READ BEFORE CONTINUING: All screenplays are copyrighted and / or registered with The Writers Guild of America West. ANY rewriting, incorporating scenes or dialog into other works is STRICTLY PROHIBITED. AFTER READING THE SCREENPLAY - CLICK ON THE "BACK BUTTOM" TO RETURN TO THE PREVIOUS PAGE PLEASE DO NOT PRINT WITHOUT PERMISSION FORMATTING AND PAGE COUNT IS DIFFERENT THAN ORIGIANAL SCRIPT "THE EIGHTH RULE" Contact Information: Robert C. Johnson www.WeWriteMovies.com Registered: Writers Guild of America, west, Inc. 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.