ACT III
FADE IN:
EXT. THE TRUCK – DRIVE-BY – DAY
INT. THE TRUCK – MOVING – DAY
McCORMICK’S behind the wheel again. HARDCASTLE is in the passenger seat. PORTMAN, looking bewildered and frustrated, is in the middle.
PORTMAN
It wasn’t my name, and it’s not my signature.
McCORMICK
PORTMAN
Yeah, but it was my birthdate. Why use that?
HARDCASTLE
You ever seen your birth certificate? Applied for a
passport or anything like that?
PORTMAN
I was born in a little hospital over in Needles. My mom
moved here after she split with my dad. She never wanted
to talk about it. I was an only child.
HARDCASTLE
Think your mom has a copy of it at home?
PORTMAN
(there’s an awkward pause and then she
It happened when I was ten. You get used to being
alone. I never thought . . . you think maybe . . . ?
HARDCASTLE
Only one way to find out.
CUT TO:
EXT. THE COUNTY RECORDS BUILDING - DAY
INT. THE MAIN FILE ROOM – DAY
ROSE CARLUCCI is standing behind her desk, arms crossed. HARDCASTLE is giving it his best shot while McCORMICK and PORTMAN look on, hopefully
HARDCASTLE
It’s an easy one, Rosie. Nothin’ fancy. We need
a couple of birth certificates.
CARLUCCI
We got a whole department for that, Milt.
They even take the forms by mail.
HARDCASTLE
Yeah, but we don’t have a week to wait for them to send
(he smiles winningly but he’s not taking ‘no’ for an answer)
One’s for this young lady here, Andrea Portman, that’ll
be from San Bernadino County. Then we need to know if there’s another one for an Angela Pinder, same birthdate.
(he hands her a slip of paper)
Carlucci sighs. She looks at Andrea, who’s looking back, still hopeful.
McCORMICK
Come on, Rosie. This is like one of those stories at the
supermarket checkout lane: ‘Twins separated at birth.’
She just wants to know if she has a sister.
CARLUCCI
HARDCASTLE
We’re still working on that.
Carlucci acquiesces with a nod and sits down at her computer terminal. She looks at the paper Milt handed her, and starts typing on a keyboard.
PORTMAN
(trying, but not succeeding, to be patient)
Carlucci looks up briefly, then returns to what she was doing, backspacing a couple of times, then typing swiftly and jabbing the enter button. There’s the anticlimactic pause associated with dial-up speed. Then Rosie studies the results for a moment and turns the screen to face the others.
INSET: COMPUTER SCREEN
Text in orange-on-black reads: Angela Pinder. Born 9:01 am, June 12, 1965. St. Vincent’s Hospital, Mother: Ruth Pinder. Father: none listed.
ANGLE – PORTMAN
PORTMAN
My mother’s name was Ruth, but it was Ruth
HARDCASTLE
Carlucci clears the screen and types in the new data. Same pause as the digital wheels turn. She shakes her head and turns the screen again.
CARLUCCI
HARDCASTLE
Try Andrea Pinder. Same birthddate.
Carlucci does some more keyboarding. Pause.
CARLUCCI
Portman looks, frowning, baffled. She shakes her head and looks like she needs to sit down. We don’t need to see the screen to know what it says.
PORTMAN
There’s papers. Everything from when I was in school.
HARDCASTLE
Sure it is, kiddo. There’s lots of ways it
Portman looks at him despairingly.
HARDCASTLE
First off, your mom might have had a good reason
to not want your dad around. You said she never
Portman nods grudgingly.
HARDCASTLE
So your mom and dad must’ve split. Maybe they split you
two as well. Or maybe she realized she couldn’t take care of
the two of you, and left your sister with a friend or the county.
PORTMAN
McCORMICK
Identical twins stick out. If you’re trying to hide from
somebody, it’d make it a whole lot harder.
Portman is shaking her head slowly.
HARDCASTLE
She got a new name for herself, and she registered you for school the same way. Hell, all those folks having their kids in communes back then, the authorities were probably glad you weren’t another Moonbeam Wholegrain Sunshine or somethin’ like that.
PORTMAN
HARDCASTLE
CARLUCCI
If she stayed in California, and if she didn’t
McCORMICK
Same name, at least until ’82.
CARLUCCI
--and if you give me some time.
I do actually work for the Records Department.
HARDCASTLE
And a fine employee you are, too. Anything you
can get for us, we’ll be grateful.
CARLUCCI
CUT TO:
EXT. A MANSION – DAY
It’s the extra-large version, with Grecian columns and a portico, the home of JASON KAYTS, a trust fund baby who’s all grown up.
INT. ELEGANT OFFICE/LIBRARY - DAY
KAYTS is ensconced behind a black walnut desk. He’s a dark-haired man with aristocratic features, the scion of wealth. Looks like J.T. HALLER is on the carpet, literally and figuratively, standing in front of the desk. He looks nervous.
HALLER
You remember that girl on the yacht, Mr. Kayts,
the one maybe three years ago, the one who
KAYTS
(coolly, nothing rattles this man, things get
The one you took care of.
HALLER
Except it looks like maybe the girl’s turned up again.
KAYTS
(still cool, and disbelieving)
After all this time, and with those currents out there?
What’s left and where did they find it—Santa Cruz?
HALLER
Not a body. Her. She showed up at Vinnie’s—
KAYTS
(beat – and then just a bit less cool, though still
not acting as if it’s his problem)
You assured me. She was dead.
HALLER
Yeah, we both thought so, right? But maybe she wasn’t.
Maybe somebody pulled her out, or she came to and
started swimming. I dunno. But Vinnie says it’s her –
and the guy she was with, he’s a judge, and he was
asking for all the papers, the stuff from the shoot.
KAYTS
Why not the police? And why now? It’s been four
HALLER
I dunno about any of that. All I know is this Hardcastle
guy—that’s the judge—he’s left the bench right around when
that girl went in the drink. Now he’s got her and he’s nosing around Vinnie. Hell, maybe she had some brain damage or something. Maybe he’s trying to put it all together for her.
KAYTS
If he does, the path will lead right back to us.
(beat – and then with an edge of menace)
HALLER
(then trying to sound helpful and
I got everything there is to get on Hardcastle.
KAYTS
Then you can take care of the matter?
I mean better than you did last time?
HALLER
(swallows again – hard – but then sounds
Absolutely. You don’t have to worry about a thing.
CUT TO:
EXT. GULL’S WAY – DAY
EXT. GULL’S WAY PATIO – DAY
There’s pizza on the table but nobody’s eating. PORTMAN is there but her mind is clearly elsewhere. McCORMICK is kitty-corner from her at the table, looking as if he’s trying to give her a little space – but he’s not real good at that.
PORTMAN
(noticing she’s being a lousy guest)
Sorry, it’s just a lot to digest. A sister, a twin – I dunno.
(beat – then looks at McCormick curiously)
Do you have any brothers or sisters?
McCORMICK
It’s remotely possible my father left a few scattered
around and forgot to mention them.
PORTMAN
(looks wistful, even at this less than sterling
I always wondered what it would have been like
McCORMICK
Portman looks startled.
McCORMICK
Mine hit the road when I was five.
And if you’re thinking of tracking yours down, I’d
say it’s a bad idea. Your mom may have had good
reasons for not talking about him.
PORTMAN
(gives it a moment’s thought and then nods)
Yeah, you’re probably right. I’ve never had the
McCORMICK
That’s different. And she probably doesn’t know
PORTMAN
It’s weird, though, all those years I was in the system –
after my mom died – I always wished I had somebody,
a sister maybe. Just someone who would
understand what it was like.
McCormick opens his mouth to reply but Hardcastle comes thumping down the back steps from the kitchen door. He’s been working the phone inside. He pulls up a chair and snags a piece of pizza.
HARDCASTLE
Nothing from Rosie yet about your sis, but I ran
down a little info on our other guys.
PORTMAN
But Angela wasn’t underaged when those
HARDCASTLE
Never hurts to know all the players’ jersey
(beat – pulls a piece of paper from his
First we got Vinnie D’Sousa, but he’s small potatoes.
Had a couple brushes with the law early on –
underage models – but he wiggled out and it looks
like he’s been pretty careful the past coupla years.
McCORMICK
All that does is explain why you made him
HARDCASTLE
Unctuous little creep, wasn’t he?
(shakes his head and then glances at his paper
J.T. Haller, now there’s a slightly larger fish. Got his start
peddling tout sheets, then moved up to printing them.
Must be a lousy businessman, though, ‘cause he went bust
at it – and it’s not easy to lose money betting on gamblers.
McCORMICK
So he switched horses in mid-stream?
HARDCASTLE
Yup, got a new start about six years ago. A different
kind of fillies. The question is, where’d he get the
capital? Anyway, he still seems to be solvent, but
nowadays girlie magazines are a dime a dozen, and that
office of his looks pretty slick.
(notices Portman, who’s been pensively
PORTMAN
I’m not sure. It’s been a weird day. I’ve been
sitting here wondering if it wouldn’t be better to
I’m not sure what I’d say to her, even if I could
(looks increasingly doubtful)
I don’t think we have much in common. I mean,
what kind of a girl would –
McCORMICK
One who needed a job and didn’t have a lot of
PORTMAN
(a little self-righteous)
I pay the rent waiting tables and hustling tips.
McCORMICK
We’re always only one decision away from a
And for your sister, it might’ve not even been her
PORTMAN
(backs down, looks pensive again)
Yeah, that’s the scariest part, knowing that it
How the hell did my mom choose one of us?
It’s a toughie, and it’s greeted by a moment of awkward silence until Hardcastle shifts in his seat.
HARDCASTLE
No good answer sometimes.
You should eat something.
PORTMAN
(shakes herself loose from her increasingly
gloomy reverie, glances around – it’s getting on
There’s class tomorrow and I’m way behind on my
McCORMICK
HARDCASTLE
And I’ll let you know when Rosie comes up
PORTMAN
CUT TO:
EXT. PACIFIC COAST HIGHWAY - NIGHT
We’re looking east, just outside Gull’s Way. We see the truck pulling out from the drive with McCORMICK behind the wheel. It turns onto the road, heading toward L.A. It hasn’t gone far when –
ANGLE – PULL BACK
We see another another vehicle – a nondescript, dark, paneled van – emerge from a secluded spot and head in the same direction as the truck.
CUT TO:
INT. THE TRUCK – NIGHT
McCormick is driving. PORTMAN is the passenger. Most of his attention is on the road, but he takes a long look in the driver’s side mirror.
PORTMAN
McCORMICK
It’s spending too much time with the
Pretty soon you start seeing desperados behind
Portman smiles but turns halfway around and peers through the rear window. After a moment she turns back.
PORTMAN
It’s just headlights to me. And it’s not like there’s a
lot of turn-offs around here.
McCORMICK
(he gives her a quick glance and a
Thank you. I needed to hear the calm
CUT TO:
EXT. THE PACIFIC COAST HIGHWAY – NIGHT
The truck flashes by. There is a moment of silent darkness and then the nondescript van goes by as well.
CUT TO:
EXT. L.A. RESIDENTIAL STREET – NIGHT
We see a block of run-down, low rent apartment buildings – a student ghetto. There’s no foot traffic. The truck pulls up to the curb. McCORMICK exits the driver’s side. PORTMAN gets out onto the sidewalk. She meets him at the front of the truck, obviously intending to cross the street to her destination. She’s a half-step ahead of McCormick.
SERIES OF SHOTS – VERY FAST SEQUENCE
A glaring set of headlights suddenly looming behind Portman and McCormick. He lunges forward.
Close-up chaos: bodies falling. We hear shouts.
The view obscured by the headlights blurring to a brief white-out with a roar of engine noise.
Then – all is dark silence. There are two shapes huddled on the street, just in front of the parked truck. One has his head up already, staring down the street intently. It’s McCormick. He starts to stand, helping Portman up as well.
McCORMICK
She nods, but looks shaken. Her cheek is smudged with dirt. Her things are scattered in the street. McCormick stoops again to gather them up. He picks up a something – a pair of glasses. They’re mangled.
PORTMAN
(finally finding her voice)
McCORMICK
That was the van I saw by the estate.
PORTMAN
You got a look at it here?
McCORMICK
A Ford Econoliner, midnight blue, maybe black, an ’82 –
plus or minus a year, California plates, L-K –
and then it was too far off.
(beat – then holds up the mangled glasses)
Maybe I need a pair of these.
Hold on that, then,
CUT TO:
EXT. GULL’S WAY – NIGHT
The truck is parked in front of the main house. The driver’s side is visible and the mirror is sheered off, dangling by one screw.
INT. THE DEN – NIGHT
HARDCASTLE is sitting at his desk, tapping a pencil.
ANGLE – PULL BACK INTO FOYER.
McCORMICK descends the stairs from the second floor.
ANGLE – FROM THE DEN TOWARD THE FOYER.
McCORMICK is in the doorway. He leans casually against the jamb, arms crossed. He got scuffed up, too, and apparently hasn’t had time to do anything about it.
ANGLE – HARDCASTLE
HARDCASTLE
(concern mixed with just a hint of
You got her all tucked in?
ANGLE – DOORWAY
McCORMICK
Yeah, clean towels in the guest bathroom and
everything. Wouldn’t want less than a four-star rating
for the Gull’s Way safe house, huh?
(uncrosses arms and takes the two steps down
into the den, slumping into the nearest chair –
Anything back on the license plate?
HARDCASTLE
Not yet. Jeez, give ‘em a couple minutes, at least.
Anyway, in the words of Frank Harper, ‘two letters
is kinda partial, even for a partial.’
McCORMICK
I gave ya the make and model.
HARDCASTLE
And a paneled van isn’t exactly a Lamborghini.
The phone rings. Both men reach for it, but Hardcastle is closer.
HARDCASTLE
(he listens, reaches for a pen and pulls a
pad toward him, and starts scribbling something –
Yeah, I’m figuring that’s it.
No, no proof, just a good hunch.
(another beat or two, then indignant reaction)
Of course I’ll tell ya if I get anything solid. I always
Hardcastle hangs up, looking thoughtful. McCormick looks at him impatiently. The judge jogs out of his cogitating after a moment.
HARDCASTLE
McCORMICK
HARDCASTLE
We got a midnight blue ’82 Econoliner with a plate
LKZ-582 registered to SoCal Systems, Inc.
McCORMICK
HARDCASTLE
That’s a privately held company owned by a guy
McCormick still looks blank.
HARDCASTLE
Rosie called back after you two left. I had her dig
a little deeper into the Moonglow set-up. Turns out
the building it’s in is owned by SoCal.
McCORMICK
HARDCASTLE
That building and the printing facilities where
Moonglow’s publications are generated. Kayts
is more than J.T.Haller’s silent partner, I’d say
Haller is a wholly-owned subsidiary of Kayts.
There’s a moment of silence as McCormick appears to be thinking this through, then suddenly reaches the obvious.
McCORMICK
You’ve heard of this Kayts guy before?
HARDCASTLE
(picks up pencil and taps it a couple of times on
Not a nice man, but it’s all rumors, no facts.
McCORMICK
What kind of “not nice” are we talking about?
HARDCASTLE
He’s got an ex-wife who went missing off Santa
Barbara back in the ‘70s. A few parts turned up,
months later, but nothing that would prove what
shape she was in before she hit the water.
The rumor was that she wanted out of the
marriage, that she told her friends Kayts was
There’s something else Rosie told me.
McCORMICK
HARDCASTLE
That’s a cold trail. No address, nothing in the DMV.
McCORMICK
HARDCASTLE
McCORMICK
She changed her name. Lots of girls in that line of
HARDCASTLE
And I called Gus back, asked him if he remembered
any other spreads with Angela in them.
I didn’t want to ask him while Andrea was there.
McCormick nods.
HARDCASTLE
He says there’s nothing else. So she didn’t stay
McCORMICK
HARDCASTLE
I think she’s dead. But Rosie can’t find any
record of that, either. No marriage license, no
death certificate, nothin’.
McCormick glances up toward the ceiling.
HARDCASTLE
Doesn’t look like there’s gonna be one of those
happy endings like in the Reader’s Digest. But
I’d at least like to find out what happened to her.
And I think maybe I know why they’re trying to
Hold on that, and,
CUT TO BLACK
END OF ACT III
