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: 526