THE EIGHTH RULE Contact Information: Belinda Heaslip E-Mail: belindactr@hotmail.com www.WeWriteMovies.com EXT. COUNTRY - DAY Eyes peer through a Ninja Turtle halloween mask as the person rapidly pulls the trigger of a silenced automatic handgun. Smoke fills the air, spent cartridges fly from the automatic. Pumpkins lined up on a fence explode one after another. The Ninja Turtle mask is lifted, revealing a young girl. The girl looks up at a handsome man, ROBERT SYKES, 34. On a chain, he wears a SHINY GOLDEN CROSS around his neck. He smiles as he removes the smoking pistol from her small hand. ROBERT It is important that you survive. EXT. PACIFIC NORTHWEST MOUNTAINS - DAY A large crossbred wolf dog, JOCKO, makes his way up a steep trail, followed by (DOROTHY JEAN SYKES) D.J. SYKES, 35, beautiful, but weathered, in top physical condition. She carries a high powered rifle and a backpack. The trail crests on a high ridge overlooking a valley. A distant SIREN. She looks toward the bluff's edge. She removes the rifle from her shoulder, drops the backpack and runs to the bluff's edge. Below in the distance, a sheriff's patrol car chases a car on a dirt road. EXT. VALLEY - DAY The car spins out of control and slides to a stop. ALEX TRAVINO, 40, driver, carries a revolver, and TONY GALLO, 30, passenger, carries an automatic rifle. As they bail out of their car they open fire on the deputy. Deputy TOBLER leaps from the patrol car, holding a revolver. Bullets spray everywhere -- one strikes Tobler in the shoulder. He drops the revolver -- he's slammed to the ground. EXT. RIDGE - DAY D.J. lies on the ground with the rifle sling tight around her forearm and chambers a round. EXT. VALLEY - DAY Alex and Gallo point their guns and run toward Tobler, lying wounded and bleeding on the ground. Tobler's fingers crawl through the dirt like a giant tarantula and touch the revolvers grip. Gallo kicks the revolver away and grins nastily at Tobler. SERGEANT (V.O.) The hostage situation is... INT. S.W.A.T. VAN - DAY - FLASHBACK D.J., OFFICER STEWART and eight L.A.P.D. S.W.A.T. officers in full combat gear sit inside a van and listen intensely to a SERGEANT. SERGEANT ...at the Hawthorne Bank at Seventh and Broadway. (points at map) D.J., Stewart. I want you here on this roof in this position. It should give you a clean shot. D.J. That's almost a block away! SERGEANT Make the best of it. We don't have access to anything closer. D.J. and Stewart look at one another in disbelief. SERGEANT Team one and I will cover the bank's perimeter. Team three will have an unmarked unit. I want you mobile just in case this guy takes foot bail. The van stops. SERGEANT Let's move out, people. Let's hit it. EXT. BUSINESS AREA - DAY The S.W.A.T. van doors open and the teams scramble to their assignments. EXT. FOUR STORY BUILDING/ROOF - DAY D.J. and Stewart exit a door and sprint to the edge of the roof. She lays down, turns her S.W.A.T. baseball cap backwards and wraps the rifle sling tightly around her forearm. They have a clear view of the Hawthorne Bank located on the intersection corner. She peers into the rifle scope... EXT. RIDGE - DAY - PRESENT DAY ...the scope cross-hairs are on Alex -- he points his revolver at Tobler as he kicks Tobler's injured shoulder. The cross-hairs move onto Gallo, he laughs, holding the automatic rifle. The scope cross-hairs move onto... INT. HAWTHORNE BANK - DAY - FLASHBACK ...the bank's side window, revealing the inside of the bank. A robber points a revolver at customers as he grasps a female hostage, 30. SERGEANT (V.O.) (radio broadcast) Team two. Red light. You have a no shoot. Acknowledge, Team two. EXT. FOUR STORY BUILDING/ROOF - DAY STEWART (into mic) Team one, 10-4. (to D.J.) We have a red light. D.J. I can take him out. STEWART We have a no shoot. INT. HAWTHORNE BANK - DAY Through the rifle's scope she sees the robber cock the hammer back -- jams the muzzle against the hostage's head. D.J. (O.S.) He just cocked the hammer. He's going to do her. EXT. ROOFTOP - DAY Stewart peers through a spotting scope. STEWART (into mic) Suspect just cocked his weapon. He's going to kill the hostage. We have to take him out now! SERGEANT (V.O.) (radio broadcast) You have a no shoot. Acknowledge Team two. D.J. I can take him. STEWART (into lip mic) She has a clean a shot. D.J. can end it here. SERGEANT (V.O.) (radio broadcast) Team two, red light. Hold all fire. Acknowledge. STEWART (to D.J.) What the hell are they waiting for? D.J. Give me windage. Hesitantly, he removes a butane lighter from a pocket, then holds it next to her. His shaking hand flicks it on. She looks at the lighter's long flame bending slightly, showing the wind direction. STEWART It's too far. You'll never make it. She peers into the rifle scope. He peers into the spotting scope. STEWART If you're a fraction off, the hostage is history. She turns the scope's power ring up to full power. The cross- hairs move to a tree and find a leaf fluttering slightly in the wind. The leaf confirms the wind direction at ground level. The cross-hairs move from the leaf, across the side of the bank, through a side window and onto the robber's temple. There are only two inches of kill zone, as the hostage's head partially covers the robber's face. EXT. VALLEY - DAY - PRESENT DAY Alex points a revolver at Tobler's head as he lies belly down on the dirt. Gallo, holding the rifle, grins. ALEX Say good-bye to tomorrow. INT. HAWTHORNE BANK - DAY - FLASHBACK Scope cross-hairs are centered on the robber's temple. A SHOT... EXT. VALLEY - DAY - PRESENT DAY ...Travino drops dead and the rifle shot ECHOES through the valley. Gallo fires his rifle wildly at the bluff, then places the barrel against Tobler's head. A SHOT. Gallo sprawls dead over Tobler as the rifle shot ECHOES through the valley. EXT. VALLEY - DAY Deputy Tobler sits on the rear step of an ambulance as an attendant bandages his shoulder. Sheriff HARRIS, 50's, and Detective JIM ADAMS, 40's, arrive at the crime scene. Identification TECHNICIAN, RUSTY BRYANT, 30's, looks into Alex's car trunk. BRYANT Will you look at this shit! The trunk is filled with drugs, weapons and cash in bank wrappers. ADAMS No wonder they ran. HARRIS Any I.D. on the suspects? ADAMS Yeah, Alex Travino. He's the one splattered over there next to the car. HARRIS (looks at corpse) Travino? (to Adams) Why does that name sound familiar? ADAMS He's some asshole out of L.A. HARRIS Who's the other guy? BRYANT Tony Gallo. He's over there... (points at corpse lying by a rifle) ...and over there. (points to bloody area several feet from corpse) ...and over there. HARRIS You're one sick son-of-a-bitch, you know that? BRYANT Yeah, I know. My wife tells me that every night. Two deputies scan the area with metal detectors. HARRIS Who ever did this wanted quick, clean-kills. ADAMS God, I hate head shots. BRYANT Judging from blood splatters, the shots came from that bluff over there. (points toward bluff) HARRIS Any idea what caliber? BRYANT Not yet. They glance at the deputies using the metal detectors, then walk over to a badly shaken Deputy Tobler, now seated to the rear of the ambulance. HARRIS How you doin'? TOBLER Okay. HARRIS Tell me, do you have any idea where the shots came from? TOBLER (points toward bluff) Over there. HARRIS Was the sniper high or low? TOBLER I couldn't tell. HARRIS (to Adams) We need to find out where the shots came from. ADAMS I'll go with you. HARRIS I need you to supervise the crime scene. I'll take a deputy. ADAMS (looks and shouts at deputies) Stevens, over here. Full of energy, EDDIE STEVENS, early 20's, looks eighteen, handsome, well-built, a stud, runs over and stands at attention with the metal detector at his side. EDDIE (points toward search area) Sir, I found something. Eddie leads them to the area and points at the ground. They kneel to look at a fragmented bullet. HARRIS What do you think? ADAMS My guess is a 30-06, or maybe a 270. HARRIS Probably a 270. Shoots flatter. ADAMS Eddie. EDDIE Yes, sir. ADAMS I want you to -- HARRIS (looks at Eddie) Excuse me. Who is this? ADAMS Deputy Eddie Stevens. We hired him last week. Harris looks at Eddie standing at attention. HARRIS Jesus kid! Shouldn't you be at the mall skateboarding or playing video games or something? EDDIE No, sir. I'm a deputy sheriff, sir. HARRIS (to Eddie) Relax will ya? (to Adams) Christ! He looks young enough to be my grandson, for Pete's sake! (to Eddie) Okay, kid. Let's go for a hike. And try and keep up, will ya? EXT. MOUNTAIN TRAIL/BLUFF - DAY Harris and Eddie hike onto the bluff. Harris, exhausted and out of breath, rests his hands on his knees as Eddie strides past. HARRIS I'm getting too old for this crap. He turns and looks at the great distance from the bluff to the crime scene. Eddie scans the ground where D.J. made her shots. EDDIE Sheriff, over here! Harris goes to Eddie and looks at a casing half buried in the dirt. HARRIS Watch where you step. EDDIE This guy's good. Huh, Sheriff? HARRIS You're religious, aren't you, boy? Harris inserts a pencil into the casing, examines it, then puts it into a plastic evidence bag. EDDIE How did you know that? HARRIS You're wearing a religious ring. EDDIE (holds the ring up) Oh, this. Yeah, my mother gave it to me. HARRIS Tell me, Stevens. Why did you become a deputy sheriff? EDDIE I know this might seem strange, but I want to help people. HARRIS Well... Eddie. Maybe I'll give you an opportunity to really help people. INT. BACKSTAGE DRESSING ROOM - NIGHT MICHAEL PAUL, 24, opens a pill container, empties capsules into his hand, pops them into his mouth and takes a gulp from a whiskey bottle. He sets the pill container and whiskey bottle on a table, takes a cigarette from a pack, lights up and takes a deep drag as the door opens and SALLY PETERSON, 40's enters. SALLY You're on in two minutes. MICHAEL (slurred) Yeah. I'll be right out. She glances at the whiskey bottle and pill container. SALLY I thought we had an understanding about the -- MICHAEL Don't worry about it! I can take care of myself! (reaches for whiskey bottle) SALLY Look -- MICHAEL (turns - glares) No, you look! It's my damned life! So leave me the alone! (grabs whiskey bottle) SALLY I know this place in Los Angeles. Maybe they can help you, or -- MICHAEL I've been taking care of myself since I was sixteen. Anyway, it makes me feel good in this stinkin' hell hole of a world. SALLY I think we'd better cancel the show! MICHAEL Are you hard of hearing, or what? I said I'll be right out! If you cancel, I'll cancel your career! SALLY If you keep this up, I'll be out of a job anyway. Because you'll be dead. MICHAEL I said -- get the hell out of here! Shaken, Sally leaves and Michael gulps whiskey, then slumps into a dressing table chair and stares into the mirror. He's tired, worn-out and wasted. He attempts to take another drink and drops the bottle. INT. BACK STAGE/HALLWAY - NIGHT Sally -- upset -- meets KATHY MORRIS, 40's. KATHY Oh, Jesus! Stoned out of his mind again! SALLY What the hell are we going to do? KATHY Screw him! He's such a dick. I never did like him. You know that? I never did. The first time I met him, I said to myself, this guy is a dickheaded LeRoy. The dressing room door opens and Michael stumbles out. KATHY (false smile, excited) Oh hi, Michael. Ready to give them hell tonight? (playfully punches his arm) MICHAEL (slurred) Cut the crap, Kathy. SALLY You're in no shape to perform. We can tell them you came down with the flu or something. MICHAEL Who the hell do you think you are? I'm the boss here! You're my managers, and better damned never forget it! (stumbles away) KATHY Told you he's a dickheaded LeRoy. Michael stands at the stage wing, grins wide, then takes two uneven steps... INT. STAGE - NIGHT ...and staggers onto the stage, waving at the cheering crowd as he goes to a microphone and burps loudly. Some people laugh, most don't. MICHAEL (slurred) Okay. Let's sing a song. How a-b-o-u-t a nice l-o-n-g s-o-n-g. Kathy and Sally nervously stand at the stage wing. SALLY Oh, my God! We're history! KATHY What a LeRoy! Michael slurs and skips lyrics stumbling as he dances. The band stops playing. The crowd grows silent as Michael makes a fool of himself. Michael sways as he dances, his eyes roll back into his head, then goes into convulsions and collapses. INT. HOSPITAL ROOM/INTENSIVE CARE HALLWAY - DAY Michael lies in bed with an I.V. in his arm. Sally and Kathy look into the room from a hallway window. Doctor TURNER walks up to them. TURNER Hello, I'm Doctor Turner. SALLY Is Michael -- TURNER He's okay for now. SALLY Thank God. TURNER However the blood test shows some evidence of possible liver damage. KATHY I can't imagine why. He drinks like a fish. SALLY Is he going to need a liver transplant? TURNER If he keeps abusing drugs and alcohol he might. The point is, his liver can't take any more. (glances through a file) It's my understanding he's been through several rehab programs. KATHY Several! He's been through three of them. More times than me. TURNER Please, step into my office. They walk a short distance and enter an office. INT. TURNER'S OFFICE - DAY Turner indicates two chairs and Kathy and Sally sit. Turner sits at his desk. TURNER There is this treatment I only recommend in the most extreme cases. I can set up a meeting for you. But let me make it perfectly clear -- if anyone asks, I'll have no knowledge of this conversation. Do you understand? Sally and Kathy look questioningly at each other. Then seriously at the doctor. INT. FANCY RESTAURANT - NIGHT Kathy and Sally approach the MAITRE D'. MAITRE D' Good evening, ladies. Do you have reservations? KATHY We're meeting a man at table nine. MAITRE D' This way, please. SALLY (looks around in wonderment) Do you believe this place? KATHY I need a drink. The Maitre d' guides them to a table where RANDOLPH HAWTHORNE, 60, very distinguished, stays seated, admiring a fine bottle of wine. MAITRE 'D Ladies. Table nine. HAWTHORNE Please sit down. They sit. HAWTHORNE Tell me your story. KATHY (whispers to Sally) I guess this means he wants to get right to the point! SALLY We have this friend, a singer -- KATHY A famous singer. Maybe you've heard of him. Michael Paul. HAWTHORNE No I have never heard of him. (pours a glass of wine) Would you ladies care for some wine? KATHY (quickly raises a glass) Yeah, sure. Don't mind if I do. SALLY No, thank you. Anyway, Michael, our friend, has been a drug addict and an alcoholic for years. He pours Kathy a glass of wine. She grabs the glass and slugs down half. He pours himself a glass of wine and takes a sip. SALLY Underneath it all he's a good person. KATHY He's a jerk! Kathy finishes off her wine and shoves the empty glass across the table toward Hawthorne. He looks at Kathy, then fills her glass. SALLY Well, Michael has his share of problems. HAWTHORNE He's been through rehabilitation before? KATHY Yeah. Two times. SALLY Three to be exact. He did good for a while, but started drinking, then drugs. Each time...same thing. Kathy downs the full glass of wine. KATHY Hey! This is good! What is it? HAWTHORNE Lafite Rothschild 1961. KATHY Pretty good stuff for being so old. HAWTHORNE Please continue with your friends story. SALLY He's in the hospital and we were told you might be able help him. HAWTHORNE If I help, you know what we are about to do is highly illegal. SALLY Yes, we understand. We were wondering -- KATHY How much this is going to cost us, and how long will it take to get Michael back on stage? SALLY He has a concert in New York next week. HAWTHORNE It takes as long as it takes. And your cost... (hands Kathy the check) ...is the price of my dinner. He picks up a knife and cuts his steak. KATHY That's it? (looks at Sally) O-k-a-y. (Kathy motions for them to go) They stand. SALLY Thanks. They turn to leave. HAWTHORNE One other thing -- Cancel Mr. Paul's concerts. Tell the press there's a Family emergency. SALLY Who's going to rehabilitate him? HAWTHORNE Someone I trust with my life. KATHY Just one other thing. Does buying your dinner include the wine? Hawthorne smiles his answer. KATHY (grabs the wine) Thought so. (staggers away) SALLY (to Kathy) Must you always get drunk? KATHY (looks at check) Holy shit! Sally glances at the check. SALLY Congratulations -- you just drank a fifteen hundred dollar bottle of wine. EXT. HELICOPTER - DAY A black helicopter skims across downtown Los Angeles and lands on top of a hospital's roof. MEDIC #1 AND MEDIC #2 exit the helicopter and remove a gurney. INT. HOSPITAL - DAY Medics #1 and 2 guide the gurney down the hallway and stop at a nurses station. MEDIC #1 We have an air-flight transfer on a Michael Paul, room 236. Medic #1 hands her transfer papers. NURSE (points) Down the hall, turn right. It'll be the first room on the left. The medics continue down the hall. A BODY GUARD sits in a chair next to the doorway. MEDIC #2 There wasn't supposed to be a body guard! The guard stands as they stop near room 236's doorway. MEDIC #1 We have a transfer order for a Mr. Michael Paul. GUARD I wasn't advised of any transfer. Medic #1 removes papers from his uniform pocket as Medic #2 pushes the gurney past the guard and removes a hypodermic from his jacket. MEDIC #1 I have copies of the transfer order. (hands guard papers) The guard reads the transfer papers as he enters the room. INT. ROOM 236 - DAY Medic #2 pushes a hypodermic needle into the guard's neck. He's out cold. Michael wakes and glances slowly around the room. MICHAEL (slurred) What's this!? Who the hell are you? Medic #1 removes a syringe from his pocket and injects Michaels I.V. with a clear liquid. MEDIC #2 (smiles) We are what dreams are made of... Michael's eyes roll back and he falls into a deep sleep. MEDIC #2 ...and sometimes even dreams come true. EXT. HELICOPTER - DAY A black helicopter flies low over snow-capped mountains, forest and a river. EXT. MOUNTAIN TOP - DAY D.J. is breathtaking as the morning sun shines on her beautiful muscular figure as she meditates -- eyes closed. In the distance, the sound of an approaching helicopter. Her eyes snap open. EXT. LOG CABIN - DAY Surrounded by forest and mountains. Smoke drifts from the rock chimney. INT. LOG CABIN - DAY A fire SNAPS and CRACKLES in a rock fireplace. The rustic cabin is sparsely furnished. In a corner bed, Michael slowly awakens -- drowsy and blinded by a bright bare light bulb hanging from the ceiling. His vision is blurred as he tries to focus on a white sign with black lettering mounted on the ceiling above the bed. The camera quickly scans the rules, stops and focuses on the eighth rule. THE EIGHT RULES Read these rules very carefully. If you don't understand a rule, ask. From this moment on, you are accountable for your actions and words. 1. I WILL NOT RUN AWAY. 2. I WILL NOT USE DRUGS OR ALCOHOL. 3. I WILL NOT SMOKE CIGARETTES. 4. I WILL NOT STRIKE ANYONE OUT OF ANGER. STRENGTH COMES FROM SELF CONTROL. 5. I WILL EAT GOOD FOOD AND TAKE CARE OF MY BODY. A CLEAN BODY REPRESENTS A CLEAN MIND. 6. I WILL NOT USE PROFANITY. 7. I WILL NOT MAKE SEXUAL ADVANCES TOWARD MY REHAB COUNSELOR. 8. I WILL SURVIVE. D.J. (O.S.) Do you understand the rules? D.J. dressed in camouflage combat shirt, pants and boots, stands next to the bed. The gold cross glistens from a chain around her neck. MICHAEL (shocked) Where am I? What happened to me? (looks around) D.J. You're in a remote cabin, tied to a bed... (she takes hold of the light hanging from the ceiling and shines it toward his manhood) ...And you're naked. MICHAEL You're not one of those perverted women are you! D.J. No. MICHAEL (now upset) You know what lady!? Your ass is going to jail for kidnapping! You got that! Your ass is going to jail! D.J. Please read aloud rule six. He struggles violently to free himself, but is held down by soft restraints. Mucus drips from his nostrils and spittle from his mouth. MICHAEL Let me loose! You hear me, bitch! Let me loose! (tugs at the restraints) Get these things off me! You hear me?! She smiles at him, then turns and walks to the front door as he yells and struggles violently against the restraints. EXT. CEMETERY - FUNERAL - DAY JOSEPH TRAVINO, 50, and his family sit by a grave-side casket. MARIO ALBERTONI, 40's, comforts him. JOSEPH (gritting his teeth) I want the son-of-a-bitch who killed my brother found! You hear me!? I want him found! Mourners and a priest look at Mario. MARIO Joseph. People can hear. JOSEPH I don't give a shit! When you find the son-of-a-bitch that did this, kill him! Now, go, do it! Find him! Find the dead son-of-a-bitch! INT. CABIN - DAY Michael stares at the rules. D.J. enters with a bowl of warm water and a wet towel and sits in a chair next to him. She sets the bowl on a night stand table, next to a medical history file. D.J. Do you understand the rules? MICHAEL I read them -- lady. Groggy -- he glares at her as she gently cleans his face. D.J. But do you understand them? MICHAEL (answers belligerently) Yeah! Sure! D.J. Good. My name is D.J. Sykes. MICHAEL Sykes. As in psycho bitch! What's your first name? D.J. D.J. MICHAEL That's not a real name. D.J. That's all you need to know. He looks at her clothes. MICHAEL You're kind of old to be playing army, aren't you? (sings) I'M IN THE ARMY NOW. I'M IN THE ARMY NOW. Tries to salute -- but he's still tied to the bed. MICHAEL You want to buy some army rations soldier girl? In your case, how about we drink some Geritol. D.J. Did anyone ever tell you that you're an idiot? MICHAEL Hey, this is supposed to be rehab, remember? You're supposed to build my self-esteem and be nice to me. D.J. It didn't work the other times. (opens file) Why should it work this time? He glares at her. D.J. Let's get to the point. Believe it or not, I am here to help you. We are going to spend lots of time together. MICHAEL I don't need your help! What I need is to get back to work! D.J. (looks into file) Your father was an attorney. Your mother died last year from alcoholism. (turns the page) I'm not even going to go over your arrest record. Most are drug related and D.U.I.'s. (looks at him) So, you're an alcoholic, a drug addict, and some people think you are a good singer. MICHAEL So what if I am, it's none of your business, now is it? I am a damned good singer that's what I am! D.J. Please remember rule six. (glances at file) And you're rich. So! That's what this is all about! Ransom money! Name your price! D.J. One last question -- MICHAEL You got a hearing problem old lady? I'm worth millions! Name your price! You want a million? How about two million? That buys a lot of hearing aids..., (crazy stare - making no sense) ...or how about you go buy some decent clothes, or better yet, some makeup. D.J. (sets file on table) Try to focus on what I'm about to say. I don't want your money, or to hear about your fame. And I don't really think you are all that good looking. Your last CD r- e-a-l-l-y sucked. You get my point? MICHAEL You bitch! (he spits on her) Her eyes open wide as she calmly covers his mouth with her hand. Half smothered, he struggles to no avail. D.J. Do I have your attention? (he struggles -- she presses harder) Do I have your attention? (he stops) There are no televisions or radios here. No special groups to listen to your whining about how bad your life is, and why you turned to drugs. So stop bitching. It won't work here. If you leave here now, you will die. You understand? This is your last chance. (he struggles) Here's the bottom line -- do you have the balls to help yourself? Are you man enough? (stares into his eyes) Well, are you? (he shakes his head - yes) She releases her grip and he gasps for air. MICHAEL You're crazy! You know that? You're a crazy old bitch! D.J. I'm only thirty-five. MICHAEL Yeah...well...you look older! Where are my clothes? I'm getting the hell out of this place! She starts to remove the soft restraints. D.J. When you understand the eight rules, your clothes will be returned. MICHAEL What's with the eight rules? Everyone else has twelve steps. D.J. (she removes a restraint) Obviously, you couldn't remember twelve, so I made it easier for you. (removes another restraint) You need to walk. There will be a period of withdrawals from the drugs and alcohol. MICHAEL Yeah, right. D.J. Are you sure you understand the rules? MICHAEL Like I said, I understand the rules. D.J. If you ever need to discuss your feelings or problems, let me know. Every day we will talk. MICHAEL I need a cigarette. You smoke? D.J. No, and neither do you. We can talk over dinner. As soon as the last restraint is released -- He flings back the covers and jumps out naked from under the blankets. She sits calmly and watches madman Mike. MICHAEL You'll be seeing my lawyer, bitch! He grabs a blanket -- wraps his body, stumbles to the front door, flings it open and falls flat on his face onto the porch. EXT. CABIN - PORCH - DAY Michael comes face-to-face with Jocko, standing on all fours, lips curled, canines's long and white. A deep GROWL. Michael's eyes grow wide with fright. D.J. (O.S.) Meet Jocko. He's here to help you with your rehab. Michael jumps up and runs into the cabin. INT. CABIN - DAY Michael slams the door and, like a wild man, charges D.J. With a flick of an arm and foot, she drops him like a bad date. The wind is knocked out of his lungs as he hits the dusty floor. His spine CRACKS as she plants her knee deep in the middle of his back -- forces his arm back in a tight arm lock. MICHAEL Who the hell are you anyway, lady? She bends down and whispers into his ear. D.J. (whispers) I'm your rehab counselor. INT. SHERIFF'S OFFICE - DAY A plastic bag with a rifle casing drops on the desk in front of Sheriff Harris and he looks up at a smiling Bryant. BRYANT Found a print and ran it through the national database. It came back to an ex-L.A.P.D. cop. They faxed me her file. HARRIS A female cop made those shots? BRYANT Not just any female cop. A S.W.A.T. sniper for five years, and before that she was on the entry team. One tough cookie with more kills than years on the force. HARRIS Any idea where she's at? BRYANT They think she's living in some wilderness area. So, what do you think? HARRIS I'm thinking maybe we should hire her. BRYANT A couple of years ago, she blew a bank robber's head off and saved a hostage. One problem -- she shot against orders, so L.A.P.D. fired her ass. HARRIS So much for being a hero. BRYANT Now you wanta hear the best part? The hostage was Jennifer Hawthorne, the daughter of Randolph Hawthorne, the billionaire? Harris sips from a coffee mug. BRYANT One other thing. Her father -- he was a hit man. He's been in prison sense she was ten. EXT. COUNTRY - DAY - FLASHBACK Happy faces on several melons explode as ten year old D.J. rapidly pulls the trigger on two silenced automatic handguns. Robert Sykes looks at the melons, then smiles at D.J. and pats her back -- removes the gold cross from his neck -- places it around her neck -- then kisses her forehead. ROBERT You are brave -- you are a leader. INT. SHERIFF'S OFFICE - DAY - PRESENT DAY BRYANT Word is, he's serving two consecutive life sentences in the pen. HARRIS Thanks. Bryant leaves. INT. CABIN - DAY Michael back in bed, secured hand and foot by soft restraints, and shakes violently from withdrawals as D.J. gently pats sweat from his forehead with a damp cloth. INT. HOUSE - DAY - FLASHBACK Her MOTHER, 30's, fully clothed, in the bathtub among ice cubes. She's semirigid, pale and dying. A bloody hypodermic needle lies on the floor. D.J. Mommy! Can you hear me? You'll be okay! (shakes her) Don't die mommy! I love you. Please don't die! Her mother suddenly springs alive and grabs D.J.'s dress. MOTHER I love you, I love you. Her eyes roll back into her head -- ice cubes and water fly as she goes into violent convulsions. D.J. tries to restrain her and is yanked into the bath tub, screaming... INT. CABIN - NIGHT - PRESENT DAY ...D.J. holds Michael, as he screams and convulses violently. REPORTER (O.S.) Police and F.B.I. officials have no new clues into the kidnapping of Michael Paul, America's favorite pop singer. INT. TELEVISION STATION - NIGHT Reporter's live broadcast. REPORTER Ted Allen has this report from F.B.I. headquarters in Los Angeles. INT. F.B.I. HEADQUARTERS - NIGHT TED ALLEN interviews F.B.I. Agent ROGERS. TED Agent Rogers, has there been a demand for ransom? ROGERS We have had no contact with the abductors. TED Does that fact give you concern? EXT. L.A. DOWNTOWN SKYSCRAPER - NIGHT People enter and exit main entrance. ROGERS (V.O.) Very much so. Usually we are contacted within the first twenty- four hours after the abduction. INT. SKYSCRAPER/SALLY'S OFFICE - NIGHT Kathy is drunk, sits on a sofa with her feet on a coffee table, sips a Scotch on the rocks and smokes a cigarette. Sally paces the floor as they nervously watch the TV news broadcast. TED (ON TV) Do you feel this might be more than a kidnapping? ROGERS (ON TV) I will not speculate. We will vigorously investigate and hope for a break in the case. The newscast ends and Sally turns off the TV. KATHY I guess this means they didn't buy our story that Michael's left suddenly to take care of a family matter! SALLY You fool! Of course not -- they know he was kidnapped from the hospital -- the body guard was drugged. Jesus...the F.B.I.! KATHY Now we're really screwed! SALLY Maybe we can find him. KATHY Michael? SALLY No! The guy at table nine! Kathy opens a desk drawer and removes a business card. KATHY Maybe it would be better if we found Michael. After all, he's the one missing. Sally looks at the business card as she taps in phone numbers. SALLY (into phone) Doctor Turner. This is Sally Peterson. I need you to set up another meeting for me with the guy we met with about Michael. Kathy begins to sing. KATHY RUDOLPH THE RED NOSE REINDEER, HAD A VERY SHINY NOSE. SALLY (to Kathy) Will you shut up! KATHY Why? You don't like Christmas songs. Oh, I forgot. It's Summer. Shit! I don't know any summery songs! SALLY (into phone) The F.B.I.'s investigating Michael's disappearance. KATHY Yep! We're wanted by the F.B.I.! SALLY (into phone) We need Michael back! (muted voice) What do you mean it can't be done? She slams the telephone down. SALLY He hung up on me! KATHY Yep! We're really screwed now! INT. CABIN - DAY Michael is wrapped in a blanket and D.J. assists him as they go toward the front door. MICHAEL Where's that vicious dog? D.J. Close. MICHAEL I don't like him. He almost bit me. You know that? D.J. If he wanted to bite you, he would have. MICHAEL Great! I can see the newspapers now. Famous rock star found living with Kujo and a senior citizen. D.J. I'm only thirty-five. MICHAEL Yeah, don't we all wish we were younger! (glances at Jocko) What's with that mutt anyway? D.J. He used to be a police dog. (opens door) Easy. Watch your step. MICHAEL He looks too young to be retired. What'd he do, kill someone? EXT. CABIN - DAY D.J. guides Michael to a porch chair and he carefully sits. D.J. He did what he thought he was supposed to do. MICHAEL He really killed someone?! D.J. He's trained to defend himself and his partner. She picks up a large mug and a spoon from a table. MICHAEL He almost bit me. (excitedly) He would have killed me. D.J. Calm down. His handler was shot while making an arrest. MICHAEL Oh, that's supposed to make a difference? D.J. Of course it makes a difference. MICHAEL So he just killed him! D.J. He was trying to save his partners life. By the time backup arrived, the suspect had bleed to death. MICHAEL (looks at red stew in mug) Now I really feel like crap. D.J. You look like crap. MICHAEL Hey! Remember rule six, or what ever it was. He eats a spoonful of stew and makes a disgusting face. MICHAEL You really should have taken a cooking class. You know that? What is this stuff? D.J. It's vegetarian stew. It will give you your strength back. MICHAEL It has weeds in it, and it's red. You would think a woman your age would have learned how to cook. (looks around) Where am I anyway? She offers him a cookie from a plate -- he takes two. D.J. In the middle of nowhere. Tomorrow, we hike. Maybe take a camping trip. MICHAEL I don't hike. And I certainly don't feel like taking a camping trip. D.J. You will! He takes a bite of the cookie. As he chews there's a loud CRUNCHING sound. MICHAEL (shows her the cookie) Did you put walnuts in these? D.J. Yes. Is something wrong? MICHAEL You're supposed to take the shells off first. She shakes her head, then turns and walks into the cabin. Michael frowns and continues to chew the CRUNCHING cookie. INT. CABIN - NIGHT Michael lies in bed and shakes beneath a blanket. D.J. places her palm on his forehead. D.J. Get some sleep. Tomorrow will be a better day. (walks to the front door) I promise. She leaves. MICHAEL A better day? One step closer to getting the hell out of this shit hole. He looks at the door, listens, then struggles out of bed, staggers to the window and watches D.J. and Jocko disappear into the darkness. He rummages through several drawers and throws the contents around the cabin. INT. CABIN BASEMENT - NIGHT The room is modern, sophisticated, filled with high-tech electronics, sound system and banks of T.V. monitors showing every room inside the cabin and various angles outside. D.J. sits at a surveillance console and watches Michael on several monitors and listens to the SOUNDS of his destructive searching. INT. CABIN - NIGHT Michael opens a cabinet -- a sealed whiskey bottle's on the shelf. MICHAEL Thank you, God! (looks up) Thank you! He peels off the seal and opens the bottle. His hands tremble as he takes a long gulping swallow. His face turns to fright -- grabs his throat, violently gags and coughs, then vomits. Trying to wrap himself in a blanket -- he stumbles out of the cabin. EXT. CABIN/FOREST - NIGHT Michael screams and waves his arms like a madman. INT. CABIN BASEMENT - NIGHT D.J. watches Michael on a T.V. monitor as he disappears into the forest. She smiles, then sips from a coffee mug. D.J. Works every time. EXT. FOREST - NIGHT Barefoot, tired and sick, Michael collapses under a tree, sobs, then passes out. INT. HARRIS' SHERIFF'S OFFICE - DAY Adams unfolds a U.S. Forestry map on a desk in front of Harris. ADAMS I found Sykes. You know Jennifer Hawthorne's father, the one she saved at his bank. Well get this! He owns ten thousand acres surrounded by National Forest. HARRIS Hey, you want a donut? ADAMS No thanks. HARRIS They're fresh. ADAMS No, I just had one. (looks at map) She lives -- HARRIS Look, Jim -- Why don't we just chalk this one up for the good guys. ADAMS What are you getting at? HARRIS The way I see it, she did us a favor -- and don't forget, she saved deputy Tobler's backside too. ADAMS You really think we should do that? HARRIS Do you remember when I found your son in his car with the naked hooker and smoking the evil marijuana? ADAMS Yeah. HARRIS Hell, I overlooked that didn't I? (slaps Adams on his back) So, what do you say? Chalk one up for the good guys? Adams crumbles the map into a small ball of wrinkled paper -- drops it in Harris's hand. HARRIS Good man. Harris throws it in a wastepaper basket. HARRIS Case closed and filed. He takes a bite of a white powdered donut -- powder falls onto his shirt. A thick ring of white powder is around his mouth, crumbs falling as he speaks. HARRIS You sure about the donut? The powdered ones are great! EXT. CAMPSITE - DAY The next morning a brilliant sun rises over a mountain. Michael wakes up drowsy, lifts his head and focuses on Jocko, standing inches from his face. Terrified, he rolls away. D.J. (O.S.) Good morning. Startled - he sees D.J. cooking bacon, eggs and a pot of coffee on a campfire. D.J. Jocko, here. Jocko goes to her and she feeds him bacon. He stares at Michael as he chomps down on the crispy bacon. She picks up a backpack and tosses it to Michael. He's wrapped in the blanket and angrily struggles to stand. Jocko growls, lips drawn back, fangs exposed. D.J. Jocko, down...stay. He looks at Jocko, then screams and charges D.J. One swift karate kick from her and he's laid flat in the dirt. D.J. Get dressed. We have a long day ahead of us. She sips from a coffee mug. D.J. Jocko. The dog looks at her. She nods toward Michael. Jocko moves inches away from his face and growls. D.J. I don't want to have this conversation again. EXT. CAMPSITE - DAY D.J. guides two saddled horses into camp. MICHAEL What's this all about? D.J. We'll need horses to get where we're going. MICHAEL I hate horses. They smell funny! D.J. (mounts a horse) Did anyone ever tell you that you hate a lot of things? MICHAEL I've never been on a horse before. (looks at his horse) Anyway, this one has flies all over it. D.J. There's one thing about being on a horse. (looks at Michael) It's better than being on drugs. She rides away. MICHAEL (yells) I'm not getting on any smelly horse! A deep threatening GROWL. Michael looks at Jocko snarling. MICHAEL This isn't fair! He tosses himself awkwardly onto the horse. EXT. MOUNTAIN TRAIL - DAY D.J. and Michael ride into a clearing. In the distance is an obstacle course and a huge camouflage tent. MICHAEL What the hell is this? She points to an obstacle course off in the distance. D.J. Everyday we will run the obstacle course, and we will work out in the tent. MICHAEL No way! You are not getting me on those things! D.J. Posted at each obstacle is one of the eight rules and -- MICHAEL I said, I'm not getting on those things. D.J. You will read rule one, complete the obstacle, proceed to obstacle two, read the rule and so on-until all eight obstacles are completed. Any questions? He climbs off the horse -- drops his backpack and sits on a log. MICHAEL Look, lady. I'm going to sit right here and wait for the police, F.B.I., or whoever comes along! What the hell can you do? Beat me? Get real! D.J. Jocko. Obstacle. Jocko growls, fangs showing, and walks slowly toward Michael. MICHAEL (looks at sign) Do I have to read them out loud? D.J. No. EXT. OBSTACLE COURSE - DAY He looks at the sign and reads it to himself. He looks at Jocko, struggles over the log wall, staggers to a sign at obstacle two and looks back. D.J. easily clears the top of the wall and sprints to him. D.J. Now wasn't that fun! MICHAEL Oh yeah! About as much fun as a cat tied to a dog! (looks at sign - mumbles - rule 2) She removes three baseballs from a bucket - juggles the balls. D.J. Juggling and accurate throwing will help you maintain focus and coordination under mental and physical stress, which will help you later in life. She stops juggling -- then throws the balls twenty feet through the center of a tire hanging from a rope. MICHAEL If I live that long. She smiles and points at the bucket. He picks up three balls and can't juggle them. He crawls on the ground, recovers the balls, throws them and misses the tire by 10 feet. They go to obstacle three; a 20 or 30 foot rope hangs from a tree branch. He stares at the top of the rope. MICHAEL No way! (looks at Jocko - then the sign - rule 3) Mutt! He struggles four feet up the rope, his strength gives out, he falls to the ground on his back and gasps for air -- she leans over. D.J. You would think a man your age would have learned how to climb a rope. MICHAEL You're mad about the comment I made about your cooking, huh? I can tell. She motions to Jocko -- he goes to Michael -- places his muzzle inches away from his face and snarls. Michael struggles up, and runs to obstacle four and braces his hands on his knees as he catches his breath. Six throwing knives are stuck in a log, next to a sign with rule 4. D.J. I would like you to read rule 4. Out loud if you don't mind. MICHAEL (reads sign) I will not strike anyone out of anger. Strength comes from self control. She yanks three knives from the log, gives them to him, then points at a silhouette target of a man's body. He looks at the target and then at D.J. MICHAEL You've got to be kidding! D.J. Focus. Concentrate. He throws two knives and misses the target. The third knife is in the throwing position over his shoulder and slips from his hand. The knife flies at D.J. She catches it in mid-air and, in a single motion, throws it into the target. MICHAEL Wow! Nice shot! Why are you forcing me to do all this? D.J. You must be mentally, physically and morally strong to survive. MICHAEL Did anyone ever tell you sometimes you sound like a robot? He follows her to obstacle five; a balance log perched between two four foot high log posts. He reads rule five. MICHAEL Okay, I promise to eat good food. But what about your cooking? She stares her answer. MICHAEL Okay...I get the idea. (looks at the obstacle) You're not going to force me up on that thing are you? She smiles at Jocko. Jocko growls. MICHAEL Okay...Okay. I get the message. He climbs on top of the balance log, scoots slowly on his butt, nearly loses his balance several times. Hugging the log, he finally makes it across, shakily climbs down and sits on the ground. D.J. an expert on the balance beam, does a back flip, walks on her hands, does another flip with a full twist dismount and lands next to Michael. He can't believe it and rolls onto his stomach and moans. They stand by a sign and Michael reads rule six. MICHAEL I will not use profanity. (to D.J.) Now can I have a drink of water? D.J. Two more obstacles and you can have all the water you want. She points at obstacle 6; two rows of tires slightly staggered for a distance of 100 feet. He stumbles, falls and finally completes the obstacle, dead tired. D.J.'s feet dance through the tires, then she runs to the sign at obstacle 7 and waits for Michael to drag himself over. He reads rule seven. MICHAEL I will not make sexual advances toward my rehab counselor. (look of hopelessness at D.J.) Fat chance. I'm not into older women that are into physical abuse. She points to a rope bridge hanging forty feet between trees. A rope ladder is at one end and a rope hangs to the ground at the other end. D.J. Up the ladder, across the bridge, down the rope, then you can have all the water you want. MICHAEL (hesitates - looks at Jocko) I'm scared to death of heights. D.J. Jocko. MICHAEL Okay...Okay...I'm going. He runs and climbs the rope ladder -- swings, nearly falls, finally crosses the rope bridge, slides down the rope and lies on the ground, exhausted. D.J. is up the ladder, across the bridge and swings on the rope like Tarzan and lands at a sign listing rule 8. Michael stumbles to her, sits on a rock, out of breath, and looks at the sign. D.J. I would like you to recite rule 8. He looks at her in disbelief. D.J. It is the most important rule. MICHAEL What about getting off drugs and alcohol? D.J. Drugs are in your past. Surviving is in your future. MICHAEL Okay. (looks at the sign) I will survive. D.J. Listen to me. Michael looks at her. D.J. In order to survive you may have to sacrifice something you care about -- something you love. Do you understand what I'm saying? MICHAEL Sure. I understand. D.J. Good. You'll feel better after you're in the water. They walk toward obstacle 8. MICHAEL In the water! What do you mean? In the water?! D.J. (points down to the river) Jump. He looks down a thirty foot cliff with a deep-river pool at the base, then jumps back. MICHAEL I said I wanted a drink of water! Not a swim! D.J. Swim and drink all the water you want. MICHAEL The jump will kill me! D.J. Let's get this straight. You abuse alcohol and drugs, chain smoke, and you're afraid you might hurt yourself? MICHAEL It's a damned cliff, for Pete's sakes! D.J. Michael, you know I don't like you using language like that. MICHAEL Hey, look. I'm really sorry. But I think I should sit this one out. I really do. D.J. You have to jump. MICHAEL Okay, lady. This is where I draw the line. I could get seriously killed, or something. Look, let's make a deal. If you jump and live, then I'll jump. Deal? D.J. Deal. They shake hands. MICHAEL Really! Sure. Deal. I'll be in right after you. D.J. We'll see if you're a man of your word. My bet is you're not. Either way, you will jump off this cliff. She turns and makes a perfect dive off the cliff. MICHAEL (laughs) Okay...I'm out of here! He looks over the cliff at D.J. swimming. MICHAEL (yells) Sucker! I'm outta here. I'm goin' home. He turns, starts to run -- freezes in his tracks as he is confronted by growling, snapping and charging Jocko. His only escape -- off the cliff. Terrified, he leaps off the cliff, arms and legs waving. He hits the water, then surfaces choking, gasping for air. D.J. Tomorrow....we work on your form. INT. CAMOUFLAGED TENT - DAY D.J. dressed in a camouflage tank top and fatigue pants, works out on a heavy punching bag. Her muscular body is scarred with noticeable knife slashes and bullet wounds from past combat situations. Michael lies on a bench press and boxing gloves land on his chest. D.J. Put these on. He sits up and looks at the gloves. MICHAEL Okay, now you're in trouble. Men are fighters. We are naturals at hand-to-hand combat. Boxing is all about muscle mass, and I out muscle you. She looks at him -- shakes her head in disbelief and smiles as she walks to the matt. She reaches the center of the matt -- turns. POW. She's hit in the face. A cheap shot. She recovers -- and is not happy. MICHAEL See what I mean. We are natural fighters. Now put them... POW. She punches Michael solid in the jaw. MICHAEL Hey! I wasn't ready! He looks at a knife scar on her arm. MICHAEL Nice scar. Did one of your low life trailer buddies give you that? He swings. She dodges. A quick punch to his face and stomach. He swings and misses. She lands a hard one on his chin. He loses all control. MICHAEL (yells) God damnit! Let me hit you, will you? Another swing and miss -- he's mad. MICHAEL Jesus Christ! Stand still will you? A karate kick to the groin and to his chin. He doesn't have a chance -- lands flat on his back. She jumps on his chest -- places a bar choke across his throat. He gasps for air as the glimmer of the gold cross shines in his face. D.J. Don't ever say the Lord's name in vain again. She presses harder -- her eyes widen with a frightening stare. D.J. And cut the old and low life comments. It ends here. You understand? It ends here. Her elbow goes deeper into his throat. D.J. You understand me? MICHAEL (choking response) Yes...Yes...I understand. I understand. She releases him and leaves. He stays on the matt and recovers. MICHAEL You didn't tell me I could use my feet. EXT. FOREST - NIGHT D.J. is awakened by LOUD MOANING. Michael is in a serious state of drug withdrawals -- he's convulsing -- shivering upright in his sleeping bag. MICHAEL I can't stand it...! I need help!....I'm so cold! She slides her warm clothed body into his sleeping bag and wraps her arms around his chest. D.J. You'll be okay. Just relax. I'll take care of everything. MICHAEL Oh, God, help me! I'm dying! D.J. You'll be fine. It will pass. I promise -- it will pass. MICHAEL (as he shivers) Have you ever been so lonely you wanted to cry? D.J. I cry all the time. MICHAEL I'm always alone. Did you know that? They lay down as he continues to moan and shiver. D.J. Yes I know... (wraps sleeping bag tighter) ...so am I. EXT. CAMPSITE - DAY D.J. shakes Michael as he lies asleep in his sleeping bag. D.J. Get up. Come on, get up. MICHAEL Let me sleep. D.J. We're going on a hike. EXT. MOUNTAIN TOP - DAY They reach the crest of a mountain. D.J. sits down -- crosses her legs in a meditating position. Michael does the same. In front of them -- a beautiful mountain silhouetted by a brilliantly colored morning sky. MICHAEL God, I feel like shit. D.J. Pardon! MICHAEL Sorry....What are we doing here? D.J. You'll see. (takes a deep breath) Relax your whole body. Take a deep breath and focus on the mountains and the sunrise. Michael takes a deep breath -- focuses on the mountains. The sun breaks over the mountains; gigantic, brilliant, breathtaking. MICHAEL Oh, my God! She slowly grasps the golden cross, closes her eyes and smiles as morning sunlight shines upon her face. He admires her beauty, then turns his face toward sun and closes his eyes. INT. CABIN BASEMENT - DAY D.J. and Hawthorne sit at a console and watch monitors. Michael sits at a table eating stew, fresh baked bread and drinking milk. HAWTHORNE He looks like a tough one! D.J. He is. HAWTHORNE He's a handsome young man, isn't he? D.J. Yeah, I guess so. HAWTHORNE Money, looks, talent. What else could anyone want? D.J. Family. He looks at her. D.J. All the fame and money in the world can't buy him a family. Money can't buy love or friendship. He's alone, and he knows it. HAWTHORNE I understand. D.J. One thing money can buy. They turn and watch Michael in the monitor. D.J. Drugs and alcohol. And I'm going to take them away from him, if it's the last thing I do. MONTAGE - FOREST - DAY -- Camouflage tent - Michael looks dead tired as he struggles to lift free weights. D.J. wears gloves, punches a speed bag. -- Michael semi-runs through the tire obstacle course and falls on his face at the last tire. Jocko licks his face and D.J. laughs. -- D.J. instructs Michael in mountain climbing. Shots of them climbing a vertical climbing wall outside the tent. -- They hike a beautiful meadow by a winding stream. -- Karate sparring in the camouflage tent. Michael is better and gets D.J. in a hold. He laughs, then she kicks him on his butt. -- D.J. fires a scoped crossbow -- the bolt centers itself in the bull's-eye of the target. END OF MONTAGE EXT. CAMPSITE - NIGHT A bright crackling campfire. Michael lies on a sleeping bag and admires D.J.'s strength and beauty. MICHAEL Thank you. He closes his eyes. It appears he has fallen asleep. She looks into the campfire. Michael slowly opens his eyes again to see her eyes begin to tear... EXT. CEMETERY - DAY - FLASHBACK ...Ten year old D.J. stares at a single red rose on her mother's coffin as tears fall onto her cheeks. A priest glances from an open Bible, looks at D.J. closes the Bible and nods at a woman. She grabs D.J.'s hand and pulls her away. D.J. struggles to return to the casket, but is dragged to an awaiting car and driven away. EXT. FOREST - NIGHT - PRESENT DAY Jocko sleeps next to D.J. His ears perk up as he hears MOANING. He stands -- then walks over to Michael. Michael is shivering from withdrawals. He focuses on Jocko, standing several feet away. MICHAEL You're not going to bite me are you? (Jocko steps closer) Easy boy! Good dog! If you haven't noticed, I'm kinda busy right now. Jocko moves closer, then flops down next to him. MICHAEL You smell funny. Jocko GROWLS. Michael places his arm around Jocko and pats him on his side. MICHAEL Just kidding. D.J. smiles, then closes her eyes. EXT. CAMPSITE/FOREST - DAY The sun rises from behind the mountain. Michael awakens and peers around the camp. D.J. and Jocko are gone, but her backpack is by her sleeping bag. He hears distant SINGING, goes to a stream and finds her fly fishing. He sits on an embankment and watches her gracefully cast the fly-line. Her singing is beautiful. Startled, he hears an animal BREATHING on his neck. He turns and is face-to-face with Jocko. He sits next to Michael. MICHAEL I understand why you love her so much. He puts his arm around Jocko's shoulder and they continue to watch D.J. fly-cast with an artist's grace as she hums and sings. INT. TRAVINO MANSION - DAY Joseph Travino and several family members sit at a large table. Mario Albertoni enters with D.J.'s file in his hand -- he slams the file down on the table -- then unfolds a map. MARIO Found her. Her name is Dorothy Jean Sykes. She lives in the mountains... (points at map) ...here. TRAVINO A woman named Dorothy killed my brother? MARIO She used to be a cop until she got fired. The land's owned by Randolph Hawthorne. TRAVINO The rich guy? MARIO Yeah. And get this. Sykes is second owner on the deed. What do you want us to do? TRAVINO Send a crew to find her. MARIO You want us to bring her back? TRAVINO No. I want you to kill her....slowly. EXT. FOREST - DAY Michael sneaks behind D.J. as she reels in a trout. D.J. (without turning) Would you like to learn how to fish? She turns and looks at him. MONTAGE - FOREST - DAY -- D.J. stands close to Michael and places her hand around his hand and shows him how to fly-cast. She smiles and watches his awkward fly-casting. -- He glances back at her with obvious attraction. -- D.J. fishes downstream and sees him excitedly catch a fish. Jocko lies on the embankment and watches. -- Michael fly-fishes and looks for D.J. She and Jocko are gone. He walks downstream and finds them swimming. She's nude and beautiful beyond imagination. -- A bolt strikes the bull's-eye of a target. Michael smiles as he lowers the crossbow. END OF MONTAGE EXT. CAMPSITE - DAY D.J. wakes up. Jocko sleeps beside her. As her eyes scan around camp, she sees Michael's empty sleeping bag. He's nowhere to be seen. She gathers her backpack. D.J. Jocko. Find. She peers around the camp. D.J. Damn! EXT. FOREST - DAY D.J. and Jocko search for Michael. She hears YELLING. From a distance they watch Michael standing in front of obstacle 2. Jocko growls, lunges forward. D.J. (to Jocko) No. Let him be. He throws three balls through the tire, then completes obstacle 2. D.J. (looks at Michael) Finally. EXT. OBSTACLE COURSE - DAY Michael stands in front of obstacle 3. He climbs the hanging rope. On to obstacle 4. He yanks three throwing knives from a log and quickly throws them -- embedding them in the chest of the target. On to obstacle 5. He runs across the balance log. On to obstacle 6. MICHAEL (to himself) Piece of cake. He runs through the tires. On to obstacle 7. He runs across the rope bridge and swings off a rope. Without hesitating, he runs, and makes a perfect dive into the river pool below. EXT. FOREST - DAY D.J. looks at Jocko, and then at Michael swimming in the river. D.J. Today we watch. MONTAGE - FOREST/RIVER - DAY -- Michael sits in a meadow watching wildlife, picking wild flowers. It is peaceful, quiet. He's relaxed and appears in deep thought. -- Michael removes his clothes and dives into the river. -- Michael sits drying off on a rock near the river and hums, then sings D.J.'s song that she hummed and sang earlier while fly casting. -- Michael stares at the top of the vertical climbing wall. He climbs to the top, then repels to the bottom. EXT. CAMPSITE - DAY It's late afternoon as Michael enters camp. He looks at D.J. MICHAEL (to D.J.) I didn't run away. I just needed to be alone. To think -- to clear my mind. She smiles. MICHAEL (shows her a stringer of trout) I brought you dinner. And... (gives her flowers) ...flowers. It's amazing what you can find in the forest. You're not disappointed, are you? D.J. I've never been disappointed in you. MICHAEL I've been wanting to tell you something. I'm glad you're here to help me. And I'm sorry about when I first arrived. I was such an ass. D.J. Drugs and alcohol tend to do that. MICHAEL And I'm sorry I tried to attack you. And all that stuff I said about your age. I can't tell you how ashamed I am. It was uncalled for. D.J. All that is behind you now. You have a new beginning. (looks at Jocko) Jocko. (looks at Michael) You have a new life -- a new future. She turns as Jocko walks to her side and they walk away. MICHAEL Where are you going? D.J. (turns back) I want to freshen up before dinner. She walks away. EXT. RIVER POOL - DUSK D.J. is waist deep in the water, braless, wearing a wet tank top revealing her beautiful figure. The GOLDEN CROSS gleams in the bright moonlight. MICHAEL (O.S.) I can give it all up, you know. She turns toward him -- he stands several feet away in waist deep water. MICHAEL The drugs, alcohol, everything. I can leave it in the past. I can start over. D.J. What are you trying to say? MICHAEL I can stay here forever and be happy. D.J. Is that what you want? MICHAEL I want you. And I've never wanted anyone before. D.J. (she moves toward him) Michael, you can't fall in love with me. MICHAEL Is it because I'm younger? D.J. No, it's because of who I am. MICHAEL What you are means everything to me. D.J. You don't know anything about me. MICHAEL I know enough. It's all that matters. D.J. Did you know my mother overdosed on heroin? When I was ten -- my father taught me the easiest and fastest way to kill someone. That was before he was convicted of murder. (she begins to walk past him) Don't complicate your future with my past. MICHAEL (takes hold of her arm) You don't understand? Your past has made you...it has made the woman I fell in love with. D.J. (eyes tearing) I'm so sorry Michael... She continues past -- turns and looks at him. D.J. ...I'm sorry. She turns and leaves. MICHAEL Nothing will stop me from loving you. N-o-t-h-i-n-g. He watches her as she disappears into the darkness. EXT. BASE OF MOUNTAIN CLIFFS - DAY D.J. hands Michael a climbing harness equipped with a backpack. MICHAEL (points to backpack) What's this? D.J. It's a backpack. MICHAEL I know that. D.J. It's lunch. MICHAEL I hope it's not cookies. EXT. MOUNTAIN SIDE - DAY D.J. has a difficult time climbing ahead of Michael. She appears tired, exhausted and overheated by the bright hot sun. She pounds a pin into a crack and continues up the cliff. She places another pin into a crack, then turns it with her finger, then looks down at Michael. She loses her footing, slides down, grabs a rock and comes to an abrupt stop. Barely hanging on, she looks down at Michael a short distance below her. MICHAEL Are you okay? She looks at Michael. Her hands snaps open -- she falls past Michael. SNAP -- the safety rope snaps tight. The pins pop out of the cracks. The force pulls him down the cliff and he stops above D.J. D.J. flies over the cliff overhang. Michael stops, barely hanging on with one hand grasping the overhang edge. D.J. dangles at the end of the rope. MICHAEL I have you. Hold on. Swing in. She swings in but can't grab the cliff. Michael's hand is slipping from the edge. D.J. You can't pull me up. If you don't cut me loose we will both die. MICHAEL I'll never let you go. D.J. Cut me loose. MICHAEL No! That's not an option! He swings her toward the cliff. His hand slips. D.J. Michael listen to me. What is the eighth rule? MICHAEL I know what the eighth rule is! D.J. Remember what I told you. In order to survive you may have to sacrifice something you care about -- something you love. You have to let me go. You must survive. He desperately tries to swing D.J. to safety. He's becoming exhausted. He's losing his grip. MICHAEL I won't let go! Michael's face turns to fright as D.J. snaps open a shinny serrated bladed knife. There eyes meet. With one swift slice, she cuts herself loose. She falls. MICHAEL Nooooo... He watches in terror as D.J. descends towards the jagged rocks below. Suddenly, a parachute opens. MICHAEL You've got to be shittin' me! With the exception of D.J.'s fading screams of excitement and the wind blowing through Michael's fingers clinging onto the cliff, it's silent. He reaches behind his back and quickly locates a bright yellow rip cord handle protruding from his backpack. MICHAEL I've seen this before on The Discover Channel. Shit! Or was it on ESPN. (he takes a deep breath) Count to five then pull. Right? Or was it three? Yeah, three. I think! Another deep breath. He lets loose of the cliff. MICHAEL (echo through the valley) One...two...three...shittttttt.... The parachute opens. EXT/INT. HELICOPTER - DAY Two black helicopters fly low across treetops and mountains. Armed GANGSTERS dressed in combat gear -- several smoke cigars. EXT. CAMPSITE - DAY D.J. stares at Michael as he sleeps. She moves closer and is about to kiss him -- she's startled by the distant sound of helicopters. D.J. (she shakes Michael) Get up. We have to return to the cabin. D.J. listens as the moving sound of a helicopter stops. EXT. HELICOPTER - DAY Three men rappel from the helicopter onto the forest floor. EXT. CAMPSITE - DAY The sound of the helicopter begins to move. D.J. Shit! MICHAEL What? D.J. They're securing the perimeter. We have to go. MICHAEL How do you know that? D.J. That's what I would do. She grabs the crossbow and bolts. D.J. (looks at Michael) Listen to me -- remember the big rock near the trees on this side of the cabin? MICHAEL (he shakes his head yes) I want you and Jocko to meet me there. She leaves. EXT. FOREST - DAY D.J. grabs wet mud from the bank of a stream -- camouflages her face. She sniffs the air -- quickly turns. Five yards away two Gangsters point fully automatic weapons at her. GANGSTER Drop it. From nowhere Jocko attacks the Gangster. D.J. swings the crossbow up and fires a bolt -- it center punches the Gangster. He's thrown backwards and sticks to a tree. The second Gangster throws Jocko -- points a pistol at him -- he's about to fire. He drops the pistol -- a knife through his neck. Bullets strike the ground and trees -- she's under fire. D.J. Jocko down. Jocko lays down. D.J. dives for cover and reloads the crossbow. She glances around a tree and sees a Gangster peering out from behind a tree. She takes aim placing the cross-hairs between his eyes and pulls the trigger. He's dead -- a bolt right through the head. EXT. FOREST - DAY D.J. looks through binoculars. Six gangsters carry automatic weapons and storm her cabin. MICHAEL Are they the police? D.J. Believe me, they're not the police. They're here for me. MICHAEL The way they're acting, you'd think you killed someone. She looks at him -- shrugs her shoulders. D.J. Well! MICHAEL You're kidding! Right? D.J. I'll explain later. Follow me. They move through the forest and she opens a trap door hidden under pine needles. She crawls into the opening. Michael and Jocko follow. The trap door closes. INT. TUNNEL - DAY D.J. guides their way through a long tunnel that leads to a door. INT. CABIN BASEMENT - DAY D.J. exits a small door -- followed by Michael and Jocko. She goes to the console -- flips several switches. T.V. monitors flash on and show the gangsters kicking in doors and searching various rooms. She moves to a gun safe, dials the combination, then opens the door. She stuffs two automatic pistols in her waistband and slings a sniper rifle over her shoulder. She grabs an automatic rifle, automatic pistol, ammo magazines and gives them to Michael. D.J. Be careful the -- MICHAEL Cool gun. He accidentally fires a burst of rounds through the ceiling. INT. CABIN - DAY Bullets riddle the floor and kill a gangster. Five gangsters dive for cover. INT. CABIN BASEMENT - DAY D.J. ...it's loaded. MICHAEL (gives her a confused look) So much for a sneak attack. Huh? Blood drips from bullet holes in the ceiling. D.J. Nice shooting. Now there's only five left. MICHAEL I've never killed anyone before! D.J. Believe me, you'll never get used to it. She grabs more ammo magazines -- jams them into her pockets -- glances at a T.V. monitor. The gangsters look at their dead comrade, then point their automatics at the floor. D.J. O-k-a-y. We have to go. Move! She pushes Michael out of the way as bullets penetrate the ceiling and spray the room. She sprays bullets into the ceiling with an automatic pistol in each hand. D.J. Point the gun and pull the trigger. He points his automatic at the ceiling and fires. She jams fresh magazines into her automatics, fires into the ceiling as she rolls to the console and stands up. Dust and debris fall from the ceiling. Spent casings fly from their weapons and fall on the floor. She looks at the T.V. monitor. Another gangster is dead. The four remaining gangsters flee into various rooms. She pushes a red button on the bullet riddled console and a red light flashes. MICHAEL What's that? D.J. A distress beacon. The console begins smoking, POP - POP as sparks fly and it bursts into flames. MICHAEL I guess this means we're on our own! She looks at the undamaged T.V. monitors. The four gangsters are in various rooms. She aims the automatics at the ceiling and fires a short burst. The monitor shows a gangster getting hit in the groin. MICHAEL (looks at a monitor) Shit! That's gotta hurt! D.J. Michael! MICHAEL Awe come on! Don't you think rule six shouldn't apply here? I mean, after all we just killed three assholes. As she racks a round into the chamber of the automatic weapon. D.J. Only because they were trying to kill us. INT. CABIN - DAY Gangster 1 sees a camera mounted on the wall and blasts it with gun fire. Gangsters 2 and 3 run into the room. GANGSTER 1 Let's get the hell out of here. EXT./INT. CABIN/FOREST - DAY Gangsters 1, 2 and 3 rush outside and take cover behind the trees. GANGSTER 3 There's gotta be a way into the basement! INT. CABIN BASEMENT - DAY D.J. drops an empty ammo magazine from an automatic and slams a fresh one into the pistol's grip. D.J. Let's go! MICHAEL Shouldn't we stay here? (she leaves) Guess not. EXT. FOREST - DAY Gangster 1 removes a two-way radio from his belt. GANGSTER 1 (into radio) We need extraction... INT. HELICOPTER - DAY GANGSTER 1 (V.O.) ...Get us out of here. PILOT (radio broadcast) 10-4. ETA two minutes. The helicopter banks sharply. EXT. FOREST - DAY The trap door bursts open and Michael and D.J. rush out, followed by Jocko. She has a high powered rifle strapped over her shoulder. D.J. Jocko, stay. Jocko lies down. MICHAEL He's not coming with us? D.J. He'll try to help and get himself killed. Michael kneels, puts out his hand and shakes Jocko's paw. Jocko licks Michael's face. MICHAEL Be careful buddy -- I'll be back for you. I give you my word. Jocko enters the tunnel. She closes the trap door -- they cautiously make their way through the forest.