ACT IV

FADE IN:

EXT. GULL’S WAY—MORNING

The truck is where it was left last night, but now the driver’s side mirror is temporarily back in position thanks to the miracle of duct tape.

EXT. THE PATIO—MORNING

McCORMICK is upholding the reputation of the Gull’s Way safe house culinary department with a spread that includes scrambled eggs, bacon, toast and a selection of fresh fruit. We wonder when he has time to do the shopping. PORTMAN is sitting at the table, not even pretending to pick at the food on her plate. She appears to have already heard the news. HARDCASTLE and McCORMICK sit across the table from each other, engaged in the lively art of conversation.

McCORMICK

It’s risky. Besides, we have two classes today,

(beat)

and one of ‘em is torts.

HARDCASTLE

Torts, schmorts. I’m talkin’ about nailing a murderer, not to mention the guy who tried to run you two over last night.

McCORMICK

(irritated)

Come on. Why don’t you just admit it? You’re bored and you want to go out and play. You could give everything we’ve got to Frank. He gets paid to do this stuff.

HARDCASTLE

We ain’t got much, kiddo. Two letters off a license plate and a whole lotta maybe. This might be our only chance to get the goods on—

Portman puts down the fork she was holding. It lands with a clatter on her plate. The two men look at her.

PORTMAN

I think I have a say in this. She was my sister.

(there was the slightest emphasis on the “was” and she looks each of them in the eye long enough to get a nod from both)

And,

(breaking down just slightly)

I want to get those bastards.

Hardcastle smiles; McCormick looks concerned. Hold that for a beat and,

CUT TO:

EXT. THE KAYTS MANSION

INT. CLOSE IN ON A CALIFORNIA LICENCE PLATE

It’s a slightly fanned set of two, with the top one visible. The “number” on it LKZ-582, The hand holding it sets it down on a desk top.

ANGLE—PULL BACK

J. T. HALLER steps back from the desk and stands respectfully. JASON KAYTS sits behind the desk, frowning at the plates.

HALLER

I’ve had the van reported stolen. It’s being shipped to Mexico.

(beat)

But looks like the girl’s gone to ground. I think she’s staying at Hardcastle’s place.

KAYTS

You said you could handle it. Just a simple job, like the one four years ago, and you make a hash of it.

Haller opens his mouth to speak. Kayts cuts him off with a sharp sweep of his hand.

KAYTS

I don’t want your excuses. I want results.

The phone on Kayts’ desk rings. Kayts leans forward and picks it up, still scowling at Haller.

KAYTS

Hello?

EXT. A PAYPHONE—DAY

Tight in on PORTMAN, holding the receiver to her right ear.

PORTMAN

(her tone is low, somewhere between threatening and seductive)

Mr. Kayts? I don’t know if you remember me. We met a few years back.

INTERCUT

KAYTS

(wary)

To whom am I speaking?

PORTMAN.

You called me your angel.

(beat, then sharper)

You said you’d never forget me.

There’s a beat as Kayts reacts.

KAYTS

(stays cool, wary)

But I’ve been hearing that you’ve taken up with somebody else—a judge, no less.

PORTMAN

Him?

(laughs lightly—then cuts it off with a sudden change of tone)

But maybe you should be worried. He’s awfully interested in you. He’s been asking me all kinds of questions.

KAYTS

And just what have you been telling him?

PORTMAN

Nothing much…yet.

KAYTS

Maybe we should get together, talk over old times.

PORTMAN

I don’t think so. Not after last night.

(beat)

The van.

KAYTS

I have no idea what you’re referring to. Whatever may have happened last night, I had nothing to do with it.

PORTMAN

Of course not. People like you never do their own dirty work.

(beat)

Maybe I should talk to Hardcastle.

KAYTS

(sharply)

No, that’s not necessary.

(then suddenly more persuasive)

But how can we do business when you don’t trust me enough to meet with me?

(practically purring)

Whatever you think happened before, I can make it up to you.

PORTMAN

(still doubtful)

What kind of “making up” are you thinking about?

KAYTS

I think we need to talk about that in person, don’t you?

PORTMAN

Somewhere public.

KAYTS

If you insist. Why don’t you choose the time and place?

ANGLE—PORTMAN

The camera is still close-in. She glances to her right with a questioning look, moving her left hand up to cover the mouthpiece of the receiver.

ANGLE—PULL BACK

It’s a public phone at the corner by a gas station. We see HARDCASTLE leaning in close on PORTMAN’S right side, by the receiver, while McCORMICK stands just a bit further away on her left, arms crossed, head cocked. The truck is parked not far behind them. The duct tape is still holding on the side mirror.

HARDCASTLE

(whispers to Portman)

Not too public. We want him to try something.

PORTMAN

(uncovers receiver, then, to phone)

How does the Santa Monica Pier sound to you?

McCormick smiles but Hardcastle makes a face. It’s way too public.

RESUME INTERCUT

KAYTS

(a beat - considering)

A bit open. How about the beach, under the pier? Say, 2 o’clock today?

PORTMAN

(definitive)

3:30. Under the pier.

Now Hardcastle is smiling. He likes the girl’s style. McCormick is grimacing slightly.

KAYTS

Fine, 3:30. See you then.

He puts the receiver back in the cradle soundlessly and sits back in his chair, his expression still thoughtful.

KAYTS

(to Haller)

That was the girl. She wants to meet.

HALLER

(looks alarmed)

But, like I was tryin’ to say, there’s something screwy about this. I went back around, after the “accident”. They’d taken off but there were some papers layin’ around and this.

(he scrabbles in his shirt pocket and pull

(pulls out something small—a photo ID card)

See?

He holds the card out, leaning forward so Kayts doesn’t have to move much. Kayts takes it, holding it close and studying it briefly. He looks at Haller.

KAYTS

“Andrea Portman”? And she’s enrolled in law school?

(he looks closely at the card again)

But it’s her. I don’t forget faces.

(beat)

And she knows about me. She remembers. I don’t how much, but I intend to find out.

HALLER

(doubtful)

You’re going to meet her, out in public?

KAYTS

We’ll meet,

(flips the card between two fingers and then clutches it in a tight grip)

but on my terms.

(beat)

Get Vinnie. He’s involved in this, too.

Off that we,

CUT TO:

EXT. STREET CORNER—DAY

HARDCASTLE, McCORMICK, and PORTMAN are standing by the truck, not far from the public phone. It sounds as if they’re in mid-argument.

PORTMAN

What can happen? Even under the pier there are scads of people, bicyclists —

McCORMICK

Shadows, guys with switchblades, snipers —

HARDCASTLE

It’s too public. He might not try anything there. Besides, we’ll get Frank in on it. We’ll have it covered six ways to Sunday.

PORTMAN

(suddenly more anxious)

Does he have to see the photos?

HARDCASTLE

Kiddo, Frank’s a cop. He’s kinda hard to shock. Anyway, he’s busy enough with illegal stuff. He doesn’t have a lot of disapproval to waste.

McCORMICK

Besides, it’s not you.

PORTMAN

But now I’m pretending to be her.

(beat—looking worried)

Do you think he believed me?

HARDCASTLE

Looks like he can’t afford not to. Which is more evidence that he has a guilty conscience. All we have to do now is figure out why.

(beat)

But thanks for moving the time back. There’ll be a little less beach traffic, and more time to get set up.

(smiles)

You’re a natural at this.

PORTMAN

(looks at him, puzzled)

Set up?

(beat)

Uh-uh. We’ve got Torts from 12:30 to 2:30.

(checks her watch and glances up at Mark)

If you give me a ride in that flashy car of yours, we can make it to Santa Monica Pier in plenty of time after class.

McCORMICK

(he’s not smiling)

I’ll do it. But I think you’re not taking this seriously enough.

(sharp glance at Hardcastle)

Neither of you.

(to Hardcastle)

She might not know any better but you do. Doing stuff like this on the fly is risky as hell.

HARDCASTLE

(he nods in sober agreement but says)

Not that it’s ever stopped you.

McCormick frowns. There’s not much room for argument there.

HARDCASTLE

(heads for the truck, talks over his shoulder as he opens the door)

I’ll set everything up.

(beat)

You two worry about Katko v. Briney, and I’ll handle Portman v. Kayts.

Hardcastle stands aside, holding door for Portman, smiling confidently. McCormick shakes his head slowly as he heads for the driver’s side. Off this,

FADE TO:

EXT. THE LAW SCHOOL—DAY

There’s a smattering of student-types strolling by but no one entering or leaving. This all changes a half-beat later as the doors at the top of the steps open and students begin to exit, first in ones and twos, then en masse. In the crowd we spot PORTMAN and McCORMICK descending to the sidewalk.

ANGLE—PORTMAN AND McCORMICK

McCORMICK

I’ll grab the flashy car and be back in a sec.

Portman nods and steps back from the street and out of the way of the clumps of students still exiting. McCormick walks away briskly.

ANGLE—FROM DOWN THE STREET, TOWARD PORTMAN

The truck drives into the scene with HARDCASTLE visible behind the wheel. He pulls up to the curb across from the hall. Portman spots him and takes two steps toward her side of the street, as though intending to cross over to speak to him. Hardcastle has his door open but hasn’t stepped out. A dark Cadillac glides up to the curb near PORTMAN.

ANGLE—PORTMAN AND THE SEDAN

Portman stops in her tracks. The rear door opens and HALLER is seen, pointing a gun.

HALLER

No noise. Get in.

Portman looks around franticly but does as she’s told. Haller grabs her wrist to hurry her.

ANGLE—FROM SIDEWALK TOWARD DRIVER’S SIDE OF THE SEDAN

The door closes behind Portman. No muss, no fuss. The car glides away, very smooth and efficient, to reveal Hardcastle across the street, slamming the truck door shut and,

ANGLE—FROM HARDCASTLE’S POV BACK TOWARD THE LAW SCHOOL

The sidewalk’s empty. He glances sharply toward the departing sedan.

ANGLE—HARDCASTLE AND TRUCK

HARDCASTLE

Dammit.

He turns to open the truck door and scramble back in. As his truck lurches from the curb, the COYOTE approached from the opposite direction and pulls up alongside.

ANGLE—COYOTE AND TRUCK

They’re facing opposite directions on the street, so HARDCASTLE, leaning out of his window, is next to McCORMICK, looking up at him, startled.

HARDCASTLE

(shouting)

They snatched her. The black Caddy.

(pointing down the street)

Thataway.

SMASH CUT:

INT. THE CADDY—DAY

Vinnie D’Sousa is behind the wheel, looking tense.

ANGLE—HALLER AND PORTMAN IN THE BACKSEAT

More silent tension. Portman is clutching her binder and sitting as far as possible from Haller, who’s still holding the gun on her.

HALLER

(quiet, firm, and chillingly polite)

You’ve got an appointment. We didn’t want you to be late.

CUT TO:

EXT. COYOTE AND TRUCK IN FRONT OF LAW SCHOOL

But not for long. The truck departs with a squeal of tires making an over-demand on traction and takes an early lead. The Coyote executes a whip-sharp turn involving minimal sidewalk and shoots past it.

THE CHASE—DIRECTOR’S SEQUENCE

Hardcastle is driving hell-bent-for-leather but it’s obvious that he’s going to be left behind in both speed and maneuverability. The camera stays with the Coyote, as McCormick takes insane risks to make up the block-and-a-half lead that the Cadillac started out with.

INT. THE CADILLAC

Vinnie D’Sousa gives a hard stare to his rear-view mirror and then glances into the back seat.

D’SOUSA

I think we got a tail.

Haller looks back, but only for a fraction of a second, not shifting his gun.

HALLER

(to Portman)

You got a boyfriend with a flashy car?

She looks at him rigidly, not sparing a glance for whatever is behind them.

HALLER

(to D’Sousa)

Lose ’em.

EXT. THE CADILLAC

It spurts ahead. D’Sousa’s no slouch and it’s every man for himself for the pedestrians as the Caddy makes McCormick’s pursuit look sedate.

INT. THE COYOTE

McCormick is a vision of grim concentration. He’s not giving up.

INT. THE CADILLAC

Portman glances out the window past Haller and then looks at him sharply.

PORTMAN

(still a little naïve about this kidnapping thing)

I’m supposed to meet Mr. Kayts at the Santa Monica Pier.

Haller laughs, waves the gun in a quick gesture.

HALLER

That’s what I liked about you, Angel, you had that crazy sense of humor.

PORTMAN

(it’s finally sinking in now)

I’m not her. I’m not Angela.

D’Sousa looks back for a second, then straightens forward and focuses on his driving. Haller just looks at her with a sly smile.

HALLER

Listen, kid, I don’t care if you say you’re Gina Lollobrigida; you threatened Mr. Kayts and he’s a guy who doesn’t like being threatened.

PORTMAN

(afraid, but holding it together)

Where are you taking me?

HALLER

(tired of the conversation)

You’ll know when we get there.

(glances out the rear window again)

Your boyfriend’s persistent, I’ll give him that.

THE COYOTE

McCormick is indeed persistent, despite having lost the Cadillac with the change of traffic signals at a busy intersection. McCormick negotiates a sharp right into a business district alley, encounters the proverbial high-clearance shipping truck, and ducks through beneath it, leaving a couple of teamsters staring after in bewilderment. The next cross-street requires a sharp left, with a fishtail maneuver that forces cross-traffic to a screaming halt, but at least the next light lets him through, and now he’s running neck and neck with the Caddy in parallel courses on either side of a median parkway the leads toward a marina. We see the rear window drop on the Caddy and a gun barrel glints briefly before there is a sharp shot. McCormick swerves, whether from damage or reflex evasive maneuver we can’t tell.

INT. THE CADILLAC

Haller has his right arm, with gun, extended past Portman—a tactical error. She lunges forward, knocking his second shot awry and sinking her teeth into his wrist. He howls, rips himself free, and backhands her with the gun.

EXT. CADILLAC AND COYOTE

They’re still running nearly even, but the end is near as the roadways merge in a parking lot at the edge of the water. The Cadillac is going too fast. As the brakes are applied, it skids sideways. It barely escapes going into a side roll, rocking once as it finally comes to rest against the railing that separates the parking lot from the harbor. The Coyote pulls up sharply, with only enough of a skid to show it was a challenge. McCormick scrambles out of his seat and approaches the Caddy at a run, to take advantage of the other car’s less graceful stop.

ANGLE—THE PASSENGER SIDE OF THE CADILLAC

It’s too late. D’Sousa still looks rattled, but the back door is flung open and Haller has a gun on McCormick. Portman is slumped in front of him, her face bruised. She appears stunned.

HALLER

(to McCormick)

Don’t even think about it.

HALLER’S POV

McCormick freezes.

McCORMICK’S POV

He sees what Haller doesn’t. Portman’s eyes are more open. She gazes forward for a moment, but then suddenly straightens and lunges, knocking Haller back, into the car. Another shot goes off. Portman, or maybe it’s Haller, is screaming like a banshee. There’s a good chance Haller’s going to need rabies shots. D’Sousa is emerging now.

ANGLE—THE DONNYBROOK

McCormick has waded into the fray, yanking D’Sousa out of his seat with his left hand and flattening him with one pent-up roundhouse right. He turns to aid Portman. Outside the back seat, now, she’s clinging to Haller’s gun hand with both of hers. It’s a frantic impasse, with no idea when and where a shot might go off as he flails at her. Haller finally throws Portman to the side. McCormick lunges at him, but then,

KAYTS (V.O.)

Whoever the hell you are, just freeze.

McCormick responds to the urgency of the demand, and Haller is saved in mid-swing, though McCormick still has him by the shirt collar.

ANGLE—PULL BACK TO SHOW:

KAYTS with a shotgun, standing on the gangway of a mega-yacht—one of those eighty-foot beauties in gleaming white. The name on her hull is “The Second Chance”. Kayts strides down the gangway and onto the pier, keeping his weapon trained on the group and seemingly unconcerned that his scatter pattern would include his own henchmen. Besides, he’s the only one who’s upright and not panting and bleeding at this point.

KAYTS

(looks Portman up and down quickly then tells her)

Angel, I would have recognized you anywhere.

This is interesting, considering she’s pretty banged-up and is staring back at him with a look of cold, unremitting loathing. He ignores it.

KAYTS

(to his men, urgently)

Get her on board. Hurry.

D’Sousa and Haller don’t precisely spring into action, but they seem relieved to not be getting shot at. Haller grabs Portman, warily. D’Sousa get out from between Kayts and his potential target and gestures at McCormick.

D’SOUSA

What about him?

KAYTS

Who the hell is he?

D’SOUSA

He was with the girl and Hardcastle yesterday.

KAYTS

(sharply)

Kill him.

Off D’Sousa’s “Who me?” look, KAYTS raises his weapon and takes aim.

D’SOUSA

(moving to the side)

Here?

KAYTS

(to D’Sousa)

Get on the ship.

D’Sousa looks worried but moves toward Haller and the gangway. The field is clear now, except for McCormick.

KAYTS

(to McCormick)

Thanks for retrieving her for me. I wish I could thank that judge of hers but —

What he intended to say next is drowned out by engine noise and then the screeching of brakes and tires.

ANGLE—THE TRUCK, CAREENING IN

ANGLE - KAYTS

He starts to swing around, weapon still up. McCormick lunges forward, barreling into him. The shotgun goes flying.

ANGLE—THE GANGPLANK

Haller abandons Portman, who slumps to sit on the gangplank. Haller pushes past D’Sousa, either to help or flee.

HARDCASTLE (V.O.)

Hold it right there.

ANGLE—TRUCK WITH DRIVER’S DOOR OPEN

Hardcastle half out of the seat, one foot on the ground, gun trained.

HARDCASTLE

(louder)

You too, Kayts.

ANGLE—The McCORMICK/KAYTS TUSSLE

Actually, McCormick has the upper hand there, but Hardcastle’s order stops both combatants. McCormick turns to Hardcastle, bracing a hand against his knee to get to his feet.

McCORMICK

(beat-up and cranky)

What took you so long?

Off Hardcastle’s rueful smile we,

CUT TO BLACK

FADE IN:

EXT: POLICE STATION—DAY

The truck and the Coyote are both parked in the lot in front.

INT—HALLWAY OUTSIDE FRANK HARPER’S OFFICE—DAY

HARPER and HARDCASTLE are conversing. Harper has a manila FOLDER under one arm.

HARPER

(in mid-story)

So there’s me and four of Santa Monica’s finest, in plainclothes, staking out the sand under the pier when we hear there’s a possible two-oh-seven going down—with shots fired—a couple miles away and an hour before we were expecting any action.

HARDCASTLE

Yeah, well…sorry about that.

HARPER

(waves it off with his free hand)

It happens.

(shrugs)

Wasn’t a total loss. I heard one of the Santa Monica gals nailed a flasher after I left.

(beat)

But next time, let’s make sure we’ve covered the contingencies. Can’t afford to get careless.

HARDCASTLE

(rueful)

That’s what McCormick’s gonna be yammerin’ about the whole way home.

(shoots a glance toward the door of Frank’s office and lowers his voice)

He can be really annoying when he’s right.

HARPER

(following Hardcastle’s gaze. He jerks his chin toward the office door)

Those two okay? Looked like things got kinda rough out there.

A beat and then Hardcastle nods.

HARPER

Good, then, uh…

(awkward pause and then he holds out the folder)

I put them in there because I thought you oughta see this first. It came in on the wire while I was kibitzing in Santa Monica.

Hardcastle takes the file cautiously and opens it. His expression is grim as he scans the first page, then lifts it by a corner to look beneath. Grim becomes a grimace, as though he’s seen something unpleasant.

HARDCASTLE

(closing the file but hanging onto it)

Gotta tell her. She’ll want to know.

He steps to the door of Harper’s office and reaches for the knob.

CUT TO:

INT. HARPER’S OFFICE—DAY

McCORMICK and PORTMAN are sitting in two chairs off to the side, near but separate. She has a dark but tasteful bruise on her cheek and a butterfly bandage just below the hairline. McCormick is grubby and a little banged up. Both look tired.

ANGLE—McCORMICK AND PORTMAN AS HARDCASTLE ENTERS

Harper is behind Hardcastle. Both men have somber expressions. McCormick has got this figured out pretty quick and reaches for Portman’s hand. She doesn’t resist.

HARDCASTLE

(to Portman)

Frank, here, ran a check for me this morning, to see if there was a match for your sister in any of the cold cases.

Portman is looking at him apprehensively, but gives this one small duck of her head—to show she is following and he should go on.

HARDCASTLE

He got a hit. It’s a body that was recovered off Monterey County late in ’82.

McCORMICK

A drowning?

HARDCASTLE

(shakes his head “no”—opens the file and reads from it)

“Pre-mortem injuries included a fracture of the hyoid bone.”

(lifts his gaze from the page)

That’s a strangulation.

Portman looks at him steadily, unblinking, and reaches for the folder. Hardcastle closes it hastily and doesn’t hand it over immediately.

HARDCASTLE

(cautioning)

There’s pictures.

Portman doesn’t withdraw her hand. Hardcastle reluctantly passes the file to her. She takes it, opens it, studies the first page briefly, and then lets out a long sigh.

PORTMAN

They found the necklace on her. It must have meant a lot to her. It was the only thing she had from our mom.

(she closes the file and lowers her head)

A beat and:

FADE TO BLACK

NEXT ACT