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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.
MELVIN
Fire when ready, boys.
As the volley of GUNSHOTS are fired, we cut abruptly to
black.
CUT TO:
1 EXT. OVERLOOK/BLUE WATER BRIDGE/PORT HURON -- NIGHT 1
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
hour.
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:
CHOPS
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.
CHOPS
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.
CHOPS
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
side.
CHOPS
Man, this ain't the way we do this. You
know that.
RISK
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.
RISK
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
anxiety.
CHOPS
The circumstances sometimes call the
shots.
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.
RISK
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.
RISK
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.
CHOPS
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.
RISK
[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.
CHOPS:
Come on, man. You're killing me here. Can
we go?
RISK
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
INT./EXT. RISK'S POV FROM THE BACKSEAT -- DAY/NIGHT
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.
CHOPS
Hi, Sugar.
Risk enters next. Without words, he and Lilly embrace.
RISK
I missed you.
When they part, her eyes are red as though she might
start crying. He dries the first few and she smiles.
LILLY
How long you planning to stay?
RISK
I have no plans for leaving.
They embrace again.
CHOPS
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.
LILLY
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.
LILLY
So what's the story?
RISK
Josh is gone.
LILLY
That's the part I know.
RISK
So you want a long story.
LILLY
It's still four hours before dawn, and I
don't have to work tomorrow.
RISK
How come you're still single?
LILLY
If I answer you, will you answer me?
RISK
You didn't ask me a specific question.
Lilly brings two cups of coffee to the table and sits
across from him.
LILLY
I'm waiting for you. That's a specific
answer. Now tell me what the hell
happened to you in New York.
RISK
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.
LILLY
So what happened to Josh?
RISK
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.
LILLY
Tell me about it.
RISK
I'm still not over it.
Risk hesitates, clearly weary of carrying around the
story she wants to hear.
LILLY
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.
RISK
The night he died...
CUT TO:
6 EXT. RISK'S APARTMENT BUILDING/NEW YORK CITY -- NIGHT 6
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
Description/Motivations]
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.
RISK
(To Demarco)
How's your chest?
DEMARCO
(Sarcastically)
Swell.
RISK
Did you plant the note?
DEMARCO
Sure, after cleaning up the mess. Had to
rearrange the pictures on the walls to
cover the bullet holes, though.
RISK
Good. Cabal may not look too thoroughly
at first � depending on how good a job
you did. What about the blood from Max's
shoulder?
DEMARCO
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.
8 INT. FIFTH LANDING/RISK'S APARTMENT BUILDING -- NIGHT 8
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.
9 INT. FIFTH FLOOR HALLWAY/RISK'S APARTMENT BUILDING -- 9
NIGHT
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
ready.
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
apartment.
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.
EVERSON
We're almost there. You ready?
RISK
Yeah.
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.
EVERSON
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
out.
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.
EVERSON
Here's to freedom.
Risk accepts it.
RISK
I missed you assholes!
LONG
So what happened?
EVERSON
Let him at least get his buzz on.
RISK
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.
EVERSON
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.
AFTERWARD/SAME LOCATION. INCL. THE MAIN HOUSE -- DAY
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.
VIRGIL
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.
VIRGIL
So, tearing the core out of the Big
Apple, I hear.
Risk, though sad, attempts a wan smile. This isn't lost
on Virgil.
VIRGIL
I'll bet Everson waited exactly thirty
seconds to grill you about what happened.
RISK
If that.
VIRGIL
You tell me some day, after you're not
sick of telling everyone else.
RISK
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.
VIRGIL
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
world.
VIRGIL
You probably haven't seen a newspaper,
since you just got in last night.
Risk shakes his head no.
VIRGIL
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.
VIRGIL
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.
(Whispering)
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
signs.
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.
VIRGIL
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.
VIRGIL
Just like old times.
Risk looks at him with the full realization of what's
about to happen.
RISK
You found her. The little girl.
VIRGIL
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
there.
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.
RISK
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.
VIRGIL
I got to quit smoking.
Ironically, as he says this, the first thing he does is
light a cigarette.
RISK
Where's the kid?
FELLING
What kid?
Virgil nods; as though replanning based on Felling's
denial.
VIRGIL
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.
FELLING
Who are you people?
VIRGIL
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.
VIRGIL
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.
VIRGIL
There you go. Good as new.
VIRGIL
(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.
VIRGIL
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?
FELLING
(Exasperated)
What kind of cops are you? What are you
going to do to me?
Virgil chuckles. Risk looks worried for Felling.
FELLING
I don't know who you people think I am.
VIRGIL
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.
FELLING
I don't know anybody by that name. I've
never worked for any auto company-
VIRGIL
Is the girl alive or dead, Bob?
FELLING
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.
FELLING
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.
VIRGIL
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.
VIRGIL
My friend here almost became a writer
when he was a kid, Robert. Did you know
that?
Robert is crying softly, trying to stand, not making eye
contact.
VIRGIL
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.
VIRGIL
What did you do when you were sixteen,
Bobby? Huh? Torture animals? How old was
your first walking, talking, victim? How
old were you?
FELLING
Please ... My wallet...
Virgil hangs his head, feigning resignation, shaking it
sadly, looking at the ground as he closes in slowly on
Robert Felling.
VIRGIL
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
there.
VIRGIL
What am I going to find when I lift this
up, Robert?
Felling, terrified, doesn't respond.
VIRGIL
Open it.
FELLING
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.
FELLING
Please � forty-five thousand dollars.
Cash!
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.
FELLING
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
emotions.
RISK
Now what?
VIRGIL
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.
RISK
(Beat; following unrelated to
present situation)
How long am I gonna have to stay
underground?
Virgil shrugs, smoking.
VIRGIL
'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.
VIRGIL
Risk. Are you back in?
RISK
I don't know.
VIRGIL
Did Josh die a good death? Like a Viking,
really?
RISK
Is any goddamn death good?
VIRGIL
You know what I mean.
RISK
(After a beat)
Yeah. He died a hero.
Virgil seems satisfied with this.
VIRGIL
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
him.
NATALIE
He can't come out today, hon. He's in his
room until summer school starts.
Risk is clearly disappointed by this.
NATALIE
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
shrewdly.
Risk, visibly happier now, applies his pedals to join his
friend.
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
contemplation.
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.
RISK
So what happens if your mom comes looking
for you?
PARTELL
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.
RISK
So where to?
PARTELL
I don't know. Downtown.
RISK
Let's find Virge.
PARTELL
That dude is nuts.
RISK
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
branches.
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
effort.
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.
34 INT. RISK'S APARTMENT BUILDING/NEW YORK CITY -- NIGHT 34
Return to the "New York Flashback," originating in Scene
#9.
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
glass.
35 INT. HALLWAY/RISK'S APARTMENT BUILDING -- SAME TIME 35
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.
MAX
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.
MAX
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
apartment.
RISK
Let her go, Max. Let her go now.
MAX
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.
MAX
(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.
MAX
Kick it away from you, babe. Toward the
windows.
Demarco does so.
We see the weapon slide across the floor and come to rest
near the furthest window past Risk.
MAX
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
you.
Demarco moves forward, slowly, eyeing Max as he might, a
rabid dog.
MAX
Whoa. That's good enough.
Demarco stops.
MAX
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.
MAX
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.
MAX
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
forgotten.
RISK
No way in hell do you leave this room
alive.
MAX
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
Joshua�
Max's eyes fall to Partell, now standing.
PARTELL
Fuck you, Max.
Max shakes his head sadly.
MAX
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.
RISK
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
well.
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.
RISK
Just thinking.
She approaches, and gives him the lemonade, which he
accepts.
AUNT JILLY
Doug's gonna grill up some venison
tonight. You want steak or a burger?
RISK
Whatever ... whatever's good.
AUNT JILLY
It's weird being back on the job, huh.
RISK
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.
RISK
I'm supposed to stay up here for a few
days. You talked to Clive?
AUNT JILLY
(Nodding)
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
shouting:
YOUNG LILLY V.O.
Lydia!
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.
LILLY
Mom?
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.
LILLY
Dad?
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
hook.
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.
LILLY
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.
LILLY
(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.
SARAH
Lilly, it's me! Did you hear what
happened?
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.
SARAH
There's been a shooting at the school,
Lilly.
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
room.
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
voice-over.
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.
LILLY
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
her.
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
backgrounds...
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
V.O
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.
ANSPACH
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
target.
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
view.
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.
ANSPACH
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.
RISK
(Quietly)
Come on ... come on ...
62 INT. BUS -- DAY 62
The cops hover near Anspach.
VIRGIL
You (spoken to the driver), uncuff him.
ANSPACH
You can't let him do this! They're gonna
kill me! We made a deal! (I.e. reference
to plea deal or conspiracy?)
VIRGIL
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.
VIRGIL
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.
RISK
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.
LONG
(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
scene.
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
view.
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.
NEWSCASTER
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
cloud.
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.
VINCE
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
him.
LEEDS
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.
VINCE
Kids, you say? I can't believe kids
pulled this off.
LEEDS
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
bus.
VINCE
How do you know?
LEEDS
The driver--Williams--swears the shooter
was some kind of sniper, and I believe
him. Williams comes from three tours in
Vietnam.
VINCE
So I'm assuming you want me to keep my
ear to the ground?
LEEDS
Always. Not the reason I'm here, though.
You lost a niece to that son of a bitch,
Anspach, didn't you?
VINCE
I've been here all morning.
LEEDS
(Half-kidding)
Can anybody verify that, Vince?
VINCE
Are you kidding me, Warren?
LEEDS
You have an alarm on this place, don't
you?
VINCE
Sure. I think it logs the time I turned
it off this morning, too.
LEEDS
It's not airtight. The kidnapping took
place between 9:35-9:45.
VINCE
Leeds, quit foolin' around. Drink your
coffee.
Leeds drops it. He clearly has history with Vince, thus
can be shut off in this fashion.
LEEDS
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
window?
Vince shrugs, apparently more interested in the newspaper
than Leeds' fishing expedition.
LEEDS
Nobody comes in here early? The number of
drunks in this town, you gotta be
kidding.
VINCE
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.
LEEDS
Guy comes in here every morning for a
month and you don't know his name, Vin?
VINCE
He told me once. I don't do good with
names.
LEEDS
Kind of slow in here. Is it always like
this?
VINCE
Lulls � you know. It'll pick up around
the lunch hour.
Leeds now looks again at Vince, unsmiling.
LEEDS
You have anybody in here helping you for
that?
VINCE
(Getting nervous)
Why? You looking for a moonlighting gig?
Leeds relaxes, apparently ready to brush off whatever he
thought he heard.
LEEDS
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.
VINCE
No foul.
LEEDS
Nobody can blame you for being beyond
pissed-off, either.
VINCE
Pissed-off, yeah; not crazy.
LEEDS
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.
VINCE
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.
LEEDS
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.
MELVIN
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.
LEEDS
I know you, don't I?
MELVIN
Name's Melvin Hennessy.
LEEDS
Detective Warren Leeds. What's on the
radio?
MELVIN
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.
VINCE
Yeah. We were just talking about that.
MELVIN
I'll take a beer.
LEEDS
Day off?
MELVIN
Playing hooky. I'm taking the wife down
to Florida to see her folks. Surprising
her.
LEEDS
Really. Leaving town.
MELVIN
Well, yeah � you kind of have to, unless
there's a way to get Florida to come to
you.
They all share a chuckle over that one.
MELVIN
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.
LEEDS
Four weeks. Long vacation.
MELVIN
Shit, I won't last four weeks. I'll
sacrifice one of 'em; spend the other
three fishing up north probably.
LEEDS
King Salmon or Steelhead?
MELVIN
I ain't picky.
LEEDS
You drivin' or flyin'?
MELVIN
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.
LEEDS
What the hell?
VINCE
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.
MELVIN
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.
VINCE
Hey, Warren. Let me get you something a
little stronger. What about a Coke-Cola?
Melvin chuckles at that one. Leeds has been drinking
coffee.
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.
LEEDS
No, boys. I think I'll take a rain check
on that. Got to get back to the ranch.
MELVIN
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!"
LEEDS
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.
LEEDS
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.
LEEDS
Hell, if I found the guys who took him,
I'd be hard-pressed not to pin a medal on
'em.
MELVIN
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).
LEEDS
Well, boys. Don't do anything I wouldn't
do.
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
Melvin.
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:
80 EXT. BACK ROAD SOMEWHERE IN THE U.P. -- PRESENT DAY 80
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.
LONG
I heard you guys were successful,
yesterday.
Risk nods yes as he hits the joint.
EDDIE
I heard it wasn't pretty for that sick
fucker you went after.
LONG
Fire with fire.
RISK
I wasn't in there with him.
EDDIE
Man, I would've been.
LONG
(Scoffing)
Listen to the rookie.
EDDIE
Fuck you. Put me in the game. See what I
do.
LONG
Training, Grasshopper. Don't blow it off.
EDDIE
I ain't blowing off nothing. Stateline
knows. Called me his protege.
LONG
He meant 'bitch'.
Eddie shoves Long, sending him sideways, but it's all in
fun.
They walk onto the beach. Long wanders over to a wooden
shed nearby, fishing in his pocket for something.
EDDIE
(To Risk)
So I heard you went to New York. You
really do all that shit I'm hearing
about?
RISK
A good magician never says.
EDDIE
Come on, Dawg. I'm one of the initiated.
I'm a Lieutenant, m'man. I'm coming up.
RISK
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
worms.
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.
EDDIE
So, Dude. What's it like to be a hero?
RISK
I don't know. You find one, you ask him
for me.
EDDIE
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.
RISK
Maybe I did. Maybe I didn't.
EDDIE
Sheila's her name, right? She's hot,
Dude. You hittin' that?
RISK
Be nice.
Eddie smiles approvingly.
EDDIE
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
anything.
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.
EDDIE
She, like, your girlfriend now?
RISK
You know, the first rule of protecting
the client is to pretend that you have no
knowledge of said client.
EDDIE
Even from each other?
RISK
From anybody. That's need-to-know shit.
You and your crew are the only ones.
EDDIE
What if you don't trust everyone in your
crew?
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.
JOSHUA
(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.
JOSHUA
I fucked up, man. I fucked up...
CUT TO:
84 EXT. BEACH -- DAY 84
Risk, in the present, comes back from the past.
RISK
What?
EDDIE
I said, Tell me about Joshua some day.
Will you?
RISK
He was the hero.
EDDIE
Who else was in your crew?
RISK
Secrets, brother. Get used to keeping
'em.
Eddie backs off.
EDDIE
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
elsewhere.
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.
JOSHUA
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.
EVERSON
I'm guessing that crazy son of a bitch
didn't let on what he was leading you
into.
RISK
Virgil has fun that way.
EVERSON
The Group's been worried about him for a
while now. He's been up there in the U.P.
too long. Getting sloppy.
RISK
He did a better job than the search
party, that's for sure.
EVERSON
True. I ain't saying he's not good at
what he does.
RISK
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.
EVERSON
He didn't gag the guy?
RISK
Yeah. He did.
EVERSON
Jesus.
Risk says nothing, absently staring out the window at I-69.
EVERSON
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
limits.
EVERSON
I'm assuming you agree to that.
RISK
So you set it up?
EVERSON
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.
89 EXT. I-69 EASTBOUND/LIGHTS OF PORT HURON -- TWILIGHT 89
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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