Commander:Ashes&Venom Season 2; Episode 5 – Fallout
BLACK SCREEN.
We hear it first: BANG.
Echoing. BANG.
Another. BANG.
Sharp. Controlled. Purposeful.
FADE IN:
INT. OUTDOOR SHOOTING RANGE – EARLY MORNING – FLASHBACK
CLOSE-UP: A paper target ripples with fresh bullet holes. All tight. All precise. BANG. Another shot. Dead center.
We slowly zoom out to reveal DAN LATTIMER, young and confident, cool in a well-worn hoodie and jeans, lining up with a 9mm pistol the same make and model Chris will one dayuse to kill Richard Montgomery.
Dan exhales, lowers the gun.
DAN (grinning)
Bullseye again. Told ya. It's about the breath. You gotta own it.
CHRIS (O.S.) (muttering)
Yeah, well... I’m more of a paper-clip-and-stapler kinda guy.
REVEAL:
CHRIS LATTIMER, younger…early-ish 20s Babyface. Pre-broken man. Wearing a cheap button-up shirt, visibly uncomfortable with the pistol in his hands.
DAN
C’mon, man. Ileave for basic in two weeks. I’m not going unless Iknow you can handle yourself.
Chris looks doubtful. The pistol looks alien in his hands.
CHRIS
It’s Springville. Only thing that walks up on the lot is a guytrying to refinance his Camry.
DAN
(grinning, loads another clip)
You’d be surprised. Never know who’s gonna roll up. Could be a meth head, could be a nutjob. Or worse... (nudges him) your future in-laws.
Chris gives a dry laugh.
DAN (CONT’D)
Besides you gottastick around, marrythat hot fiancée of yours.
Chris’s smile fades.
A flicker of something in his eyes. Annoyance? Jealousy? Hard to say. But it’s there.
CHRIS
You talk about her as if she’s one of the girls you’re going out with.
Dan pauses. Senses the shift.
DAN (gently)
Hey. She’s not. She’s with you, bro. I’m just saying she’s a catch.
Chris nods. But the flicker lingers.
DAN (CONT’D)
Now. You gonna learn this or what?
Chris reluctantly turns toward the range. Takes aim.
CUTAWAY:
A middle-aged guytwo booths down gives Chris a look seeing the wayhe flinches at the recoil. Dan clocks it.
DAN (CONT’D) (to the guy)
You wanna mind your own damn target?
The guy shrugs. Goes back to his lane. Dan leans in, whispering pointers.
DAN (CONT’D)
Relax your grip. Breath in... slow squeezeon thetrigger. Trust yourself.
Chris lines up.
BANG.
CLOSE-UP: A clean hit, center ring. Not a bullseye, but close.
DAN (CONT’D)
(impressed) That’s what I’m talkin’ about. (grinning) Told ya. You’re gonna be a helluva shot yet.
MATCH CUT TO:
INT. MONTGOMERY ESTATE –OFFICE –NIGHT – PRESENT
BANG.
A bullet rips through Richard Montgomery. He drops, lifeless. The shot echoes over the room.
Chris lowers the same pistol. Breathing heavy. Hands steady. Torch and Ripper let out a low whistle.
TORCH
Well, damn.
RIPPER (grinning)
Didn’t think thebuggerhad it in ‘im.
But the moment shatters
FOOTSTEPS.
Fast. Approaching.
BUZZER (to himself)
Oh,bloodyhell.Anothermess.
The door BURSTS open.
BARBARA MONTGOMERY stands in the frame. Takes it all in blood, her husband, Chris with the gun.
She SCREAMS.
BUZZER (groaning) Everytime.
He strides forward. Torch and Ripper move to block the exit. Barbara tries to run tries to scream again Buzzer GRABS her, pulls her offscreen. We hear muffled thrashing. A gasp. And then... silence.
We hold on Chris, still holding the pistol, his back to whatever happened to Barbara. He’s still staring at Richard’s body. He pockets the gun.
Without a word, he walks out. He doesn’t look back.
INT. LATTIMER HOME – NIGHT
Chris lowers his cell phone, blank-faced. He’s clearlyjust ended a call likelywith Zartan. No dialogue. Just silence. He stands in the dim, quiet house for a beat. Then moves.
INT. LATTIMER HOME – OFFICE – CONTINUOUS
The desk is a chaotic spread of paperwork. Some in folders. Some loose. Spreadsheets. Charts. Account statements. A few have the MIDAS logo stamped at the top. One sheet almost imperceptibly has a tiny red “EE” logo tucked into the corner.
A scanner on the desk whirs, finishing the last page.
Chris hurriedly gathers the papers shoving folders closed, stacking pages in a sloppyarmload. One or two fall to the floor as he turns and heads for the back door.
EXT. LATTIMER BACKYARD – NIGHT
Chris pushes out into the yard. It’s dark and quiet. He stumbles slightly, drops a page, scoops it up. Approaches the charcoal grill. He opens it. No charcoal. Just fire-starter logs he already placed earlier.
He tosses the papers in. Lights a match. Drops it in.
FWUMP.
Thepapers go up instantly. Flames crackle. Shadows flicker on his face.
Then VROOOOOOM.
Thesound of motorcycles fast, approaching. Chris’s face tightens.
CRASH!
The backyard fence EXPLODES inward as BUZZER TEARS through it with his crazy rotary saw weapon, cutting a hole right through the slats like a maniac with a chainsaw and something to prove.
RIPPER and TORCH follow through the newly made entrance, hooting and revving their engines.
They roll up to Chris.
TORCH (laughing, grinning)
There he is! The big man ‘imself!
RIPPER
All growed up and pullin’ the strings now, eh?
Chris lets the grin slip onto his face. He’s tired. He’s worn out. But maybe just maybe he’s in.
CHRIS
Gentlemen.You’rejust in timeforthebonfire.
He gestures to the burning documents.
BUZZER
(eyeing the grill)
Yeah? And what is it we’re celebratin’?
Chris turns toward him, puffed up with confidence.
CHRIS
Oh this (gesturing towards the still flaming grill) is just a few….old receipts. But Montgomery Holdings. Just like I said. Signed. Sealed. Delivered.
BUZZER (dryly)
Huh. All that... and no bow?
Chris doesn’t catch the tone.
CHRIS
Look. Iknow I’ve had to prove myself but your boss wouldn’t have it if it weren’t for me. So the sooner you start treating me with a little re-
BUZZER
(cutting in, stepping closer) You done?
Chris shuts up. Buzzer's tone has shifted. Cold.
BUZZER (CONT’D)
See... Ikeep hearing your name. “Lattimer this.” “Lattimer that.” For over a year. I’m bloody sick of it.
Torch and Ripper chuckle. They're enjoying the shift in tone, like it’s all part of the show.
RIPPER
(mock announcer voice)
Uh-oh! And here comes Buzzer into the ring! Lattimer’s in for it now!
TORCH
He don’t even see it comin’! Ol’ boythinks he’s gettin’ knighted!
Chris catches on. Too late.
BUZZER
Wainwright. That was your plan. (leans in, menacing) And he was a dead end.
Chris’s fists clench.
CHRIS
I delivered
BUZZER (shouting)
Youdeliveredamess!
Then WHAM.
He PUNCHES CHRIS straight in the face. Chris stumbles.
THWACK. A kick to the ribs.
BUZZER grabs him, lifts him, and throws him onto the grill, knocking it over. The papers scatter, some still smoldering. Flames licking at the grass. Chris scrambles, tries to get up, Buzzer kicks him again.
CHRIS
(breathless, desperate)
You Zartan needs
BUZZER
Oh. This is about what I need.
Chris claws toward the backdoor. Buzzer grabs him bythe collar and HURLS him THROUGH the sliding glass door.
GLASS SHATTERS.
Chris tumbles across the kitchen floor. Torch and Ripper step through the broken frame like ring announcers.
TORCH
OHHHHHHH! THROUGH THE GLASS!
RIPPER
Bah gawd this is a slobberknocker!
Chris tries to pull himself up using the counter. Grabs a kitchen knife.
BUZZER
(mocking)
Ohhh, that’s cute.
Buzzer grabs his wrist, SLAMS it against the counter knife drops. Buzzer throws him into the living room, knocks over a lamp, a side table, a framed photo of Laura and Billy crashes to the floor and shatters. Chris coughs, bleeding, trying to crawl away.
RIPPER
Wrap it up, mate. Ain’t no one rootin’ for the underdog here.
TORCH
(leaning over, mildly bored)
Seriously. You gonna finish him or what?
Buzzer straddles Chris, leans in, his knife glinting in the living room light. He holds it at Chris’s throat but he’s not cutting.
BUZZER
You’re nothing. You were always nothing. And now? You have nothing. (leans closer) You’re just a scared little rat playing king of the mountain. (pauses, grinning) And I want you to remember it.
He pulls the knife away from Chris’s throat. Flips it around in his hand. Holds the point of it inches from Chris’s eye. He considers before moving the blade just beneath the eyeball and SLICING Chris’s face down to his jaw.
Chris screams and covers his face with his hands. Buzzer smiles and calmly stands as Chris continues to writhe. Torch and Ripper step back.
Chris lies crumpled, bloody, amid the wreckage of his living room.
The Dreadnoks walk out the back door through the fence they destroyed.
BUZZER (O.S.)
Don’t come callin’.
EXT. LATTIMER HOUSE – MORNING
A bright, sunnymorning over Springville. Birds chirp. The Lattimer house sits peacefully, the front neat and untouched like time has frozen since Laura and Billy left. The cracked and broken backyard fence is completely out of view.
Two cars pull up to the curb. One is Laura’s small sedan, with Billy peering eagerly out the window. The other is Mindy’s SUV, Tommyin the backseat and a few boxes in the cargo space.
They park side by side. The doors open. The mood is high.
MINDY
(grinning, stretching as she steps out)
I still can’t believe this. You sure it’s not a scam?
LAURA (smiling, but still stunned)
I don’t know what it is. All Iknow is… it’s in my name.
Billy climbs out, clutching General Savage in one hand and a small bag in the other. Tommy follows, carrying a lunchbox-sized plastic crate.
MINDY
Ibrought a few extra things. Some kitchen stuff I don’t use anymore. You don’t have to keep it, but
LAURA (grateful)
No, thank you. I’m just glad to be back.
They head to the porch with their things. Laura unlocks the door.
INT. LATTIMER HOUSE – CONTINUOUS
Themomentthedooropens The mood shifts.
They freeze in the entryway.
The living room is a wreck. Side tables overturned. Lamp smashed. A framed photo of Laura and Billy shattered on the floor.
Laura drops the bag from her shoulder.
LAURA
What the hell…
MINDY
(stunned, stepping inside slowly) Oh my God…
They move deeper into the house.
The kitchen The sliding glass door is shattered. Bits of glass crunch under their shoes. The grill outside is knocked over. The fence is half-destroyed, a jagged hole cut into it.
LAURA (voice shaking) What happened here?
MINDY
Did someone break in?
BeforeLauracananswer
TWO POLICE CRUISERS roll up outside.
EXT. LATTIMER HOUSE – FRONT – CONTINUOUS
OFFICER HERNANDEZ and DETECTIVE MARCUS step out, shades on.
HERNANDEZ
(noticing Laura)
Well. Hi there, Mrs. Lattimer.
MARCUS
Funnycoincidence. We were following up on a disturbance report from last night. Some ruckus loud engines, shouting.
HERNANDEZ
Bikers, they said.
MARCUS
And wouldn’t you know it? That sounds awful familiar. Kind of like this guywe all know….
INT. LATTIMER HOUSE – LIVING ROOM – CONTINUOUS
Laura comes to the door, meeting them halfway. She ushers them outside, trying to shield Billy and Tommy from the conversation.
LAURA
Idon’t know what happened here. Billy and I just got here. We’ve been staying at myfriend’s place for weeks.
MINDY
(firmly, stepping in beside her)
That’s right. She hasn’t been back here. Not once. And if you think she had something to do with this
MARCUS
(calmly)
No one’s accusing anyone. Yet. Just… seems strange. A house gets trashed. The same night bikers are tearing through the neighborhood. Then you show up. Like clockwork.
HERNANDEZ
You heard from your husband?
LAURA
(quietly)
No. He’s gone.
A long pause. Tension rising.
HERNANDEZ
Well… if hedoes come back. You give us a call.
They head back to their cruiser.
EXT. LATTIMER HOUSE – CONTINUOUS
Mindywatches them go. Turns to Laura. The good mood is gone.
MINDY
Welcome home, huh?
Laura doesn’t answer. She just stands there. Looking at the house. The home she once had. The ruins she’s come back to.
INT. WSTV 7 NEWS STUDIO – NIGHT
A crisp, clean news desk. Behind it sits CARRIE TILLMAN, polished blonde anchor in a blazer that matches the station’s royal blue logo spinning subtly on the bottom corner of the screen.
CARRIE TILLMAN
Good evening, I’m Carrie Tillman, and tonight we begin with breaking news Another tragedy has struck Springville.
A VIDEO MONTAGE fills the screen: crime scene tape, flashing lights outside the Montgomeryestate, a covered body being wheeled out.
TILLMAN (VO)
The bodies of Richard and Barbara Montgomery were discovered this morning in their home by a housekeeper. The couple widely known for their involvement in state finance, philanthropy, and banking now the latest victims in what police are calling a growing chain of violent incidents.
QUICK CUTS of footage as the report continues: Hugh Wainwright’s office, a police van parked outside.
TILLMAN (VO)
Hugh Wainwright, a longtime associate of the Montgomerys, was found dead just days earlier. Police have yet to confirm whether these events are connected...
CUT TO:
INT. SPRINGVILLE POLICE STATION – PRESS CONFERENCE – NIGHT
Detective Marcus stands at the mic in plainclothes, composed. Behind him, Police Commissioner Darryl Kane… stoic, authoritative.
MARCUS
At this time, we are investigating all possibilities. We can at this time confirm the presence of foul play, but we are pursuing leads... including the possibility of a larger financial motive.
REPORTER
Detective, considering the Montgomerys’ statewideties banks, real estate, campaign donors should citizens be concerned this is part of a bigger pattern?
Marcus hesitates. Commissioner Kane steps in.
COMMISSIONER KANE
We’renot readyto speculate. But yes, the Montgomeryname carries weight beyond Springville. That is precisely why this investigation is being handled with the utmost care.
CUT BACK TO:
INT. LAURA’S LIVING ROOM – NIGHT
A battered but glowing TV shows Carrie Tillman returning to camera.
CARRIE TILLMAN
As always, stay with WSTV 7 for updates. I’m Carrie Tillman. Stay safe, Springville.
The volume lowers as the camera pulls back to reveal the screen is in the Lattimer living room dented walls, kitchen door hastily repaired with box pieces and tape, a busted coffee table pushed into the corner. It’s clear someone tried to tidy up, but there’s only so much you can do.
LAURA sits on the couch with a blanket around her shoulders, remote in hand. MINDY is beside her with a glass of wine and a tired smile.
MINDY
Well...that explains why the cops didn’t exactly close the file.
LAURA (distantly)
Yeah. Feels like everytime Itryto stand up, something else comes crashing down.
They both glance at the patched door.
MINDY
You’re not really thinking he’s still
LAURA
(interrupting, quietly)
No. I’m not. I can’t. Imean...this? Some teenagers broke in, trashed the place. That’s all it was. Has to be.
Mindless silence. Billy and Tommy are upstairs.
MINDY
(softly nudging)
But what did happen at the bank, Laura?
Laura exhales and sets down the remote.
LAURA
Henderson called me in. Said a new account was opened in myname. All mine. Opened online. No idea who. Or how. I didn’t fill out anything.
MINDY
But you have access?
Laura nods. Slowly.
MINDY
……howmuch?
LAURA
Enough. Enough to keep the house. To start over.
MINDY (eyes narrowing) Just like that?
LAURA (quietly)
Yeah.Justlikethat.
A long beat.
MINDY
Do you think it was him?
Laura doesn’t answer right away. She looks at the dark TV screen now reflecting their faces back at them.
LAURA
I don’t know what to think anymore.
She lifts her wine, takes a sip, and leans back.
EXT.
WHITECREST
MOTOR INN – NIGHT
A wide shot of a run-down motel just outside Springville. Neon sign flickering. A couple bulbs out. An old plastic lawn chair sits outside one room, ripped and sun-faded. A single roach scuttles across the cracked pavement.
We begin to drift downward from a high vantage point, easing toward the main office, a squat box of faded brick and dirty glass.
INT. MOTEL LOBBY – CONTINUOUS
Fluorescent lights buzz overhead. A middle-aged hipster leans back in a creaky chair behind the front desk, wearing a faded Butthole Surfers t-shirt and a beanie pulled over a mostly bald head. His glasses are cracked, one lens missing entirely. A worn radio hums behind the counter, faint but clear:
"Love is a burning thing... And it makes a fiery ring..." JohnnyCash. Ring of Fire.
The hipster stares blankly at an open book of crossword puzzles He scratches his neck absently.
Outside, the familiar black sedan pulls into the lot. Its headlights cut through the gloom, sweeping briefly across the office window.
The hipster glances up. He squints.
EXT. PARKING LOT – CONTINUOUS
CHRIS steps out slowly, trench coat on, collar high, but no hat this time. He limps slightly, one hand gripping the top of the door for support.
His face remains unseen just glimpses from behind or just under his chin. His bodylanguage is all stiffness, caution, pain.
INT. MOTEL LOBBY – CONTINUOUS
The bell over the door jingles as Chris enters. The hipster looks up, startled.
MOTEL CLERK
(dry, taken aback)
God-almighty, buddy. Who the hell got ahold of you?
Chris doesn’t respond immediately. He coughs a harsh, painful rasp.
CHRIS (weak, low) Room.
He drops a wad of crumpled bills onto the desk. The clerk blinks at them, then at Chris, sizing him up.
MOTEL CLERK
There’s usually some paperwork….how about you just come by and take care of that in the morning?
(beat, gestures to the cash)
You sure you don’t need a doc or somethin’? Don’t bleed all over the sheets, man. That’s cottonpoly.
Chris doesn’t answer. He turns and limps back out, boots dragging a bit with each step.
"I fell into a burning ring of fire..."
EXT. PARKING LOT – MOMENTS LATER
Chris pulls the car into a spot outside one of the rooms, parks with shakyhands, and slowly opens the door. He retrieves a small duffel bag from the back seat.
He glances around nothing but highway noise and buzzing streetlights.
INT. MOTEL ROOM – MOMENTS LATER
Dim lighting. A single yellow bulb in the corner casts everything in a nicotine-stained hue. Chris enters, drops the bag on the floor, and winces hard as he sits down at the chipped desk.
A laptop emerges from the bag. He flips it open, eyes heavy. His fingers tremble over the keyboard.
He coughs again, nearly doubling over, blood in the corner of his mouth now, but he wipes it away, silent.
The screen powers on. A couple open tabs flicker into view just long enough to catch MidArc Industries, a Midas logo, and one small tab with a barely-visible EE emblem in the corner.
He stares at them. Breathes.
Then closes the laptop. Too much pain. Too much to do.
He exhales.
CHRIS
(barely above a whisper) Later.
(beat) First things first.
He reaches down and grabs something from the duffel a small black case. Latches click open, but we don’t yet see what’s inside.
INT. BILLY’S BEDROOM – NIGHT
It’s quiet. The gentle whir of a box fan hums in the background, stirring the curtains ever so slightly.
BILLY sleeps soundly beneath a loosely tangled blanket, a small arm clinging to General Savage, propped upright beside him his plastic missile launcher aimed protectivelytoward the door.
Soft light spills into the room from a cracked doorway.
We pull back to reveal LAURA, standing silently in the hallway, peeking in. Her face is unreadable somewhere between relief and exhaustion.
She lingers.
Then slowly, gently, closes the door.
The room settles into near darkness, lit onlybymoonlight seeping in from the window.
We glide across the room, taking in small, familiar touches:
A drawing taped to the wall: a family Mom, Billy, and a boxyfigure labeled “DAD”; A flashlight left on the dresser; General Savage's reflection in the darkened screen of anearbyTV.
We drift to the window. Outside, the night is still.
A silhouette stands just beyond the glass CHRIS. Motionless. Trenchcoat on. Collar up.
We onlysee him in reflection, barelyilluminated bythe faint glow of a streetlamp down the road.
He stares into the room. At his son. At what he lost. Or what he still believes is his.
He lifts one gloved hand, pressing it slowly to the glass.
FADE TO BLACK
END OF EPISODE