"THE BOONDOCK SAINTS II ALL SAINTS DAY" (2009)

Current Revisions

The boulevard is empty,eerie silence. No cars, no people. A man walks down the middleof the street, long trench, dark shades. Though he does not speak,we hear...

MAN V.O.

There's two kinds ofpeople in this world when you boil itall down. You got your talkers andyou got your doers.

We recognize thisman as ROCCO. He crosses Copley Squaretoward the looming dome of the TrinityChurch.

ROCCO V.O.

Most people are justtalkers. All they got is talk. Butwhen all's said and done, it is the doerswho change the world. And when theydo that, they change us. That'swhy we never forget them...So, which one areyou? Do you

just talk about it? Or do you stand up

and do something aboutit? Because believe you me all therest of it is

just coffee house bullshit.

FADE TO BLACK...

SUBTEXT: "Ireland"

From behind we see twomen perched atop a boulder. A flockof sheep encircles them. Theirarmy sacks and shotguns are nearby.They roll their own cigaretteswith effortless synchronicity and lightup.

CONNOR and MURPHYMacMANUS (30's)now have long hair withheavy facial growth. Rugged. Piercing eyes. Looking to the horizon...

MURPHY

Looks like a storm'scomin'.

CONNOR

Aye.

MOODY MUSIC: The brothersdrive the flock across jewel greenhills. Murphy cuts a sheep froma thicket and sets it off.

POPPA M V.O.

Peace, they say, isthe enemy of memory. So it had beenfor my boys.

Connor shares some jerkywith a sheep dog as the flock surges.

POPPA M V.O. (CONT'D)

For some time now, theirpast had felt like a dream to them...fadedand worn.

Murphy touches the fadedCeltic Cross tattoo on his forearm. Connor sees. The music takesus to a secluded, pioneer-esque ranch.

CLOSE ON: POPPA M's (58yrs)face as he coughs and watcheshis sons approach from his rockingchair on the porch.

POPPA M V.O. (CONT'D)

And then suddenly, as ifnot a day had passed...it was back. Icould see it in their eyes.

Poppa M and his sons eata rustic dinner. It storms outside.

POPPA M V.O.

I could feel it, heavyin their presence. Something callingthem back.

Poppa M looks to hisboys who just keep eating. DIP TO BLACK...

Very early dawn, shadowymorning light. Connor and Murphy sip coffees and look out intothe rain. Lightening lights upthe flock.

Through the open doorbehind them, Poppa M stokes a warm fire.

Connor touch the CelticCross tattoo on his forearm. Theboys look at each other as the rainsuddenly stops and all the "little sounds" of morning cease. Something'samiss. Thunder. OminousmuSic as...

From behind, we see aman with a CREW CUT, staring at thedome of the Trinity.

SLO-MO, CLOSE ON: CrewCut's boots as he paces toward. The threatening music bleedsover to...

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 BOSTONand IRELAND as chaos erupts...

BOSTON: Crew Cut quicklyenters the church.

IRELAND: The wolvesburst from the tree line.

BOSTON: A frantic priestin his 50's weeps and begs as CrewCut slams him to his kneeswith a .9mm to his head.

TRELAND: The wolves savagelyattack the screaming sheep.

BOSTON: Muzzle flash,blood splatters on the altar.

TRELAND: BOOM! BOOM! Connor and Murphy blast shotguns atthe wolves. One is hit,the rest retreat. The boys performmercy killings on the wolf andone sheep.

Everything calms asPoppa M rushes up with a mag light and stops. He coughs roughly. Moody choral music begins...

dost thou not judge andrevenge our blood upon them that dwellon the earth?"

The boys toss thewolf carcass onto a bonfire. It rains again.

POPPA M V.O.

And God said, "Allwill fear the wrath of the lamb. For the greatday of their reckoning hath come."

Poppa M looks acrossthe blaze to his sons. Connor andMurphy stare into the fire, bathed inthe light of angry flames.

come with the shakingof the earth and the roiling of the oceans."

Downpour. A rugged old jeeptears through the mud. It stopsat the farmhouse. Poppa M andthe boys come out onto the porch. A dark figure with a fedora andrain slicker exits the jeep and hurriesto the porch. Meet UncleSIBEAL (62yrs). He wears a priest'scollar.

SIBEAL

Something's happened.

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 informationon the victim found slain thismorning inside Trinity Church. Asyou can see the size of the crowd herehas increased substantially over thelast couple of hours. People are demandinganswers as to how a priest couldbe murdered in a church. But perhapsmore shocking, we have confirmed that thebody was ritualized with penniesin the eyes. Many remember this asthe grisly calling card of theprolific vigilante killers known as the Saints,who went on a murder spree herein Boston.

NEWS FOOTAGE: People screamas they run out of a courthouse.

REPORTER #1 V.O.

A rampage that ended sixyears ago, when the Saints brazenlywalked into open court...

NEWS FOOTAGE: A body iswheeled out on a gurney.

REPORTER #1 V.O. (CONT'D) -.-and executed MafiaDon, Poppa Joe

Yakavetta before a courtroomof terrified witnesses,then simply disappeared without atrace.

Grainy, unclear securityfootage of three men walking the court halls, two in heavyblack jackets, one in a trench...

REPORTER #1 V.O. (CONT'D)

The now legendary securitycamera footage from that harrowingday, our Singular tiny glimpseof these infamous and controversial killers.

We are back with Reporter#1 at the church.

REPORTER #1

As police have yet toconfirm the Saints' possible involvement,the ominous question hangsheavy in the air. "Are they back?"

Sibeal, Poppa M, Connorand Murphy sit around the table. The boys have a look of controlledanger. Presently...

MURPHY

The priest. Did theyrelease his name?

SIBEAL

No. But I made a fewcalls, still got some friends in the diocesethere. McKinney. Father DouglasMcKinney.

The boys flash withrecognition.

SIBEAL (CONT'D)

You knew him?

CONNOR

Knew of him. Everybodydid. A regular Mother Theresa. Youthhostels, soup kitchens. Even made itinto the newspapers sometimes.

Sibeal considers this. He genuflects and turns.

SIBEAL

Listen boys. I think it'sbest that ya

just stay put andwe'll try ta figure

out what...

Connor and Murphy areout the door and headed for the barn. Confused, Sibeal looksto Poppa M, who just sips his coffee.

MOODY MUSIC: The boysbegin to look more like "themselves"as the they cut their hair andbeards with sheep sheers.

The brothers lift a chestfrom a hole in the barn floor. They load guns and money intoblack duffel bags and place their signature rosaries around theirnecks, clasping their hands in prayer...

Detective GREENLY (38yrs)is alone on the alter. Police lineall around as Greenly staresat the body like the detective hasseen a ghost. He turns andnervously staggers toward the frontvestibule.

Detectives DOLLY andDUFFY are scared. In hushed tones...

DUFFY

We need to keep ourheads, here. It's probably not even them.

DOLLY

Of course it ain't thembut that doesn't really matter,does it. Our skeletons just came screamingout of the closet. We're fucked.

DUFFY

We're not fucked.

Greenly enters fromthe church proper. Dolly and Duffy turn.

GREENLY

We are totally fucked!

Greenly, disguised as acorrectional officer, lets Connor,Murphy and Poppa M out of a paddywagon. FLASH!

The Saints enter the SuffolkCourthouse, undetected. FLASH!

Dolly, dressed as a civilian,pulls the fire alarm. FLASH!

The Saints execute PoppaJoe Yakavetta before many terrified witnesses, the alarmblaring in the b.g. FLASH!

dick, pounded in the ass,no reach around, jungle fucked!

DUFFY

Now's not the time topanic, Green beans!

GREENLY

Oh, I disagree. Now'sthe perfect time to panic. We're allAccessories to...

DOLLY

Don't you fucking sayit!

They all argue over oneanother. OFFICER #1 peaks his headin the front door. The detectivesgrind to a halt.

OFFICER #1

Her E.T.A. is tenminutes.

CLOSE ON: a gravestone. "PaulM. Smecker, 1956 - 2003"

We reveal a pair of sexyfemale legs, expensive "Jimmy Choo"heels. From behind we see thewoman rest a rose at Smecker's Grave. "Legs" turns and walks towarda waiting squad car in b.g.

Dolly, Duffy and Greenlystand outside in the entry way ofthe church. Though stillon edge, they have calmed.

DOLLY

I didn't even know hehad a protege. What is this bullshit?

Duffy whips out his trustynote pad.

DUFFY

Special Agent EuniceBloom, 32 years old. Smecker pluckedher right out of class at Quantico.

GREENLY

Smecker hand picked her? Aw, man. This brawd's gonnabe a nightmare.

DUFFY

She was assigned toOCD two years back. She can shoot a gun, setthree course records during her training.

GREENLY

Great. A bull dike,Annie Oakley wanna- be. We gotta get ridof her.

DUFFY

She is also an authorityon the Saints case. Which means Smeckermust have walked her through it.

The cops suddenly flushwith fear.

DOLLY

And the hits just keepon comin’.

Sibeal waits as PoppaM thinks, then shakes his head.

POPPA M

Naw...I'm in no condition. I'd just slow 'em down.

SIBEAL

Well, are ya at leastgonna try ta talk them out of this?

Poppa M shakes his head.

SIBEAL (CONT'D)

We don't even knowwhat this is yet! Somebody could justbe tryin' ta get away with murder here!

POPPA M

Aye. Only there's abouta thousand easier ways ta do that. Trust me. Someone's callin' themout, Sibeal. Ya kill a priest in a churchand make it look like they did it. Bring ‘emback with a vengeance. Don'tknow who. Don't know why. But someonethinks he's real fuckin' clever. Only one problem with his littleplan.

SIBEAL

What's dat?

POPPA M

It worked.

Fear and frustrationburst from Sibeal.

SIBEAL

Jesus Christ! D'er'stoo much we don't know and if you'rewon't at least try ta talk some sense intothem, I will!

The door opens and incomes Connor and Murphy. Sibeal notesthe change in appearance. The boys stand at the kitchen table's opposing end, hands intheir pockets. Their resolve fillsthe room.

The brothers face offwith Poppa M and Sibeal: a bizarre board meeting. Poppa M cocksa brow at Sibeal who clears his throat.

SIBEAL (CONT'D)

Exactly what do you intendto do?

Silence. Nobodymoves. Connor withdraws a hand from hispocket and looks down. He flips apenny on the table. It clatters toa stop.

MURPHY

Every last motherfuckerthat had anything to do with it.

A squad pulls up. Dolly,Duffy and Greenly turn.

DOLLY

Game time. How arewe playing this?

DUFFY

Feds love to pull thedivide and conquer routine. We hard line her. Stick together on this. Agreed?

DOLLY

Agreed. We're a brickwall.

They all nod and stiffentheir resolve.

GREENLY

Let's rock this bitch.

Rockin' music fades inas 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 facedrops. Soon she is before them. Music cuts. She smiles and speakswith a southern drawl a la DocHoliday.

You hafta be DetectivesDolly and Duffy. Am I right?

(extending hand)

Eunice Bloom. A pleasure.

Dolly and Duffy shakeand manage a nod. Greenly is stillenamored.

EUNICE (CONT'D)

And you must be Greenly. Smecker always said you werethe funny one.

GREENLY

T'sup...I mean, what? Yeah, well, funny as in ha ha, thoughnot like funny as in gay cuz...I'mnot...played high school football.

She chuckles. Dolly andDuffy fume.

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 goingto address

each other formally, I'dprefer if you popped it in there. Makes me feel, I don't know...special. Of course, I'd hoped we could be a littlemore personable. In fact, I'dlike you to call me Eunice.

The cops are dumbfounded. Duffy snaps out of it.

DUFFY

O'kay, Eunice. I don'tsee why the fuck the Fed is...

EUNICE

Whoa, whoa, "fuck?" This isn't a

"fuck" situation, is it? I can seea "God Damn" or two butwhy skip all the

way to "fuck" rightoff the bat? Let's start slow and work ourway up to it.

DUFFY

What is the Fed's interestin this?

The detectives harden,brick wall. Eunice furrows her brow.

EUNICE

Their interest, Detective,is capturing the men responsible forthe murders of 22 of Boston's finestcriminals. Y'see public perception isthat these boys stepped in, did our jobsfor us and then disappeared intothin air as we fecklessly searched forthem. The FBI tends to take exceptionto such things. They coulda sent anyone. They sent me. Why do you think thatis?

(beat)

Well, since we've brokenthe "Fuck Barrier," allow me tobe blunt.

(MORE)

EUNICE (CONT'D)

It is because I am so fuckingsmart that I make smart peoplefeel like retards. Now, we seemto be getting off on the wrong foothere. I'd appreciate a bit of cooperation. Let's chalk it up to payingrespect to the memory of a dearly departedmutual friend. A man who taughtme 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 latelast night. When people gathered formorning mass, they found the frontentrance chained and padlocked. A locksmithcame out, cut the chain and surprise,surprise. Cell phones. Half ofthem called the cops. Half of them calledthe media. But regardless...word'sout.

Eunice turns and looksover the crowd.

EUNICE

And it looks like that'sjust the way somebody wanted it. What say we scrape the shit off this cow'sass, fellas? Detective Greenly? Escort a lady onto the crime scene?

GREENLY

What? No, yeah, no. Of course.

Greenly escorts her asDolly and Duffy walk behind, mystified.

GREENLY (CONT'D)

Do you want a cup ofcoffee or something?

EUNICE

Never touch the stuff.

Eunice stands, lookingdown the aisle at the altar. Behindher, the Detectives are curiosas Eunice slides on pink latex gloves.

She puts in ear plugsand all ambient sound ceases. She starts Slowly down the aisle...

TOTAL SILENCE AS...Euniceinspects the smashed door of a confessional booth. Shelooks over the body closely thenturns from the altar and walksto the detectives. She pulls her earplugsand all sound returns.

EUNICE

It wasn't them...but I'msure you boys already knew that.

The detectives nod.

DUFFY

The two "V's." Thevictim and venue don't add up.

EUNICE

Let's go with the venuefirst. Our perpetrators are devout. They would never commit such an acton sacred ground. And as for thevictim?

DOLLY

All their vics were criminals. Clearly not the case here. So,it wasn't them which means this is a localmatter and it falls under our jurisdiction. No need for Federal involvementso with all due respect...we'llsee you later, Special Agent Bloom.

Eunice stands right infront of Dolly.

EUNICE

Man, I hate it whenpeople say that.

"With all due respect." Because it is

inevitably followedby a disrespectful remark. I'll give youan example. With all due respect,Detective, this matter falls underwhatever

jurisdiction I fuckin'say it does.

Dolly fumes. Duffy andGreenly share an "oh shit" look.

DUFFY

Uh, so...let's just...whatcan you tell us about the shooters?

EUNICE

Shoo-ter. Singular. And I can tell you that he is lefthanded and how shall I put this delicately...? He's a short bastard.

One guy, lefty, short. Got it.

Eunice furrows her brow.

EUNICE

T'll show you what I'mtalking about.

Close up on Greenly'senraptured face. We pull back and seehe is on his knees beforeEunice and staring longingly between herlegs.

EUNICE

Detective Greenly, you'rethe victim.

GREENLY

David. You can callme David.

EUNICE

Very well, David.

Duffy and Dolly standbehind Greenly, chest to chest, eachmimicking guns to the back ofthe kneeling cop's head.

EUNICE (CONT'D)

The Saints' signature stance. Copley Plaza Hotel four yearsago. Two men of identical height putYuri Petrova on his knees and each droppediron to the back of his head.

This is torture for Greenlyand he turns his head from Eunice's crotch. She immediatelyadjusts him back into place.

EUNICE (CONT'D)

Eyes front, David. Theposition of the victim and the anglesproduced by the killers' stance createda unique scenario. The bulletscriss crossed in the skull and exitedthe eye sockets. Here, this did not occur. The rounds moved on a straighttrajectory through the back of the victim'shead and out the front. Which happenswhen...

Eunice circles around,positioning herself between Dolly andDuffy. She aims both handsto the back of Greenly's head.

back of your head.

EUNICE

One guy.

Crew Cut holds two gunsto the back of the pleading priest'shead. He fires and McKinney falls. Crew Cut steps forward andwe see his face in the light. Piercing,ice blue, sociopathic eyes. WHIP PAN!

EUNICE

Now, the victim falls forward. If you please, David.

Greenly lays flat onhis stomach.

EUNICE (CONT’D)

The killer approachedthe body from the left side...

(Eunice approaches) ...and flipped him tothe right.

DUFFY

Left handed.

EUNICE

Yep, southpaw.

Crew Cut flips the body,showing little respect. He pullsout two pennies and looks atthem. He chuckles. WHIP PAN...

DOLLY

But you said he waswicked short.

EUNICE

The Saints were laterdetermined to be five foot eleven inchestall. It's

just dumb luck that theRussian and

McKinney are the exactsame height.

Eunice kneels, puttingher pointer fingers just below Greenlyseyes.

EUNICE (CONT'D)

The rounds exited Petrova'seye balls. Here they came out thelower cheek.

She slides her fingersto Greenly's lower cheeks. He's putty.

EUNICE (CONT'D)

Three, four inches belowthe eyes.

DOLLY

That puts him at five, seven-ish. That's not uncommonly short.

Eunice stands and pointsthe a broken down confessional boothdoor.

EUNICE

The killer posed as a latenight confessor. Once thevictim entered the booth the killer hadhim isolated. No escape. Short stuff exitshis confessional and kicksin the door of the priest's chamber...

Crew Cut exits his confessionaland kicks in the priest'sdoor. He pulls the terrifiedcleric out. Close on a gash in the door.

indentation which indicatesthat this cowboy was wearing aboot with a pronounced heel.

WHIP PAN!

EUNICE

Gave him a couple inches. We're looking at about five footfive, gentlemen.

GREENLY

That's wicked short.

EUNICE

Wicked.

We drift over open seato a huge cargo freighter, the Killian Farris, plodding towardNortheast.

Connor and Murphy stackgrain. A MEXICAN SEAMAN (23yrs) appears...

DECK HAND

They're brawling inthe hold! Better get your bets in now!

Seamen cheer as a large,ruffian GIANT (33yrs) and a Latinofight. David and Goliath. Meet ROMEO (30yrs), pony tail, shorn sidesanda perpetual smile. Romeo'shands are chained behind him.

Romeo bobs, weaves andfakes, avoiding many punches. TheGiant spews angry French allthe while. The boys step up asmoney moves and men bet. Connorto 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 ahand on him.

MURPHY

But he can't hit himback.

MEXICAN SEAMAN

That's the bet. He's gotto last five minutes.

This guy's fuckin' crazy.

The brothers whip outmoney and give it to the Sailor.

BOTH

Fifty on the Mexican.

We track with the fighting. Tattooed across Romeo's back, "LA RAZA." Nearby, FrenchROUGHNECKS #1 and #2 scream in theirnative tongue to the Giant andhe stops and rests.

ROMEO

You should never fighta Mexican, Frenchy. Pound forpound, the toughest mother fuckers on earth. Know why? We like pain. We like it,Pierre. I mean think about it, "tabascosauce." What kinda fucked up peoplewould even invent that shit?

The Giant swings butRomeo slides under his legs. Cheers! Romeo jumps up, Swinging hishands under his feet, still bound butin front of him now.

ROMEO (CONT'D)

Don't be scared. Remember,I can't hit you. I ain't gonnahit ya.

(avoiding blows)

Ain't gonna hit ya. Ain't gonna...

Romeo catches his opponent'swrist and wraps his chain around. A kick in the stomach dropsthe Giant to his knees. Romeo locksthe man's head between hislegs, scissor hold.

ROMEO (CONT'D)

Ooo00o. Found the loophole,bitch!

The Giant falls. Romeokeeps his wrist locked as he chokeshim out.

ROMEO (CONT'D)

Aughtta be a lawyer! Got the ‘fine print on y'ass! Pursuantto! Pro bono! Pari Pasu! I'llknock you out on contingency, motherfucker.

The Giant passes out andRomeo stands to cheers. Roughneck's#1 and

Romeo emerges from thehead, chains still on. Roughnecks#1 and #2 move down the hatchwaytoward him, wielding metal pipes. He looks at his chains.

ROMEO

Oh, shit. FIRE! FIRE!

The brothers emerge fromthe shadows, cutting them off.

ROUGHNECK #1

Out of zee way!

The boys speak French. At first, the Roughnecks are surprisedbut the argument escalates. The Roughnecks swing their pipes andina brutal display, theboys dispatch them quickly, leaving one unconscious and the othergasping for air. The boys turn...

ROMEO

Whoa! Uh, merci, uh,si vous plait.

MURPHY

Just protectin' our investment. Ya made us fifty bucks.

ROMEO

Oh, thank, God. Irish,huh? Finally some class. I'm Romeo.

Connor.

MURPHY

Murphy. Why were youyellin' "fire"?

ROMEO

I heard you were supposedto on t.v.

CONNOR

That's if you're gettin'raped.

ROMEO

Oh...I'd be more inclinedto go with something like, "THATDOESN'T GO THERE, MAN!"

They laugh as theymove to the semi-conscious Frenchman.

LOW ANGLE: lookingup at our trio, Romeo is in the middle.

ROMEO (CONT'D)

We saved your entire fuckingcountry in World War Two! Gee...thanksfor the statue!

Romeo's foot smashesto camera, blacking us out.

The boys slumber, sideby side in hammocks. We pull closeon them. Silence. They whisperin unison...

BOTH

Quis praesumis profanusapud Dominus?

(subtitles)

Who dares trespass inthe house of God?

Their eyes pop open.

Murphy rigs a needleto an ink pen. Connor clicks on a hotplate. The boys listen intentlyto a tiny hand radio nearby.

RADTO ANNOUNCER V.O.

People are still in shockas Father McKinney was a belovedlocal cleric.

(MORE)

RADIO ANNOUNCER V.O. (CONT'D)

His selfless contributionsto the community too numerousto list. In related news, second generationcrime boss, Concezio Yakavettahas not commented on whetherhe fears for his own safety.

The boys flash withrecognition.

BOTH

Yakavetta?

Rich, Italian decor, longtable, laden with food. CAPOS 1-6sit in utter shock, lookingto their boss, CONCEZIO YAKAVETTA (37yrs)who heads the table.

CONCEZIO

So, there it is. Iwant everyone to feel free to share theirthoughts.

He returns to eating. A moment of silence then the Caposburst into anger. Capo #1 slams afist down and stands, silencing the lot.

CAPO #1

ITcan't believe noneof us were consulted on this! The disrespect! We'd have never okay'dsuch 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?! MThere's no business in it! You've put us all at risk here! The copscould be all over us!

CAPO #4

Forget the cops! What about these Saints fuckers?! Theseguys were long gone! And now you'retrying to bring the devil right backto our doorstep?!

Concezio wipes hismouth, stands and adjusts his cuffs. Heslowly circles the table ashe speaks.

CONCEZIO

Six years ago, withthe backing of an adoring public, thesevigilante fucks put my father on hisknees and executed him...in public. MiPatrigno, a blood relative and benefactorto all of you. Poppa Joe made you richand his murder remains un-revenged...

A few roll their eyesat this verbal blunder.

CONCEZIO (CONT'D)

This too, is infamita. These homicidal maniacs nearly wipedthis family out. It's taken a lot oftime to build ourselves up again,brick by brick. And now that we've re-acquiescedour original power, canwe really afford to have these guys pop outof the woodwork someday and try to finishthe job when we least expect it? Now, for those of you who have forgotten,let's recap. These fuckers walk intorooms full of gangsters...

(denotes surroundings)

Outnumbered, outgunned. They kill everyone...and leave.

Some look as if they arestarting to get his point.

CONCEZIO (CONT'D)

You think I don't knowthat each one of you's been waking up innight sweats over this the last coupleyears? These sons of bitches prisonfucked us with no lube, wiped theirdicks on our drapes and walked away! And we been living in silent fearever since. Oh, we don't talk about it. Rape victims often don't. But it'sthere. Knowing they're still out there,somewhere. Thinking...what if?

Fear and realization.

CAPO #4

Concezio is right. Pretendingyou don't got a problem don'tsolve nothing.

Heads nod in shamefulagreement.

CONCEZIO

Thank you, Doctor Phil. So, let's take a moment to look atthe serendiplious, diperous, serendip...

(frustration) ...type Situationwe findourselves in

here. There's a goodchance they'll show. No catching uswith our pants down this time. We candeal with them proactivitously. Thecops were embarrassed by these guystoo. With a second bite at the apple,they got every reason in theworld to crank up the heat. And as fortheir doting public. I'd imaginethey're gonna lose a few fans.

Heads nod all around. Sold.

Murphy sits, bare chestedon a crate. With the rigged pen,he tattoos his brother'sback. Connor cooks something, in apot, on the hot plate. The resinof anger is evident.

TATTOOS: Murphy'sback has the crucified feet of Christ and Connor's shows Christ'sdowncast head on the cross.

CONNOR

The prodigal son, huh? He wants us, he's fuckin' got us.

MURPHY

But why would he do somethingso public?

CONNOR

Think about it. Peoplefigure we did it. Makes it more likelysomeone will drop a dime. Way easierto get to us in prison, isn't it,now.

The berth door is slightlyajar. In pops a bottle ofWhiskey, then Romeo's head. He's expectinga cheer but the brothers havetheir backs to him. He's instantlytaken by their ink.

MURPHY

But how would anyone recognizeus?

CONNOR

You don't remember thosesketches on the news channel?

MURPHY

Shit. That's right. Y'know, every time they show thosecomposites on TV and then they catchthe guy, it looks nothin' like him. Butours?

CONNOR

Just our luck. We getLeonardo fuckin' Divinci as a sketch artist.

Romeo listens with suspicion.

MURPHY

Maybe we should dye ourhair.

CONNOR

What?

MURPHY

Yeah. These guys are alwaysdyin' their hair. You know,like in "The Fugitive." It's covertand shit.

Connor smirks privately.

CONNOR

What color would youdye 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 handsoff my ass back there and, "stay gold,Pony Boy."

Connor laughs heartily.

MURPHY

Fuck you!

Murphy stabs the inkpen into his brother's shoulder.

CONNOR

AAAAAH!

Connor bolts up, knockingover the pot. Hot water and pennies spread across the floor. Connor pulls the pen out.

CONNOR (CONT'D)

You motherfucker!

Romeo steps inside and seesthe pennies.

MURPHY

Serves ya right!

The boys are just aboutto fight when...

ROMEO

Oh, shit.

The brothers snap theirheads toward. A stunned Romeo pointsto them, then the pennies.

ROMEO (CONT'D)

I know who you are. You guys are the fuckin'....

MURPHY

SHUT IT!

Murphy moves behindRomeo, shuts the door and shoves him in.

ROMEO

Oh, this is so fuckingcool, man. I'm from Boston. I loveyou guys. Shit, everybody does! Imean, holy fucking shit! Maybe I could getin on this, you know? Bring someLa Raza ta this thing. Spice it up a little. Hey, is it true you guys say aprayer before you grease somebody?

Connor pulls a gun. Theboys jump on Romeo and pin him tothe floor. Murphy claspsa hand over Romeo's mouth. Connorputs the gun to Romeo's head. Their faces glaze over, religious ecstasy...

CONNOR

And an awesome wailingwas heard throughout heaven...

Romeo's eyes go wide andmuffled cries of terror are heard.

struck upon the earth.

CONNOR

And as Almighty God createdyou...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 shotwhile we're waitin'.

The boys laugh, snatchthe bottle. Romeo is in shock.

ROMEO

That shit was NOT funny,man!

The brothers laugh harder. Romeo rolls on his side and slidesa hand down the back ofhis pants. He seems relieved.

ROMEO (CONT'D)

Oh, thank you, Jesus. Thought I greased my drawers.

The boys and Romeo smokeand pass the bottle around.

CONNOR

No.

ROMEO

But I got conex allover Bean Town. Romeo'l1lhook you up likea tow truck!

MURPHY

No.

ROMEO

Why not?!

MURPHY

We don't hafta giveyou reasons. Forget it.

ROMEO

It's because I'm Mexican,isn't it!

CONNOR

How dare you, sir, insinuatesuch a thing? The fact thatyou're a greasy spic's got nothin' tado with it.

The boys laugh.

ROMEO

I'm gonna let you havethat one. Look. I can do this. It'snot rocket science. You two findbad guys doing bad shit and you killthem, right?

CONNOR

It's not that simple.

MURPHY

Yes it is.

CONNOR

S'pose you're right. I'dsorta hoped we were a little more artisticthan that.

ROMEO

Well, you ain't. Can'tyou guys see it? This shit's fate,man. Like preordained type shit. Mea fucking Culpa! Why do you thinkyou just happened to be in thathatchway 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 whatyou say. I say it's because Jeeeeesuswanted it that way!

CONNOR

Oh, no.

ROMEO

Fine. Then what exactlydo you intend to do when you hit U.S.soil?

CONNOR

We'll go after all Yakavetta'speople and operations tillwe get to the man himself.

MURPHY

Yeah, work our way upthe food chain.

The brothers seem pleasedwith themselves.

ROMEO

So, what's your first gig? What's the first thing you gonnado?

The boys look to one another. They're stumped.

CONNOR

Well, I don't supposewe have a succinct plan, y'know,per se.

MURPHY

Yeah. It's not fullydeveloped yet, y'know, as it were.

A slow smile splitsRomeo's face.

ROMEO

You two need to chill inthe green room, Sip on some Pellegrinosand let your manager handlethe details. And you better get my Cub Scoutbadge ready. Cuz if youwant to kick Yakavetta in the nuts,let him know you're in town...Romeo'sgot an ace in the hole for you.

HOT DOG VENDOR

These guys have gone "maddog" 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 fora second! No bleep-in way the Saintsdid it!

The CHIEF (50's) sits,arms folded. The detectives are present. Eunice stands before awall adorned with crime scene photos, reports, Concezio andhis Capos.

EUNICE

And that's all shewrote. Everything points in the same direction.

She taps Yakavetta'spicture on the wall.

CHIEF

Why would Yakavettawant them back here? Him of all people.

DUFFY

To have them executed. Revenge. Oldest motive in thebook.

GREENLY

The Saints killed hisdaddy six years ago, right? He was insidewhen that happened doing a nickelfor extortion.

DOLLY

Yeah. From inside hecould only do so much. Since he gotout nine months ago, the Yakavetta'shave regained their original strength. Looks like their clearing all theiropen 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. Coldhits all around. Concezio Yakavettaand his six Capo Regime, all bloodrelatives, have disappeared.

CHIEF

SO?

GREENLY

So, it fits. He's goneto the mattresses with histop brass. He's protecting them tillthis is over.

EUNICE

And word's been putto all his lieutenants that the Saintsare to be taken out, on sight.

DOLLY

That means his resourceson the streets are battening down thehatches, waiting for them to show.

CHIEF

Look, I been stonewalling the media on this thing but theMayor's been riding me like a rented mulehere. I got half of New England thinkingthe Saints whacked a priest andthe other half thinking their innocent. Its a powder keg. I'm talking riotgear at Celtics games, here. I couldclear them of this murder, take thepiss right out of this thing, keep thepeace in the Commonwealth. Gimme onegood reason why I shouldn't gopublic right now.

EUNICE

Walk with me, Chief. Let's talk.

He stands and she takeshis arm as they exit. Duffy quietlycloses the door and turns. Hushed tones...

DUFFY

This is not good. She'sgunning for the boys hard.

DOLLY

This brawd, trying toput a feather in her cap is gonna getus locked up.

DUFFY

Just calm down.

GREENLY

And you know they'll sendus to the Hoag. We put half thosederanged sex freaks in there. I hopeyou guys like cock sandwiches. Cuzwe'll be eating them for breakfast, lunchand dinner!

The Chief and Eunicewalk down the hall.

EUNICE

I understand you got a jobto do, Chief. But if Yakavettaeven sniffs that we're onto him,he puts a bullet in Napoleon's head,plants him at the bottom of the ocean andwalks. tThis pint sized killer isthe only thing that puts Yakavetta rightin the middle of this. It is imperativethat we find this man.

The Chief looks as ifhe is sold.

In hushed tones.

DUFFY

We need to figurewhat we're gonna do when the boys show and startdoin' what they do best. Cuz that'swhen the shit's really gonnahit the fan.

DOLLY

That's another thing. Everyone's assuming that they're goingto come back. I mean, we gotno way of knowing that for sure.

Yeah. That could totallyhappen. They could not come back.

DUFFY

What dream world didyou two just slip into?!

They argue. Duffy snapsa photo of the dead priest from thewall.

DUFFY (CONT'D)

Point blank! We knowthe boys. Is there any part of youthat thinks they're are just goingto let this Slide? Believe this. They are either on their way...or they'realready here.

CLOSE ON: Connor,Murphy and Romeo peaking over a concretewall. Three sets of eyes.

Our trio is atop a dumpster,peaking over at the loading dock. Chinese Gangsters superviseunloading of crates onto a flatbed.

ROMEO

It's been all over thepapers the last two years. Yakavetta'sin bed with the Chinese. They're usinginternational shipping routes to smuggleit in. This is Little Yaka's shit.

Connor and Murphy smile.

CONNOR

Let's follow 'em downthe rabbit hole, Alice.

Murphy claps Romeo onthe shoulder.

MURPHY

You just scored a fewpoints, Rome.

ROMEO

Well, dust off my "MembersOnly"

jacket. (pulls set of keys)

Cuz the kid has also suppliedthe ride!

Murphy looks displeased. We hear a stressing motor. Romeodrives, Murphy Sits shotgun. Connor is in back, loading guns. Pullback to reveal our trio rides ina '68VW Bug. It is green withpatches of Bondo, exposed engine,low-pro rims, neon runner board lights- a low riding "work inprogress."

MURPHY

I thought you said yourcar was inconspicuous.

ROMEO

I don't like words thatgot 'spic' right in the middle. Besides, it is...where I live.

MURPHY

Where's that? Pimpville?

ROMEO

Hey! I hail from a colorfulpeople. Besides, you wouldn'tknow style if it pitched a tent in yourass!

(looks into rear view)

What do you think ofthe ride, Conman?

CONNOR

The only way I couldbe more embarrassed right now isif I was ridin' a moped.

MURPHY

Yeah...while fuckin' afat girl.

CONNOR

Yeah...rollin' throughthe gym at my high school reunion.

ROMEO

All right! I get the fuckingpoint!

CHINESE GANGSTERS#1-#5, shovel mounds of coffee grounds outof crates and pull kilosof white powder. Machinery noise inb.g.

CLOSE ON: Three setsof eyes peaking over oil drums.

Our trio watches as aDOCK WORKER (22yrs) drives a forklift, unloading the crates fromthe flatbed and driving them throughthe huge open bay doors. The boys and Romeo huddle up.

CONNOR

O'kay, here's the plan.

The "Queen" classic,Another One Bites the Dust, presidesover this fantasy sequence. Theboys, looking more "quaffed," do apointless slow motion walk towardthe forklift, throwing up their collars.

Romeo, also lookingpolished, executes a "Dan Tana" pistolwhipping on the Dock Workerwho perfectly out of frame.

INSIDE WAREHOUSE: Thelift pulls to a stop before the gangsters, crate on the forks. Romeo is behind the wheel.

SLO-MO: Connor andMurphy pop from the crate and fire ontheir Asian foe, hitting eachsquarely in the chest.

SLO-MO: The boys leapdown and light cigs as Romeo doesthe "one arm action star hang"off the side of the lift in b.g. WHIP PAN...

CONNOR

We skin out, go ta Doc'sfor a shot of Irish. We're home intime for tacos.

Murphy looks unsure. Connor turns to his brother.

CONNOR (CONT'D)

What?

MURPHY

Well, it's...uh...youknow, it's...

ROMEO

It's genius. I can evendrive 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 inon this shit, man! I'm working here!

The boys look to eachother. Murphy shrugs. Relenting, Connor pulls a metallic objectand shoves it in Romeo's hand.

CONNOR

You can consider yourselfa fuckin' pledge until we say different.

Romeo holds up the gunin displeasure, a tiny .22 caliber lady's purse pistol. Murphy snickers.

ROMEO

Can I consider myselfyour girlfriend, too?

CONNOR

That's what you get. Isthere a problem?

It's fine.

Connor scopes thewarehouse. Murphy claps Romeo on the shoulder.

MURPHY

Don't worry, Rome. Shitlike this builds character.

ROMEO

Yeah, the characterof a little bitch.

MURPHY

Now, dat's just unprofessional.

He turns and joins hisbrother as Romeo continues sulking.

MURPHY (CONT'D)

What do we think?

CONNOR

I think Yakavettamurdered a good man

just to send us amessage.

MURPHY

Well...let's send himone back.

As they spirit themselvesoff. DISSOLVE TO...

CRIME SCENE: Crime sceneworkers toil. We do not see specificsof the scene, just enoughto see the place is trashed and thebodies.

Greenly prowls the scenewith his iPod playing. His musicalchoice is the 80's Nightrangerstandby, "Motoring." He riffs on airguitar while assessing. Dollyand Duffy look on...

Why?

DUFFY

I don't know.

Eunice walks towardthe crime scene with the CHIEF (50's).

CHIEF

Your boss, John Kuntslercalled. Tells me you got a problemwith authority.

EUNICE

Absolute horse pucky,Chief. Unfortunately, authority'sdeveloped a problem with me.

CHIEF

And what's that?

They enter the...

EUNICE

Well, y'see, I am currentlyin possession of a vagina.

CHIEF

Oh, Jeez, that's not...

EUNICE

So you spoke to Kuntsler. Anything else.

They reach the Detectives. Greenly, still rockin', doesn'tnotice.

CHIEF

If it's confirmed thatthe Saints are back and too many bodiesstart showing up with pocket change...

(re: his eyes) -.-he's gonna pull youand step in.

EUNICE

Message delivered, Chief.

CHIEF

Listen. I'll fend himoff. Just work fast.

She smiles and nods. Greenly removes his ear pieces.

GREENLY

It's not them.

Eunice as she kneels ata body. She stands and pulls her earplugs.

EUNICE

It's them.

Greenly looks emasculated. Dolly and Duffy smirk at him. Eunice stands and prowls the scene,intense, intrigued, in her ownworld...

EUNICE (CONT'D)

A wise man once toldme. Where a man's actions are firmly boundto an unshakable faith one'sworst nightmares become sudden, terrifyingreality.

Pennies in eyes. Handscrossed on bodies.

EUNICE (CONT'D)

Y'can almost smell thebrimstone, can'tcha?

DOLLY

What do you think happenedhere?

EUNICE

Oh, this was a plan thatfell to pieces. A lot here doesn'tmake sense which is why it makesperfect sense. I believe things in our fairlittle city

just got downright biblical.

On the flatbed, thebrothers shovel coffee out of the finalcrate which rests on the forksof the lift. Below them stands theDock Worker holding his bleedinghead. Romeo covers him with his22.

DOCK WORKER

You didn't have to bashme in the skull.

ROMEO

Sorry, man. We got aplan going, here. Technically, I was supposedto knock you out.

DOCK WORKER

Christ! You got a gun. You could have

just pointed it atme and said SCRAM!

Connor points his gun atthe Dock Worker.

CONNOR

SCRAM!

DOCK WORKER

You got it!

He runs off. Romeo turnsup to them.

ROMEO

So, let's not let thisone, small incident get in theway of...

CONNOR

Shut up and get behindthe fuckin' wheel!

Romeo hops into the driver'sseat.

MURPHY

Well, at least the planis off toa winning start.

CONNOR

Go fuck y'rself.

They pull wrappedwhite kilos. Connor dips in a finger andtastes.

CONNOR (CONT'D)

It's heroin.

MURPHY

How the fuck would youknow?

CONNOR

Fuck you. I know shit.

Romeo's winging it, jerkymoves, grinding gears as the forklift staggers across themammoth warehouse toward the gangstersat the opposing end. The crateblocks Romeo from view. He's drivingblind as the rickety crate jiggleson the forks.

INSIDE CRATE: Connor andMurphy are sardined, back to back.

MURPHY

Jesus! What the fuck'she doin'?!

CONNOR

He can't see where he'sgoin'!

Murphy peaks through acrack.

MURPHY

Shit! Tell him to go left,now!

Connor puts his mouthto a knot hole.

CONNOR

Go left! Go left!

ROMEO

What?!

Connor sticks his fingerout the hole and points. Romeowrenches the wheel and they narrowlyavoid machinery. The crate rocks...

MURPHY

I can't fuckin' believeI let you talk me into this! This isa stupid plan!

CONNOR

I didn't notice youthrowin' out any ideas, ya creative asshole!

MURPHY

Fuck you!

The boys start elbowingeach other in a close quarters scrapwhile hurling obscenities.

ROMEO

Hey! What's goin' onin there?!

INSIDE CRATE: Murphy suddenlystops, eyes wide as he looksthrough the crack. They areheaded for a "Mechanic's Well." A long, rectangular cement holein the floor six feet deep.

MURPHY

Jesus Christ! Tell himto stop!

Connor slams his mouthto the knot hole.

CONNOR

BRAKES! BRAKES! BRAKES!

A few of the Chineseturn as Romeo slams on the brakes, screeching to a halt just beforethe well. The crate slides right offand falls in, disappears fromsight. CRASH!

A large cloud of coffeedust plumes. A wide eyed Romeo isexposed. The Asian gangsters starein shock.

Hard techno music! Suddenly,Romeo whips it in reverse, cranksthe wheel guns it and navigatesthe well. Speeds toward the gangsters.

MECHANIC'S WELL: (SLO-MO)The brothers burst from the debris, covered in coffee groundsand white powder. They draw theirweapons and walk toward the rampat the well's opposing end.

The Chinese pull and startfiring. Romeo dives off and rollsbehind some machines. The liftcontinues on target.

The brothers emerge andtear right in, firing at the gangsters.

Romeo fires his useless22. In the ensuing fire fight thebrothers kill all but ChineseGangster #3.

The forklift crashesthrough the table with the stacked heroin.

SLO-MO: The brothers slamthe final Gangster to his knees andlevel to the back of his headand recite the following in synchronicity...

BROTHERS

And shepherds we shallbe, for Thee, my Lord, for Thee. Powerhath descended forth from Thy hand,that our feet may swiftly carry out Thycommand. So, we shall flow a river forthto Thee and teeming with souls shallit ever be.

(MORE)

BROTHERS (CONT'D)

In Nomine Patris, etFilii, et Spiritus Sancti.

POP! POP! They killhim. DIP TO BLACK...

Haunting music. Blackand White film as Connor and Murphytake great care in ritualizingthe bodies. They place pennies ineyes and cross hands over chests. WHIP PAN...

Bodies are wheeled outin the b.g. as Dolly and Greenly talk privately with Eunice.

DOLLY

Just got a call frommy best snitch. Never steered mewrong. He says its this guy.

(hands Eunice mug) "Gorgeous" George Tuffano. He's

trusted bruglione toYakavetta but not blood. He's been leftcontrol of the streets. He's runningall of it.

Eunice looks over themug shot.

GREENLY

They call him "Gorgeous"cuz he likes his silk suits and jewelry. He's even got the 'out of season'fake bake going on, a real peacock, thisguy.

EUNICE

Yeah, I heard of thisrodeo clown.

Duffy approaches, handsEunice a tiny bullet in a baggy.

DUFFY

Ballistics just dug itout.

They all look perplexed.

EUNICE

A twenty two? You gottabe kidding me. That's like bringing aknife to a gunfight.

GREENLY

Yeah, or like bringinga really small gun...to a gunfight.

They all blank stareGreenly for a moment. Moving on.

DUFFY

I don't know. Ballisticsis reading three shooters. This isone of them.

EUNICE

Well, I'm having a hardtime believing that one of the threemost lethal individuals on the planetjust switched over to bird shot.

DOLLY

Maybe we're reading itwrong. The priest was a frame job,right?

DUFFY

Yeah, maybe somebody'strying to eliminate some competitionhere.

Eunice considers this. The Detectives seem hopeful.

EUNICE

No, sir. It's them. But we just might have ourselves a changein the line up, here.

The detectives all lookat one another nervously.

GREENLY

Fine, they're back. What's the plan?

EUNICE

Hell, we've just beencalled up to the big show. We are trackingmultiple perpetrators, gentlemen. The plan? We keep our ear to the groundand try to figure out where Yakavetta'shiding. Napoleon. We find himand flip him. And as for the Saints...I'mgonna have me a face to facewith these boys one way or the other.

She walks off. The copslook terrified.

DOLLY

Holy...fucking...shit.

We see the hands of anOLD MAN (70)as he mists flowers inthis lush environment. He amblesto a shop table, wearing a metal legbrace, circa 1950's and a correctiveshoe, Polio. We do not seehis face.

CLOSE ON: small blackand white TV on table. Breaking news. Live from the crime scene...

REPORTER #3

Law enforcement has confirmedthe Saints are back!

This gives way to...

The Saints pencil compositesare shown. From the studio...

REPORTER #1 V.O.

It's confirmed. The fivedrug traffickers all involvedin the heroin trade were victims ofthe Saints.

STATIC! CHANEL CHANGES! Bodies are wheeled out...

REPORTER #2 V.O. ...several having closeties to the

Yakavetta Crime Family,confirming the long suspected mergerof the Chinese Triad and the Mafia.

CLOSE ON: A metal dooropens revealing DOC (60's).

DOC

BOYS!

The brothers and Dochug and greet as he ushers them inwith Romeo in tow. The bar is closed,empty.

DOC (CONT'D)

Jesus, Mary and Joseph! I saw da nuh, nuh, news channel. Are ya boys all right?!

CONNOR

Sound as an Irish pound,Doc.

MURPHY

Is it too late for a shot?

DOC

Oh, the Lord toldme you'd be comin! He said, "Doc, they'recomin" and I was ta get everting ready. So I did. Everting's ruh, ruh,ruh, it's all set.

4l.

ROMEO

Uh, hem!

MURPHY

Oh, this is our Mexican.

How are ya, lad? Theycall me...FUCK!...ASS!

ROMEO

Nice to meet you, FuckAss, I'm Romeo.

Doc turns on the lightsand they all enter. There is a farmore ornate and ancient barup here: gothic pool table, dustyboxes, cots set up, blankets,towels, hot-plate etc.

THE BROTHERS

Holy shit.

DOC

The place used ta be anold speak easy in the forties. I onlyuse it for storage, now.

Murphy is already openinga bottle of Irish.

ROMEO

This is so fucking cool.

DOC

Nobody even knows it'sup here. You'll be safe.

(points)

You can get in and outthe fu-fu-fire escape.

ROMEO

You know what this is? This is our hide out, man! We gota hide out!

CONNOR

What are you, fucking fiveyears old?

MURPHY

Hey, Rome, we got sheetsand broomsticks. You couldbuild yourself a fort.

ROMEO

Fuck the both of you!

Festive music. A brisketboils on the hot-plate. Romeo andthe boys drink and relatethe evening's antics to Doc. Dissolveto...

Later, they all enjoy animpromptu dinner on the pool table.The eating does not slowtheir banter and laughter. Dissolveto...

Later, music fades. Silenceas Connor and Doc stare eachother down across the pool table. Neither flinches. Murphy and Romeowatch with intrigue as Doc stiffleshis urge to pop off.

Not this time, ya littleshit.

CONNOR

We'll see, old man.

A moment passes and Docis literally shaking.

CONNOR (CONT'D)

Would somebody pleasecome over here and. e* ¢

DOC

FUCK!

DOC

ASS!

The boys and Romeoburst into hysterics. Doc rages.

Eunice enters the swankysalon and moves across the lobby.

"Gorgeous" GEORGE (47yrs)is face down as a female masseuseworks his back, incense,mood music. Eunice silently slides in flashing her badge, a fingerto her pursed lips.

Uneasy, the woman continuesher work as Eunice lotions herhands. She covertly replacesthe masseuse and motions her out ofthe room. Eunice digs in as the fattedmobster moans with pleasure.

GEORGE

Oh, yeah. Someone'sbeen eating their Wheaties. Yeah, get afterit, girl.

Eunice grabs a largemassage paddle with rubber fingers. Shewhips George's towel off,winds up and smacks him on his bare ass,HARD!!

GEORGE (CONT'D)

AADAAH!

George involuntarily jerksand rolls off the table.

GEORGE (CONT'D)

WHAT THE FUCK!?

He bolts to his feet.

GEORGE (CONT'D)

You fucking bitch!

He rounds the massagetable, arms outstretched. Eunice drawsher Side arm and sticks itin his face, halting him dead.

GEORGE (CONT'D)

Whoa, whoa, whoa.

EUNICE

What did you just callme?

GEORGE

Who are you?

EUNICE

Why, I'ma lady, George. That fact alone demands a certainamount of...

(cocks hammer back) ..-cordiality.

GEORGE

T'm, I'm sorry I calledyou that.

EUNICE

Well, how courteous ofyou to apologize. Courtesy isso important. Don't you agree?

GEORGE

Y, yeah...I'm with that.

EUNICE

Good. Now sit your fatass down.

George sits. Eunicereholsters, wiggles her skirt straightand sits on the massage table. George looks at her legs as she slowly crosses them. Trepidationas he covers his genitals. Eunicesmiles as she flashes her FBIcredentials. George relaxes.

Where is...ConcezioYakavetta?

GEORGE

I don't know.

EUNICE

Yeah. There's a lotof stuff you don't know, Hoss. For instance,why aren't you safely tucked awayin some ivory tower with all the otherbig wigs, sucking on cannoli andshrimp cocktail? Why are you the onehe lefton the streets, George?

GEORGE

Someone's gotta run ourlegitimate businesses. Someone'sgotta make sure that...

EUNICE

Someone's gotta chumthe waters.

GEORGE

That's bullshit and I ain'tsaying another fucking wordto you.

EUNICE

Good. Then you can justlisten. The

jig is up. We know Conceziohad that

priest killed.

George snaps his headto Eunice in shock, then recovers.

EUNICE (CONT'D)

Oh, Surprise, surprise. Another thing you don't know, I reckon. But why would he tell you? You and your guys on the streets, you'rehis bait. Y'all

just got thrown into ameat grinder.

Eunice goes to leavebut stops and turns back.

EUNICE (CONT'D)

Gorgeous George, huh? Expendable George is more like it.

(beat) (MORE)

EUNICE (CONT'D)

By the by, you got apretty nice ass for a fat man.

A Mexican joint, tuckedaway down by the docks.

ROMEO V.O.

You wanna find somethingin Boston that don't wanna be foundyou go to the Oracle, ese. My UncleCesar is hooked up with the Underground.

The boys, Romeo andUNCLE CESAR (58yrs) sit ina booth. Cesar is noble looking, silverhair. Silence as he looks them over.

CESAR

Word is, Yakavetta's gunningfor you boys hard. The wholecity's on edge. I even heard he posteda reward like Jesse James style andshit. Any of his guys that take you outgets his palm crossed, two hundred andfifty grand.

ROMEO

Whew. A guarter of amill for us?

CESAR

Us? What the fuck areyou talking about "us?"

They begin to argue in Spanish.

in front of them?!

CESAR

Cool it, Mr. Big Shot! A year ago you were washing my pots andpans!

anymore! I'm part of this,Uncle!

CESAR

Hey! This isn't my firstbar-b-que! Now shut up and stop interrupting! Let me talk to them and I'llfigure out whether your in on thisor in your own fucking fantasy world!

Romeo swallows his anger. Murphy speaks Spanish.

MURPHY

He's in. All the way in.

Cesar looks at Murphy surprised. In English.

CESAR

Is my nephew pullinghis weight?

Connor nods while tappinghis chest.

CONNOR

Mucho corazon.

Cesar looks to his nephewwith a new found respect and toucheshis hand. Romeo is very affectedby this. Back to business.

CESAR

Gorgeous George is runningthe show for Little Yaka. Drugs,prostitution, sharking, the whole chacha. If anybody knows wherehe is, it's that fat fucking pedico. I'llput it out on the wire.

Romeo quietly weeps ashe drives. The brothers are "highlyaware" and give respectful silence. As Romeo sniffles we show slowmotion remembrances of Cesarnodding and giving Romeo a look of respectand then touching his nephew'shand.

Back in the GreenMachine - an excruciating amount of timepasses. Murphy tries to breakthe ice.

MURPHY

Hey, uh, maybe we should...

CONNOR

Shut up. Romeo's crying.

A moment of silence....thenall three burst into laughter.

ROMEO

You fucking assholes!

A sprawling high riseapartment, overlooking Boston: buffettable, plasma screen, etc. The Capos are taking advantage of the amenities. Concezio'snot here. Capo #5 - #6 fill theirplates...

CAPO #5

That shipment of "H"was gonna square our books for six months. Shit.

CAPO #6

We always bounce back. Besides, look at the bright side. Better the chinks than us, right.

CAPO #5

I guess. Like the bosssaid...

(Concezio impression) "This is war. There'sgonna be

casuwalities."

They laugh. Suddenly,George enters with an overnight bag. The Capos are confused. Feigning a capitol mood...

GEORGE

Oh! Like the RomanEmpire in here! Where's all the concubinesand shit?

George laughs. Nobodyelse does. He looks at the food table. We pull close on shrimp cocktailand cannoli. A look of dread.

CAPO #3

George. What gives,here?

GEORGE

I need to see the Boss,right away.

CAPO #4

Jimmy the Gofer!

In hustles JIMMY THEGOFER (20's),skinny, weak looking.

CAPO #2 (to Jimmy)

Tl cortina.

Jimmy draws back a largecurtain, exposing a steel panic room. Next to the vault door, isa video screen which displays theunamused face of Concezio. Hisvoice booms over loudspeakers.

CONCEZIO

Get over here!

GEORGE

Whoa!

George hustles over. He stands before the screen, confused.

GEORGE (CONT'D)

Uh. Hey, Boss! I justcame by to...!

CONCEZIO

Push the talk button,numb nuts.

GEORGE

Oh.

(he does)

Can you here me? Over.

CONCEZIO

T can hear you fine, Smokeyand the Bandit. Now, what thefuck are you doing here?

GEORGE

Everything's in motion. All our guys are gunning for theseJesus Freaks. I figure, no need forme to be on the streets no more. So,which room do I take, eh?

CONCEZIO

You stupid motherfucker! I told you, you're on the streetstill this is over! Now get the fuckoutta here!

A terrified George hustlesfor the door.

CONCEZIO (CONT'D)

And don't come back heretill I tell you to, you fat fuckingwaste of space!

George trips over his luggage. The Capos giggle.

Cheap, depressing room. Crew Cut, in his underwear, repairsa broken rosary chainwith string and puts it on.He pulls a shoebox from a shopping bag. The brand is "Hushes." Slogan: "Measureup to your dreams."

He puts on one shoe. Crew Cut stands before the mirror goingup and down on the one shoed foot,noting the height that has beenadded. The shoe has been cleverlyconstructed to disguise the higherheel.

We are out back, among scrapcars. George talks with JOJO RHAMA (38yrs). Jo Jo is builtlike a fire plug and clearly a hoodlum.

JO JO

A priest. The sick fuck.

GEORGE

And he leaves all ofus on the streets holding the bag whilehim and his are living it up at the Tajfuckin' Majal, not a care in theworld.

JO JO

So, until the Saints getpopped, we're all lambs to slaughter?

GEORGE

Yeah! And he don't carehow many of us they wipe out in themeantime!

JO JO

What do you needme to do, Skipper?

GEORGE

Spread the word to allthe brugliones. No bullshit. From yourmouth to their ears.

JO JO

Everyone? North and South? That could get a little dicey.

GEORGE

Fuck their old grudges. All of them are in this, like it ornot. Tell them everything we discussed.

JO JO

Even the panic roomthing?

GEORGE

sure.

JO JO

Good. That's a nice icebreaker. They'll get a kick outtathat. I didn't even know thosethings were real. I thought theymade that shit up for that movie? Withthat brawd and that kid? With those guysin that house?

GEORGE

Panic Room?

JO JO

Naw, the other one.

GEORGE

Stop fuckin' around! This is serious shit, here! Tell ‘emwe meet tomorrow night. I'll call youwith the location.

POV of binoculars aswe see George exit the front of the autobody.

Crew Cut looks throughhis binoculars as he continues tobounce up and down on his specialshoe. He smiles at the site of George.

A table laden with clipboards, bagged evidence, reports, etc. Eunice finds a baggywith a tiny wooden bead in it. Greenlyenters.

GREENLY

Tap's up and runningon George's cell.

What's this?

GREENLY

Rosary bead. They foundit pushed into the carpet near thevictim. Father McKinney wasn't wearinga rosary so it's probably been therea while.

Duffy comes in with a stackof papers. He heaves it down.

DUFFY

The results on all 864prints found at the scene. All matchchurchgoers or clergy but one. Thepartial on the priest's watch is stillunidentified.

Eunice looks perplexed. Dolly enters, sipping coffee.

EUNICE

That's horse shit. Everyone gets printed nowadays. They'reinking up snotgobblers in kindergarten,now.

DOLLY

It's a brick wall anyway. We know Napoleon was wearinggloves. Lab got Zilch off the chain andlock. The pennies came up cleantoo.

I'm gonna go powdermy nose.

Greenly stares at herass as she exits.

GREENLY

Aw, man. Daddy wouldknock that out like Mike Tyson.

Eunice suddenly re-entersthe room with emergency.

GREENLY (CONT'D)

What?! I didn't say nothing!

Eunice is absorbed aphoto on the wall of the priest's hand.

EUNICE

McKinney wore hiswatch on his left hand.

She turns and holdsup the baggy.

EUNICE (CONT'D)

Where was this foundexactly?!

Duffy goes to a mockup of the victim's body position onthe wall.

DUFFY

Right here, off his leftelbow. Where are you going with this?

EUNICE

Dolly, get on the phone! Find out which wrist he worehis rosary on and if he was wearing itthat night! Duffy, run that partialthrough DMV! David put it through INTERpol! Just get an I.D.! Now! Comeon! Vamoose!

They all dart out. With fire in her eyes, she looks closelyata picture of the priest'swrist watch on the wall.

EUNICE (CONT'D)

You took your glove off,didn'tcha Cowboy. Now, whywould you go and doa damn fool thang likethat?

Crew Cut finishes ritualizingthe priest and looks deeply athis victim. He removes aglove and places his tiny hand nextto McKinney's large one. Silent rage. Bare handed, Crew Cut snatches the priest's rosary fromabout his wrist, breaking the beadchain.

The brothers and Romeowalk through the Mausoleum. They approacha grave slate with respect. The name reads, "David DellaRocco." There 1S a picture ofhim. Murphy narrows his eyes and leansin.

MURPHY

What the...did theyuse his mug shot?

CONNOR

What? No.

MURPHY

You remember how hetold us he was embarrassed cuz the guyhad to hold up all his long hair behindhis head?

CONNOR

Aye.

MURPHY

Look at that.

We see Murphy's fingerdenote a bad "airbrush" job.

MURPHY (CONT'D)

That's an arm.

Connor looks close.

CONNOR

Oh...that's fuckin' harsh.

The boys look at one another,then bust out laughing.

MURPHY

Y'er one of a kind,Roc.

ROMEO

So, am I as good asthis guy, or what?

CONNOR

You, Sir, are no DavidDella Rocco.

A sound. Instantly,the boys turn and level weapons. Therestands ROY (32yrs) thick glasses,geeky. He drops his flowers.

ROY

Whoa! Whoa! Whoa! Holy shit!

(beat, recognition)

HOLY SHIT! You're theSaints! I'm Roy, it's an honor. Huge fan!

The boys reholster andlook to one another. Disapproval.

CONNOR

We're developin' quitethe cult following in the oldneighborhood.

The boys continue to chatwith Roy as Romeo answers his cell.

ROMEO

Que pasa.

It's Cesar.

CESAR

ITgot that info youwanted, mijo.

The Salon Manager approachesthe back door with keys in hand.

CESAR V.O.

The place is TropicalTan on Bunker Hill. It's where the fatfucking juedo gets his fake bake at. He's gota secret appointment. Once a week, never misses. Eight o'clock,tonight.

The Manager lets Georgeslip in. He steels into a tanningroom.A Mexican towel boy has spiedGeorge. He picks up a phone...

Romeo snaps his phone shutand turns to the boys.

ROMEO

We got him.

Who's this, your new sidekick?

(extends hand)

Pleased to meet you. I'mRoy.

ROMEO

How would you likeme to sidekick you in the ass, Roy?

Let's go.

The three walk forthe door, leaving Roy behind.

ROY

I, I didn't mean to...

ROMEO

T'm sick of this shit! I've been breaking my balls, hereand I get second banana billing! I...

MURPHY

I, I, I. There is no "I"in team, ya selfish prick.

ROMEO

Yeah?! Well, there's an "I"in "Fuck you!

Moody music as our triowalks through the gravestones.

The brothers and Romeosneak up to the tanning bed. Georgesings a Sinatra tune as his fatstomach props the cover up like ahalf open clamshell. Suddenly,Murphy leaps up and sits on the cover. George is being crushed beneathhis weight. Connor kneels.

CONNOR

Lovely voice. We'd likeya ta sing for us. What do ya say?

George struggles and nods. Murphy hops off. George spillsout, hot pink Speedos. On all foursand breathing heavy...

GEORGE

It's getting hard tobe a fucking gentleman of leisure,here!

The boys pull weapons andthrow him against the wall in a Jesus Christ pose, pinninghis hands with their guns.

MURPHY

We want the shooteryou motherfuckers used on that priest.

GEORGE

I don't know who it is.

The boys cock back thehammers on their weapons.

GEORGE (CONT'D)

It's the truth! Conceziodidn't tell no one what he was doingcuz he knew nobody would have o'kay'edit! The shooter's an independentcontractor! That's all I know!

CONNOR

Where's Yakavetta hidin'?

GEORGE

The Prudential! Fortiethfloor! Jesus Christ!

A ringing phone is heard. Romeo pulls George's Blackberry from nearby. He tosses itto Connor. Text message, "WHERE?"

CONNOR

You meeting someonetonight, George?

GEORGE

Yeah. The brugliones.

MURPHY

The what?

GEORGE

Yakavetta's racket chiefs. Street guys.

(suddenly brightens)

Your kind of guys. You could take a real bite outta crimehere, huh? I could help you.

What's this?

GEORGE

Nobody forgot what youguys did to us last time. They're stayingindoors. I give out the locationan hour before.

ROMEO

My Uncle's place is closedtonight. I got the key.

MURPHY

It's down by the docks. Dead as a doornail at night.

CONNOR

Yeah. You could set offfourth of July fireworks in dat placeand nobody would hear. How's Mexican foryou, George?

GEORGE

No difference tome. Ithink I just shit my Speedos, anyway.

Eunice drives. Her cellrings. She checks the I.D. then...

EUNICE

How do, David?

Greenly is at his desk. Alternating coverage.

GREENLY

Hey, DMV came up dry onthe partial. INTERpol's stillworking it. Should only be another coupleof hours.

EUNICE

Lovely. Anything else?

GREENLY

Yeah. Nothing big. We justdumped a text message from George'scell. Just two words. "El Cava." It's a Mexican

joint down by the docks. He sent it to

his enforcer, Jo JoRhama. Guess gangsters gotta eattoo, huh?

EUNICE

I think I'll drop in ontheir supper, see if I can shake themup a little.

GREENLY

You need a body guard?

EUNICE

No thank you, Mike Tyson. Bye now.

GREENLY

Bye.

She hangs up andwe areleft with Greenly. Red handed.

GREENLY (CONT'D)

Oh, shit.

Close up, three shot. George, looking very uncomfortable, is flanked by the brothers. He is positioned to covertly viewthe restaurant from thekitchen.

We see NORTHSIDE BRUGLIONEsS#1- #3 and SOUTHSIDE BRUGLIONES#1 and

GEORGE

Just two more to go.Uh...You guys are gonna let me go, right?

MURPHY

We'll see, won'twe.

George grimaces. Looksas if he'll cry.

GEORGE

Jesus, this is some embarrassingshit.

We see the three men frombehind. George is still in hisSpeedos, which now have a pronouncedshit stain in back.

Romeo, frazzled and ina busboy uniform, has got two blendersof margaritas going. TheBrugliones mow through appetizers.

Northside doesn't interactwith Southside and there is anempty bar stool between them. N.S. Bruglione #1 slides Romeo a platter.

N.S. BRUGLIONE #1

Yo, Spicaroo. Morenachos and mas salsa, capisce?

S.S. BRUGLIONE #1

Hey and I need a refillthere, pepe?

ROMEO

Si, muchachos.

SOUTHSIDE BRUGLIONE#3 enters behind everyone. All suddenlyturn, going for their guns.

S.S. BRUGLIONE #3

Whoa! Easy...Jesus.

Everyone calms. S.S.Bruglione #3 gives a respectful nodto the Northside guys but sitswith his own.

We do not see George justbelow frame as the boys are "workingon him" in some way, puttingon finishing touches. Romeo barrelsin.

ROMEO

These dagos are gettingantsy and I'm getting Spicaroo'd andPepe'd. The kid's about to go Ponchofucking Villa out there!

CONNOR

Stick it out. Waitin'on one more.

Jo Jo exits his Cadillacand walks toward El Cava. There isa "closed for private function"sign on the door.

Crew Cut watches Jo Jo. He dials his cell.

From behind we see theOld Man gardening. He answers a ringing phone, nearby. We donot see his face.

The following conversationis in Italian.

CREW CUT

He is not with them.

OLD MAN

Are you certain?

CREW CUT

Yes. It is only the sons. They have a Spaniard with them. They will slaughter everyone.

OLD MAN

Let them. If you killthe sons...the father will come.

Crew Cut develops a sinistersmile.

Connor watches Jo Jo greetthe others. He turns to Romeowho is angrily cooking up a storm.

CONNOR

The gang's all here.

Without missing a beat,Romeo slams the hot pans into a dishsink. He stands fumingwith his hands on his hips.

ROMEO

Gimme my fucking beebee gun.

MURPHY

Naw. You've earnedyour stripes, Rome.

Murphy throws hima .9mm. Romeo smiles.

JO JO

So....where's Gorgeous?

Suddenly, George comesrolling out of the kitchen, unconsciousand tied, face down, to abus cart. There is writing on his back. Everyone pulls theirweapons and moves toward.

N.S. BRUGLIONE #2

What the fuck is goingon, here?

S.S. BRUGLIONE #2

Where's that spic barkeep? Yo, Pepe! Where you at?!

As the gangsters achievethe cart, the brothers creep overthe bar in the b.g. Bruglioneslook down on George, painted on hisback...

S.S. BRUGLIONE #3 "Erin go brah?" Whatthe hell does

that mean?

Connor and Murphy are standing25 feet behind them.

MURPHY

It's Irish for "You'refucked."

Hard core music as theBrugliones turn in horror. Everyonebegins firing and we have slowmotion gunplay to pulsating music.

Several are chewedup as chests explode and they are blown into George on the cart,knocking it over. George comes to.

Romeo appears and tearsin, sending several more crashing intothe salad bar.

Murphy, while firing,dives back over the bar as bottles explode. Connor rapid fires ashe dives into a booth.

The boys rise and layout a second barrage, blasting the restinto buffet tables and a sodafountain. The music cuts.

ROMEO

Viva La Mejico, bitches!

George bolts up. Thebus cart is still tied to his fat belly.

GEORGE

Uh, I've seen the light! You guys have really turned me aroundon this! I'm like born again and shit! I swear!

What do ya think? Lethim go?

Connor slips one bulletin a revolver, spins the barrel andsnaps it shut. He points itto George's forehead. George weeps inearnest.

CONNOR

We'll let God decide ifyou get a second chance.

He slowly cocks thehammer back, pulls trigger, "click."

CONNOR (CONT'D)

Well, praise the Lord.

The terrified ex-gangsterstaggers toward an exit whilewriggling out of his bonds. Justas he touches the door.

CONNOR (CONT'D)

George?

(George turns)

All good boys go to heaven.

George nods and exits. Romeo is confused as our trio gathers. Connor tosses the bullethe palmed to Romeo and he nods.

MURPHY

Now, that was, perhapsthe finest example of spiritual guidancethat I have ever had the good fortuneta witness.

CONNOR

Well, thank you verymuch. Mysterious ways. Mysteriousways.

SLO-MO: Suddenly,Eunice bursts through the kitchen door andlevels her weapon at the brothersand Romeo. Romeo levels back.

Eunice fires as theboys dive on Romeo. Crew Cut is revealedbehind our trio, firing fromthe shadows. Eunice and Crew Cut exchange fire as the boys reload.

Eunice hits Crew Cut inthe side. The assassin has a momentof outrage but persists firingas he makes a hasty exit.

In the confusion it isa few moments before anyone realizeshe is gone. Silence falls. Presently, Romeo and the boys boltup. Romeo goes for the door andthe boys level at Eunice.

CONNOR (CONT'D)

Drop the gun! Drop it!

She "places" her gun ona nearby table.

EUNICE

Easy fellas. I'm alone.

The boys are beforeher as Romeo returns.

ROMEO

He's gone.

CONNOR

Who are ya?

EUNICE

My name is Eunice Bloom...andI'm your new guardian angel. A torch was passed to me by a mutual friend,gone but not forgotten.

The boys reholster. Shedrops her arms.

MURPHY

We heard about Smecker. He was a good man.

CONNOR

Aye. You have our condolences.

EUNICE

And you have mine.

They shake.

CONNOR

Connor

MURPHY

Murphy.

EUNICE

Very well...Connor,Murphy.

The boys nod. Romeopoints to the front door.

ROMEO

Who the fuck was thatguy?!

EUNICE

That, I suspect,was the shooter you boys have been looking for.

The boys look at eachother. Frustration. Anger.

ROMEO

Fucking...what the fuck?! Who the fuck is this brawd?! Andwhat the fuck's going on, here?!

EUNICE

Let's speed this upbefore your new Sidekick's got to digany deeper into his impressive vocabulary.

The boys chuckle.

ROMEO

Oh, no you didn't.

EUNICE

T am an FBI agentwho iscontrolling this investigation fromwithin, in order to ensure thatyou gentlemen never see the inside ofa prison cell. I am conspiring to dothis with three like minded individualswho have aided you in the past. ThoughI have yet to inform them of my agendabecause, well, girl's gotta have her fun.

MURPHY

Dolly, Duffy and Greenly?

EUNICE

The very same.

CONNOR

How are the lads?

EUNICE

Two of them are scared. One's just horny.

MURPHY

Bet'cha I can guesswhich one.

EUNICE

Bet'cha can but let's saveit for group. Right now,we have a big problem.

CONNOR

What's that?

Funice denotes the bodies.

EUNICE

This...simply won'tdo. We made a deal. The big fish stepin if your body count gets toohigh and...

(re: carnage) -..-youhave been verynaughty boys.

Rockin' music overtakesas we DISSOLVE TO...

With Eunice directingthem, the boys and Romeo restage thecrime scene. With a squeegeethey move pools of blood across the linoleum floor and re-positionbodies.

The boys wrap Jo Jo'sbody in a tarp and put it in the Green Machine. Romeo createsblood splatter with a turkey baster.

Romeo and the brothersplace the guns they used in the handsof dead gangsters as Eunice dropsbullet casings in carefully chosenspots.

Romeo and the brothersleave with the utensils used to rigthe scene. The music fades,leaving Eunice in the center of...

Silence. She removesher ear plugs and the sound returns. We are on a very different lookingscene. CSI, forensics, even Dollyand Duffy wait with baitedbreath. Greenly is not present.

EUNICE

O'kay. Here's how it allwent down.

Dolly and Duffy opentheir notepads.

Northside stands facingoff with the Southside. All bruglionesare frozen in place. Eunicesaunters down the middle. Coolmusic...

EUNICE

A secret gathering ofthe Brugliones. The topic of discussion? Weak leadership and betrayal.

N.S. BRUGLIONE #1

Yakavetta's hiding fromthese Jesus Freaks and making us looklike pussies.

S.S. BRUGLIONE #1

And he's hanging allof us out to dry to boot.

A pause as they sizeeach other up.

N.S. BRUGLIONE #2

All right. I'll bethe first to say it.

EUNICE

The enemy of my enemy ismy friend. So, even with all theirold vendettas...

N.S. BRUGLIONE #2 -.--lsay fuck the Yakavettas.

EUNICE

And there it is. Guesswhat comes next.

Eunice points to men ashe moves down the line.

EUNICE (CONT'D)

Red Rover. Red Rover.

S.S. BRUGLIONE #2

We're taking over.

EUNICE

Ah. Easier utteredthan accomplished. The North End and the SouthEnd may as well be the Hetfieldsand the McCoys. These fellas...they justdon't get on.

All the Bruglionesyell over one another.

N.S. BRUGLIONE #3

Fuck you! The NorthEnd built that racket from the groundup!

S.S. BRUGLIONE #3

South End's been carryingyour fucking asses for years!

N.S. BRUGLIONE #3 15 percent?! In yourdreams, asshole!

S.S. BRUGLIONE #3

Whoa! Just went upto twenty, fuck stick!

S.S. Brulione #1 flashesa gun in his waist band.

S.S. BRUGLIONE #1

You want some of this,you mutt?!

N.S. Bruglione #1 pullshis weapon.

N.S. BRUGLIONE #1

Let's see what you got!

They all pull and levelat one another. They freeze in placeand all yelling ceases asEunice walks down the middle.

EUNICE

Oh, the cliche. AMexican stand off in a Mexican restaurant.

Eunice looks deeply atall the men as she turns a slow circle.

EUNICE (CONT'D)

They cut each other topieces...and nobody walked away. Who knows who fired first. Couldhave been any one of them. But somebodylet it loose.

(pointing to men)

And duck, duck, duck...

Funice stands before S.S.Brulione #2.

EUNICE (CONT'D)

Goose.

BOOM! They all start shootingas Eunice stands in the crossfire unaffected. Men falldead and we see the relevance of eachthing Eunice did to doctorthe scene. WHIP PAN...

EUNICE

Yakavetta's lost controlof the streets.

(MORE)

EUNICE (CONT'D)

They're fighting overhis throne. This was not the work ofthe Saints.

Heads nod agreement. Greenly enters and flashes a file toEunice.

Press clamors for the storyin the b.g. Eunice and the detectives are in a private spot. Greenly excitedly hands her the file.

GREENLY

INTERpol came through.

Eunice opens the file. Picture of Crew Cut. Dolly and Duffyread over her shoulder.

GREENLY (CONT'D)

You were right. Five footfive. Gotta be the shooter.

Eunice smiles and speaksto Crew Cut's photo...

EUNICE

Are you ready for yourfifteen minutes, Sweetheart?

GREENLY

That ain't all. Shortstuff's work visa was signed by a sponsorthat doesn't exist and lookat the date. Two months after NineEleven.

EUNICE

Someone maneuvered itthrough the system using false informationduring the highest alert inU.S. history.

DOLLY

Yakavetta's just a gangster. He ain't got the juice to pullthat off.

EUNICE

You're darn tootin'he don't.

GREENLY

INS red flagged it likea motherfucker. It's a shit storm.

EUNICE

Something stanks likemanure.

The cops nod. Euniceturns and starts to move away...

EUNICE (CONT'D)

We got someplace tobe! Let's go!

Eunice drives. The Detectiveslook nervous.

DOLLY

What is this? Where arewe going?

EUNICE

It's time to revisitthe scene of the crime.

Eunice pulls to a stop. At the sight of the place, the copsturn white as a ghost. All exit the vehicle and walk toward.

GREENLY

It's after hours. Imean, if you wanted a drink then...

EUNICE

37 bodies later andwe're finally back where it all began. Y'ever heard of the southern expression, "Wehave an elephant in the livingroom?"

She knocks on the door. The cops are mortified.

EUNICE (CONT'D)

Hope you fellas broughtsome peanuts.

Doc opens it and letsthem all into...

Connor and Murphy are seatedat the bar. They turn. Thecops are dumbfounded. Duffyturns to Eunice, mystified.

DUFFY

You knew all along.

CONNOR

What? Ya don't call. Ya don't write.

Dolly actually dropsto his knees in abject relief. Greenlylaughs and plants a kiss onEunice's cheek. Doc pours shots. Eunice smiles as all her guyshug and make merry. DISSOLVE TO...

Doc smiles from thebar as the group raises for a toast.

MURPHY

T'm glad we got theband back together...

(re: Romeo) -..even though our newbass player's

kind of a retard.

They all laugh, cheersand drink. Conversations buzz allaround. Eunice chats with theboys as she sips a cosmo.

CONNOR

So, where'd you learnta shoot like that?

EUNICE

My Daddy was an old sixgun shooter. A real cowboy.

MURPHY

Guess that makes you acowgirl, eh? Thanks. Saved our asses.

EUNICE

Don't mention it. Now, we have a little business to goover before you celebrate in earnest.

She hands the INTERpolfile to the brothers.

CONNOR

This is the guy?

EUNICE

That's the guy. He's aSicilian immigrant, name of OttilioPanza.

MURPHY

Five, five? He's shortbastard isn't he?

EUNICE

Yes...and well put. He'll be front page news in the morningbut we have to assume Yakavetta alreadyknows we've ID'd his guy. We can'tgive him time to 'Plan B' us.

MURPHY

We're hittin' him tomorrownight. Dat soon enough?

Everyone else cuts theirconversation and listens.

EUNICE

Should be. Where's itgonna happen?

CONNOR

The Pru.

DOLLY

The Prudential Building? What are you, cracked?

GREENLY

Why don't you just do iton center ice at a fucking Bruin's game?!

CONNOR

Dat's where the man isso dat's where we're goin'. No gutsno glory, Green Beans.

MURPHY

In fact, we could use afew extra hands...that is if youfellas can still get yer Irish on.

GREENLY

Hey, I got balls for days,pally. I'm a fucking sack-o-matic.

They all chuckle.

DOLLY AND DUFFY

We're in.

Well, you boys have fun. Connor, Murphy? Escort a ladyto the door?

They each offer an armand move her toward the door.

CONNOR

Y'sure you don'twanna hear the plan? T'm not tryin' ta bragor nothin' but this one's a real Picasso.

MURPHY

Aw, Jesus.

CONNOR

Hey.

EUNICE

School night. Got somehomework to do. Besides, I'd like to critiqueyour masterpiece with a fresheye.

She stops at the door andturns. Her face shows concern.

MURPHY

What is it?

EUNICE

Something ain't rightwith this whole thing. Panza knew youwere in there tonight and he just letit happen. Didn't lift a finger. Imean, if he's working for Yakavetta,why would he stand by and justwatch all his guys get taken out?

MURPHY

That is...interestin'.

CONNOR

You think maybe we gotanother fox in the hen house here?

EUNICE

Starting ta look thatway. Somebody pushed that visa through. Could have ourselves a gen-u-ine 'Ghostin the Darkness,' here.

Crew Cut lies on the shoptable. He's lost a lot of blood andis in shock. Using gardeningutensils, the Old Man removes thebullet. We see his face forthe first time. Unremarkable. In Italian...

CREW CUT

They still live...Whatif he does not come? What if...

OLD MAN

Shhhhh. He will come.

The Irish GUN DEALER (30's)from the first film leads thebrothers and Romeo through abasement to a large, steel vault door.

GUN DEALER

Expanded my operation,since I saw ya last. Word got outwho may or may not have outfitted ya. Turns out ya got quite the underground followin'.

He swings the vault open. Romeo and the boys stand in angeliclight at the gates of Heaven. Cheesy music as they enter...

Expanded indeed. Gleamingweapons everywhere. Sheer awe. Something catches Romeo'seye and he moves off. To boys...

GUN DEALER

Please, gentlemen. Preferredcustomers select from my privatereserve.

He withdraws two Mahoganyboxes.

GUN DEALER (CONT'D)

If I may make a suggestion.

He lifts the lids. Ineach box is a pair of Desert Eagle .50cal "Black Outs". The triangularbarrels have been fittedwith matching triangular silencers. The boys are mystified.

MURPHY

I feel like that kidwho found the gold ticket in the candybar in "WillyWonka and the Chocolate Factory."

GUN DEALER

Charlie.

CONNOR

Yeah...Charlie.

(picks up gun)

And I want an OompaLoompa now, Daddy, now.

He pulls a few duffelbags.

GUN DEALER

Full accessory packages. I'm sure you'll find them useful.

Romeo suddenly appearsand slaps down a metal box.

ROMEO

I'll take these.

The boys look to him. He sniffles. Red eyes.

MURPHY

Have you been crying again?

Romeo snaps to him, eyeswide in challenge.

ROMEO

Yeah! Tears of joy!

(to Dealer)

How much?

GUN DEALER

You guys are on thehouse.

Let's see.

Romeo withdraws two goldplated .45's, intricately engraved,pearl handles with a Mexican flag. The boys snicker.

ROMEO

What?

CONNOR

Nothin'.

ROMEO

Are you saying I look gay?!

MURPHY

No. You just hail froma colorful...

You don't know me. You think these make me look gay?

Romeo poses. The Dealershrugs.

GUN DEALER

You look like youmight have seen one up close.

This is a common home atthe end of a cul de sac. The OldMan picks up the paper on his frontstoop and shuts the door.

He opens the paperwith shock. A big picture of Crew Cuton the front, "SAINTS INNOCENT,NEW SUSPECT IN PRIEST'S MURDER" He reads frantically. "New evidencediscovered at the crime scene..."

OLD MAN

Evidence?

He ambles into the houseand to a...

The Old Man moves to CrewCut's bedside. He sees the rosaryabout the slumbering man'sneck and rips it off. Crew Cut bolts awake!

OLD MAN

Foolish, arrogant boy! What have you done?!

He whips Crew Cutwith the rosary, until he cowers in the corner, weeping profuse apologiesin Italian.

Monitors show anglesof the apartment outside. This small spaceis equipped for single living. Yakavetta is frazzled, baggyeyed ina robe. Jimmy the Gofersits quietly as Concezio babblesto himself.

CONCEZIO

That wiley old fox notas clever as we thought. Or maybe heplayed me from the git. Y-you think heplayed me?

JIMMY

Uh, Boss. Maybe you aughtnot to be telling me this stuff. I'm just...

Concezio smacks him acrossthe face.

CONCEZIO

A little sensitivity,huh? You heartless cocksucker! I need to vindicate my feelingshere! I can't tell those goombas outside! They'll serve up my balls overa plate of fucking spaghetti!

The Capos huddle up. Hushed tones.

CAPO #4

Fuck that. We got amutiny on our hands. Every ten centwanna be with a gun is moving on us allover town.

CAPO #3

Yeah and our fearless leaderain't even come out of his littlepussy room yet.

With this, the panic roomdoor slides open and Concezio emerges holding a bag. He dumpsa bunch of cell phones on the coffeetable.

CONCEZIO

I want each of you tocall your top button man. The bestyou got. I want them all here tonight. We rip this city a new asshole. It'stime for us to reconnoiter our strengthon the streets. We seize theday starting now...Carpel Tunnel, gentlemen,Carpel Tunnel.

All are relieved andwords of approval flow.

CAPO #5

Glad to see you back amongthe living, Boss.

Nearby, Jimmy knocksover a bottle of wine, CRASH! Conceziodives back into the panic room. The door slides shut. DISSOLVETO...

Dolly drives a laundrytruck into the Pru's loading dock area.

Dolly backs it up tothe dock and pulls to a stop. He turns.

DOLLY

God speed.

Romeo, in a laundryuniform, emerges from the back pushinga loaded laundry cart. He entersa...

At the hall's opposingend, two maintenance workers movetoward. Romeo sees and quicklyputs his head down. Soon, Romeo andthe maintenance men converge. They turn, entering opposing elevators.

As the doors close,Romeo looks into the opposing elevator. The maintenance men areDuffy and Greenly, ball caps, duffelbags.

As the elevator ascends,Romeo swipes off the laundry, pullsthe false top. The brotherspop out in their usual garb. Weapons emerge and they gearup. Romeo looks unsure...

MURPHY

What.

ROMEO

Nothing.

CONNOR

Out with it! What thehell's the matter with ya?

ROMEO

Nothing! It's just...thisis some heavy shit.

CONNOR

Ya did fine at your uncle'splace.

ROMEO

Yeah, but we're goingoff a new script here. I'm just havinga...period of adjustment.

MURPHY

You're about to have aperiod of gettin' yer ass beat!

ROMEO

Hey! You two ain'tthe only ones rollin' with no healthinsurance! Just let me do my thing. I'mabsorbing this.

CONNOR

This is not the time foryou to be absorbin' shit! Now,if ya freeze up when you get in there justpoint yer gay guns at ‘em and ferChrist sakes, at least try ta lookcool!

MURPHY

I thought you were allhot fer dis!

ROMEO

Oh, I'm hot! I'm fuckingred hot! The kid's flamin' likeMatt Damon in the Grande Camens!

Ding! Romeo has a lookof dread.

CONNOR

This is you. Be on time.

Romeo firms himselfup as the door opens.

ROMEO

T'll be there.

Romeo exits with thecart. The boys remain. The doors close. Connor and Murphy lookat each other.

CONNOR

You ready fer dis shit,my dear brother?

Let's do some gratuitousviolence.

FLASH TO WHITE...

A demolished environment. The towering windows are blown out, providing a threateningview of the city below. Here,Eunice stands, looking out overthe panorama.

On a sultry Saturday inSeptember the Saints saved seventeensouls...try Saying that five times fast.

She turns and walksthe marble floor which is like a runway,lined with pulverized statues. A long table of ravaged food extends.

Crime scene personneltoil. Ritualized bodies everywhere. Greenly is by the panic room. He pushes the "talk" button.

GREENLY

Come on. There's nothingto be afraid of. It's all over.

(turns)

He won't come out.

He joins Dolly and Duffywho stand on the periphery. Euniceis dead center, absorbing thescene when suddenly, FBI Agent JOHNKUNTSLER barrels in with hisG-MEN #1 - #3.

KUNTSLER

Special Agent Bloom! You are hereby relieved of all obligationto this investigation.

He holds up his I.D. A collective groan from crime scenepersonnel.

KUNTSLER (CONT'D)

That's right, kids. Thiscrime scene is now under the full jurisdictionof your beloved federal government. As of now, you will all reportto me, Special Agent John Kuntsler.

The detectives look toKuntsler's G-men as if squaring off.

KUNTSLER (CONT'D)

Don't let us interruptyou. Just don't forget to turn over everythingyou find. We have people standingby ready to take credit for allyour hard work.

He chuckles as all returnto work. Kuntsler turns to Eunice.

KUNTSLER (CONT'D)

So, how ya doin', Bloomy?

EUNICE

Just fine...Cunty.

Kuntsler's shit eatinggrin disappears. He leans in. Hushedtones.

KUNTSLER

Nice little scienceproject you got going with these threegoofballs.

(re: detectives)

You trying to turn theminto your own little junior G-men? Well, you can put sprinkles on shit, Bloom,but it's still shit. So, you andyour Keystone Cops can all go homenow and let the professionals handlethis?

EUNICE

Boy. I'd love to heara gen-u-wine professional's assessmentof a crime scene. How ‘bout you,detectives?

Dolly, Duffy and Greenlychorus the affirmative. Kuntsler looks unsure then phoniesup somebravado. Looks around...

KUNTSLER

O'kay. Seems pretty obvious. The door was broken down. We've got our point of entry. The assailantsfired in this direction.

(points toward windows) (MORE)

KUNTSLER (CONT'D)

Explains the windows. The victims were...

EUNICE

There are three inaccuraciesin what you just said. Numberone, David.

GREENLY

If the windows were shatteredby gunfire coming from insidethe room, the glass would havebeen blown outward. As you can see,most of it is on the inside.

Kuntsler looks. Sureenough. His eyes widen.

EUNICE

Number two, Dolly.

DOLLY

Blood splatters in thedirection of the rounds fired. If the assailants discharged toward thewindows, the blood would follow suit. Here, the majority of splatter isin the opposing direction.

Kuntsler looks. Sureenough.

EUNICE

Number three, Duffy.

DUFFY

Trick guestion. Thereis no number three. He only fuckedup twice.

Looks like Bloomy acedher science project.

Kuntsler's men look embarrassed.

KUNTSLER

That was just off the...Iwould have seen the blood thing...Ihaven't even had time to...

EUNICE

Why don't you letme take a crack at it, John? Won't costyou nuthin'.

KUNTSLER

And just why would Ido that?

EUNICE

Cuz, tonight...mamma'sright on time.

FLASH TO WHITE...

Eunice, alone, sauntersbefore the huge windows which arenow intact. Concezio holdscourt nearby. He is shaved and dressed. His Capos sit around ina loose semi-circle. There are six dangerous lookingmen standingshoulder to shoulder beforethem.

EUNICE

This evening's topicof discussion? Desperate times requiredesperate measures.

CONCEZIO

Desperate times reguire...some,you know, some desperate shit. Starting tonight, every one ofyou fat fucking slobs is back on the streetsand earning your daily bread.

A chorus of protest.

CONCEZIO (CONT'D)

Shut the fuck up!

(they obey)

We got no choice. Youmotherfuckers better get in touchwith your ‘inner gangster'. It's timeto knock the dust off your ball bats! You break bones! You smash heads! Youdo whatever you gotta do!

EUNICE

Which brings us to therelevance of our new guests.

Each one of you is to stickto the guy that called you here likeglue. You arm yourselves to theteeth, pick your own crews. These biblebanging psychos will make an attempt. It'syour job to blow their souless heartsout of their chests.

EUNICE

It's time to reclaimthe streets with an iron fist.

CONCEZIO

We gotta take backwhat's ours with some sincere ironfistery.

WHIP PAN...

Eunice walks the roofwith Kuntsler et al in tow.

EUNICE

Let's explain the glass,now. Why is most of it inside theroom?

They halt before awindow washing scaffold.

EUNICE (CONT'D)

Here's why...or itwill be "why"ina moment. Y'see, theseboys. Well, to put it simply, theytend to get reeeeal...

FLASH TO WHITE...

CONNOR

Creative! It's a creativeplan!

Duffy, Greenly andthe boys descend the tower. Greenlyworks the controls as Duffy helpsthe boys tie on harnesses.

MURPHY

It's ridiculous! Probablybased on some stupid shit ya sawin a movie! And here I am AGAIN alltyin' myself up with rope! What isthe deal with you and rope?! Honestly!

CONNOR

It happens ta be a usefulthing!

The boys start yellingover each other. Duffy turns to Connor.

DUFFY

You didn't get this froma movie...did you?

Murphy regards hisbrother, "well?" Pause.

CONNOR

The "Eiger Sanction,"Clint Eastwood! And it worked like a fuckingcharm for him!

Romeo peeks out a crackeddoor at a Mafioso guard. LLOYD (33yrs),a janitor, gagged and ducttaped to a hand truck. He has a shiner. Romeo looks through hiswallet.

ROMEO

O'kay Lloyd Cranstonof 135Liberty Lane, apartment 3C.

(shows him wallet pic)

Lovely wife and kids. How old are they? Nevermind. Here'sthe Situation, Lloyd. Me and a couple of friends of mine are fittin'to do some killin' here tonight. I'mtalking bullets and blood, custom-wholesale Slaughter. You followingme, Lloyd-O?

(Lloyd nods)

Good. Now, I've run intoa little snag. I need to figureout a tag line. You know, something coolto say when it's all over like..."I'llbe back," but mine, y'know? Ineed to own this one. I think this'llhelp me get through the quote, unquoteevent. I'm going to take your gagoff and you and me are going to riff alittle, o'kay? Let's have fun withthis.

Lloyd nods and Romeorips off his gag.

LLOYD

I can't believe you! I'ma fucking

janitor. What do I knowabout bullets

and slaughter and shit?

ROMEO

Not riffing, Lloyd! Now, I need an

"Hasta La Vista" line,toute fucking

suite and you're gonnahelp me think of one!

Eunice stands alone onthe end of the scaffold.

EUNICE

And you can count on itlike the U.S. mail. Through rain, sleet,hail or snow...something alwaysseems to go wrong for these poor sonso' guns.

The scaffold suddenly stops.

CONNOR

What the fuck?

I don't know! It just stopped!

MURPHY

Well, get it fuckin' goin'again!

GREENLY

It won't turn back on! It just died!

BROTHERS

OH, SHIT!

The boys look over theedge. Long way down.

CONNOR

How much time?!

Sixty Seconds!

MURPHY

We gotta go now!

DUFFY

What are you talking about!?

CONNOR

If we're even a few secondslate, Romeo's dead! We gottago!

(looking up)

We're down thirteen stories!

MURPHY

Eleven more to go! Ballpark it!

They start counting outlengths of rope by feeding them through their hands and extendingtheir arms out to the sides.

BROTHERS

One floor, two, three...

The fuckin' Eiger Sanction.

Lloyd struggles tothink.

LLOYD

Uh..."Take that, suckers!"

ROMEO

Not cool enough.

LLOYD

Uh, "Merry Christmas,mother fuckers!"

ROMEO

Too sacrilegious.

LLOYD

Oh God, uh, how about "Eatit!"

ROMEO

What are we at, a buffet,now?

LLOYD

Good God, man! I'ma...

ROMEO

Hang on, you might beonto something with the buffet thing, likewith food, y'know? Let's brainstormon that idea for a minute.

The boys' ropes are securedand they each pull a Rambo knife.

MURPHY

TIME?!

DUFFY

JESUS CHRIST! SEVEN SECONDS...SIX... FIVE...

Romeo, pushing his cart,jives down the hall toward the guard, Singing "La Couca Racha." The guard puts out a halting hand.

DUFFY V.O.

FOUR...THREE!...TWO!...

WHIP PAN...

EUNICE

One...thing has alwaysamazed me.

Eunice stands dead center. Everyone watches...

EUNICE (CONT'D)

How quiet it gets. You ever noticed that? It's hard to imaginethat just a few hours ago, itwas the God damn O.K. coral in here.

FLASH TO WHITE...

FANTASY SEQUENCE: CoolCountry Western music!

CLOSE ON: A pair ofcowboy boots pacing toward.

Eunice stands beforethe looming windows. The immaculate foodtable stretches before her.

She is now in full cowgirlregalia: Leather chaps, rawhidecoat, boots, cowboy hat anda pair of gleaming six guns on herhips.

With the brim of herhat slung low, Eunice bursts into twirling gunplay with her Colts. She spins them all around, flippingthen, catching them, etc. Sheholsters and stops.

EUNICE (CONT'D)

One thang I'm gon guaranteeya...

First, Connor jumps off,then Murphy. They fall down andout in slow motion, knives inhand.

Eunice rolls the chamberof one of her Colts along her arm.

EUNICE

We gon have us a goodtime...

The boys snap to a stopand swing in, toward the building. With their free hand they eachpull a .50 cal.

The Country Westernmusic goes hard core!

SLO-MO: Two bulletholes pierce the windows behind Euniceas she levels her Colts. Themammoth panes shatter but stay inthe frame.

SLO-MO: All gangstersbolt upright as their plasma screenexplodes with the boys' rounds. Some pull weapons.

Romeo pulls his .45'sand takes out the guard. He kicks inthe door and rushes in...

SLO-MO: The brothers smashthrough the glass. They fire asthey swing over Eunice's head.

SLO-MO: Eunice leapsonto the table as the boys cut theirropes in mid air with the Ramboknives. The brothers land on theirknees. Their momentum carriesthem, sliding on either side of thetable.

SLO-MO: Eunice runs alongthe table top, crushing food andkeeping pace with the boys as allthree let the led out.

SLO-MO: The gangstersand button men return fire in chaos.

SLO-MO: Gangsters aretorn up as they are blown over furniture, into walls. Romeoblasts. Slow motion gun battle.

SLO-MO: Yakavetta runstoward his panic room. At the lastsecond, Jimmy the Gofer hip-checkshim and dives in. The door slidesshut.

For a few moments thegun battle rages around Eunice who standsin the center rapid firingat the gangsters.

EUNICE

YEEEEEEE HAAAAAAAW!!!

Soon it is over. Thebrothers slam Concezio to his knees andlevel to the back of his head. As he begs for his life...

BOTH

And shepherds we shallbe, for Thee, my Lord, for Thee. Powerhath descended forth from Thy hand,that our feet may swiftly carry out Thycommand.

(MORE)

BOTH (CONT'D)

So, we shall flow a riverforth to Thee and teeming with soulsshall it ever be.

Romeo watches in awe.

BOTH (CONT'D)

In Nomine Patris, eFilii, e Spiritus Sancti.

Boom. Concezio drops. Romeo's been waiting, guns up and...

MURPHY

What?

CONNOR

Whup ass fajita?

The brothers turn to eachother.

CONNOR AND MURPHY

That's fuckin' stupid.

Eunice whistles in sympathyas she lifts her brim with a Colt.

EUNICE

Hold up, now.

Everything freezes inplace. Eunice shuffles over to Romeo.

EUNICE (CONT'D)

Was that the best youcould do?

ROMEO

It's just...I couldn'tthink...I

EUNICE

Shhhhhh.

(whispers in ear)

Ya broke down the door,didn'tcha?

Romeo snaps his headtoward the entry with inspiration inhis eyes. QUICK CUT: He breaksdown the door. QUICK CUT: The brothersshoot Yakavetta. QUICK CUT: Romeo, guns up and once more with feeling...

ROMEO

Ding dong, motherfucker,diiiing dong!

The brothers look atRomeo, then to each other.

MURPHY

Exactly.

CONNOR

You said it.

WHIP PAN...

Eunice stands beforethe panic room door. She is totally disheveled. She swipesher hair back.

EUNICE

And that, gentlemen...isthe sound of the fat lady singin’.

Everyone stands in shock,Kuntsler, his G-men, the detectiveseven crime scene workers. Greenly whispers to Duffy...

GREENLY

Should we...clap or something?

DUFFY

Shut up.

Suddenly, the panic roomdoor slides open and Jimmy yanksEunice inside. The door shuts. Everyone rushes toward.

KUNTSLER

Hey!

Duffy bangs on the door.

DUFFY

Eunice! Oh, shit! Eunice!

Greenly slams the talkbutton.

GREENLY

Tf you hurt her, youpiece of shit, I will kill you! Do youfucking hear, me? I'll kill you!

Greenly wheels around, facingKuntsler.

GREENLY (CONT’D)

Get a hostage negotiatordown here and put some stank on it! He could be in there all...touchingher and shit!

Eunice has Jimmy pinnedface down to the couch, arm twistedbehind.

JIMMY

I'm sorry! I'm sorry! I wasn't gonna hurt you!

EUNICE

You bet your ass youweren't.

JIMMY

Just lemme explain. Ihave information, like pertinent information. Ouch! Look, I was listening to you outthere and that's, like, exactly what happened. That's what made me think youwere the person to talk to.

Eunice lets him go and stands. Jimmy sits up.

EUNICE

Yakavetta had a partner,didn't he.

Jimmy looks scared.

JIMMY

Yeah.

EUNICE

You saw this fella?

JIMMY

Yeah. It was only onetime and just for a second but I thinkI could ID him. I don't know hisname, though. Concezio always calledhim the "Old Man" accept one timewhen he called him something else, likehe fucked up and I wasn't supposed ta hearit.

EUNICE

What was it?

JIMMY

He called him...theRoman.

Panic room door opens andEunice emerges with Jimmy in tow.

Did this little motherfucker...?

EUNICE

Easy, David. I'm fine. C'mon gents, we're leaving. This isthe Fed's problem, now.

KUNTSLER

Hey! What happened inthere? What was said to you, Agent?

Jimmy is cuffed bytwo uniforms.

EUNICE

You got him in custody. Ask him yourself. You're theprofessional.

She walks out and thedetectives follow.

DOLLY

Yeah, professionalmoron.

There are coroner vansand moderate police activity here asEunice talks with the detectiveswho all seem perplexed.

DUFFY

I got no idea. That's justweird. The Roman? What do youthink it means?

EUNICE

Feels like our ghostta me.

DOLLY

What do we do now? Imean, the brothers ain't goin'nowhere until we get Panza or they do.

EUNICE

We've all had enoughexcitement for one night. Let's sleep onit.

Crew Cut watches Euniceand the detectives from the dark alley. He has shaved his headbald, giving him a sinister look.

The place is empty exceptfor Connor and Murphy having a celebratory shot at the bar and cleaningtheir weapons.

MURPHY

When's Romeo returnin'to the "hide out?'

CONNOR

Soon as he's done apologizin'to his uncle for wreckin' hisrestaurant.

MURPHY

And he should be sorry. The disrespect.

They chuckle as a loudknocking is heard. As Doc peeps throughthe spy hole and unchainsthe front doors...

DOC

Hold your damn horses!

He lets Greenly in andlocks it behind him. Greenly takes afew steps in, stops and grabshis crotch with both hands.

GREENLY

Sack-o-matic, I said!

As the boys guffaw,BOOM! A shotgun blast through the doorsends Greenly to the floorwith a gaping wound in his back.

Crew Cut bursts inwith a smoking pig nose shotgun hanging froma shoulder strap. Hepulls two Sigs and rapid fires at thebrothers.

The boys jump overthe bar frantically try to reassemble their weapons. Connor andMurphy check their clips.

MURPHY

I got nothin’!

Connor racks his .50 caland looks in the chamber.

CONNOR

One in the hole.

They see a shotgunbehind the bar. Murphy grabs it. Justas they are about to stand,they hear Doc cry out.

DOC

Boys!

They stand and level. Crew Cut has Doc from behind, .9mmto his temple. Thick accent...

CREW CUT

Put dem down! Throwdem over!

The boys do not flinch. Crew Cut pushes his gun into Doc'stemple hard. He cries out inpain.

CREW CUT (CONT'D)

Throw dem over!

The boys toss their gunsover the bar. Crew Cut levels towardthem, holding Doc in place. He whispers in Doc's ear.

CREW CUT (CONT'D)

Brothers, eh? Whichone first? This one?

(re: Murphy)

Dee other, eh?

He cocks back his hammer. A silence POP! rings out fromthe shadows. Crew Cut'shand is hit. He drops, crying out inpain.

SLO-MO: Poppa M emergesfrom the shadows and moves to CrewCut with a smoking, silencedWalther pistol in hand.

The brothers have justa moment of shock before Greenly chokesup some blood. They jumpthe bar and rush to him.

MURPHY

Jesus Christ!

CONNOR

Doc! Call da fuckin'ambulance!

As they hold Greenly andbeg him to hold on, we move to PoppaM standing over Crew Cut. Crew Cut looks up at him in awe.

CREW CUT

You.

POPPA M

Where is the Old Man?

CREW CUT

Never.

Poppa M pulls two .38revolvers. He snaps the rotary chambersout, puts one bullet in eachgun, spins the chambers and snapsthem shut. He holds them out toCrew Cut. The boys weep, oblivious tothis.

MURPHY

Just hold on.

CONNOR

Hang in there, brother. They're comin'.

Greenly struggles to speak.

GREENLY

Naw, boys...it's over. Don't worry...proudest dayof my life.

He seizes violently anddies. The brothers are in anguish. Crew Cut picks a .38 and stands. He and Poppa M level to eachother's foreheads. Crew Cut isexcited. Poppa M is calm, tranquil. The brothers bolt up in shock.

BROTHERS

Da!

POPPA M

Easy, boys.

The boys watch in horror,trying to figure it out. PoppaM motions for his opponent to go first. Crew Cut cocks his hammer backwith a "click." The brother'seyes go wide.

MURPHY

What the fuck's he doin'?

Crew Cut pulls the trigger,"click!"

BROTHERS

JESUS CHRIST!

Connor rushes over andgrabs up the shotgun.

CONNOR

IT'mgonna blow thismother fucker's brains out, right now!

He cocks it and levelsto Crew Cut's head.

POPPA M

CONNOR!

Connor stops. PoppaM holds out his free hand. Halt.

POPPA M (CONT'D)

Son...Daddy's workin'.

Connor lowers the gun. Poppa M pulls back the hammer, "click."

POPPA M (CONT'D)

Where is he?

Crew Cut is unsure ofhimself. He thinks. Shakes his head. The brothers focus on PoppaM's gun as he tenses on the trigger.

Come on.

Crew Cut clenches up,bracing for impact. Poppa M pulls, "click." The brothers drop totheir knees and pray hard. Crew Cut recovers. He smiles, pulls backthe hammer. In Italian...

CREW CUT

Make me famous.

"Click!" Crew Cut's eyeswiden in fear.

Where?

The brothers pray fasteras Crew Cut thinks in horror.

CREW CUT

FUCK YOU!!!

BOOM! Crew Cut fallsdead.

The boys sit at thekitchen table with Poppa M. Romeo ispropped up on a counter, nearby. Cesar sets out coffee.

POPPA M

T'm so sorry, boys. This is all my fault.

Cesar takes Romeo and leaves,giving them some privacy.

MURPHY

What are ya talkin' about,Da?

Poppa M strokes the faded "butterfly"tattoo on the back ofhis hand. Presently...

POPPA M

ITwas an immigrant tothe U.S. in 1958. I was sixteen. I cameto New York where my father, JacobMacManus, was a cobbler.

(MORE)

POPPA M (CONT'D)

Had a little shop and Iwas to learn the family business. Mafia was everywhere in those days.

Italian THUGS #1-4 talkto JACOB MacManus (43yrs). In these flashbacks we will referto young Poppa M as "Noah." NOAH (16) works in back butwatches.

POPPA M V.O.

Simple extortion...protectionmoney. But your grandfatherwas proud.

JACOB

ITcan't help ya withdat, lads. Ya got problems with your shoes,I'd be happy to have a look, got fairprices.

POPPA M V.O.

I just...watched.

Noah stands shaking ashe watches his father beat to death. We fade into later as he holdshis father's body, wailing. An Italiankid with a leg brace, LOUIE (18yrs),staggers in and hobblesto Noah.

LOUIE

Il ochio de dio! We gottacall the polizia, Noah! We gottacall somebody!

Noah, Louie and a priestare the only ones present at thismodest affair. Louie weeps. Noah is emotionless.

POPPA M V.O.

I buried my father,then I buried the men who killed him. Louie, my best friend, helped me...

Noah holds a knife toThug #1's throat at a card table. Hehas THUG holds a large .44magnum with shaking hands. Seated Thugs#3 and #4 hands raised, are scaredas they look at Noah's dead eyes.

THUG #3

Come on, kid. Itwas anaccident. We can work dis out.Whatever you want.

THUG #4

He ain't gonna do shit.

(to Thug #3)

T'll take two.

THUG #3

What da fuck's damatter with you? Can't you see...

THUG #4

I see just fine. Deal.

THUG #1 (in Italian, to Louie)

You're Italian, kid. Help us out here. Put one in the back ofhis head and you get anything you want!

LOUIE

I, I, I...am his friend.

THUG #4

Fuck him and fuck his friend. Deal the cards! He ain't gotthe balls.

Noah shoots Thug#2 then cuts Thug #1's throat. The otherMafiosi scream in horror. Louie kneels and weeps. Noah shoots Thug#3 in the heart and calmlytakes aim at Thug #4. He shoots him inthe throat and he is blownto the floor, grasping his bleedingneck.

Noah rounds the tableand takes aim. The man is choking onhis own blood. Noah slowly lowershis gun and just watches.

Louie works on a pairof shoes. They are both a bit older.

POPPA M V.O.

It started out slowly. Just the ones who were a threat tous.

MAFIOSO #1 and #2 talkto the stoic Noah.

MAFIOSO #1

Come on, kid. It's goodfor you, good for us. We'll move itright out the back of the place.

MAFIOSO #2

It'll never touch you. You got the word of the Bonnavesefamily on that.

No response from Noah. Dead eyes.

MAFIOSO #1

What's da matter withyou, eh?

We see Louie peekingthrough the curtains.

Easy, Noah...easy friend.

MAFIOSO #2

What are you, stupid orsomething?

He smacks Noah acrossthe face.

Noah and Louie burythe bodies of Mafioso #1 and #2. Louiestops and rests. He watchesNoah and thinks.

"CLOSED" sign in thedoor. Noah and Louie eat sandwiches.

POPPA M

Then one day...

LOUIE

Why should we not helpothers who suffer these Mafia thugs?

Noah puts down his sandwich. Louie talks to Noah with passion, m.o.s. and he listenswhile nodding his head.

POPPA M V.O.

Then it began.

Over dialogue andmusic we see the following images...

Noah cuts out a chalk sketchon a large sheet of shoe leather.

Louie helps Noah make a "seriouslooking" leather vest.

Louie hobbles inwith a sack. He dumps a bevy of handgunson a table. All differentmakes.

POPPA M V.O. (CONT'D)

Louie would pick themarks and plan everything in detail.

Louie draws a map on anote pad and speaks m.o.s.

Holsters and bulletbelts are sewn into the vest.

Noah loads the vestwith guns as Louie tightens the buckles,stands back and looks Noah over. Ominous.

POPPA M V.O. (CONT'D)

And I would go in anddo the jobs.

A mob boss and twobody guards wait for an elevator. Thedoors open. Insides is Noah,dark jacket, English Mac (hat). Heopens his coat, revealingthe vest. He draws two weapons, executesthem all and calmly hits abutton. The doors close.

POPPA M V.O. (CONT'D)

I would execute, overand over again, those who had takenmy father from me.

We do a montage ofNoah killing Mafiosi in many differentways.

POPPA M V.O. (CONT'D)

So it went for years.

We pan to the gapingmouthed brothers.

MURPHY

Jesus.

CONNOR

So...how'd ya end up inside,Da?

POPPA M

Back in '75, I did ahit, came out and the police were waitin'for me. He set me up, 25 to life.

MURPHY

Wait...why did he setyou up?

POPPA M

Can't wait ta ask him.

CONNOR

Why didn't ya flip onhim? Cut down yer time? The guy fuckedya.

POPPA M

T couldn't.

CONNOR

Why the hell not?

A picture of a womanwith two babies is slammed to the glass.

POPPA M

He'd learned of thebirth of my sons.

Connor and Murphy hangtheir heads. Connor looks up.

CONNOR

Do you know Louie's fullname?

POPPA M

Aye.

The boys look at eachother.

Greenly's bagged bodyis about to be loaded into an ambulance. Eunice stops the EMTs,unzips it and touches his face. Sheweeps and then crushes intoDolly's chest.

He holds her and criestoo as Duffy watches in anguish. Eunice's cell rings. She ignoresit and Dolly pulls it from her pocketand tosses it to Duffy, neverletting go of Eunice.

DUFFY

Hello.

Alternating coverage.

CONNOR

It's me. Put Eunice on.

Connor hands the phoneto Poppa M. DISSOLVE TO...

Eyes still red from crying,Eunice covertly works at a computer. She types. Soon apicture of the Roman comes on up. Eunicelooks at his face with trepidationand then...

EUNICE

I hope they do it slow...youpiece of shit.

CLOSE ON: An old timephone being carried to a rear table.

We drift by a poker gameand young Italian thugs, bettinghorses and sports. T.V.s and smokeare abundant.

The phone is set on aback table. PATRONAZZI (75yrs), anancient Italian man drinking espressopicks up.

PATRONAZZI

Si.

It's the Old Man. In Italian,alternating coverage...

OLD MAN

Hello, old friend.

PATRONAZZI

Many years. Are you inneed?

OLD MAN

Yes. I am makingmarinara and alas, I have run out of tomatoes. To help an old friend...how manycan you spare?

Patronazzi looks up. Slowly,many of the young thugs turn.

PATRONAZZI

I am in good supply oftomatoes.

The boys slumber. We push in on their staggered profiles. They Simultaneously take adeep breath. FLASH TO WHITE...

The boys stand in ahuge cement access corridor of FenwayPark. It is empty and quiet as achurch. A man walks toward them. They struggle to see. Presently,we reveal ROCCO. He passesthem.

ROCCO

Come on. The game's starting.

The brothers followhim. Red Sox emblems are abundant.

ROCCO (CONT'D)

Funny thing about theRed Sox. We never gave up hope,y'know? It's what kept us going all thoseyears. And they did it. They finallyfuckin' did it. What are we all gonnado now, huh?

They emerge into the stands. Perfect baseball field, emptypark.

ROCCO (CONT'D)

I lost a lot of moneyon ‘em. But I gotta admit. Always felt better...betting theunderdogs.

Rocco walks on. Theboys follow.

The boys stand on themound. Rocco walks a circle around it.

ROCCO

So, how's things going?

The boys drop theirheads.

ROCCO (CONT'D)

Yeah. I know. It'srough having your faith shaken.

The brothers have apained expression.

ROCCO (CONT'D)

But it happens to allof us.

(beat)

You know what's alwaystripped me out? How hundreds of yearsago, a bunch of desperate gamblers in leakyass ships, crossed the ocean blue. They had no clue what was on the otherside of it. Took real balls. Butthey sailed into infinity and made it allthe way to the shores of the New fuckingWorld...

(re: surroundings)

I'm always surprisedhow so many people miss the simple factthat faith...is the reason all of us areeven here. You can't underestimatethe power of it. Shit, you werethe ones that taught me that.

Rocco looks to his leftand right. Secretly.

ROCCO (CONT'D)

Listen, your my boys soI'm gonna give you some inside. The Soxare gonna do it again this year. The line in Vegas is huge. Put everythingyou got on it.

The boys look to eachother. Eyes wide.

MURPHY

Maybe we should.

CONNOR

You're sure, Roc? Youknow this?

Rocco smiles.

ROCCO

No...I just have faith. And fora second there, you almostdid too. Y'see, it's contagious. And if enough people catch it...lookout, baby.

A roaring cheer arises,shaking the very foundations ofthe arena. The boys turn in awe. The stands are still empty.

They jolt awake and lookto each other.

CONNOR

While the wicked standconfounded...

Poppa M stands beforeEunice. She hands him an envelope.

EUNICE

He lives in York Maine. About 30 minutes from here. Better go quick. I logged on to an FBI databaseto get the info. Homeland Securitydoes internal monitoring now. Onlya matter of time before they flag it.

POPPA M

Will they know it'syou?

(she nods)

Will you be all right,dear?

EUNICE

IThear Costa Rica's nice.

She looks at him as hereyes well up with tears.

EUNICE (CONT'D)

I never thought I'd askthis of another human being but please...killthis man.

She is overcome andweeps. Poppa M holds her.

POPPA M

It ends taday.

Kuntsler pours a coffee.G-man #2 comes in holding a pieceof paper.

KUNTSLER

Anybody word from Bloom,yet?

G-MAN #2

Nothing.

KUNTSLER

I want that little BayouBitch in here. Something stinks aboutthis whole thing.

G-MAN #2

T'm having D.H.S. dumpher IP and check for flags. See if she'sbeen poking around.

Poppa M, the brothersand Romeo walk kneel at the altar beforea memorial to McKinney: Candles, pictures, cards, flowers etc.

As they pray, a dozenor so church patrons who are in thepews begin to realize who they are. Our foursome stands and walks backdown the aisle. They makeeye contact with a few people.

When the Saints are gone,the churchgoers gather in the aisleand stare at the front doorin disbelief. Excited whisperings. One guy opens his cell phone. Then he thinks...and closes it.

G-man #2 excitedly givesKuntsler a file. His eyes widen.

Kuntsler slaps the filedown in front of Jimmy who is cuffedto a metal table. He looksat a picture of the Roman. Fear.

Kuntsler and his men speedalong sirens blaring. Intowalkie...

KUNTSLER

This is S.A.I.C., JonathanBuford Kuntsler! Security codeA4153B! I need an immediate R2 lawenforcement override clearance!

FEDERAL OPERATOR V.O.

What is your specificrequest, Agent?

KUNTSLER

Everyone in the tri-statearea with a gun!

The Roman's common,two story home looms in the b.g. atthe end of a cul-de-sac. Walkingdown the middle of the street, is PoppaM: black trench, hat, darkshades. He opens the door and entersthe...

Poppa M listens, faroff scratchy music. He moves quietlythrough the house, stopping atthe foot of the stairs...listens. He removes his rosary, hangs iton the banister and moves on, pullinga weapon.

The Roman, swirls atomato in a plate of salt and bites intoit. Beside him, a hornedphonograph plays 40's Jazz. Behindhim, we see that the greenhouse ismerely an extension of the home.

The Roman sits in frontof a sunken fire pit at a low flame. Across the pit, an empty chair. Extended before him is a stunninggarden, standing in stark contrastto the common house: vines, flowers, cobblestone walks, fountains. The center piece is a Turkishpool with pure white Lillysafloat.

Poppa M slowly approachesthe Roman from behind. He holstershis weapon and sits. TheRoman halts the phonograph.

POPPA M

Hello, Louie.

ROMAN

Noah.

Long pause.

POPPA M

We haven't much time.

The Roman smiles and gesturesthe surroundings.

ROMAN

My garden. She is beautiful,yes? Ah, but you. You are blindto beauty. You are a destroyer, Noah.

POPPA M

You know my reasons. You know why I did what I did.

ROMAN

But do you? You thinkit was for your father? No. Youwere born a killer. Death...is in the veryblood that runs through your veins.

POPPA M

No.

ROMAN

Then explain this.

The Roman flicks a photoover. It lands in Poppa M's lap. Itis the picture we saw earlier. A woman holding two babies.

ROMAN (CONT'D)

You were not there toraise them. Not a Single day. Yet, howclosely they follow in the footstepsof their father. They have inheritedyour blood, Noah...your anger.

Poppa M looks at thephoto deeply.

Outside, back wall of greenhouse. THUGs 1-5 from Patronazzi,hunker down here. They are allarmed.

THUG #1 (whispered into walkie)

Remember, not a scratchon the Old Man.

We look out the baywindows. It is a straight shot down theslanted roof to the roof of thegreenhouse. THUGS 6-8 stand quietlyinside.

THUG #6

Got it. Wait for the signal.

A gloved hand grabsup Poppa M's rosary. Connor pockets itas he and Murphy silently climbthe stairs.

S.W.A.T. teams load intovans. Squad cars speed through traffic.

Poppa M tosses the pictureinto the fire.

POPPA M

And you? What are you?

The Roman denotes hisgarden.

ROMAN

I am a creator. You see? Our very natures stood in oppositionas old as the story of the scorpionand the frog.

POPPA M

Why...did you sellme out, Louie?

ROMAN

You can never understand.

POPPA M

25 years....try me.

ROMAN

I wanted to join withthem. They were building an empire. Creatingsomething and I was helping them! I used you, Noah, to eliminate theirproblems, to destroy their competition,to cut out their cancers. I earnedmy place among them.

Poppa M looks around.

POPPA M

Is this your place amongthem? Because all I see is a an oldman, sitting ina garden.

ROMAN

Alas, the scorpion andthe frog both lost everything, yes? Ishould have paid more attentionto the story.

(MORE)

ROMAN (CONT'D)

Without you...I was no longeruseful to them. They cast me out!

Kuntsler barks into awalkie...

KUNTSLER

The location is to be surroundedand secured upon arrival! Nobody goes in!

He suddenly looks outhis window to the sky. In the distance,two other copters fly inthe same direction.

KUNTSLER (CONT'D)

Are those fucking newschoppers?!

POPPA M

Why the priest, Louie? Why all this? Why, now?

ROMAN

Because I knew itwould bring you and your sons. You woulddestroy the Yakavettas and clearmy way. This time, I will takewhat is rightfully mine. Just a littlepiece, for my old age. After all, I havenever been a greedy man.

The Roman puts the needleback on the record. Jazz plays.

THUG #6

That's it! Move!

Another Thug opens thebay windows. Thundering music!

BIRD'S EYE VIEW: Lookingdown on Connor and Murphy. Theyrapid fire their huge .50 calsthrough the wall.

SLO-MO: The heavy roundsblast through the wall and massacrethe three Thugs as they areabout to exit.

All following visuals inslo-mo with slamming music...

Poppa "M" stands, throwingopen his trench and revealing hisleather vest, a six gun rig inthe front. The Roman in awe.

The double doors crashin and men barrel through as PoppaM turns, pulls two weapons and firesupon them, hitting one.

The boys crash throughthe glass ceiling of the greenhouseon either Side of Poppa M. They fireas they fall, hit the ground androll.

Romeo bursts into the frayfrom inside the house, blasting awaywith his gold .45's, a shotgunhanging on his back.

The garden is being tornapart as the brothers, Poppa M andRomeo hit their marks andthe hit squad returns fire. The boysdive behind fountains whichare then pulverized.

The gun battle rages aroundthe Roman who remains seated inthe very mouth of madness. Hisheart breaks as his sanctuary is shredded.

Romeo fires as a largerack of wine behind him is torn apart.

Murphy fires over a statueand bodies crash into the pool.

Connor stands, firingin a Jesus Christ pose.

Poppa M drops his emptyweapons and pulls two more, layingdown a second barrage.

Romeo is simultaneouslyhit in the leg and shoulder. He falls, dropping his .45s. Hestruggles to fire the shotgun.

Poppa M takes one inthe chest.

Connor is wounded inthe shoulder but continues firing.

Murphy is hit in the legbut continues firing.

The boys and Romeomanage to take out the last of the Thugs,who are blasted into the Turkishpool. It is over. The music fades...

Squad cars screech to ahalt as the chopper lands behindthem. Kuntsler exits, shoutingorders. Many officers level overtheir hoods as S.W.A.T. pilesout and moves toward.

The Roman looks around,tears in his eyes. The boys hobbleto their failing father who ison his knees.

CONNOR AND MURPHY

Da?

POPPA M

Boys. Help me up.

They get him to his feet. Poppa M turns to the Roman. Helevels a revolver toward the seatedman. With his last bit of strength...

POPPA M (CONT'D)

T'll see you in aminute, Louie.

Poppa M fires one rightbetween the Roman's eyes. PoppaM crumbles. His sons lay him down.

CONNOR

Oh, no, no, no.

Poppa M smiles as he looksup at the sun through the blownout glass ceiling. A plume ofbutterflies escape.

POPPA M

It's a beautiful day.

MURPHY

Aye. It is...it is,Da.

He dies. The brothersweep. Nearby, Romeo is slumped andbleeding, on the edge of consciousness. A strange calm comes overthe brothers as they standand look to one another.

S.W.A.T. can be heard surroundingthe perimeter. The boys lookto Romeo. He smiles atthem and nods. The brothers turn andwalk into the house. The echoedvoice of Poppa M.

POPPA M V.O.

And shepherds we shallbe...

Cops level over their squads. Media descends.

SLO-MO: the boysmove toward the front door.

POPPA M V.O.

Power hath descended forthfrom Thy hand...

We cut to people aroundthe country glued to their t.v.s Crowds hush in bars, airports,stores.

thy command...

The door opens and theboys walk out, guns down.

POPPA M V.O.

So, we shall flow a riverforth to Thee...

Romeo raises a weak handas S.W.A.T. moves cautiously througha battle field of deadbodies.

be...

SLO-MO: The boys stopin the middle of the lawn and lookout over the massive presence. A policeman yells in his bullhorn,m.o.s.

SLO-MO, CLOSE ON: Thebrothers' guns fall to the grass.

POPPA M V.O.

In Nomini Patri...

SLO-MO: The brothersdrop to their knees.

SLO-MO: The brothersput their hands behind their heads.

DIP TO BLACK. Themusic fades...

SUBTEXT: "Seven daysLater"

STATIC! CHANNEL CHANGE!

Crowds flood a cemetery. Poppa M's casket is lowered...

REPORTER #2 -.-hundreds took offwork today to say

good bye to the manBoston is calling Simply, "The Father."

STATIC! CHANNEL CHANGE!

News desk. Insert ofRomeo.

Romeo Mata, the youngHispanic American allegedly operatingwith the Saints remains critical.

STATIC! CHANNEL CHANGE!

Outside Eunice's home.

REPORTER #2 ...the search continuesfor missing

Special Agent EuniceBloom. As of yet, law enforcement hasturned up nothing but have not ruled out foulplay.

STATIC! CHANNEL CHANGE!

New footage of the aftermathat the Roman's home.

REPORTER #3

The young men, who'snames Police are not releasing to thepublic have yet to utter a word since theircapture. Even to their court appointedattorneys.

STATIC! CHANNEL CHANGE!

A mob of protesters chant, "Setthem free."

Five guests, BALLPLAYER,COMEDIAN, ACTOR, POLITICIAN and aHOST are seated in the midst ofan "audiencein the round." The formatis Similar to "PoliticallyIncorrect."

BALLPLAYER

It doesn't change anything. What they did is still more important. It's still the issue.

COMEDIAN

They deserve medals.

POLITICIAN

They deserve the deathpenalty.

Arguments erupt.

The arguments are heardas the boys awaken in their hospitalbeds at the same moment.

PRIEST V.O.

Only God can judge!

ACTOR V.O.

Oh, save it for group,father!

They are bandaged andhooked to machinery.

BALLPLAYER

Well, I know this! Theycertainly don't belong in prison.

The boys turn and lookout the windows at a group of cons inthe yard, staring up atthem.

HOST V.O.

Oh, I don't know.

Connor and Murphy's facessplit with evil grins. Theymimic guns at the cons and gesture asif shooting them.

HOST V.O. (CONT'D)

Maybe that's just theplace for them.

FADE TO BLACK...