Crossing Jordan Virtual Season 7

“Long Way Down”

Written by
Bourbon and Nynaeve1723

Art by
BigCJFan

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

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

Lois Carver
Matt Seeley
Uniformed Cop
Officer Steve Verdi
Derek “D-Con” Conrad
Lawyer
Little Girl
Jazzercizing Granny
Maid
Mrs. Poodle
Mr. Poodle
Meg Carley
David Antonelli

INTERIORS
THE MORGUE
   AUTOPSY ONE
   TRACE
   JORDAN’S OFFICE
   BREAK ROOM

WOODY’S APARTMENT
   BEDROOM
   BATHROOM

PRECINCT
   HALLWAY
   INTERROGATION ROOM

LORNA CARLEY’S APARTMENT BUILDING
   LORNA’S APARTMENT
   ELEVATOR
   LOBBY

HIGHRISE APARTMENT BUILDING
   VARIOUS APARTMENT DOORWAYS
   POODLE APARTMENT

EXTERIORS
ALLEY

HIGHRISE APARTMENT BUILDING
   ROOFTOP

MORGUE
   ROOFTOP

CEMETERY
   GRAVESIDE
   A SEPARATE AREA

TEASER

1. INT. MORGUE, AUTOPSY ONE - EVENING

We begin with an extreme close-up of GARRET. His face reveals a mixture of revulsion and curiosity. We pull back slowly to see that he is in scrubs, in autopsy. We can’t really see the body on the table in front of him, but what we can see is bloody and battered. As we continue to pull back we see one arm has fallen limply over the side of the table. GARRET silently moves it back into place and based on the way he handles the body we understand the arm was broken in numerous places. Obviously the cadaver didn’t leave a good-looking corpse. We continue to pull back and the camera reveals LOIS CARTER standing to GARRET’S left. Her face shows the same mixture of revulsion as we saw on GARRET’S, but with less curiosity.

He shrugs off their dubious looks and is aware that LOIS is hoping he’ll be able to get rid of NIGEL at least.

\2. INT. WOODY’S APARTMENT, BEDROOM – EVENING

We hear the sound of keys in the door. The door opens, closes. WOODY is heard talking animatedly and a bit nervously.

END OF TEASER

CUT TO OPENING CREDITS

Crossing Jordan Theme

ACT 1

An alley between two buildings. We see from a longshot. There are squad cars with lights flashing. Crime scene personnel milling around. We see MATT SEELY. JORDAN is kneeling beside the body doing some preliminary stuff. Everything is moving, except for WOODY, noticeable for his stillness.

We move in and see that amid the activity, he is staring down at a body on the ground. We see from his POV, the dead body is LORNA CARLEY, 30, a pretty blonde, haircut into a shoulder-length bob. She is wearing a navy blue pantsuit and a white blouse. The blouse is covered with her blood. The suit jacket is opened, and we can see her police badge clipped to her belt. We cut back up to WOODY, who looks down at her with sadness.

The flunkeys lift the body onto a gurney. She turns back to WOODY, but he will not look at her. She shrugs sadly and turns to head out of the alley with the gurney. As she goes, we see behind her that WOODY is watching her leave.

4. INT. MORGUE, AUTOPSY – NIGHT

We see GARRET, in scrubs. He has ear piece and mini microphone on his head and is dictating his autopsy findings. He holds scalpel aloft and stares down at the body.

We see the weighing pan and the chains. They are in perfect order.

GARRET picks up the heart again and turns it over. He closes his eyes briefly.

We push in slowly on the heart in his hand until we can see it – the glint of metal.

5. INT. MORGUE, AUTOPSY – NIGHT

GARRET is still in autopsy. He’s looking tired. His eyes are red rimmed and he’s got good stubble going. He glances at the clock and we see why – it’s almost dawn. LOIS CARVER enters and GARRET looks up. She shakes her head at him.

6. INT. WOODY’S APARTMENT, BATHROOM – NIGHT

WOODY is taking a shower. He is standing motionless under the stream, letting the water pour over him. His face is dark.

7. INT. WOODY’S APARTMENT, BEDROOM – NIGHT

WOODY enters from the bathroom, a towel around his waist.

CUT TO:

JORDAN is reclining in bed, two champagne stems in her hand. She’s wearing one of his “Boston PD” t-shirts and not much else. We see an open bottle of champagne chilling on the nightstand. She is smiling, looking hopeful.

Back to WOODY, who smiles gently. The tension at the crime scene seems to be forgotten.

8. INT. WOODY’S APARTMENT, BEDROOM – NIGHT

JORDAN jerks awake. It is dark. The apartment is perfectly still. She blinks, tries to get her bearings. She rolls over, and we see that WOODY’S side of the bed is empty. She looks over at the clock: 3:23 AM. She looks around. Everything is dark and quiet. WOODY is gone. She sits up, pulls her knees to her chest, a troubled look on her face.

END OF ACT ONE

ACT TWO

We see a coffee cup from the top – a black pool of liquid with a slight film on it. Slowly the cup is lifted by a hand we cannot see. We watch the cup travel to lips and watch the mouth drink some of the coffee. Slowly the mug makes its way back down to the table. We begin to pull back and see it’s GARRET, too engrossed in a report to notice his coffee has gone cold and scummy. The clock behind him shows more time has passed since his last scene. He’s not in scrubs, but his clothes are rumpled, his eyes red and bleary and his facial stubble passed five o’clock shadow quite a while ago. He looks up as the door to the break room opens. It’s LOIS CARVER.

We cut to GARRET and LOIS in Trace. GARRET is trying to explain why the facts aren’t adding up. NIGEL enters, listening to GARRET’S explanation. NIGEL walks over to the light box and looks at the x-ray.

11. INT. LORNA CARLEY’S APARTMENT – DAY

There are CSU personnel and uniformed cops milling around LORNA’S apartment, dusting for fingerprints, collecting evidence, etc. WOODY is standing among the activity. He looks grim, unshaven, bleary-eyed.

He looks over to the end-table next to LORNA’S sofa. There are several family photos. There is one of her, smiling, happy. He picks it up and looks at it with sadness.

A UNIFORMED COP enters from another room.

12. INT. LORNA’S APARTMENT BUILDING, ELEVATOR - DAY

WOODY is riding down the elevator in LORNA’S apartment building. He closes his eyes slowly. And we see:

13. EXT. ALLEY – DAY

It is the alley where OFFICER CARLEY was shot. The scene from the previous night replays itself. We see LORNA CARLEY’S body on the ground. Then the camera cuts to WOODY standing in the alley over her body. Then the camera cuts back down to the body. Only this time, it is Lu Simmons, in the same position, looking as she did the night she died.

CUT TO:

14. INT. LORNA’S APARTMENT BUILDING, ELEVATOR – DAY WOODY’S eyes snap open, just as the elevator doors begin to part, and he steps out into the lobby of the building.

15. INT. LORNA’S APARTMENT BUILDING, LOBBY - CONTINUING

There are some uniformed cops in the lobby. Crime scene tape is up, and we can just see the glare of flashing squad car lights outside. WOODY nearly collides with OFFICER STEVE VERDI, 35ish, tall, nice-looking. He looks in much the same condition as WOODY. Haggard. He has a file folder in his hand.

WOODY picks up the picture of D-CON. His jaw tightens. He looks over at STEVE and nods.

16. EXT. HIGHRISE APARTMENT BUILDING ROOFTOP - DAY

GARRET and LOIS arrive at the rooftop. It is flat and covered in gravel. Two sides are clear to the edges, the other two sides have a collection of vents and ductwork before you get to the edges – good hiding or ambush places.

17. INT. MORGUE, TRACE – DAY

JORDAN is in trace. All is still. LORNA’S body is on a gurney covered by a drape. Jordan is looking down at her face. The stillness is broken as JORDAN’S cell phone rings. She answers.

WOODY is on the other end of the phone, walking down the precinct hallway.

Jordan blinks in incomprehension.

21. INT. PRECINCT, INTERROGATION ROOM – DAY

Inside the room are WOODY and SEELY. SEELY is standing, arms folded across his chest. WOODY is seated at the table. Across from him are DEREK “D-CON” CONRAD and his slimy but elegantly attired LAWYER. WOODY slams down crime scene photos of LORNA. D-CON is unmoved.

SEELY, frowning, and wondering the same thing.

SEELY, who cuts a look to WOODY. He knows full well that LORNA was shot in the chest, not the gut. He opens his mouth to say something, but WOODY is on a tear.

END OF ACT TWO

ACT THREE

JORDAN has finished her autopsy. She is finishing the sutures. She pauses for a moment, a curious look on her face. NIGEL is in the background, preparing some slides, etc. He notices and casts a concerned eye to her.

JORDAN and WOODY glare at each other. There’s a standoff. Finally, JORDAN whips off her scrubs, dumps them in the bin, and storms out. WOODY looks at NIGEL, and then strolls out of autopsy, clearly having no intention of chasing JORDAN. Not yet, anyway.

23. INT. HIGHRISE APARTMENT BUILDING, FIRST APARTMENT - DAY

We see a door, opened just as much as the security chain will allow. The space is empty. We pan down to a child standing in the doorway, peering up at GARRET and LOIS CARVER.

24. INT. HIGHRISE APARTMENT BUILDING, SECOND APARTMENT - CONTINUING

We see another door. This time it is open, showing us the smiling face of an older woman – about ninety, if she’s a day - her hair done in a tidy bun. She is wearing exercise wear. LOIS shows her badge and begins the introductions again.

25. INT. HIGHRISE APARTMENT BUILDING, THIRD APARTMENT - CONTINUING

LOIS shows the woman the photo of the vic.

26. EXT. MORGUE, ROOFTOP – SUNSET

JORDAN is on the rooftop, shivering a bit in the late December afternoon. She has her arms wrapped around herself; she’s lost in thought. There’s a noise from behind her. It is WOODY, who crosses to her. They are silent for a moment.

NIGEL is retrieving a lab printout. WOODY and JORDAN stand on opposite sides of the room, licking their wounds. NIGEL crosses and hands JORDAN the printout. She looks at it, and surprise registers. She looks up at NIGEL, and they share a meaningful look.

END OF ACT THREE

ACT FOUR

NIGEL, WOODY, and JORDAN are in the same positions as the last time we saw them.

WOODY nods, and the two of them head out to her office.

29. INT. HIGHRISE APARTMENT BUILDING, POODLE APARTMENT - CONTINUING

We are at another door. This time a woman in her early sixties opens the door; her arm is in a sling and she has a bruise on one cheek, plus a swollen lip. LOIS flashes her badge yet again. The woman immediately stiffens. For a moment, it seems like she might close the door, but then her shoulder sag and she opens it, inviting LOIS and GARRET in. We can see a workman in the background, setting a new window. LOIS begins to introduce herself and GARRET but is interrupted.

She stands aside and lets LOIS and GARRET pass. The camera pans the room and we see a framed picture of the vic, in happier times, hanging on the wall.

Long Way Down - Laura Powers

30. INT. MORGUE, JORDAN’S OFFICE - EVENING

JORDAN and MEG CARLEY are seated in her office on the sofa. WOODY is perched on the edge of the desk. MEG is red-nosed and tearful.

MEG begins to really cry now. JORDAN slips a comforting arm around her shoulder while WOODY looks on.

31. INT. MORGUE, BREAKROOM - EVENING

We are in the break room at the morgue. GARRET is washing out a coffee mug. He then picks up the coffee pot and realizes the coffee in it is at least a day old. He starts a new pot. NIGEL, KATE and BUG walk in.

32. INT. HIGHRISE APARTMENT BUILDING, POODLE APARTMENT

The break room scene dissolves into the interior of the POODLE apartment.

We dissolve back to the break room.

33. INT. MORGUE, BREAKROOM – CONTINUING

We lighten to white and then fade back to normal colors.

34. EXT. HIGHRISE APARTMENT BUILDING, ROOFTOP - CONTINUING

As we fade back we see ANTONELLI from behind. He is standing on the ledge of the roof of the apartment building.

ANTONELLI is muttering, but we can’t make out the words. The camera pans around and we push in on him slowly until we are close in on his face. His mouth is moving; he is still muttering.

As he falls we descend back to the break room.

35. INT. MORGUE, BREAKROOM – CONTINUING

We pull back with dizzying speed and push back in quickly as well. We arrive in the POODLE apartment. MR. and MRS. POODLE are arguing. MR. POODLE is still holding the gun. He is waving it around and yelling.

We follow the bullet’s path as it breaks through the glass and penetrates ANTONELLI’S chest, lodging in his heart. Hard cut to black

37. INT. MORGUE, BREAKROOM – CONTINUING

We come back to the break room. NIGEL, KATE and BUG are all staring, mouths open, at GARRET. GARRET lifts his coffee mug, almost in a toast, and shrugs.

END OF ACT FOUR

ACT FIVE

WOODY and JORDAN are pacing her office. Brainstorming, playing “the game.”

Better Be Home Soon - Crowded House

39. INT. PRECINCT, HALLWAY - NIGHT

SONG: "Better Be Home Soon" by Crowded House

WOODY and JORDAN stand expectantly in the hallway outside one of the interrogation rooms. The door opens. STEVE VERDI comes out in handcuffs, being led by a uniformed cop. He’s followed by SEELY. He nods at them, shakes WOODY’S hand. He turns and heads down the hall after VERDI and the cop.

WOODY and JORDAN watch them go for a moment. Finally, WOODY simply backs up a few steps and walks away. JORDAN turns and watches him go, her face a mixture of sadness and understanding.

FADE TO:

40. EXT. CEMETERY, GRAVESIDE – DAY

It is a wintry December day. We see in a longshot, it is LORNA’S funeral. We see her family, including MRS. CARLEY and MEG seated in chairs, lost in their grief. There are uniformed cops in their dress uniforms standing at attention. The priest reads from the prayer book as steam escapes from his mouth. The camera cuts in to WOODY, in his uniform, jaw clenched, eyes heavy.

The images fade in and out gently. A contingent of honor guard marksmen fires off a salute. A bagpiper stands at some distance away as we see the BPD honor guard folding an American flag and handing it to LORNA’S mother.

Finally, the images fade out, the mourners fade, and WOODY is left standing alone at the graveside. He raises his head…something has caught his eye. And we cut to:

41. EXT. CEMETERY, A SEPARATE AREA – DAY

JORDAN standing some distance away. She smiles at him tentatively. He slowly walks away from the grave. We get the impression they haven’t really spoken in the last few days. He stops when he reaches her. She looks up at him with anxious eyes. He stands for a moment, and then we see a close-up of him offering her his hand. She reaches out and slips her hand into his. They walk off together.

FADE TO:

42. INT. WOODY’S APARTMENT – NIGHT

WOODY is seated on the couch in his apartment. He is still in his uniform but has loosened his tie and collar. JORDAN crosses to him with a drink. She sits next to him, saying nothing, but waiting for him to speak.

FADE TO BLACK

Next time on Crossing Jordan:

"For Whom the Bell Tolls"