[drift off, fall asleep]

~

1— A view of the front of a bank building with a man's head in the foreground, out of focus and facing away, to where Clayne Crawford as Martin Riggs is approaching the bank in the background. Riggs has three pizza boxes balanced on one hand, his other arm swinging loosely at his side. His hair is short, curly, and warm in the sunlight, and his shirt sleeves are rolled messily up to his elbows.

2— A close-up of Riggs kneeling on the floor, utterly unconcerned by the tip of a rifle pointing at him. His head is tilted back, eyes closed, and he's combing his hair back with one hand, like a moment in a shampoo commercial. He has a moustache, and he hasn't shaved for a few days.

3— A view of a door to an office, Riggs just stepping inside with one hand on the doorframe and his jacket in his other. His shirt is only tucked in in one place, the top few buttons undone and exposing an undershirt. His expression is polite enough, and it looks like he's talking to someone inside.

4— A close-up of Riggs' partner Murtaugh in the foreground, wearing a blue brimmed hat and facing away, and Riggs in the background looking to one side with a frustrated expression. His eyes are tight, his forehead creased, his tongue just visible like he's licking his lips. His hair's quite short at the sides, and only a little messy at the top.

5— A close-up of Riggs sitting with a fork in his hand, looking to the side and smiling so he gets creases around his eyes and his forehead, one eyebrow barely raised. It's mischievous, but there's something insincere about it.

6— Riggs standing in the doorway of a softly-lit room with pale pink walls. His posture is quiet, and there's something soft and open and a little sad about his expression.

7— A close-up of Riggs standing in the same pale pink room, someone off-screen handing him a baby in a patterned onesie. Riggs is looking down at the baby, mouth open like he's protesting, and he looks very caught off guard. There's a curl of hair sticking out at the back of his head.

8— A close-up of Riggs and the baby, who is adorable, looking almost directly at the camera with dark eyes. Riggs is holding her comfortably now, looking down at where she's holding his thumb. His expression is difficult to read: it's not entirely sad, though he does look tired. From this angle, the little bumps on his cheek and the odd dents in the skin of his jaw show clearly.

9— A close-up of Riggs against a pale, blurry background, showing the back of his collar and his face in profile, chin obscured, features half in shadow. His hair is really rather neat.

10— A view of a dimly-lit kitchen with a woman sitting with her back against the fridge, hands on the floor by her sides, and Riggs crouched in front of her. The woman looks distressed, probably telling him something. It's an odd angle for Riggs' face, but he's clearly attentive, and his hands are close like he wants to be able to act or reassure her at short notice. His 'rumpled home intruder' vibes are through the roof, but his wedding ring is visible on his left hand.

11— A close-up of Riggs in his trailer, with a backdrop of ugly curtains and various bits of paper on the wall, including an image of a skull and crossbones. He's talking, arms crossed but one hand raised to gesture, his eyes down, the whole thing a bit defensive.

12— A close-up of Riggs in the foreground, facing us but looking to one side as though listening to the person in the blurry background, who's pointing at him with what might be a gun. Riggs' face is half in shadow, eyebrows raised, eyelashes visible, a messy curl of hair sticking out at the back of his head.

13— A view of Riggs crouching in a warmly-lit warehouse holding a rifle tilted towards the floor, face in profile as he looks towards the car a short distance behind him. The car door is open, Murtaugh beginning to climb out. The line down the side of Riggs' neck is showing, and he looks alert and capable, like a soldier.