Act IV (Continued)
INT. THE McCRAY KITCHEN – NIGHT
Kitty McCray and Hardcastle are sitting across from each other, coffee cups and pot in reach. McCray looks tired, but still focused. Hardcastle is leaning forward, elbows on the table.
McCRAY
I don’t know much else about Mr. Lovell.
He’s run the funeral home for as long as I
HARDCASTLE
McCRAY
I think he’s some kind of cousin, or something.
He wasn’t born here. He just sort of showed
up and started working for him a couple years
HARDCASTLE
McCRAY
HARDCASTLE
So why didn’t he fire him?
McCRAY
I dunno. Like I said, maybe they’re related.
HARDCASTLE
(looks down at the pad, taps it
What we’ve got, it doesn’t come close to
being proof. What we need is a lever.
I don’t suppose you have any idea how we
McCRAY
(shakes her head dubiously)
When she goes, she’s gone. I think it’s
mostly to San Francisco. Why would she
HARDCASTLE
I’m still not sure there’s any connection
between Kooms’ death and Erma’s, but if
there is, the way to shake things up is to
do the one thing everybody around here
except you is dead set against.
Your mom is a first-degree relative to Erma.
All we’d need is her say-so to get your
grandma exhumed, then hire a pathologist
Kitty McCray is sitting, staring at him intently but saying nothing.
HARDCASTLE
That’s what you wanted, isn’t it? An
autopsy? Just the threat might be enough to
(beat – he looks at McCray with some
You okay? Been a long day.
McCRAY
HARDCASTLE
McCRAY
Is an adopted child same as a regular one?
HARDCASTLE
McCRAY
Adopted. Yeah. I always called her ‘Grams’,
but she got custody when I was really little;
that was the second time my mom ran off.
HARDCASTLE
Officially? There’s papers?
McCray nods and starts to get to her feet.
HARDCASTLE
Was this some kinda secret or did folks
around here know about it?
McCRAY
(pausing in the kitchen door,
No big secret. Anyway, it’s a small town.
You ever live in a small town?
Hardcastle nods, to both the question and to McCray’s conclusion. She steps out but
returns a moment later.
McCRAY
She hands a thick envelope over to Hardcastle. He pulls out the contents and unfolds the document, scanning it briefly and then looking up from it.
HARDCASTLE
This is a formal adoption.
And you’re sure it was common
McCRAY
Sure I’m sure. You mean I was entitled all along?
HARDCASTLE
And assuming there’s a connection between
Erma’s death and Lester Kooms’ murder,
our suspect list just got a lot shorter.
I don’t suppose you’ve got a typewriter?
Play that and then,
CUT TO:
EXT. MAIN STREET, KOGANVILLE – EARLY MORNING
The Coyote, driven by Hardcastle with Kitty McCray in the passenger seat, drives into view and parks near the Do Drop Inn. She’s holding a package in her lap.
ANGLE – HARDCASTLE AND McCRAY
HARDCASTLE
McCRAY
(she opens the car door to climb out)
Hardcastle, uncharacteristically, opens his door, too. That and his general appearance give the impression he didn’t get any sleep, but despite that he seems determinedly animated as he escorts McCray toward the cafe.
INT. THE DO DROP INN – EARLY MORNING
There are only a handful of customers and minimal conversations as they imbibe their first life-giving draughts of coffee. BILL LOVELL is sitting at a table by himself toward the back. MAGGIE is at the counter. She looks up as Hardcastle and McCray enter. McCray crosses to her and hands her the bag she was carrying.
McCRAY
Maggie takes the bag and stows it behind the counter. She shoots Hardcastle an untrusting look and then turns back to McCray.
MAGGIE
McCray nods. Hardcastle, pretty much having ignored this exchange, and Maggie’s suspicions, now edges between the tables maneuvering toward the back. Lovell looks up and appears startled to see him.
LOVELL
HARDCASTLE
My truck’s still in the shop.
And my friend’s in the lock-up.
LOVELL
(segues to the real subject)
I know Lester was a little rough around
the edges, but he was just a kid. He
didn’t deserve to be killed.
HARDCASTLE
Anyway, I think they’ll catch the murderer.
LOVELL
I heard they already have.
HARDCASTLE
Nah. I mean the real murderer.
Lovell frowns for a moment, then shakes his head and starts to rise, though he’s still got coffee in his cup.
HARDCASTLE
But I figured, as long as I was here, I
might as well lend Kitty a hand.
(he reaches into his pocket and
extracts a folded sheet of paper)
This is for you. You’re the head of the
township’s cemetery board, right?
Lovell accepts the paper warily, unfolds it and glances at it, then fixes it with a stare.
HARDCASTLE
It’s a request for the removal of the remains
LOVELL
We gave her a decent burial. I even donated
Kitty McCray stands rigid, unmoved.
HARDCASTLE
(businesslike, to Lovell)
Now I expect Mr. Kooms did your backhoe
Lovell is also rigid, still staring at McCray.
HARDCASTLE
I’m also assuming you don’t have any union
rules to work with here, but if you do, let
me know and I’ll make sure the guy I hire
has his dues paid up. I’m figuring I can get
someone by tomorrow, say ten-ish?
He leans in and taps the table once to get the man’s attention. Lovell startles and darts his gaze back to Hardcastle.
LOVELL
HARDCASTLE
All right, we’ll make it noon. That’ll give
me time to set things up with the pathologist
and arrange the transportation.
Lovell casts one last unhappy look at McCray, then crumples the paper and jams it into his pocket.
HARDCASTLE
He turns and walks away. McCray falls in at his side as he passes the counter. They head for the door and exit.
ANGLE – LOVELL
His expression is openly hostile. Hold on this and,
CUT TO:
EXT. THE SHERIFF’S HEADQUARTER’S – MORNING
The show is over. There are just a couple of official cars there, and the bystanders are long gone. Hardcastle and McCray approach on foot.
INT. SHERIFF’S HEADQUARTERS, OUTER OFFICE – MORNING
It’s shift change and Deputy Miller is packing up his stuff, ready to head out. He glances up as Hardcastle and McCray enter.
HARDCASTLE
MILLER
(hooks a thumb toward the back)
Hardcastle looks puzzled and casts a glance at the clock. It’s 7:15 a.m.
MILLER
Your client was askin’ to see him
for about an hour now. Think he decided
Hardcastle snorts and heads for the door to the back hallway. McCray follows along behind.
MILLER
HARDCASTLE
He’s my client, isn’t he?
He pushes through the door and is gone. McCray is right behind him. Hold on Miller, looking completely ineffectual, and then,
CUT TO:
INT. SHERIFF LARCOM’S OFFICE
Larcom is behind his desk, with his morning cup of coffee. McCormick is sitting in the chair across from him, the file open on the side of the desk closest to McCormick. Hardcastle enters the doorway, and surveys the situation. McCray appears behind him, peering around his shoulder. McCormick glances over his shoulder at the new arrivals.
McCORMICK
Remind me next time not to hire a lawyer
who doesn’t have a phone.
HARDCASTLE
You’re lucky I’m not charging you by the
hour. I’m up to twelve of ‘em already.
(glances over at the file)
You talking to him about what I think you’re
McCORMICK
We both heard the same thing yesterday,
didn’t we? I was just pointing out to the
sheriff, here, how unlikely it would have
been for a hardened and experienced
criminal such as myself –
HARDCASTLE
I don’t think that’s helping things here –
McCORMICK
–having just finished killing a man, and
presumably driven his van, to have wiped
only the steering wheel and the shift.
HARDCASTLE
I’m guessing the state lab was thorough.
Larcom nods.
McCORMICK
Very thorough: inside handles, dash,
everything. It’s all right here. The only prints
they found, besides Kooms’, were a guy
who’s on file from previous military service.
HARDCASTLE
Lemme guess, Bill Lovell?
McCORMICK
LARCOM
HARDCASTLE
Which makes him the only person who
wouldn’t have to worry about his prints
being found elsewhere in the vehicle.
McCORMICK
Just as long as he wiped the obvious places,
to give the impression that there’d been
another person who’d been worried about
what gives with moving the van at all? Unless
Kooms was killed somewhere else, somewhere
that would have put suspicion on the killer, who
then put him in the van and drove him to the
nearest quiet public place – the cemetery.
HARDCASTLE
Then he needed an excuse to wipe the
wheel, so he moved the van again, to
McCORMICK
And then – after he’s all done – he’s cutting
back across the cemetery to go home and
he spots the scissors next to Erma’s grave.
HARDCASTLE
McCORMICK
Improv is a really bad idea when it comes
Larcom is staring at them both. Both the tale and its telling are seamless. He lets out a heavy sigh. McCormick smiles wanly and nudges the file toward him.
LARCOM
You’re telling me Bill Lovell killed Kooms? Why?
McCRAY
(ducking in past Hardcastle and into
Because Lester knew something about
what happened to my grandma.
Larcom doesn’t roll his eyes, but he casts a weary look at Hardcastle.
HARDCASTLE
(hesitates a half beat and then:)
And we’ve got a way to test it.
You knew Erma formally adopted her grand-daughter?
LARCOM
Sure. That’s common knowledge.
HARDCASTLE
Sounds like it was. But it’s probably
not common knowledge that a next-of-
kin can request an exhumation anytime.
Maybe they don’t like the view, or it’s too
McCORMICK
Or they think somebody was killed.
HARDCASTLE
Or that. An exhumation and a private
autopsy. Just for their own peace of mind,
LARCOM
Guess it’s never come up here before.
HARDCASTLE
I suppose not. And I understand that
cemetery law isn’t your area of expertise.
But Lovell – a funeral director and the
guy in charge of the local cemetery –
he sure knew about it. He ever mention
that little hitch to you?
As Larcom considers the question his expression slowly hardens. McCormick looks increasingly concerned but Hardcastle is serene, as though he already knows the answer.
LARCOM
In fact, we had a couple talks about it, me
and him and some of the other folks who
were worried about Kitty.
He casts a look her way. It’s meant to show concern but smacks of condescension. She stares back, unforgiving. He finally breaks off with another sigh.
LARCOM
As I recall, he was pretty insistent that she
needed grounds for an exhumation, and
there weren’t any. That’s his territory;
(shakes his head sharply)
Besides, Erma being in the hospital,
under a doctor’s care when she passed –
Sorry, Kitty, there was nothing strange
HARDCASTLE
Then Lovell won’t mind if we get Erma
Larcom sits back in his chair, rocking it once, then landing forward with both feet firmly planted. He’s made up his mind about something.
LARCOM
You served him notice about that?
HARDCASTLE
That’ll give me just enough time
tomorrow morning to run down to the
county seat and file for a writ on my
Hardcastle gestures to McCormick. Larcom narrows his eyes a little. McCormick looks tense.
HARDCASTLE
You know you don’t have enough
evidence to charge him and this
‘person of interest’ thing gets old real fast.
There’s a long hanging moment as Larcom seems to be considering his prospects. He finally shoots a look a McCormick.
LARCOM
I’d advise you not to leave the jurisdiction.
McCORMICK
Not a chance of that until this is settled.
LARCOM
You know what you’ve done, don’t you?
I’m not sayin’ Bill Lovell is guilty, but
if he is – if there is something about
Erma that he’d rather stay buried –
you’ve backed him into a corner.
Play the look he’s giving Hardcastle, and then,
CUT TO:
EXT. THE SHERIFF’S HEADQUARTERS – DAY
Hardcastle emerges, then holds the door as McCray and McCormick pass through. McCormick has a paper bag tucked under one arm and is fastening his watchband as he walks.
ANGLE – HARDCASTLE, McCORMICK AND McCRAY
They’re clustered together on the sidewalk. McCormick, now with his watch properly attached, is already eying their surroundings cautiously.
McCORMICK
You’re clear on what happens when you
back somebody into a corner?
Hardcastle nods absently.
McCORMICK
You’ve left this guy no out except
to take Kitty down . . . you too, probably.
HARDCASTLE
You did say it was okay to go after
him, remember? And I even got you
sprung so you wouldn’t miss out on anything.
Look, we better hope this guy makes a
move. There’s a lot of stuff that won’t
show up on an autopsy after three months,
even if there’s anything to show up.
And all that deductive reasoning we
were slinging back there isn’t going
to convince a grand jury.
(lifts his head and slaps
McCormick shakes his head.
HARDCASTLE
Whaddaya say we give Maggie a
little business? Anyway, I need to make
some calls, and we outta let the locals see
you’re out of the hoosegow.
McCray grins. McCormick looks sullen. Hardcastle gives him a poke with his elbow.
HARDCASTLE
Hey, how’d you get ‘em to show you the file?
McCORMICK
I just made up a bunch of precedent.
Hardcastle stares at him for a moment and then shakes his head slowly as they turn and walk off, down the street.
ANGLE – POV FROM INSIDE A CAR FURTHER BACK ON THE STREET
The unseen observer watches Hardcastle, McCormick, and McCray walk away. His hands reach up and clutch the steering wheel in a white knuckle grip. Hold, and then,
CUT TO:
INT. THE DO DROP INN – DAY
A few more people are there but Lovell is gone. Maggie looks up as Hardcastle, McCormick, and McCray enter. Maggie crosses to McCray and takes her by the shoulders.
MAGGIE
(casts a suspicious sideward glance
at Hardcastle and McCormick and
then leans in a little closer)
McCRAY
MAGGIE
You’re really going to do it then?
McCray nods firmly. There’s a pause as Maggie considers her.
MAGGIE
You may be a little crazy, but you’ve got spunk.
(beat, then leaning in again, this
Bill Lovell lit outta here right after you
left. Looked madder than a wet hen.
Hardcastle shoots a knowing glance at McCormick, who has the sense to look concerned.
McCORMICK
You know what that means, don’t you?
HARDCASTLE
Off McCormick’s look of annoyance we,
CUT TO:
EXT. THE McCRAY HOUSE – TWILIGHT
All is quiet. The image holds steady as the light fades in time-lapse to full night, pausing long enough for some night sounds, perhaps an owl, and the impression of peace. Then the time-lapse resumes and dawn comes, waxing quickly to full morning light, then returns seamlessly to real-time. Hardcastle’s truck drives into view from off-screen and pulls into the driveway. HANK climbs out, goes to the door, and rings the bell.
INT. THE KITCHEN – MORNING
The bell is ringing. McCray is at the counter, Hardcastle is sitting at the table, coffee cup in front of him. There’s a second cup across from him but McCormick is already on his feet. He sidles to the window and stands off to the side as he lifts the curtain slightly to peer through. There’s a moment’s inspection before he drops it and turns to Hardcastle.
McCORMICK
This won’t kill ya but it is gonna hurt.
(jerks a thumb toward the window)
Hank. The truck’s out front.
Hardcastle’s momentary interest deflates sharply. He sighs and lumbers to his feet.
McCORMICK
Maybe he’s working with Lovell. His
place is kinda close to the cemetery.
HARDCASTLE
Don’t try to cheer me up.
He reaches into his pocket, fishes out his wallet, and heads for the front hall. McCormick turns to McCray and shrugs.
McCORMICK
We’ve still got a few hours.
McCray nods solemnly and turns back to the sink. Hardcastle returns, holding a bill and shaking his head. He shakes his head and hands it to McCormick.
HARDCASTLE
McCORMICK
It’s spoiled you – having your own
(glances at the bill, does a double take,
his eyes going a little wide before
You sure the law school thing is such a
hot idea? Look at these billable hours.
Hardcastle scowls.
McCORMICK
You’re just cranky ’cause nobody’s taken a
HARDCASTLE
The fishing’s never that good from the pier.
I think we gotta get out there and put
McCORMICK
HARDCASTLE
(nods toward the front window)
we got the truck and everything;
how’s that for convenient?
Off McCormick’s still doubtful look we,
CUT TO:
EXT. THE McCRAY HOUSE – DAY
Hardcastle and McCray exit.
ANGLE – PULL BACK
We see the truck parked in the drive with the Coyote further up the drive, only the rear end clearing the front of the house. The curtains are slightly parted on the front window closest to the driveway. McCormick is peering out. Hardcastle and McCray cross to the truck and climb in. It starts up, backs out onto the street and departs. McCormick watches for a few moments. There’s no sign of pursuit. The curtain drops back into place and a moment after that the door opens again and he emerges, heading for the Coyote.
ANGLE – McCORMICK APPROACHING COYOTE
We see there’s a piece of paper stuck under the windshield wiper. He pauses, then pulls it out and unfolds it.
ANGLE – FROM BEHIND HIM
There’s only a moment to see that it’s a blank piece of paper, before a gloved hand swings a short piece of pipe and strikes. McCormick falls forward onto the hood of the Coyote and slides down.
POV – THE ASSAILANT
McCormick lies crumpled against the Coyote. We hear heavy breathing from his attacker, the pipe hanging down at his side. He lets go. It clatters as it hits the ground,
CUT TO:
EXT. HARDCASTLE’S TRUCK, DRIVE BY – DAY
INT. HARDCASTLE”S TRUCK, MOVING – DAY
Hardcastle seems pleased to be behind the wheel again. McCray, sitting next to him, looks at the passenger side-mirror and then back over her shoulder.
HARDCASTLE
(casts a glance her way, and then
frowns briefly at the rearview mirror)
Don’t worry. He’s just hanging back. It’s hard
to be inconspicuous in that firecracker of his.
McCray sighs and nods.
EXT. THE DO DROP INN – DAY
The truck pulls up and parks.
INT. THE DO DROP INN – DAY
It’s a bustling Monday morning, but the casual conversations come to a sudden halt as Hardcastle and McCray come through the door. Nearly everyone is staring their way. The looks are partly curious, with a smattering of cool-to-hostile. A few remember their manners after a moment and resume whatever they were doing; others continue to stare openly. Hardcastle stares right back, scanning the small crowd with apparent interest. Maggie swoops down on Kitty and gives her a pat on the shoulder.
MAGGIE
McCRAY
(loud enough so it will be
MAGGIE
So you’re going through with it?
McCray nods stiffly. Hardcastle breaks away from his study of the café patrons and looks questioningly at Maggie.
HARDCASTLE
No Bill Lovell this morning?
MAGGIE
(looking around quickly and then:)
No, guess not. Must be busy. Don’t think
we’ve ever had anybody dug up before.
(beat, almost an afterthought)
And Lester. He’ll need arrangements.
You two want some coffee?
McCray looks to Hardcastle,
HARDCASTLE
Thanks, no. Got a couple more errands before
He glances at the café crowd again and gives them a neighborly wave as he turns to leave.
CUT TO:
EXT. THE DO DROP INN – DAY
Hardcastle and McCray exit and are standing in front. Hardcastle looks around as though he’s trying not to look like he’s doing just that.
HARDCASTLE
(quietly, to McCray without looking
You said he’s here every morning?
McCRAY
HARDCASTLE
Then either he’s got something really
important to do – or he’s bolted.
McCray looks alarmed.
HARDCASTLE
And that’d be as good as a confession.
I’d kinda like to find out which it is.
Don’t want him to get too much of
(looks around again and mutters)
Where the hell’s McCormick?
CUT TO:
CLOSE UP – McCORMICK
His shoulder’s being shaken and his eyes open – half-mast for a moment.
McCORMICK
ANGLE – PULL BACK
McCormick is still lying in the driveway alongside the Coyote. The person doing the shaking is Deputy Miller. He tries again.
MILLER
McCormick’s eyes jerk open. He reaches up to touch his scalp and winces.
MILLER
I think somebody slugged ya. Did you see anyone?
McCORMICK
(now awake and trying to sit
MILLER
Yeah. He left with Kitty.
McCormick scowls at him and scrambles awkwardly to his feet, then leans on the Coyote.
McCORMICK
MILLER
‘Bout twenty minutes. I dunno.
I was supposed to watch you.
McCORMICK
Then how come you let somebody whack
(tries to get fully upright again,
puts his hand to his forehead)
MILLER
(points vaguely off past the house)
I was watching. You came out, walked
around the side of the house. Car stayed
put – so I did, too. Didn’t see anybody.
McCORMICK
(gets one foot over the sill, then
the other, and slides into the seat)
MILLER
McCORMICK
You’re supposed to follow me, right?
Miller nods.
McCORMICK
McCormick revs the Coyote and Miller jumps back. McCormick puts the car into gear, turns stiffly, but then backs out in a quick, fluid movement. Miller’s already jogging back toward the corner.
CUT TO:
EXT. HARDCASTLE’S TRUCK – MOVING – DAY
On a quiet bit of road, approaching Lovell’s funeral home and turning in to the drive.
INT. THE TRUCK – STATIONARY– DAY
Hardcastle is studying the rearview mirror, then taking a long, surveying look down the road.
McCRAY
(noticing what he’s doing)
HARDCASTLE
(turns away from the window to
One thing about the Coyote,
if you don’t see it, it isn’t there.
It isn’t there. It hasn’t been there.
He taps the steering wheel for a moment, then reaches for the shift. At that moment, a dark, late-model sedan careens into the drive behind him and pulls up close before slamming to a stop. The door opens and Bill Lovell climbs out, approaching Hardcastle’s side of the truck. Lovell looks perturbed. Hardcastle doesn’t appear entirely unhappy about the turn of events as Lovell draws even with the window on his side.
LOVELL
McCRAY
Lovell paces around the front of the vehicle to McCray’s side. Hardcastle looks less satisfied with this arrangement.
LOVELL
About Erma. About this nonsense.
Digging her up after all this time.
McCRAY
I wanted it done right away.
LOVELL
Why? Everyone knows she died of
natural causes. Ask any of them!
He’s sounding increasingly desperate but hasn’t done anything overtly threatening yet. Hardcastle eases his own door open and steps down. He edges forward along the truck. Lovell is completely absorbed.
LOVELL
There’s just no reason to disturb her
McCray is looking at Lovell stonily. Hardcastle rounds the front of the truck and is only a few feet away. Lovell darts a quick look at him.
LOVELL
It’s your fault, egging her on like this.
McCRAY
LOVELL
McCRAY
Lovell finally turns back toward her. He plunges his right hand into his jacket pocket.
LOVELL
Just let her rest in peace.
McCray stares defiantly.
LOVELL
Lovell’s hand comes up, almost imperceptibly. Hardcastle charges forward, barreling into him.
HARDCASTLE
McCray scrambles to get out of the way. Lovell is knocked against the truck but already has the gun out. One shot goes off in the struggle before Hardcastle can land a solid punch. Lovell is knocked sideways and the gun flies free. As Hardcastle lunges for it, we hear the distant but fast-approaching sound of sirens. Lovell staggers to his feet and makes for his sedan. He’s in it and out on the road before the Coyote comes rocketing over the rise and skids to a halt at the drive. McCormick starts to scoot up from his seat.
HARDCASTLE
(gesturing wildly in the direction Lovell
McCormick slides back into his seat and guns the Coyote, screeching away just as the first of the sheriff’s cars comes into view.
ANGLE – McCORMICK’S POV – SECOND UNIT SEQUENCE
The chase is on. All we see at first is a cloud of dust a quarter mile ahead on the country road, but with the roar of gear changes McCormick gains steadily until we can make out the rear of Lovell’s sedan. It’s an all-out pursuit played for as long as it holds, but the sedan is no match for the Coyote. After a final sharp corner, it tries to avoid ramming a flatbed truck parked in the roadway, destabilizing into a full roll and crashing through a fence.
ANGLE – LOVELL’S SEDAN, OFF THE ROAD, WHEELS UP
The Coyote control-skids to the edge of the road. McCormick is up and out of his seat, running to the crashed vehicle and hauling Lovell out through the upside-down driver’s window.
ANGLE – PULL BACK
McCormick stands, half-supporting a stunned Lovell. We can now see the sedan crashed through a part of the cemetery fence and the flatbed belongs to the cluster of men standing by Erma’s grave, the digging equipment already off-loaded and being used. They’ve stopped to stare at the intrusion. Two sheriff’s vehicles, running lights and sirens, race up, and close behind them is Hardcastle’s truck, putting Hank’s repair job to the test. It scoots past the official vehicles and tucks into a space by the damaged fence. Hardcastle’s head is out the window.
HARDCASTLE
McCORMICK
Deputy Miller approaches. McCormick hands Lovell off. Hardcastle climbs out and is next to the truck as Miller marches Lovell past.
HARDCASTLE
(to Lovell, with a duck of his chin
I told ‘em to start first thing this morning.
(he glances over at the progress,
Lovell looks pale. McCray has now joined Hardcastle, and her expression is indecipherable. Lovell meets her stare for a moment and then breaks off, allowing Miller to tug him along toward one of the sheriff’s cars. Hardcastle lets out a sigh. Sheriff Larcom steps out of his cruiser, surveying the chaos like a man who is looking at a heap of reports that will need writing. He walks over to Hardcastle, who reaches into the cab of the truck and pulls out the handgun he took from Lovell.
HARDCASTLE
He fired it. Lucky he didn’t hit anything.
Larcom pulls a pencil out of his shirt pocket, hooks the weapon by its finger guard, holds it up, dangling, and studies at it with a pinched expression. Then he turns and walks away with it. Hardcastle watches him for a moment, then glances over his shoulder and then turns to face McCormick, who is a few feet behind him, leaning against the Coyote.
HARDCASTLE
McCORMICK
You said you didn’t want me following
HARDCASTLE
McCORMICK
McCormick reaches up and touches the back of his head, wincing slightly. Hardcastle frowns. McCray, who’s been staring fixedly toward the activity now resuming by her grandmother’s grave, turns and walks toward it. After a moment’s hesitation, Hardcastle, and then McCormick, follow.
ANGLE – THE WORKERS
The excavation is mostly complete. Looks as though Hardcastle spared no expense; it’s a well-equipped crew. One man climbs out of the hole.
WORKER #1
FOREMAN
There’s some portable machinery noise, the hoisting chains tighten, and a moment later the casket is lifted free. The men reach out and maneuver it onto the grass. The chains go slack and are unhooked. One of the workers starts wiping down the casket, another is backing a utilitarian-looking hearse into position. McCray is standing nearby, with Hardcastle next to her and McCormick just behind him.
McCRAY
The foreman darts a look her way, then a longer one, accompanied by a subtle shake of his head, at Hardcastle – he thinks this is a bad idea.
HARDCASTLE
McCRAY
I never got to see her. She was just . . . gone.
HARDCASTLE
This is not the way you want to remember her.
McCray’s not budging.
McCORMICK
(he gets this – leaning in toward
Hardcastle, he speaks quietly)
All you know is that they’re gone and
you never get to see them again. It’s not real.
HARDCASTLE
(back at McCormick, out of the side
Well, this’ll be plenty real.
Hold on a sec. I wanna do a quick visual
confirmation. Open it up.
The workers look to the foreman, who gives them the nod. A couple of guys produce tools and go to work on the fasteners. They step back a moment later.
FOREMAN
The casket is facing hinge side toward the camera’s POV.
HARDCASTLE
(to McCray, last-ditch plea)
Wait here a sec, will ya?
McCRAY
(she stops – she’s not sure what she
needs but it’s not likely to be
found in that box – she shakes her head)
She steps forward with him, walking around to the other side. McCormick hesitates and then follows, taking a position at the head of the casket. Everybody seems to be holding their breaths. McCormick gets the nod from Hardcastle and lifts. McCray doesn’t avert her eyes but as the lid rises she blinks once and then gasps. McCormick is looking somewhere other than there. Hardcastle stares for a full second and then lifts his head.
HARDCASTLE
McCormick is startled, instinctively looks down, and almost loses his grip on the lid. Larcom is striding over. McCray is shaking. Hardcastle has his arm around her shoulders.
LARCOM
What the hell are you – ?
HARDCASTLE
(points to the unseen contents of
You got two bodies in here.
LARCOM
(leaning in from the side, his
(he breaks off and shakes his head,
then suddenly, all business again,
Close it up. We’ll get an evidence seal on it.
I’ll put a call in to the M.E.
She waves him away and buries her face in Hardcastle’s shoulder as McCormick lowers the lid gently. Frame that tableau – three figures, now still. Then the camera pulls back. The shot goes aerial to take in everyone else resuming motion: the workers scurrying to finish their job, Larcom striding off giving his men their instructions, Lovell being cuffed and led away. Hold on that distance shot, as the wheels of justice have begun to turn again and,
FADE TO BLACK
END OF ACT IV
