EXT. AFGHANISTAN DESERT – DAY (FLASHBACK)
The camera hovers low over the arid, sun-baked landscape of the Afghan desert. A COBRA, sleek and deadly, slithers silently across the sand. Its scales shimmer under the relentless sun as it tracks a lizard with deadly intent. The lizard, oblivious to the danger, scampers across the rocks.
Suddenly, the cobra strikes fast, precise. The lizard has no chance. The cobra's victim is caught in a lethal embrace, destined to be consumed. But the moment of triumph is short-lived. A low rumbling grows louder, echoing across the desert.
The cobra, sensing the disturbance, flicks its tongue, tasting the air. It hastily retreats, barely escaping the path of a speeding military truck. Relief is fleeting the following vehicle mercilessly crushes the snake under its heavy wheels.
CUT TO:
The camera follows the second truck from above. As we zoom in, the metal beast becomes transparent, revealing its occupants.
Inside, DAN LATTIMER, younger and untouched by the weight of future guilt, is laughing, his body language exuding confidence. Seated beside him is his best friend, BIG ZEKE…a man who truly earned the “Big” nickname…equally jovial but with an underlying steadiness
DAN: (grinning) Once we're out of this hellhole, Zeke, you're coming to work for me. It’s my dad’s place, man. You and me in the shop? We’ll have it made.
BIG ZEKE: (chuckling) From the desert to the dealership, huh? You sure your old man's ready for a nutcase like me?
DAN: (slapping Zeke on the back) Like he’s got a choice! Family benefits, man.
Zeke gives Dan a look, one that says he knows the score. It's clear in that glance that while Dan believes he's the one looking out for Zeke, it’s a 50/50 arrangement.
BIG ZEKE: (smirking) Just remember, it’s me who’s got your back out here. Who's gonna keep you alive out here? Hell, I ain’t even got a choice if I want that job.
Dan laughs…sure of himself. Comfortable in his surroundings. Too comfortable, but you’re not gonna tell him that. As they ride on, their laughter echoes, a fleeting moment of connection in the
vast, indifferent desert.
CUT TO:
INT. LATTIMER HOUSE - LAURA'S BEDROOM – MORNING (PRESENT DAY)
The room is bathed in the soft, early morning light. LAURA wakes, surprised by the silence that envelops the house. It's an unusual feeling, the first time in months she's woken up past dawn. The clock reads 8:30 AM.
Laura lets out an audible gasp. Something’s wrong. No way the house is this quiet. Not with Billy. For a moment, she’s overwhelmed with desperation. She runs towards Billy’s room only to find him sleeping peacefully, a rare moment of quiet. Relieved, she calls out as she makes her way downstairs.
LAURA: (calling out) Chris? Are you here?
The house responds with silence. The absence feels heavy. In the kitchen, she discovers a box of fancy pastries on the counter, complete with a small note.
CLOSE-UP: THE NOTE
“Thought you and Billy might enjoy these. Have a great day. -C”
Before LAURA can process the gesture, the sound of a car engine starting jolts her. She rushes to the window, just in time to see CHRIS pulling out of the driveway.
She stands there, holding the note, a complex mix of emotions crossing her face. We end the scene focused on the box of tasty treats that offer zero comfort.
CUT TO:
EXT. LATTIMER MOTORS – DAY (PRESENT DAY)
The upbeat opening riff of "Let the Good Times Roll" by The Cars sets the tone as we dive into a vibrant montage of CHRIS LATTIMER in his element at LATTIMER MOTORS. It’s a good day at the lot. A very good day.
Chris, with a magnetic smile, greets a hesitant couple stepping onto the lot. He confidently guides them towards a sleek sedan.
CHRIS: (charmingly) Aha! I’ve got my eye on this one, myself! This isn't just a car; it's the start of your next big adventure.
Cut to the couple laughing, clearly won over, as they shake hands with Chris.
A nervous first-time buyer inspects a compact car. Chris claps a reassuring hand on their shoulder.
CHRIS: (reassuring) Believe me, it's as reliable as it gets. Perfect for a new driver. I’ve got my eye on this one, myself!
The next shot shows the young buyer beaming, holding the keys.
Chris is seen with a family, the parents unsure about a minivan. He opens the door, revealing the spacious interior.
CHRIS: (enthusiastically) Space for the kids, the dog, and peace of mind. I’ve got my eye on this one, myself.
The montage shows the family's doubt turning into excitement as they nod in agreement.
A montage within the montage: rapid-fire scenes of Chris shaking hands, handing over keys, and slapping congratulatory backs. Each customer leaves with a smile, convinced they've made the right choice.
The music reaches a crescendo as the kid from Episode 1's opening scene arrives – accompanied by his parents, their faces tight with apprehension. The parents are clearly prepared for a fight. Chris meets them with open arms and a disarming smile. Through quick, efficient negotiation and that unflappable charm, their demeanor softens.
The final shot of the montage is the family driving away in the 2005 Ford Taurus….the very same one from the first episode, looking surprisingly satisfied. Chris stands in the lot, waving them off, the very picture of success.
The song fades with Chris alone on the lot, his smile lingering as he looks around his empire of asphalt and steel. For a moment, he's not just a car salesman; he's a king in his domain.
CUT TO BLACK.
EXT. BASE CAMP IN AFGHANISTAN DESERT – NIGHT (FLASHBACK)
The camera pans over a temporary military base camp under the vast, starlit sky. The tension of the day has given way to a brief respite as soldiers gather around a small fire, their rifles never far from reach. The air is filled with laughter and banter, a momentary escape from the realities of their situation.
In the heart of the group sits DAN LATTIMER, holding court like a king among his knights. His charisma is undeniable, drawing everyone into his orbit. Soldiers laugh a little harder at his jokes, listen a bit more intently to his stories.
SOLDIER #1 (chuckling) You’re full of shit, Lattimer. There's no way you outran a military police jeep on foot!
DAN (grinning slyly) Believe what you want, but when you’re as fast as me, anything’s possible. Besides, I had a little help from a friendly camel.
The group bursts into laughter.
SOLDIER #2 Wait, so now you're telling us a camel helped you escape?
DAN It's all about making friends in high places or in this case, tall ones. But that's a story for another night.
SOLDIER #1 You're some piece of work.
DAN (raising his hands in mock surrender) Guilty as charged.
Off to the side, BIG ZEKE sits alone, sharpening his knife. His eyes occasionally flicker toward the group, a hint of a smile tugging at his lips. Noticing Zeke's solitude, Dan's expression softens. He stands up, grabbing a canteen and walks over to Zeke, offering the canteen.
DAN Mind if I join you?
BIG ZEKE (glancing up, surprised) Sure, Dan.
Dan sits beside him.
DAN You know, you're missing out on some top-notch bullshitting.
ZEKE I can hear just fine from here.
DAN But it's not the same without your charming commentary.
Zeke chuckles softly.
ZEKE I don't think the guys are interested in what I have to say.
DAN That's where you're wrong. Come on, join us. I'll make it worth your while. You share that story about how you fixed the Humvee with duct tape, and I'll owe you one.
ZEKE (raises an eyebrow) You already owe me three.
DAN Who's counting?
They both laugh. Dan stands up, extending his hand.
DAN (CONT'D) Come on. Can't let me hog the spotlight all night.
After a moment, Zeke takes his hand. They walk back to the group together. The soldiers greet Zeke with nods and casual salutations.
SOLDIER #2 About time you joined us, Zeke.
DAN (gesturing towards Zeke) Don't be modest, big guy. Tell them about the time you got us out of that jam near Kandahar.
The group leans in, intrigued.
ZEKE Well, it's not much, but if you insist...
The camera begins to pull out as Zeke begins his story, words becoming distant in the process. Dan watches, a satisfied grin on his face as Zeke becomes more animated. The group settles into easy conversation, sharing stories and jokes. The fire crackles, casting dancing shadows around them.
CUT TO:
Later, Dan and Zeke remain by the dwindling fire. Zeke pokes at the embers with a stick.
ZEKE You're good at that talking to people, I mean. Making ‘em comfortable.
DAN Runs in the family, I guess. My brother's the same way, just... in a different setting.
ZEKE You miss home?
DAN Every day. But the more we look out for each other, the sooner we'll all get back.
Dan gazes up at the stars.
DAN (CONT'D) Back home, buddy. All we've gotta do is make it back home.
Zeke nods, the firelight reflecting in his eyes.
ZEKE To making it back home.
They share a moment of silence, the weight of their situation settling in.
CUT TO BLACK.
EXT. LATTIMER HOUSE - LATE AFTERNOON (PRESENT DAY)
CHRIS pulls up to his house in a cherry red 1968 Ford Mustang, the kind of classic car that turns heads and perfectly exemplifies the quality found at Lattimer Motors. His mood is visibly upbeat, a stark contrast to the tension that usually surrounds him. He exits the car with a lightness to his step, almost humming to himself, clearly riding the high of a successful day.
CUT TO:
INT. LATTIMER HOUSE - LIVING ROOM - CONTINUOUS
Chris enters, expecting the warmth of home to match his mood. He calls out, expecting an answer, but the silence that greets him sours his spirits.
CHRIS: (calling out) Laura? Billy?
No response. His brows furrow as he moves through the house, the absence of his family gnawing at him.
CHRIS: (muttering to himself) Could've called... Not a big ask, is it?
He tosses his keys on the counter, his movements growing more agitated as he searches for some sign of a note.
CHRIS: (increasingly frustrated) A note. One simple note.
His search turns frantic, opening drawers, flipping through papers on the fridge, his good day darkening with each passing moment.
CHRIS: (under his breath, anger rising) Where are they?!
The tension builds, Chris's temper flaring up, showcasing a glimpse of the control he demands over his environment and the people in it. He grips a glass a little too tightly, his frustration nearing its peak.
SOUND: The beep of the answering machine cuts through the tension.
Laura's voice fills the room, light and apologetic.
LAURA'S VOICE (from the machine): Hey, honey! Mindy took me and Billy out for a quick lunch. Didn't think to leave a note since we won’t be long. See you soon! Love you!
The rage in Chris dissipates as suddenly as it appeared, replaced by a moment of clarity. He looks down, noticing for the first time the glass shattered in his hand, blood starting to seep from a cut. The realization of his overreaction and the physical manifestation of his anger shocks him back to reality.
He carefully removes the remnants of the glass, his expression one of self-reproach.
CUT TO BLACK.
EXT. TEMPORARY BASE IN AFGHAN DESERT – DAWN (FLASHBACK)
The day breaks over the temporary base, casting a soft, golden light that belies the danger of the surroundings. Soldiers are a flurry of activity, their movements a well-rehearsed dance of deconstruction and preparation. The camera pans across the scene, capturing the essence of military life: the giving of orders, the swift dismantling of tents, and the meticulous stowing of gear. The comfort of routine.
CUT TO:
The focus narrows to DAN and ZEKE, who work side by side with an easy camaraderie, assisting in packing up the last of the equipment. They share a joke, a brief moment of levity in the stark desert morning.
DAN: (laughing) Just think of it as extreme camping, Zeke.
BIG ZEKE: (smirking) With a slightly higher chance of getting shot at.
The camera follows them as they make their way to one of the military trucks. It's loaded with supplies and waiting soldiers. DAN and ZEKE climb aboard, finding their seats among the others. The truck's engine rumbles to life, a deep, growling promise of the journey ahead.
INT. MILITARY TRUCK – MOMENTS LATER
Inside the truck, TRENT and MERKEL sit opposite DAN and ZEKE. Two kids without the advantage of experience. Their anxiety is palpable, their eyes scanning the horizon even as the convoy begins to move. The desert stretches out, an endless sea of sand and dust.
TRENT: (nervously) You guys ever get used to this? The waiting, I mean. Feels like something's always about to go down.
MERKEL: Yeah. I mean. I really don’t like this. I feel like that guy in the shark cage in Jaws.
DAN, ever the optimist, claps TRENT on the shoulder, his grin infectious despite the undercurrent of tension.
DAN: Relax. Days out here are uneventful. Just think of it as one long school bus ride.
ZEKE chuckles but keeps his gaze steady.
BIG ZEKE: ….This fool’s over here talking about school. Listen boys, follow protocols, and watch each other's backs. Nothing to it.
The camaraderie and shared jokes do little to quell the underlying sense of foreboding as the convoy snakes its way through the desert landscape. DAN continues to play the role of the morale booster, his words aiming to calm the nerves of his younger comrades.
DAN: Honestly, military life's more about the boredom than anything else. You'll see, it's not like
SUDDEN CUT TO WHITE WITH THE SOUND OF AN EXPLOSION.
CUT BACK TO:
The intense white screen fades into the brutal chaos of the ambush. Bullets whizz past as the scene zeroes in on DAN, his face a mask of determination and fear. Soldiers take cover behind the vehicles, returning fire into the unseen enemy hidden among the rocky outcrops.
Dan ducks behind a wheel, adrenaline surging.
TRENT (panicked) I can't see them!
BIG ZEKE Stay low! Focus!
Merkel, disoriented, stumbles away from cover.
DAN Merkel! Get back here!
Seeing Merkel frozen in the open, Dan moves to go after him. As he steps out, a searing pain tears through his leg. He collapses behind the truck, clutching his wound blood oozes between his fingers.
DAN (grimacing) Dammit!
BIG ZEKE (noticing Dan's injury) You're hit!
DAN I'm fine. Merkel's exposed we have to get him!
BIG ZEKE You're not doing shit on that leg!
DAN Then I'll crawl if I have to!
BIG ZEKE (firmly, locking eyes with Dan) No. You provide cover. I'll get him.
DAN Zeke, wait
But Zeke is already moving, darting from cover with practiced agility.DAN grips his rifle, forcing himself upright enough to lay down suppressive fire. The sounds of battle are a cacophony around him.
BIG ZEKE reaches Merkel, grabbing him by the vest.
BIG ZEKE Come on! Move!
As they turn back, a sudden burst of gunfire erupts. Zeke shoves Merkel forward just as he's struck. Zeke falls, the impact throwing up a cloud of dust.
DAN (horrified) Zeke!
Merkel scrambles back to cover, unscathed but shell-shocked. DAN, fueled by desperation, tries to reach Zeke, dragging his injured leg. Fellow soldiers pull him back.
SOLDIER #1 We have to fall back!
DAN Let me go!
SOLDIER #1 We're outnumbered!
Air support arrives, the roar of jets overhead as missiles strike enemy positions. The onslaught forces the attackers into retreat.
As the dust settles, Dan breaks free, stumbling toward Zeke's motionless body. He drops to his knees beside him.
CUT TO:
A series of scenes unfolds, each punctuated by voiceovers and snippets of dialogue:
DAN lies in a hospital bed, his expression empty. A CO commends him, speaking of heroism and duty. DAN's gaze is distant, his mind replaying Zeke's fall.
CO's VOICEOVER: (praising) Your bravery is commendable. You're going home a hero.
We see a disheveled DAN in an airport. He’s greeted by CHRIS and LAURA, their smiles wide. DAN's response is mechanical, his eyes haunted.
CHRIS, enthusiastic, brings DAN into the fold at Lattimer Motors. CHRIS's attempts to engage DAN fall on deaf ears.
CHRIS: (trying to uplift) Dad’s gone. I need you. This is our place now.
We see Dan working on a car engine in the shop, his movements mechanical. Tools clatter to the floor as he loses focus. This fades to Dan, sitting alone in a bar, a row of empty glasses before him. The lively chatter around him is muffled
We fade to Dan, sitting across from a DOCTOR
DOCTOR These should help with the pain and the nightmares.
The scenes dissolve faster, one on top of the other.
• Dan gambles in a smoky backroom, tension high as he loses another hand.
• He pops pills in a dimly lit apartment, staring vacantly at a TV displaying static.
• Surrounded by strangers at a party, he drifts aimlessly through the crowd.
DAN's VOICEOVER: "There are no heroes, just survivors. And I'm not even sure I'm that anymore."
DAN's losses mount, at card tables, pool halls, and in dimly lit rooms where he seeks oblivion in pills and powder.
CUT TO:
INT. – DAN’S APARTMENT (PRESENT DAY)
DAN is jolted awake by frantic, forceful pounding on his door. Disoriented, he stumbles around, throwing on a shirt. He opens the door and finds himself eye to eye with BUZZER, a predatory grin on his face.
BUZZER: (smiling) Dan Lattimer? We need to talk.
CUT TO BLACK
FADE IN:
EXT. LATTIMER MOTORS - EVENING (PRESENT DAY)
The lot at Lattimer Motors is quiet, the sun setting in the background casting long shadows
between the rows of cars. The day's hustle has simmered down to a stillness, a stark contrast to the episode's opening vibrancy.
CHRIS is closing up shop, locking doors, and turning off lights, his mind clearly preoccupied. As he steps outside, he pauses, noticing a figure approaching the lot.
CUT TO:
DAN walks toward Chris looking like a man carrying the weight of the world.
The two brothers stand face to face in silence. Before Chris can speak, a motorcycle pulls up beside him, the driver sports a blonde ponytail and a pair of glasses…our old pal.
BUZZER steps out, his arrival unannounced but clearly expected by Dan, who hangs his head like a scolded dog.
CHRIS: (surprised) Dan? What's going on? Who's this?
DAN: (resigned) Chris... there’s some stuff you need to know.
Buzzer smiles, not warmly, but with a calculated friendliness that doesn't quite reach his eyes.
BUZZER: (extending a hand, which Chris doesn't take) Pleasure to finally meet you, Chris. I've heard a lot. And I believe we have some business to discuss regarding the future of Lattimer Motors.
Chris looks from Buzzer to Dan, realization dawning.
CHRIS: (tensely) I see…..
The tension is palpable as the three men stand in the fading light. Chris's look of betrayal towards Dan speaks volumes.
BUZZER: (cheerfully) Oh, why so glum? We’re business partners, boys. And we’re going to be making a lot of money together.
The camera pulls back slowly, leaving the three figures in a standoff.
CUT TO BLACK.