lifts her right hand and pantomimes a gun.
| JORDAN (cont’d) |
| It was over before I could react. |
| GARRET |
| Can you think of anybody who’d want Sellers dead? |
JORDAN
(haltingly) |
| No, I… Mickey never let me get that close. He kept his relationship
with me separate from the rest of his life. |
| WOODY |
| You didn’t know his family has one of the largest gem collections
on the Eastern seaboard? |
| JORDAN |
| It’s no secret Sellers was born with a silver spoon in his mouth. |
GARRET is distracted when he looks over his shoulder and notes a wet bar. He looks
at it like something is amiss.
| JORDAN (cont’d) |
| Is there a law against coming from money? |
| WOODY |
| No, but there are laws to protect men like Sellers from being taking advantage
of by others. |
| JORDAN |
| Mickey was a big boy. He didn’t need protection. |
| WOODY |
| So, why did he have breakfast with St. Pete this morning instead of you?
|
JORDAN turns to look to the window.
| JORDAN |
| I don’t know. All I know is what I told you. |
| GARRET |
| That’s fine. We understand this is a difficult time. |
He points to the bar.
| GARRET (cont’d) |
| May I? It’s been a long afternoon. |
JORDAN
(wave of the hand) |
| Help yourself. |
GARRET looks at the bottles and glasses on the bar carefully while he pours a
drink. He notes two dirty glasses. One has lipstick. He uses his handkerchief
to pocket the second. WOODY notices and distracts JORDAN.
WOODY approaches JORDAN taking her arm.
WOODY
(low voice) |
| Just one last thing. |
WOODY
(low voice) |
| I know you’re involved here way up to your sweet little ass. If
I find out you had anything to do with Sellers’ murder, I will personally
lock you up and throw away the key myself. |
JORDAN
(shakes his hand off) |
| I think it’s time for you both to leave. |
GARRET looks longingly at the glass of whiskey he poured. He leaves it and turns
away from the bar.
| GARRET |
| We’ll find who did this. I promise you that. |
JORDAN
(demure look) |
| Thank you. |
GARRET touches his hat before he walks out the door.
WOODY points to the bedroom and speaks in the same low voice.
| WOODY |
| If that sweet little number you have laid out on the bed in there is what
you are planning on wearing when you go pay your respects to the stiff’s
old man later...I suggest something a little lower cut. The clock’s
ticking. |
JORDAN slaps him across the cheek.
WOODY grabs her with one arm and kisses her.
JORDAN
(coldly, but breathless) |
| You shouldn’t kiss a woman like that while you're wearing a gun.….
Someone might get hurt. |
WOODY
(smile) |
| I‘ll remember that next time. |
| JORDAN |
| Who says there’ll be a next time? |
WOODY doesn’t comment and follows GARRET out to the HALLWAY wiping the lipstick
from his mouth. JORDAN slams the door.
52 . EXT. STREET IN FRONT OF HOTEL - CONTINUING
GARRET’S car is parked at the curb. WOODY and GARRET stop in front of
it. WOODY points at GARRET‘S pocket.
| WOODY |
| If you wanted to steal something off Janice Chandler I could have waited
outside and you could’ve tried for her panties. I hope I’m not
arresting you for something a little less perverted. |
GARRET carefully pulls the handkerchief and glass out of his pocket.
| GARRET |
| She wasn’t alone this morning. |
| GARRET |
| There were two glasses. One with lipstick and one with a nice clear left
thumbprint, too masculine to be Miss Chandler’s. The shooter was left
handed. |
GARRET hands WOODY the glass; he looks at it with a critical eye.
| GARRET (cont’d) |
| Tell me you have someone over at the Bureau that can work some magic on
this. |
WOODY
(nods) |
| I know someone. If the prints are on file we should have a name by morning.
|
| GARRET |
| Do you want to tell me how the hell you’re involved in this now? |
| WOODY |
| Her real name is Janice O’Reilly. She’s got a record a mile
long. Her mother died when she was ten. She went to live with her father
who was a two-bit hustler. She came along, and they went big time. Every
few months the two of them would weave these elaborate scenarios, target
some mark and rob them blind. Her father was outed a few years back in Miami;
she went solo. I’ve been investigating her for six years. I just never
got anything to stick. |
| GARRET |
| Six years is a long time to work one case. |
| WOODY |
| It’s become personal. |
| GARRET |
| So you think Sellers was her latest a mark? |
WOODY holds up the handkerchief and glass.
| WOODY |
| No. I think you are, and this proves it. |
| GARRET |
| You honestly think she could be behind this? |
