“Trauma”

	      Written By:
	     Bertalan nagy
				    WGA Registered

INT. UP CLOSE TO A TELEVISION -- NIGHT
A TV screen fills our view with scratchy quality video.  It switches from channel to channel of different news stations all covering the same topic, "The Missing 5". With each channel we learn about the recent attacks on local Mafioso families.  Reporters speak of five armed men infiltrating their hideouts, cleaning out the place then kidnapping their target.
CUT TO:
EXT. DESERT CONTAINER WAREHOUSE -- DAY
A bright stream of police tape blows in the dry wind.  A body is lying in the circle of tape, looking very dead.  A DETECTIVE approaches.
REPORTER  (V.O.)
Alright, lets get started.
OLD MAN  (V.O.)
Are you going to record all of this?
The DETECTIVE slips on white rubber gloves.
REPORTER  (V.O.)
If it's ok with you, I will.  Here we go.  11:37am.  Monday, the 19th of August.  Where did everything start?
OLD MAN  (V.O.)
At the beginning.
He hunches down and over the dead body.
REPORTER  (V.O.)
Where is the beginning?
OLD MAN (V.O.)
I suggest looking into the inmate roster of the Albane County Jail for the basics.  Ask for inmate #547.
The DETECTIVE pulls his sunglasses out of his coat and uses them as an apparatus to poke at the body.
CUT TO:
INT. PRISON VISITOR ROOM -- DAY
The REPORTERS from the voice over sits at a table with an INMATE, a tape recorder rests between the two.
REPORTER
Where did everything begin?
The inmate laughs
INMATE
That's a broad question.
REPORTER
I was hoping to get a broad answer.
The inmate leans back in his chair.
INMATE
Trevelyn Hearst...he always did talk too much.  But someone wanted to see his fat face again.  
INT. MAFIA BASEMENT -- NIGHT
Five men in suits huddle around an Irishman tied to a chair with a bag over his head. The man tied to the chair is TREVELYN HEARST.  The bag is pulled off and the leader of the group walks over to a table in the corner.  He unrolls a collection of torture devices in plain view for TREVELYN to see.  The men in suits slur rapid russian while taking turns beating him.  Everyone stops and the leader approaches with an odd looking knife. 
INMATE (V.O.)
He was in a sticky place, an Irishman in a Russian's basement.  I'm sure he didn't expect what happened next.
The door to the room blows open and five men rush in firing rounds.  The Russians and the men exchange a quick burst of fire.
REPORTER (V.O.)
Who broke into the room?
INMATE (V.O.)
Arthur Goodwyn's hired arms.  Most people refer to them as the Knights.
The Knights maim the remaining Russians.  The oldest in the crew of five, POPS, walks over to TREVELYN.
POPS
Somebody has a crush on you.
POPS flicks his cigarette and knocks TREVELYN out cold. 
REPORTER (V.O.)
Did they kill him?
The Unit throws an empty body bag on the floor and quickly places the unconscious TREVELYN inside.
INMATE (V.O.)
Nah, they wouldn't have spent a conversation with the guy.  They were hired to evacuate him.
REPORTER (V.O.)
By who?
They tape his mouth shut and tie his hand and feet.
INMATE (V.O.)
Carmen Armilio.
REPORTER (V.O.)
The Sicilian mob boss?
INMATE (V.O.)
He was using the Unit for a couple of jobs. 
INT. GOODWYN OFFICES -- FLASHBACK
ARTHUR sits at a table with Victor by his side and the Unit hidden away in the shadows.  Across the table sits a short balding Italian, CARMEN ARMILIO.  ARTHUR flips through a thin folder of pictures and info.
ARTHUR
Trevelyn Hearst?  Why does that sound familiar?
CARMEN ARMILIO
He's the son of Joseph Hearst.
VICTOR
Little Carmen is moving up.  Business must be good.
Carmen responds a little cold, not buying into VICTOR's jokes.
CARMEN ARMILIO
You gonna have a problem with that.
INT. PRISON VISITOR ROOM -- DAY
We're back with the REPORTER and the INMATE.
REPORTER
So, was Carmen working with Hearst to get his son back?
INMATE
Not exactly, he had his own agenda.  But someone else was pulling the strings.
CUT TO:
INT. OUTSIDE THE MAFIA BASEMENT -- NIGHT
The Knights walk to a parked black van and chuck the body TREVELYN in the back.  As they drive off we follow them along the empty roads.  Finally they arrive at the drop off location, an old factory miraculously still standing
EXT. ABANDONED FACTORY -- CONTINUOUS
The Knights wait under the crackled roof of the open factory, smoking cigarettes and kicking rocks to kill time. We see a black van pull up to the factory with completely tinted windows.  Its trunk opens automatically with a yellow envelope waiting inside.  The Knights drag the body over and pick up their pay.  No physical contact is ever made between the driver and the Knights. 
TAPE RECORDER (the tape recorder rewinds) (V.O.)
Someone else was pulling the strings.
The black van drives away from the Knights in slow motion, with TREVELYN HEARST in the back.  As a voice over we hear the REPORTER start another interview.
REPORTER (V.O.)
Records show five transactions of two hundred and fifty thousand euros made to Mr. Goodwyn's account.  Transactions from a man named Jeffrey Dedrick.  
CUT TO:
INT. FBI OFFICES -- DAY
The Reporter sits across the table from an FBI agent leaning back in his chair, his head resting the palm of his hand.
FBI AGENT
Jeffrey Dedrick was one of the many different identities of Mr. Armilio.
REPORTER
So, how did a small time gangster ever manage to gather the money, let alone the courage to play bully with Joseph Hearst?
The FBI AGENT sits up in his chair and pulls out a file.
FBI AGENT
Somebody was backing him financially.  Someone who wanted to stay away from the spotlight, but more importantly, away from the consequences.
CUT TO:
INT. HEARST OFFICES -- EVENING
Joseph Hearst stands still at the window of his office, staring deep into his reflection and the view of the evening city lights.
FBI AGENT (V.O.)
No later then two days after the kidnapping of Trevelyn, the "Polaroids" surfaced to Mr. Hearst himself personally.
A pale secretary walks into the office holding a large yellow envelope tightly in his grip.  He hands it over to Mr. Hearst.  JOSEPH opens the envelope slowly with trembling hands.
DISSOLVE TO:
INT. FBI OFFICES -- CONTINUOUS
The FBI AGENT slides the file over to the REPORTER.  A small crumpled up Polaroid slips out into his lap.  He picks it up and turns it over.
CUT TO:
INT. HEARST OFFICES -- CONTINUOUS
JOSEPH HEARST reaches in the envelope and pulls out the polaroid.  It is a picture of his son TREVELYN showered with bullets looking very dead.  JOSEPH'S eyes swell with tears as he crumples up the polaroid.
CUT TO:
INT. FBI OFFICES -- CONTINUOUS
REPORTER
What was his response?
FBI AGENT
He went on a rampage slaughtering everyone who even did so much as shake hands with Armilio. 
Quick flashes of news reports, surveillance tapes and newspaper cutouts flicker on the screen.  Each flash highlights the bloody rampage on Carmen and his empire led by Joseph Hearst.
FBI AGENT
The search eventually led him to Arthur and his Knights.
REPORTER
What can you tell me about Arthur's unit?
FBI AGENT
I'm afraid that is still classified information.  I wish i could help you but we are still investigating that portion of the case.
The REPORTER sits back disappointed.  We hear the conversation from the next scene as a voice over.
REPORTER (V.O.)
Your sources are starting to get a little tongue tied.
OLD MAN (V.O.)
Everyone's got their reasons.
REPORTER  (V.O.)
I'm paying you too much to have to worry about reasons. 
CUT TO:
INT. SMALL CITY COFFEE SHOP -- AFTERNOON
The REPORTER sits with an OLD MAN next to a large window in a local "Mom-&-Pop" coffee shop.  Their bodies are silhouetted from the bright light of the sun outside.  
OLD MAN
The Unit you refer to as the Knights is the result of one mans handy work.  Five of the best there is in the industry, successfully recruited by Arthur to work together as a Unit. 
CUT TO:
INT. POPS APARTMENT -- MORNING
OLD MAN (V.O.)
Its not easy to put five of the biggest egos in one room and tell them to work together.  But Arthur knew what he was doing.
POPS sleeps in his bed in the middle of his luxurious apartment.  The alarm rings harshly, waking POPS.
OLD MAN (V.O.)
First there was Pops.  With more than three decades of experience under his belt, he was no doubt the leader of the pack.
He slowly sits up in his bed than walks over to the trash can in the corner reaching in with his right hand.  He digs out a crumpled up pack of cigarettes.  He finds the only cigarette still in one piece and lights it up.  Slowly he strolls over to the window and opens it, letting in the busy noise of the city street.
DISSOLVE TO:
INT. JAMES APARTMENT -- MORNING
JAMES sleeps in his leather chair in front of his computer monitor with his headphones still on. The place is a mess.
OLD MAN (V.O.)
James, a young fellow, had been looked after by Pops for quite some time now.  The two worked as a team before all of this. 
JAMES wakes up and pulls off the headphone still playing music. Dragging his feet he walks over to the kitchen to drink some day old coffee.
OLD MAN (V.O.)
He could get you anything for a job.  The little fart had enough connections to finance a small war if he had to.
DISSOLVE TO:
INT. STANLEY'S HOME. -- MORNING
STANLEY watches the news while sipping his morning tea.
OLD MAN (V.O.)
Stanley was always a little on the quiet side.  He was a well respected hitman until he moved on to do "bigger" and "better" things.
He slips into his blazer and grabs his keys.  He's clearly an early bird.  He walks out the door and heads for the street.
OLD MAN (V.O.)
He ran one of the most successful gun trades for a while until it all crumbled and fell into his lap.  You can make enemies very fast in this business.  Specially with success.
DISSOLVE TO:
INT. COFFEE SHOP BATHROOM -- MORNING
CHRIS stands at a urinal finishing up his business.  He pulls out a handkerchief and grabs the handle to flush.  He washes his hands, meticulously scrubbing it until it turns red.  After four sessions of the dryer he opens the main door with his elbows and walks through the restaurant to the outside area.
OLD MAN (V.O.)
Then there was Chris...Chris was Canadian and a germaphobe.  He's a little crazy but when it came to work he was sharp.  Meticulously sharp.
Chris walks outside and sits down next to a hard faced Russian man reading a news paper.  A half eaten bagel sits on a plate in front of him with a stale mug of coffee next to it.
OLD MAN (V.O.)
And Ivan, Ivan was a professional.  He didn't smile, frown or even blink.  It was strictly work for him.  As an Ex-KGB member he had his reasons to be bitter. 
CUT TO:
INT. THE BACK SEAT OF A BENTLEY -- MORNING
Arthur sits in the back seat with a cane supporting his old hands.  Next to him sits Victor, all puffed up on pride. 
OLD MAN (V.O.)
And of course, the man responsible for assembling these devils.  Arthur and his right hand man Victor.  Victor was the protege of Arthur from back in the day when he was still working as an assassin.  As Arthur grew so did little Victor.  
ARTHUR'S Bentley pulls up to a red light.
OLD MAN
As business expanded, Arthur thrived in his success, and for a while it was good.  
A large black van pulls up next to the Bentley with its windows rolled down.  A hands stick out casually holding a cigarette.
OLD MAN
But all that would change when he made enemies with Joseph Hearst.
The cigarette is dropped and suddenly guns come blazing out of the windows all aiming at the bentley.  There's a moments pause & then fire...bullets shower ARTHUR'S car like a hail storm round after round.  The Van peels out and drives out of frame.  The light turns green.  ARTHUR crawls out.  Luckily his car was bulletproof.
DISSOLVE TO:
INT. SMALL CITY COFFEE SHOP -- CONTINUOUS
The REPORTER sits back wide eyed.  The OLD MAN finishes his coffee and slowly puts his cup back on the table.
REPORTER
So what happened next?
OLD MAN
I'm afraid that's all the time i have today. 
As he get up to leave the REPORTER calls after him.
REPORTER
You know i never asked you but, how do you know all this.
The old man stares blankly to think, then a smirk crawls on his wrinkled face.
OLD MAN
I had the privilege of working with them once, and i managed to keep my life.
EXT. CITY STREETS -- MIDNIGHT
The exhausted REPORTER drives home to his motel in a cheap rent-a-car.  
INT. FREDDY'S MOTEL/ROOM 107 -- CONTINUOUS
The REPORTER stumbles into his makeshift home. He sits at his table amongst a mountain of scribbles and notes, listening to his tapes/interviews over and over again.  The scratchy sound of the tape recorder plays his latest interview with the FBI AGENT.
TAPE RECORDER
What was his response?...  He went on a rampage slaughtering everyone who even did as much as shake hands with Armilio...
While listening to the tape he reaches into his pockets and pulls out a pack of cigarettes.  Its empty.
TAPE RECORDER
The search eventually led him to Arthur and his Knights...what can you tell me about Arthur's Unit?...  I'm afraid that is still classified information.  I wish i could help but we are still investigating that portion of the case.
Disappointed he gets up and walks outside to the cigarette machine.
TAPE RECORDER
(FBI AGENT)
You know I understand this is your job and all but I should probably warn you.
We flashback to the interview with the cop from the tape while simultaneously watching the REPORTER at his hotel.
TAPE RECORDER
(FBI AGENT)
This is still an open case.  These guys are still out there. 
INT. FBI OFFICES -- FLASHBACK
FBI AGENT
The feds are making an extra effort to keep this under wraps until everything's cleared.  They got undercover agents investigating the case.  This is no joke.
EXT. FREDDY'S MOTEL -- CONTINUOUS
Back at Freddy's motel the REPORTER buys a pack of the cheapest cigarettes the machine has to offer and smokes one on the spot.  The conversation with the FBI AGENT continues.
FBI AGENT (V.O.)
I'm just saying...you start digging around the wrong places, piss the wrong people off and you might bring something upon yourself that's more than your ready for.
The REPORTER returns to his room.
CLOSE UP SHOT OF THE TAPE RECORDER RESTING ON THE TABLE, RUNNING OUT OF TAPE.
An eerie silence overcomes the tiny room.  Restless the REPORTER walks around in circles.  Somebody is watching him.  
P.O.V. FROM THE CLOSET FOLLOWING THE REPORTER WALK TO THE BATH ROOM. 
The REPORTER washes his face to wake up when suddenly, a creek.  He looks up into the reflection of the mirror but sees nothing.  He walks back to his table and lights a cigarette.  He takes a long stressful drag than exhales the thick smoke.  As he leans back on his table the smoke suddenly jerks in midair from the vacuum of the door closing shot.  The REPORTER jumps up in shock. 
INT. FBI OFFICES -- MORNING
The REPORTER sits once again with the FBI AGENT, this time for their second interview continuing where they left off.  The REPORTER presses record on his tape recorder and flips through his notes.
REPORTER
So, Arthur Goodwyn survived the attempted assassination, correct? 
FBI AGENT
Yes, he was able to eject himself from the vehicle.
REPORTER
So what was his response?
FBI AGENT
They retaliated.
INT. CASEY'S STEAKHOUSE -- NIGHT
JOSEPH HEARST sits at a table digging into a steak.  The restaurant is empty minus his entourage of bodyguards.  The REPORTER'S conversation continues as a voice over.
FBI AGENT (V.O.)
According to reports, Arthur temporarily held off all jobs to contain the situation.
HEARST'S guards constantly scan the place.
REPORTER (V.O.)
The attack happened at a bar right?
FBI AGENT (V.O.)
Yes, they ambushed Joseph Hearst at one of his restaurant chains, Casey's Steakhouse.
CUT TO:
INT. CASEY'S STEAKHOUSE, KITCHEN -- NIGHT
A small crew of cooks is cleaning up when a suddenly there's a small explosion outside.  The door burst open and JOSEPH comes running through with four bodyguards.  Gunshots are heard outside the kitchen doors and POPS comes in tailing HEARST.  JAMES bursts through the backdoor of the kitchen on the opposite side, trying to trap HEARST but is overpowered by his guards.  He dives out of the way as Hearst rushes by to the back exit when POPS throws an explosive at the group.  The room lights up in a quick burst of the explosion.
CUT TO:
INT. GOODWYN OFFICES -- NIGHT
Arthur, Victor and his Knights stand around the desk.  Arthur drops a photograph on the desk.
THE CAMERA MOVES IN ON A PHOTO OF JOSEPH HEARST IN A WHEELCHAIR, SITTING NEXT TO A MAN WITH AN OVERCOAT AND A HOOD.  THE TWO SIT OUTSIDE AT A LOCAL LOUNGE.
VICTOR
It seems Mr. Hearst is an iron man and he's made a new friend.
INT. FBI OFFICES -- CONTINUOUS
The FBI AGENT slips a tape into the tape player.  It begins to play the rest of the conversation at the Goodwyn Offices.
JAMES (O.S.)
Who is his companion?
ARTHUR (O.S.)
I'm having Victor looking into that.
The REPORTER listens wide-eyed at the recorded conversation.
POPS (O.S.)
Don't waste your time.  His name is Mr. Rye.
INT. GOODWYN OFFICES -- CONTINUOUS
The conversation from the tape recorder continues in real time.
ARTHUR
Mr. Rye?
POPS
He's a hired killer for the rich and famous.
STANLEY
So he's a Beverly Hills assassin?
POPS
No, he's the real deal.  And as of... 
CUT TO:
INT. FBI OFFICES -- CONTINUOUS
POPS (O.S.)
...Yet, no one knows anything about him.
The REPORTER stops the tape.
REPORTER
Is that still holding truth?
FBI AGENT
Not a lot is known about the identity of...
The FBI AGENT looks at his notes.
FBI AGENT
...Mr. Rye.  But we do know he works out of Los Angeles and is probably of field military background. He's not somebody you want on you tail.
The FBI AGENT smirks.
FBI AGENT
You can bet Arthur was scrambling to size him up before things got too out of hand. 
INT. GOODWYN OFFICES -- CONTINUOUS
ARTHUR leans over to POPS on his way out.
ARTHUR
I want to know everything
POPS nods and begins his speech to the UNIT.
POPS
Alright everybody, listen up cause we've got a lot to do.  Since we know very little about Mr. Rye, we're gonna have to get to him through Hearst.
We fade over and see the Unit acting out all of POPS' commands.
POPS
I want him tailed constantly.†
As soon as the words leave POPS' mouth we...
CUT TO:
EXT. BUSY CITY STREETS -- MORNING
Hearst pulls out of his hotel in a Jaguar.  Coming around the corner, an Audi immediately tails him with STANLEY and IVAN inside.  POPS' commands continue as a voice over.
POPS (V.O.)
I wanna know where he eats, where he sleeps, what size shit he takes.  Everything. 
CUT TO:
EXT. POLAR DINNER -- DAY
JAMES stands on the street corner across from the restaurant HEARST is eating at.
JAMES
(into his cellphone)
He's at the Polar Dinner on 5th street.
HEARST casually eats his meal while being constantly watched by the Knights.
POPS (V.O.)
I want to know everything there is to know about this man.  I don't want him to do so much as pass gas without me knowing.
CHRIS enters the building across the street and heads for the 7th floor.  A large camera bag hangs from his right shoulder.
POPS (V.O.)
I need a record of all his transaction for the past month.  Which restaurants he ate at, what stores he went to...and I need addresses. 
CHRIS snaps away photos of HEARST'S credit card with its numbers clearly visible.  We fade out and over to the digital portion of the search.
DISSOLVE TO:
INT. JAMES APARTMENT -- DAY
A computer sits in the corner with scribbles and notes piling up. Photos of HEARST'S whereabouts litter the walls.  JAMES examines the photos while CHRIS looks up HEARST'S credit card account.  A list of his transaction and store names appear on the screen.  A separate program immediately runs an address search. 
POPS  (V.O.)
I want to see the surveillance tapes of every store he went to.  I don't care if his only visible for one frame, I need his entire day covered. No questions.
INT. DIFFERENT SECURITY ROOMS OF MULTIPLE STORES FROM THE ADDRESS LIST -- EVENING
We see CHRIS and IVAN brake into the security section of each store on the list and steal the surveillance tapes with HEARST in it..
INT. JAMES APARTMENT -- CONTINUOUS
The momentum of the search unwinds as the tapes, notes and photos pile up next to the computer.  JAMES, almost half asleep scans through the surveillance tapes and carefully takes notes.
INT. PRISON VISITOR ROOM -- DAY
The REPORTER is back with the INMATE to get a second angle on the story.
REPORTER
So what I want to know is where exactly do you fit in all this.
The inmate smirks with a cigarette between his lips.
INMATE
You see, while the Knights were playing catch up...
CUT TO:
INT. JAMES APARTMENT -- CONTINUOUS
INMATE (V.O.)
...Mr. Rye had already planned out everything ahead.
We see JAMES searching the tapes while the interview with the INMATE continues.  Suddenly something catches his attention.  We hear the tape rewinding, as JAMES'S eyes grow wider.
INMATE (V.O.)
Two separate crews were assembled that would be used as muscle for Mr. Rye.  They would be divided into a day and a night crew.  
CUT TO:
INT. PRISON VISITOR ROOM -- CONTINUOUS
Back at the prison the INMATE continues.  He leans in towards the REPORTER and stops the tape recorder.
INMATE
I was one of the members recruited for Mr. Rye. 
REPORTER
(unimpressed)
Were you aware of Mr. Rye's ties with Joseph Hearst?
The INMATE sinks back in his chair and lights his smoke.
INMATE
No, we never even saw the two together.  We were only there to work with Rye.
REPORTER
Could you name the identity of Mr. Rye. 
INMATE
Couldn't help you there either.  None of us ever saw his face.  This guy was seriously secretive or just paranoid.  But the pay was good so what the fuck did we care?
As the INMATE finishes up we...
CUT BACK TO:
INT. JAMES APARTMENT -- CONTINUOUS
JAMES still watching the tapes breaks out in a cold sweat.
INMATE (V.O.)
We had a Unit to wipe out, and James was first on the list.
He jumps out of his chair and runs out of the room.  We cut to POPS at his place the same night.
CUT TO:
INT. POPS APARTMENT -- NIGHT
POPS enters his silent apartment late at night.  Exhausted he throws down his blazer and loosens his tie.  He has one voice message waiting for him.  He presses play.
JAMES, VOICE MESSAGE
(in a frantic paste James mumbles the message )
Pops!  Its James.  We got fucked!!!  The Photo & Mr. Rye.  It was an inside job.  Jacklyn's Lounge, the 2nd tape...it was a fraud.  I repeat it was a...Oh shit he's here.  You have to warn the others.
POPS sprints out of the room.
INT. JAMES APARTMENT -- LATER
The Unit enters cautiously with their guns drawn.  The place is completely trashed.  Bloodstains cover the walls and floors.  As they inch through the apartment they find JAMES'S body laying face down in a large pool of blood.  Together they stand over the body in disbelief.  POPS remains silent, choked by his own tears. He walks over to JAMES'S media center and checks the surveillance tapes.  He finds the tape of the living room hall and rewinds it. JAMES'S death plays backwards.  POPS presses play.
THE CAMERA SLOWLY MOVES IN ON THE MONITOR AND MORPHS INTO THE PAST. 
DISSOLVE TO:
INT. JAMES'S APARTMENT, LIVING ROOM HALLWAY -- EARLIER
JAMES marches down the hall fighting his way through endless men, clearly out numbered.  He's fired upon three times before he is no longer able to stand.  Mr. Rye enters the frame, standing over JAMES kneeling on the ground.  JAMES looks up and flashes a disappointed smile.  Rye raises his gun and fires at JAMES point blank.  We cut back to the Unit watching.
CUT TO:
INT. JAMES APARTMENT -- CONTINUOUS
The tape is stopped.  Everyone stays silent.
WE MOVE IN ON POPS, ISOLATING HIM FROM THE GROUP.
INT. FBI OFFICES -- EVENING
The REPORTER is back with the FBI AGENT.
FBI AGENT
A Knight has fallen for the first time in their eight years of service.  Everyone expected a full-fledged war to break out.
REPORTER
Four against one, Rye must've had his hands full.
FBI AGENT
Hearst was paying him too well for that to matter.
REPORTER
$875,000 to be exact.  That's a lot of money to pay someone you know nothing about.  Hearst was really taking a chance.
FBI AGENT
More than you can imagine. 
The FBI AGENT lifts a box upon the table and digs out a notebook along with an old newspaper. 
FBI AGENT
We were able to attain a copy of what we believe to be Mr. Rye's hit list...strangely however his next two victims weren't even on it.
He slides the old newspaper over to the REPORTER.  The headline date reads, NOVEMBER 7TH.  
INT. PRISON VISITOR ROOM -- EVENING
The REPORTER sits with the INMATE expecting to find out more.  He throws the old newspaper on the table.
REPORTER
What happened on November 7th.
INMATE
Everything turned upside down, but only Rye could tell you why.
The INMATE explains the night everything fell apart.
DISSOLVE TO:
INT. 52ND STREET FACTORY, MR. RYE'S HIDEOUT -- NIGHT
In regular cloths, the INMATE sits with the rest of his crew in the damp factory smoking cigarettes.
INMATE (V.O.)
It was 10 o'clock which meant we would switch crews with Mr. Rye.
The INMATE and his crew get up and head for the door.  Outside the night crew is already waiting. 
LURKING IN THE SHADOWS WE CUT TO A P.O.V. SHOT FROM ACROSS THE STREET OF SOMEONE WATCHING THE DAY CREW LEAVE. 
The tiny orange glow of a cigarette brings light to the dark figure across the street.  He drops the cigarette onto the lit part of the curb.
The INMATE gets in the van and peeks out the window as it drives them away.  He sees a gunman in a long coat and a hood walking towards the factory.  We hear the FBI AGENT simultaneously explaining the story with the INMATE.
FBI AGENT (V.O.)
Two places were hit that night.  The 52nd street factory...
The gunman stands in front of the factory entrance.
FBI AGENT (V.O.)
...And the Goodwyn mansion.
The gunman looks over to his right.
AS HE LOOKS OVER WE FOLLOW HIS P.O.V. AND THE ENVIRONMENT TRANSFORMS INTO THE GOODWYN MANSION.
From this point on, the two attacks made by the gunman that night are simultaneously shown.
INMATE (V.O.)
It was a massacre.
CUT TO:
EXT. 52ND STREET FACTORY, MR. RYE'S HIDEOUT -- CONTINUOUS
The gunman walks towards the entrance, violently sliding out his weapon.  He kicks in the door and makes his way through the place.  The night crew notice the intruder but its too late.  He is too fast and far too skilled to be stopped.  In slow motion he slays down every one of them.
INMATE (V.O.)
He slaughtered his own men.
INT. GOODWYN MANSION -- NIGHT
Inside the Goodwyn Mansion the gunman walks from room to room, his gun held up in front of him.  A butler steps in and freezes in fear.  After a moments pause and still alive, the Butler bails.
FBI AGENT (V.O.)
The murders just seemed out of place.  The pieces didn't fit together.
INT. 52ND STREET FACTORY, MR. RYE'S HIDEOUT -- CONTINUOUS
The gunman walks up a rusted stairway, reloading his blood-covered weapon.
INT. GOODWYN MANSION -- CONTINUOUS
The gunman walks into the living room where an unsuspecting ARTHUR sits by the fireplace.  ARTHUR stands to his feet in disbelief, frightened by the intruder.  They stand off briefly than...BAM the gunman wounds ARTHUR.  Bleeding badly ARTHUR crawls on the floor out of the room.  The gunman stays behind and kicks in the fireplace.  He grabs a roll of paper and creates a torch, slowly starting to light the room on fire.
CUT TO:
INT. FBI OFFICES -- CONTINUOUS
We take a brake from the violent montage and cut back to the FBI offices briefly.
FBI AGENT
Two places were hit on the night of November 7th.  Two places but only one victim showed up, besides the guards of course.  The Goodwyn Mansion was burned to the ground...
WE SEE A QUICK FLASH OF HE GOODWYN MANSION ON FLAMES AS THE GUNMAN WATCHES OUTSIDE. 
FBI AGENT
But on the 52nd street factory, it was a different story.
INT. 52ND STREET FACTORY, MR. RYE'S HIDEOUT -- CONTINUOUS
The gunman now at the top of the stairs heads for the room to the right.  He kicks in the door and immediately fires a round at a shadowy outline in the corner.  The shadowy outline stumbles out into the light, revealing it to be VICTOR in an over coat.  He stands face to face with the gunman.
FBI AGENT
Amongst the corpses of a dozen or so guards, officials found the body of Victor Petrovich.
WE MOVE AROUND AND PEEK BEHIND THE COVERS OF THE GUNMAN'S HOOD, REVEALING HIM TO BE POPS.
Wounded at the knees VICTOR buckles to the ground, kneeling before POPS.  After a short pause, POPS shoots VICTOR in the face without flinching.
CUT TO:
INT. FBI OFFICES -- CONTINUOUS
The confusion comes to a stop as we cut back to the REPORTER at the FBI offices
REPORTER
(startled)
But what was Victor doing at the factory?
The REPORTER'S question hangs in the air, never answered by the FBI AGENT.
INT. SMALL CITY COFFEE SHOP -- EVENING
The sun is slowly sinking down into the horizon.  The REPORTER sits across from the OLD MAN at a small table.
REPORTER
None of this adds up. 
OLD MAN
It’s complicated.
The old man takes out a photograph from his blazer pocket and slides it over to the REPORTER.  Uninterested, the REPORTER picks it up.  It is a photograph of TREVELYN HEARST standing in front of some sort of container.
REPORTER
When was this taken?
OLD MAN
About a week and a half ago.
The REPORTER looks puzzled.
REPORTER
What the...you mean he's..?
OLD MAN
He's alive and well.  The polaroids were only a set up to start the replacement.
REPORTER
(looking more confused)
Replacement?
The OLD MAN takes a sigh and speaks up.  His voice deepens and his facial expression changes.  Its almost as if the REPORTER is listening to an entirely different person.
OLD MAN
Each of the kidnapped Mafioso members in the "Missing 5" case were highly trained assassins.
The word "assassins" jumps out of the sentence to the REPORTER.
OLD MAN
Assassins with skills unmatched even by the Knights if put together.
The REPORTER turns pale as the truth begins to unravel in his mind.  He remembers all the clues he heard but missed the first time.
INMATE
(vocal flashback)
Someone else was pulling the strings...seriously secretive.
FBI AGENT
(vocal flashback)
Not a lot is known about the identity of Mr. Rye.
INMATE
(vocal flashback)
No one ever saw his face.
REPORTER
(vocal flashback)
What was Victor doing at the factory?
Before he could make sense of it all the OLD MAN speaks up again.
OLD MAN
James wasn't the first to be killed for no reason.
We flash back to when POPS received JAMES' message.
CUT TO WITH A FLASH:
INT. POPS APARTMENT -- FLASHBACK
POPS listens to the message.
JAMES, VOICE MESSAGE
...We got fucked. The photo & Mr. Rye.  It was an inside job...
OLD MAN continues to narrate the revelation.
OLD MAN (V.O.)
He was killed because he knew something he shouldn't.
We jump ahead when POPS is already at JAMES' place.
CUT TO:
INT. JAMES APARTMENT -- NIGHT
POPS steps over JAMES' body and looks around the trashed place.  He notices something sticking out from behind the computer desk and picks it up. Its the photo of "HEARST and MR. RYE" sitting outside at a lounge.
VICTOR
(vocal flashback)
It seems Mr. Hearst is an iron man, and he's made a new friend.
JAMES, VOICE MESSAGE
(vocal flashback)
...Jacklyn's Lounge, the 2nd tape...
POPS looks at the photo closely and sees the name "Jacklyn's Lounge" written on the walls of the place.  He finds the surveillance tape collected of that day and compares the footage with the photo.  Strangely, in the video HEARST is sitting by himself, without MR. RYE by his side.
JAMES, VOICE MESSAGE
(vocal flashback)
The 2nd tape...its a fraud. 
As he watches the video closely he sees the unthinkable.  VICTOR walks across the street from Jacklyn's Lounge and snaps a photo of HEARST.  POPS pauses the frame when VICTOR takes the picture and compares it to the photograph in his hand.  HEARST is in the same pose but MR. RYE is nowhere to be found.  Its a fake.  Mr. Rye was digitally added later.
JAMES, VOICE MESSAGE
(vocal flashback)
The 2nd tape...its a fraud.  I repeat its a...oh shit, he's here...
We cut back to the OLD MAN with the REPORTER.
DISSOLVE TO:
INT. SMALL CITY COFFEE SHOP -- CONTINUOUS
The REPORTER thinks back to his conversation with the INMATE about RYE and HEARST.
REPORTER
(vocal flashback)
Were you aware of Mr. Rye's ties with Joseph Hearst?
INMATE (V.O.)
(vocal flashback)
No, we never even saw the two together.  We were only there to work with Rye.
REPORTER
(vocal flashback)
What was Victor doing at the factory?
We quickly flashback to VICTOR'S death at the factory.
CUT TO WITH A FLASH:
INT. 52ND STREET FACTORY, MR. RYE'S HIDEOUT -- NIGHT
WE MOVE AROUND AND PEEK BEHIND THE COVERS OF THE GUNMAN'S HOOD, REVEALING HIM TO BE POPS.
CUT TO:
INT. SMALL CITY COFFEE SHOP -- CONTINUOUS
REPORTER
(whispering to himself)
Oh my God.  There was never a Hearst.  Arthur was just playing him as the fall guy. 
OLD MAN
They used Hearst to replace and kill off their old unit.
The REPORTER snaps out of his daze and slowly looks over at the OLD MAN.  His head is cluttered with thoughts as he studies the OLD MAN'S face.  He remembers the FBI AGENT'S warnings.
FBI AGENT
(vocal flashback)
I should probably warn you, this is still an open case.  These guys are still out there.
As the REPORTER begins to remember, we cut back to when he was in his motel room.
CUT TO WITH A FLASH:
INT. FREDDY'S MOTEL/ROOM 107 -- NIGHT
As the reporter sits at his desk, the smoke suddenly jerks in midair from the vacuum of the door closing shot.  The REPORTER jumps up in shock. 
CUT BACK TO:
INT. SMALL CITY COFFEE SHOP -- CONTINUOUS
Sitting back in his chair, the REPORTER'S face now begins to show fear as he breaks out in a cold sweat.
REPORTER
(vocal flashback)
You know I never asked you but, how do you know all this?
The OLD MAN pulls out a cigarette and raises it to his lips.
WITH A CLOSE UP SHOT WE FOLLOW HIS HAND RAISING THE CIGARETTE.
We see the face of the OLD MAN for the first time, not hidden away by the silhouette.  The REPORTER is and has been the entire time sitting face to face with POPS.  His head is shaved and face hidden behind a beard but its still very much POPS.  The reporter stares in disbelief.  His expression changes.  First skepticism, confusion than fear.
POPS
You haven't exactly been honest with me either.
CUT TO:
EXT. DESERT CONTAINER WAREHOUSE -- DAY
A bright stream of police tape blows in the dry wind.  A body is lying in the circle of tape, looking very dead.  A DETECTIVE approaches.  The sound of a local news cast slowly fades up.
NEWS REPORTER. (V.O.)
Earlier today the body of Arthur Goodwyn, the renowned...
CUT TO A SHOT OF THE ACTUAL NEWSCAST MADE BY NEWS REPORTER.
NEWS REPORTER.
...death dealer, was found dead at the "something desert" container warehouse.
The news report slowly fades away.
CUT BACK TO THE CRIME SCENE WITH THE DETECTIVE
The DETECTIVE pulls his sunglasses out of his coat and uses them as an apparatus to poke at the body.  The camera pans up and we see that its the REPORTER.
FBI AGENT
(vocal flashback)
Got undercover agents investigating the case.
We flashback to the REPORTER'S motel room.
CUT TO:
EXT. FREDDY'S MOTEL -- FLASHBACK
The REPORTER leaves for the cigarette machine.  POPS waits around the corner then slips into the REPORTER'S room.  Quickly he searches every inch of the place while the REPORTER is outside.  He finds an FBI badge and a gun holster in the closet.  The REPORTER returns and POPS quickly hides away in the closet.  Through a small crack POPS watches the REPORTER head for the bathroom.  POPS swiftly leaves before the REPORTER comes back.
CUT BACK TO:
INT. SMALL CITY COFFEE SHOP -- CONTINUOUS
The two sit very still, staring deadly into each others eyes.  The sound of the news cast fades up once again.
NEWS REPORTER. (V.O.)
Although officials haven't got an id on the killer, the case still continues to unravel.
We cut back to the "container warehouse" crime scene.
CUT TO:
EXT. DESERT CONTAINER WAREHOUSE -- CONTINUOUS
A shiny object sticking out from ARTHUR'S mouth catches the DETECTIVE'S attention.  He slips on rubber gloves and reaches inside
NEWS REPORTER. (V.O.)
Tucked away inside the mouth of Arthur Goodwyn were found a set of 5 keys believed to be placed there intentionally by the killer.  
DEAD CENTER IN THE FRAME SIT A SERIES OF 5 CONTAINERS NEXT TO EACH OTHER.  ARTHUR'S BODY LAYS ON THE GROUND TO THE LEFT.
NEWS REPORTER. (V.O.)
5 keys belonging to 5 containers rented out by Arthur Goodwyn approximately eight months ago. 
The DETECTIVE studies the keys and looks up at the 5 containers behind.  He walks over and opens each of them slowly inch by inch.
NEWS REPORTER. (V.O.)
5 containers which have been holding the now famous 5 kidnapped Mafioso victims known as the "Missing 5".
From each container we see a scruffy, dirty and sickeningly skinny young man emerge.  Their eyes squint from the bright light of the sun.  FBI agents swiftly approach with guns drawn, containing the "prisoners".
CUT BACK TO:
INT. SMALL CITY COFFEE SHOP -- CONTINUOUS
POPS and the DETECTIVE sit dangerously silent, their eyes drilling holes into each other.  They stare for what seems like an eternity.  Then suddenly they both jump from their seats, reaching for their weapon...CUT TO BLACK
THE END