ALL SAINTS DAY
Written by
Troy Duffy
September 1, 2007
EXT. BOYLESTON STREET, BOSTON -- MORNING
The boulevard is empty, eerie silence. No cars, no people. A man
walks down the middle of the street, long trench, dark shades.
Though he does not speak, we hear...
MAN V.O.
There's two kinds of people in this
world when you boil it all down. You
got your talkers and you got your
doers.
We recognize this man as ROCCO. He crosses Copley Square toward the
looming dome of the Trinity Church.
ROCCO V.O.
Most people are just talkers. All they
got is talk. But when all's said and
done, it is the doers who change the
world. And when they do that, they
change us. That's why we never forget
them...So, which one are you? Do you
just talk about it? Or do you stand up
and do something about it? Because
believe you me all the rest of it is
just coffee house bullshit.
FADE TO BLACK...
EXT. DEEP COUNTRYSIDE -- DAY
SUBTEXT: "Ireland"
From behind we see two men perched atop a boulder. A flock of sheep
encircles them. Their army sacks and shotguns are nearby. They roll
their own cigarettes with effortless synchronicity and light up.
CONNOR and MURPHY MacMANUS (30's) now have long hair with heavy
facial growth. Rugged. Piercing eyes. Looking to the horizon...
MURPHY
Looks like a storm's comin'.
CONNOR
Aye.
EXT. FIELDS -- LATER
MOODY MUSIC: The brothers drive the flock across jewel green hills.
Murphy cuts a sheep from a thicket and sets it off.
POPPA M V.O.
Peace, they say, is the enemy of
memory. So it had been for my boys.
2.
Connor shares some jerky with a sheep dog as the flock surges.
POPPA M V.O. (CONT'D)
For some time now, their past had felt
like a dream to them...faded and worn.
Murphy touches the faded Celtic Cross tattoo on his forearm. Connor
sees. The music takes us to a secluded, pioneer-esque ranch.
CLOSE ON: POPPA M's (58yrs) face as he coughs and watches his sons
approach from his rocking chair on the porch.
POPPA M V.O. (CONT'D)
And then suddenly, as if not a day had
passed...it was back. I could see it
in their eyes.
INT. FARMHOUSE -- NIGHT
Poppa M and his sons eat a rustic dinner. It storms outside.
POPPA M V.O.
I could feel it, heavy in their
presence. Something calling them back.
Poppa M looks to his boys who just keep eating. DIP TO BLACK...
INT. FARMHOUSE, FRONT PORCH -- NEXT MORNING
Very early dawn, shadowy morning light. Connor and Murphy sip
coffees and look out into the rain. Lightening lights up the flock.
Through the open door behind them, Poppa M stokes a warm fire.
Connor touch the Celtic Cross tattoo on his forearm. The boys look
at each other as the rain suddenly stops and all the "little sounds"
of morning cease. Something's amiss. Thunder. Ominous music as...
EXT. BOSTON, TRINITY CHURCH -- NIGHT
From behind, we see a man with a CREW CUT, staring at the dome of
the Trinity.
SLO-MO, CLOSE ON: Crew Cut's boots as he paces toward. The
threatening music bleeds over to...
EXT. FARM -- MOMENTS LATER
Just inside the trees, a pack of wolves stalk the sheep flock...
SLO-MO, CLOSE ON: A wolf's paws as it paces toward...
We intercut between BOSTON and IRELAND as chaos erupts...
3.
BOSTON: Crew Cut quickly enters the church.
IRELAND: The wolves burst from the tree line.
BOSTON: A frantic priest in his 50's weeps and begs as Crew Cut
slams him to his knees with a .9 mm to his head.
IRELAND: The wolves savagely attack the screaming sheep.
BOSTON: Muzzle flash, blood splatters on the altar.
IRELAND: BOOM! BOOM! Connor and Murphy blast shotguns at the
wolves. One is hit, the rest retreat. The boys perform mercy
killings on the wolf and one sheep.
Everything calms as Poppa M rushes up with a mag light and stops.
He coughs roughly. Moody choral music begins...
POPPA M V.O.
"And they cried out, How long O'Lord
dost thou not judge and revenge our
blood upon them that dwell on the
earth?"
EXT. FIELD -- LATER
The boys toss the wolf carcass onto a bonfire. It rains again.
POPPA M V.O.
And God said, "All will fear the wrath
of the lamb. For the great day of
their reckoning hath come."
Poppa M looks across the blaze to his sons. Connor and Murphy stare
into the fire, bathed in the light of angry flames.
POPPA M
"And they that holdest my name shall
come with the shaking of the earth and
the roiling of the oceans."
EXT. FARM -- NIGHT
Downpour. A rugged old jeep tears through the mud. It stops at the
farmhouse. Poppa M and the boys come out onto the porch. A dark
figure with a fedora and rain slicker exits the jeep and hurries to
the porch. Meet Uncle SIBEAL (62yrs). He wears a priest's collar.
SIBEAL
Something's happened.
4.
EXT. CHURCH -- MORNING
Breaking news. REPORTER #1 is live from outside a church. Squads,
coroner's vans, CSI etc. Police hold back crowds.
REPORTER #1
There is no new information on the
victim found slain this morning inside
Trinity Church. As you can see the
size of the crowd here has increased
substantially over the last couple of
hours. People are demanding answers as
to how a priest could be murdered in a
church. But perhaps more shocking, we
have confirmed that the body was
ritualized with pennies in the eyes.
Many remember this as the grisly
calling card of the prolific vigilante
killers known as the Saints, who went
on a murder spree here in Boston.
NEWS FOOTAGE: People scream as they run out of a courthouse.
REPORTER #1 V.O.
A rampage that ended six years ago,
when the Saints brazenly walked into
open court...
NEWS FOOTAGE: A body is wheeled out on a gurney.
REPORTER #1 V.O. (CONT'D)
...and executed Mafia Don, Poppa Joe
Yakavetta before a courtroom of
terrified witnesses, then simply
disappeared without a trace.
Grainy, unclear security footage of three men walking the court
halls, two in heavy black jackets, one in a trench...
REPORTER #1 V.O. (CONT'D)
The now legendary security camera
footage from that harrowing day, our
singular tiny glimpse of these infamous
and controversial killers.
We are back with Reporter #1 at the church.
REPORTER #1
As police have yet to confirm the
Saints' possible involvement, the
ominous question hangs heavy in the
air. "Are they back?"
5.
INT. FARMHOUSE -- NIGHT
Sibeal, Poppa M, Connor and Murphy sit around the table. The boys
have a look of controlled anger. Presently...
MURPHY
The priest. Did they release his name?
SIBEAL
No. But I made a few calls, still got
some friends in the diocese there.
McKinney. Father Douglas McKinney.
The boys flash with recognition.
SIBEAL (CONT'D)
You knew him?
CONNOR
Knew of him. Everybody did. A regular
Mother Theresa. Youth hostels, soup
kitchens. Even made it into the
newspapers sometimes.
Sibeal considers this. He genuflects and turns.
SIBEAL
Listen boys. I think it's best that ya
just stay put and we'll try ta figure
out what...
Connor and Murphy are out the door and headed for the barn.
Confused, Sibeal looks to Poppa M, who just sips his coffee.
INT. BARN -- MOMENTS LATER
MOODY MUSIC: The boys begin to look more like "themselves" as the
they cut their hair and beards with sheep sheers.
The brothers lift a chest from a hole in the barn floor. They load
guns and money into black duffel bags and place their signature
rosaries around their necks, clasping their hands in prayer...
INT. TRINITY CHURCH, ALTER -- MOMENTS LATER
Detective GREENLY (38yrs) is alone on the alter. Police line all
around as Greenly stares at the body like the detective has seen a
ghost. He turns and nervously staggers toward the front vestibule.
INT. VESTIBULE -- SAME TIME
Detectives DOLLY and DUFFY are scared. In hushed tones...
6.
DUFFY
We need to keep our heads, here. It's
probably not even them.
DOLLY
Of course it ain't them but that
doesn't really matter, does it. Our
skeletons just came screaming out of
the closet. We're fucked.
DUFFY
We're not fucked.
Greenly enters from the church proper. Dolly and Duffy turn.
GREENLY
We are totally fucked!
EXT. RAPID FLASHBACK SEQUENCE, "ACCESSORY TO MURDER"
Greenly, disguised as a correctional officer, lets Connor, Murphy
and Poppa M out of a paddywagon. FLASH!
The Saints enter the Suffolk Courthouse, undetected. FLASH!
Dolly, dressed as a civilian, pulls the fire alarm. FLASH!
The Saints execute Poppa Joe Yakavetta before many terrified
witnesses, the alarm blaring in the b.g. FLASH!
INT. BACK TO PRESENT, VESTIBULE -- MOMENTS LATER
GREENLY
...and not just fucked, like elephant
dick, pounded in the ass, no reach
around, jungle fucked!
DUFFY
Now's not the time to panic, Green
beans!
GREENLY
Oh, I disagree. Now's the perfect time
to panic. We're all Accessories to...
DOLLY
Don't you fucking say it!
They all argue over one another. OFFICER #1 peaks his head in the
front door. The detectives grind to a halt.
OFFICER #1
Her E.T.A. is ten minutes.
7.
EXT. GRAVEYARD -- MORNING
CLOSE ON: a gravestone. "Paul M. Smecker, 1956 - 2003"
We reveal a pair of sexy female legs, expensive "Jimmy Choo" heels.
From behind we see the woman rest a rose at Smecker's Grave. "Legs"
turns and walks toward a waiting squad car in b.g.
EXT. CHURCH -- MOMENTS LATER
Dolly, Duffy and Greenly stand outside in the entry way of the
church. Though still on edge, they have calmed.
DOLLY
I didn't even know he had a protege.
What is this bullshit?
Duffy whips out his trusty note pad.
DUFFY
Special Agent Eunice Bloom, 32 years
old. Smecker plucked her right out of
class at Quantico.
GREENLY
Smecker hand picked her? Aw, man.
This brawd's gonna be a nightmare.
DUFFY
She was assigned to OCD two years back.
She can shoot a gun, set three course
records during her training.
GREENLY
Great. A bull dike, Annie Oakley wanna-
be. We gotta get rid of her.
DUFFY
She is also an authority on the Saints
case. Which means Smecker must have
walked her through it.
The cops suddenly flush with fear.
DOLLY
And the hits just keep on comin'.
INT. FARMHOUSE -- MOMENTS LATER
Sibeal waits as Poppa M thinks, then shakes his head.
8.
POPPA M
Naw...I'm in no condition. I'd just
slow 'em down.
SIBEAL
Well, are ya at least gonna try ta talk
them out of this?
Poppa M shakes his head.
SIBEAL (CONT'D)
We don't even know what this is yet!
Somebody could just be tryin' ta get
away with murder here!
POPPA M
Aye. Only there's about a thousand
easier ways ta do that. Trust me.
Someone's callin' them out, Sibeal. Ya
kill a priest in a church and make it
look like they did it. Bring 'em back
with a vengeance. Don't know who.
Don't know why. But someone thinks
he's real fuckin' clever. Only one
problem with his little plan.
SIBEAL
What's dat?
POPPA M
It worked.
Fear and frustration burst from Sibeal.
SIBEAL
Jesus Christ! D'er's too much we don't
know and if you're won't at least try
ta talk some sense into them, I will!
The door opens and in comes Connor and Murphy. Sibeal notes the
change in appearance. The boys stand at the kitchen table's
opposing end, hands in their pockets. Their resolve fills the room.
The brothers face off with Poppa M and Sibeal: a bizarre board
meeting. Poppa M cocks a brow at Sibeal who clears his throat.
SIBEAL (CONT'D)
Exactly what do you intend to do?
Silence. Nobody moves. Connor withdraws a hand from his pocket and
looks down. He flips a penny on the table. It clatters to a stop.
9.
MURPHY
Every last motherfucker that had
anything to do with it.
EXT. CHURCH -- LATER
A squad pulls up. Dolly, Duffy and Greenly turn.
DOLLY
Game time. How are we playing this?
DUFFY
Feds love to pull the divide and
conquer routine. We hard line her.
Stick together on this. Agreed?
DOLLY
Agreed. We're a brick wall.
They all nod and stiffen their resolve.
GREENLY
Let's rock this bitch.
Rockin' music fades in as a uniform opens the squad door.
SLO-MO: EUNICE BLOOM (32yrs) exits the squad and moves toward.
She is simply delicious: sexy, blonde hair, a woman's business
suit, short skirt, brass rimmed specs. Each detective's face drops.
Soon she is before them. Music cuts. She smiles and speaks with a
southern drawl a la Doc Holiday.
EUNICE
(POINTING)
You hafta be Detectives Dolly and
Duffy. Am I right?
(extending hand)
Eunice Bloom. A pleasure.
Dolly and Duffy shake and manage a nod. Greenly is still enamored.
EUNICE (CONT'D)
And you must be Greenly. Smecker
always said you were the funny one.
GREENLY
T'sup...I mean, what? Yeah, well,
funny as in ha ha, though not like
funny as in gay cuz...I'm not...played
high school football.
She chuckles. Dolly and Duffy fume.
10.
DOLLY
Look, with all due respect, Agent
Bloom...
EUNICE
Special.
DOLLY
Excuse me?
EUNICE
You see there's a "special" before my
"agent." If we are going to address
each other formally, I'd prefer if you
popped it in there. Makes me feel, I
don't know...special. Of course, I'd
hoped we could be a little more
personable. In fact, I'd like you to
call me Eunice.
The cops are dumbfounded. Duffy snaps out of it.
DUFFY
O'kay, Eunice. I don't see why the
fuck the Fed is...
EUNICE
Whoa, whoa, "fuck?" This isn't a
"fuck" situation, is it? I can see a
"God Damn" or two but why skip all the
way to "fuck" right off the bat? Let's
start slow and work our way up to it.
DUFFY
What is the Fed's interest in this?
The detectives harden, brick wall. Eunice furrows her brow.
EUNICE
Their interest, Detective, is capturing
the men responsible for the murders of
22 of Boston's finest criminals. Y'see
public perception is that these boys
stepped in, did our jobs for us and
then disappeared into thin air as we
fecklessly searched for them. The FBI
tends to take exception to such things.
They coulda sent anyone. They sent me.
Why do you think that is?
(BEAT)
Well, since we've broken the "Fuck
Barrier," allow me to be blunt.
(MORE)
11.
EUNICE (CONT'D)
It is because I am so fucking smart
that I make smart people feel like
retards. Now, we seem to be getting
off on the wrong foot here. I'd
appreciate a bit of cooperation. Let's
chalk it up to paying respect to the
memory of a dearly departed mutual
friend. A man who taught me everything
I know.
After a moment of consideration, the cops concede with nods.
EUNICE (CONT'D)
Lovely.
(re: crowd)
Now what's with the circus?
DUFFY
The victim was killed late last night.
When people gathered for morning mass,
they found the front entrance chained
and padlocked. A locksmith came out,
cut the chain and surprise, surprise.
Cell phones. Half of them called the
cops. Half of them called the media.
But regardless...word's out.
Eunice turns and looks over the crowd.
EUNICE
And it looks like that's just the way
somebody wanted it. What say we scrape
the shit off this cow's ass, fellas?
Detective Greenly? Escort a lady onto
the crime scene?
GREENLY
What? No, yeah, no. Of course.
Greenly escorts her as Dolly and Duffy walk behind, mystified.
GREENLY (CONT'D)
Do you want a cup of coffee or
something?
EUNICE
Never touch the stuff.
INT. VESTIBULE -- MOMENTS LATER
Eunice stands, looking down the aisle at the altar. Behind her, the
Detectives are curios as Eunice slides on pink latex gloves.
12.
She puts in ear plugs and all ambient sound ceases. She starts
slowly down the aisle...
TOTAL SILENCE AS...Eunice inspects the smashed door of a
confessional booth. She looks over the body closely then turns from
the altar and walks to the detectives. She pulls her earplugs and
all sound returns.
EUNICE
It wasn't them...but I'm sure you boys
already knew that.
The detectives nod.
DUFFY
The two "V's." The victim and venue
don't add up.
EUNICE
Let's go with the venue first. Our
perpetrators are devout. They would
never commit such an act on sacred
ground. And as for the victim?
DOLLY
All their vics were criminals. Clearly
not the case here. So, it wasn't them
which means this is a local matter and
it falls under our jurisdiction. No
need for Federal involvement so with
all due respect...we'll see you later,
Special Agent Bloom.
Eunice stands right in front of Dolly.
EUNICE
Man, I hate it when people say that.
"With all due respect." Because it is
inevitably followed by a disrespectful
remark. I'll give you an example.
With all due respect, Detective, this
matter falls under whatever
jurisdiction I fuckin' say it does.
Dolly fumes. Duffy and Greenly share an "oh shit" look.
DUFFY
Uh, so...let's just...what can you tell
us about the shooters?
13.
EUNICE
Shoo-ter. Singular. And I can tell
you that he is left handed and how
shall I put this delicately...? He's a
short bastard.
DOLLY
(FACETIOUS)
One guy, lefty, short. Got it.
Eunice furrows her brow.
EUNICE
I'll show you what I'm talking about.
INT. CHURCH, ALTAR -- MOMENTS LATER
Close up on Greenly's enraptured face. We pull back and see he is
on his knees before Eunice and staring longingly between her legs.
EUNICE
Detective Greenly, you're the victim.
GREENLY
David. You can call me David.
EUNICE
Very well, David.
Duffy and Dolly stand behind Greenly, chest to chest, each mimicking
guns to the back of the kneeling cop's head.
EUNICE (CONT'D)
The Saints' signature stance. Copley
Plaza Hotel four years ago. Two men of
identical height put Yuri Petrova on
his knees and each dropped iron to the
back of his head.
This is torture for Greenly and he turns his head from Eunice's
crotch. She immediately adjusts him back into place.
EUNICE (CONT'D)
Eyes front, David. The position of the
victim and the angles produced by the
killers' stance created a unique
scenario. The bullets criss crossed in
the skull and exited the eye sockets.
Here, this did not occur. The rounds
moved on a straight trajectory through
the back of the victim's head and out
the front. Which happens when...
14.
Eunice circles around, positioning herself between Dolly and Duffy.
She aims both hands to the back of Greenly's head.
DUFFY
...one guy's holding two guns to the
back of your head.
EUNICE
One guy.
INT. FLASHBACK, CHURCH -- NIGHT BEFORE
Crew Cut holds two guns to the back of the pleading priest's head.
He fires and McKinney falls. Crew Cut steps forward and we see his
face in the light. Piercing, ice blue, sociopathic eyes. WHIP PAN!
INT. BACK TO PRESENT, CHURCH -- MOMENTS LATER
EUNICE
Now, the victim falls forward. If you
please, David.
Greenly lays flat on his stomach.
EUNICE (CONT'D)
The killer approached the body from the
left side...
(Eunice approaches)
...and flipped him to the right.
DUFFY
Left handed.
EUNICE
Yep, southpaw.
INT. FLASHBACK, CHURCH -- NIGHT BEFORE
Crew Cut flips the body, showing little respect. He pulls out two
pennies and looks at them. He chuckles. WHIP PAN...
INT. BACK TO PRESENT, CHURCH -- MOMENTS LATER
DOLLY
But you said he was wicked short.
EUNICE
The Saints were later determined to be
five foot eleven inches tall. It's
just dumb luck that the Russian and
McKinney are the exact same height.
Eunice kneels, putting her pointer fingers just below Greenlys eyes.
15.
EUNICE (CONT'D)
The rounds exited Petrova's eye balls.
Here they came out the lower cheek.
She slides her fingers to Greenly's lower cheeks. He's putty.
EUNICE (CONT'D)
Three, four inches below the eyes.
DOLLY
That puts him at five, seven-ish.
That's not uncommonly short.
Eunice stands and points the a broken down confessional booth door.
EUNICE
The killer posed as a late night
confessor. Once the victim entered the
booth the killer had him isolated. No
escape. Short stuff exits his
confessional and kicks in the door of
the priest's chamber...
INT. FLASHBACK, CHURCH -- NIGHT BEFORE
Crew Cut exits his confessional and kicks in the priest's door. He
pulls the terrified cleric out. Close on a gash in the door.
EUNICE V.O.
...leaving a crescent shaped
indentation which indicates that this
cowboy was wearing a boot with a
pronounced heel.
WHIP PAN!
INT. BACK TO PRESENT, CHURCH -- MOMENTS LATER
EUNICE
Gave him a couple inches. We're
looking at about five foot five,
gentlemen.
GREENLY
That's wicked short.
EUNICE
Wicked.
EXT. OPEN SEA -- DAY
We drift over open sea to a huge cargo freighter, the Killian
Farris, plodding toward Northeast.
16.
INT. SHIP'S DRY STORAGE LOCK -- MOMENTS LATER
Connor and Murphy stack grain. A MEXICAN SEAMAN (23yrs) appears...
DECK HAND
They're brawling in the hold! Better
get your bets in now!
INT. SHIP'S HOLD -- MOMENTS LATER
Seamen cheer as a large, ruffian GIANT (33yrs) and a Latino fight.
David and Goliath. Meet ROMEO (30yrs), pony tail, shorn sides and a
perpetual smile. Romeo's hands are chained behind him.
Romeo bobs, weaves and fakes, avoiding many punches. The Giant
spews angry French all the while. The boys step up as money moves
and men bet. Connor to the same Mexican Seaman in Spanish.
CONNOR
Why are his hands chained?
MEXICAN SEAMAN
Romeo's fast, man. He says the
Frenchman can't lay a hand on him.
MURPHY
But he can't hit him back.
MEXICAN SEAMAN
That's the bet. He's got to last five
minutes.
MURPHY
(to Connor, English)
This guy's fuckin' crazy.
The brothers whip out money and give it to the Sailor.
BOTH
Fifty on the Mexican.
We track with the fighting. Tattooed across Romeo's back, "LA
RAZA." Nearby, French ROUGHNECKS #1 and #2 scream in their native
tongue to the Giant and he stops and rests.
ROMEO
You should never fight a Mexican,
Frenchy. Pound for pound, the toughest
mother fuckers on earth. Know why? We
like pain. We like it, Pierre. I mean
think about it, "tabasco sauce." What
kinda fucked up people would even
invent that shit?
17.
The Giant swings but Romeo slides under his legs. Cheers! Romeo
jumps up, swinging his hands under his feet, still bound but in
front of him now.
ROMEO (CONT'D)
Don't be scared. Remember, I can't hit
you. I ain't gonna hit ya.
(avoiding blows)
Ain't gonna hit ya. Ain't gonna...
Romeo catches his opponent's wrist and wraps his chain around. A
kick in the stomach drops the Giant to his knees. Romeo locks the
man's head between his legs, scissor hold.
ROMEO (CONT'D)
Ooooo. Found the loophole, bitch!
The Giant falls. Romeo keeps his wrist locked as he chokes him out.
ROMEO (CONT'D)
Aughtta be a lawyer! Got the 'fine
print on y'ass! Pursuant to! Pro
bono! Pari Pasu! I'll knock you out
on contingency, mother fucker.
The Giant passes out and Romeo stands to cheers. Roughneck's #1 and
#2 fume as Romeo takes a bow. The boys clap.
INT. HATCHWAY -- MOMENTS LATER
Romeo emerges from the head, chains still on. Roughnecks #1 and #2
move down the hatchway toward him, wielding metal pipes. He looks
at his chains.
ROMEO
Oh, shit. FIRE! FIRE!
The brothers emerge from the shadows, cutting them off.
ROUGHNECK #1
Out of zee way!
The boys speak French. At first, the Roughnecks are surprised but
the argument escalates. The Roughnecks swing their pipes and in a
brutal display, the boys dispatch them quickly, leaving one
unconscious and the other gasping for air. The boys turn...
ROMEO
Whoa! Uh, merci, uh, si vous plait.
MURPHY
Just protectin' our investment. Ya
made us fifty bucks.
18.
ROMEO
Oh, thank, God. Irish, huh? Finally
some class. I'm Romeo.
CONNOR
(shaking hands)
Connor.
MURPHY
Murphy. Why were you yellin' "fire"?
ROMEO
I heard you were supposed to on t.v.
CONNOR
That's if you're gettin' raped.
ROMEO
Oh...I'd be more inclined to go with
something like, "THAT DOESN'T GO THERE,
MAN!"
They laugh as they move to the semi-conscious Frenchman.
LOW ANGLE: looking up at our trio, Romeo is in the middle.
ROMEO (CONT'D)
We saved your entire fucking country in
World War Two! Gee...thanks for the
statue!
Romeo's foot smashes to camera, blacking us out.
INT. VESSEL, BERTH -- NIGHT
The boys slumber, side by side in hammocks. We pull close on them.
Silence. They whisper in unison...
BOTH
Quis praesumis profanus apud Dominus?
(SUBTITLES)
Who dares trespass in the house of God?
Their eyes pop open.
INT. BERTH -- LATER
Murphy rigs a needle to an ink pen. Connor clicks on a hot plate.
The boys listen intently to a tiny hand radio nearby.
RADIO ANNOUNCER V.O.
People are still in shock as Father
McKinney was a beloved local cleric.
(MORE)
19.
RADIO ANNOUNCER V.O. (CONT'D)
His selfless contributions to the
community too numerous to list. In
related news, second generation crime
boss, Concezio Yakavetta has not
commented on whether he fears for his
own safety.
The boys flash with recognition.
BOTH
Yakavetta?
INT. HIGH CLASS HOME, DINING ROOM -- NIGHT
Rich, Italian decor, long table, laden with food. CAPOS 1-6 sit in
utter shock, looking to their boss, CONCEZIO YAKAVETTA (37yrs) who
heads the table.
CONCEZIO
So, there it is. I want everyone to
feel free to share their thoughts.
He returns to eating. A moment of silence then the Capos burst into
anger. Capo #1 slams a fist down and stands, silencing the lot.
CAPO #1
I can't believe none of us were
consulted on this! The disrespect!
We'd have never okay'd such a thing! A
priest! It's an infamita!
CAPO #2
Yeah! Are we not Catholics, for Christ
fucking sakes?!
CAPO #3
And just for simple revenge?! There's
no business in it! You've put us all
at risk here! The cops could be all
over us!
CAPO #4
Forget the cops! What about these
Saints fuckers?! These guys were long
gone! And now you're trying to bring
the devil right back to our doorstep?!
Concezio wipes his mouth, stands and adjusts his cuffs. He slowly
circles the table as he speaks.
20.
CONCEZIO
Six years ago, with the backing of an
adoring public, these vigilante fucks
put my father on his knees and executed
him...in public. Mi Patrigno, a blood
relative and benefactor to all of you.
Poppa Joe made you rich and his murder
remains un-revenged...
A few roll their eyes at this verbal blunder.
CONCEZIO (CONT'D)
This too, is infamita. These homicidal
maniacs nearly wiped this family out.
It's taken a lot of time to build
ourselves up again, brick by brick.
And now that we've re-acquiesced our
original power, can we really afford to
have these guys pop out of the woodwork
someday and try to finish the job when
we least expect it? Now, for those of
you who have forgotten, let's recap.
These fuckers walk into rooms full of
gangsters...
(denotes surroundings)
Outnumbered, outgunned. They kill
everyone...and leave.
Some look as if they are starting to get his point.
CONCEZIO (CONT'D)
You think I don't know that each one of
you's been waking up in night sweats
over this the last couple years? These
sons of bitches prison fucked us with
no lube, wiped their dicks on our
drapes and walked away! And we been
living in silent fear ever since. Oh,
we don't talk about it. Rape victims
often don't. But it's there. Knowing
they're still out there, somewhere.
Thinking...what if?
Fear and realization.
CAPO #4
Concezio is right. Pretending you
don't got a problem don't solve
nothing.
Heads nod in shameful agreement.
21.
CONCEZIO
Thank you, Doctor Phil. So, let's take
a moment to look at the serendiplious,
diperous, serendip...
(FRUSTRATION)
...type situation we find ourselves in
here. There's a good chance they'll
show. No catching us with our pants
down this time. We can deal with them
proactivitously. The cops were
embarrassed by these guys too. With a
second bite at the apple, they got
every reason in the world to crank up
the heat. And as for their doting
public. I'd imagine they're gonna lose
a few fans.
Heads nod all around. Sold.
INT. BERTH -- LATER
Murphy sits, bare chested on a crate. With the rigged pen, he
tattoos his brother's back. Connor cooks something, in a pot, on
the hot plate. The resin of anger is evident.
TATTOOS: Murphy's back has the crucified feet of Christ and
Connor's shows Christ's downcast head on the cross.
CONNOR
The prodigal son, huh? He wants us,
he's fuckin' got us.
MURPHY
But why would he do something so
public?
CONNOR
Think about it. People figure we did
it. Makes it more likely someone will
drop a dime. Way easier to get to us
in prison, isn't it, now.
The berth door is slightly ajar. In pops a bottle of Whiskey, then
Romeo's head. He's expecting a cheer but the brothers have their
backs to him. He's instantly taken by their ink.
MURPHY
But how would anyone recognize us?
CONNOR
You don't remember those sketches on
the news channel?
22.
MURPHY
Shit. That's right. Y'know, every
time they show those composites on TV
and then they catch the guy, it looks
nothin' like him. But ours?
CONNOR
Just our luck. We get Leonardo fuckin'
Divinci as a sketch artist.
Romeo listens with suspicion.
MURPHY
Maybe we should dye our hair.
CONNOR
What?
MURPHY
Yeah. These guys are always dyin'
their hair. You know, like in "The
Fugitive." It's covert and shit.
Connor smirks privately.
CONNOR
What color would you dye it?
MURPHY
I don't know...lighter, I guess.
CONNOR
Y'mean...blonde?
MURPHY
I didn't say that!
CONNOR
California, surfer boy, gay, gay
blonde?!
MURPHY
I'm warnin' ya!
CONNOR
Just keep your hands off my ass back
there and, "stay gold, Pony Boy."
Connor laughs heartily.
MURPHY
Fuck you!
23.
Murphy stabs the ink pen into his brother's shoulder.
CONNOR
AAAAAH!
Connor bolts up, knocking over the pot. Hot water and pennies
spread across the floor. Connor pulls the pen out.
CONNOR (CONT'D)
You motherfucker!
Romeo steps inside and sees the pennies.
MURPHY
Serves ya right!
The boys are just about to fight when...
ROMEO
Oh, shit.
The brothers snap their heads toward. A stunned Romeo points to
them, then the pennies.
ROMEO (CONT'D)
I know who you are. You guys are the
fuckin'....
MURPHY
SHUT IT!
Murphy moves behind Romeo, shuts the door and shoves him in.
ROMEO
Oh, this is so fucking cool, man. I'm
from Boston. I love you guys. Shit,
everybody does! I mean, holy fucking
shit! Maybe I could get in on this,
you know? Bring some La Raza ta this
thing. Spice it up a little. Hey, is
it true you guys say a prayer before
you grease somebody?
Connor pulls a gun. The boys jump on Romeo and pin him to the
floor. Murphy clasps a hand over Romeo's mouth. Connor puts the
gun to Romeo's head. Their faces glaze over, religious ecstasy...
CONNOR
And an awesome wailing was heard
throughout heaven...
Romeo's eyes go wide and muffled cries of terror are heard.
24.
MURPHY
...as the terrible hand of the Lord
struck upon the earth.
CONNOR
And as Almighty God created you...he
now calleth you home.
He pulls the trigger - "click."
CONNOR (CONT'D)
Ooops. Busy signal. We'll hafta
calleth back.
MURPHY
Let's have a shot while we're waitin'.
The boys laugh, snatch the bottle. Romeo is in shock.
ROMEO
That shit was NOT funny, man!
The brothers laugh harder. Romeo rolls on his side and slides a
hand down the back of his pants. He seems relieved.
ROMEO (CONT'D)
Oh, thank you, Jesus. Thought I
greased my drawers.
INT. BERTH -- LATER
The boys and Romeo smoke and pass the bottle around.
CONNOR
No.
ROMEO
But I got conex all over Bean Town.
Romeo'll hook you up like a tow truck!
MURPHY
No.
ROMEO
Why not?!
MURPHY
We don't hafta give you reasons.
Forget it.
ROMEO
It's because I'm Mexican, isn't it!
25.
CONNOR
How dare you, sir, insinuate such a
thing? The fact that you're a greasy
spic's got nothin' ta do with it.
The boys laugh.
ROMEO
I'm gonna let you have that one. Look.
I can do this. It's not rocket
science. You two find bad guys doing
bad shit and you kill them, right?
CONNOR
It's not that simple.
MURPHY
Yes it is.
CONNOR
S'pose you're right. I'd sorta hoped we
were a little more artistic than that.
ROMEO
Well, you ain't. Can't you guys see
it? This shit's fate, man. Like
preordained type shit. Mea fucking
Culpa! Why do you think you just
happened to be in that hatchway today?
MURPHY
Oh, don't start gettin' all super
fuckin' natural on us. We saw those
guys goin' in there!
ROMEO
Ah, ha! That's what you say. I say it's
because Jeeeeesus wanted it that way!
CONNOR
Oh, no.
ROMEO
Fine. Then what exactly do you intend
to do when you hit U.S. soil?
CONNOR
We'll go after all Yakavetta's people
and operations till we get to the man
himself.
MURPHY
Yeah, work our way up the food chain.
26.
The brothers seem pleased with themselves.
ROMEO
So, what's your first gig? What's the
first thing you gonna do?
The boys look to one another. They're stumped.
CONNOR
Well, I don't suppose we have a
succinct plan, y'know, per se.
MURPHY
Yeah. It's not fully developed yet,
y'know, as it were.
A slow smile splits Romeo's face.
ROMEO
You two need to chill in the green
room, sip on some Pellegrinos and let
your manager handle the details. And
you better get my Cub Scout badge
ready. Cuz if you want to kick
Yakavetta in the nuts, let him know
you're in town...Romeo's got an ace in
the hole for you.
INT. / EXT. NEWS FOOTAGE, MAN ON THE STREET INTERVIEWS
HOT DOG VENDOR
These guys have gone "mad dog" here.
They need to be put down.
CAB DRIVER
I think it's disgusting. I wish they'd
have stayed gone.
PEDESTRIAN
I don't believe it for a second! No
bleep-in way the Saints did it!
INT. BOSTON P.D., WAR ROOM -- MORNING
The CHIEF (50's) sits, arms folded. The detectives are present.
Eunice stands before a wall adorned with crime scene photos,
reports, Concezio and his Capos.
EUNICE
And that's all she wrote. Everything
points in the same direction.
She taps Yakavetta's picture on the wall.
27.
CHIEF
Why would Yakavetta want them back
here? Him of all people.
DUFFY
To have them executed. Revenge.
Oldest motive in the book.
GREENLY
The Saints killed his daddy six years
ago, right? He was inside when that
happened doing a nickel for extortion.
DOLLY
Yeah. From inside he could only do so
much. Since he got out nine months
ago, the Yakavetta's have regained
their original strength. Looks like
their clearing all their open accounts.
The Chief rubs his chin.
CHIEF
Well...it's a theory.
EUNICE
More than just a theory, Chief.
She nods to Duffy.
DUFFY
C.I.'s came back. Cold hits all
around. Concezio Yakavetta and his six
Capo Regime, all blood relatives, have
disappeared.
CHIEF
So?
GREENLY
So, it fits. He's gone to the
mattresses with his top brass. He's
protecting them till this is over.
EUNICE
And word's been put to all his
lieutenants that the Saints are to be
taken out, on sight.
DOLLY
That means his resources on the streets
are battening down the hatches, waiting
for them to show.
28.
CHIEF
Look, I been stone walling the media on
this thing but the Mayor's been riding
me like a rented mule here. I got half
of New England thinking the Saints
whacked a priest and the other half
thinking their innocent. Its a powder
keg. I'm talking riot gear at Celtics
games, here. I could clear them of
this murder, take the piss right out of
this thing, keep the peace in the
Commonwealth. Gimme one good reason
why I shouldn't go public right now.
EUNICE
Walk with me, Chief. Let's talk.
He stands and she takes his arm as they exit. Duffy quietly closes
the door and turns. Hushed tones...
DUFFY
This is not good. She's gunning for
the boys hard.
DOLLY
This brawd, trying to put a feather in
her cap is gonna get us locked up.
DUFFY
Just calm down.
GREENLY
And you know they'll send us to the
Hoag. We put half those deranged sex
freaks in there. I hope you guys like
cock sandwiches. Cuz we'll be eating
them for breakfast, lunch and dinner!
INT. PRECINCT HALL -- SAME TIME
The Chief and Eunice walk down the hall.
EUNICE
I understand you got a job to do,
Chief. But if Yakavetta even sniffs
that we're onto him, he puts a bullet
in Napoleon's head, plants him at the
bottom of the ocean and walks. This
pint sized killer is the only thing
that puts Yakavetta right in the middle
of this. It is imperative that we find
this man.
29.
The Chief looks as if he is sold.
INT. WAR ROOM -- MOMENTS LATER
In hushed tones.
DUFFY
We need to figure what we're gonna do
when the boys show and start doin' what
they do best. Cuz that's when the
shit's really gonna hit the fan.
DOLLY
That's another thing. Everyone's
assuming that they're going to come
back. I mean, we got no way of knowing
that for sure.
GREENLY
(ray of hope)
Yeah. That could totally happen. They
could not come back.
DUFFY
What dream world did you two just slip
into?!
They argue. Duffy snaps a photo of the dead priest from the wall.
DUFFY (CONT'D)
Point blank! We know the boys. Is
there any part of you that thinks
they're are just going to let this
slide? Believe this. They are either
on their way...or they're already here.
EXT. BOSTON, DOCKS, PARKING LOT -- NIGHT
CLOSE ON: Connor, Murphy and Romeo peaking over a concrete wall.
Three sets of eyes.
Our trio is atop a dumpster, peaking over at the loading dock.
Chinese Gangsters supervise unloading of crates onto a flatbed.
ROMEO
It's been all over the papers the last
two years. Yakavetta's in bed with the
Chinese. They're using international
shipping routes to smuggle it in. This
is Little Yaka's shit.
Connor and Murphy smile.
30.
CONNOR
Let's follow 'em down the rabbit hole,
Alice.
Murphy claps Romeo on the shoulder.
MURPHY
You just scored a few points, Rome.
ROMEO
Well, dust off my "Members Only"
jacket.
(pulls set of keys)
Cuz the kid has also supplied the ride!
INT. CAR -- LATER
Murphy looks displeased. We hear a stressing motor. Romeo drives,
Murphy sits shotgun. Connor is in back, loading guns. Pull back to
reveal our trio rides in a '68 VW Bug. It is green with patches of
Bondo, exposed engine, low-pro rims, neon runner board lights - a
low riding "work in progress."
MURPHY
I thought you said your car was
inconspicuous.
ROMEO
I don't like words that got 'spic'
right in the middle. Besides, it
is...where I live.
MURPHY
Where's that? Pimpville?
ROMEO
Hey! I hail from a colorful people.
Besides, you wouldn't know style if it
pitched a tent in your ass!
(looks into rear view)
What do you think of the ride, Conman?
CONNOR
The only way I could be more
embarrassed right now is if I was
ridin' a moped.
MURPHY
Yeah...while fuckin' a fat girl.
CONNOR
Yeah...rollin' through the gym at my
high school reunion.
31.
ROMEO
All right! I get the fucking point!
INT. WAREHOUSE -- LATER
CHINESE GANGSTERS #1-#5, shovel mounds of coffee grounds out of
crates and pull kilos of white powder. Machinery noise in b.g.
EXT. WAREHOUSE -- SAME TIME
CLOSE ON: Three sets of eyes peaking over oil drums.
Our trio watches as a DOCK WORKER (22yrs) drives a forklift,
unloading the crates from the flatbed and driving them through the
huge open bay doors. The boys and Romeo huddle up.
CONNOR
O'kay, here's the plan.
EXT. "THE PLAN," WAREHOUSE -- NIGHT
The "Queen" classic, Another One Bites the Dust, presides over this
fantasy sequence. The boys, looking more "quaffed," do a pointless
slow motion walk toward the forklift, throwing up their collars.
Romeo, also looking polished, executes a "Dan Tana" pistol whipping
on the Dock Worker who perfectly out of frame.
INSIDE WAREHOUSE: The lift pulls to a stop before the gangsters,
crate on the forks. Romeo is behind the wheel.
SLO-MO: Connor and Murphy pop from the crate and fire on their
Asian foe, hitting each squarely in the chest.
SLO-MO: The boys leap down and light cigs as Romeo does the "one
arm action star hang" off the side of the lift in b.g. WHIP PAN...
EXT. WAREHOUSE -- MOMENTS LATER
CONNOR
We skin out, go ta Doc's for a shot of
Irish. We're home in time for tacos.
Murphy looks unsure. Connor turns to his brother.
CONNOR (CONT'D)
What?
MURPHY
Well, it's...uh...you know, it's...
32.
ROMEO
It's genius. I can even drive an F-
lift, man. Got my class "D" license
and everything.
CONNOR
Now, dat's the spirit.
ROMEO
I need a gun.
CONNOR AND MURPHY
Forget it.
ROMEO
What the fuck? I'm in on this shit,
man! I'm working here!
The boys look to each other. Murphy shrugs. Relenting, Connor
pulls a metallic object and shoves it in Romeo's hand.
CONNOR
You can consider yourself a fuckin'
pledge until we say different.
Romeo holds up the gun in displeasure, a tiny .22 caliber lady's
purse pistol. Murphy snickers.
ROMEO
Can I consider myself your girlfriend,
too?
CONNOR
That's what you get. Is there a
problem?
ROMEO
(beat, fuming)
It's fine.
Connor scopes the warehouse. Murphy claps Romeo on the shoulder.
MURPHY
Don't worry, Rome. Shit like this
builds character.
ROMEO
Yeah, the character of a little bitch.
MURPHY
Now, dat's just unprofessional.
He turns and joins his brother as Romeo continues sulking.
33.
MURPHY (CONT'D)
What do we think?
CONNOR
I think Yakavetta murdered a good man
just to send us a message.
MURPHY
Well...let's send him one back.
As they spirit themselves off. DISSOLVE TO...
INT. WAREHOUSE -- LATER
CRIME SCENE: Crime scene workers toil. We do not see specifics of
the scene, just enough to see the place is trashed and the bodies.
Greenly prowls the scene with his iPod playing. His musical choice
is the 80's Nightranger standby, "Motoring." He riffs on air guitar
while assessing. Dolly and Duffy look on...
DOLLY
(re: Greenly)
Why?
DUFFY
I don't know.
EXT. WAREHOUSE -- SAME TIME
Eunice walks toward the crime scene with the CHIEF (50's).
CHIEF
Your boss, John Kuntsler called. Tells
me you got a problem with authority.
EUNICE
Absolute horse pucky, Chief.
Unfortunately, authority's developed a
problem with me.
CHIEF
And what's that?
They enter the...
INT. WAREHOUSE -- CONTINUOUS
EUNICE
Well, y'see, I am currently in
possession of a vagina.
34.
CHIEF
Oh, Jeez, that's not...
EUNICE
So you spoke to Kuntsler. Anything
else.
They reach the Detectives. Greenly, still rockin', doesn't notice.
CHIEF
If
Date: 2015-04-20; view: 527
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