In Risk We Trust, Pilot Episode


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[ bottom ]
Opening credits, on black, precede first shot.
Over these, we hear a MAN's Voice-over, calling out
commands. This is MELVIN HENNESSY.

                                      Melvin (V.O.)
                          Take your positions. Today, Partell, not
                          next Tuesday. Mind your wind velocity.
                          Remember your loss in altitude over
                          distance. Take your breath...and...let
                          half out...and...

          1     EXT. OPEN FIELD -- DAY                                  1

                Flashback: In a sepia-shaded past, we see four boys
                around the ages of their middle-teens, all aiming rifles
                at a distant set of targets arranged in a line. Nearby
                stands a middle-aged man. This is Melvin Hennessy, father
                of Lee.

                One by one, we see the faces of each boy: JOSHUA PARTELL,
                VIRGIL WOLCOTT, LEE HENNESSY (a.k.a "RISK"), and STUART
                LONG. For purposes of continuity, the main character is
                referred to by this codename throughout. 

                          Fire when ready, boys.

                As the volley of GUNSHOTS are fired, we cut abruptly to

                                                                 CUT TO:


                The Present. Wee hours of the morning. 

                A Cadillac pulls into a scenic turnout preceding a
                walkway with a view of the Blue Water Bridge connecting
                Port Huron, Michigan to Sarnia, Ontario, Canada. There
                are no other people present in the area due to the late

         1A     INT. CADILLAC -- NIGHT                                 1A

                There appears to be only one man in the car; the driver.
                This is Chops. As he shuts off the engine, he says,
                apparently to no one:

                          All right, man. Here we are.

                Past him, we see a second man sit up in the backseat,
                removing a blanket which appears to have been concealing
                him. Risk looks out his window, looking around curiously.
                He then gets out of the car. Chops is abruptly made
                anxious by this.

                          Hey! Man, come on!

         1B     EXT. AREA PRECEDING THE OVERLOOK                       1B

                As Risk begins to walk toward the rail which runs along
                the overlook, Chops also gets out of the car, following
                along. He is clearly more agitated than Risk, as he
                follows along, but is way too experienced to be anything
                but discreet. Mysteriously, his hand rests behind his
                back on what we will soon see is the handle of some
                concealed weapon. 

                Chops follows Risk to the railing, but unlike Risk, he's
                looking over his shoulder, trying to case the area, as
                though someone may be watching them. 

                          We shouldn't be out here like this, man.

                Risk says nothing, looking out at the water, the lights
                of the bridge, the casino across the river on the Canada

                          Man, this ain't the way we do this. You
                          know that.

                          I counted three spotters on Main Street.
                          No one but our people know I'm here yet.

                Chops looks at him uncertainly. His fingers remain at all
                times tucked in his back pocket, but they're actually
                wrapped around the butt of a gun sticking out of a
                holster at the small of his back, under his shirt. 

                          I didn't think I'd ever miss this place.
                          I couldn't get out of here fast enough.

                Chops appreciates this sentiment, but sheds none of his

                          The circumstances sometimes call the
                          Look, you know how much hell I could
                          catch for stopping out here. These are
                          the types of things that could get me
                          kicked out of the Group.

                          But since you're with me, you know I
                          won't let that happen.

                Chops shakes his head, as though dealing with an
                uncooperative child. 

                Risk leans on the railing, as though pondering the water. 

                          I assume my dad knows about Josh?

                Chops momentarily forgets his wary position. For a few
                seconds, he's caught in a wave of sadness.

                          There's not too much your dad don't hear
                          about, kid. Josh's been here since
                          yesterday morning. They got his body up
                          north already.

                          [Beat] okay. Let's go.

                Risk finally turns from the railing, starting back to the
                Cadillac. Chops follows, still looking around with
                caution even though no threat has shown itself. 

                They return to the Cadillac, get into the car, and leave.
                From the distance, we watch them pull onto the coast road
                and make it all the way to the nearest intersection, at
                which point a rocket propelled grenade hits the Cadillac
                and the car explodes on impact. 

                                                                 CUT TO:

         1C     SAME TIME/LOCATION:                                    1C

                Backing up to right before they left the railing, we
                focus on Chops, who seems to have been the one imagining
                what we just saw. They never left, and the prior
                destruction of their Cadillac was all in Chops's mind.

                          Come on, man. You're killing me here. Can
                          we go?

                          Okay. Let's go. Don't drive past the
                          hospital on the way.

                SONG CUE #1 (see back page):

                Wide: the Cadillac, this time, follows the same route as
                before, but passes through the intersection unmolested. 

                The purpose of the car blowing up previously shows us the
                state of mind these guys always live in, which is to say
                that any mistake could be their last. The "envisioning"
                of circumstances are often substituted for the actual
                events, or used to compliment them. This will be a
                running device through the entire series. 

                                                                FADE TO:

          2     "IN RISK WE TRUST"/ OPENING CREDITS                     2


                As the Cadillac continues it's course through the night,
                we see Risk's POV from the backseat, of sunlit streets
                and memories. He watches KIDS running through sprinklers,
                and FATHERS working on their cars in the driveways of
                their modest ranch homes. He, also, occasionally sees one
                or two people who recognize him. 

          3     EXT./INT. LILLY'S STREET/GARAGE -- NIGHT                3

                Soon after. The Cadillac pulls into the detached garage
                of a house on a suburban side street in Port Huron. 

          4     INT. LILLY'S HOUSE -- NIGHT                             4

                A woman of about thirty-five, wearing a bathrobe, clearly
                groggy, parts a curtain over her kitchen window
                overlooking her back yard and the detached garage. This
                is LILLY KNOX. She watches her garage door lower after
                the Cadillac has entered. Soon, Risk and Chops exit
                through a side door of the garage and walk up to the back
                steps of the deck off the back of the house.

                Chops enters first. He almost behaves as though he's a
                bodyguard. He knows Lilly.

                          Hi, Sugar.

                Risk enters next. Without words, he and Lilly embrace. 

                          I missed you.

                When they part, her eyes are red as though she might
                start crying. He dries the first few and she smiles.

                          How long you planning to stay?

                          I have no plans for leaving.

                They embrace again. 

                          Someone will be here in the morning. Six.
                          Remember: you only use you're code-name
                          for the duration, until we make sure none
                          of your enemies know your here.

                          I'll keep him out of trouble.

                Chops smiles sheepishly, almost knowingly, and leaves
                through the back door.

          5     INT. LILLY'S HOUSE/KITCHEN -- NIGHT                     5

                Soon after. Risk sits at Lilly's table, smoking, while
                she stands at the sink and counter area making coffee.

                          So what's the story?

                          Josh is gone.

                          That's the part I know.

                          So you want a long story.

                          It's still four hours before dawn, and I
                          don't have to work tomorrow. 

                          How come you're still single?

                          If I answer you, will you answer me?

                          You didn't ask me a specific question.

                Lilly brings two cups of coffee to the table and sits
                across from him. 

                          I'm waiting for you. That's a specific
                          answer. Now tell me what the hell
                          happened to you in New York.

                          Lots happened in New York. I was doing
                          freelance work. Bodyguard-type stuff,
                          enforcer jobs sometimes, surveillance. I
                          was hired to protect a woman who believed
                          her husband was trying to kill her. She
                          was a famous woman, and he owned a very
                          successful nightclub.

                          So what happened to Josh?

                          Just before I got the job, Josh got out
                          of prison. He came to New York to find
                          me, and I let him crash, so he was there
                          when I got the call. I figured why not
                          let him help out.

                Lilly puts a hand over Risk's.

                          Tell me about it.

                          I'm still not over it. 

                Risk hesitates, clearly weary of carrying around the
                story she wants to hear.

                          Everyone's going to want to know the
                          details. Look at this as a trial run.

                Risk rallies to the telling. Now its him who looks about
                to cry. 

                          The night he died...

                                                                 CUT TO:


                The following scene is from an extended flashback that
                will extend across many episodes. 

                Aerial view of New York City: SONG CUE #2.

                Rain falls on the street outside as a taxi stops at the
                curb outside the apartment building where Risk lived
                while residing in the city.

                Risk gets out of the front passenger seat. From the 
                backseat comes JOSHUA PARTELL, followed by SHEILA MAX,
                followed by CORMAN DEMARCO. [See character

                They all file inside the lobby; Partell last. He pauses,
                in the rain, to look up toward Risk's apartment with an
                expression of sick anxiety.

                                                                 CUT TO:

          7     INT. LOBBY/RISK'S APARTMENT BUILDING -- NIGHT           7

                Same time. The lobby is deserted due to the late hour.
                It's not a busy place during peak hours. The MANAGER
                isn't present, but a dim light is discernible from
                somewhere behind the counter. 

                They pause in the lobby. Risk slides a fresh clip into
                his Browning. Demarco does likewise with his own weapon.

                                (To Demarco)
                          How's your chest?


                          Did you plant the note?

                          Sure, after cleaning up the mess. Had to
                          rearrange the pictures on the walls to
                          cover the bullet holes, though.

                          Good. Cabal may not look too thoroughly
                          at first � depending on how good a job
                          you did. What about the blood from Max's

                          Mostly by the side of the couch, so I
                          just moved the thing over and covered it
                          up. It's not obvious. If there's no sense
                          of foul play, they won't look. The note
                          will convince them. 

                They're near the elevators, which are near the stairwell
                doors, opening onto the lobby. All talk stops at this
                point. They ascend the stairs: Risk first, then Demarco,
                then Sheila, then Partell. 


                The fifth landing features a closed doorway, which opens
                onto a hallway. 

                Risk pushes it open slightly and looks out at the empty
                hallway. Dim lights illuminate, but don't fully dispel
                all shadows. 

                Slowly, he opens it just enough to slip out, followed by
                the others. 


                They each, in a line, proceed down the hallway past
                entrances to various apartments, before the four stop at
                the one at the end of the hall. 

                Risk, weapon ready, stands with his back to the wall on
                one side of the closed door. Demarco holds a similar
                stance on the opposite side of the doorway.

                Demarco looks at Risk as though to make sure Risk is
                ready to do this.

                Risk looks duly apprehensive, but finally nods that he's

                It's Demarco who kicks in the door. He enters, followed
                by Risk. Partell and Sheila stay in the hallway.
                The camera, meanwhile, never leaving the hallway, passes
                Partell and Sheila, lingering on the doorway to a
                different unit down the hall in the direction from which
                they came. From it, only we see a face emerge from the
                shadows. This is JAY MAX, the one they're here to meet;
                the one they think is waiting for them inside Risk's

                                                                 CUT TO:

         11     INT. LILLY'S HOUSE -- MORNING                          11

                The present: A TELEPHONE is ringing. Risk awakens as
                though from a nightmare. He's bathed in sweat, breathing
                heavily as though he just went through that doorway in
                New York City all over again.

                Sitting up on Lilly's couch, he takes hold of a half
                empty bottle of Vodka from the coffee table before
                answering the phone beside it. In an off-screen voice
                over masked by phone line static, we hear the voice of
                CARL EVERSON.

                          We're almost there. You ready?


                He hangs up, then rubs a hand tiredly over his face and
                through his hair, then stands.

                                                                 CUT TO:

         12     INT. LILLY'S HOUSE -- MORNING                          12

                A minute later. Mostly dressed, Risk approaches the door
                to respond to KNOCKING. Opening it, CARL EVERSON and
                STUART LONG enter with familiarity, as though entering
                the presence of an old friend. 

                Risk embraces first one, then the other. 

                Everson holds up a black hood for Risk.

                          Come on. Time to take a plane ride.

                Risk accepts the hood, and puts it on. Long leads Risk by
                the arm out through the back door. Everson follows them

                                                                FADE TO:

         13     EXT. TWIN-ENGINE CESSNA/AIRBORNE -- MORNING            13

         14     INT. TWIN-ENGINE CESSNA/AIRBORNE -- MORNING            14

                Risk, in the backseat of a small twin-engine plane,
                removes the hood. Everson and Long occupy the front seat;
                Everson is doing the flying. Long uncaps a pint of Jim
                Beam and hands it back to Risk. 

                          Here's to freedom.

                Risk accepts it. 

                          I missed you assholes!

                          So what happened?

                          Let him at least get his buzz on.

                          Josh gave his life so I could walk out of
                          there. That's the bottom line. Me and the
                          woman. He went out a hero.

                Everson clearly wants to know more, but doesn't press. 

                          By the way. Your lady friend from New
                          York sends you her love, Sweetie Pie.

                They all crack smiles at that one. Risk, in particular,
                has an added air of genuine relief.

         15     EXT. THE FARM -- DAY                                   15

                Across the bottom of screen: Somewhere in Michigan's
                Upper Peninsula.

                Joshua's funeral is attended by many on the farm, often
                used as a base of operations for GROUP gatherings. 

                THE PASTOR delivers the traditional Biblical eulogy. 

                The MEMBERS OF THE GROUP are a collection of "average
                looking folks." Some are dressed up, but not necessarily
                everyone. It's a cross-section of every class level.

                As Risk stands listening to the eulogy, he looks up,
                scanning the people who make up his "family." Eventually,
                his eyes alight on "STATELINE" VIRGIL WOLCOTT. Virgil,
                due to his semi-freakish personality, is staring straight
                at Risk. He flashes a familiar, knowing grin.


                Outside the main house, the Group are loading into
                vehicles as though to leave the premises en masse. Risk,
                off to the side, is talking to two unnamed MEMBERS of the
                Group, too quietly for us to hear. 

                Virgil approaches Risk and slaps a hand on his shoulder. 

                          What say you and I ride together?

                Risk looks at him; his expression implying warmth mixed
                with the foreknowledge of Virgil's reputation for
                "eccentric" behavior. 

                                                                 CUT TO:

         16     EXT. HIGHWAY 58/VIRGIL'S CAR -- DAY                    16

         17     INT. VIRGIL'S CAR -- DAY                               17

                Soon after. They're barreling down Highway 58 in the
                U.P., Virgil at the wheel. Virgil is smoking a joint. He
                passes it to Risk, who accepts it without hesitation.
                There are no other cars on the road.

                          So, tearing the core out of the Big
                          Apple, I hear.

                Risk, though sad, attempts a wan smile. This isn't lost
                on Virgil. 

                          I'll bet Everson waited exactly thirty
                          seconds to grill you about what happened.

                          If that.

                          You tell me some day, after you're not
                          sick of telling everyone else. 

                          He died like a Viking.

         18     EXT. HIGHWAY 58 (AND BACK-ROADS)/VIRGIL'S CAR -- DAY   18

                The car turns off onto a private dirt road. They proceed
                to pass various trailer homes, spread out sporadically.
                We see some of the NATIVES, who sometimes wave to the
                passing car without specific familiarity. 

                Gradually, these roads diminish to little more than
                trails, finally leading to an area that seems almost
                isolated from any civilization whatsoever. 

                It's here that Virgil finally shuts off the engine and
                the two men sit quietly, smoking the joint. Outside, they
                are looking at an open field, ending in trees a few
                hundred yards out. Risk doesn't bother to ask what
                they're doing here. 

                Finally, Virgil opens his door and gets out.

                          Come on. Let's go.

                Risk complies, concealing his bafflement.

         19     EXT. FIELD/VIRGIL'S CAR -- DAY                         19

                The two men pause near the front bumper of Virgil's car.
                Virgil still hits the joint. He's got all the time in the

                          You probably haven't seen a newspaper,
                          since you just got in last night.

                Risk shakes his head no.

                          A little girl was taken out of her
                          Sterling Heights home last month by
                          someone who broke in in the night.

                Risk looks at him now, for the first time, with genuine
                curiosity. We may also detect his first sense of dread
                and understanding.

                Virgil sports a total poker face.

                          Come on.

                This time, he walks off into the woods. Risk follows,
                with diminishing enthusiasm.

         20     EXT. WOODS -- DAY                                      20

                The two men move quietly; Virgil leading. Eventually, he
                stops and Risk joins him. Virgil nods forward, somewhere
                to the distance through a break in the trees, prefacing a
                small clearing.

                                      VIRGIL V.O.
                          You can almost see it from here: there's
                          a little cabin about two hundred yards
                          into the trees. No lights on. In a
                          minute, you'll see the no-trespassing

                Risk's POV: a view obstructed by foliage of a small cabin
                in the distance, almost totally camouflaged by
                surrounding trees. From this angle, we can see one
                entrance on the visible short side, but there's one on
                the other side, as well, as we're about to see firsthand.

                Virgil leans in close to Risk.

                          We're not expected to attend the wake.

                He reaches into his leather jacket and retrieves a
                Beretta from a holster. Affixing a silencer to its
                barrel, he hands it to Risk.

                          Just like old times.

                Risk looks at him with the full realization of what's
                about to happen. 

                          You found her. The little girl.

                          Found her. Found him. They're both in
                          that cabin. She's been with him for three
                          weeks. It may not be a pretty sight in

                Risk accepts the weapon. Virgil pulls an identical one
                from a shoulder holster under his opposite arm and
                affixes another silencer. He starts off into the trees
                surrounding the short preceding clearing to the cabin.
                Risk follows.

         21     EXT. CABIN/WOODS -- DAY                                21

                From inside, we can hear muffled MUSIC: SONG CUE #3,
                (children's song, or perhaps the talking of a local DJ).
                Virgil approaches one end of the cabin; Risk, the other.
                There is a door on both sides; front and back.

         22     EXT. BACK END OF CABIN/WOODS -- DAY                    22

                Risk crouches near the back door of the cabin, listening.
                Mentally preparing to storm inside. He takes several
                deep, but quiet, breaths. Suggestion: A slow zoom to CU,
                emphasizing that Risk has done this before, but didn't
                exactly anticipate ever being in this position again.

                Finally, he reaches over with one hand and runs his
                fingers along the screen, just loud enough for it to be
                heard inside over the radio.

                He waits, noticeably more apprehensive as he waits for a
                reaction from inside. Eyes glancing forward, (past
                camera) he suddenly notices...

                Risk's POV: an unidentified man stepping out of the
                distant treeline, in the opposite direction from which
                they entered the clearing. This is ROBERT LESTER FELLING.
                Seeing a stranger (Risk) sitting outside his cabin, he
                turns and flees back the way he came.

                Risk stands hastily, and gives chase.

                          State! Over here!

         23     EXT. FRONT END OF CABIN/WOODS -- DAY                   23

                Stateline Virgil, crouched in a similar fashion near the
                front door, stands clumsily and looks around the corner
                of the cabin to see...

                Virgil's POV: Risk hauling ass toward the trees; Felling
                nowhere in sight. SONG CUE #4.

                Stateline Virgil follows suit, running off after Risk.

         24     EXT. WOODS -- DAY                                      24

                We see individual shots of Felling running through the
                woods in escape; then Risk, giving pursuit; then Virgil,
                following Risk. During this last shot of Virgil, we
                suddenly see a quick interjected glimpse of a wolf
                running, instead of the man. Just as suddenly, the image
                of a wolf is back to the original image of Virgil.  

                After a bit of chase, Felling finally trips over
                underbrush and hits the ground.

                Risk arrives before Felling can rise and delivers a hard
                kick to the guy's ribcage, pitching him over sideways.
                When Felling's head rises again, he sees...

                Felling's POV: The muzzle of Risk's silenced firearm
                aimed directly at Felling's forehead (into camera/our
                POV). Behind Risk, Virgil arrives, huffing and puffing.

                          I got to quit smoking.

                Ironically, as he says this, the first thing he does is
                light a cigarette.

                          Where's the kid?

                          What kid?

                Virgil nods; as though replanning based on Felling's

                          Hey, Risk, did I show you how to work
                          that gun? It's a little tricky. Here, let
                          me see.

                Virgil takes the Beretta from Risk's willing hand,
                despite Risk's confusion.

                Virgil pretends to examine it.

                          Who are you people?

                          Bob, I'll make you a deal. If you can
                          keep from screaming, I promise I won't
                          shoot you in the head.

                Felling and Risk both look confused by this promise.

                          You have to make sure the safety switch
                          doesn't fall back into place on you. I
                          meant to give you the good one, but I
                          screwed up.

                He aims the Beretta at Bob Felling's left kneecap and
                pulls the trigger, firing a round directly into its
                intended target. With all the effort he can muster,
                Felling is able to keep from screaming, but the agony is
                evident nonetheless. While Felling proceeds to clutch his
                wounded knee, Virgil hands the Beretta back to Risk.

                          There you go. Good as new.

                                (To Felling)
                          Now. Walk.

                                                                 CUT TO:

         25     EXT. WOODS -- DAY                                      25

                Soon thereafter. The three are making their way back to
                the cabin. Felling is limping and dragging himself
                between the support of trees along the way. 

                Risk and Virgil walk together, further back. Risk looks
                at their surroundings often, as if anticipating that
                someone will see them.

                          Relax. You know damn well we're alone out
                          here. Our friend knows it, too, that's
                          why he's out here in the first place. 
                                (Louder; to Felling)
                          I'm going to ask you once, Robert. Is she
                          still alive?

                          What kind of cops are you? What are you
                          going to do to me?

                Virgil chuckles. Risk looks worried for Felling. 

                          I don't know who you people think I am. 

                          You're Robert Lester Felling. You're an
                          ex-auto worker, fired two years ago from
                          GM for drinking on the assembly line. You
                          had an acquaintance there by the name of
                          Ed Mesner. He was very helpful in
                          locating you here. He said you'd once
                          mentioned something about inheriting a
                          cabin up in the U.P from your
                          grandfather, only to find out it was more
                          like a shack and that you were wondering
                          what the land might go for at auction.
                          Ed's doing time now in Muskegon, in case
                          you're wondering. He sends his best, by
                          the way.

                Felling pauses, leaning against a tree, to look back at
                his captors.

                          I don't know anybody by that name. I've
                          never worked for any auto company-

                          Is the girl alive or dead, Bob?

                          What girl? Who is this man you're-

                Virgil raises the firearm again and shoots Felling in the
                left shoulder. Felling pitches over backward, groaning
                but, again, not screaming. When he looks at them again,
                the innocent act is severely diminished. Felling's
                beginning to understand that he's been caught by guys who
                know damn well who he is.

                          Please. Listen to me...

                Virgil aims the gun at Felling again but doesn't fire.
                Instead, he shush's Felling with a finger pressed against
                his own lips.

                          Get up, Robert. This is no time to be
                          slacking off.

                Risk takes a long look around them, weighing the silence
                of the woods, gauging the daylight shadows provided by a
                canopy of treetops above them.

                          My friend here almost became a writer
                          when he was a kid, Robert. Did you know

                Robert is crying softly, trying to stand, not making eye

                          Did you know that he wrote a book when he
                          was sixteen years old, Robert?

                Risk looks at him with a raised eyebrow, genuinely unsure
                at first why Virgil is bringing up such irrelevant
                details, until all at once, his expression changes to one
                of total understanding. By giving Felling personal
                details about one of them, Virgil is actually telling
                Risk that Felling will not survive long enough to tell
                anyone else. 

                          What did you do when you were sixteen,
                          Bobby? Huh? Torture animals? How old was
                          your first walking, talking, victim? How
                          old were you?

                          Please ... My wallet...

                Virgil hangs his head, feigning resignation, shaking it
                sadly, looking at the ground as he closes in slowly on
                Robert Felling.

                          You asked what kind of cops were we. My
                          friend, you are not that lucky today. If
                          you've hurt that little girl, you'll beg
                          me to give you to them.

                The expression in Felling's eyes is utter hopelessness.

         26     INT. CABIN -- DAY                                      26

                The back door of the cabin is propelled open by Felling's
                body being thrust through it. He hits the floor as Virgil
                and Risk enter behind him. Risk closes the door.

                A quick pan shows us there's barely any furniture in the
                cabin: a cot, a table, a single chair, and a square rug
                set dead center in the middle of the floor. 

                Virgil yanks the rug aside to reveal a trap door in the
                floor beneath it.

                Virgil puts his ear to the floor over it and listens; his
                eyes register that he doesn't hear anything.

                Felling has dragged himself into a corner and is cowering

                          What am I going to find when I lift this
                          up, Robert?

                Felling, terrified, doesn't respond.

                          Open it.

                          I'll give you thirty thousand dollars in
                          cash to just leave.

                Virgil, standing now, aims the firearm at Felling.
                Felling begins moving, as fast as his wounds will allow.
                He crawls to the trap door and behaves as though he
                intends to open it. At the last second, he looks
                pleadingly at Virgil.

                          Please � forty-five thousand dollars.

                Virgil throws Felling aside and opens the door himself. 

                Risk's POV: The look on Virgil's face as he peers into
                the hidden space beneath the floorboards. His reaction
                doesn't change much as his eyes go completely dead.
                Slowly, he looks at Felling like a spider perceives a fly
                who has had the misfortune of landing on its web.

                          Please ... I'm sick ...

                As Virgil moves toward Felling, Risk looks down into the
                trap door himself. 

                                      VIRGIL (OFF-SCREEN)
                          That's what they all say, Bobby.

                From the P.O.V of whatever's down there: we see Risk's
                eyes fill with sick shock and he puts a hand to his
                mouth, as though to physically refrain from vomiting. Off
                screen, we can hear Virgil cursing at Felling as Felling
                tries in vain to plead for his life.

         27     EXT. BACK END OF CABIN/WOODS -- DAY                    27

                Risk staggers out through the back door of the cabin. At
                a safe distance, he looks back.

                Risk's P.O.V: the back end of the cabin. From inside, we
                can hear screaming.

                                                            DISSOLVE TO:

         28     EXT. BACK END OF CABIN/WOODS -- NIGHT                  28

                Hours later. Risk is standing near the trees, smoking,
                contemplative, and full of unease. He turns at the sound
                of the back screen door opening and sees...

                Risk's P.O.V: Virgil coming outside. He's wearing a white
                apron covered in blood. As he approaches Risk, he lights
                a cigarette, himself. 

                Risk regards him with a barely concealed mixture of

                          Now what?

                          Now we disperse what's left of Mr.
                          Felling far and wide across our fair
                          state. I've taken pictures already, which
                          the parents of the unfortunate young girl
                          in there have paid good money to receive.
                          Before, during, and after-pictures. 

                                (Beat; following unrelated to
                                 present situation)
                          How long am I gonna have to stay

                Virgil shrugs, smoking. 

                          'Till we're sure nobody from New York's
                          looking for you. I'm supposed to leave
                          you up here at the farm for a few days. 

                Risk quietly considers this information.

                          Risk. Are you back in?

                          I don't know.

                          Did Josh die a good death? Like a Viking,

                          Is any goddamn death good?

                          You know what I mean.

                                (After a beat)
                          Yeah. He died a hero.

                Virgil seems satisfied with this.

                          By the way, if I didn't tell you before:
                          Welcome Home.

                Wide angle of the two men smoking.

                                                                 CUT TO:

         29     INT. CHILDHOOD HOME OF JOSHUA PARTELL -- DAY           29

                Flashback. Through our P.O.V, the front door of Joshua
                Partell's childhood home opens to reveal a young boy
                standing on the porch. This is "YOUNG" RISK, the boy we
                saw at the firing range in the first scene.

                                      YOUNG RISK
                          Is Josh home?

                NATALIE PARTELL stands in the doorway, looking down at

                          He can't come out today, hon. He's in his
                          room until summer school starts. 

                Risk is clearly disappointed by this. 

                          I'm sorry, honey. You tell your mama I
                          said hi. Okay?

                Risk nods, as the door gently closes in his face. 

                Dejected, Risk steps off Natalie's porch and returns to
                his bike, parked in the driveway near a seventies era
                Buick that belongs to Natalie. He climbs onto his bike
                and listlessly rides out of the driveway. 

         30     EXT. CORNER OF PARTELL'S STREET -- DAY                 30

                At the corner of Partell's side street, he spots a
                "YOUNG" PARTELL waiting on the opposite corner, already
                aboard his own bike. Risk brightens when he sees his pal. 

                Risk's POV: Joshua flips him the middle finger, smiling

                Risk, visibly happier now, applies his pedals to join his

         31     EXT. THE FARM/GRAVE SITES -- DAY                       31

                Present: We see the grave stone of Joshua Partell, and
                recognize the location from the funeral attended just the
                day before. 

                It's Risk, fully grown, staring down at it, deep in

         32     EXT. PORT HURON SIDE STREET -- DAY                     32

                Return to Flashback: Young Risk and Young Partell, riding
                their bikes down some anonymous Port Huron side street,
                stop at a corner. 

                          So what happens if your mom comes looking
                          for you?

                          She'll ground me again, then I'll sneak
                          out again. It's a vicious cycle, dude.

                Partell spits to the sidewalk, as if nothing fazes him.

                          So where to?

                          I don't know. Downtown.

                          Let's find Virge. 

                          That dude is nuts. 

                          Yeah, but he can hit a line drive, like,
                          fifteen miles.

                Partell concedes this, with all due respect. 

                Risk's eyes wander idly to the side, and he sees...

                Risk's P.O.V: the backyard of a nearby house. In the
                backyard is a large tree overhanging a detached garage.
                Beneath the tree, an elderly Indian woman, MRS. JOSEPHINE
                RUNNING ELK (a.k.a MRS. WASHINGTON) stands looking up
                into its branches.

                                      PARTELL O.S.
                          Hey, what's crazy-lady up to? She talking
                          to trees again?

                Risk's eyes rise up to the heights of the tree. 

        32A     EXT. UPPER TREE BRANCHES -- DAY                       32A

                A C.U. shows us a kitten sitting on one of the topmost

                Risk's P.O.V: Descending from an angle up into the trees,
                his P.O.V. falls to Mrs. Washington, who turns and looks
                directly at Risk.

                Risk returns her stare. 

                                      PARTELL (O.S)
                          Man, that woman is fucking spooky.

                                                                 CUT TO:

         33     EXT. MRS. WASHINGTON'S BACK YARD -- DAY                33

                Risk is halfway up the tree and climbing without too much

                On the ground, Partell now stands beside Mrs. Washington,
                both of them looking up at Risk's progress. 

                                      MRS. WASHINGTON
                          (Chippewa dialect translating to
                          "Unafraid of Risk".)

                Partell looks at her, uncomprehending.

                                      MRS. WASHINGTON
                          Your friend's name. (Repeating above
                          dialect). He is unafraid of risk.


                Return to the "New York Flashback," originating in Scene

                Risk and Demarco storm the apartment once occupied by
                Risk. Due to his recent vacancy, the place is dark. Risk
                immediately vacates the doorway, stepping into shadows
                that are in no short supply. Demarco follows likewise,
                but goes in the opposite direction.  

                On Risk, we hear Demarco's boots crunching over broken


                Partell, out in the hallway with Sheila, is lighting a
                cigarette. Past him, out of focus, we see a man
                approaching. The man has wounds and blood stains on his
                otherwise white dress shirt. This is JAY MAX. 

                Partell/C.U.: the muzzle of a .45 Automatic appears
                slowly from edge of frame and presses itself into
                Partell's neck. He instantly freezes. 

                New C.U.: Max's face leaning in close behind Joshua's
                head now.

                          Josh, Josh, Josh. I am so completely
                          fucking disappointed in you. I really
                          thought I could depend on our
                          relationship, y'know?

                Sheila turns to face Max and Partell, inadvertently
                moving in front of the open doorway to the apartment,
                where she can be seen from inside it.

                          Hello, dear. Like my favorite cartoon
                          character always says: Should I shoot you
                          now or wait till we get home?

         36     INT. RISK'S APARTMENT -- NIGHT                         36

                Risk stands near the street-facing wall, next to one of
                three floor to ceiling windows, all covered in plastic
                sheets which rustle and flap in the winds of a storm that
                is raging outside. The windows hold no glass, for reasons
                we'll see later. Risk is idly looking down on the street,
                from an opening beside one of the plastic sheets. 

                Demarco quickly checks the other rooms in the apartment.
                He comes out of a bedroom, looks at Risk, shrugs. 

                Risk turns to the open doorway, and sees Sheila standing
                in it, looking at someone she's talking to out of sight. 

                Sensing danger, he starts to raise his Browning. 

                Risk's P.O.V: Max appears, dragging Joshua along to
                conceal himself. He thrusts Joshua through the door,
                pulling Sheila in to take Joshua's place as a shield, as
                Joshua hits the floor. 

                Demarco raises his firearm, aiming toward the door. 

                Joshua rolls over on the floor, looking back at Max.

                Max, preceded by Sheila (whom he's guiding while holding
                her around the neck with his free arm), enters the

                          Let her go, Max. Let her go now.

                          Sure thing, stud. Just as soon as you put
                          that piece to your head and pull the
                          trigger. I'll take your life for hers,
                          how's that?

                Demarco flicks an unsure glance in Risk's direction,
                maintaining his bead on Max and Sheila.

                                (To Demarco)
                          Remember this scene, Cop? Huh! Remember
                          this?! Now who's a shield? DROP IT NOW OR
                          I FUCKING SWEAR SHE'S DEAD!

                Demarco seriously considers going for the shot, but
                gradually refrains and lays his weapon on the floor. 

                          Kick it away from you, babe. Toward the

                Demarco does so. 

                We see the weapon slide across the floor and come to rest
                near the furthest window past Risk. 

                          That's a good fuck-head. Now I need you
                          to do me another favor. I want you to
                          come closer so I can keep a better eye on

                Demarco moves forward, slowly, eyeing Max as he might, a
                rabid dog. 

                          Whoa. That's good enough.

                Demarco stops.

                          Thank you.

                He removes the gun from Sheila's head long enough to fire
                at, and hit, Demarco, who pitches over backward.

                Sheila screams.

                Risk and Partell each look in horror at their friend, who
                lies unmoving near the bedroom door. 

                          I gotta admit, that was one hard bastard
                          to kill. Don't think I didn't try.

                Risk's strong temptation to shoot Max in return is
                evident, as soon as he's able to tear his focus away from
                Demarco again. 

                Risk's P.O.V: Sheila, incapacitated, looks at Risk with
                an awareness that she understands his urge.

                          One moment, dear boy. I've got just one
                          more item of business to attend to. And
                          then it's your turn, don't think I've

                          No way in hell do you leave this room

                          You don't seem to understand, Risk. You
                          can't kill me.
                          I'm one of the most visible men in this
                          city. If I disappear, there will be an
                          investigation like you've never heard of.
                          There's a cop who knows about you, Risk.
                          Knows about all of us. And he's real
                          close to figuring out whatever he doesn't
                          already know. There's only so many
                          suspects in this, after all. DeMarco was
                          one; now he's not. Which brings us to

                Max's eyes fall to Partell, now standing.

                          Fuck you, Max.

                Max shakes his head sadly.

                          You were always the rude one.

                He raises his .45 again, this time aiming at Partell.

                Risk sees what's about to happen and stiff-arm's his
                firearm as though about to fire this time, for real. 

                          Don't do it!!!

                                                                 CUT TO:

         37     EXT. THE FARM/GRAVE SITES -- DAY                       37

                We hear the GUNSHOT, but abruptly we're returned to the
                grave sites at the farm, where Risk still stands near
                Partell's grave. For the moment, we should not be
                entirely sure who fired the gunshot we've just heard. 

                Risk jerks as though he's hearing the gunshot again, as

                Behind him, we see, stands a middle-aged woman wearing an
                apron with her hair up in a bun. This is AUNT JILLY.
                She's holding a glass of lemonade. 

                                      AUNT JILLY
                          You alright, Sweetheart?

                Risk is clearly shaken by his memories, but warms
                slightly to Aunt Jilly's arrival. 

                          Just thinking.

                She approaches, and gives him the lemonade, which he

                                      AUNT JILLY
                          Doug's gonna grill up some venison
                          tonight. You want steak or a burger?

                          Whatever ... whatever's good.

                                      AUNT JILLY
                          It's weird being back on the job, huh.

                          It was always weird.

                                      AUNT JILLY
                          The Group missed you. I hope you stay
                          with us.

                Risk's eyes stray to the house, with its wraparound
                verandah. CHILDREN and a few ADULTS are mingling around
                the immediate vicinity. This could almost resemble a
                compound of sorts.

                                      AUNT JILLY
                          You belong with us, Lee. We may not be
                          family, but we all love you.

                          I'm supposed to stay up here for a few
                          days. You talked to Clive?

                                      AUNT JILLY
                          I'm tickled pink, Sugar.

                Risk smiles, comforted by her. He embraces her. They walk
                back toward the house, arm in arm, as we hear a RADIO
                BROADCAST in the background of a Tiger's game, growing
                louder as they approach the house. If not for the cult
                ish atmosphere of this scene, it's any Summer afternoon
                in every rural, Midwestern backyard. 

                As Risk and Aunt Jilly leave the frame in the distance,
                our angle pans slowly back to the graves where the
                previous scene took place. At first, we see again
                Partell's headstone, but we continue past it, to others,
                alighting on one, finally, that says: "Lydia Knox, in
                Beautiful Repose..." 

                Staying on this, we hear, in V.O., a young girl's voice

                                      YOUNG LILLY V.O.

                                                                 CUT TO:

         38     INT. LILLY'S CHILDHOOD HOME -- EVENING                 38

                Flashback: Another summer, long ago. The voice belongs to
                a "YOUNG" LILLY KNOX, whom we met in scene #4, which is
                about twenty years after the following scene. She's about
                fifteen, here, and an accompanying SLAM of a SCREEN DOOR
                ushers us into a scene from the past. Lilly, returning to
                her childhood home, is looking for her younger sister,
                Lydia, who is nowhere to be found. The house, in fact, is
                dimly lit, as though by lights left on by everyone
                leaving in haste. No one, indeed, answers her. 


                She walks between rooms, ending up in the kitchen, where
                she sees...

                Lilly's POV: the dinner table; half-set for dinner, but
                apparently abandoned hastily. Food is out on the counter;
                food one would not normally leave unrefridgerated. 


                At once, she notices something off-kilter: the phone
                mounted on the wall (one from the days when phones were
                still attached to the wall by a cord) is hanging off the

                She approaches the phone cautiously, as if it might be of
                a mind to bite her. Lifting it, we hear the BUSY SIGNAL
                distantly, before she hangs it up. 

                Turning, she's alarmed now, but calm. She approaches the
                dinner table, and finds a note there with her name on it:
                Lilly. She picks it up, apprehensive, and reads it. We
                see her features gradually progress from worried to
                horrified. Suddenly, the phone (now back on the hook)
                RINGS and Lilly jumps, startled. 

                She answers the phone.

                          What? ... My Mom left me a note ... Is
                          this ... Is this for real ...?

                We hear a loud RAPPING at the screen door and Lilly, this
                time, SCREAMS. 

                                (Into the phone)
                          No, I'm okay. Someone's here. Hold on.

                She sets the phone down and returns to her front door.
                There, on the porch beyond the screen, is a "YOUNG"
                SARAH, whom we'll be more formally introduced to in
                coming episodes. Sarah looks extremely disturbed.

                          Lilly, it's me! Did you hear what

                Lilly opens her screen door to let Sarah enter. The look
                on Lilly's face shows a barely reserved calm. She's
                coming to the realization that what she's read in the
                note is true, in all its horrifying reality. 

                Sarah, undone, begins to sob as she clings to Lilly.

                          There's been a shooting at the school,

                Lilly pulls Sarah into her arms as firmly as she can, and
                we see the tears beginning to build in her eyes.

         39     INT. HOSPITAL -- NIGHT                                 39

                As we follow Sarah and Lilly's hurried progress through
                the corridors of the hospital, we hear the V.O. of a
                newscaster's coverage of the tragedy in question.

                                      NEWSCASTER V.O.
                          The shots reported have claimed, at
                          present count, six lives at Port Huron
                          Middle School; five of them students, one
                          a teacher, apparently of Biology, who
                          made an attempt to shield several
                          children from the attack as it was
                          happening. The shooter's relationship to
                          the school, at this time, is unknown. He
                          was apprehended soon after by Port Huron
                          Police Officers and is being held in
                          custody as witnesses are interviewed,
                          although there is no doubt that he was
                          responsible for this terrible tragedy. 

         40     INT. HOSPITAL CORRIDOR/LYDIA'S ROOM -- NIGHT           40

                Sarah and Lilly arrive outside the hospital room of
                Lilly's sister, Lydia, who was one of the victims. She is
                met there by her MOTHER and FATHER, both of whom approach
                her at once, their faces drained of hope.

                As Lilly is embraced by her mother, she sees into Lydia's

                Lilly's P.O.V: Lydia, lying in her hospital bed, is being
                covered by a sheet by a NURSE. 

                We see the realization of this reflected in Lilly's eyes.
                Something in her dies as well, and almost as violently. 

                As she begins to scream, there is no sound to accompany
                anything going on. This silence carries over into the
                next scene, until a different NEWSCASTER will take the

                                                                 CUT TO:

         41     EXT. BACK YARD OF RISK'S CHILDHOOD HOME -- NIGHT       41

                A young Risk sits on the back steps of a deck outside the
                back of his parent's house. His expression is one of
                worry, and we get the sense that he might somehow be
                aware of what's going on. 

                Abruptly, as though startled, he turns his head, hearing
                a SOUND. 

                Risk's P.O.V: Lilly is standing near the edge of his
                house, looking at him. She seems deeply shaken. 

                Risk goes to her quickly. He sees, in her eyes, what he's
                been fearing for hours now.

                          Lee. Lydia's ... gone.

                He takes her into his arms, but his expression is one of
                rage, contained only for her benefit, in order to comfort

                                      FEMALE NEWSCASTER V.O
                          Authorities released, today, the identity
                          of the Port Huron Middle School sniper.
                          33 year old Frederick Allen Anspach,
                          currently a resident of St. Clair Shores,
                          but hailing originally from Port Huron;
                          in fact, once a student of Port Huron
                          Middle School, himself...

         42     EXT. ST. CLAIR COUNTY COURTHOUSE -- DAY                42

                As the newscaster's V.O carries us into the following
                scene, we pan over a sea of Journalists and
                Photographers, all shoving against each other to get a
                better view of...

                FRED ANSPACH, the sniper, being led in shackles from a
                County Prison vehicle by two DEPUTIES into the
                courthouse. As this happens, we hear a cacophony of
                FLASHBULBS and competing JOURNALIST's questions. Slowly,
                we pan to the side, and see "MR. PERRY," innocuously
                standing among the others in the crowd. Our focus on him,
                really, is the only thing that sets him apart, other than
                the fact that he's only watching the arrival of the
                killer with no apparent inclination to shout out
                questions, obscenities or take pictures. His disposition,
                in fact, is the only one present which doesn't seem to be
                emotionally involved. 

                                      FEMALE NEWSCASTER V.O
                          Though his motives remain unclear,
                          Anspach has reportedly given a full
                          confession to the killings of five
                          students and one teacher last month. He
                          was apprehended by Port Huron Police
                          officers at the scene and taken into
                          custody. Represented by the law firm of
                          Shuster and Milvern, it was suggested
                          earlier in our reporting that the venue
                          be changed to afford Mr. Anspach a fair
                          trial. Today, Channel Four has learned
                          that Michigan State District Attorney...

                Over the previous voice over, we notice Anspach and Mr.
                Perry make brief eye contact. 

                                                                 CUT TO:

         43     INT. RISK'S CHILDHOOD HOME -- DAY                      43

                MELVIN HENNESSY (a.k.a "Risk's father"), whom we saw in
                the first scene, sits at home in his Barca-Lounger
                watching events on the news pertaining to the
                incarceration of Fred Anspach. The previous female
                newscaster's V.O segues into a different, Male
                Newscaster's coverage later in the proceedings.

                                      MALE NEWSCASTER V.O
                          ...convicted of five counts of First
                          Degree Murder, today, Frederick Allen
                          Anspach, nicknamed "The Port Huron
                          Sniper", was sentenced to six consecutive
                          life sentences. 

        43A     INT. BASEMENT OF RISK'S CHILDHOOD HOME -- DAY         43A

                Risk, in the basement of his childhood home, is gazing in
                earnest at something, which is...

                Risk's P.O.V: his father's gun cabinet, with several
                rifles and long-range firearms in a row.

                                      MALE NEWSCASTER V.O
                          Judge Edward C. Carter the presiding
                          Judge in this case, which was moved from
                          Port Huron to Oakland County to afford
                          the defendant a fair trial...

                                                                 CUT TO:

         44     EXT. FIELD -- DAY                                      44

                We see a YOUNG "Stateline" Virgil aiming through a
                sniper's scope at ...

                Virgil's P.O.V: A paper target in gradual close-up, holes
                appearing all over it as bullets tear through it. Few hit
                the actual outline of the body.

                Next, we see a YOUNG "Risk" aiming as well.

                Risk's P.O.V: his own paper target, with each round
                firing squarely through the forehead.

                We see Risk (here, approximately eighteen years old)
                lowering the rifle he's been firing, examining the
                efficiency of his own marksmanship with no pride. 

                                      MALE NEWSCASTER'S V.O
                          ..., was still convicted by a twelve
                          member panel of jurors representing
                          several racial, ethnic, and social

                                                                 CUT TO:

         45     INT. RISK'S ROOM AT THE FARM/PRESENT -- DAY            45

                As we carry over, we hear a different MALE NEWSCASTER
                begin coverage anew. Meanwhile, we return to the present,
                seeing Risk now sitting near the window in his room at
                the farm. 

                                      SECOND MALE NEWSCASTER'S
                          Today, from P.H. Police Headquarters,
                          school sniper Fred Anspach is being
                          loaded onto Federal transportation which
                          will deliver him to Federal Prison where
                          he will begin serving his multiple life
                          sentences handed down by Judge Edward C.
                          Carter, Oakland County Federal Judge. A
                          round-the-clock suicide watch for Mr.
                          Anspach was recommended by State
                          Psychologist Warren T. Levine last week. 

         46     EXT. ISOLATED ROAD OUTSIDE PORT HURON -- DAY           46

                We see a large bus used for transporting prisoners
                rounding a curve in the road from a distance. As it gets
                closer, the second Newcaster's V.O fades with the rise of
                the bus' engine as it draws closer to our P.O.V.

                A "road-level" angle emphasizes the presence of a spiked
                chain across the road. The bus, very close to this
                position, begins to slow as..

         47     INT. BUS -- DAY                                        47

                The BUS DRIVER sees the obstruction in his path.
                Concerned, he reaches for the C.B microphone above his
                visor. There is a SECOND COP visible behind him, holding
                a shotgun. He, too, is concerned by the delay. 

                Further back in the bus, Fred Anspach, shackled to a
                horizontal bar across the back of the seat in front of
                him, sits forward with concern, wondering about the cause
                for the stop. After a second or two, his focus changes
                from the front of the bus to the outlying countryside. 

                There are various other CONVICTS aboard the bus, all
                equally baffled by the unscheduled stop. 

         48     EXT. BUS -- DAY                                        48

                Young Risk's P.O.V through the crosshairs of a rifle
                scope: we see Fred Anspach's head and shoulders through a
                side window of the bus from an extended distance. We see
                Anspach looking out to the surrounding countryside (where
                Risk is hiding), trying in vain to spot the source of an
                ambush he expects this to be. 

         49     EXT. BUS -- DAY                                        49

                The SHOTGUN COP steps down off the bus, holding his
                weapon, looking around cautiously. 

         50     INT. BUS -- DAY                                        50

                Anspach's P.O.V: the field outside his window. Briefly,
                we see the reflection of light off the glass lens in
                Risk's scope.

                          It's an ambush!

                Anspach's window shatters, literally, in his face, as we
                hear the GUNSHOT. The bullet, however, misses him.
                Needless to say, this ratchets up the anxiety of the
                other CONVICTS audibly. 

         51     EXT. BUS -- DAY                                        51

                The Shotgun cop ducks against the side of the bus. 

         52     EXT. FIELD -- DAY                                      52

                Risk inaudibly curses himself for missing the shot. He's
                cocking the weapon again, but re-aiming on a different

                Risk's P.O.V: through the crosshairs, we see briefly that
                Anspach is now too low to offer himself as a target.
                Panning down, Risk's P.O.V now targets the front driver's
                side tire of the bus. 

         53     INT. BUS -- DAY                                        53

                The Driver is yelling for the shotgun cop to get back on
                the bus. 

         54     EXT. BUS -- DAY                                        54

                The front tire explodes with the second GUNSHOT. The
                whole bus sags in that direction.

         55     INT. BUS -- DAY                                        55

                The Driver is screaming into the C.B. mike now. 

         56     EXT. BUS -- DAY                                        56

                The rear passenger's side tire of the bus explodes with a
                third GUNSHOT. A quick zoom away from this takes us out
                into the field on the passenger's side of the bus...

                STUART LONG, holding a long range rifle similar to
                Risk's, is sequestered in a tree out in the field
                abutting the "passenger's" side of the road. 

         57     EXT. BUS -- DAY                                        57

                A fourth GUNSHOT is of an obviously different caliber. A
                .357 Magnum, to be precise. 

                At road level again, focused on the spiked chain, we now
                see a pair of boots stepping into view. This is a young
                version of VIRGIL.  

         58     INT. BUS -- DAY                                        58

                The Driver's P.O.V: Virgil, holding the .357 aimed at the
                sky, has fired a warning shot. He's also wearing a hockey
                (or welder's) mask. He arrives from a ditch running
                beside the road, where he was formerly concealed from all

                Aiming the .357 at the windshield with one hand, Virgil
                uses his free hand to wave hello to the driver. 

         59     EXT. FIELD -- DAY                                      59

                Through the P.O.V of crosshairs: Risk, still holding his
                position, monitors the activity taking place on the road,
                in the bus. 

                Risk's P.O.V: through the crosshairs, we see the Driver
                standing up, the shotgun cop re-boarding the bus (albeit
                backwards and no longer holding the shotgun), followed by
                Virgil in his hockey mask, covering the two
                aforementioned cops. All three proceed down the middle
                aisle of the bus toward the back. 

         60     INT. BUS -- DAY                                        60

                Virgil, his .357 straight-armed, aimed at his two
                temporary prisoners, backs them down the aisle toward the
                back of the bus.

                Virgil's P.O.V: the two cops, both walking backward
                because neither wants to take their eyes off Virgil.

                          Do your fucking job! Protect and serve,
                          you fucking bastards!

         61     EXT. BUS -- DAY                                        61

                Checking in on Risk, we see him still watching all of
                this from afar. 

                Risk's P.O.V: through the scope, we see the party of
                three, on the bus, arrive near Anspach's seat. Anspach is
                clearly agitated, possibly begging. Of course, we can't
                hear anything from Risk's distant position. 

                On Risk, again, we hear the distant sound of SIRENS now. 

                          Come on ... come on ...

         62     INT. BUS -- DAY                                        62

                The cops hover near Anspach.

                          You (spoken to the driver), uncuff him.

                          You can't let him do this! They're gonna
                          kill me! We made a deal! (I.e. reference
                          to plea deal or conspiracy?)

                          Do it!

                The Driver hastily retrieves his keys and leans over to
                uncuff Anspach's cuffs. 

                                      VARIOUS CONVICTS
                          Me, too! ... Take me, man! ... Man, get
                          me outta here!

         63     EXT. FIELD -- DAY                                      63

                Risk's P.O.V: through the scope, we see the cop who
                uncuffed Anspach guide him to a standing position. The
                shotgun cop takes Anspach's vacated seat. The cop who
                uncuffed Anspach leans over the sitting shotgun cop, as
                he did with Anspach. The sound of sirens is growing
                louder by the second.  

         64     INT. BUS -- DAY                                        64

                The driver is applying the handcuffs now to the shotgun
                cop, locking them closed. Anspach is standing with his
                hands up, turned-back toward Virgil, as ordered (but
                unheard by us). With Anspach standing this way, Virgil
                can aim his weapon at the cops, ensuring compliance.

                          Alright, you two, let's go.

                The three: (Anspach with his hands raised, the driver
                next, and Virgil bringing up the rear) move toward the
                front of the bus. 

         65     EXT. FIELD -- DAY                                      65

                Risk, seeing this, raises a walki-talki to his lips. 

                          Josh. Go, go!

         66     EXT. ROAD/INTERSECTION -- DAY                          66

                SONG CUE #5. A van takes the corner of the intersection
                with a squeal of tires. It's being driven by a teenaged
                version of JOSHUA.

         67     EXT. BUS -- DAY                                        67

                Virgil and company step off the bus. 

                A wide angle shows Joshua's van coming to a nearby stop.
                Joshua jumps out from behind the wheel. He takes Anspach
                from Virgil, whose attention remains on the driver, left
                standing near the front of the bus as Joshua puts Anspach
                into the van via the side door. We should note that the
                spiked chain remains stretched across the road
                throughout. The van sits idling on the opposite side of
                it from the bus. 

         68     EXT. FIELD -- DAY                                      68

                We see a "Young" Stuart Long drop from the branches of
                the tree he was concealed in and run from his position
                away from the bus, carrying his rifle, leaving the scene. 

                          (into his own walki-talki)
                          Carl, Move in!

         69     EXT. FIELD -- DAY                                      69

                Risk, too, is leaving his position, running with his
                rifle across this farm's planted rows, away from the

         70     EXT. VAN -- DAY                                        70

                As Joshua gets back behind the wheel, Virgil follows
                Anspach in through the side door, closing it behind him. 

                The van screeches backward in reverse. It turns, then
                flees in the direction it came from, taking the same road
                it turned off to get there. Another vehicle comes into

         71     INT. CARL'S VEHICLE -- DAY                             71

                Behind the wheel is CARL EVERSON, approximately the same
                age as the others. Known only to us (the audience) is his
                connection to the others, however. To the cops, he's an
                "innocent bystander" who's about to enter the wrong place
                at the wrong time. 

         72     EXT. ROAD/BUS -- DAY                                   72

                Everson's vehicle enters the area (just as the van
                departs the scene), hits the spiked chain left laying
                across the road, and skids into the bus as it's tires are
                predictably punctured. The Bus Driver, two seconds before
                this happens, throws himself out of the way. 

         73     EXT. WOODS -- DAY                                      73

                As we watch Risk reach the woods at the edge of the
                farmer's field, the song concludes by segueing into a
                Newscaster's V.O once again, describing these events of
                the present as though they've already happened. 

                          Amazing developments happening this
                          afternoon in St. Clair County, resulting
                          in the kidnapping of Port Huron sniper
                          Frederick Allen Anspach by a group of at
                          least four individuals, who ambushed the
                          police bus transferring Anspach to
                          Federal Prison where he was set to begin
                          serving today six consecutive life
                          sentences. Convicted last month in
                          Oakland County...

                After this escape on foot through the woods, Risk reaches
                a battered Chevy Nova parked on a dirt road, already
                idling. The Young Lilly is behind the wheel, waiting,
                nervous but composed. Risk gets into the backseat and
                lays out of sight. The vehicle takes off leaving a dust

         74     EXT. BUS/COLLISION -- DAY                              74

                Carl, behind the wheel, is bleeding from the forehead,
                dazed, as the Driver of the bus appears at the passenger
                window. The driver's door of Carl's vehicle is blocked
                closed by the side of the bus, with which it connected in
                the impact. In the background, we can hear CONVICTS
                protesting loudly from the bus. 

                                      NEWSCASTER V.O
                          Authorities at this time have a few leads
                          as to the whereabouts of Anspach and who
                          his captors might be, but they have not
                          made a statement yet as to how they will
                          proceed with the investigation.
                          Rumors have already begun to circulate as
                          to the kidnapping being perpetrated
                          somehow by members of the families who
                          lost loved ones to the sniper's violent
                          attacks outside Port Huron Middle School
                          in June. 

                The ambulance arrives on the scene with sirens we don't
                hear because of the ongoing newscaster's V.O. The
                PARAMEDICs administer to Carl, in whose eyes we see a
                knowing look during the few seconds when no one's looking
                at him, even though he exaggerates his state of shock
                when they are. 

                                      NEWSCASTER V.O.
                          What begins now is the second largest
                          manhunt in Michigan history, to find the
                          perpetrators of this dramatic kidnapping;
                          the first being the effort put into
                          finding Anspach, himself. If anyone has
                          information relating to the arrest or
                          capture of these kidnappers, State Police
                          will issue a toll free number within the
                          hour, and we will bring that to you as we
                          will all further developments on this
                          story. Stay tuned to Channel Four news
                          for further updates...

         75     INT. VINCE'S HAIR OF THE DOG (A BAR) -- DAY            75

                VINCE is the proprietor of this modest drinking
                establishment, and stands behind the counter this
                afternoon reading a newspaper spread open on the bar,
                listening to the radio. SONG CUE #6.

                DETECTIVE WARREN LEEDS enters the bar, casually, as
                though he was any other regular customer.  

                Vince sees him arrive, indicating to us only subtly that
                he may know why the cop's really here. 

                          Morning, Detective. The usual?

                                                                 CUT TO:

         76     EXT. REAR OF VINCE'S BAR -- DAY                        76

                Melvin Hennessy ("Risk's father"), driving a beater
                Mercury that should have been retired before the last
                world war, pulls into the rear parking lot of "The Dog,"
                Vince's Bar. 

                For a while, we simply watch him park, ready himself to
                exit the vehicle, step out, walk toward the rear door of
                the bar. He doesn't appear stressed or anxious in any
                way. This is key to know for the upcoming scene.

         77     INT. VINCE'S BAR -- DAY                                77

                Detective Leeds sits at the bar, a cup of coffee before

                          We'll have the artist's composite sketch
                          within the next hour or so. The guy
                          riding shotgun got a great look at the
                          one who showed up with the getaway
                          vehicle. He's looking at mug shots, now.

                          Kids, you say? I can't believe kids
                          pulled this off.

                          I wasn't there, but that's the word,
                          yeah. One of 'em maybe no more than
                          eighteen. The one who took Anspach off
                          the bus gave the bus driver the
                          impression he was barely out of high
                          school. They had an adult shooter,
                          however. That was no kid who fired on the

                          How do you know?

                          The driver--Williams--swears the shooter
                          was some kind of sniper, and I believe
                          him. Williams comes from three tours in

                          So I'm assuming you want me to keep my
                          ear to the ground?

                          Always. Not the reason I'm here, though.
                          You lost a niece to that son of a bitch,
                          Anspach, didn't you?

                          I've been here all morning.

                          Can anybody verify that, Vince?

                          Are you kidding me, Warren?

                          You have an alarm on this place, don't

                          Sure. I think it logs the time I turned
                          it off this morning, too.

                          It's not airtight. The kidnapping took
                          place between 9:35-9:45. 

                          Leeds, quit foolin' around. Drink your

                Leeds drops it. He clearly has history with Vince, thus
                can be shut off in this fashion. 

                          The only thing that's got me: if this guy
                          was such a good sniper that he could put
                          two tires out from his angle, how did he
                          screw up shooting Anspach through the

                Vince shrugs, apparently more interested in the newspaper
                than Leeds' fishing expedition.

                          Nobody comes in here early? The number of
                          drunks in this town, you gotta be

                          There's one guy, local, but I don't know
                          his name. He's been in here every morning
                          for the past month. I guess I got so used
                          to him showing up I forgot all about him.
                          You know, like some mornings, you can't
                          remember whether you brushed your teeth
                          or if you're remembering the act from the
                          day before?

                They both pause when a sound is heard coming from the
                back of the bar, beyond the door which says: "Office.
                Keep Out." Unknown to us at this point is that the office
                has a back door leading out to the parking lot. 

                Leeds listens, looking toward the office door, but
                continues talking.

                          Guy comes in here every morning for a
                          month and you don't know his name, Vin?

                          He told me once. I don't do good with

                          Kind of slow in here. Is it always like

                          Lulls � you know. It'll pick up around
                          the lunch hour.

                Leeds now looks again at Vince, unsmiling.

                          You have anybody in here helping you for

                                (Getting nervous)
                          Why? You looking for a moonlighting gig?

                Leeds relaxes, apparently ready to brush off whatever he
                thought he heard.

                          It feels like shit to have to come here,
                          Vin, asking you bullshit questions like
                          these. I can't imagine how bad this has
                          all been for you and yours, any of these
                          families that were hit with this � sorry.
                          Bad choice of words.

                          No foul.

                          Nobody can blame you for being beyond
                          pissed-off, either.

                          Pissed-off, yeah; not crazy.

                          If you were me, who would you assume it
                          was, first, who kidnapped the shooter?
                          Somebody who lost one of their kids that
                          day, or someone who didn't? What I want
                          to see happen is a good alibi for every
                          person who might have taken it upon
                          themselves to initiate a little justice.

                          Why'd you come to me first?

                They hear a second NOISE from the back of the bar. This
                time, Leeds has no choice but to address it. 

                          You got somebody else here who helps you
                          during the lunch hour? A waitress, maybe?

                They are both distracted by the office door opening at
                the rear of the bar. Leeds and Vince both look up to see
                who is joining them. 

                Melvin, now completely ashen-faced, takes a second at the
                door as though fighting an unsuccessful battle to quiet
                his nerves. Since pulling into the rear parking lot, his
                disposition has made a hundred and eighty degree turn. He
                begins to walk toward the two other men already present. 

                          Back again (feigning the identity of the
                          unnamed morning-drinker. You're not gonna
                          believe what I just heard on the radio on
                          the way over here.

                          I know you, don't I?

                          Name's Melvin Hennessy.

                          Detective Warren Leeds. What's on the

                          Well, I'm sure it won't be news to you.
                          Seems somebody hit that bus outside of
                          town that was carrying the shooter to
                          jail. Took him right off the bus.

                          Yeah. We were just talking about that.

                          I'll take a beer.

                          Day off?

                          Playing hooky. I'm taking the wife down
                          to Florida to see her folks. Surprising

                          Really. Leaving town.

                          Well, yeah � you kind of have to, unless
                          there's a way to get Florida to come to

                They all share a chuckle over that one.

                          She's been nagging for two years now. I
                          can tell it's starting to get to her.
                          Boss says to me yesterday that I have
                          four weeks saved up and I need to use 'em
                          before January.

                          Four weeks. Long vacation.

                          Shit, I won't last four weeks. I'll
                          sacrifice one of 'em; spend the other
                          three fishing up north probably.

                          King Salmon or Steelhead?

                          I ain't picky.

                          You drivin' or flyin'?

                          Driving. Not leaving for another few
                          hours though, so I'm only having one. I
                          like to get to Louisville the first day;
                          shoot through to Tallahassee the next.

                This time, it's a LOUD NOISE we hear from the rear
                office, unmistakable. Something has either been knocked
                over or destroyed in some way.

                          What the hell?

                          Fuckin' Rhonda! My waitress. Sorry for
                          only now answering your question from
                          five minutes ago.

                Leeds appears distrustful. His curiosity has been piqued. 

                Melvin waits, apprehensively. He knows damn well what's
                going on back there, but has to pretend he doesn't. 

                Vince is the same way. He, too, knows what's happened. 

                          What'd you do, Vin? Hire some mongrel
                          with nothing but thumbs?

                Vince laughs, nervously.

                Leeds does not.

                Melvin's grip tightens on the neck of his beer bottle,
                which Vince notices, but Leeds does not.

                          Hey, Warren. Let me get you something a
                          little stronger. What about a Coke-Cola?

                Melvin chuckles at that one. Leeds has been drinking

                Leeds looks to Vince, again, his eyes belying the fact
                that he's figured this out. He knows exactly what's
                happening now, as well as they do.

                          No, boys. I think I'll take a rain check
                          on that. Got to get back to the ranch.

                          Good luck. Can't say I'd hold out too
                          much hope for your kid, Anspach, though.

                Vince glances at Melvin as if to say, "Shut. Up!"

                          No. 'Course, I guess some things happen
                          for a reason.

                Leeds stands, finishing his coffee and idly wiping his
                mouth with the back of his hand. His P.O.V then returns
                to that rear office door. 

                A C.U. of the door illuminates for us exactly what he's
                looking at. The door is cracked open, but we have no hope
                of seeing whether or not anybody might be standing on the
                other side of it, perhaps watching the conversation going
                on in the bar. 

                Leeds eyes the door knowingly.

                          As mama used to say: 'the Lord works in
                          mysterious ways.'

                First Melvin, then Vince, are looking at the cop in a new
                light. As possible compatriot instead of a threat, not
                that they, themselves, yet are specifically a-party to
                what's happening in the back room.

                          Hell, if I found the guys who took him,
                          I'd be hard-pressed not to pin a medal on

                          I can't say I'd disagree--

                He is silenced by a stern glance from Vince, unseen by
                Leeds, who is finally turning to leave ... through the
                front door.

                Melvin and Vince are watching him walk to the door, not
                quiet out of the woods yet (so to speak).

                          Well, boys. Don't do anything I wouldn't

                He turns to them one last time as he says this, as if to
                let them know they haven't remotely fooled him.

                With this, he steps outside into the sunshine. The
                sunlight, as he leaves, illuminates only a silhouette
                against the comparatively dark interior of the bar.

                Once Leeds has left the bar, Melvin abruptly stands and
                hurries to the door at the rear of the bar. Vince follows
                just as quickly.

         78     INT. REAR OFFICE -- DAY                                78

                Melvin is the first one through the door. He stops short,
                nothing short of shocked. Vince stops behind him, looking
                over Melvin's shoulder, just as frozen in place as

                We, the audience, will see the activity in Close-up's
                which describe the scene slowly.

                C.U.: Risk, sitting against the far wall. We see evidence
                of blood on him, but he doesn't appear to be hurt. His
                eyes are far away, deeply affected by what's taken place.
                Only slowly does he look up to his father, standing in
                the doorway.

                C.U.: Virgil, standing against the wall breathing
                heavily. He holds in his hand a 12" Bowie knife covered
                in blood to the hilt, as is a good part of his right
                forearm. He, also, has not been hurt.

                A larger frame shows us Partell and Long, both
                apprehensive but also strangely subdued. It's as though
                nobody knows what to do.

                From Melvin, we pan down to the body of Frederick Allen
                Anspach, laying in a large pool of his own blood. We can
                only see him from the back, thus can't be sure how he was
                killed other than by the deduction of, previously, seeing
                Virgil's bloody knife. 

                Melvin approaches his son, as Risk stands up. For a
                second, we're not sure how Melvin's going to react.
                Finally, he embraces his son with no hint of animosity,
                only deep concern. SONG CUE #7, carrying over into
                following scene.

         79     EXT. REAR OF VINCE'S BAR -- DAY                        79

                The camera pans away from the bar and rear parking lot.
                Behind a garage at the rear of the parking lot, we see a
                YOUNG MAN (unnamed) putting the finishing touches on a
                paint job for the van that was used in the kidnapping. 

                                                                 CUT TO:


                A 60's Mustang flies down a back road somewhere in the
                Upper Peninsula, leading a cloud of dust. We slowly come
                down on it (via crane).

         81     INT. 60'S MUSTANG -- DAY                               81

                We see Risk, now (in the present), sitting in the
                passenger seat.

                STUART LONG is driving. In the backseat, a young man,
                EDDIE, is along for the ride.

         82     EXT. BEACH -- DAY                                      82

                The car pulls alongside a turn-out for an area of private
                beach, part of Aunt Jilly's land. All three get out of
                the car. 

                Walking along, knowing they're alone, the three share a
                joint. Long is also carrying a small bucket, almost as
                though he plans to make sand castles. 

                          I heard you guys were successful,

                Risk nods yes as he hits the joint.

                          I heard it wasn't pretty for that sick
                          fucker you went after.

                          Fire with fire.

                          I wasn't in there with him.

                          Man, I would've been.

                          Listen to the rookie.

                          Fuck you. Put me in the game. See what I

                          Training, Grasshopper. Don't blow it off.

                          I ain't blowing off nothing. Stateline
                          knows. Called me his protege.

                          He meant 'bitch'.

                Eddie shoves Long, sending him sideways, but it's all in

                They walk onto the beach. Long wanders over to a wooden
                shed nearby, fishing in his pocket for something.

                                (To Risk)
                          So I heard you went to New York. You
                          really do all that shit I'm hearing

                          A good magician never says.

                          Come on, Dawg. I'm one of the initiated.
                          I'm a Lieutenant, m'man. I'm coming up.

                          You're thinking of a private; as in: get
                          me a cup of coffee, Private.

                Long returns with a fishing pole, retrieved from the
                shed. He's holding, in the other hand, the bucket of

                Eddie and Risk watch Long walk down to the water. Nearby
                is a weather-beaten picnic table. They take seats upon
                it, next to each other, to finish the joint and watch
                Long fish.

                          So, Dude. What's it like to be a hero?

                          I don't know. You find one, you ask him
                          for me.

                          Come on. You're legendary, Dude. You're a
                          genuine, fuckin' Urban Myth. Nationwide,
                          after New York. Folks in the Group talk
                          about your ass in whispers. You saved a
                          woman from her husband. Not just any
                          dumbass, either. This was Jay Max. He's,
                          like, the Donald Trump of nightclubs.

                Risk smiles conspiratorially.

                          Maybe I did. Maybe I didn't.

                          Sheila's her name, right? She's hot,
                          Dude. You hittin' that?

                          Be nice.

                Eddie smiles approvingly.

                          No shit! That's my boy.

                They watch Long threading a worm on the hook, too far
                away from them to join in the conversation or hear

                Risk hits the joint, passes it to Eddie for the last
                time, who also tries to hit it but is unsuccessful.
                Disinterested, he tosses away the roach.

                          She, like, your girlfriend now?

                          You know, the first rule of protecting
                          the client is to pretend that you have no
                          knowledge of said client.

                          Even from each other?

                          From anybody. That's need-to-know shit.
                          You and your crew are the only ones.

                          What if you don't trust everyone in your

                Risk looks out at the water.

                                                                 CUT TO:

         83     INT. RISK'S APARTMENT/NEW YORK -- NIGHT                83

                We hear the GUNSHOT from the last time we were in this
                scene, (#36). This time, we see that it's Joshua Partell
                who was shot. Risk goes to him, kneeling, taking
                Partell's head into his hands as the man prepares to die.

                                (Spitting blood)
                          I'm sorry. Risk, ... I'm ... Please don't
                          tell them I did this...

                Risk, holding Partell, begins to cry. 

                We see Max, still standing in the doorway, using his own
                wife, Sheila, as a shield. Sheila feels Risk's pain. 

                          I fucked up, man. I fucked up...

                                                                 CUT TO:

         84     EXT. BEACH -- DAY                                      84

                Risk, in the present, comes back from the past.


                          I said, Tell me about Joshua some day.
                          Will you?

                          He was the hero. 

                          Who else was in your crew?

                          Secrets, brother. Get used to keeping

                Eddie backs off. 

                          Hey, man, you gonna fish?

                Risk shakes his head no. Eddie, respectfully, withdraws,
                heading over to the shack. Idly, Risk watches Eddie
                retrieve a fishing pole. His thoughts are clearly

                                                                 CUT TO:

         85     INT. RISK'S APARTMENT/NEW YORK  -- NIGHT               85

                Risk holds Partell's head in his lap as Partell begins to
                shudder. His next lines are almost ravings.

                          Tell me you forgive me, man. Tell me ...
                          tell me...

                                                                 CUT TO:

         86     EXT. BEACH -- DAY                                      86

                Risk's P.O.V: Instead of Eddie, we now see a younger
                version of JOSHUA, holding the same fishing pole. He's
                calling something to Risk that we don't hear. In the
                background, near the waterline, we see young versions of
                Lilly and Virgil, searching for shells in the sand. 

                Risk, imagining this, is his present age. 

                When next we see things through his P.O.V: we see Risk's
                father, (a younger version of Melvin than we've seen thus
                far), fishing off down the beach in the opposite
                direction. Melvin turns back and waves to him. 

                Risk is clearly uncomfortable with this image. 

                A wide angle shows us Risk getting up from the picnic
                table and joining his friends near the waterline (Stuart
                Long, in his present age, and Eddie). 

                                                                FADE TO:

         87     EXT. SMALL AIRPORT -- EVENING                          87

                A small, twin-engine plane (the same which transported
                Risk up to the U.P in Scene #14) comes in for a landing
                at a small mom & pop airfield near Port Huron. 

                Near the main office building, a car waits, Bob Everson
                leaning against the hood with his arms crossed, watching
                the plane land. 

                Everson's P.O.V: Risk climbs out of the plane and begins
                to walk over to where Everson waits.

                                                                 CUT TO:

         88     INT. EVERSON'S VEHICLE -- TWILIGHT                     88

                Everson drives. Risk rides shotgun.

                          I'm guessing that crazy son of a bitch
                          didn't let on what he was leading you

                          Virgil has fun that way.

                          The Group's been worried about him for a
                          while now. He's been up there in the U.P.
                          too long. Getting sloppy.

                          He did a better job than the search
                          party, that's for sure.

                          True. I ain't saying he's not good at
                          what he does.

                          Virgil took pictures. For the parents. I
                          wasn't in there with him, so I really
                          have no idea what exactly happened. I
                          only heard it.

                          He didn't gag the guy?

                          Yeah. He did.


               Risk says nothing, absently staring out the window at I-69.

                          Um � to change the subject, I got a call
                          last night from Arthur Pelligrene. Your
                          daddy wants to see ya.

               Risk looks at him with a subtle mixture of many conflicting
               reactions to this news. The poker face is tested to its

                          I'm assuming you agree to that.

                          So you set it up?

                          He set it up. Remember to give him my
                          best, will ya, Risk?

                Risk's attention returns to the passing freeway outside
                his window, considering the coming reunion with clear but
                quiet apprehension. In the background, we hear SONG CUE
                #8, which takes us all the way out of the episode,
                carrying over into the following shot. 


                The episode concludes with a crane shot pulling back from
                the rear of the vehicle to end on a wide angle of the
                eastbound lanes of I-69 heading into Port Huron and,
                finally, the lights of Port Huron itself, coming on in
                the near distance as day rapidly turns to twilight and
                then into night. On the horizon, the lights of the Blue
                Water Bridge shine brighter than any others.  

                                                               FADE OUT:

         90     ROLL CREDITS]                                          90
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