"THE BOONDOCK SAINTS" (1999)

Registered WGAw Troy Duffy

DOWNTOWN BOSTON

As we open we see the inside of an enormous church. A young looking PRIEST in his mid-thirties is finishing the delivery of the Lord’s Prayer. In the back of the church, in the last pew, there are two who kneel on the cold, stone floor.

They do not stand to sing, nor do they offer signs of peace when told, but they pray. They grip and rub their rosaries. They mutter their words in Latin.

CONNOR and MURPHY MacMANUS (mid-twenties) are shrouded in thick waist length navy P-coats, worn leather boots and the hungry clothes of the poor. The boys heads are shaved and they have facial hair.

Macklepenny takes his seat on the alter along side the regular priests of the church. The MacManus brothers suddenly stand, as all others remain seated. Each church goer between them and the aisle shifts his/her position to allow the boys passage, as if on command. The two turn and begin to stride for the alter, eyes down, determined.

The MacManus brothers are fraternal twins. As Annabelle MacManus speaks, Macklepenny is taken aback as he scans the congregation amazed to find that he is the only one who thinks this out of the ordinary.

7/27/98 – Yellow Revision

The monsignor begins his sermon. Macklepenny rises to stop the boys from this disgraceful disturbance.

The elder clergyman finds Macklepenny’s arm, keeping him seated while shaking his head. Macklepenny’s confusion gives way to awe as he watches the brothers step onto the altar, brush by the six seated priests, and approach the enormous crucifix.

They both fall to their knees and kiss the feet of Christ. They rise and as abruptly as they came, they turn and head back down the aisle for the front door. They stop at the rear of the church, turning to listen to the sermon.

The MacManuses turn and walk out the door.

The boys put on their dark glasses and pause at the top of the steps to light up their cigarettes. They both roll their cigarette butts along their tongues and screw them into their lips. In this unique way they light up, seemingly oblivious to their synchronicity and mimic.

7/27/98 - Yellow Revision

2 CONTINUED:

They leave.

Murphy, wearing a white blood soaked smock and apron stands around the corner of the entrance to the loading dock. He grips a gigantic, bloody slab of meat and smirks. Connor flips his cigarette out the loading dock and passes his brother’s hiding place. He notices the workers have stopped, and are looking at him.

Murphy slaps Connor square in the face with the bloody slab. Connor’s face is caked with blood as he stands stunned. He then leaps on Murphy, sending him into a pile of nearby hamburger. He grabs a large cow tongue from a nearby heap and begins slapping Murphy in the face with it as they both laugh and the workers cheer.

Their boss, McGERKIN approaches with a very large woman. Her head is clean-shaven. The two are still laughing, out of breath, they turn.

7/27/98 - Yellow Revision

3 CONTINUED:

She points to a tattoo on her neck that reads untouched by man.

Connor exits with Roz.

5.-5A 8/12/98 – Green Revision

3 CONTINUED: (2)

Murphy laughs as he jogs away.

Rozengurtle and Connor stand in front of a bunch of co-workers who are cutting meat as it goes by on assembly.

Connor holds up his thumb and stares at it.

She returns an icy stare. He hands her the knife. The co- workers all seem wary of Roz.

Murphy stands on one side of Roz, Connor on the other, surrounded by a tight group of workers. Everyone is within ear shot of one another, cutting meat as it goes by. Knowing glances are shared by everyone. It is an uncomfortable mood.

8/12/98 – Green Revision

4 CONTINUED: (2)

Everyone burst out laughing. Rozengurtle jabs a knife in a piece of meat and turns to Connor. She pushes him and starts walking toward him. He starts backing up, laughing.

Employees gather around all the excitement.

8/12/98 – Green Revision

4 CONTINUED: (3)

She reaches back and punches Connor full force in the face. He takes the hit very well. He stops backing up.

She suddenly drives her boot into his crotch, sending him to the floor reeling with pain. Two female co-workers leap to his aid.

Rozengurtle begins to turn, raising her fist to Murphy. Murphy winds up and punches her square in the face. She lands on her back. The on-lookers are stunned as he walks over and stands above her.

5 OMITTED

The brothers get to the top of the stairs. Connor is hunched over and moving slowly. Murphy giggles.

7/27/98 – Yellow Revision

6 CONTINUED:

Connor flicks his cigarette butt out the large open loading doors at the end of the hall. The red brick buildings stretch down the alley both ways. The glowing butt falls to a filthy resting place, directly next to a dented green dumpster with half the paint job scraped off.

This is a decrepit, illegal loft. The boys enter, hang their rosaries by the door and begin taking off their clothes. Connor sits naked on the couch and gently places a bag of ice on his crotch. Murphy stands naked in the open quantity shower. Murphy turns on the water and sticks his hand in the stream.

8 OMITTED

Connor, still seated, cracks open a Guinness and sips it lovingly. The phone rings.

9.-9A 7/28/98 – Yellow Revision

9 CONTINUED:

Something is obviously wrong in her voice.

Murphy shuts off the water.

Murphy sees the concern in Connor’s eyes and takes a step closer.

Murphy is drawing closer with concern.

A wrinkly female hand grabs a large revolver resting next to a half empty bottle of Hennessey.

7/28/98 – Yellow Revision

CONNOR & MURPHY Oh Jesus, No! No! Oh God! No Ma!

Connor and Murphy are both screaming in panic.

Mom stands on the back stoop holding the door ajar with her hip. She holds the phone receiver up in her left hand and the gun directly next to it, in her right. She squeezes off a loud shot toward the heavens.

7/27/98 – Yellow Revision

As soon as the deafening sound pierces through the receiver, Connor instinctively jumps up to a standing position. The bag of ice bursts as it hits the floor and spreads across it. He throws the receiver and covers his ears with both hands.

The phone then falls to the ground, skipping through the cubes as the boys dive for it screaming. The two naked, hysterical boys fumble for the phone, flailing on their stomachs in the field of ice. They finally catch it and both put their ears to the receiver in panic. As they scream MA intermittently, the pauses get longer and longer.

Mom’s got her hand covering her mouth, face red from holding back laughter, as she walks back into the house. She can take it no longer and she bursts out with hearty guffaws.

The boys are relieved, but angry.

Murphy holds the receiver in the air. Mom’s still laughing.

15 CONTINUED:

They both put an ear to the phone.

Mom pauses and cackles endlessly once again.

They all laugh.

7/27/98 – Yellow Revision

15 CONTINUED: (2)

Mom laughs.

13a. 7/13/1998 – Pink Revision

15 CONTINUED: (3)

The boys laugh.

7/28/98 – Yellow Revision

15 CONTINUED: (4)

The boys stand shoulder to shoulder, naked. They peer into the distance, ears to the phone, awaiting this most important information.

Slight pause as mom slams a shot of Hennessey.

Mom slams down the phone and lets out a throaty laugh. The boys sign angrily. Connor walks over and hangs up the phone.

7/27/98 – Yellow Revision

15 CONTINUED: (5)

When he turns, he notices Murphy is fixated on his brothers crotch. A triumphant smile spreads across his face.

PAUL SMECKER, F.B.I. agent, is lead by the Boston Chief of Police through a jungle of ravenous reporters, police lines and uniformed officers. He is impeccably dressed in a deep red suit. He is smiling, confident as he walks. He is a very good-looking, slender man.

He looks intently, for a moment, at four uniformed officers. They approach two dead bodies, laying next to a dented green dumpster with half the paint job scraped off.

One man, IVAN CHECKOV, lays on his stomach, closer to the dumpster than the other. The ass of his pants has been burnt out and a large cotton bandage is in its place.

The other, VLADDY, has a blood soaked bandage around his head and is on his stomach as well. There are hundreds of pieces of porcelain of various sizes everywhere. Three plain- clothed homicide detectives, DUFFY, DOLLY and GREENLY hover close to the bodies. Dolly and Duffy listen to GREENLY, an obvious rookie, give his over-confident theory of what took place.

The chief is about to interrupt them, but Smecker holds him back with a smile. The two wait and watch in a position, where the unsuspecting detectives have their backs to them.

7/27/98 - Yellow Revision

16 CONTINUED:

Smecker listens. The Chief is embarrassed.

Greenly points out a large foot print on Vladdy’s back. Some detectives nod in agreement. Smecker chuckles as he shakes his head.

7/27/98 - Yellow Revision

16 CONTINUED (3)

Smecker saunters up to Greely and pulls his I.D. out of the breast pocket of his sport coat and lets it hang. The large, light blue letters, F.B.I. can be easily seen.

All the detectives seem disgruntled and look to the Chief for an explanation.

16 CONTINUED: (4) 7/27/98 - Yellow Revision

Greenly looks helplessly to the Chief, who simply nods. He storms off the scene, upset. Smecker turns his back on everyone and puts earphones in. He reaches down and hits play. The choir song “Agnus dei” overtakes. He begins to investigate. He kneels at the bodies for a moment then stares at the opposite brick wall. He picks up a piece of porcelain and scrapes it with his thumb.

He quickly cocks his head toward the sky and begins to chuckle as he says Jesus Christ, under his breath. He brushes some paraffin on each of the dead men’s hands. Duffy and Dolly watch defiantly. They start to smile at one another as they collectively realize his homosexuality. He is slightly effeminate buy not overly fey.

Two uniformed officers approach.

Mitchell and Langley exit.

Two more uniforms approach.

16 CONTINUED: (5) 7/27/98 - Yellow Revision

The two begin their tasks. Chaffey finds a casing near Checkov’s hand, hidden under the edge of the pile.

The homicide detectives are surprised as Chaffey looks for the second shell. Smecker lights up a smoke.

He points to a bullet hole in the opposing and tattered wall.

He points to another bullet hole at the dumpster’s base.

16 CONTINUED: (6) 7/13/1998 – Pink Revision

Smecker turns to detectives with a smirk.

They both nod.

Mitchell returns.

The detectives pile into the elevator, Smecker last. Greenly has rejoined them. Smecker sips his latte.

All the detectives chant the affirmative. The doors close.

7/27/98 - Yellow Revision

MORNING

As the doors open, all the detectives chorus their disbelief.

Smecker turns to Greenly in disbelief.

Smecker exits the elevator leaving the three silent detectives with that thought.

The detectives exit the elevator.

19 OMITTED

MORNING

Smecker appears first, glancing in momentarily. The detectives pile in behind him. They survey the situation in total awe.

Smecker saunters out, detectives on his heels.

7/27/98 - Yellow Revision

21 CONTINUED:

Duffy starts walking down the street. A REPORTER is hot on his heels.

Smecker is standing on the front steps in front of uniformed officers and homicide detectives.

A potent song takes our ears as The MacManus brothers sit in the E.R. They have already received care. Their faces are beaten and there are bandages and dried blood in various spots. Connor’s injuries exceed Murphy’s. They are both clad in only their leather boots, boxer shorts and worn out old bathrobes.

Young kids wait for medical attention, as their knife wounds bleed. Two nuns in the corner console a third, whose robes are ripped and face is beaten. A woman toward the end of the hall is so badly beaten she is unrecognizable.

As the song builds to a more harrowing chorus, a man enters. His clothes suggest he’s a pimp. He is not injured. He looks around as he stands, perturbed, at the end of the hall. He reaches over and grabs the beat up woman by the hair and begins to drag her out. She is kicking and screaming from the floor, grabbing at his wrists as he hauls her away.

22 CONTINUED: 7/13/1998 - Pink Revision

(slo-mo) The boys, instantly furious, stand and begin to go toward the action, but Connor’s legs give out on him and he falls to the floor. Connor, still trying to go after the pimp, crawls towards him. Murphy helps his brother to his chair and hold him tight.

Music fades.

An old Irishman enters the E.R. DOC (70 yrs.) has a serious facial twitch and is prone to blinking uncontrollably. He has a mild stutter. He also has Tourette’s Syndrome and is apt to yell his two chosen swear words every now and then, first fuck! and after a slight pause, ass! He rushes up as they stand to greet him. Murphy holds Connor up.

He hands them a card with Smecker’s name on it. They survey it with interest.

Everyone in the E.R. looks at Doc in shock. Connor and Murphy don’t even avert their eyes from the card.

7/27/98 - Yellow Revision

23 CONTINUED:

The boys look puzzled. Murphy helps Connor down to his seat.

Murphy hands Doc a partially filled garbage bag.

Doc exits, say one more “Fuck,…Ass”, on the way out.

The station is abuzz with the story. Connor and Murphy’s names are on all tongues. A legend starts. Every available officer is in the room along with the homicide detectives. Smecker walks right down the middle.

7/27/98 - Yellow Revision

24 CONTINUED:

Smecker looks to Greenly. Dripping with sarcasm.

Some of the cops and homicide detectives laugh and chide Greenly.

The two are limping up the precinct stairs. Connor is draped over Murphy who helps his brother along, they are still attired as in the E.R.

8/12/98 – Green Revision

26 OMITTED

7/27/98 - Yellow Revision

27 CONTINUED:

The brothers quietly enter in the back of the room. All the officers are seated with their backs to them. Smecker and the brothers make eye contact. He knows who they are. They don’t interrupt Greenly.

There is light chuckling from the police at this crack.

Everyone turns and looks.

The boys sit in two chairs at a plain table with a recording device on it. They are very serious and alert. Mitchell enters with coffee for them. He shakes their hands and says he really respects what they did. Surprised, they thank him. Chaffey enters with donuts and a repeat performance of respect. Slowly officers start to gather around the interrogation room door.

There are at least 20 officers and detectives packed in the tiny room. The MacManus’ visit with the excited cops. All are in high spirits.

The room is loud as Smecker walks in.

7/27/98 - Yellow Revision

29 CONTINUED:

They all file out. Smecker and the boys look each other over.

Smecker reaches for the record button. Murphy puts out his hand to stop him.

Murphy turns to his brother and speaks in Latin, in hushed tones. It is subtitled in English.

Smecker in intrigued with this tiny display. He hits the record button.

They look at each other.

7/27/98 - Yellow Revision

30 FLASHBACK. INT – MCGINTY’S PUB – NIGHT – ST. PATRICK’S DAY

McGinty’s’s is packed to the walls with drunken Irish. A lot of faces are recognizable from Noland’s Meat. Connor is in front of the bar. He and Doc are staring at each other as if waiting for one man to give in. Connor has his arms across the chests of Murphy and some friends, holding them in place. They are interested in the competition. Presently…

Everyone falls down laughing. Doc is angry and starts throwing ice at them. DAVID DELLA ROCCO makes his way through the crowd. Rocco is thirty-two years old. He has shoulder- length, dark hair and a full beard and mustache that wrap around his big smile. He charges up to the bar and yells to Doc.

This sends everyone even further into laughter. Doc throws two huge fists full of ice at him. He backs away laughing. The boys get up off the floor and have a huge group hug with Rocco as they all scream each others names.

7/27/98 - Yellow Revision

30 CONTINUED:

They all laugh and commence drinking.

The bar is trashed. It’s mostly empty now except for the brothers, Rocco, Doc and four friends. Everyone is very drunk, including Doc.

Connor pauses then bursts out laughing. Doc calls everyone to gather round.

31.-31A 7/27/98 - Yellow Revision

31 CONTINUED:

Long pause as everyone absorbs. They are upset.

He is cut off by everyone who obviously opposes Mafia involvement.

Everyone has quizzical looks on their faces.

Everyone chuckles.

Everyone laughs heartily. Just then, three large Russians in suits enter. The obvious leader, CHECKOV, stands in front with VLADDY behind one of Checkov’s shoulders, with another guy behind the other shoulder. They mean business. The laughter fades.

31 CONTINUED: (3)

Everyone laughs. Ivan is angry.

The locals roll their eyes at Docs blunder.

He and Murphy each grab a Guinness and a shot of Hennessey and they approach the Russians with the peace offering.

Checkov slaps the beer to the floor.

33.-33A 7/27/98 - Yellow Revision

31 CONTINUED: (4)

The boys look at each other, remembering what Mom said. They still hold the shots.

Rocco pushes off the bar. He’s had enough.

Wham! Ivan punches him in the face. He is quickly down and out. Connor and Murphy’s faces turn to stone as they speak the next few lines in flawless fluent Russian with English subtitles.

Checkov is completely taken aback. All the Irish are fairly impressed as well.

They clink the glasses together, throw back the Hennessey, ball up the thick glasses in their fists, drop to one knee and both deliver a devastating blow to each of Checkov’s

7/27/98 - Yellow Revision

31 CONTINUED: (5)

quads. Murphy on the left, Connor on the right. He’s down for the count, writhing on the floor.

The boy’s each take a Russian guy and start fighting as the others start kicking and spitting on Checkov. This is a bar brawl, lots of punches don’t connect. Connor dismantles his man quickly. Murphy is still fighting as all the Irish try to jump in and help Murphy but Connor goes into psycho mode, pushing them all back.

They all back off and start to cheer him on. Murphy and Vladdy are ripping each other apart. Vladdy backs him against a wall and pulls back, exhausted, for one good punch. Murphy reaches up behind his head with both hands and pulls two bottles of wine from a wall rack. He swings them toward each other with Vladdy’s head as the mid-point. The bottles haphazardly connect, one on each side of his head. He crumples to the ground in an explosion of glass and wine. There is shock and silence.

They have Ivan Checkov tied down to the bar on his stomach. Connor stands with an unlit cigarette dangling from his lips next to Ivan. He pours Hennessey all over Checkov’s buttocks. They all cheer. Ivan’s face is battered as Rocco wakes and approaches. He punches Checkov in the face in complete rage. Two friends subdue him as all chuckle.

As they cheer, Connor lights up his smoke and tosses the match on Ivan’s butt.

7/27/98 - Yellow Revision

32 CONTINUED:

The Hennessey is instantly ablaze and Checkov is screaming and wiggling in horror. Some just stand there stunned, but most of the remaining onlookers leap to Ivan’s aid. They furiously pat him out and turn on Connor.

FRIEND #1 Are ya tryin’ ta kill him, ya fuck?

Connor and Murphy, fairly beat up, sit up on their beds. They wear tattered bathrobes and boxer shorts. They put their feet down into their leather boots. The boys examine the extent of one another’s injuries and reflect on their hangovers. They both laugh and grab their heads in pain. Boom! The door breaks open and in hobbles Checkov and Vladdy, guns drawn. Checkov is all beat up and the ass of his pants is burnt out. A bulky bandage covers his buttocks. Vladdy has a large bandage around his head. The boys stand in surprise.

Ivan smashes Connor in the forehead with his gun, sending blood gushing down his face as he falls to the floor. Murphy helplessly yells his brother’s name as he is brought to his knees by Vladdy. Ivan positions Connor on his knees before the toilet, which is open to the room. Checkov puts his foot on Connor’s head and proceeds, as he struggles, to hand cuff him to the old toilet. So now Connor is bleeding and hugging the commode with his hands cuffed behind the bowl base.

7/27/98 - Yellow Revision

33 CONTINUED:

Checkov walks towards the door and says “let’s go” to Vladdy.

Vladdy pulls him to his feet and leads him away following Checkov.

Connor, blood running from his face, listens to absolute silence for just a moment. Suddenly his face reads the gravity of the situation. In a split second he turns into an animal. He’s yelling, pulling, tugging and growling. His body is a whirlwind of motion. The skin on his wrists bleeds profusely.

34 OMITTED

35 OMITTED

36 OMITTED

Vladdy and Checkov lead Murphy out back into the alley. Murphy is on his knees next to the dumpster. Checkov has his gun to the boy’s head. He acts like he’s going to pull the trigger, but he stops. Vladdy is standing twenty feet away with his back to them keeping a look out, gun in hand.

Connor becomes so venomous, that he pulls the entire toilet right out of the floor.

39 OMITTED AND

37.-37A 7/27/98 - Yellow Revision

(slo-mo) Connor steps out onto the sill of the huge, open loading doors. He is five stories up. His muscles ripple with the weight of the toilet. His face is barbaric.

From his kneeling position, Murphy can see his brother perched 50 feet overhead. He does not let his face betray him.

(slo-mo) Connor bends his knees and heaves the toilet upward and swings one arm directly beneath it. He is no longer tethered around the basin. He holds it at a cocked angle. The heavy porcelain tank cover slips off the toilet.

He tosses the toilet in a left and outwardly trajectory, then he jumps off the sill to the right. He is sailing through the air about twenty feet behind, and to the right of the toilet, cuffed hands above his head, robe up like a cape behind him. Murphy screams

(slo-mo) Checkov begins to laugh heartily. The tank top lands pristinely on a garbage bag just behind Murphy. Ivan’s look turns to one of terror. Bam! He is crushed by the toilet. Boom! His gun goes off, punching a hole in the dumpster near the bottom. Vladdy hears the bang and crouches as he turns to see a wave of tiny porcelain bits.

Connor lands squarely on Vladdy’s back. His gun discharges firing a hole in the brick of the opposing wall. He is savagely crushed against the ground. Connor bounces off and hits the wall, landing in the garbage completely unconscious. Murphy takes his hands from his head. There is dead silence.

He runs to his brother, pulls him from the trash and checks his vital signs. He seems okay. Vladdy, still alive, slowly crawls for his gun, inadvertently covering his own bullet casing. Murphy goes over, picks up the tank cover and clubs the man to death with two hard and fast blows, then throws it up and behind him. It lands in the dumpster with a resonating boom.

7/27/98 - Yellow Revision

44 CONTINUED:

Murphy quickly takes everything from the scene; guns, money, wallets, watches and a pager. He shoves it in a garbage bag and throws Connor over his shoulder and runs out of the alley.

INTERROGATION ROOM – AFTERNOON

Smecker stares astounded at Connor and Murphy. The boys examine Smecker for a reaction. He slowly builds to a chuckle. The brothers join in.

Murphy speaks flawless French with subtitles.

Connor speaks flawless Italian with subtitles.

38A 7/27/98 - Yellow Revision

45 CONTINUED:

The brothers laugh. Chaffey enters.

7/08/98 - Blue Revision

45 CONTINUED: (2)

They all chuckle. Chaffey is embarrassed. Smecker stands.

Smecker leaves.

Murphy speaks with the characteristic gay man’s lingering “S”.

They laugh.

The police chief is standing on the front steps of the police station making a statement to the ravenous press: cameras and pushy reporters. Agent Smecker stands slightly behind him.

8/12/98 - Green Revision

46 CONTINUED:

Rocco stands amidst the sea of reporters as the chief begins.

The press is ablaze with questions. Smecker turns and walks down the precinct steps, passing Rocco, who carries a bunch of folded clothes, and heads for the police station. Smecker glances in Rocco’s direction, barely noticing the man who has already passed him.

Rocco approaches the wide open cell as Chaffey and Mitchell play cards with the brothers. Happy to see each other the boys and Rocco embrace. He hands them their clothes.

The boys are in a tight cell with a bed on each side. They are in their own clothes now. The brothers are fast asleep. Suddenly, they lurch forward, throwing their chests out, lips tight, still asleep.

49 OMITTED

7/27/98 - Yellow Revision

50 OMITTED

An officer turns on the faucet of a sink and begins to wash his hands. We do down to the pipes beneath the porcelain basin. An old leak seeps water through a crack in the floor.

A water leak starts on the ceiling. It drips faster and faster. The water begins to follow a water damaged crack along the ceiling. It slowly spreads in two directions.

The brothers struggle for air in their sleep. Then slowly, and at the same time, they each reach up one arm apiece and simultaneously curl their hands as if grabbing something. Their straining faces are brought from darkness to light as they sit up quickly, face to the ceiling.

Their eyes open wide and they each draw their first breath as drops of the creeping water land on their foreheads. They look at each other across the room in shock as the drips of water still fall between them.

53 OMITTED

54 OMITTED

Murphy and Connor sleep. Murphy awakes to a beep, beep, beep.

8/12/98 - Green Revision

55 CONTINUED:

He removes Checkov’s pager from the pocket of his bathrobe.

Connor and Murphy enter as Greenly, Dolly, Duffy, Chaffey and Mitchell are having coffee and donuts. They greet each other warmly. Connor grabs a pen and walks to the hallway.

Duffy hands Murphy a jelly donut and a cup of coffee as Dolly spreads a copy of the Boston Globe in front of Murphy. The headlines read “The Saints of South Boston.” All the detectives chuckle as Murphy is momentarily absorbed. He takes the paper.

They laugh.

Connor cradles the receiver of a pay phone between his cheek and shoulder. He pockets the pager. As the phone rings, he readies his pen. The other end of the line picks up and a thick Russian accent instantly begins speaking. Connor responds by speaking a few words in Russian before he realizes it’s a recorded message. He begins writing. He hangs up the phone and smiles as he lights up a cigarette.

58 OMITTED AND

7/27/98 - Yellow Revision

Rocco, still sporting a shiner, enters an office. There are papers everywhere and it is a cluttered mess of telephones, filing cabinets, lamps and chairs. Rocco clutches a brown paper bag as if it is made of gold. POPPA JOE YAKAVETTA, Rocco’s boss, is on the phone. He is in his late forties. He’s always comfortably dressed; sleeves rolled up, collar unbuttoned.

VINCENZO LIPAZZI swaggers across the office to Rocco. He is in his late thirties. He goes out of his way to look like Elvis; open shirt, gold chains and medallions. He is overweight and has a bouffant hairdo, accompanied by Elvis shades. Vincenzo flips a half dollar in his hand constantly. Rocco and Vincenzo hate each other. Yakavetta talks on the phone.

Rocco obeys like an angry child. Vincenzo puts it in front of Yakavetta. He sits on a filing cabinet and flips his coin. Vincenzo giggles and whispers as he pokes fun at Rocco. The two of them resemble kids behind the teacher’s back.

7/27/98 - Yellow Revision

60. CONTINUED:

Vincenzo’s face drops he gets up and starts walking toward Rocco. Roc points at him from a seated position. He’s scared.

Suddenly Yakavetta jumps to a standing position. He yells.

He slams the phone down. Rocco and Vincenzo are shocked but try to look composed.

As he speaks he unwraps the wax paper in the bag. Rocco looks over his shoulder. It’s a sandwich. He’s embarrassed. Vincenzo smirks at him.

7/27/98 - Yellow Revision

60 CONTINUED: (2)

Rocco starts for the door. Vincenzo begins whispering in Yakavetta’s ear.

Vincenzo continues whispering for a few more seconds, long enough for Rocco to see. Vincenzo’s lips are tight. His teeth grind.

45a 7/27/98 - Yellow Revision

60 CONTINUED: (3)

46.-46A 7/27/98 - Yellow Revision

60 CONTINUED (4)

Yakavetta takes a long pause.

There’s a long tense pause. Suddenly, Yakavetta throws his head back and roars with laughter. Vincenzo joins in. Rocco lets out a semi-audible sign of relief and gradually starts laughing himself.

Rocco returns to terror. Yakavetta erupts again pointing at Rocco.

Connor and Murphy give a huge Irishman guns, money and gold watches. He hands them two big black duffle bags and motions for them to help themselves as he counts the money. They enter a well equipped arsenal. They are giddy as they go on their first shopping spree. They toss in masks and gloves. They toss in four identical black finished 9mm handguns with silencers.

47.-47A

61 CONTINUED: 7/27/98 - Yellow Revision

Connor pulls a large hunting knife from Murphy’s bag.

Paul Smecker lies in bed with his young lover, Reuben (mid- twenties). He has an innocent, feminine look and a GQ air about him. The two have just had sex and Reuben is far more excited about it than Smecker.

Reuben pants and gestures that it was a wonderful experience. Smecker watches TV.

48.-48A

62 CONTINUED: 7/27/98 – Yellow Revision

Reuben reaches over and affectionately places a hand on Smecker’s chest. Paul tosses it off with indifference. Reuben has a pouty look. The phone rings.

Reuben throws an arm over Smecker’s abdomen and places his head on Paul’s bare chest as if to now force affection.

He is visibly miffed with Reuben’s sudden display. He tries to pull the arm away but Reuben holds tight.

Smecker is annoyed. He slaps Reuben semi-gently once on his exposed cheek. Reuben closes his eyes and holds even tighter.

He bites his lower lip in anger and smack Reuben again on the same cheek, hard. Reuben jumps to a sitting position holding his cheek. He is shocked and hurt.

He hangs up. Immediately to Reuben, semi-angry.

Smecker saunters down the hall, his usual confident smile. He is impeccably dressed in a brightly colored suit. Greenly stands directly outside an open door at the hall’s end. A steady flow of detectives and forensics filter in and out. Smecker halts before Greenly and looks straight into his eyes.

7/27/98 - Yellow Revision

63 CONTINUED:

64 OMITTED

Smecker and Greenly walk into a large sunken living room with high ceilings. There is a huge white shaped pit couch in the center with seven dead bodies draped across it. All the bodies have been turned so they are either seated or on their backs and bright new pennies have been place in their eyes. There is one corpse directly in the middle of the living room, making eight. This victim (THE FAT MAN) is overweight and is lying in debris made up of sheet rock and broken wood which spreads thinly for a five foot radius around him.

The victims’ body positions are in a circle with the fat man as the hub. Smecker is instantly engulfed. The regular homicide detectives are on hand with their I.D.s hanging out of their breast pockets. They see Smecker and back off. Duffy wears an especially loud tie. Smecker lights up a smoke. He circles around and sees another body behind the couch, which makes nine. The victim is on his back, with pennies stuck in his eyes.

7/08/1998 – Blue Revision

65 CONTINUED:

Smecker’s eyes widen as he turns to Greenly.

Smecker takes a beat. He addresses the detectives.

Smecker surveys the scene.

7/13/1998 – Pink Revision

65 CONTINUED: (2)

Smecker tosses the Idiot glance to Dolly.

Smecker looks at his I.D.

The detectives are impressed.

52.-52A

65 CONTINUED: (3) 8/12/1998 – Green Revision

The detectives chuckle.

Smecker is chain smoking. His clothes appear unkempt. His eyes show emotion at every new found clue. The detectives watch closely. He is hunched over the body of the fat man probing his wounds with his gloved fingers. Greenly has re- entered. He defiantly holds a cup of coffee but is too intimidated to interrupt Smecker. He sets it down and folds his arms.

He stands up and gives a lesson to the now eager detectives. He points his two index fingers to the back of his own skull.

A wide-eyed Duffy joins with Smecker, by nodding his head. Smecker is seducing all of them.

7/27/98 - Yellow Revision

66 CONTINUED:

Greenly and Duffy want to know how.

Smecker is now a complete mess. His hair is totally frazzled. He is sucking on cigarettes long and hard. His clothes are completely disheveled.

Smecker points toward the ceiling revealing a huge gaping hole in it just above the living room.

67. CONTINUED:

The detectives nod in agreement. They are now completely taken in by Smecker’s spell.

They go over and grab seats at the bar. Smecker mixes himself a gin and tonic on the other side. He is calming down now and going back into cool mode. He starts to tuck his clothes back in and fix his hair. He leans over the bar and sips his drink. The three detectives lean in.

67 CONTINUED: (2) 8/12/98 – Green Revision

All their faces read the gravity of the situation.

Rocco comes out of the bathroom. He storms out to his small, round, living room table at which the boys are seated. He is wearing a white, polyester shirt with gold trim that is a uniform of some kind for perhaps a chain of restaurants. It is unbuttoned all the way down and his white t-shirt is hanging out. He is wearing a name tag that reads “Jaffar”.

7/27/98 - Yellow Revision

68 CONTINUED:

He is upset. He slams down a chair across from the brothers who are sitting there cleaning guns and silencers. All the accoutrements of death are sprawled before them. They are smoking as they carefully disassemble their firearms.

The boys look at each other.

The boys are walking across Copley Square. Connor looks at the note he wrote at the police station. They stand on the sidewalk and light smokes. They are in their regular garb; thick naval P-coats, jeans and leather boots. They each carry a mid-sized, black, duffle bag. They are serious and business-like. They scan the Plaza Hotel from across the street. The elite exit and enter the hotel. Connor glances at his pocket watch. It’s 8:45.

70 OMITTED

They enter. They look ahead, stone-faced, as the elevator climbs.

The elevator stops at the lobby level. Nine, well-dressed men enter. Their faces are not shown. The boys move to the back wall.

7/08/1998 – Blue Revison

71 CONTINUED

One guy says something quickly to another in Russian. The other gives a one word Russian response. They boys look at each other. As the elevator climbs, their eyes focus.

The door opens. As the men exit the elevator, each face is seen individually, all are victims from Smecker’s crime scene. The elevator goes up half a floor. They hit the stop button and rummage in their bags. They suit up; black gloves and black masks. They strap on four 9mm. pistols with silencers, in shoulder holsters, one under each arm. Connor takes a large coil of black rope and drapes it around himself. He looks at Murphy and at the rope in his bag. Murphy is too excited to argue.

He puts it on. They drop to their knees, making the sign of the cross. Then, up through the ceiling they go.

They stand on top of the elevator before a long air shaft.

They jump into the air shaft.

They start crawling with Connor in front and Murphy behind.

The plump boss is standing in the middle of the sunken living room. His eight Russian comrades are around him seated on the U-shaped pit couch. They speak Russian, but no subtitles are seen. The fat man yells. He’s mad about something.

Connor is taking lots of random turns, left and right. He is starting to look a bit confused.

The fat man is really yelling at them now. He is screaming and pointing at each man.

58.-58A 7/27/98 - Yellow Revision

76 CONTINUED:

They seem to be taking it seriously.

Their brows are drenched with sweat. Murphy crawls up next to Connor. There is only enough room for the two to lie on their sides facing each other.

Murphy takes off the rope.

Connor grabs Murphy’s shirt.

The boys get into a close quarters battle. An occasional insult is thrown as feet kick and fists fly. They begin to get tangled in their own rope. The seam of the duct breaks and a tangled mess of rope and MacManuses pour out.

78 OMITTED

They crash through the ceiling right above the fat man’s head. The rope gets caught and slams the boys to a halt, hanging them upside down, back to back about six

7/27/98 - Yellow Revision

79 CONTINUED:

feet above the floor. They are turning in circles. The boss is balled up in the fetal position on the floor. The shocked Russians say only a word or two in panic before the MacManus brothers react, reaching for their guns. The Russians start to reach for their guns. It’s too late. The boys draw and fire as they spin. Taking four shots apiece. There are eight dead Russians. Chests explode as they fall back on the couch in a loose circle. One victims is blasted over the couch.

They notice the fat man directly beneath them. Murphy grabs his Rambo knife, reaches up and cuts the rope. They land in a heap, scramble over to the doomed man and place him on his knees. They each put a gun to the back of his head and recite this prayer in perfect unison.

With the silenced pop from their guns we cut the sound and go to black and white. (Slo-mo) Choral music starts with Latin script being read in the background. They take their rosaries out. They slowly walk around, mumbling prayers as they care for the dead. They gently turn over the bodies that were on their stomachs. They brush the hair back from the victims faces. They place pennies in the eyes of al the corpses. When they finish their ritual, they pull off their masks and look at each other. They start to grin and look around. They work each other into a healthy chuckle.

They both laugh.

60.-60A 7/27/98 - Yellow Revision

79 CONTINUED: (2)

They are already striding for a suitcase full of money. Murphy picks up a wad of bills.

Just then, there’s a knock at the door. They snap into action. They stand at each side of the double doors, looking through the peepholes. They see Rocco on the other side dressed as a hotel employee. He wears a polyester shirt with gold trim and a name tag that reads Jaffar. He has a good cart in front of him.

They look at each other and grin. Murphy nods. As they open the door, Murphy grabs the food cart and pulls it in. Connor seizes the mortified Rocco and pulls him in, slamming the door shut behind him. They run, dragging him and then throw him in the midst of the bodies. They put their guns right in his face.

7/27/98 - Yellow Revision

79 CONTINUED: (3)

The boys put their faces close to his and demask. They start laughing but Rocco just lays there, wide-eyed, in shock. They boys saunter to the bar. Rocco takes a long beat.

62.-62A 7/27/98 - Yellow Revision

79 CONTINUED: (4)

The brothers laugh.

Rocco is silent and surprised. Murphy, also surprised, looks at Rocco. All is quiet.

Murphy jokingly slaps Rocco a second time. Rocco instantly jumps on Murphy, cursing and punching. The brothers burst into laughter as they subdue Rocco. As he calms down, they release him.

79 CONTINUED: (5) 7/27/98 - Yellow Revision

Murphy puts the two suitcases in his duffle bag and the two brush by Rocco who is still unsatisfied with his explanation.

Rocco has removed his hotel jacket.

Rocco ponders this as the boys continue to clean their weapons.

The boys chuckle. Rocco steadily works himself into a humorous frenzy.

7/27/98 - Yellow Revision

80 CONTINUED:

The boys look at each other and nod.

The three are partying hard. There’s a pizza surrounded by Guinness cans as they whoop it up, sitting at the round table. Rocco wears one of the masks. They’re all drunk. The house cat is lounging on the table comfortably.

7/27/98 - Yellow Revision

81 CONTINUED:

The boys nod in agreement.

Rocco slams his fist down on the table next to Murphy’s gun. The gun goes off with a bang! and blows the lounging cat right off the table. A softball-sized hole is blasted in the wall as a large splatter of blood sprays the area surrounding the hole. Everyone is in shock for a second.

The three are passed out all over the apartment. Rocco awakens. He stumbles past the wall with the large, round , pink stain on it. There is a crooked picture hanging in the middle of it.

7/27/98 - Yellow Revision

82 CONTINUED:

Rocco staggers to the kitchen and throws water in his face over a sinkful of dirty dishes. Connor awakens, grabs his jacket and follows Rocco out.

Connor lights up two smokes and hands one to Rocco.

82A CONTINUED: 7/13/98 - Pink Revision

Murphy stumbles enters scene with Rocco and Connor.

8/12/98 - Green Revision

82A CONTINUED: (2)

A girl rides by on a bicycle, they pause as she rides between them.

Connor picks up the place as Murphy watches t.v. The phone rings.

7/27/98 - Yellow Revision

83 CONTINUED:

Rocco hangs up. Just then DONNA and her friend RAYVIE enter the apartment. They are consummate junky sluts who are very doped up and giddy.

84 OMITTED

Smecker ascends the three, small steps up to the round room. A NUDE DANCER sits there on the couch in a robe. She is crying as she is being consoled by Detective Duffy. This small room is where men watch girls through a large glass window.

In this room a dancer performs on a floor a few feet above the three private booths where each man watches from his own booth. She appears as if on stage. All three windows are shattered and there is blood on the wall of all three booths. We see assorted body parts in each booth, but no faces.

70.*

85 CONTINUED: 7/27/98 - Green Revision

Smecker looks at Dolly surprised.

Smecker sits next to the girl. He has Compassion. She Cries.

The bodies have been removed and chalk outlines replace them. The bullet holes in the walls have been marked either A or B. The detectives watch Smecker. He is a mess. His clothes are disheveled and his hair is frazzled.

70A 7/27/98 - Yellow Revision

86 CONTINUED:

Smecker hits an orange button on the wall and a black steel door with a money slot comes slamming down in front of the first booth. He does the same thing to the last booth, leaving the middle one open. Both doors possess peep holes.

7/13/1998 – Pink Revision

86 CONTINUED: (2)

Smecker seems side-tracked and ponderous at Greenly’s observation. He hits the orange buttons and raises the doors.

86 CONTINUED: (3) 8/12/98 – Green Revision

Smecker points to two bullet holes in the wall of the booth on the left. Each is marked “B”. He walks over to the right booth where in the exact location are two identical holes marked “A”.

8/12/98 – Green Revision

86 CONTINUED: (4)

Smecker storms from the room. The detectives begin to follow. Smecker comes barreling back in, shoving them out of the way. He looks at the bullet holes in the walls marked “A and B” again. Something has clicked.

Smecker surveys photos and papers, as he smokes profusely. He stands next to a table in the back where chairs are knocked over. Body chalk and blood stains are everywhere. The detectives seem like they don’t want to be there, again.

Smecker flashes them a photo of a dead body. The victim is shot in the head and face down in his plate of food. His hands are on the table in front of him.

Smecker looks over the bar.

8/12/98 – Green Revision

87 CONTINUED:

He storms to the entry way.

Smecker walks across the street, still angry, and goes to a payphone. There’s an extreme close-up on his hand as he puts in a quarter. As the quarter jingles in…

89 FLASHBACK EXT. – STREET IN FRONT OF LAKEVIEW LUNCH – DAY

…there is a close-up on a hand pulling back from the coin slot. The hand moves up to pull a cigarette from its possessor’s mouth. It is Rocco. He dials the phone.

7/27/98 - Yellow Revision

89 CONTINUED:

He goes across the street and enters Salamone’s.

Donna and Rayvie are laying on the couch. Connor is spit- shining his boots by the window. Murphy lights his cigarette on the gas stove and pours some salt in a pot of water with a handful of pennies boiling to a shine in it. Rocco bursts through the door, hysterical. Tears are streaming down his face.

8/12/98 – Green Revision

90 CONTINUED:

90 CONTINUED: (2) 8/12/98 – Green Revision

She stops, unsure of the cat’s name.

90 CONTINUED: (3)

Rocco rummages through her purse and finds her car keys.

They exit. Rayvie and Donna are hugging each other, crying.

Rocco is in the back. Connor is driving.

7/08/1998 – Blue Revision

Rocco is standing at the back table while his cohorts remain seated. They are OLY, and VINNIE.

Rocco looks at Sal the bartender who reaches for the phone.

They all start laughing together.

They all laugh as Rocco pulls his gun and shoots Oly in the head. He lands face down in his plate of food. He shoots Vinnie in the chest then turns on Sal. He yells “Funny, funny, funny” as he pumps the remaining rounds into him.

93 CONTINUED:

The boys laugh.

Connor pulls over directly in front of a pink neon sign that says The Sin Bin.

81.-81A 7/27/98 - Yellow Revision

93 CONTINUED: (2)

94 OMITTED

Rocco, Connor and Murphy are looking very serious as they smoke outside the rear door, in the alley. A drug dealer in a hooded Boston Bruins jacket emerges from the opposing alley. He stops a 13 year-old kid. The kid is scared as the drug dealer slaps him. The kid give him money and the drug dealer stuffs a small baggie in the boy’s shirt. He lets him go and withdraws into the alley.

7/27/98 - Yellow Revision

95 CONTINUED:

As the boys and Rocco watch this from the opposing alley, they begin to head for them, but Vincenzo’s car pulls up across the street. Rocco stops the boys and denotes Vincenzo. The boys head in the front door. Rocco moves back into the alley.

Vincenzo enters and shuffles past the bar where the brothers stand. He walks through a bead curtain at the back of the busy porno house. The boys follow him.

They go to the back, open the exit door and let Rocco in. The three wind down long dark hallways with Rocco leading the way until they reach a green door. The boys stand, side by side, directly in front of it. Rocco is just behind them. The three pull identical 9mm.’s and the boys pull on their masks. Rocco puts on a mask that he made from a dock worker’s cotton hat. He looks ridiculous.

He turns and is instantly taken with laughter at Rocco’s appearance. Connor turns, and has the same reaction.

They are now pointing and laughing.

83.-83A 7/27/98 - Yellow Revision

97 CONTINUED:

He begrudgingly puts it back on. They reassume their position.

They burst into the room, climb up a few steps and are in a small round room with a couch in it. A topless dancer sits, smoking and drinking coffee, on the couch in front of three big black steel doors with money slots in them. Rocco seizes her, puts a hand over her mouth and a gun to her head.

She points to the middle door.

She points to an orange button. Each door has a button to the left of it.

7/27/98 - Yellow Revision

We see the fuzzy reflection of a cheap porno movie being reflected in Vincenzo’s Elvis style sunglasses. He is shaking as he masturbates.

Rocco is looking through the peep hole down on Vincenzo. He still holds the terrified, crying dancer.

They back up and focus on the money slot. A hundred dollar bill comes through. Connor gives it to the dancer.

The boys begin to recite their prayer. Rocco is smiling and excited, he still hangs on to the now hyperventilating dancer. They press the button. The door goes straight up. Vincenzo has one moment of shock before the MacManuses decimate him through the glass with silenced bullets. The glass silently spiders and begins to fall in spots. His chest explodes, sputtering medallions and bits of gold chain inside the booth. The dancer faints and Rocco lays her down gently.

The boys step down in the boot and begin their ritual. Rocco watches intently, intrigued. They finish and turn around to see Rocco is immersed in grabbing one of the unconscious dancer’s breasts. They pull up their masks.

7/27/98 - Yellow Revision

100 CONTINUED:

He gets up and starts tossing money on her as the boys giggle. Just then two more bills come through the slots of the other two doors, which have remained closed. Murphy looks through left peep hole, Connor the right. Smiles spread across their faces and they look at each other. They switch and each looks through the other guy’s peep hole.

Rocco looks in one. He says “Oh, wow” as he crosses and checks out the other one.

The boys look at each other affirmatively.

7/27/98 - Yellow Revision

100 CONTINUED: (2)

Rocco gets serious and nods his head. Connor replaces the clip in his gun and hands it to Rocco. Murphy does the same. He stands with one in each hand, aiming one gun at each door. The boys both place a finger on the appropriate orange buttons, as Rocco slowly cocks his head back. With wide eyes he thrusts his head forward. The doors fly up. Rocco fires both guns yelling “Yeah, take it, take it!” Both the drug dealer from outside and the pimp from the emergency room are destroyed. Rocco then crosses his arms and fires two more shots from each gun. On the opposing walls of each booth two identical bullet holes appear.

Rocco shuts the door.

7/27/98 - Yellow Revision

101 CONTINUED:

An old man appears to look at himself in the mirror of an empty but very upper class bathroom. His eyes are very glazed over. He puts a large leather case on the counter near the sinks. A red and white blind stick hangs off his right forearm.

Yakavetta enters, crosses behind him and stands next to him. AUGUSTUS (72 years) sniffs the air. A look of angry realization overtakes his face.

Augustus begins to remove items from his suitcase. First a plate. He sets it down next to the sink. Then assorted colognes, cigarettes and chewing gum. He begins arranging them in neat rows, always feeling with his guiding hands.

7/27/98 - Yellow Revision

102 CONTINUED:

Yakavetta puts an envelope of money in the plate.

This is a gigantic three tiered room with guards on all tiers. They all cock their shotguns.

A PRISONER is shackled barefoot to a small metal cart on wheels. His hands are cuffed before him with a chain linking his hands and feet. A guard is pulling the cart through the prison to the parole board room by a long chain. The cons have their mirrors out to get a better look. His face is in shadow as he bows his head.

A metal cage is lowered around him from the ceiling. The parole board looks him over. A stenographer sits poised

88A 7/27/98 - Yellow Revision

103 CONTINUED:

No response is given by the prisoner. The stenographer looks at MR. COBB who gives her the nod. She begins typing though no words are spoken.

8/12/98 – Green Revision

Augustus hands him a piece of paper he scribbled on.

A large piece of paper is placed on the table and stamped with the words parole granted across it.

The prisoner, Il Duce enters. He is clad in a long dark trench coat with the collar pulled up, dark round glasses and a dark hat. He puts a suitcase on the bed.

He walks over to the window. He slowly puts his hand outside and watches the sun bounce off it. Tears begin to flow from beneath his glasses as he breaks down. He begins to take off his clothes as he weeps, casting them aside.

The Duke is fully naked, except for a hotel blanket which is wrapped around his waist, sitting on the fire escape. He smiles and is still misty-eyed as he beholds the sun setting. Scattered around him are all the furnishings of freedom; Snickers bars, all kinds of empty candy wrappers, Coke cans, and many assorted magazines.

Rocco and the brothers sit in an old Boston coffee house.

7/27/98 - Yellow Revision

108 CONTINUED:

Rocco waits in a late model Chevelle in front of a white house. A man exits the house and walks across the sprawling front lawn. Rocco leans over and says How ya doin’, man? The man doesn’t respond and sits in the passenger seat.

During the following scenes we FLASHCUT between bits of Rocco’s experience that night to the coffee house and catch bits of dialogue as he explains.

7/27/98 - Yellow Revision

109 CONTINUED:

FLASHCUT: They pull up to a house in a scummy, Boston Logan Airport neighborhood. Rocco gets out and sits on the hood smoking as the man makes his way up the walk.

Two tough looking wiseguys walk across a hallway cocking shotguns. They disappear into a room.

FLASHCUT : He quietly enters the house and pulls a large bright-blue plastic tarp from his coat and spreads it across the floor in the hallway. We hear the sound of Sega video games being played. He pulls out two pistols with silencers and walk.

He disappears into the living room. Two white flashes and the sounds of silencers. A hookerish looking mom enters frame in the B.G. in the kitchen. She is talking on the phone. She disappears from view. The man reappears and walks to the kitchen. A white flash and the sounds of silencer.

He walks right down the hall and halts right in front of us and listens. He goes into the room the wiseguys had entered. We hear a second of male voices in protest. Two flashes of light and the sounds of silencers. A dog is heard barking. The man reappears in the hall and walks to its end, through the kitchen. He opens a pair of sliding doors and steps out of our view. A flash of white light and the sound of a silencer.

112 OMITTED

113 OMITTED

91A 7/27/98 - Yellow Revision

114 OMITTED

Rocco is out front listening as the barks abruptly cease.

FLASHCUT : The man drags a dead dog across the kitchen floor, leaving a streak of blood. FLASHCUT : He drags the bodies of two kids, two men and the woman down the hall toward us leaving the hall carpet streaked with blood.

7/27/98 - Yellow Revision

116 CONTINUED:

FLASHCUT : The man pulls out a large hunting knife and disappears into each room. The sounds of hacking are heard. He reappears holding different pieces of bloody debris. A telephone, a piece of carpet, pieces of drywall. He takes a mop and cleans off the blood on the linoleum of the kitchen floor. He walks toward us and stabs the mop in right before camera. It stays standing.

FLASHCUT : We see from his p.o.v. a pile of broken bodies. bloody debris and a dead dog with a mop sticking out the top.

FLASHCUT : The man steps outside and motions Rocco in.

Rocco’s face is now expressionless as the two load the last body in the furnace and toss the dog in, unloading from Rocco’s trunk. They shut the furnace door and there is just the low hum of a furnace and the light wind blowing.

Rocco is looking down in silence.

8/12/98 – Green Revision

119 CONTINUED:

The three burst in, all yelling at each other. They are all bleeding profusely from gun shot wounds. Connor turns on the gas stove and slams a new clothing iron down on the burner. He has wrapped the cord around the handle so it won’t burn. They have all ripped their clothes haphazardly and have made tourniquets to nurse their wounds.

The scene fades into total silence as they viciously argue. They then take turns hold each other down as they cauterize their wounds with the hot iron. Two guys will hold a third down and force a wadded up pillow case in his mouth, as they burn him

5:00 P.M.

Smecker sits on the balls of his fee on a sprawling front lawn. He looks out to the street and sees a forensics technician kneeling before a new, gray Ford Taurus riddled with bullet holes. The man marks a sea of different-sized bullet casings that stretch for thirty-five feet down the sidewalk. He circles two blood stains on the side walk with orange chalk.

Smecker turns and looks at the front of the house. It is peppered with bullet holes, all seemingly concentrated on

7/27/98 - Yellow Revision

121 CONTINUED:

the front stoop area. Men try to lift blood samples off the white paint around the door. He stands and Dolly, Duffy and Greenly are ready with pens and notebooks behind him.

122 FLASHBACK INT. – PARKED FAMILY VAN – SAME DAY – NOON

Connor, Murphy and Rocco sit in a parked van, down the street from the Beaver Cleaver house. The three are sitting next to each other in the longer back seat. They have a counter in front of them with all their guns and accessories on it. The clicking of bullets into clips, and smacking of clips into guns are heard. Smecker sits in the captain’s chair directly across from them, calmly smoking a cigarette. They finish their preparation. Rocco holds up his guns.

Murphy spies a young boy peddling his bike out of the driveway. He goes to the front of the van.

Connor, Murphy, and Rocco make a frenzied exit from the van and walk across the front lawn, each carrying a black duffle bag and clutching a mask. The garage is opened a crack. They pull it up all the way. The sun shines in on Smecker who stands there smoking.

7/27/98 - Yellow Revision

They enter and close the door behind them

They dive into their bags and suit up with leather gloves, masks, navy P-coats and their guns.

The three open the door and enter the house and walk deliberately down the hallway.

126 OMITTED

They walk with the terrified woman around the pool to a steel door pool house entrance. There is a number pad next to the door. Rocco positions her in front of it.

She slowly punches in the numbers. Smecker is standing there smoking.

Rocco pulls a stun gun and zaps her with it. She goes down.

7/27/98 - Yellow Revision

127 CONTINUED:

Connor reaches for the knob but Rocco stops him. They wait, guns drawn and focus on the door knob.

The knob turns and they kick it in.

128 OMITTED

They burst in and line up shoulder to shoulder, guns aimed. Smecker stands beside Rocco with his thumb and forefinger extended to mimic guns. Five mafiosos sit around a poker table in front of time. Two men are playing pool to their left. Rocco quickly scans the room.

They begin firing. Men are dying, their chests exploding. Smecker moves his hands like firing guns and yells over the noise.

Smecker points to the pool table as the two players dive under it.

Smecker drops to his knees in perfect synchronicity with Rocco. They are side by side and leaning back.

96A. 7/27/98 - Yellow Revision

129 CONTINUED:

Rocco fires and the men under the table skip around as they are riddled with bullets. Smecker’s mimicking hands follow him perfectly with each shot. The boys and Rocco demask. Rocco goes around to all the bodies and looks earnestly at each one, as Connor and Murphy pick up bullet casings.

7/27/98 - Yellow Revision

129 CONTINUED: (2)

The man they came for gets off the toilet and pulls up his pants. He is expressionless. He pulls a towel rack from the wall.

The door behind Rocco begins to open outward. As the door swings open, Rocco tries to angle a gun around to shoot the man who is opening it. But as soon as the man sees his hand, bam! he comes down on it with the towel rack. Rocco pulls back in pain dropping his other gun but the gun fires, as the man’s blow connects. The shot pierces his stomach and sends him against the wall. He holds his abdomen in pain.

There is a moment of recognition between the man and Rocco. Rocco is terrified as the man dives on him and they begin fighting. Murphy jumps to help, but Connor pulls him back. They both stand in front of the pool table about thirty feet from Rocco.

He is now being choked, as he glares at them in disbelief.

131 CONTINUED:

As Rocco is wrestling and punching on the floor. He looks up.

Murphy is aching to help but Connor is more steady. A man who has been shot starts to regain consciousness. Connor turns his back to shoot him (slo-mo). Murphy sees his opportunity, pulls the cue ball from the table, and rolls it silently across the carpet toward Rocco.

Connor fires with his left hand and as the casing ejects from the gun he catches it in mid air and makes the sign of the cross. Rocco is on his back, the man is straddling him. They both have each others throats and are trying to strangle one another. When the ball is within arms reach, Rocco slams his hand down on it and knocks his assailant in the skull. He straddles him and begins to mercilessly beat his face in with the cue ball, yelling “You sick fuck!”

He finally stops, gets up, runs toward the boys, and throws an exhausted punch at Connor who just lays Roc down on the pool table and says, “Nicely done, boy”. Murphy tends to Roc. Connor checks out the man and seems surprised.

Murphy takes the bloody cue ball from Rocco’s hand and polishes it off on his jacket, making sure Connor cannot see. He replaces it perfectly on the table. Smecker now stands in front of the table with the cue shining in the background.

7/27/98 - Yellow Revision

131 CONTINUED: (2)

Smecker exits to the left as Greenly enters from the right, following Smecker out. He walks by the table furiously scribbling in his notebook. Connor, Murphy and Rocco exit the room, pennies in the eyes of all the corpses in the background. Rocco holds two duffle bags full of poker money. Greenly stops, picks up the cue ball and looks at the dead man. He shakes his head and says, “Nah”.

DAY.

Smecker stands in the middle of the front lawn. His hair is a mess. He’s chain-smoking. His clothes are disheveled. His eyes are psychotic. He points to the parked Taurus as six men in dark suits appear in a fuzzy, out-of-focus shot. They line up shoulder to shoulder on the sidewalk.

DAY

Rocco, Connor and Murphy walk toward the front door.

(Slo-mo) Two black leather boots slowly walk up the sidewalk and stop in front of the new, gray Ford Taurus then turn toward the house. Il Duce removes a white balloon filled with a few ounces of fluid from the pocket of his black trench coat. He throws it on the walk, the blood splatters. He picks up the remnants of the balloon and puts them back in his pocket and stands there waiting, looking at the house.

DAY

The boys come out, Rocco in the middle and slightly ahead of them. They look out to the walk, stunned.

7/27/98 - Yellow Revision

135 CONTINUED:

Our three heroes stand, their jaws dropping as their point of view reveals the Il Duce, standing alone, his hands folded in front of him.

Suddenly, he throws open his trench coat to reveal a special leather vest beneath. Six guns, all different, are holstered on the front of it: three on each side extend from just below his collar bones to his abdomen. Connor and Murphy don’t hesitate. They each draw one of their now unsilenced guns from their shoulder holsters and aim, one arm over each of Rocco’s shoulders. The Duke draws his top two weapons and aims.

They all start shooting at once. The noise is deafening. The Taurus is being pierced and the front of the house is splintering as it is riddled with bullets. Smecker is still in the middle, hands raised to the heavens, turning circles. Rocco’s pinky finger gets shot off, sending blood splattering against the house. He dives in the bushes reeling. He pulls a gun and starts firing.

Murphy catches a bullet in the arm and dives for the bushes as well. Il Duce with lightening speed, drops the guns and pulls the next two down as he walks to his right about ten feet. He commences firing and the casings hit the sidewalk, all different calibers and sizes are dropping down the walk.

It’s him and Connor and nobody is backing down. They both grind their teeth as they fire rapidly at each other. At the same moment, The Duke gets hit in the arm and Connor takes a bullet in the leg. The firing ceases for a moment. Connor remains steady and Il Duce looks down at his arm and his own blood splattered on the sidewalk.

Il DUCE No!...No! No!...

He drops the guns and pulls the last two as he moves to the right. He fires with wrath as he screams the word No over and over. Rocco and Murphy return fire from the bushes yelling and swearing, as Connor does the same from his position on the stoop.

7/27/98 - Yellow Revision

135 CONTINUED: (2)

The Duke turns and runs, leaving a sea of casings, and guns that extend for 35 feet down the walk. There are also two blood stains.

In a frenzy the boys and Rocco get up and withdraw some spray bottles from their bags. The begin spraying all their own blood stains on the stoop and the front of the white house. They then pick up their things and run off.

Smecker comes back to reality and lights a cigarette in front of Dolly, Duffy, and Greenly.

He turns to the forensics guys at the front of the house and begins to walk over to him.

FORENSICS WOMAN #1 I can’t get a good sample. There is variable here I’m not seeing.

Smecker puts his finger through a big blood stain on the door and smells it.

He starts kicking the bushes and trying to tear them with his hands as he rages. The police and forensics all back off.

8/12/98 – Green Revision

136 CONTINUED:

He backs against the building and slides down to a sitting position in the bushes as if he has given up. He raises his head and there he sees Rocco’s pinky finger lying undiscovered in the bushes. He pulls a small plastic bag from his pocket and scoops it up. He shoves it back into his pocket and races off.

Rocco, Connor, and Murphy are sitting around the table. They are numb with pain and silently sipping beers. Suddenly, Smecker comes on the news making an announcement that he is heading up the investigation to find the three of them. Rocco shuts it off.

8/12/98 – Green Revision

137 CONTINUED:

The boys look at each other.

Smecker is sitting at a computer terminal. He has just hooked into the F.B.I.’s computer network with his authorization code. He is disgusted as he puts on surgical gloves and finger prints the severed finger onto a scanner. He waits for a moment. Rocco’s face and rap sheet come up on his screen. He is in disbelief.

Rocco on the steps of the police station when Rocco brought the boys their clothes.

He picks up the phone.

She reads a few names then hits David Della Rocco.

He hangs us, puts in a smoke, and knocks his head back in deep thought.

8/12/98 – Green Revision

Smecker is drinking like a fiend. He is disturbed and rowdy. He’s a bad drunk. He downs a shot and motions for another one. The BARTENDER comes over.

He obeys. A good looking gay man comes up and whispers in Smecker’s ear and points to the back room.

They proceed to the back. Smecker is stumbling.

Rocco pulls Vincenzo’s car to the curb and the MacManus’ exit.

Smecker staggers out of the bar. He is an absolute wreck. Rocco exits a package store just down the street. He is opening a new pack of cigarettes. He is surprised when he sees Smecker at the other end of the block. He follows the stumbling agent, fumbling for his gun.

Paul sees a church and reflects for a moment before crossing the street and going in, Rocco a safe distance behind.

Connor and Murphy are at prayer in the back of the church. It is mostly empty because of the early hour.

104A. 8/12/98 – Green Revision

143 CONTINUED:

Connor looks up and sees Smecker and Rocco way up in the front. His eyes are ablaze. He is up and walking and does not bother Murphy, who remains penitent. There are two confessional booths with a priest booth in the middle.

Smecker goes in the booth on the far left. Rocco tries the door, it’s locked. A middle-aged PRIEST slips a key in the priests booth and opens the door. Rocco shoves him in and goes in behind him. Connor has quickened his pace. He tries both doors. They’re locked. He goes into the confessional on the right.

Rocco puts his gun to the priest’s head.

144 CONTINUED:

Connor is furiously working his fingers through the lattice work to open the slider to the priest’s booth from his side.

Rocco takes the priest and puts his face in front of the slider to Smecker’s booth, gun to the back of his head.

Connor gets the slider open. Rocco’s long hair hangs just inches from Connor’s face. Connor puts his thumb and forefinger through, desperately reaching for a lock of Rocco’s hair. Rocco jostles the priest and puts the gun hard to his head.

Rocco starts to move the priest aside and put his gun to Smecker’s now open slider.

106.-106A 7/27/98 - Yellow Revision

146 CONTINUED:

Just then Connor snags a piece of Rocco’s hair and pulls him back hard and fast by it, until his head slams into the lattice work. Rocco grabs the priest back into position. Connor grabs a nice wad of Rocco’s hair with his left hand, so that the side of Rocco’s face is now pressed to the lattice. Connor then puts a gun to Rocco’s head.

Smecker wakes up from a drunken stupor. He looks through the slider window at the barely discernible face of the now crying priest.

147 CONTINUED:

The priest can hear Connor and Rocco whisper, but Smecker cannot.

Connor and Rocco stop and listen now.

Rocco shakes the priest.

147 CONTINUED: (3)

Rocco and Connor show their individual looks of surprise.

The look of surprise on Rocco and Connor’s faces show that the priest is doing a hell of a job.

109.-109A 7/27/98 - Yellow Revision

147 CONTINUED: (3)

The priest starts to show signs of anger as he starts turning to Rocco.

Fear returns to the priests face. Rocco presses the gun hard to the priests head and jostles him.

Rocco jostles the priest again.

7/27/98 - Yellow Revision

147 CONTINUED: (4)

Smecker exits and they all let go after a brief pause. Rocco turns and starts fixing up the priest’s ruffled suit.

Rocco exits the booth and shuts the door behind him. Connor is standing outside, hands on his hips. Rocco smiles at him as Connor fumes.

Connor slaps him in the back of the head and kicks him in the ass. Rocco’s still giggling as they exit.

8/12/98 – Green Revision

We shoot alternating coverage between the two locations.

Smecker stands beside Augustus, just the way Yakavetta did.

Smecker tosses an envelope of cash in his plate, just as Yakavetta did.

7/27/98 - Yellow Revision

151 CONTINUED:

There are several bodies in the hall, some with pennies in their eyes, some without. Down the dark basement halls there is more gore. The boys and Rocco can be heard screaming from a room in the basement. Yakavetta’s voice is heard yelling and in command.

Connor, Murphy, and Rocco are all hand cuffed to chairs in the seated position. Their clothes are ripped and they have been beaten severely. Blood covers them. Rocco has been uncuffed and two men hold his open hand up as Yakavetta puts a pistol at the base of his remaining pinky finger. Several other hold him down as he and the boys scream in tough protest.

7/27/98 - Yellow Revision

153 CONTINUED:

They all yell for him to fuck off. Although Rocco is terrified, he is holding out. Yakavetta fires and Rocco’s finger is gone. The blood splatters on Connor’s face. Rocco screams in pain saying fuck you through his sobs. After re- cuffing Rocco, Yakavetta and his goons exit.

Yakavetta is in the hall with four men. GENO (35 yrs.) very big. CHAPPY (22 yrs.) wears sunglasses even in the dark, trying to look cool. HOJO (28 yrs.) is slick and good-looking. Another Mafioso cohort is with them as well.

He walks back into the room. He saunters up to Rocco very nonchalantly and shoots him in the chest. His chair is blown back to the floor. The boys are screaming and crying as Yakavetta walks out.

8/12/98 – Green Revision

115 CONTINUED:

As Rocco dies, they fall into prayer.

Yakavetta lights up a cigar and talks to his men.

Yakavetta stops as if terrified with a thought.

The four guys are left alone. They all look far from confident except for Geno.

157 OMITTED

Murphy has scootched his chair in front of Connor’s. He has his back to Connor.

158 CONTINUED:

He stretches his neck over and bites at the collar of his p- coat. He gathers as much of the material in his mouth as he can. He starts to yell, “Do it!” but it is muffled.

Connor, still sobbing, begins to kick his brother’s left hand repeatedly. He turns it into a bloody piece of broken meat as Murphy screams through the shirt. Finally, it is broken enough and Murphy pulls it through the cuff.

He stands and breaks the chair into pieces and grabs the sharpest piece. Hojo enters and Murphy shoves the sharp stick up through the bottom of his chin into his head. He drags him around the room yelling mumbo jumbo into his face as Connor jumps up and down in his chair in rage, wanting a piece of the action.

Murphy throws the man down and Connor proceeds to viciously kick his dead body. The two have turned into barbarians. Murphy removes the man’s two guns, shiny nickel-plated 45s.

There is a knock at the door. Geno jumps with fright and then looks out the peep hole. He sees a well-formed pair of woman’s breasts in a cheap dress. He opens the door. A stunning blonde stands before him. She looks like a hooker. She wears a short, hot pink dress and a white scarf around her neck, as well as six inch platform heels.

The woman speaks and it is apparent that this is actually Smecker in drag.

Smecker kisses him full on the lips and rubs up against him. Geno is convinced. He brings her inside.

7/27/98 - Yellow Revision

159 CONTINUED:

He takes Smecker into a small bathroom adjoining the foyer. They are instantly in the throws of passion. They grope each other and Smecker cleverly avoids any contact with his crotch. Smecker lies down on the floor and starts to wiggle and seductively touch himself. Geno stands over him, straddling Smecker’s hips as he undoes his pants. Suddenly, Smecker grabs both of Geno’s ankles and has him locked in position. He repeatedly kicks Geno in the balls from his lying position on the floor. The guy falls on his back unconscious. Smecker uses a silencer, shoots him in the head.

He starts to whisper, “It’s on now. It’s on now. Too far.” as he walks down the hall, striding in his high heels, wig back in place. He thoughtlessly blows Chappy away as he passes his position and runs down a long hallway. He turns a corner and points his gun at the Mafioso cohort but pauses. He is already sitting with his throat cut. Smecker looks puzzled as Il Duce withdraws from the shadows behind him. The Duke pistol whips Smecker. He’s out.

8/12/98 – Green Revision

162 OMITTED

Connor and Murphy are on their knees in front of Rocco, whom they have sat back up in the chair. They are gently placing pennies in his eye and sobbing as they begin to recite the prayer. As they speak, Il Duce watches. He then begins to whisper the prayer right along with them. Their words match up perfectly. He leans against the wall, holsters his guns, and withdraws a cigarette.

He rolls it along his tongue and twists it into his lips. The boys are still reciting as he strikes a match. They react instantly. Still kneeling they each point a nickel- plated 45 toward The Duke. They turn in time to see the light from the match illuminate his face. Il Duce pauses then he strides into the room and proceeds to recite the last half of the prayer.

He stops between the kneeling boys and finishes off the prayer. The boys are stunned as they realize this is their father. He makes the sign of the cross over Rocco. Then he looks down to the upturned faces of his sons. He places a hand on each of their cheeks.

Both sleeping boys throw their arms out, mimicking a crucified Christ. Their father turns, sees this, turns back.

The boys wake with a start. Connor looks to his father, who is already staring at him.

165 OMITTED THRU

8/12/98 – Green Revision

167 OMITTED THRU

Smecker opens the door from the inside and lets the MacManus father and sons in. He walks one way they walk the other through the grand courthouse halls.

7/27/98 - Yellow Revision

170 OMITTED

The media, with their cameras and notebooks, are at the back of the courtroom. Yakavetta is testifying on the stand. He is cocky. The judge warns Yakavetta that he will have no more of this behavior in his courtroom.

The MacManusus stand in the foyer. There are a pair of doors that go to the outside hallway and a pair that go to the inside courtroom. There is an armed guard directly inside the courtroom, in front of the doors.

120.-120A 7/27/98 - Yellow Revision

172 CONTINUED

The door opens a crack and Connor waves the guard into the foyer and starts talking to him. Then dad zaps him with a stun gun. The guard is on the floor, incapacitated and drooling as the boys handcuff him.

Connor pulls out a length of chain and drapes it through the door handles that lead from the hall into the foyer. He locks them in with a padlock.

The father zaps the incapacitated man a second time as he lay.

They suit up, Connor and Murphy in their usual masks and gloves, Dad is already in his usual dark hat and glasses.

The boys start for the courtroom door but dad gently holds them back. He takes a moment, then slowly removes his hat and glasses. His sons look at one another and then remove their masks. The three look into each others eyes for a moment.

Terrified, they all obey. Connor and Murphy pull Yakavetta from the witness booth by his hair and place him on his knees just before the judge’s bench. They face him toward the occupants of the courtroom. The father walks up and motions for the judge, who is now banging his gavel and shouting in protest, to come off the stand.

As soon as he is within arms reach, dad takes him by the collar and drags him down the aisle all the way to where the media stands in horror. He turns and walks back down the aisle.

7/12/1998 – Pink Revison

173 CONTINUED:

The father keeps them covered. He passes the front, he looks and sees a VIRGINAL-LOOKING WOMAN with her head down crying into her hands. She is on the left side. He gently tilts her chin forward, her eyes fixated on a faded blue butterfly on the back of his hand.

The father takes out a flask. He pours the booze on the judges bench and set it ablaze. Fire alarms start to sound. Connor and Murphy jump up on the lawyers’ tables. Murphy on the prosecution side, Connor on the defense. The father has his sawed-off to the back of Yakavetta’s head.

7/27/98 - Yellow Revision

173 CONTINUED: (2)

Connor and Murphy jump off the table. They approach Yakavetta and stand on either side of their father. All three men hold guns to his head and recite the prayer. As they speak, the right side of the courtroom screams in protest. The left watches in wide-eyed terror, although some men encourage them to do it. The MacManus’ read the prayer. They do not falter as the flames rage behind them.

Yakavetta, accepting his fate, closing his eyes. Peacefully, he does the sign of the cross. The all fire at once. The room explodes in confusion. The three exit the back.

7/27/98 - Yellow Revision

The MacManuses are all shackled and in blue jumpsuits of the Boston lock-up facility with bags over their heads. Duffy is in full uniform with a shotgun behind them. Smecker is leading the prisoners down the hall. He flashes his F.B.I. identification to every cop he encounters.

The media is in a frenzy. Little bits of the story are known. The people from the left and right sides of the courtroom are yelling and pushing each other as cameras and microphones try to pick up the news. Finally all the focus comes to the virginal woman who had been sitting in the front row. All lights, cameras and microphones are on her.

(Slo-mo) She sees at the grande hall’s end Smecker leading the three out, bags still over their heads. She sees Dad’s butterfly tattoo. She knows.

The people who had been on Yakavetta’s side of the courtroom threaten her and force their way through the crowd toward her, thus causing the two sides to fight. Everyone, even reporters are in it. The camera tilts up ending on the statue of the Blind Lady of Justice. Fade out.