How to Read/Listen? This is an “emergent script” (a script written after a sandbox TTRPG Session) that is “Musically Scored” with a Spotify playlist available at the very bottom of this post. So, you do you. My suggestion is that you start the Playlist at the very bottom and just come back up here and read. Then stop reading and listen when appropriate. Or pause the music and then catch to up the “score” if it starts getting ahead of the scenes.
Name Key Below – Green is for Player Characters, Orange is for Party Companions (regular NPCs).
Scene 1: “Flashback 1 (Mid-Afternoon, July 4, 1984)”
Music (Track One, below) begins. It will play in the background as if on on a stereo throughout most of the scene. The scene opens with an extreme close-up of a Teenager with light brown hair and grey eyes. He is eating a burger and a bottle of Coca-Cola is next to him. He is at a pool party and we hear sounds of splashing in a pool and happy voices. Behind him we see a bunch of athletic teenaged boys playing Volleyball at a sand court. The party is evidently occurring at a wealthy estate. The camera begins to pan back and scan around from the Teenager’s POV and we see youths of all ages playing in the pool. Various adults are clustered in conversation groups and are all wearing upper-middle class clothing.
The Teenager watches a pretty teen girl who looks vaguely goth in dress and appearance with dyed black hair enter the pool area with a much older man, dressed n a similarly upper-middle class fashion. He heads over to a group of adults having a conversation. The girl looks around and sees a chair empty next to the Teenager. “Ash. I haven’t seen you since English class last year. Is that seat taken?”, she enquires. “No Emily, its open. I thought Sophomore year would never end. God, Mr. Havel was so boring”, Ash responds. “I see your Dad is over talking with my parents and my Uncle and Aunt”, Ash continues, “Uncle A is like Mr. Personality over there.” How’s your Summer?”, he asks. “Boring”, Emily offers, slumping in her chair, “He’s super-busy with the Cavanaugh case and picked this summer to try and get me into the family business, so I am proofing legal documents five days a week. I mean, he has a staff. But he thinks its good for me. It’s so boring.” “Not as boring as being a stock boy”, Ash offers, mirroring her slumping in the chair, “My Uncle and Dad have decided its time I learn a trade, I guess. It sucks.” “Stock boy?”, Emily asks hiding a slight smile and looking at him with a sly glance, “Where is that?” “The M&P on North Tacoma Avenue. Its sucks. Its up here in money-town so my Uncle checks on me like every other day”, Ash answers. “Oh, that’s right you’re Ash Marsh. Marsh & Peters. Got it. Yeah, that sounds like its sucks. Doesn’t your family like own that chain?”, Emily inquires. Ash shifts in his seat, uncomfortably, “Well, my Uncle does now. I…”, he changes the subject, “You’re into The Cure?” he asks looking at a button on her black dress. “Oh my God yes”, Emily responds, “There’s real music that’s art and then there’s crap” she gestures at the air with the music playing in the background. “Robert Smith is a poet!”
Music swells in the foreground (below, Track One continuing) and we see a montage of them talking and laughing and evidently hitting it off for an indeterminate time. Cut to real time and a close-up of Emily saying, “That’s hilarious!” New music begins (below, Track Two) playing mid-song in the background as if on on a stereo. Emily is abruptly hit in the face by a Volleyball from off-camera. “Ow!, my glasses!” she shouts holding her hand to her face and looking on the ground for her black horn-rimmed glasses. A preppy looking teen, athletic, with a popped pink collar is standing there. “You should watch out, man, we’re playing over here”, he says to Emily laughing, “Can you hand me the ball?” Ash Stands up. He is smaller and less athletic than the preppy teen. “Hey Brad, what’s the deal with that, man!”, Ash says loudly. “Geez, loser, chill”, Brad responds, “It was an accident.” “No its wasn’t! You’re laughing! You did that on purpose!”, Ash retorts. “I told you to chill out, Loser”, Brad says stepping closer to Ash and poking him, “Drop the attitude. Now pick. Up. The. Ball.” “Kick his ass, Brad!”, someone yells. Brad shoves Ash. Ash takes a swing at Brad and misses. Brad punches Ash in the chest and somehow glances Ash’s nose as well which is bleeding. Ash moves to lunge at Brad but a man with a clerical collar steps in. “Break it up!”, he yells. “This loser wanted to fight, Pastor!”, Brad yells. “No I didn’t you hit her in the face with that ball!”, Ash yells back. “I don’t care who started it!”, the Pastor yells. “You, Marsh, go get cleaned up! You!”, he continues, looking at Brad, “Let’s find your parents.”
Cut to Ash is cleaning up in a bathroom. Emily is there. She offers a cold wet cloth. “Try this, and put your head back.” Thanks, its better”, Ash says, “Those guys are assholes.” “Do you wanna get outta here and have some real fun?”, Emily asks? “Oh my God, yes”, Ash says, still holding the cloth with is head tilted. Music swells in the foreground (below, Track Two continuing) Cut to the two of them sneaking through a long driveway with luxury and sports cars parked all around and they make their way to the front gate of the very nice estate they are on. A beat up green Ford LTD pulls up and a teen with black curly long hair wearing a Ramones T-Shirt opens a door. They both jump in. End Scene. Hard Cut.
Track 1: “Wouldn’t It Be Good” by Nik Kershaw, 1984.
Track 2: “Authority Song” by John Mellencamp, 1983
Scene 2: Opening Credits
Actor and Main personnel credits over montage scenes of militaries moving, Jets flying, politicians talking through the Cold War in B&W and up to the current date of setting where it becomes color after the anti-Gorbachev Coup of the timeline, with shots of combat, protests in streets, and finally nukes, destruction etc.
Main Cast: 1SG Adler Keller (Bryce), 2LT Kathryn Twarowski (Gordon), 2LT Donovan Duffy (Ned), SSG Bob Beck (Scott), SGT Paul Holman (Paul), SSG Ash Marsh (Shannon).
Track 3: “Fascination Street“ by The Cure, 1987.
Scene 3: Daily Bread
The camera opens on SSG Marsh finishing his meal that he was delivered last episode in the saw-mill settlement of Zieleń. Music begins (Track Four, below) begins and plays through the rest of the scene in the background. He gets up and approaches 2LT Twarowski “1300 14 JUL 2000” flashes on the screen. “Ma’am, I’d like to spend some time canvassing the people here, see if we can get some exact information about what’s immediately on the other side of that bridge. My Polish is good, though not as good as yours. And I’d like to take Rzad along too since she’s OK with Polish as well”, he requests. “Sounds perfect, go right ahead. I have the 1400 radio contact with Commander Masterlez. After that, I have to check out all that livestock. Our end of the deal to get that barrel of Methanol. I wish I could help”, Twarowski responds. Marsh heads off with Rzad in tow. 1SG Keller approaches, “Ma’am, I’m going set up a work party to clean every weapon we have; ours and the captured ones. And after that, I think it’d be prudent to top off every vehicle with Diesel. We don’t have a hand pump so that’s a four man job. I can get by with the cleaning, but I’ll need another soldier for the refueling, It’ll be heavy lifting and gravity with a hose from the drum.” “I’ll help you with that when you need it, First Sergeant“, SGT Holman interjects, “I just want to canvas the perimeter here before it gets dark and see if anything strange is going on. We did just meet these people.” Twarowski answers them both, “Sounds great to me. Just remember we want everyone to get as much rest as they can. We need everyone on high alert tomorrow.”
Cut to 2LT Duffy working on the electrical part of a pump while SSG Beck is messing with what looks like an axle leading from the pump to the exterior. “So this part here is just trash”, Beck scoffs. “Its the connector coupling to the windmill. I’ll have to fabricate a new one using this and some sheet metal over there”, he continues, pointing to the corner of the pump shed they are working in. “What happened, and why was the electrical backup shorted out”, he asks a Polish man in overalls with them. “No idea on the short”, he says in halting English, continuing, “Backup system was on accident when irrig-jak mówisz? pipe to field turn on. Run backwards. It short and also break coupling, work against windmill.”
Cut to Twarowski on the radio with SPC Lane there helping her. She is writing and then speaking into the microphone. Then se consults a book with the title “Solaris” and repeats the process. They seem to finish and Lane says, “I’m not sure ma’am, but I think its possible someone else was tuned into that frequency. At the end maybe?”
Cut to Marsh and Rzad walking around talking to people. Marsh has a notebook out with a crudely sharpened pencil and is asking questions and writing and making notes on a hand-drawn diagram of some buildings and and road.
Cut to Holman walking around the community we see him notice that when he approaches certain buildings burly men approach him, in a friendly manner, asking for cigarettes’ or offering water. It is obvious they don’t want him wandering certain places.
Cut to Keller with Jacques and Randall cleaning weapons near the vehicles. Keller is cleaning an AK-47.
Cut to Beck, “Fuck this!” He stands up and lights a cigarette. He is glaring at the coupling, “It’s fucked up worse than a football bat!” Duffy comes over and starts resetting things, “Maybe we just need two sets of hands, Sergeant.” Beck glowers and then nods. He crushes the cigarette with his boot on the ground and crouches down with Duffy.
Cut to the refueling team filling up the vehicles. Dusk is approaching.
Cut to Beck returning to the area. Its getting dark. “OK ma’am, the microwave transmitter is up. I am gonna sleep. Let me know what you want asked and I’ll handle that at 0000 hours. Hopefully the team there is still alive.” “2020 14 JUL 2000” flashes on the screen. Twarowski turns to everyone, “Thanks everyone. Everything is loaded and ready except the transmitter. SSG Beck and I will get that stowed away. Everyone hit the rack. Up at 0400 and outta here. Briefing before we attempt to force the bridge. Just west of that gas station the recon team checked out yesterday.” End Scene.
Track 4: “Happy Cycling“ by Boards of Canada, 1998.
Scene 4: “Flashback 2 (After Dusk, July 4, 1984)”
Music (Track 5, below) begins. It will play in the background as if on on a car stereo throughout most of the scene. The camera opens on Ash, Emily, the curly haired teen with a Ramones T-Shirt, another male teen wearing a T-Shirt that says “The Thing That Only Eats Hippies” with a crew cut sitting next to a teen girl with pink streaks in her hair and a jean jacket and a black T-shirt filled with band pins. The teen with the Ramones shirt is mid sentence, “…so then my magic user used his magic missile spell and the Hill Giant was dead!” The teen with pink streaks says, “Well, the Paladin had actually completely weakened the giant with his vorpal blade first right?”, addressing the “Hippies T-Shirt” teen. “Well, it was a group thing, Con”, Zaid says, addressing her back, “It really always is.” “Well I delivered the coup d’ grace and I got the gold out of it. And a mysterious disc that has magical power in it, right Zaid?”, says Wiz, making “abra cadabra” arm and hand movements. He takes another swig of whiskey from a bottle of Jack Daniels. “Well, that’s still a mystery”, says Zaid. He continues, “Anyway Ash, if you’re interested you can totally join us. It’s a lot of fun and really creative too.” “I’ll think about it”, says Ash. “You’ll get to meet my Druid, Lilith”, says Emily looking at Ash in the eyes, flirting, “She is a nature dweller of great power.” They kiss. At that moment in the distance, we see fireworks in the sky.
Wiz punches Ash in the shoulder, “What do two lovebirds think this is, Sixteen Candles?”, and he shakes the empty bottle of Jack Daniels, “but we’re out and this was only half full. Can you get us some more M&P guy?”, Wiz asks pointing at a Marsh & Peters fine groceries store in the empty strip mall. “Ash, could you?”, Emily asks, “It’s still early.” Ash thinks a second, “Sure just go around the back in the car. I’ll meet you at a door by the loading ramp.” End Scene.
Track 5: “What Difference Does It Make?” by The Smiths, 1984.
Scene 5: Action Plan
The camera opens on the entire 341 MI BN contingent. They are on a dirt road in woods. 50m up ahead we see the dirt road ends and allows a left or right turn onto a paved road. There is one Humvee in front of the 21/2 ton truck and another Humvee behind the truck. Each Humvee has a M-60 Light Machine Gun mounted on it. The entire contingent is gathered near the Truck in a semi-circle; 1SG Keller, 2LT Twarowski, 2LT Duffy, SSG Beck, SGT Holman, SSG Marsh, SPC Jacques, SPC Lane, CW2 McConnell, CPT Melville, MAJ Piper, PFC Ramirez, SPC Randall, PVT Rzad, SGT Swain. It is dark and light is just starting to turn night into pre-dawn twilight. There is a briefing occurring and Twarowski, Duffy, Keller, Beck and Marsh are leading it. Holman is there holding a map. “0430 15 JUL 2000” flashes on the screen.
Music (Track 6, below) begins. It will play in the background throughout this scene. Twarowski is speaking, ” So the lead Humvee will be the G2 Ops Humvee. Lieutenant Duffy will be driving, Sergeant Beck will be on the M-60 and I’ll be in the back. In the cab of the Deuce will be Lane driving, First Sergeant Keller in the cupola mount with an AK-47 and Sergeant Marsh in the passenger seat. The rear will be the G6 Ops Humvee with Sergeant Swain driving, Sergeant Holman on the M-60 and Chief McConnell in the back. Everyone else will be in the rear of the Deuce.”
Keller speaks up, “So when we make a right on that road out there and head East, we’ll be approximately 700m from the bridge and 200m from an abandoned gas station that will be on our right, to the South, At that point we all accelerate to 60 kilometers per hour. A good safe speed for the Deuce. At that gas station we’ll be approximately 500m from the western side of the bridge. There is a slow slope down from that point until approximately 100m from the bridge. We will all begin to slow down to 30 kilometers per hour at that point, when that slope ends. “All vehicles will maintain 10m distance from each other. Any questions?” No one asks any. “Ok, approximately 25m from the actual bridge itself the road rises to a height of 5m off the ground. The bridge itself is 100m long. Its two lanes and a total of 8m wide. And there is a similar slope down 5m for a distance of 25m distance on the other side. I’ll hand off to Lieutenant Duffy now regarding Bridge security.”
Duffy speaks, “There is a sandbag firing pit on the right side of the bridge after that slope up that essentially cuts the traffic to one lane on the left side, the North Side, at that point. It should have two Border Brigade soldiers with rifles. On the far side, the Eastern side there is another firing pit, again, on the right side of the bridge, the South side. It also is manned by two Border Brigade soldiers with rifles. An NCO will also be on that side, likely with an AK-47. Now as that 25m slope from the actual bridge ramps down to ground level, there is a Muffler shop with a big parking lot in front immediately to the right, the South, facing the road. That is the barracks for the rest of the bridge security contingent. Based on intelligence and reconnaissance, we estimate there are 10 men in there. They probably have a radio in there, too. We have no information at this time if they have any other heavier weapons there. I’ll hand over to Sergeant Beck for the assault plan.”
Beck squats down and looks everyone in the eye, “The lead Humvee will not engage the first firing pit of the sentries there. The Deuce will”, he says looking at Keller. Beck continues, “We move at 30 kilometers per hour the whole time and everyone keeps 10m distance. No matter what happens. The lead Humvee will engage any targets in front if needed. So will the Deuce. The rear Humvee will engage any targets behind us. The priority is to just cross, not engage targets. We do not stop. If we do this we should cross in approximately 10 seconds. Any questions?” Lane raises his hand, “Is there a rally point? What do we do if we are stalled out somehow in the bridge?” Beck answers, “The rally point in event of emergency is the eastern bank of the river, one kilometer south of the bridge. If we stall out or things go tits up, just escape. Get away. We have fuel in the Deuce and ammo. And that reminds me, Lane, when we start to slow down have Marsh bang on the rear of the cab. Everyone riding in the back of the Deuce, you all lie down until Marsh bangs a second ‘all clear’ signal. This will give you protection, hopefully from any stray rounds. Sergeant Marsh will talk about the egress plan now.”
Marsh speaks, pointing at the mock up map Holman is holding, ” Approximately 50m beyond the muffler shop on the right of the is a dirt road that heads South, roughly, into an agricultural or rural area. We all turn off there. When we have all turned off we speed up to 50 kilometers per hour. We keep going until the lead Humvee spots a place to pull off so we can coordinate our next move, hopefully South to Łask Air Base. We’ll have to assume that the Bridge Garrison will have alerted the main garrison at Uniejow, 5 kilometers up the road, so we want distance if they are out looking for us. Again, keep 10m distance between the vehicles. Ma’am?”
Twarowski speaks again, “Any final questions?” Ramirez raises her hand, “Is the Łask team ok?” “Sergeant Beck confirms they are still there, and they have found water. They are ok. Any other questions?” No one has any. “I guess its time”, she says.
Track 6: “Task Force” by Brian Eno, 1978.
Scene 6: “Flashback 3 (Night, July 4, 1984)”
The camera opens on the front of the store. Music (Track 7, below) will play in the foreground. A sign on a large glass window says, “Fine Family Groceries from a Fine American Family Store, est. 1889” with red white and blue colors and a Fourth of July theme. We then see Ash pushing a line of shopping carts at full speed through the window. He hurries into the store as an alarm sounds. He rushes to a section with alcoholic spirits, grabs three bottles and runs to the back of the store past storage and administrative areas. We see a large secure-looking door. There are a set of keys hanging next to it on a peg. Ash puts down the bottles and gets the keys. He unlocks two large locks and then picks up the bottles and shoulders the door open. It is dark. We see a policeman rushing up a set of stairs to the door in the area in the back of the store. He has his hand on his pistol. “Drop it! Hands up!”, the policeman says. Ash does and drops the bottles which break. We see in the alley the green Ford LTD with a police car next to it, it’s lights flashing. We see Emily, Zaid and Con standing there next to another officer. Wiz is on the ground vomiting. End Scene.
Track 7: “Go!” by Tones on Tail, 1984.
Scene 7: “Bridge Crossing”
The camera opens on a far shot of a Humvee in the distance on a road. We hear its engine approaching. “0516 15 JUL 2000” flashes on the screen. We then see the shape of a larger 2 1/2 ton truck behind it. The engines grow a bit louder. Music (Track 8, below) begins. It will play in the foreground throughout this scene. We see a Polish Border Guard brigade soldier straining to get a look ahead in the distance craning his neck. His rifle is at the ready and there is a second soldier similarly postured a meter away. They are in a sandbagged firing position on a bridge. We now have the first Border Guard Soldier’s POV. A Humvee rolls into view and we see SSG Beck at a M-60 Light Machinegun at the top. He looks at them as the Humvee continues onward past them in slow motion.
From the same POV we see the Deuce come into view in slow motion. We see 1SG Keller in the cupola in the cab pointing an AK-47 at us. He lets off a full automatic burst in slow motion seemingly at us. The Truck moves just past the camera POV and we see the other soldier fire at Keller. He misses. Camera change to a handheld view inside the truck. Lane is driving, keeping steady. We now have Keller’s POV. He fires another full automatic burst in slow motion at the two soldiers, sweeping their area. They are 5m away and below us. The second soldier is knocked backwards and the first soldier ducks to full cover in the pit, peeking over. We see the now lone soldier’s POV again. The Truck continues in slow motion and we see the second Humvee come onto the bridge with SGT Holman at the M-60. He fires a burst at us in slow motion and we duck into full cover, obscuring the POV.
We now see the Humvee with Beck on it moving in slow motion. We switch to Beck’s POV. We see dots of two figures to the right up ahead at the end of the bridge and we see another dot over on the left at the end of the bridge. We aim for the two dots on the Left. Switch to a handheld shot of 2LT Duffy driving, keeping steady.
Back to the POV of the first Border Brigade soldier. We stand and we take a shot at Keller moving off in slow motion in the near distance. he is facing away from us now. We fire in slow motion. We miss. Switch to a handheld view of Lane in the cab. He loses control for a second and veers left. Then he straightens out. The Deuce lurches a bit. Switch to the back of the Deuce under canvas cover. We see Rzad laying down getting rolled into a steel barrel via handheld view.
We see Holman at the top of the rear Humvee. Then we see his POV in slow motion as he passes the first Border Brigade soldier. He fires another burst in slow-motion. We see the soldier duck out of view as the vehicle continue to create distance from that target, leaving in the rear in slow motion.
We see Beck again. Then we see his POV. He is about 20m from the two figures to the right in another sandbagged weapons pit. To the far left is a Corporal, running to the right. We see a soldier lean down and a hand crank siren begins. Beck fires a burst and we see that soldier get flipped backwards. The other soldier drops out of view in the sandbagged pit. The Corporal runs right behind them and disappears from view. We hear the siren begin again. We see Twarowski in the rear of the lead Humvee move to get on her radio. She then gets angry and slams her fist against the roof of the Humvee.
We see Duffy driving and then a POV of him going down the slope at the western end of the bridge. Then we see Lane driving in the Deuce and we see the same thing, following Duffy. We then see SGT Swain at the wheel of the rear Humvee with the same view following Lane. Then we see CW2 McConnell look to his right out of the window from the rear seat of the rear Humvee. We see his POV and we see several soldiers in various states of dress exiting a muffler shop 20-30m back from the road we are on. They are carrying rifles and moving in slow motion. We pass them by in slow motion.
Cut to a shot of the lead Humvee making a right turn from the now ground level road onto a dirt road, followed by the Deuce and then the rear Humvee in slow motion, We see the rear Humvee disappear from our view. “0516:20 15 JUL 2000” flashes on the screen. End scene.
Track 8: “Diesel Power” by The Prodigy, 1997
Scene 8: “Lessons Learned”
The Camera opens on Ash in a jail cell. He’s sitting looking down at his feet. We hear Emily speaking, “So Wiz just got completely sick and was barfing on the ground on all fours. The cops saw him and just came to see if we were OK. And then the alarm went off and it was like it was Pearl Harbor or something.” “That’s OK”, Ash says, “This is just how my life goes.” An officer goes to open a cell that Emily is in, across from Ash’s cell. “Your turn”, the officer says and opens her cell and gestures with his thumb for her to get out. “I’m sure your family will be here soon, Ash, I..”, the officer cuts her off, “They are here too missy, but he’s next, so c’mon, shake a leg.” She gets up and hurries out. Ash looks down again. The officer comes back and begins to open the cell, “Two here for you. Let’s go.”
Cut to Ash being led to a desk where his Father and Uncle are standing. We see Emily’s Father with a few officers, regaling them with some story. Emily is there with him. “Your Father and I have conferred and he has decided you need to learn actions have consequences, Ash“, his Uncle states, continuing, “So he has decided that you spend the night here and see what forcible entry and damage to property result in.” “Really, Dad”, Ash says to his Father. “Your Uncle is spot on, Ash“, his dad says meekly. The Uncle cuts in, “And some of this is the company you keep. Ye shall know them by their fruits, Matthew: 7:16.” “Family man, with your life all planned, Rollins: Black Flag”, returns Ash. “OK, officer, hopefully we’ll see him tomorrow”, the Uncle turns to the Officer, “But he obviously needs to learn a lesson.” Emily leaves with her father. We see her look back and flash a heart symbol with her fingers over her heart. Cut to Ash in the Jail cell sitting. We hear a drunk singing “Born! In the U. S. A.!” Ash smiles to himself looking down.
Cut to 2LT Twarowski addressing 1SG Keller , 2LT Donovan Duffy, SSG Bob Beck , SGT Holman and SSG Ash Marsh. 0615 15 JUL 2000 flashes on the screen. “I think it went as well as we could have expected. The only thing that could have raised a problem is that we need all three radios in each vehicle, and the one in The Deuce needs to be in the cab. We needed communications while moving. The siren worried me. That’s my fault”, Twarowski says. They are pulled into a clearing near a treeline, blocked from any apparent view “That’s all of our fault ma’am”, says 1SG Keller, “We all need to think of these things.” SSG Beck chimes in, “Yeah, we can use the radio in the G6 Hummer while on the move. The Prophet can be used as a radio too in the G2 Hummer. The guy in the back can monitor. That’s on me.” “In any case it went as well as could be expected”, Marsh adds. They crowd around a map which Holman is holding. Duffy traces a line with his finger, “It would still be best to stay out of the terrain marked as open. I think we should see if we can find a road into these woods and go south. Then dash across that open area and the S8 Droga Expressway here, make for this wooded area south of Łask Air Base and set up a command post as close to it as possible. Then we recon on foot again. It should take 2-4 hours to get there.” “Sounds good to me what do you all think”, asks Twarowski. They all assent. “Well, lets mount up. I’ll distribute the walkies”, she says walking off.
Everyone mounts up and the vehicles start to move. We see Marsh in the back of a Humvee. He smiles to himself. Music (Track 9, Below) begins to play. The convoy begins to drive off.
Fade to Black. Full Credits on Black. Music (below) continues to play over credits until end.
Track 9: “I Will Dare” by The Replacements, 1984
Full Cast Credits:
Main Cast: 1SG Adler Keller (Bryce), 2LT Kathryn Twarowski (Gordon), 2LT Donovan Duffy (Ned), SSG Bob Beck (Scott), SGT Paul Holman (Paul), SSG Ash Marsh (Shannon).
Recurring Cast: SPC Jacques, SPC Lane, CW2 McConnell, CPT Melville, MAJ Piper, PFC Ramirez, SPC Randall, PVT Rzad, SGT Swain.