Hardcore Page #10

KURT:

(shakes head)

No.

RAMADA:

Sorry couldn't help you, Andy.

(to Kurt)

How'd the shot go? They about ready

to start again?

(to Mast)

You can come watch if you want, Andy.

Just don't hassle anybody.

Mast shrugs, tucks the photo in his pocket and follows Ramada

and Kurt back onto the set.

CUT TO:

EXT. FACTORY - DAY

Jake leaves the factory in the middle of the afternoon, gets

in his car and drives off.

CUT TO:

INT. BEDROOM - DAY

Jake walks into his bedroom, pulls a suitcase out of the

closet and throws it on the bed.

He is motivated now. A decision has been made.

He throws in his shirts and socks. A travel clock. Pictures

of Kristen.

CUT TO:

INT. DINING ROOM - DAY

Jake is on the phone. His voice is hard and determined.

JAKE:

This is Jake. I'm going out of town

for a while.

(a beat)

No, I don't know when I'll be back.

No, there's nothing wrong. Can you

keep things running?

(a beat)

Don't ask.

CUT TO:

EXT. L.A. INTERNATIONAL AIRPORT - NIGHT

United jet lands.

CUT TO:

EXT. HOLIDAY INN - DAY

Van Dorn, dressed and ready to go, walks out of the Hollywood

Holiday Inn and over to the parking lot.

Checking a city map one final time, he gets into his late

model rented green Pontiac and drives off.

CUT TO:

INT. CAR - DAY

Jake seems a new man; he's in charge now. To a man like Jake

Van Dorn, a man from the Midwest, a self-made man, all is

possible once you're in control. There are no ambiguities,

no conundrums, no labyrinths; only problems. And problems,

once understood, lead only to solutions.

All one needs is the will and the intellect to pursue those

solutions.

Jake looks at the note pad on the seat. It reads:

Andy Mast

Apt. #3-A

14316 Chandler Blvd.,

Van Nuys, Calif.

(213) 474-8759

He drives up Highland, past the freeway and over the hills.

CUT TO:

EXT. MAST'S APARTMENT - DAY

Van Dorn parks in front of the Elite V Apartments.

Jake stops in front of the room, re-checks the number, and

knocks.

There's no immediate answer. Hearing some commotion in the

room, Jake stops, listens. He peeks through the partially-

curtained window.

Inside, he sees Mast banging away with a TEENAGE GIRL on the

sofa.

Jake is curious, then outraged. He tries the door. It opens.

Inside, Mast and his teenage companion scramble for their

clothes. The girl calls out.

TEENAGE GIRL (O.S.)

It's the cops, man.

MAST (O.S.)

F***.

INT. MAST'S APARTMENT - DAY

Jake strides into Mast's apartment.

Mast, his belt unbuckled, puts on his shirt. The Teenage

Girl, pulling a Grateful Dead T-shirt over her head, looks

at Jake and says:

TEENAGE GIRL:

Who the f*** is this?

Not pausing to speak, Jake pushes Mast against the sofa.

Reaching down, he pulls the detective up by the collar.

JAKE:

What are you doing? You son-of-a-

b*tch! I've been paying you every

week for three months and you've

been out here...

TEENAGE GIRL:

I'm splitting.

Jake turns as the girl vanishes.

MAST:

I ain't cheated you, Pilgrim. This

is research, damn it! That girl could

have told us something.

JAKE:

Research, my ass. I suppose these

are the 'extra expenses' I've been

paying for? And in the middle of the

morning, too.

Mast pulls himself away.

MAST:

Oh, f*** off. You should stay where

you belong.

JAKE:

Get out. Get out of here, Goddammit.

Mast picks up his shoes and says half-apologetically:

MAST:

I'm only human, you know.

JAKE:

Get out.

MAST:

But this is my apartment.

JAKE:

Get out!

Mast shrugs. There's no reasoning with Van Dorn. He pauses

at the door and looks back.

MAST:

You prick. You ass-hole prick. You

can find your own Goddamn daughter

now.

(stops; looks at door)

I'm not even smart enough to lock my

own f***ing door.

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