[Scene: ME's Office. Nigel is practicing a speech in front of Garret and Bug. He is standing beside a screen which is playing different clips of the ME's office. A song is playing in the background.]

NIGEL: Boston is indeed the best place to die in this country. State of the art technology allows our medical examiners and criminolists to provide cutting edge service. By eliminating toe tags and switching to a barcode system, every aspect of each case, each body, can now be tracked through one central computer. And the next generation of forensic tools like the trace evidence concentrator, or Tracey as I like to call her, allow us to determine cause of death in 99.1% of our homicides, allowing families to grieve and to move on as best as is humanly possible. Boston welcomes the American Medical Examiners Association. What do you think?

BUG: The song's a bit much, right? I told him.

NIGEL: What are you talking about? It's perfect.

GARRET: It's too much.

NIGEL: Over the top, way too much.

GARRET: That said, I think we may just b*at Miami this year.

(Nigel and Bug laugh.)

NIGEL: Yes!

GARRET: We've been waiting three years for this. (They walk into the corridor.) Get lots of sleep tonight, fellas. And Nigel, keep the tie, it's a nice touch. Judges will be in the conference room 9am sharp. Presentation, inspect the morgue, check out autopsy findings against the bodies.

BUG: Does Jordan know about the time change?

GARRET: No, let's leave Jordan out of this. We all remember what a disaster her presentation was last year. Those lame jokes.

(Jordan walks up to them.)

JORDAN: 11am, right?

GARRET: What?

JORDAN: Our big presentation tomorrow.

GARRET: Yep, 11 o'clock.

(Jordan and Garret walk down the corridor.)

JORDAN: I thought my show and tell last year was really effective. But this year, I'm thinking of throwing in a few more jokes 'cause they love that stuff.

GARRET: Absolutely. Keep them laughing. Listen, I gotta get out of here, I'm a nervous wreck. So 11 o'clock. See you then.

JORDAN: Okay.

(Garret walks away. Jordan walks past a body on a gurney in the corridor. She stops to look at the tattoo on the body's ankle. Sidney walks up to her.)

SIDNEY: What in the world are you looking at?

JORDAN: This tattoo here.

SIDNEY: Okay, what about it?

JORDAN: My dad has one identical to it. Same spot, right ankle. (They look at each other and Jordan uncovers the body's face. An elderly man is under it.) That's Joe Pacaski.

SIDNEY: Yeah, you know him?

JORDAN: Yeah, he was a cop with my dad. How'd he die?

SIDNEY: They found him on a bridge this morning. He drowned.

JORDAN: My dad should know about this.

SIDNEY: Still no word from him?

JORDAN: No. I hired that private eye friend of Nigel's. Paid him two grand. Haven't heard a word.

SIDNEY: Ooh.

JORDAN: You know, Sidney, could you try to track down Charlie Krueg. He was Joe's partner on the force. Leave the number on my desk, I want to call him first thing in the morning.

SIDNEY: Okay, I'll do it right now.

JORDAN: Great, thanks.

SIDNEY: No problem.

(Sidney walks away. Jordan walks towards her office. Woody walks up to her.)

WOODY: Jordan, I want you to say it.

JORDAN: Say what?

WOODY: You're avoiding me.

JORDAN: Why would I be doing that?

WOODY: Ever since we got back from LA, and I think it's time that we talked about this.

JORDAN: What this?

WOODY: Us. Jordan, come on.

JORDAN: All right, fine. You know what? You're right. We really should be adult about this.

WOODY: Good. That's great. I'm just gonna go grab a ballistics report from Bug. Wait here for me, I'll drive. We'll go grab a drink or something.

JORDAN: No, that's a bad idea.

WOODY: Me drinking or me driving?

JORDAN: We should take separate cars. I mean, that way we just avoid the whole "I'll drop you off at your place" kind of thing.

WOODY: You're k*lling me, Jordan.

JORDAN: JB's, half an hour. I'll meet you there.

[Time lapse. Underground Car Park. Jordan is walking to her car. An elderly man steps in front of her.]

MAN: Hello, Jordan.

JORDAN: Do I know you?

MAN: No. I'm looking for your father.

JORDAN: My father, why?

MAN: Let's just say he owes me something.

JORDAN: You know what? I think you've got the wrong person because I really have no idea where he is.

(She tries to leave but he stops her.)

MAN: See now, I think you do.

JORDAN: Who are you?

MAN: See, I think you're gonna tell me.

JORDAN: This conversation is over. I'm getting in my car and I'm driving away.

(She walks off. He cocks his g*n. She stops. He points the g*n to her head.)

MAN: Make no mistake. I'm gonna k*ll Max, one way or the other.

OPENING CREDITS

[Scene: Underground Car Park. Jordan walks to her car.]

SIDNEY: Jordan.

(She turns around.)

JORDAN: Did you see that man?

SIDNEY: See who?

JORDAN: That man. He was just here.

SIDNEY: No, I don't see anybody.

JORDAN: You didn't see a man here?

SIDNEY: No, Jordan, I didn't. Are you okay?

JORDAN: Yeah, I'm fine.

SIDNEY: Look, I was heading home when I decided to stop by and tell you that the guy you wanted me to find out about, Charlie Krueg?

JORDAN: Yeah.

SIDNEY: He died yesterday in Florida. Yeah, but the weird thing is that he drowned too.

JORDAN: I need to find my father.

[Time lapse. Outside Ian "Sherlock" Moore's office. Jordan is banging on the door.]

JORDAN: Hey, Sherlock!

SHERLOCK: I got a hangover the size of my ass. This better be good.

JORDAN: Open the hell up.

(He opens the door.)

SHERLOCK: Mrs. Cavanaugh. What time is it?

JORDAN: Nine.

SHERLOCK: In the morning?

JORDAN: At night. What did you find out about my dad?

(She walks inside.)

SHERLOCK: Well, I haven't found him yet. Not the easiest man on the planet to find.

JORDAN: You've had an entire month. You haven't found anything?

SHERLOCK: I didn't say that.

JORDAN: Just tell me what you know.

SHERLOCK: Well, he's got a sister in Evanston, Illinois. And he was last seen  driving a '64 Ford Fairlane.

JORDAN: Right, because I told you all that. How about something new? Uh, what about Sam Keller? Did you follow that lead?

SHERLOCK: Sam Keller?

JORDAN: Yeah.

SHERLOCK: He wasn't much help.

JORDAN: Sam's a woman.

SHERLOCK: He is?

JORDAN: She and my dad dated when I was in high school. You haven't done a damn thing, have you?

SHERLOCK: I've been a bit busy. I mean, I was...

JORDAN: I gave you two thousand dollars to find my dad.

SHERLOCK: I had every intention of doing it.

JORDAN: Son of a bitch.

(She leaves.)

SHERLOCK: No, wait, look, I'm sorry.

[Scene: ME's Office. Conference Room. The computers are set up for the presentation. Nigel, Bug and Brian are there. Brian wipes a computer screen with a cloth.]

BRIAN: So what do you think?

NIGEL: Looks great, Brian. (Nigel and Bug walk out of the room.) I'm telling you, Buggles. I spoke to my mate in Milwaukee, he said the year they won, corporate sponsors threw tons of new gizmos their way.

BUG: Oh, be still my heart.

NIGEL: Yeah, I'll be able to expand my website www.nigelblog.com. It won't just be about solving m*rder, it will be the place to learn about cutting edge forensics in this country. Screw that, the world.

(They meet up with Lily.)

LILY: Hey.

NIGEL: Hey.

LILY: How's that going, that blog thing?

NIGEL: Well, we're getting thousands of hits a week. Mark my words, Beacon Hill m*rder may be solved before the week is out.

[Time lapse. Forensic Laboratory. Nigel, Bug and Lily are there. Nigel types on the computer.]

NIGEL: It's technology, my friends. Speaking of which, it's time to check myself out.

(He pulls down his sleeve to reveal a barcode on his wrist.)

LILY: You bar coded yourself?

NIGEL: If it's good enough for our cadavers. Easier than punching a clock. See, it's all about efficiency. ("Warning: File Corrupted" appears on the screen.) No, it can't be. Data's been wiped.

BUG: I'm sorry, did you say something about efficiency?

NIGEL: It's gone.

LILY: Calm down, Nigel.

NIGEL: No, no, no, you don't understand. Everybody in this morgue was logged in by this system. The paper identification was discarded. If the system isn't working...

BUG: We still have our copies of all the autopsy records.

NIGEL: Yeah, but without the computer, we don't know which file belongs to which body.

LILY: You're kidding? Who would set up a system that stupid?

NIGEL: This is a bloody disaster. You know when the AMEA judges pull a body from the drawer tomorrow morning and ask us to tell them about it, we're not gonna know who, what, why, when or how.

BUG: We are toast.

NIGEL: You gotta help me.

LILY: Help you how? It's not like we can re-identify every body in cold storage by 9am.

BUG: There's got to be a couple of hundred bodies.

NIGEL: Well, what other choice do we have, Bug?

LILY: Oh, god!

[Scene: Police Station. Woody is sitting at his desk. Jordan walks in.]

JORDAN: I tried to call. You didn't pick up your phone.

WOODY: There was a live band. I waited an hour.

JORDAN: Something came up.

WOODY: Something always comes up, Jordan.

JORDAN: It's about my father.

WOODY: (uninterested) Yeah?

JORDAN: Someone's trying to k*ll him.

(That gets his attention.)

WOODY: What?

JORDAN: Two friends of his, both cops, drowned in the last twenty-four hours. Then some guy puts a g*n to my head and says that he's looking for my father.

WOODY: Who was he? What did he look like?

JORDAN: 60's. Grey hair. Like a guy who's done a lot of bad things.

WOODY: Do you think you can pick him out of the mug book?

JORDAN: Yeah.

WOODY: Wait here.

(Woody leaves the room. Jordan sits down. Her phone rings.)

JORDAN: Hello?

SHERLOCK: This is Sherlock. I didn't tell you everything I know.

JORDAN: Okay, so tell me now.

SHERLOCK: No, not on the phone. Meet me at the end of pier 43 in the abandoned cannery. I'll tell you everything. You wanna see your father alive again? Come alone.

(Woody walks in with the mug books. Jordan has gone.)

WOODY: Jordan?

(He sees a note on his desk. It reads: "I'll explain later. Sorry")

COMMERCIAL BREAK

[Scene: ME's Office. Crypt. Nigel, Bug and Lily have taken most of the bodies out of the drawers.]

LILY: Wouldn't it have been smarter to put the barcode number on the files?

NIGEL: No, the barcode and the name were inextricably linked. There was no need.

BUG: Clearly.

LILY: Hm.

NIGEL: Okay, if the peanut gallery's done griping, can we move on, please? Time's a wasting. Thank you. Female, Caucasian, brown hair. Youngish, not more thirty-five.

BUG: This woman's not thirty-five. Try sixty.

NIGEL: Don't start with me, Bug.

BUG: Her hands, they're wrinkly. Varicose veins, sunspots.

LILY: Great. That limits our list to maybe thirty possible targets for Jane Doe number one of 147.

(Brian walks in.)

BRIAN: You guys having a party?

BUG: We're a little busy, Brian.

BRIAN: That's cool. There's a couple waiting in the conference room. They're name's Jenkins. They're here to see their daughter's body.

BUG, NIGEL, LILY: Now?

BRIAN: Yeah.

[Cut to the Conference Room. Mr. and Mrs. Jenkins are sitting at the table. Lily walks in holding a file.]

LILY: Mr. Jenkins, Mrs. Jenkins, I'm Lily Lebowski.

MRS. JENKINS: Where is she? We need to see her.

LILY: I'm so sorry but there's no medical examiner on duty to show her to you. If you could come back tomorrow...

MR. JENKINS: We just drove up from Baltimore. They called us, we need to see her. She'd been missing almost a week. Now they said she got h*t by an elevated subway train. Why did it take so long for them to call us?

LILY: Your daughter didn't have any ID on her so we needed to match her fingerprints to the missing persons report that you filed.

MRS. JENKINS: They said that is happened in a crum-infested neighbourhood? What was she doing in a place like that?

LILY: Did the police discuss any of this with you?

MRS. JENKINS: Discuss what? We just want to know what she was doing there.

LILY: You daughter was found in a area where there was a lot of solicitation.

MR. JENKINS: Excuse me?

MRS. JENKINS: Black girl in a bad neighbourhood and suddenly she's a hooker? Is that it?

LILY: I'm sorry, it's just the evidence, there was... (Mr. Jenkins snatches the file.) Please, sir.

MR. JENKINS: Traces of cocaine, multiple semen... (Mrs. Jenkins snatches the file and slams it on the table.) This is not our daughter, this is not our Chris. Now I wanna see my daughter!

LILY: I am so sorry but I can't. If you can come back tomorrow.

[Scene: Pier 43 Abandoned Cannery. Jordan pulls up in her car and walks inside. She hears a noise and looks around. Suddenly someone starts sh**ting. She runs for cover. The sh**ting stops and she hears a voice. She runs towards the voice and finds Sherlock on the ground. He has been sh*t.]

SHERLOCK: I'm sorry. Didn't know he was gonna k*ll them.

(Jordan sees the man load his g*n near by. The man sees her and she runs. He sh**t at her.)

MAN: Why don't you come out now, sweetheart, you're wasting both our time here.

(A hand reaches around and covers Jordan's mouth. She turns around and sees Max.)

MAX: Shh.

JORDAN: Dad.

MAX: Come with me.

[Time lapse. Jordan and Max are in the car. Max is driving.]

JORDAN: What happened back there? Who was that? Where have you been all this time?

MAX: Any particular order you want those answered in? By the way, nice to see you too, Jordan.

JORDAN: Oh, yeah, forgive me for not making small talk. Okay, so, how was the weather down in wherever the hell you were for the last year. Let's start with who that freak was and why he wants you d*ad.

MAX: It's Cahill.

JORDAN: Cahill. The Irish mob? He's the one who k*lled Joe Pacaski and Charlie Krueg?

MAX: Which leaves just me and Pete.

JORDAN: O'Mally.

MAX: We gotta get over to his place and warn him.

JORDAN: Why?

MAX: Thirty years ago, the four of us, Pacaski, Krueg, O'Mally and me were working a cop k*lling case that we traced to Cahill. So Pacaski and Krueg went undercover and dug up enough evidence to put the m*rder on him. It put him away for almost thirty years.

JORDAN: But he's out now.

MAX: Taking revenge. One at a time.

JORDAN: Dad, we gotta call the cops.

MAX: No, no cops.

(Max pulls over.)

JORDAN: What are you talking about?

MAX: Just promise me no cops.

JORDAN: A man was m*rder back there. We have to at least file a police report.

MAX: You don't get it, Jordan. They'll find that body two weeks from now, floating face down in the river forty miles away. (He groans in pain.) This isn't some amateur we're dealing with here.

JORDAN: God, you're bleeding!

MAX: Tends to happen when you get sh*t.

JORDAN: We gotta get you to a hospital.

MAX: We gotta get to O'Mally before Cahill does.

(Max loses consciousness.)

JORDAN: Dad. Dad!

COMMERCIAL BREAK

[Scene: Hospital. Max is laying in a bed. A nurse is standing beside him. Jordan walks in.]

JORDAN: Hi.

NURSE: Does he belong to you?

JORDAN: He's my dad, so yeah, I guess.

NURSE: Kinda cute. He single?

JORDAN: You could say comes with a few strings attached.

NURSE: He's gonna be fine. b*llet went clean through.

JORDAN: Yeah, I know, I spoke with the doctor.

NURSE: Must have pissed someone off real good though, huh?

JORDAN: I'm sorry?

NURSE: To sh**t him. Police should be here any minute. We report these things, you know.

JORDAN: Yeah.

NURSE: It wasn't you, was it?

JORDAN: Me? No. Although I have been a little ticked off with him myself lately.

NURSE: Not to intrude, but let me give you a little free advice. First, a man his age should not be running around getting sh*t at.

JORDAN: Okay. You preacher, me choir.

NURSE: Second, try not to stay mad at each other. I see a lot of people drop d*ad in this place. You wouldn't want to say something you can't take back. Trust me, I know.

JORDAN: I appreciate the advice.

MAX: She's right.

JORDAN: Oh, geez.

MAX: I'm not d*ad, am I?

JORDAN: No.

NURSE: We usually toss a sheet over you if you are.

MAX: Where am I?

JORDAN: SEM's.

MAX: You didn't check me under my real name, did you? Oh, geez, Jordan.

(He tries to sit up.)

NURSE: Whoa, whoa, whoa, whoa there, big fella.

MAX: I gotta get out of here, he'll find me.

JORDAN: No, dad, I'm gonna get a security guard. You'll be fine.

NURSE: Hey, wait, not to state the obvious here, but is there something going on that I should know about?

JORDAN: You just stay with him.

(Jordan looks in the corridor. Max tries to get up.)

NURSE: Whoa, whoa, whoa. I said no.

(Jordan walks to reception.)

JORDAN: Excuse me...

(Cahill walks in the corridor. Jordan sees him and goes back into the room.)

NURSE: I need you to lie back.

JORDAN: All right, okay, moving onto plan B.

MAX: He's here, isn't he?

NURSE: You know, I'm really not getting paid enough for this.

JORDAN: Listen to me. Someone is trying to k*ll my father. We need your help.

[Time lapse. Corridor. The nurse is wheeling a bed down the hallway. A body is under the blankets. Cahill comes out of a room.]

CAHILL: Excuse me, sweetheart.

NURSE: Visiting hours are over, sir.

CAHILL: Ooh, I'm sorry, I hadn't realised.

NURSE: You're gonna have to leave. We have rules.

CAHILL: I'm sure you do. And I can appreciate that coming from such an attractive package as yourself. It's just I'm looking for someone. A man.

NURSE: Aren't we all.

CAHILL: He's a big guy. 6'5", 6'6". Blonde.

NURSE: Sounding better all the time.

CAHILL: Name's Cavanaugh. They said he was on the floor somewhere.

NURSE: Uh, sorry, I don't work this floor. I'm here for a pickup.

CAHILL: Who you got there?

NURSE: This? Uh, you don't wanna be near this guy. He's highly contagious, lots of puss.

CAHILL: Let me see him.

(Down the corridor behind Cahill, Jordan and Max sneak out.)

NURSE: Fine. Knock yourself out. (He pulls across the blankets and under them are filled bags. The police walk around the corner.) Hey, fellas, how you doing?

[Scene: ME's Office. Crypt. Nigel, Bug and Lily are looking for Chris Jenkins.]

NIGEL: I just think we're wasting precious time prioritising this girl, you know. She'll turn up eventually.

LILY: Your daughter dies, you haven't seen her in months, but hey, why don't you let her rot in a cold dark room where no one even knows who she is.

NIGEL: Come on, that's a bit dramatic, don't you think?

LILY: You didn't see the look on their faces. Imagine discovering your daughter...

NIGEL: In quite a messy state? (He finds the body.) You said African-American, 22, h*t by a subway? I think this is your girl.

(Lily sighs in relief.)

BUG: That can't be Chris Jenkins because I have Chris Jenkins right here. Only this one's a he.

LILY: There are two Chris Jenkins?

BUG: Age 35, male Caucasian, died of a brain aneurysm. Wait a minute. List off the trace we found on your Chris Jenkins.

NIGEL: No, why?

BUG: Because this is looking awfully familiar.

NIGEL: Multiple DNA, semen, saliva, sweat, trace cocaine...

BUG: Viagra, traces of O negative blood, lice...

NIGEL, BUG: Grape soda.

LILY: They had the same trace evidence?

NIGEL: How is that possible?

[Time lapse. Forensic Laboratory. Nigel, Bug and Lily are looking at the computer.]

NIGEL: When Tracey here interfaced with the barcode system, she got tripped up by two bodies having the name Chris Jenkins. Assigned the same trace for both of them.

BUG: That's what we get for letting a machine do our jobs for us.

NIGEL: No, the machine is state of the art, top of the line.

LILY: If trace evidence is wrong, then maybe she wasn't a prost*tute.

NIGEL: We don't have time to determine that right now, Lily.

BUG: Yeah, we'd have to do a full forensic work up.

NIGEL: Guys, it's after midnight. The presentation is in eight and a half hours. We still have two hundred bodies to identify.

LILY: We have to find out the truth about her. Her parents are devastated.

NIGEL: Okay, fine. Second the presentation's over I'm there for you.

LILY: Is that what we care about? Winning some stupid contest?

NIGEL: No, it's just that if we divert our resources to work the trace on this girl...

LILY: Listen to yourself. Diverting resources? That's what got us into this mess in the first place. Treating people like numbers.

BUG: She's right.

NIGEL: We were gonna be number one.

BUG: Oh, come on, face it, Nigel. Your high tech system, it doesn't work. It sucks. And if we put this family through hell, do we really deserve to be number one?

[Scene: Apartment Building. Outside apartment 317. Jordan and Max are there. Max knocks on the door. Pete opens it.]

PETE: Hey, Max.

MAX: Pete.

PETE: Jordan.

JORDAN: Hey, uncle Pete.

PETE: What the hell are you two doing here?

MAX: It's Cahill, Pete. He's out. They released him last week.

PETE: Joe? Charlie?

MAX: They're d*ad.

PETE: d*ad. My god. All these years I thought we'd gotten away with it.

JORDAN: Got away with what?

PETE: We should never have framed him.

JORDAN: I guess you must have left that part out.

COMMERCIAL BREAK

[Scene: Police Station. Jordan and Woody are there.]

JORDAN: All right, I should have called you, but he said no cops.

WOODY: He?

JORDAN: It's a long story.

WOODY: Jordan, I waited for you another hour.

JORDAN: Can we talk about this later? We got a situation and I need your help.

WOODY: (sarcastic) Oh, a situation? I didn't realise.(Max walks in behind Woody.) Let me guess, it's about your dad and he's been abducted by aliens...

MAX: I'd take an alien abduction right about now. And it's nice to see the two of you are still getting along so well.

WOODY: Max.

[Time lapse. Jordan, Max and Pete are sitting around the desk. Woody is standing up.]

WOODY: So what'd you guys do? Like, plant evidence on him?

JORDAN: Oh, you didn't know? That was my dad's specialty on the force.

MAX: He was guilty. I don't have any regrets.

JORDAN: No, of course not.

MAX: We need to go on the offensive.

JORDAN: Meaning what?

MAX: Find him before he finds us.

JORDAN: How? He's out there tracking us.

WOODY: How did Cahill find you?

MAX: Private Detective.

JORDAN: You knew about the P.I.?

MAX: He'd been sniffing around for a couple of weeks. I figured you'd hired him to find me.

JORDAN: He told me he hadn't found you.

MAX: Because I paid him off. Then he calls me tonight telling me you're in danger and I should meet him at the cannery.

PETE: So Cahill and the P.I. were both looking for you. Cahill finds out somebody else is on your trail, gets to him, hires him to find all of us.

MAX: Son of a bitch was working for Cahill.

WOODY: Whoa. How do we know all this?

JORDAN: Before he died he said that he didn't know Cahill would k*ll them. Them. He obviously knew about Charlie and Joe.

WOODY: So if Cahill and the P.I. were working together, he was our only connection.

MAX: A lot of good it does, he's d*ad.

JORDAN: Well, maybe there's a paper trail. A phone number in his office that might lead us to Cahill.

WOODY: All right, we'll go. You two stay here.

MAX: No, no, we're going with you.

JORDAN: Haven't you got yourselves in enough trouble already?

(Jordan and Woody leave.)

[Scene: Sherlock's Office. Jordan picks the lock and she and Woody walk in.]

WOODY: I thought I was a slob.

JORDAN: Okay, if I was this guy, where would I keep my files?

(Jordan searches the desk.)

WOODY: So where's your dad been all this time?

JORDAN: I don't know. If I asked him I'm not sure I'd get a straight answer.

WOODY: Why's it so hard between the two of you?

JORDAN: Just lucky, I guess.

WOODY: No, really, you guys are in this cosmic battle. Like everything's one giant mess.

(Jordan sits on the chair. Woody leans on the desk beside her.)

JORDAN: When I was about twelve I came home from school one day and I found my dad sitting on the front steps. I could tell he'd been crying. He said that he locked himself out. I thought it was so strange that he would cry over something like that. Scared the hell out of me. Of course now I know that it wasn't about locking himself out. But at the time, all I could think was that I needed to take better care of him. That I was all he had. So I guess that's kind of our problem in a nut shell.

WOODY: A man likes to think that he can take care of himself.

JORDAN: Especially with his own daughter. I think he's always resented needing me so much.

WOODY: Sorry I was pushing you so hard earlier tonight. About us. I don't wanna be another man in your life who resents needing you.

JORDAN: Since when did you become so self-actualized?

WOODY: I don't know what that means but it sounds pathetic.

JORDAN: No. No, actually, I think I like it.

WOODY: I'm gonna go check the bedroom. (Woody walks into the bedroom and looks under the mattress. He finds a men's magazine and takes a look. The lights go out.) Jordan, what just happened?

JORDAN: I think the lights went out.

WOODY: Yeah, I know, but why? (Woody hits his leg on something on the way to the door. He gets to the door and it slams in his face.) Jordan! (He tries to open the door but it's locked.) Jordan!

[Cut to the hallway. Jordan is struggling to free herself from Cahill's grip, as he pulls her outside.]

WOODY: Jordan! Open the door!

(Cahill hits Jordan in the face, knocking her out. He throws her over his shoulder and carries her out.)

[Scene: ME's Office. Trace Evidence. Nigel, Bug and Lily are there examining the bodies of the two Chris Jenkins.]

BUG: This makes no sense. I've swabbed every inch of her body but there's no trace of the semen or the saliva. She's clean.

LILY: Her parents were right. The cops took one look at her, she's black, she's in south Boston at night, she had the roll of bills. They figured she was a prost*tute.

NIGEL: Maybe he's the prost*tute.

BUG: Yeah, or a John.

(Results show on the computer.)

NIGEL: Whoa, Chris. You certainly got around.

BUG: So what accounts for the trace that we did find on her? Alcohol, soot, tar, people matter. I mean, it doesn't exactly sound like Anne of Green Gables.

NIGEL: Sounds more like she's homeless.

BUG: Yeah, but her feet and nails, they are in excellent condition. (Results show up on the computer.) Wait a minute, I'm picking up something that Tracey missed. Uncomposition solid. Salt, colouring agents, coagulate, curd of animals milk.

NIGEL: Cheese.

BUG: Yeah, but her stomach contents were filled with soy and vegetables and...

LILY: That's supposed to mean something? Cheese?

NIGEL: Actually, I think it does.

[Scene: Pier 43 Abandoned Cannery. Jordan and Cahill are there. Jordan is on the phone.]

JORDAN: Woody.

WOODY'S VOICE: Jordan, where the hell are you? Are you all right?

JORDAN: Yeah, I'm okay.

CAHILL: Put Max on.

JORDAN: I need to speak to my dad.

MAX'S VOICE: Jordan. Just tell me you're all right.

JORDAN: Yeah, dad, I'm fine. There's someone here who wants to speak to you.

(She hands the phone to Cahill.)

CAHILL: Hello, Max. It's been a long time.

MAX: I swear to god, Cahill, you hurt my daughter and I'll k*ll you.

CAHILL: thr*at don't mean much to me anymore.

MAX: What do you want with her?

CAHILL: Now there's a stupid question.

MAX: Fine. Just tell me where.

[Cut to the Police Station. Woody, Max and Pete are there.]

WOODY: Where is she? What'd he say?

MAX: I can't tell you.

WOODY: What?

MAX: It's our turn. You're staying here.

PETE: He wants us. This has nothing to do with you.

WOODY: Are you people nuts?

MAX: He'll k*ll her, Woody. I'm not taking that chance.

WOODY: Max, listen to me. You're not the only one who cares about her. Now we need a plan here, fellas, okay? And in order for that to work, you gotta tell me everything, and I mean everything. 'Cause I got a feeling this is a lot more complicated than you're letting on.

COMMERCIAL BREAK

[Scene: Pier 43 Abandoned Cannery. Max walks towards Jordan who is sitting in a chair.]

MAX: You okay? (Jordan nods.) Your move, Cahill.

CAHILL'S VOICE: Where's O'Mally?

MAX: He's coming.

CAHILL'S VOICE: Get on your knees. Now! (Max does so.) Hands behind your head.

JORDAN: You shouldn't have come here, dad. He's gonna k*ll you.

CAHILL'S VOICE: Not until I get my money.

JORDAN: What money?

CAHILL'S VOICE: Oh, you never told her, huh, Max?

JORDAN: Tell me what?

MAX: Jordan, I...

JORDAN: What money?

MAX: Five million dollars.

CAHILL: They framed me for it. Framed me. So they could steal my money. Go ahead, tell her.

MAX: All right, here's the deal. O'Mally here has a half a million of it. Show him, Pete. (Pete walks in with a suitcase. He opens it up to reveal the money.) You let Jordan go, we'll give you the rest.

CAHILL: Not much of a deal, is it, Max? You get your daughter and your life. I spent thirty years behind bars. Where's my retribution? Where's my justice? I tell you what. How about I k*ll you all and take the half a million.

(Woody sneaks along a walkway above everyone.)

MAX: All right, let her go and take me.

(Max stands up.)

PETE: Don't do it, Max.

MAX: My life for hers.

JORDAN: Dad!

MAX: Come on, take it or leave it!

CAHILL: Fine, I'll take it.

(Cahill sh**t Max in the chest. Jordan rushes to his side. Woody sh**t towards Cahill.)

WOODY: Both of you stay down!

(Woody runs over to Max and Jordan.)

MAX: I'm all right, Jordan. I'm wearing the vest. I was trying to tell you.

WOODY: You guys all right? Pete, take the flank. I'm going after him.

PETE: Yeah.

(Woody and Pete run off.)

JORDAN: Dad, it's safe over here.

(Jordan helps him to another spot.)

MAX: There was no money, Jordan. Just a few thousand Woody pulled from impound. We didn't steal the five million from Cahill. We were going to but it wasn't there. Someone inside his operation must have gotten it.

(They hear a g*n.)

[Cut to Woody. He finds Pete standing beside Cahill's body holding a g*n. Woody takes the g*n off Pete. Jordan and Max arrive.]

PETE: He drew on me.

[Scene: ME's Office. Conference Room. Lily and Mr. and Mrs. Jenkins are sitting at the table.]

LILY: You were right. The file that you saw last night, it was, um... There was a glitch.

MRS. JENKINS: Glitch?

LILY: Sometimes evidence points in one direction and it's not until we look, really look hard, that we see that it doesn't mean what it looks like it means.

MR. JENKINS: So you're saying you screwed up?

LILY: Yes.

[Cut to the elevator. Nigel and Bug are waiting there. Dr. Macy walks out of the elevator.]

GARRET: Hey, morning, guys. I got a full night's sleep, didn't nick myself shaving, no traffic on the pipe. All signs point... What? Is there something you wanna tell me?

NIGEL: Our, uh, our new barcode system, tried to access an incorrect MA, resulting in a program...

GARRET: Nigel...

NIGEL: It crashed.

GARRET: That's bad.

BUG: Which left us with three hundred John and Jane Does.

GARRET: This is so bad.

NIGEL: Then we could've put the whole thing back together again, but then these parents came in looking for their daughter.

[Cut to the Conference Room.]

LILY: Chris was in that neighbourhood because she was distributing cheese sandwiches. USDA Emergency rations to the homeless. We confirmed it with the shelter. On the behalf of this entire office, I want to offer our most heartfelt apologies.

MRS. JENKINS: Thank you.

[Cut to the Elevator.]

NIGEL: Seems our new system lead to a erroneous conclusion about the girl.

BUG: That she was a prost*tute. We had no choice but to find the truth.

GARRET: Which is exactly why we are the best. Took the Red Sock eighty-six years to win that world series. I'm a patient man.

[Cut to Trace Evidence. Kevin Cahill. Jordan is outside looking into the room. She walks down the hallway and into her office. Max is asleep on the couch. She opens her desk drawer and slams it shut, waking Max.]

MAX: Hey.

JORDAN: Hi.

(Max sits up.)

MAX: Look, Jordan, about the money. It was a long time ago, I was young, stupid, had a wife and kid. I made practically nothing on the force.

JORDAN: I don't make much either, but you don't see me robbing any banks.

MAX: You know what kind of money your mother came from. How was I supposed to compete with that? I wanted a life for you, for her.

JORDAN: So you were gonna steal it?

MAX: But I didn't.

JORDAN: Because it was gone when you got there, dad. It's hardly a moral high ground.

MAX: I'm glad it wasn't there. I'm not sure I could've lived with myself if I'd gotten away with it.

JORDAN: Easy for you to say now.

MAX: For god sakes, Jordan. When are you gonna stop being so disappointed in me?

JORDAN: When you stop being so disappointing.

MAX: That's fair.

(Max leaves. Sidney walks in.)

SIDNEY: Hey, Jordan, that body in trace?

JORDAN: Yeah, what about it?

SIDNEY: The initial report said he was sh*t in self defense.

JORDAN: That's right.

SIDNEY: Okay, well, you need to take a look at this because there's GSR tattooing around the wound. Now I'm not sure self defense is what I would call it. I would say it's more like an execution.

[Scene: Pete's Apartment. Jordan knocks on the door. Pete opens it.]

JORDAN: Hi, Pete.

PETE: Jordan.

JORDAN: I just wanted to see if you were okay.

PETE: I'm fine.

(She sees a packed suitcase.)

JORDAN: You going somewhere?

PETE: Yeah, I thought I'd go down to Florida. Do a little fishing.

JORDAN: I didn't know you fished.

PETE: I fish.

JORDAN: Aren't you gonna invite me in?

PETE: No.

(Jordan walks in anyway. She sees piles of money sitting there.)

JORDAN: Well, I gotta hand it to you, Pete. You got will power. Sitting on it all these years.

PETE: Cahill was a powerful man. Even behind bars. I always knew I had to k*ll him somed

ay if I wanted to spend it.

JORDAN: But you're not gonna spend it. Gotta turn you in.

 (He pulls out a g*n.)

PETE: I'm real sorry to hear that.

JORDAN: What are you doing, Pete?

PETE: Please, Jordan, just walk away. (Max walks in.) This doesn't concern you, Max.

MAX: You're holding a g*n and that's my daughter. I think it does.

PETE: We'll split it, Max. You and me.

MAX: Sorry, not interested.

PETE: It's five million dollars.

MAX: It's blood money.

PETE: No, Max. We deserve this money, we earned it. Forty years on the force, putting our asses on the line. Day after day, year after year for no money? It wasn't fair. We earned this money.

JORDAN: You were always my favourite, Pete. You'd tell those dumb jokes every time you came over for dinner. And you'd do those magic tricks that I always fell for. I used to love that.

MAX: Give me the g*n, Pete.

(He hands over the g*n.)

PETE: I'm sorry.

[Scene: Roof Top. Jordan is there. Max walks over to her carrying cups of soup.]

MAX: I brought you some chowder. Had them put in a dash of that hot sauce you like.

JORDAN: Great. How much do I owe you?

MAX: I'm still your father, Jordan, I can buy you a cup of soup.

JORDAN: Maybe this'll help.

(She hands him an envelope. He opens it and pulls out a check.)

MAX: Wh... You sold the bar, didn't you? Hell, I was a lousy businessman, anyway. So, you gonna ask me where I've been all this time or not?

JORDAN: No.

MAX: Not interested?

JORDAN: I just don't want you to have to lie. You're here, we're both adults, and for some reason we still love each other. That's all that matters. I think we should call a truce.

MAX: What have you done with my daughter?

JORDAN: Dad, I'm serious. We're either wasting our time screaming at each other about the past, or avoiding each other and wonder why we're so damn lonely. I wanna throw in the towel.

MAX: I wish it was that simple.

JORDAN: It can be, dad. Dad, it's up to us. We've got to start over.

MAX: How? How do we do that, Jordan?

JORDAN: You know, I have no idea. But maybe it's, uh, us downing our chowder and going from there.

MAX: To starting over?

JORDAN: To starting over.

END
{"type": "series", "show": "Crossing Jordan", "episode": "04x15 - It Happened One Night"}